ETA MAY 2019

For The Technical And Production Professionals in Asia

MAY 2019

EX

CL U

SI

VE

Chameleon Battles the Elements on West Side Story INTERVIEW: GLP’s Company Founder, Udo Künzler and Robe’s CEO Josef Valchar talk about reaching their respective company’s 25th Anniversary Milestone SPOTLIGHT: AGB Events: Creating Light History

www.e-techasia.com

ENNOVATIONS: Round-up of Solutions Launched at PL+S Frankfurt

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CONTENTS

3 MAY 2019

52

IN THIS ISSUE

VOL 20 ISSUE 5 MAY 2019

50 04 FIRST WORDS 06 NEWS 26 VIDEO FILES 28 ENNOVATIONS INTERVIEW 42 Robe Celebrates 25th Anniversary 46 GLP Celebrates 25th Anniversary SPOTLIGHT 48 Tony Hystek of AV Production 50 AGB Events: Creating Light History

LIVE 52 ABU DHABI: Protec Delivers Explosive Opening Ceremony for IDEX 56 AUSTRALIA: Shure Digital Wireless at Sydney’s Australia Day Celebrations 58 ABU DHABI: Special Olympics World Games Opening Ceremony 2019 60 AUSTRALIA: Chameleon Battle the Elements on West Side Story 63 AUSTRALIA: Ramping it Up for Transmission Australia 66 AUSTRALIA: DPA Microphones Brings Extra Magic To The Theatre Stage ALEX COLUMN 68 The Loneliness of Front of House 69 EVENTS CALENDAR 70 MARKET PLACE

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

FIRST WORDS

Ram Bhavanashi

MAY 2019

Editor, India And Middle East ram@spinworkz.com

Prolight + Sound Frankfurt had a mixed reaction from visitors and exhibitors. The show has shrunk – empty spaces at the back of the halls were clearly noticeable.

Also, some prominent brands were missing at the exhibition. There also seemed to be fewer visitors from Asia compared to previous editions. Regardless of all these factors, the show was still a hit. It really has a place especially for the production companies, who seem to favour the show as it is more directly targeted at them. The show also saw the first ever laser effect lighting fixture from Claypaky. Many of the booths were very well set-up and let us not forget the light shows that kept the visitors fixated. Many companies were also celebrating double-digit anniversaries.

I personally felt that PL+S Frankfurt provided opportunities for more in-depth interaction between visitors and exhibitors. It is serving a niche market but will that be enough for the organisers to continue with the exhibition?

Thomas Richard Prakasam Publisher / Editorial Director

thomas@spinworkz.com

4

Ram Julie Bhavanashi Tan

Editor, And Middle East Admin India & Circulation admin@spinworkz.com ram@spinworkz.com

Julie TanChew Natalie

Admin Writer & Admin & Circulation Circulation natalie@spinworkz.com admin@spinworkz.com

Daniel Daniel Ngiam Ngiam

MEDIA Rep for Natalie Chew MEDIA Rep for Spinworkz SpinworkzPte Pte Ltd. Ltd Tel: +65 84410258 Tel: +65 84410258 Writer first_dm@hotmail.com first_dm@hotmail.com natalie@spinworkz.com

OUR COLLABORATORS Atmaram Rawool Shankar Venugopal Daniel Ngiam ART / LAYOUT ETA

ART / LAYOUT MEDIA Rep for Spinworkz Pte Ltd shankar@creativecult.in Elissa Nadine Tel: +65 84410258 Web Content and Social Media Specialist first_dm@hotmail.com CREATIVE CULT

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Server and IT SecurityART Guru/ LAYOUT

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HTML Design and Coding Maestro CREATIVE

CULT

Showcased prominently outside the Halls during PL+S Frankfurt was DiColor’s impressive LED display

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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

6 MAY 2019

ASIA

Point Source Audio Audio Expands Asia Presence in these regions is massive and our products fit their needs. Our goal is to continuously improve our customers’ experience around the world in every aspect and we are confident that our new partners will help achieve that.”

Integral to achieving this growth trajectory in the Asia Pacific region is also the appointment of AS Audio APAC Pte. Ltd. as the manufacturer’s representative in the territory. Based in Singapore, the company, led by Alex Schloesser, will support the Asia Pacific business and develop its distribution network. AS Audio will also handle all technical and sales support for Point Source Audio throughout the APAC region.

Kevin Kim of Capstone Pro with Alex Schloesser who represents Point Source Audio in Asia Pacific Point Source Audio (PSA) announced that it has appointed China’s EAD and South Korea’s Capstone Pro to be distribution partners for its SERIES8 and EMBRACE microphones as well as its CM-i series of patented in-ear headsets. The appointments come on the back of an expansion effort in response to increased sales and product awareness outside of the USA for Point Source Audio. These partnerships further expand the company’s worldwide reach, which now includes international partners in the United Kingdom, Australia, Japan Italy, Norway, Finland and France, among others.

“We’re excited to be working with both Capstone Pro and EAD,” said James Lamb, President of Point Source Audio. “The creative community

Mr Schloesser comments, “Developing and growing the PSA business is a rewarding and enjoyable task. Wherever we take the products, they shine and stand their ground with the competition. I very much look forward to be taking PSA into APAC.” Point Source Audio is a manufacturer of specialty sub-miniature body-worn style microphones and patented lavalier mounting systems specifically designed for theatre applications. The company creates value-added solutions through intelligent designs, driven by market demand — examples include their IP 57 rated waterproof models and unique headsets which retain the position of the microphone capsule regardless of performer activity. www.ead.cn www.capstonepro.co.kr www.point-sourceaudio.com

JAPAN

Live Entertainment Expo TOKYO Impresses with Visitor Count

The sixth edition of Live Entertainment Expo TOKYO that was held concurrently with the sixth edition of Events & Amusement Expo TOKYO, second edition of Sports Business Expo TOKYO and the second edition of Local Value Creation Expo, saw a total of 25,872 visitors.

Organised by Reed Exhibitions, Tokyo, the event was held from February 27 to March 1 at the Makuhari Messe, Tokyo, Japan. The bilingual conferences that were held during the Expo saw an attendance

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

of 16,788 delegates. Conferences touched on Interactive Entertainment Technology as well as on the hot topic regarding The Future of Japan’s Integrated Resorts. A total of 457 exhibitors were involved. The 7th edition will be held from February 5th to 7th, 2020. www.live-event.jp

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NEWS

8 MAY 2019

DUBAI

PR Phantom 440 and XLED 3019 Energise All-Star Dubai Concert

MediaPro International LLC recently provided full technical production for The Assembly: a Global Teacher Prize Concert, including lighting, audio, processing, backline and control.

features. Phantom 440 is a true hybrid, producing strong thick beams, from a decent CMY engine and it goes wide enough to be suited as a wash for the more theatrical pieces of the production.

The event, which was held at the 15,000-capacity Dubai Media City Ampthitheatre, featured Little Mix, Rita Ora and Liam Payne, with Hugh Jackman as a special guest (along with Loren Allred).

“They were my warhorses in terms of effects and beam work, with some gobo and prism work added to make some looks a bit bolder than usual.”

Lighting designer Marno Snyman specified a large number of PR Lighting fixtures in his complex rig, including 42 Phantom 440 and 16 PR XLED 3019. All were taken from the large MediaPro inventory that includes around 100 x PR Phantom 440; 60 x PR XR330 Beam; 60 x PR XLED 3019 and 30 x PR 4022.

The Phantom 440 itself is an astounding Beam, Wash and Spot hybrid moving light, equipped with a high luminance Osram Sirius HRI 440 lamp. Containing 19 x 20W RGBW 4-in-1 LEDs the XLED 3019 can deliver a variable beam ranging from 7° to 42° and beautiful wash field, making it ideal for all locations.

Explaining his choice Snyman, who doubled as the event’s lighting programmer and operator, said, “I chose them specifically for their

Working for promoters George and Burnell Events, Marno Snyman confirmed that everyone involved with the production had given the show a resounding thumbs-up. “They were both extremely happy and pleasantly surprised with the overall look and feel of the event. As it was high profile, awards style concert, we tried to go for something different.”

The event was launched by The Varkey Foundation to thank teachers for their unsung work and spread the message of teacher respect to the next generation. www.pr-lighting.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

NEW

TAKING LINE ARRAY

PERFORMANCE

TO A WHOLE

NEW LEVEL Sharing the same aesthetic and sonic signatures as the acclaimed GEO M10 and compact M6 line arrays, the new GEO M12 takes its place as the flagship of the range, achieving a peak SPL of 140dB. And with great power comes great versatility, with integral rigging, a dedicated sub, plug & play power options and touring / installation versions making GEO M12 a system that performs at a whole new level in a wide variety of applications.

Thinking. Inside the box.

NEWS

10 MAY 2019

SINGAPORE

The Production People Invests in Adamson S7 single 19-inch subwoofers, eight units of S7p The Production People (TPP) has point source models as well as amplification, been an active player in the rental rigging and hardware accessories. & staging segment in Singapore for more than 21 years. The company “Not only is the S7 extremely powerful, has continuously evolved not only providing a maximum SPL of 138dB, its 16kg in terms of design capabilities, weight and compact footprint (122mm h technical expertise, knowledgeable x 527mm w x 411mm d) makes it ideal for manpower but also in its impressive the large numbers of corporate and private inventory. Most of the company’s events that we cater for,” said Sheldon. “The work revolves around the corporate equally compact subwoofers extend the segment. Sheldon Gooi, Director low frequencies down to 35Hz. In terms of of TPP highlights, “Corporates have Adamson Asia Pacific MD Ben Millson versatility, the S7 can be deployed as a line an image to maintain. They are with TPP’s Sheldon Gooi array and the S7P as a point source system, particular about how their events from single pole-mounted cabinets to a full 12-per-side L-R system, are perceived. This also means the overall experience of their guests is pretty quickly and with minimal crew.” critical. It is our job to ensure that the solutions that we provide help in providing a memorable and pleasant experience for our client’s guests.

Adamson Asia Pacific MD Ben Millson is looking forward to working It is with this in mind that we always seek out to see if we can up our with TPP in Singapore. “The Adamson brand is very strong throughout game by adding more quality solutions to our inventory.” the APAC region, but has lacked the same penetration into the Singaporean market until now,” he explained. “To be represented by Sheldon lets on that most of TPP’s speakers are now 10 years old and such a prominent rental partner as TPP now provides Adamson with the time was ripe to reinvest. “This was definitely not a light decision as excellent visibility and a huge audience that has rarely been exposed to there are a number of really good systems in the market. At the end we our technologies. These are exciting times and I’m sure that we will be felt that the Adamson S7 system ticked all the right boxes for us.” extending the rental partner network in due course in Singapore.”

TPP’s Adamson inventory includes 24 units of S7 two-way line array www.tpp.com.sg cabinets, 16 units of S118 single 18-inch subwoofers, six units of E119

GLOBAL

Elation Extends Product Warranty to 5 Years on Latest LED Luminaires Elation Professional has announced a new warranty policy that extends its standard limited product warranty to 5 years on LED light engine sources for some of its latest and most popular LED luminaires.

In addition, warranty coverage on fixture components has been extended to 3 years for products used in registered indoor fixed installation projects.

The 5-year/3-year limited warranty applies to Elation’s Artiste, Fuze, KL Fresnel, Seven and Profile LED product series for indoor installation projects installed and maintained by an authorized reseller. Products used on temporary indoor rental projects also benefit from the extended 5-year warranty on LED engine sources with warranty coverage on fixture components remaining at 2 years. All exterior-rated lighting products continue to be covered by Elation’s standard 2-year limited product warranty for the LED source and fixture components.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Eric Loader, Global Director of Sales & Marketing at Elation, commented on the new policy: “High power LED technology has evolved and matured to the point that it now allows us to offer this extended warranty to our customers. Because we work closely with our component suppliers and select only the highest quality key components to engineer into our products, the long-term reliability of our products has increased tremendously. We therefore feel very confident in being able to provide this extended warranty offer to our customers, adding even more value proposition to our product line.”

The new extended warranty coverage went into effect as of April 1, 2019. Please contact your Elation representative directly for more details. www.elationlighting.com

NEWS

12 MAY 2019

CHINA

HARMAN Professional Solutions Delivers Exceptional Audio for Zhang Jun’s Pop Spin on Chinese Opera Chinese opera star Zhang Jun’s recent production “Shuimo Xindiao” featured JBL VTX Series loudspeakers and Crown amplifiers, which delivered premium audio to an arena packed with 10,000 music fans.

As a UNESCO Artist for Peace, Zhang Jun strives to keep the 600-year-old tradition of KunQu opera alive. His latest production, “Shuimo Xindiao” (New Tunes of the Water Mill), The JBL VTX at the Mercedez-Benz Arena reinvented classical melodies with modern pop instrumentation, including guitar, violin, saxophone and electronic elements. The performance took place at Shanghai’s Mercedes-Benz Arena.

To convey the subtlety of KunQu with the intensity of pop music, the production required a cutting-edge sound system with unparalleled power and clarity. In order to deliver world-class sound for the performance, event crews deployed a JBL VTX line array system consisting of VTX A12, V25 and V20 loudspeakers, S28 and G28 subwoofers, and Crown I-Tech HD amplifiers.

Due to the immense size of the Mercedes-Benz Arena, the production needed a sound system that could provide even coverage throughout the entire venue and bring high-quality sound to every seat.

The HARMAN Professional system was comprised of 28 VTX V25 loudspeakers for the main arrays, 30 VTX A12 loudspeakers for side fills, six VTX V20 loudspeakers for center fills. Subwoofers included 16 S28 subwoofers suspended with the main arrays and eight G28 models stacked at ground level. The entire system was powered by a network of Crown I-Tech HD amplifiers. www.harman.com

THAILAND

Analog Way Equipment Supports SCB Wealth Forum Held in Bangkok “We have been using Analog Way equipment since we started our audiovisual department, KS Plus Light & Sound System Co., Ltd., and always have confidence in their products,” says Nok Tan, General Manager of the company. “For the main conference in the Grand Diamond Ballroom we used two Ascenders 48-4K and an Ascender 32-4K to drive a curved LED videowall measuring 31 x 3.5 meters. The videowall had many layers of 4K imagery and the Ascenders helped us achieve the client’s goal.”

KS Plus Light & Sound Co., Ltd., a leading AV company in Thailand, chose a complement of Analog Way products to support the SCB Wealth Forum 2019 in Bangkok.

SCB (Siam Commercial Bank) was chartered more than one hundred years ago as the first Thai bank. The Wealth Forum conference and awards dinner, held at the IMPACT Muangthong Thani commercial complex, was serviced by Analog Way’s office in Hong Kong, which provided Ascender seamless switchers and videowall processors and Pulse²-3G and Smart Quad high-resolution mixer and seamless presentation switchers.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Additionally, KS Plus Light & Sound Company used three Analog Way Pulse²-3G systems and a Smart Quad to drive displays in the forum’s breakout rooms.

“The Analog Way equipment was integrated with our overall AV system to take inputs from the live video feed and live Lucky Draw software,” she explains. “We rely on AV stability for all of our events and we feel comfortable and confident with these products. Everything performed just great.” www.analogway.com

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NEWS

MAY 2019

SINGAPORE

City Music Launches Mackie DRM Loudspeaker Series

Group shot of most of the attendees at the launch The 11th of April saw City Music the distributor for Mackie products, launch the new DRM-series in Singapore at the Drama Centre Black Box located at the National Library. City Music’s Malaysian Branch, CK Music takes responsibility for distribution of the brand in Malaysia. The event was attended by consultants, dealers, SIs and end-users.

Launched earlier in the year at NAMM, the all-new flagship DRM-series Professional Powered Loudspeakers from Mackie are packed with up to 2300W of power, cutting-edge DSP, and built-in colour user-interface.

The DRM-series offer incredible sound quality and reliability for a wide range of applications. Perfect for mobile DJs, bands, installation, Houses of Worship, rental systems, and more.

that can contribute to poor sound, especially at high SPL. The result is crystal clear, punchy sound typically experienced only with massive touring systems.

Guests at the launch were treated to a range of different genre playback to allow them to appreciate the quality of the sound reproduced. The attractive price point was certainly something that caught the attention of the attendees.

The DRM-series include the 1600W 12” DRM212, 1600W 15” DRM215, 2300W 15” 3-Way DRM315, 2000W 12” DRM12A Array, and 2000W 18” DRM18S Subwoofer – plus all models are available in passive boxes as well.

The DRM-series deliver class-leading power up to 2300W via ultraefficient Class-D amplifiers with next-gen system protection. Universal power supplies (100-240V) feature Power Factor Correction technology that regulates incoming voltage for peak performance even with unstable AC power.

At the heart of every DRM-series loudspeaker, is Mackie’s Advanced Impulse DSP module. Precision crossovers, transducer time-alignment, and meticulously tuned FIR filters overcome inherent physical attributes

The Mackie DRM Series >>>> Page 16

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

SHARING THE ART OF SOUND

Yamaha staff love to share their knowledge, experience and passion for sound and for professional audio systems. That’s why we have been proactive in developing and maintaining education and training programs for our customers since the early 1990s. Originating in Japan, Yamaha has now established training facilities around the world, reaching over 100,000 people in more than 50 countries. If you work with sound and have a particular technical demand, Yamaha is likely to have a course tailored for you, whether you are a volunteer or a seasoned professional.

Feel free to share a little of your time with us: search for available Audioversity seminars at http://www.yamahaproaudio.com/

16

NEWS

Hoe Hsin Loong, Marketing Director of City Music chatted with ETA about their appointment to distribute Mackie. “City Music has always been known as an MI (musical instruments) company. We are familiar with the brand as we were a dealer of Mackie products though our main focus was only on certain product categories like studio monitors and audio interfaces. Being a Mackie distributor now repositions City Music as a new player in the pro audio market.”

When enquired about the opportunities, Hsin Loong comments, “First of all, we realised that the Mackie brand fits in very well with our product portfolio. Its a brand well recognised by both musicians and sound engineers. We foresee a good synergy between Mackie products, as well as the rest of our MI product range.”

MAY 2019

As for goals that have been set, Hsin Loong highlights that it has been 6 months since the company started distributing the brand. “I must admit, there are still quite a bit of teething issues that needs to be resolved when taking over distribution of any brand. Our goal right now will be to improve on the support that we can offer to our reseller partners and customers. We are also implementing certain business policies and strategies, for instance, price transparency. Current Mackie dealers have realised that Mackie products are now priced more competitive than before, while overall dealer margins have also increased. Other initiatives will include equipment support, event sponsorships as well as artists endorsements. www.citymusic.com.sg

GLOBAL

Modulo Pi’s New Ruggedized Chassis now Shipping After unveiling its new ruggedized chassis at ISE 2019, Modulo Pi is pleased to announce that the new enclosure is now shipping. The new suspended chassis is available as an option for both Modulo Player and Modulo Kinetic.

Designing the next generation of media server solutions, Modulo Pi is pleased to announce that Modulo Player and Modulo Kinetic are available in a regular chassis, as well as a brand new ruggedized chassis.

The new enclosure was designed to endure the roughest conditions.

Its suspended chassis offers higher strength and resistance to extreme handling and transport. The new enclosure features professional connectivity, including ruggedized lockable powerCON and etherCON connectors by Neutrik. To help facilitate the cabling process, all

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

connectors on the rear panel are labelled and numbered. Finally, a new sound card with XLR balanced outputs delivers enhanced sound quality.

Yannick Kohn, Founder and CEO of Modulo Pi, explains: “Our media servers are used both in fixed installations and live events. For our clients working with their media servers on shows all around the world, we felt the need for a new ruggedized chassis. The new enclosure was designed with rental companies’ specific needs in mind in order to provide utmost reliability and ease of operation.”

The new ruggedized chassis comes as an option for Modulo Player and Modulo Kinetic. www.modulo-pi.com

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NEWS

18 MAY 2019

GLOBAL

Green-GO Spans the Globe for Audio Alliance

The award-winning Green-GO digital intercom system was recently employed to simultaneously manage multiple locations for a corporate event spanning ten sites across the globe. Manchester-based sound specialist Audio Alliance, working for Media 1 Productions, required dependable, quality communications to seamlessly connect venues in Japan, India, China, Poland, Sweden, Canada, the USA and the UK. “We needed a reliable, managed talkback system that would work over our own VPN IP infrastructure,” says Oliver Driver, Managing Director of Audio Alliance. “Multiple Green-GO bridges were deployed worldwide, with each site a ‘spoke’ from our European data hub. The Green-GO system allowed us to manage all the comms channels at each of the remote sites from our central hub.”

The system implemented by Audio Alliance comprised more than 100 Green-GO devices, all of which were dispatched from its own stock.

“We ran three worldwide talkback rings,” says Driver, “a show calling channel, a client channel and a technical channel. Each site had its own talkback infrastructure, with up to 18 belt packs per site, plus the worldwide channels. The sites also had multiple local rings for each discipline, including radio comms.”

As a precaution, the team also employed a 4G app-based backup solution, in case connectivity at any site should be lost. Reliability, however, proved not to be a problem. “In these situations, we site survey each location to ensure we have the stable connectivity we need. Once we have that in place, the Green-GO system just sits there and works. There are no issues.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

For Driver, Green-GO offers an ideal solution because it is an IP-based system, which is cost-effective, dependable and flexible. What’s more, his teams can always count on highly responsive technical support whenever the need should arise.

He adds, “Our deployment of Green-GO ensures it’s a reliable worldwide talkback system. Green-GO enables us to send pre-prepared kits worldwide that can be used by our local crews. The beauty of Green-GO is that it has been designed from the outset as an IP-based system, with no legacy hardware or infrastructures to deal with. Other systems involve over-complicated legacy hardware systems.”

A leading audio solutions provider, Audio Alliance has worked with Green-GO comms technology for more than five years, and has a strong relationship with its Dutch manufacturer, ELC Lighting. It employs Green-GO comms on all its projects, including regular OBs for national TV shows, where the company manages the talkback, audio and video links.

Driver says, “Green-GO is always the first system up and running for the site producers, because as soon as everyone’s talking, everything else can be managed more smoothly. They know and trust its reliability and simplicity.”

Photo courtesy of Audio Alliance www.greengodigital.com

NEWS

20 MAY 2019

SINGAPORE / MALAYSIA

E&E Launches JBL Professional VTX A8 and B18 subwoofers in Singapore & Malaysia

Electronics and Engineering Pte Ltd (E&E) and its Malaysian subsidiary Systems Electronics & Engineering Sdn Bhd (SENE) who are the official distributors of HARMAN professional solutions audio range in the respective countries held the launch of the much anticipated JBL VTX compact line-array A8 and the B18 Subwoofers in Singapore and Kuala Lumpur, Malaysia last week.

Both events saw a strong turnout from the industry as anticipation had built-up since the launch of the speakers last year. This is the first time both the speakers were being shown and demonstrated in the two countries.

What is attention grabbing about the speakers? The JBL VTX A8 is a dual 8” line array loudspeaker that combines proprietary JBL transducers and latest-generation high-frequency waveguide acoustic design to provide unmatched performance, efficiency and 110 degrees of horizontal coverage. The smaller, lighter cabinet offers a compact footprint in a compact size whilst still maintaining high output and sonic consistency with the VTX A-Series family.

The VTX A8’s 8” neodymium low-frequency woofer is based around JBL’s 4th-generation Differential Drive technology, featuring a dualvoice coil, dual-gap configuration that maximizes excursion, power ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

handling and sensitivity. Midrange drivers are integrated into JBL’s patented Radiation Boundary Integrator (RBI) for a seamless transition across each band and maximum transducer density. And VTX A8 integrates two instances of the JBL 2423K 2” compression driver found in the larger VTX A12. The innovative JBL 2423K driver combines the compression drive, phasing plug and line array waveguide in a single part, which provides increased accuracy and sensitivity, along with lower distortion and lighter weight.

With the VTX A8, every seat is a sweet spot: Its tight 110-degree dispersion pattern down to 350Hz makes it ideal for small- and midsize venues, front fills and other applications that call for controlled, uniform coverage over a wide listening area.

The VTX B18 subwoofer features JBL’s new 2288 single 18” woofer engineered for improved linearity and a wider dynamic range. The new woofer takes advantage of JBL’s patented 4th-generation Differential Drive technology to deliver higher output, extra-long excursion, lower distortion and ultra-low power compression. In addition, the B18 incorporates JBL’s patented SlipStream™ double-flared exponential low-frequency port design to improve airflow and reduce audible turbulence even at maximum excursion. >>>> Page 22

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Both the VTX B18 and VTX A8 adopt the signature VTX A Series full-face powder- and zinc-coated grille design, which protects components from extreme conditions and contributes to a high Ingress Protection rating (IP55); grilles can be finished in a variety of colors to suit fixed installations.

22 MAY 2019

Sound Engineer, Jeyaraj D.A. comments, “The sound and the compact size is good. The technology behind the speakers and the design is impressive. The speakers are portable and from what I can see the set-up is easy which I feel will be especially useful for the AV guys.”

The launch in Singapore was held at the Capitol Theatre and saw more than a 150 professionals listen to the system. The Malaysia launch was held at the Sunway Resort Hotel & Spa Grand Ballroom and was attended by over 100 industry professionals. Both the VTX A8 and B18 are now available with immediate effect for both countries.

Gary Goh, Deputy MD, E&E with Ramesh Jayaraman, VP & GM HARMAN Professional Solutions, APAC. The VTX B18 and VTX A8, together with A12 and A12W loudspeakers, Crown i-Tech HD amplifiers and JBL Performance Manager Software, give audio professionals a complete toolset for designing the optimal sound system for any scale rental, performing arts or fixed install application.

The little details in relation to ensuring a lighter and smaller footprint when transporting for tours and the patented JBL rigging mechanism and redesigned suspension system to ensure ease of deployment as well as the smart packing of the rollable trays to save space caught the attention of the guests.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“HARMAN Professional Audio Brands and Solutions are well established for their technological superiority and world class quality and E&E is pleased to offer the latest product from iconic JBL brand to our customers in Singapore.” said Gary Goh, Deputy Managing Director, Electronics & Engineering Pte Ltd. “ This product meets the diverse sound reinforcement needs of our Singapore and Malaysia customers ranging from production companies, rental houses, theatres and houses of worship and we expect JBL VTX A8 to be a game changer in the fixed installation markets.” www.enepl.com.sg www.harman.com

NEWS

24 MAY 2019

SNAPSHOT

IAAPA Expo Asia 2019 will take place in Shanghai, China from 1114 June 2019. With the recent announcement of the Japanese Government clearing the way to open Integrated resorts, Singapore’s Sentosa requesting for industry to suggest new ideas and lots more happening in the region, IAAPA Expo Asia is well poised to ride the interest. The answers below were provided by a spokesperson from IAAPA What will motivate people (industry) to visit the IAAPA EXPO Asia?

IAAPA Expo Asia is the attractions industry’s premier event in Asia.

8,500 attendees from more than 60 countries will travel to Shanghai to buy, learn, and network. The extensive tradeshow floor will feature more than 300 companies across 11,000-net-square meters.

Throughout IAAPA Expo Asia, attendees will have the opportunity to attend more than 10 general education sessions on safety, human resources, marketing planning, and more.

Offsite EDUTours include exclusive opportunities to experience behind the scenes visits to Hello Kitty Shanghai Times, the Shanghai Natural History Museum, and Shanghai Disney Resort.

This event is IAAPA’s only Expo in the Asia-Pacific region. It is the place for global attractions industry professionals to come together to discover what is new, what is now, and what is next for the industry.

Are there any statistics to show the growth and projected growth of Theme parks, amusement parks, attractions in the Asia region?

The global attractions industry is thriving. According to the IAAPA Global Theme and Amusement Park Outlook report for 2017-2021, the industry is projected to continue to grow over the next five years.

Globally, this includes a cumulative spending increase of $13.5 billion (U.S.), 9 percent more than the $12.3 billion cumulative increase during the past five years. Most of this increase will come from gains in attendance at theme parks and amusements parks worldwide.

Asia Pacific will account for 62 percent of the global growth in attendance, mostly driven by the number of new parks opening in the region in the next five years.

IAAPA’s research continues to predict China will drive regional spending over the next five years, with share of market rise to 35 percent. South

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Korea and the Philippines will be the next-fastest growing countries in terms of growth in attendance.

What objectives does IAAPA hope to achieve with the IAAPA Expo Asia?

As the global association for the attractions industry, IAAPA is focused on promoting safe operations, global development, professional growth for participants. IAAPA Expo Asia is the attractions industry’s premier event in Asia.

More than 8,500 registrants will come together to buy, learn, and connect during IAAPA Expo Asia, so they can discover new ways to grow their businesses. Through educational EDUTours and thought-provoking education sessions and across an expansive tradeshow floor, IAAPA looks forward to presenting a unique, informative, and exciting event to attractions industry professionals from around the world. www.iaapa.org

VIDEO FILES

26 MAY 2019

ClayPaky’s XTYLOS - The First Beam Effect Powered by Laser

Ovation Pars Product Video by CHAUVET Professional

It is a beam moving light that uses a revolutionary laser source specifically built for it, which is enclosed in a reliable, safe, completely sealed module. It is a powerful engine that creates an incredible range of colours. Thanks to a special optical unit developed by Claypaky and the typical effects of a professional moving head, lighting designers and operators can use the XTYLOS straight away without any special training.

Equipped with the same LED systems found in our award-winning ellipsoidals, our Ovation pars feature advanced precision optics to produce homogenized, flat and even fields of light with high CRI. Sleek and discreet, they are specifically designed for theatrical productions where silent operation is critical.

The Ayrton Lightshow at PL+S Frankfurt

Robe Lightshow at PL+S Frankfurt

Record numbers flocked to the Ayrton stand, excited to see the new products and witness the fabulous new lightshow populated by Ayrton’s latest fixtures This year’s releases, the Levante and Diablo wash and profile fixtures, were in action for the first time alongside Khamsin, Bora, Ghibli, Mistral, Merak and NandoBeam, all of which illustrated the huge versatility, power and feature set of Ayrton’s expanding new Wash, Spot and Profile ranges.

The Robe booth is not really your typical booth is it? It is more like an extravaganza of entertainment and light show. Every year Robe puts up a show that packs the booth. This year was no different. The lightshow integrates all the latest Robe solutions introduced at the show together with a story line that keeps the audience enthralled.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

28

ENNOVATION

MAY 2019

FROM THE SHOW FLOORS OF PROLIGHT + SOUND FRANKFURT

Calibre: Innovative AiO LED Display 1.5mm pixel pitch 130in QUAD130. Both units are only 38mm deep.

Calibre’s first fruits of its relationship with sister company Optoma - also part of Coretronic – the AiO I(All-in-One)) is designed to address one of the biggest drawbacks to LED display – the time it takes to deploy them.

Ease of installation is also enhanced by the fact that the AiO benefits from Calibre’s inbuilt LEDView series scaler/switchers which bring Ultra HD capability to LED screens. Using Calibre’s proprietary HQUltra halo-free low-latency scaling and HQUltraFast input switching (inputs change in 0.5 seconds), these products provide stunning image quality in demanding environments. A range of LEDView and HQView600 scaler/switchers is available to meet the needs of any application.

The AiO can be installed by three people in under an hour via simple, 3-step process that involves joining the two frame modules together; attaching them by tightening the screws; and installing the individual LED modules. Installation is also eased by the AiO’s light weight: 116kgs/255.7lbs for the 118in 1.8mm pixel pitch LEDFusion A118, and 125kgs/275.5lbs for the

The AiO LED display also responds to the growing focus on minimising energy consumption: in standby mode, it consumes less than 0.5 Watts. www.calibreuk.com

Powersoft: New X4L Amplifier to Drive Modern High SPL woofers asks more of the amplifier’s design but, done efficiently, around 2 – 4 dB of power can be saved. This economy is instrumental in making a product like this viable.

Even in applications where high output voltage isn’t required by rental staging professionals, the X4L remains an extremely attractive product.

This illustrated by the product’s ability to deliver the same or more power per loudspeaker while driving more cabinets in parallel when compared to other amplifiers, which will save users both money and truck space on portable applications.

The X4L on the left together with the T-Series on the right As the latest addition to Powersoft’s already enviable range of amplifiers, the X4L, has been created to drive modern high SPL woofers that require very high voltage in order to deliver their full potential.

The product is specifically designed to deliver up to 300 V (peak) to the loudspeakers, which translates to more audible impact from the music itself.

Loudspeakers like this are also very reactive, which means a lot of the energy sent to it can be recycled as it comes back to the amplifier. This

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The product also has versatility on its side, with 5 output connectors to allow easy connection without adapters for many of the expected configurations, such as channels 1 and 2 driving a cardioid sub solution, while channels 3 & 4 drive some 2-way front fill in parallel. www.powersoft.it

ENNOVATION

ENNOVATION

29

MAY 2019

Out Board: TiMax New Spatial Management Development time localisation. Also demonstrated was their all-new TiMax TrackerD4 evolution of their market-leading stagetracking showcontrol.

TiMax TrackerD4 is billed as affordable, dependable and portable, addressing a current price/performance gap in the market with enhanced levels of speed and precision at a range of cost levels offering enhanced ROI across wider applications.

With its long-established vocal-localisation processes now further integrated within the TiMax SoundHub software via OSC control, the responsiveness of the new D4 also opens up, for the first time, the reality of highly cost-effective lighting and multimedia stagetracking control. www.outboard.co.uk Out Board demonstrated their intuitive TiMax 500S software workflows including StageSpace for instant auto-calculation of adaptive localization objects directly from a map of the venue; and TiMax HARDCore FGPA, a powerful new dsp engine for the TiMax Soundhub platform, which adds extended delay-matrix memory and ultra-smooth dynamic delay-morphing algorithms to create totally transparent real-

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

30

ENNOVATION

MAY 2019

Adamson: Tour-Proven S-Series Expanded The latest additions include the S7 ultra-compact two-way, full-range line array enclosure and complementary S118 subwoofer, plus the S7p and S10p two-way, full-range point source cabinets. Together, they offer a substantial increase in configuration options for standalone S-Series systems in corporate, theatre, worship, and live music applications or, thanks to Adamson’s uniform voicing between product families, deployments supporting the flagship large-format E-Series.

The Adamson S7 is a two-way, full-range line array cabinet containing two ND7-LM16 Kevlar Neodymium drivers (2x 16 Ω) and an NH3-8 1.4” exit compression driver (8 Ω). The critically optimized sound chamber produces a slightly curved wavefront with a nominal dispersion pattern of 100° x 12.5° (H x V). The chamber’s efficiency allows for increased vertical dispersion without sacrificing high frequency presence in the far field, and Adamson’s patented Controlled Summation Technology further eliminates low-mid lobing normally associated with two-way line source systems.

The S118 is the companion subwoofer to the S7. The enclosure is loaded with a lightweight, long excursion 18” ND18-S Kevlar Neodymium driver utilizing Adamson’s Advanced Cone Architecture and a 4” voice coil for exceptional power handling. It is mounted in an ultra-efficient front-loaded enclosure, designed to reproduce clean, musical low frequency information.

Both utilize Adamson’s SlideLock Rigging System, a simple yet effective suspension system which has been further refined since the S10 to eliminate the need for a stacking pin. A single technician can prep and fly an entire array.

The S7p and S10p are two-way, full-range point source cabinets containing two ND7-16 Low-Mid drivers (2x 16 Ω) and two ND10-LM Low-Mid drivers, respectively, and an NH3-8 1.4” exit compression driver (8 Ω) in both.

Their prolate spheroidal waveguides produce a nominal dispersion pattern of 70° x 40° (H x V), rotatable in 90° increments. The design of the waveguide ensures equal tonal balance when moving outside of the intended coverage pattern, delivering natural sound with no diffraction or lobing.

All Adamson cabinets are constructed out of marine-grade birch plywood, aircraft-grade steel and aluminum, and feature Speakon connectors. The S-Series is designed to be powered by the E-Rack, Adamson’s unified rack solution that interfaces with and powers the full range of Adamson loudspeaker products. The E-Rack incorporates Lab.gruppen amplification combined with versatile I/O and industry standard power connections, as well as a 20-port managed Ethernet switch to route dual-redundant Dante and control signal. www.adamsonsystems.com

MA Lighting: GDTF Protocol Unveiled Phaser control, enhanced 3D visualization or networking protocol implementations and much more were also on display.

Also presented was a detailed overview of MA’s networking solutions illustrating different user scenarios for events and fixed installations.

MA also premiered its brand new grandMA3 xPort Node DIN Rail versions. In parallel, the new open protocol GDTF (General Device Type Format) – jointly developed by Vectorworks, Robe lighting and MA Lighting to replicate the real-world physical components of the most complex fixtures was shown.

Also displayed was the MVR (My Virtual Rig) file format. MVR is a file format used to share data for a scene between a lighting console, a visualizer, a CAD program or similar tools, and is based on GDTF. As in every year, the MA Lighting booth was packed to the brim. This year attendees got to preview the latest version of the grandMA3 software as it progresses towards the V1.0 launch later this year. Recent developments including new ways of colour control, visual ways of

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.malighting.com

ENNOVATION

31 MAY 2019

Claypaky: XTYLOS, the First Beam Moving Light with a Laser Source The teaser undoubtedly led to a lot of industry professionals wanting to witness the innovative developments in light technology in this revolutionary new unit in person.

The XTYLOS lived up to their expectations. The extraordinary beams of parallel, solid, colourful, ultra-concentrated light which emerge from its lightweight, compact body make the XTYLOS a game changer in the world of entertainment lighting.

It is a beam moving light that uses a revolutionary laser source specifically built for it, which is enclosed in a reliable, safe, completely sealed module. It is a powerful engine that creates an incredible range of colours. Thanks to a special optical unit developed by Claypaky and the typical effects of a professional moving head, lighting designers and operators can use the XTYLOS straight away without any special training.

The spectacular launch of the Claypaky XTYLOS, the first ever laser beam moving light, was a great success. About 10,000 people attended the live demo shows at Claypaky’s stand during the four days of Prolight+Sound 2019.

www.claypaky.it

The success of the XTYLOS video teaser was even more overwhelming.

It received over 150,000 views on various social media channels!

vx 4 More in. More out.

MALAYSIA SINGAPORE THAILAND INDONESIA ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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

32

ENNOVATION

MAY 2019

Robe: New IP65 Rated iPointe Launched The brand new IP65 rated iPointe combines innovative ingress protection with the spectacular effect features of the MegaPointe - the best product on the market in its category. Perfect for festivals, concerts and outdoor events and any scenario needing to deal with inclement or unpredictable weather - the iPointe is a bright, powerful multifunctional luminaire that works equally well as a beam, spot, effect and wash fixture. The ingenious ingress protection has been designed and developed diligently over two years

by Robe’s R’n’D team and comprises a series of interconnected filters and air chambers which prevent water ingress into the fixture.

a brilliant, crystal clear, razor-edged beam, adjustable from a punchy 1.8 out to a wide 42 degree spot. The beam can also be accurately shaped using the innovative framing shutters emulation.Both static and rotating glass gobos produce precision in-air effects and projected images with a sharp, high-contrast, flat field.

An inventive new effects engine can produce 12 varying beam and ‘flower’ effects, all of this taking a winning combination of creativity and weather-resistance to new levels.

Thanks to its design, the iPointe offers seamless cross-usage with MegaPointe, featuring the same DMX control, but in wellprotected, water resistant housing.

There’s also a unique new dust-free environment for the optical, gobo and colour systems thus eliminating the need for frequent cleaning and maintenance.

www.robe.cz

The iPointe’s impressive lightsource is a 310W lamp, with a lifetime of up to 4,000 hours, specially developed for Robe by Osram. It produces

Prolyte: Middle Beam Truss Series Introduced wall. Keeping the total load in the middle of your truss section, thereby avoiding unbalanced loading or using the truss in a diamond shape.

The H40V MB series is fully compatible with the regular H40V truss series and can be combined in one grid.

Middle Beam Truss Series Introduced If you want to fly your LED system, you have the choice of two truss types. All of these trusses are equipped with a middle beam.

The H40 MB Series truss is constructed of main tubes (48,3 x 3 mm) and diagonals (20 x 2 mm). Equipped with the CCS6 conical coupling system, the H40 MB truss is fast and easy to assemble. The H40 offers extra strength, next to its flexible application possibilities and is the ideal solution for the event or exhibition market. The extra middle beam in the bottom surface will guarantee safe and easy suspension of your LED

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The S52 MB Series truss is constructed of main tubes (50 x 4 mm) and diagonals (30 x 3 mm). Equipped with the CCS7 conical coupling system, the S52 MB truss is fast and easy to assemble. The S52 truss offers a strong truss with a very high loading capacity. The clever pin orientation guarantees fast and foolproof assembly. Similar to the H40V MB Series, the extra middle beam in the bottom surface will guarantee safe and easy suspension of your LED wall. Keeping the total load in the middle of your truss section, thereby avoiding unbalanced loading or using the truss in a diamond shape.

The S52SV MB series is fully compatible with the regular S52SV truss series and can be combined in one grid. www.prolyte.com

ENNOVATION

34 MAY 2019

GLP: The Highlander Wash Revealed an independent and snappy motorized iris, but also through a full feature framing system. This framing system gives 4 blade control with each blade being able to tilt on its axis and cross the entire beam like a curtain. With separate control over each blade, the beam can be controlled down to the finest detail, and recalled in an instant. The entire beam framing system can also be rotated through a 90 degree range for optimum control.

A glass, dichroic based cyan, magenta and yellow colour system gives a full colour pallet from the softest pastel shades to full saturation, and anything in between. This is supported by two separately controlled colour wheels, each with 7 colour positions plus open. The whole colour output can also be temperature control anywhere from 2700K to 6000K using a further separate optical wheel.

The Highlander Wash is the next generation of discharge lamp wash light, bringing new levels of high performance, high output and high quality from a compact discharge source and a superior optical system.

The Highlander features a powerful 1,400W discharge lamp producing high quality light output, combined with a tight beam angle and modern efficiency.

Using a 1,400 Watt lamp and outputting through a large 230mm / 9 inch front lens, the GLP Highlander delivers a truly massive light output, without ever sacrificing quality. With a native colour temperature of 6,000K, the Highlander optics have CRI, CQS and TM-30 quality indices all measuring 90 and above.

Additional control features of the Highlander include smooth dimming with multiple user-selectable curves, separate shutter control with built in macros, fast 16 bit pan and tilt movement and low noise operating modes.

The GLP Highlander is designed with a compact, baseless design that allows the unit to be hung in any orientation. Power is connected via Neutrik True1, whilst data is connected via 5 pin XLR or Ethernet, with DMX, ArtNET or sACN as available control options. www.glp.de

The Highlander’s high output optical system produces a tight 5 degree beam up to a wide 63 degree field. Beam control is available through

PR Lighting: XPAR 354 Offers Countless Options PR Lighting’s new XPAR 354 (PR-6209A) fixture is an IP67-rated par light for external use. Equipped with 54 x 3W LEDs, it provides RGBW (with amber and lime options) as well as single colour output to deliver countless mixing effects and combinations. This makes it ideal for multiscale outdoor stages, theme parks and so on.

Other functions include: Lamp board and fixture usage time display; DMX channel mode and setting display, and LCD menu display (backlight automatically turns off after a delay). Control mode and other information can be transmitted via synchronization.

Housed in a high tensile, cast aluminium IP67-rated alloy chassis, the weight of the XPAR 354 is just 10kg. www.pr-lighting.com

Included in the comprehensive feature-set are electronic linear dimming from 0-100% and electronic strobe, from 0.5-33fps.It also offers variable beam angles (half peak) 9°, with options of 7°, 10°, 20° and 40°).

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

THE ATTRACTIONS INDUSTRY’S PREMIER EVENT IN ASIA

Shanghai New International Expo Centre, Shanghai, China Conference: 11-14 June 2019 | Trade Show: 12-14 June 2019 IAAPA Expo Asia (formerly Asian Attractions Expo) is IAAPA’s exclusive Expo in Asia.

Experience all the global attractions industry has to offer and connect with professionals from all over the world as you discover innovative ways to improve operations, increase guest satisfaction, and grow revenue.

Register Now and Save up to 20%*! www.IAAPA.org/IAAPAExpoAsia *Saving off the regular on-site registration.

Organizer:

@IAAPAHQ | #IAAPAShanghai

Global Headquarters Asia Pacific Shanghai, China

IAAPA@IAAPA.org AsiaPacific@IAAPA.org AsiaPacific@IAAPA.org

| +1 321/319-7600 | +852 2538-8799 | +86 21/8033-7435

Visitor Inquiry

IAAPAShanghai@baobab-tree-event.com

| +852 3520-3639

ENNOVATION

36 MAY 2019

KV2 Audio: Ultra-compact ESD Cube across the extended frequency range, meaning that the vocal imaging and instrument placement of the Cube system is nothing short of stunning.

The ESD Cube may be used as a standalone system with up to eight Cubes powered by a single ESP1000 amplifier or with the ESD1.10 single 10-inch passive subwoofer for applications requiring more low end reinforcement. One ESP1000 amplifier will run up to four Cubes and two ESD1.10s. A simple, proprietary flying bracket completes the system for a low profile look and easy installation.

The ESD Cube ultra-compact passive 5-inch loudspeaker utilises a unique trans-coil design for superior vocal reproduction, extended high frequency response, increased dynamic range and the lowest distortion of any comparable loudspeaker in its class.

KV2’s exclusive trans-coil AIC (Active Impedance Control) technology, already deployed in a number of KV2 products, has been taken to a whole new level in the Cube. The result is perfect phase response

Housed in a durable and stylish aluminium enclosure that is available in any RAL colour, the ESD Cube’s compact dimensions make it ideal for applications requiring discreet, high quality peripheral and/or distributed sound reinforcement including bars, hotels, houses of worship, museums, tourist attractions, and corporate venues. www.kv2audio.com

Analog Way: Compact Versions of Picturall Media Servers Announced performance and stability. Picturall Quad Compact offers four 4K@60Hz 10-bit outputs and can play back up to 12 layers of full HD or 3 layers of 4K@60hz video with the new AWX codec.

Designed for medium-sized events and installations, Picturall Twin Compact is a powerful and cost-effective 4K media server with two 4K@60Hz 10-bit outputs, delivering a playback performance of up to 8 layers of full HD or 2 layers of 4K@60hz video with the new AWX codec.

Analog Way announced new compact versions of its Picturall Quad and Picturall Twin media servers, delivering the same class leading playback performance in a 2RU ruggedized chassis.

Picturall Quad Compact and Picturall Twin Compact feature the latest software version 2.7 released in March for the whole range of Analog Way Picturall media servers. Among other enhancements, this new version adds support for the HAP video codec family and introduces a new high-performance proprietary video codec named AWX, specifically designed by Analog Way to offer optimized playback for very high resolution and bit rate content for multi-screen and large-scale LED wall applications.

The heavy-duty Picturall Quad Compact 4K media server is well suited for large-scale events and installations requiring high levels of ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Both compact models offer up to 4 optional inputs (HDMI 1.4, HDMI 2.0, 3G-SDI or DVI) as well an optional two-channel audio interface with balanced XLR outputs. They share the same core features as their larger siblings in the Picturall series of media servers and combine a robust hardware platform, a rock-solid Linux-based software engine, flexible control solutions and the easiest setup in their class making them the ideal solutions for driving corporate events, live shows, high-end theatre productions or large-scale digital signage projects. www.analogway.com

A part of

18 to 20

Capture

JUNE 2019

The Future Asia’s must-attend international event for the pro-audio, film, digital media and broadcasting industries.

SUNTEC SINGAPORE

www.Broadcast-Asia.com

Register Now

www.broadcast-asia.com/register Organised by:

Held Concurrently:

www.CommunicAsia.com

Join in the conversation:

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ENNOVATION

38 MAY 2019

Yamaha: Updated DXRmkII Loudspeakers Released utilises linear phase FIR* filters for the crossover - an innovative tuning which achieves a very accurate, smooth response - providing enhanced clarity and imaging.

The updated DXRmkII models feature an upgraded, 1.75” neodymium VC compression driver that delivers 1-2 dB higher SPL than the existing series, with improved HF audio quality. The DXR15mkII can reach an impressive 134 dB maximum SPL, with an impressive LF response down to 49Hz, while the DXR12mkII can also produce 134 dB SPL with LF down to 52Hz, with exceptional clarity and minimal distortion. The maximum SPL for the DXR10mkII is 132dB SPL, with 130dB SPL for the DXR8mkII. Yamaha’s state-of-the-art digital technology ensures the DXRmkII range delivers superb clarity and musicality. Yamaha’s proprietary FIR-X tuning

All models feature D-CONTOUR dynamic multi-band processing for clear, powerful and consistent sound, with more detailed tuning settings - FOH/MAIN or MONITOR - optimally set to match the particular application. Yamaha’s DSP also offers tour-proven protection functions to ensure all vital components perform at their maximum potential, even after extended durations of usage.

Durable, non-resonant ABS enclosures, a portable, lightweight construction and sturdy steel grilles allow for seamless adaptability in a range of environments and applications, from Front of House sound and wedge monitoring to simple amplification and installed environments. Versatile mounting options include rigging points for standard eye-bolts, optional U brackets and a dual-angle pole mount socket. All models also feature a three-channel onboard mixer, flexible IN/OUT connectivity and linking options to create a full sound reinforcement system. www.yamahaproaudio.com

LD Systems: U500 In-Ear Monitoring Systems metres, the systems provide unrestricted freedom of movement in almost any application.

96 receiver channels are available to provide mono or stereo operation as required. For optimum user comfort, the in-ear mix can be adjusted to taste via a 3-band EQ with parametric mids. In addition, the U500® systems facilitate personalised user name entry and storage of preferred settings in ten preset memory locations. Depending on the frequency band, up to twelve systems can be operated simultaneously.

The new U500 IEM Series is aimed at bands, musicians and rental firms who value optimum reliability and excellent audio performance.

The U500 systems are available in various designs with and without headphones. Their practical features provide demanding users with maximum freedom and comfort for music and speech applications.

The U500 in-ear monitoring systems are available as sets with and without headphones and are equipped with switchable transmitting power of 2 mW, 10 mW and 30 mW in order to meet country-specific regulations and be fully functional throughout Europe and worldwide.

With their reliable signal transmission over a distance of up to 100 ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

In order to ensure excellent legibility both on dark stages and in sunlight, the transmitter and receiver units are equipped with a highcontrast OLED display. From just two AA batteries, the pocket receiver has an operating time of up to 10 hours.

The U500® IEM Series is available in five versions as a set with or without headphones for worldwide use in different frequency ranges.

A rack-mount kit and a rugged transport case are supplied for everyday use “on the road”. www.ld-systems.com

sl-series.com

Higher performance performances, everywhere.

The headroom and sound characteristics possessed by the KSL System line array loudspeakers accurately convey any performance style, from a single voice or the ďŹ ne detail of acoustic and orchestral music, to the low end rich, high power requirements of dance and heavy metal. The ability to address such a breadth of application scales and styles, both indoors and out, facilitates high return on investment through wide ranging venue utilization and exibility of deployment.

More art. Less noise.

ENNOVATION

40 MAY 2019

Nexo: ‘The Big Twelve’ Presented The M12 modules are 370mm x 700mm x 446mm, and weigh 34kg.

The two-way module will deliver a frequency response of 50Hz-20kHz with peak SPL of 140dB. The enclosures use the same honeycomb structure and urethane copolymer material first used in NEXO’s STM Series cabinets, and carry a full complement of patented technology, including the Hyperbolic Reflective Wavesource (HRW) and Phase Directivity Device (PDD), as well as a new and improved version of the patented V-shaped profile of the bass port.

GEO M12 allows maximum flexibility in use. A protected switch on the rear of the M12 module allows the user to change the box, on the fly, from 2-way passive to 2-way active mode, without having to open the box. NXAMP can also be configured on the fly to match M12 in active or passive mode. This consideration for the working engineer has a NEXO hallmark, enabling modules to be adjusted without tools to gain improved horizontal coverage.

As is standard with any NEXO product, amplification is via NEXO’s NXAMP4x4 TDcontroller, running with up to three M12 cabinets per channel. The system can be controlled over a network using a Dante, Ethersound or AES/EBU digital expansion card.

GEO M1210 The ‘Big Twelve’ GEO M12 mid-size line array was the spotlight at this year’s PLS in Frankfurt, completing the family lineup of hugely successful GEO M systems.

Launched earlier this year, the GEO M12 shares the same aesthetic design and sonic signatures as the other models in the GEO M Series, delivering all the NEXO hallmarks of power, flexibility, coverage and superb sonic performance in a thoroughly modern package. Launched together with the MSUB18 companion subbass cabinet, the GEO M12 is aimed primarily at the mid-size rental company, although its competitive pricing will make it a popular investment for all types of user, from corporate presentation to live performance venues to houses of worship.

The M12 line array module, which contains a premium 12” Neodymium LF driver paired with 1.4” titanium diaphragm HF driver, is offered with two vertical dispersions, the 10° GEO M1210 and the 20° GEO M1220.

Horizontal directivity is 80° by default for both modules, but, by adding an optional Configurable Directivity Device (the NEXO-patented CDD), it can be changed in seconds to 120°, using a magnetic fixing system.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

There are dedicated touring and installation versions of the GEO M12.

The Touring version uses a magnetically-fixed front steel grill with a back mesh. AutoRig automatically connects the front rigging system when the speakers are assembled, with a guided back rigging system for easy angle adjustment. The connection plate uses NL4 connectors.

The IP54-rated Installation version comes with a fixed front steel grid, covered by an acoustic cloth. The rigging system uses safety nuts and the connectivity is made through cable gland and captive four core cables. All hardware is TUV-certified. Both Touring and Installation versions are available in black, white and custom RAL colours on request. www.nexo-sa.com

41

ENNOVATION

MAY 2019

Penn Elcom: Recyclable Case Panel Launched Penn again cements its place at the forefront of flightcase technology with this revolutionary new design!

worth instigating and switching to UltraFlite will mean less wood is needed globally across the flightcase industry! Taken collectively this is a massive potential impact.

This incredible new 100% recyclable next-generation UltraFlite case panel has been developed following two years of extensive R ‘n’ D and Penn’s vast experience and will be of interest to anyone who has kit needing to be flightcased!

UltraFlite is a great alternative to ply in terms of utility or strength, and the panels can be cut, drilled and punched just like traditional flightcase panels!

The new and technically advanced UltraFlite material features an uber-cool honeycomb structure that makes in incredibly tough, extraordinarily light, durable and resistant to liquids and weather.

It has been created for the needs and demands of contemporary and future flightcase builders, who can dramatically reduce average case weight by an incredible 30 – 40 percent by including UltraFlite in a case design.

Transporting heavy wooden boards will become a thing of the past …

As UltraFlite panels are a truly impressive 80% lighter than the plywood equivalent which will make a HUGE difference.

The hardened skin is a highly stretched polypropylene fibre composite sandwiched around a hexagonal core – so a flightcase built with UltraFlite will resist impact and liquids including chemicals and is perfect for numerous weather scenarios like rain, humidity and moisture.

As well as making it seriously sustainable, the panel’s skin and honeycomb structure need fewer resources to produce, and their longevity means that less panels will be used and needed over the lifespan of the equipment being protected.

Enhanced lightness also equals less transportation costs with less fuel consumed to get the kit from show to show.

In short, the UltraFlite is a REALLY great choice for technology based, future-proofed greener flightcases. www.pennelcomonline.com

This will also save some trees! Any contribution to reducing deforestation and climate change – however small it might appear – is

Chauvet: Maverick MK3 Spot Demonstrated Maverick MK3 Spot features a searing output of over 51,000 source lumens and a fully-loaded artillery of awesome effects. Its precision LED optics feature CMY + CTO colour mixing and a fast 9:1 zoom ratio that maintains a flat field of focus even when fully wide. The powerful unit also has an adjustable CRI from 73 to 93 CRI. Maverick MK3 Spot provides impressive static, rotating, and animation effects from its 3 gobo wheels (2 rotating, 1 static), animation wheel, 2 independent and overlapping prisms and 2 frost options: superlight and medium. Control as you see fit with DMX, sACN, Art-Net or W-DMX. www.chauvetprofessional.com

Hanslee Lim responsible for Chauvet Sales in Asia with the Maverick MK3 ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

INTERVIEW

42 MAY 2019

Robe Celebrates 25th Anniversary

What a milestone! Rising from the ashes of being under USSR control and with a determination to produce quality ‘Made in the Czech Republic’ products, Robe Lighting has certainly taken the lighting world by storm.

ETA talks to the amiable and unassuming Josef Valchar, CEO, Robe Lighting, about the company’s rise to date, in this exclusive.

Josef can we kick off with a brief about the company’s beginning. Why, when and how?

It was a mix of music and business and opportune timing.

Co-founder Ladislav Petrek and I first met in 1992 - via another company - and there was an immediate synergy.

Ladislav was a DJ and had started importing lighting effects from other European countries, which had only recently become possible. (Until 1989 Czech Republic had been under the control / occupied of the then USSR, only after the communist regime collapsed was a modern market economy introduced).

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Looking closer inside some of these lighting units back in the early nineties, we knew that they could be produced to far higher standards locally! The Czech Republic has always had a reputation for good engineering talent.

I was fresh out of studying engineering at university … I really enjoyed being a communicator! I had a special interest in both sales and technology and was keen for a challenge!

Ladislav and I mused the idea of designing and producing high quality effects and lighting products that would be fundamentally well engineered and proudly ‘Made in the Czech Republic’.

Everyone was dreaming big then. We had a vision, lots of energy and the skills to make all this happen were right there on our doorstep!

We understand Robe started off as an OEM Manufacturer. Why did the company change course to become a brand manufacturer?

We reached a certain point – by 2002 – where we had the experience and the knowledge, the manufacturing facilities and processes were all

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INTERVIEW in place and running smoothly and efficiently … we also saw the success of our products being sold under other names.

We felt it was the right moment to move the operation – and the dream – forward. It was the next logical step to establish ourselves as a brand in our own right.

What was the first product that was manufactured by Robe, Where was it initially available. Which countries?

Mr Scan was the first ever product sold and that was via a German OEM customer in 1994.

The first truly ‘Robe’ product was the Spot 250 XT in 2002, quickly followed by the ColorSpot and ColorWash 1200E ATs, also in 2002.

MAY 2019

2014: Launch of BMFL series This was a real ‘game-changing’ moment for the company - the BMFL launch in 2014.

This became our signature ‘bright multi-functional luminaire’. We had been thinking about the design and development of this luminaire for three years, we had listened exhaustively to what end-users said they wanted and endeavoured to incorporate all of this into one incredible light!

Launching a range of products like BMFL definitely put us further on the map as a global brand, and fundamentally assisted in ‘cracking’ the North American Market.

2016: Launch of Spiider – next generation of LED wash / wash beam.

When did the brand make its first appearance in a trade show? What products were exhibited? What was the response?

SIB Rimini and then PLASA the same year, 2002.

We showed our XT series fixtures and the first of the new AT series mentioned above.

We received a fantastic response to launching as ‘Robe’. We were a young brand but already established as a manufacturer with considerable expertise and a great reputation for designing and producing robust, technically advanced and well-engineered products.

2017: Launch of MegaPointe This has become our single best-selling product ever to date – so much so, we had to purchase, kit-out and open a whole new factory and production facility to keep up with the demand! It was and still is THE light that everyone wants.

2018: Launch of T1 Projects

Almost immediately, we were able to set up distribution in 40 countries.

Can you highlight key milestones for the company?

Products 1999: Launch of Spot 250 2000: Launch of Spot 575 2003: Launch of ColorSpot 1200E AT 2007: Launch of ColorSpot 700E AT 2010: Launch of LEDWash 600 The launch of the LEDWash 600 in 2010 was a ‘watershed’. It wasn’t the first LED wash light, BUT, hand on heart, I can say it was the best! That really was a transitional moment for Robe. We corrected many of the issues that had been present in the first generation of moving LED wash lights released by others … we waited and were patient!

2013: Launch of Pointe This was also a big landmark – it was the first truly multifunction moving light which performed all of the different functions / modes really well. It kicked open numerous doors and still does today!

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

SKALAR Berlin 2018

In terms of projects ... really – there have been so many thousands over the years all of them memorable for different reasons that it’s hard to recall.

There was an amazing show with Robbie Williams in Dubai in 2006 with Robe kit flown in from the UK – at the time that was such a big moment for us; our kit was used on three unique Israeli Opera productions in the middle of the Masada Desert at the Dead Sea; the first fully inaugural show for BMFLs in 2014 was the Opening Ceremony of the Commonwealth Games in Glasgow, where LD Tim Routledge – who has

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44 MAY 2019

just won another TPi Award for ‘Lighting Designer of the Year’ – had the faith to use our brand new luminaire on such a high profile event.

Our equipment has been on tour with some of the coolest artistes, artistes like Roger Waters Us+Them which has also just won the TPi Award for ‘Best Live Production’; The Rolling Stones, Metallica, Lady Gaga, Bruno Mars; the amazing Armin Only shows by Armin Van Buren … dramatic theatre shows like Morning Blossoms, uber-cool installations like SKALAR in Berlin last year; All of them – even if it is a performance, installation or an application with only a few lights … but used inventively- all of these and so many more are special in their own ways!

What has contributed to the growth of the company?

Many, many people, decisions and circumstances have played a part.

Achieving a market leading position has been through a lot of hard work by many people on all levels, and it’s important for everyone working for and with Robe to feel honoured that they have played a part in getting us to where we are.

Our sales forces, the distribution network, the subsidiaries, the R&D and technical teams, everyone working in production and administration at the HQ, etc. all of them are involved.

What are you most proud of with regards to the company’s history?

Then there are all the ideas and creativity that is brought to the table.

That’s not just from those working directly for us and the brand … I include a diverse cross section of end users, advocates, fans, experts … those who have been dedicated, trusted our technology and believed in us and the products.

That includes all the people we are lucky enough to have working with and for us - we are proud of the talent, skills and characters they bring to the Robe Family

There are actually no limits to the ‘dynamics’ involved in entertainment as a whole and what people will want or try to do imaginatively, and it is one of our missions to enable this to happen.

Which product has performed the best in terms of sales so far? What is the reason?

The MegaPointe … and this is because it’s the best all-in-one product currently on the market. It’s small, light and mega-bright and it does so many different functions extremely well.

Megapointe

How does Robe plan to keep ahead of the competition?

Keeping on innovating and bringing excellent and relevant new products and technology to the market.

We believe in sustainability – and have done since the start. We invested into making the products and the processes by which they are manufactured genuinely greener and cleaner a long time ago – way before it became a requirement!

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Celebrating 25 - that’s been the best achievement so far!

Also, we are proud of helping to build and being part of a community.

Robe is one of the most important employers in our region, with a reputation for offering good sought-after jobs and being a desirable company to work for which can offer career paths and opportunities.

And that’s quite a challenge in CZ right now as there’s almost full employment!

Currently where are Robe offices located and what is the total headcount?

The HQ and factory – where everything is made - is in Valašské Meziříčí (Valmez) in the north eastern part of the Czech Republic.

We have subsidiaries in the UK, North America, France, Germany, the Middle East and Asia Pacific.

There are currently around 800 employees worldwide across all these sites.

What is your wish for the future of the company?

Another 25 years at the top! www.robe.cz

INTERVIEW

46 MAY 2019

GLP Celebrates 25th Anniversary

Attendees joining GLP’s 25th Anniversary celebrations at PL+S Frankfurt

GLP started out near the famed Black Forest. A mountainous region in southwest Germany, bordering France. Known for its dense, evergreen forests and picturesque villages, it is often associated with the Brothers Grimm fairy tales. However unlike the fairy tales, GLP’s growth has been real. ETA talks to Company Founder, Udo Künzler in this exclusive.

hybrid fixture ever made and it was extremely innovative. It took us some time to understand that developing the Patend Light was a highly complex fixture to engineer and that it would take much longer than we initially expected. So, we decided to swallow our pride and create a more conventional product first, that would help pave the monetary foundations of the company and ensure the final development stage of the Patend Light. These were GLP’s first steps in the industry.

What was the first product that was manufactured by GLP? The Startec 2000 scanner, which we came up with in order to make the Patend Light possible.

When did the brand make its first appearance in a trade show? What products were exhibited? What was the response?

Udo Künzler flanked by Soren Storm (left) and Michael Munz (right) from the GLP Asia office

Pretty soon after our first product launches, we exhibited in Rimini (Italy), London’s PLASA Show and Musikmesse in Frankfurt. The industry present at these trade shows was very excited about our early products, which kind of fueled our drive to create ever more innovative solutions for the entertainment industry over the last 25 years.

Udo can you kick off with a brief about the company’s beginning.

Why, when and how?

Can you highlight some of the key milestones for the company?

GLP – German Light Products – was founded by my uncle Hartmut Braun and I in 1994. We started off in a small area in the big warehouse of my uncle’s company, B&K Braun. Back then, I had created the idea for the now legendary Patend Light, which was the reason why we established GLP in the first place. The Patend Light was something between a scanner and an early moving light. It was arguably the first

The much beloved Patend Light premiered at PLASA Show in London in 1996. This was a huge step for the company. Initially equipped with a 575W discharge lamp, a more powerful Patend Light with 1200W was to be introduced later. Both versions of the Patend Light were a massive success and paved the way for more GLP products, like the MAX, the Mighty Scan or the very popular Pocket Scan.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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INTERVIEW

MAY 2019

a ‘garden fence’ of LED bars, we’ll supply him with the required stands as well – no need to ask. GLP has always been a family business and we like to bring this family spirit in the relations we have with our customers too. That’s the spirit of our brand and why GLP is successful.

Working at and with GLP is special. Our tight bonds with industry actors all over the world make us future-proof. At least, I like to think of it like that.

Which product has performed the best in terms of sales so far? What is the reason?

The Patend Light fixture premiered at the PLASA Show in 1996

The next milestone was the launch of the impression 90 – the genesis of the extremely popular impression series which continues until today. The impression 90 also marked the switch to GLP’s revolutionary baseless design, which allowed all electronics to be housed in the side arms of the fixture. Before us, no other LED-based device had been as small, light and bright as the impression 90. Again, another huge success for us. The concept of the impression series has been continuously improved and adapted and saw more successful products, such as the impression X4, X4 S and X4 L to name a few.

In 2015, another true game changer for the lighting industry came into life: the impression X4 Bar. Its unique, seamlessly connectable design, combined with a narrow zoom made our LED Bar range a lighting designers’ favourite, both on show stages and in studios. Once again we demonstrated our capability to create something that had never been seen before. The X4 Bar is still a pillar of our company’s success and you’ll find it in major tour productions all over the world.

Over the last couple of years, another product has won the favours of the industry: The KNV series, a modular LED system which comes in a variety of shapes and continue to impress LDs with its colossal output of 50.000 lumen as well as the creative freedom it allows. Another extremely flexible product recently launched is the hybrid strobe JDC1, which we released in 2017. We at GLP love creative tools and I believe our whole portfolio speaks volumes.

What has contributed to the growth of the company?

GLP, is all about Flexibility, Family and Future. That’s our mantra – and we faithfully believe in it. We listen to customers’ demands and create products that surpass their expectations. Many of our products can be traced straight back to the creative vision of a specific designer.

We talk to designers, rental and production companies a lot. There’s simply no point in building the greatest fixture based on an idea I had if nobody’s going to buy it! We serve our customers. And if they need anything special, we’re in. When a designer wants to create for instance

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Impression

I’d like to mention the impression X4 series in general. All products of the series are somewhat outstanding.

Their small form factor, the lightweight, baseless design and their excellent colours have won many creatives’ hearts, which, of course, results in according sales figures.

How does GLP plan to keep ahead of the competition?

By keeping our very special DNA that brought us here in the first place.

We’re always upfront when it comes to new technologies and how to apply them to the entertainment industry. We listen to customers’ demands but also to their dreams. And we keep our own production facility in China and R&D in Germany and Denmark.

What are you most proud of with regards to the company’s history?

I was personally very proud to see ‘my’ impression 90 fixtures in an AC/ DC show. Although they played just a very little part in that huge show, that was the moment I realised that we are finally playing with the big guns.

Currently where are GLP offices located?

The GLP Headquarters are located in Karlsbad, Germany. In addition, we have offices all over the world: GLP Inc. in San Fernando (Los Angeles, USA), GLP Asia in Hong Kong, GLP UK in Redhill, London, GLP Nordic in Västerås (Sweden) and GLP Russia in Moscow. We’ve expanded quite a bit since our humble beginnings in the German Black Forest.

What is your wish for the future of the company?

I want to see GLP grow further, and more importantly, in a sustainable way. I want to keep the positive GLP spirit that connects us with so many great people in the industry. And I’m looking forward to seeing my twin boys, both soon-to-be electrical engineers, join the company! www.glp.de

SPOTLIGHT

48 MAY 2019

Tony Hystek of AV Production In this issue’s Spotlight column Tony Hystek recalls how he started in the business and why his production company relies on Electro-Voice and Dynacord.

Sydney Vivid Festival - Ghost in the Design Question: What do AV Production, Electro-Voice, Dynacord and Kayaking have in common? Answer: Tony Hystek. The owner and manager of Action Sound, is passionate about all four. So where and how did these passions begin?

Tony Hystek, like many, got into the business through music. “I played bass in a number of bands when younger, and following the break-up of one band in the early nineties, I ended up with the band’s P.A. I started hiring it to other bands when I wasn’t using it myself, till a double booking forced the purchase of another P.A., and another, and another.” From this Action Sound was born. Located in the geographical heart of Tony Hystek Sydney, a stone’s throw from the Olympic Park, Action Sound is an AV production company specialising in live production of concert and corporate events, plus installation projects whenever these can be fitted in. Clients include the NSW Government, local councils, schools, universities, houses of worship and a number of high-profile corporate clients.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Action Sound grew in the early days through building up good relationships with country artists and touring extensively in the late 90’s. The continued expansion of inventory and purchase of Action Sounds’ first warehouse helped set the company up for their big break.

In 2003 Action Sound undertook their biggest job... the anti-war rally in Hyde Park North and South, with an attendance of 250,000 people.

For Tony, this event was “special in a chaotic way...towers of X-array shooting into the distance.” Since then the company has grown from strength to strength. Tony’s favourite event so far has been the first Robotics competition at Quay Centre because “it combines all aspects of AV. It has some unique and challenging requirements yet allows for constant improvements and innovations each year.”

For all the good times, Action Sound also faces its challenges, the most common being explaining compliance and rigging costs to customers.

“Once something goes in the air, the costs skyrocket. Understandable, but often hard to explain to the client,” says Tony.

Action Sound relies on Electro-Voice & Dynacord Action Sound has used EV and Dynacord since the early days. Tony states he has chosen and stayed with the brands because of his “longstanding relationship with the distributors and staff who have provided

SPOTLIGHT

49 MAY 2019

Michael Tynan Challenge event him with the products and support needed over many years. “I guess I’m an old-fashioned brand loyalist.” Personal favourites from the brands include the Dynacord PowerMate series as “they are bulletproof and have served faultlessly for many years,” and “the EV RE510 vocal condenser which is superb for almost anything...our go-to mic,” says Tony.

Michael Tynan Challenge New EV and Dynacord Gear @ Action Sound!

Action Sound has recently purchased Dynacord TGX touring amps and EV’s X2 line arrays and subs. These were chosen because the company “needed the next step up after the Cobra systems, something flyable.”

Tony states that the X2 speakers are “superb...a great, powerful, compact box.” The X-2 is special due to being “lightweight, simple to rig, and high SPL with great sound.” The TGX amps “add another dimension to the system. Only 3 x 4-channel amps (60,000 W) are needed for a 16-tops, 6-subs system. Fewer subs are needed now that they have TGX amplifiers behind them. And there is no need for infill speakers either.

The power and the distance achieved are extraordinary.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Other than his passion for good sound, Tony has an interest in kayaking.

Following a run of back problems, the therapy of paddling has turned into a major passion. Apart from getting rid of back pain, Tony now thoroughly enjoys racing, which has taken him around the world to some great events including the world Kayak Marathon Championships in Rome, the Devizes-Westminster 200 km non-stop race across the UK, and more recently the 715 km Yukon River Quest in Canada.

Electro-Voice/Dynacord Inventory: Dynacord D-lite 2000 Loudspeakers Dynacord Madras M15/M18 Loudspeakers Dynacord Cobra 2 and 4 Loudspeakers Dynacord TGX & H-series Amplifiers Dynacord PowerMate Mixers EV ZX Loudspeakers EV ETX Loudspeakers EV PX Loudspeakers EV XW Monitors EV T-series Monitors EV X2 Line Arrays EV X-Subs EV CP Amplifiers EV P-series Amplifiers EV Microphones Telex BTR Communication Systems www.actionsound.com.au

SPOTLIGHT

50 MAY 2019

Creating Light History

by Katinka Allendar ETA: What activity has been done in Asia? What was your role? Are there plans to expand?

Following the success of Vivid Sydney, AGB were asked to develop and produce a similar style festival in Singapore. The festival is called i Light Marina Bay and as producers of this new festival, we had the good fortune of seeking out and working with many light artists and designers from across Singapore and Asia to bring to life their creativity.

Anthony Bastic, Founder and CEO at AGB Events

With numerous very successful, high profile shows and events in Australia to its name, AGB Events is to expand, bringing its unique vision and talents to festivals, museums, cultural and heritage celebrations and other iconic events and locations around the world.

Anthony Bastic, Founder and CEO at AGB Events started the company in 2006. He has spent decades in the entertainment and events industry, including as creative director for the Sydney 2000 Olympic and Paralympic Games Live Sites and recent Invictus Games.

Bastic is perhaps best known as the originator and curator of Destination NSW’s annual Vivid Light festival taking place every winter in Sydney. Following its success, AGB was invited to develop and produce a newer festival in Singapore which ETA readers will recognise as i light Marina Bay. ETA discovers what’s new and what’s planned for AGB in the future!

ETA: Can we have a brief about AGB Events? How long has the company been operating and what does the company specialise in?

AGB Events is a creative agency that initiates, designs and delivers large-scale events, festivals, and public celebrations internationally and across Australia.

i Light Marina Bay. Photo credit: i Light Marina bay

AGB was asked to design i Light Marina Bay and we were involved in the first two editions. Along the way we provided guidance and built capacity so that Singapore could continue with it going forward from the third year. i Light Marina Bay showcases light art installations created by artists from Singapore and around the world. These light art installations are designed with energy-saving lighting or environmentally-friendly materials to encourage festival goers and the general public to adopt sustainable habits in their everyday lives. The Festival also features a range of fringe activities for visitors to enjoy, bringing vibrancy to public spaces in the city centre.

ETA: What were the challenges in working in Asia?

Specialising in developing and curating events for large and diverse public audiences, AGB uses visual storytelling with special expertise in projections and lighting elements to connect and unite people. We create experiences that are extraordinary, unique and innovative.

Starting anything new from scratch always has its challenges. The most pressing challenge is the importance of developing a strong narrative so that all those involved in the festival can have a clear understanding of what the potential of a festival like this can have.

Our agency is founded on a passion for creativity and cross-cultural understanding. We are committed to producing event solutions that specifically deliver on business and community objectives. Our events relay complex concepts through clever design and complete understanding of sensitivities to local communities.

Once we fine-tuned the narrative of our desire to create Asia’s first low energy light festival, we found that artists, venues, precinct mangers and government were all highly enthusiastic, embracing this concept which ultimately led to the success of i light Marina Bay.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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SPOTLIGHT ETA: Have you created any world firsts?

AGB was instrumental in establishing Vivid Sydney which has grown to become the world’s largest and arguably the most prominent light festival in the world.

MAY 2019

core is priceless. Being in a position to assist artists showcase their creativity and commence a career out of an idea that has become a phenomenon is wonderful.

ETA: What should we expect from AGB in the future?

AGB Events is expanding in a variety of ways. First, we have been exploring ways to take the techniques from hugely popular projections on landmark buildings and bringing them indoors in unexpected ways.

AGB Events has begun building this new repertoire of story-telling projects for major cultural institutions. ‘Treasures Illuminated’, at the Australian Museum in Sydney, is an ongoing permanent show that AGB created to draw the museum’s 200 treasures out of their glass cabinets and bring their stories to life in a dynamic and animated digital show, filling the massive floor space from wall to wall.

In just four years, the Parrtjima festival is regarded as one of the most significant public events of national significance

We established the world’s first Indigenous light festival for the Northern Territory Government, Australia. Parrtjima, a festival in light is presented each year in Alice Springs, Central Australia and showcases the work of Indigenous artists from the region.

On 25 April, the Northern Territory Government reported that this year’s Parrtjima was a huge success, attracting 25,623 attendees over 10 nights – an amazing 25 per cent increase on last year’s event, reinforcing the uniqueness of the event, and its ability to capture the imagination and interest of a national and international audience.

ETA: Can you tell us about the relationship between spaces, cultural values, history, architecture and technology?

When we design an event, the history of the space and the story behind the architecture is the first part of our research. By understanding the origins of a place and its built environment, you can start to weave together inspirations for storytelling that are meaningful and resonate with people deeply. AGB Events uses technology as an important tool to tell the stories we unearth, but the more the source technology can disappear, the easier it is for audiences to get absorbed in content (not distracted by the delivery). Getting the right balance of these elements is how AGB develops iconic events that ultimately contribute to the cultural-placemaking.

Beauty Rich and Rare at the National Library of Australia

Another example of this discipline area is Beauty Rich and Rare, AGB’s digital sound and light show that premiered at the National Library of Australia and is now being prepared for an international tour. This innovative exhibition illuminates Australia’s unique flora and fauna collected by Sir Joseph Banks and the scientists and illustrators who travelled on the HMB Endeavour 250 years ago, using a custom-built 180° screen 20 meters long.

Lastly, we are also expanding our creative consultancy discipline. We are working with a series of international clients to help them embed unique creative solutions in their cultural place-making plans. Spanning major international events, cultural institutions, and urban precincts, this discipline area of AGB is fast becoming a major expansion area of our creative agency. www.agb.events

ETA: What motivates you personally?

Being able to create cultural events for the public has always been a motivating factor for me. The feeling of watching hundreds of thousands of people enjoy a shared experience that has culture at its

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

LIVE

52 MAY 2019

ABU DHABI

Protec Delivers Explosive Opening Ceremony for IDEX Engaged for the fourth consecutive time Protec creates and produces the grand opening ceremony

The IDEX opening ceremony is a theatrical show like no other on the planet. From the military jets screaming overhead and sinister drone swarms creating unpredictable skirmishes, to the fast moving armoured vehicle pursuits occurring amidst intense firefights on the ground – there was adrenalin pumping action to be experienced every second for the 25,000 visitors who came to watch the live action show over the five days it ran. Packed with movie grade special effects, pyrotechnics and working waterfalls, the blockbuster style performance took place in a 60m x 350m custom stage set built over a car park overlooked by a grandstand in Abu Dhabi. Protec delivered everything from the initial creative concept and narrative to the original set design, graphics, build, complete show delivery and coordination completely transporting the audience to an active ‘war zone’ where the story takes place.

Engaged for the fourth consecutive time to create and produce this grand opening ceremony for IDEX, Protec pulled out all the stops to ensure that the 14th edition of IDEX was one to remember for all the right reasons. With IDEX celebrating its Silver Jubilee year, the stakes were expectedly high and the pressure to deliver this ‘mother of all shows’ proved to be the catalyst for Protec to step up and deliver beyond all expectations…again. Where else would you see a live piece of drama that involved perfectly synchronised fighter jets & military aircraft all tying in with explosions and firefights on land and sea? This kind of big budget show is like watching the climax of a movie live in front of your eyes and has no room for error.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Setting the scene The show began with a mix of local heritage performances followed by local and international military parades to welcome the crowd before the main part of the show. The scene was set for an exciting battle enactment of a fictitious scenario where an elite military group representing the Land Forces, Special Forces, Navy and Air Force were deployed in a coordinated and synchronized manner to deal with rebel militia.

Working closely with senior representatives of the Armed Forces, Protec introduced modern and advanced military techniques augmented by VR, AI, robotics and SATCOMS. It also incorporated underground battles and other asymmetric warfare trends with futuristic counter defence systems in a live demonstration like no other in the world. It was a technology demonstration worth the dedicated staging set that Protec built up for the show, which left audiences and special guests struck in awe on all five days this show was run.

In this fictional scenario conceptualised by Protec, armed militias have seized an abandoned military base near a mine depot. The militias have been smuggling arms by sea and through a hidden underground network of tunnels connected to a long range missile facility.

A combination of ground, naval, air and other specialised units equipped with futuristic counter defence systems are deployed in a coordinated and synchronised manner to deal with the threat.

LIVE

The climax Tanks and armoured patrol vehicles repeatedly roared onto the stage from both sides carefully choreographed to create nail biting suspense.

Apaches, Blackhawks and jets screamed overhead sending vibrations through the crowd while the battle was even taken underground into the mine tunnels taking the audience on a vicarious journey into the future of warfare. Friendly armed forces used modern and advanced systems & techniques augmented by virtual reality, artificial intelligence, robotics, unmanned systems and satellite communications to locate and monitor militia movement. The friendly forces eventually seize control of the situation after fierce firefights on ground, at sea, in the air and underground to bring stability and security to the area.

Important guests This year’s live military demonstration was attended by Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Ruler of Dubai, Sheikh Mohamed bin Zayed Al Nahyan, Crown Prince of Abu Dhabi and Deputy Commander of the Armed Forces, senior government representatives from the UAE along with visiting heads of state and foreign dignitaries including the Chechen Republic leader Ramzan Kadyrov, Tatarstan President Rustam Minnikhanov and Bangladesh Prime Minister Sheikh Hasina. Also in attendance were Crown Princes of all the emirates, defence ministers and senior military officers from over 100 nations, head of delegates (heads of state) and other senior officials. This influential audience were treated to a breath-taking, allaction display that highlighted the capabilities of many divisions of the UAE Armed Forces.

Behind the scenes Eddie Andradé, the show’s creative director explains, “This year, our main challenge was to introduce futuristic elements in a realistic way without going overboard. This meant I had to do some serious research before breaking away into the creative angle of the show. With the knowledge I managed to gain from this research, we introduced reconnaissance and attack drone swarms & boat swarms, underground warfare, modern robotics, futuristic counter defence systems as well as virtual reality into this ‘modern battlefield’ setting. Putting it all together is always quite complex though. This show involves jets and

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helicopter fly pasts that have to be timed to the precise second to match up with the action sequences on the staging area performed by armoured vehicles, infantry, special effects that include large pyro explosions on land and on the mountains, water explosions, vehicle explosions, etc.” He continues, “This involves intense coordination between the show caller, action director and stunt choreographer, special effects crew, stage managers, video, audio, cameras, the Navy, the Land Forces, the pilots, the Airport, the air bases, air traffic control, road traffic control, the police and civil defence.”

Protec’s founder and CEO – Stephen Lakin, who was in charge of building the entire scenic set along with Project Manager Pieter Smuts said, “Under the temporary venue that Protec built, were the exhibition centre’s utilities and drainage systems which had to be protected by the weight of the military vehicles, some which weighed in excess of 60 tons. Therefore it had to be built up to 1m above the existing surface, graded up with sand and road base”, said Lakin. Protec also built a temporary 60m long x 30m wide x 1m high ‘water inlet’ which held 2million litres of water on which jet boats were run to get involved in the action. Lakin adds, “We added 2 large working waterfalls that we built into the set along with artificial greenery to complete the scenic visual of the mine quarry and the jungle. We also used military tracked vehicles and trucks that we own, for the show. I bought these vehicles to be used in theatre shows like this one and also for use in the film industry, so this show was the perfect opportunity to use them with great effect.”

Protec’s staging department built all the supporting features and props.

A working replica of a ship that was seen on the video screens during the show as part of a VT was built and was used in the water feature as part of the action. The vessel, built in Protec’s Dubai facility was built with steel frames and timber and had cabin for 6 crew in it. The department also designed and built some of the futuristic counter defence props, a motorised ‘ballistic missile’, all the scenic structures, entrance features, etc., and were ably supported by the painting department that made it all look very realistic with extremely detailed finishing.

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The hills and quarry rock facades themselves were built out of base scaffold structures with carpet fascia and fibre glass that was painted to resemble rocky and moss/grass covered mountains and finished off with artificial greenery and landscaping for the jungle area. The structures themselves had to be strong enough to withstand powerful pyro explosions at various heights, soldiers’ zip lining and a lot of personnel movement. Over 400 tonnes of ballast was used to secure the structures which worked well with the high and dangerous wind speeds experienced especially during the build-up.

Two 16m x 9m LED screens were built into the upstage structures with access to work behind them and a 30m x 10m LED screen was built between the two upstage structures. These screens showed a combination of live camera and pre-filled filmed edits and animations to support the show. Head of Video at Protec, Scott Walker, explained how a live show like this was delivered, “Video content was run from Protec’s disguise (D3) media servers and through our Barco E2 to switch between graphics and live inputs from our cameras. Signal was run with a full redundancy of Neutrik 12 core fibers through our Lightware MX frame 32 x 32 matrix.” He added, “The biggest challenge for the video team on this show was the syncing of pre-filmed content with the live action of the show as everything had to be timed to perfection with the various aircraft fly-bys and military ground vehicle action.”

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54 MAY 2019

The SFX team designed and produced all the pyro ‘explosion’ effects as well as one of the highlights of the show where a car was ‘blown up and flipped’ dramatically right in front of the awe struck audience.

The audio package provided by Protec included 40 x L-Acoustics K2 in blocks of 4 ground stacked with L-Acoustics SB28 subs positioned between each set of two K2 stacks. Protec’s Head of Audio, Ed Ross explained, “We ran a dual redundant fibre network using Digico racks running digital outs and Optocore SANE units running analogue outputs to the LA8 amplifiers, this complemented our use of the SD10 mixing desk with SD-RE redundant engine which meant we could lose kit or connections anywhere in the network and not lose audio or control at all.” Ross continued, “For communications we used a Clearcom matrix and a selection of control panels, helix net belt backs and Motorola digital radios, these were integrated with Riedel RiFace units for seamless communication across platforms.”

When asked about the process of creating a show like this, Andradé said, “I’ve always enjoyed creating live shows. The challenges, the pressure and the unknown quite simply get negated because I love this job and how I somehow manage to get totally immersed in the process.

This particular show is unlike any other I’ve worked on and it does entail a lot of research to be able to concoct a theatrical production

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that is entertaining yet realistic. It’s not as simple as using your imagination to deliver a war movie styled show. It has to be realistic because the bottom line is that this is a live military demonstration that has to use correct military methods and procedures and it also has to be practical from an event production standpoint. It was interesting this year though from a creative standpoint to incorporate some futuristic technology into the show including AI, VR, robotics, etc. It was also great to work the pre-filmed video edits and animations into the show content. Pre-filming in itself, as always with IDEX is interesting but fun because we use our own crew and cast of real military personnel as actors. We have to remember that this show is performed entirely by the UAE military personnel…no professional actors or stuntmen or stunt drivers. We find locations; script the films, direct, shoot, edit, etc., all on site. It is guerrilla filming and editing which is always challenging but the results were fantastic in the end. What really makes it all a lot easier is the support from an extremely skilled team that share the same passion, have the experience and dedication that’s needed and working for Protec for the last 8 years I’ve learnt that nothing is impossible at this company that has a never ending supply of resources that makes this process not just easy…but enjoyable.”

The complete production for the IDEX 2019 Opening Ceremony was, according to the client and event organisers (IDEX LLC, GHQ and ADNEC), the best they had seen and experienced in the exhibition’s

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55 MAY 2019

history which didn’t just meet the brief but went well beyond expectations.

Humaid Matar Al Dhaheri, Group CEO of ADNEC had this to add: “When it comes to putting on an elaborate and eye catching event, we couldn’t have been in more capable hands than those of the Protec Team. We at ADNEC can confirm, that for IDEX’s Silver Jubilee Opening Ceremony, we were not disappointed. From the professionalism of the team in planning this spectacular event, to execution, they certainly delivered everything they set out to do and more. Everyone who attended the Opening Ceremony was not only wowed by the whole spectacular, but were all sitting on edge waiting on what was coming next. It was an event that will have everyone talking for a long time to come!” www.productiontec.com

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56 MAY 2019

AUSTRALIA

Shure Digital Wireless Handles Mission Critical RF for Sydney’s Australia Day Celebrations Shure’s Axient Digital provides crystal clear audio in what is a very hostile RF environment

On January 26 2019, all around Warrane (Sydney Cove), solemnities, ceremonies, and performances took place to mark Australia Day. Starting off at 7:45 AM with a smoking ceremony at Walumil lawns, Barangaroo, a full programme of events was staged at multiple sites, including a citizenship ceremony at Tallawoladah (Campbell’s Cove), the Governor General’s speech from the deck of the HMAS Choules moored in Circular Quay, and culminated in the Australia Day Live Concert broadcast by the ABC from the Forecourt of the Sydney Opera House.

A massive production undertaking with incredibly demanding wireless channel counts, the celebrations ran flawlessly thanks to Shure Digital, superior frequency management, tight collaboration between production providers 8th Day Sound and Innovative Production Services, and Shure wireless experts from Jands.

Jands’ Peter Twartz handled wireless spectrum management across all sites on the day, working out of the main event control room at Circular Quay’s Overseas Passenger Terminal.

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With a fibre network linking all stages, three Shure Axient AXT600 Spectrum Management units deployed around the cove, and Shure’s Wireless Workbench software in his toolbox, Peter had total control and visibility of multiple wireless zones and dozens of devices from his laptop, no matter where he physically connected.

“With Wireless Workbench, I had everything in one master show file, so I could see where the potential intermodulation points were,” explains Peter. “At this event, there were so many RF devices in coverage ‘earshot’ of each other, that having an overall plan and visibility of every system was of paramount importance. For example, at one point I was standing on the Opera House Forecourt stage with my laptop connected and showed a colleague a display of all the in-ear-monitor transmitters I could pick up. He said, ‘Yep, looks good’, and then I pointed out that they were all the in-ears from across the cove at Tallawoladah.”

Active channels on the Opera House Forecourt comprised 12 Axient Digital AD4D dual channel receivers paired with 16 AD2 handhelds and

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57 MAY 2019

8 AD1 bodypacks, and eight PSM 1000 dual channel personal monitor transmitters paired with 24 of its matching beltpacks. Tallawoladah was running six Axient Digital AD4D dual channel receivers with eight AD2 handhelds and four AD1 bodypacks. First Fleet Park ran two stages equipped with Shure ULX-D wireless mics.

necessary. Four channels of ADX ran with the receivers in Quadversity mode, receiving signal from two separate pairs of antennas, from which Axient automatically selects the strongest signal. This allowed the presenters to roam between wireless zones, an almost impossible task with any other RF equipment.

HMAS Choules carried four Shure UR4D receivers paired with four UR2 handheld transmitters and four UR1 bodypacks. Finally, a PSM 1000 personal monitor transmitter and two beltpacks ran out of the Overseas Passenger Terminal transmitting to a floating stage.

“Shure’s Axient Digital provided crystal clear audio in what is a very hostile RF environment,” says Ian Cooper, freelance sound engineer who mixed FOH PA for the Opera House Forecourt. “Using a mixture of AD on stage and ADX on the hosts for redundancy ensured solid coverage as the hosts moved from the stage, through the audience, and along the Opera House steps.”

“The bottom line is, I could not have packed that many channels into the available spectrum with an analogue wireless system,” surmises Peter. “Shure Digital’s channel capacity is much greater than analogue, and it’s much more immune to interference, especially with Shure’s digital diversity technology. Shure Axient is a step beyond everything else available.”

For the all-important live broadcast on the Opera House Forecourt, the hosts were fitted with Axient Digital ADX1 bodypack transmitters, whose ShowLink capabilities allow operators to monitor and control them remotely, including seamlessly changing level and frequency if

“Shure Axient Digital is a huge sonic improvement over analogue,” concurs Simon Farrell, Project Manager at 8th Day Sound. ”We began using Axient Digital at the Opera House forecourt for Australia Day 2018 and after the great results increased our inventory to cover all our Why Green?

RF needs for the whole site in 2019. It’s simply a better sound, and RF coordination is a lot easier.”

“The Shure ULX-D we ran on the First Fleet Park stages didn’t miss a beat,” adds Innovative Production Services’ Luke Boyd. “We always use Shure because of the superior sound and reliability, and even in the midst of all of the RF channels around this huge event, the signal stayed robust and free of interference.” www.jands.com.au www.shure.com

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58 MAY 2019

ABU DHABI

Special Olympics World Games Opening Ceremony 2019 Creative Technology delivers entire live video aspects for ceremony

Abu Dhabi welcomed over 7,500 athletes from 190 nations in March when it hosted the Special Olympics World Games 2019. This is the first time the event has been held in the Middle East and North Africa region, and the UAE made sure it was one to remember.

The Opening Ceremony took place at Zayed Sports Stadium in Abu Dhabi on the 14th March. Thousands of people from fans, families, heads of state and the Crown Prince Sheikh Mohammed bin Zayed Al Nahyan filled the stadium to watch this historic event unfold.

Celebrities from around the world came to give the audience and athletes a show they would never forget with performances from the Global Unified Choir, DJ Paul Oakenfold, Avril Lavigne and Luis Fonsi to name a few.

Creative Technology (CT) worked alongside their client People to deliver all live video aspects of both the opening and closing ceremony for this prestigious and heart-warming event.

CT supplied a 600sqm upstage screen, a total of 270sqm relay screens, 580sqm LED Floor, 90sqm tracking screen, and 2500sqm of mapped floor projection using RZ31k Panasonic Laser projectors.

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The impressively large 600sqm LED screen was placed directly opposite the VIP box where the crown prince and heads of state sat, and the relay screens were strategically positioned around the arena to ensure all attendees didn’t miss a thing. The floor LED was integrated into the main stage construction, creating a 6m wide “doughnut” display area some 32m in diameter, which was then covered with a white projection material diffuser.

Dan Hughes, CT’s Senior Project Manager, explains, “There was a central circular stage, and outer ring stage which we projected onto and an inner ring of 8mm LED joined the two surfaces. We used a white diffusion on the LED to open up the viewing angle of the screen fully.

The white diffusion also served to turn the LED screen into a matching white surface, so it appeared as one full area instead of a black/ negative ring in-between two white stages.”

A key feature of the Opening Ceremony production was a 10m diameter flying disc, Weighting nearly five tons, the disc incorporated lighting, pyro and, impressively, a 9m diameter LED screen. The disc rose up 30m from the stage at the start of the show and tracked back over the main LED screen, relaying show content throughout to

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enhance the floor projections. At the climax of the ceremony, the two torch bearing athletes travelled on board the disc as it flew back to its centre stage position.

Tom Stocks, CT’s Senior Video Engineer, goes on to say “For the LED we utilised our new HDMI 2.0 & 12G SDI kit to maintain a fully redundant 4k @60 4:4:4 uncompressed workflow from the media server to screen.

In the field, we had a remote Screen Management system comprised of linked Barco E2 and S3s managing all LED scaling and mapping.”

All Projection, LED control and Image Processing was integrated on a centralised fully redundant network ring controlled from FOH and utilised CT’s new 1G and 10G fibre networking solutions.

Stocks states, “Our 288 x 288 Crosspoint matrix took on all the main feeds and distributed them across the site, and our new Lightware 2.0 matrix managed backup feeds. For disguise, we used a Main and Understudy 4x4pro running HDMI 2.0 VFC cards, a Main and Understudy 4x4pro running 3G VFC cards and a Main and Understudy 2x2 running production.”

The Special Olympics World Games came to an end on the 21st March with a spectacular closing ceremony full of entertainment and celebrations. Nicole Scherzinger opened the show, and Keala Settle ended it with a dramatic performance of ‘This is Me’ from ‘The Greatest Showman’.

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Hughes comments, “Both the opening and closing ceremonies were amazing, our client, People, did a fantastic job bringing this production to life. We want to congratulate all the athletes that have participated in the games over the last week. It has been inspirational to watch and a pleasure to have been part of such an uplifting event.”

Mark Fogwill, Technical Director at People, “I would like to thank CT for their support on this very successful project. The screens, projection and content management were a massive part of the ceremonies, and we are all very pleased with the way they managed this with their team. The feedback from all involved has been 100% positive, and the live broadcast looked fantastic. We are enormously grateful to you for your support, and we look forward to working closely with you again.” www.ct-group.com

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60 MAY 2019

AUSTRALIA

Chameleon Battle the Elements on West Side Story Lighting Designer John Lament battles the odds to create an impressive light support for the musical

After eight years of Handa Opera on Sydney Harbour (HOSH), Opera Australia presented West Side Story, the first musical to be performed on the iconic harbour-side stage.

Boasting a stage that is almost two and a half times larger than any indoor stage in Australia, the Handa Opera on Sydney Harbour series is one of the biggest outdoor theatrical events in the country, and a highlight of the Australian cultural calendar.

The stage and venue are constructed from the ground up in just 25 days by a crew of approximately 150 people for an exclusive four week performance season. The West Side Story set, designed by award-winning designer Brian Thomson, is an urban New York Cityinspired stage design that features a highway overpass that weighs approximately ten tonnes and soars 15 metres above the stage, three custom-built subway cars and the West Side Story letters spelled across the back of the stage.

Cranes positioned the 80 tonne foundation of the stage onto nine pylons in the water to create a seemingly floating stage which can support up to 150 tonne in weight. Throughout the performance, the

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stage is accessed via a floating walkway that connects land and sea. The custom-built venue includes the expansive stage which sits above the Harbour, an orchestra pit, which is hidden in the ‘underworld’ directly beneath the stage, plus on land there’s site and crew offices, dressing rooms, and grandstand seating for approximately 3,000 people. Along with the grandstand, there are multiple bars, food outlets, a restaurant and very respectable toilets!

For every one of the nine productions over the years, Chameleon Touring Systems has been an integral part of the design process, supplying lighting and crew for what can be a difficult set up.

For West Side Story John Rayment was appointed lighting designer and he wanted to find a style that allowed him to move from a seemingly ‘straight’ lighting plot into a more theatrical expression when it came to some of the musical numbers without jarring. After all, it’s a musical set in a naturalistic world, not a fantasy land.

“Not all the musical numbers call for an ‘it’s showtime!’ approach,” he explained. “By simply adding the floor cross-light to a monochrome street scene was enough of a lift for a couple of dance numbers. It all

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had to have an overall plausible sense of being “real”. That said, there are grand moments in there for going off to dreamland just a bit.”

This year, the action was pushed quite downstage and the large set elements restricted the full use of the standard north and south ‘goalpost’ lighting positions. The downstage five lanterns of each of the two truss runs on both goalposts did the bulk of the work from these positions (that is 10 per side) with the remainder of the lanterns doing more set dressing and space shaping duties. Each goalpost held 13 Martin MAC III Performance and 14 Philips Vari-Lite VL3500Q Spot.

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The 25 metre angled backlight run under the freeway structure presented particular issues: every group tilt preset of the 20 Martin MAC2000 Wash XB had to be individually composed since no two lanterns had the same angle of throw.

“There were weight restrictions on what I could outrig off the ends of the freeway structure as additional (and vertical) backlight runs,” added John. “That had a bearing on numbers. And the engineering realities of the structure meant that lanterns could not be rigged exactly where I would have preferred in relation to set.”

The huge Freeway structure provided a great opportunity for rigging a big horizontal backlight position (which is always a challenge in this venue) and to make good shapes and visual interest. The clean downstage extremities of the stage meant that John could rig some very useful cross-lights to behave like ballet booms / shin busters - and they are used quite frequently.

The centre FOH tower is always a compromise between the rigged movers on the outside and the followspots inside as the followspots have to make their shots between the two levels of lighting trusses, which means they rig differently than the other FOH towers. Each of the three FOH towers held a mixture of Claypaky Alpha 1500, VL3000 Spot and VL3500Q.

Major challenges for John included making the ‘real world’ not look too theatrical but still hold their own. Or, if you like, finding the starting point for the crossover between styles. Also, the dialogue scenes had to stand up against the musical numbers and not feel too much of a let-down visually.

The side followspots on the goalposts are less powerful than the four FOH ones - 2.5K vs 4K. This has to do with physical conditions as you simply cannot swing a long instrument like a 4K around up there to make the range of pick-ups required, due to the position housing structure.

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To be perfectly honest, Chameleon cannot send out most of their latest and best fixtures to a gig where they are hammered by a hostile environment. Wind, rain, salt, rain, possums ….. and lots more rain all take their toll. Fortunately this year, Chameleon had their new IP-rated PROLIGHT Panoramas which proved to be a bit of a star!

“I was very happy with them and they did a great job as the floor crosslights,” said John. “The IP rating is a real bonus, and it’s always good to know that if everything else went belly-up, we could still plough on with the Panoramas! The performers took quite some time getting used to the bright output! Floor-based cross lights are always a challenge for dancers but putting them on a vast rake, with a lot of rain, made it all just that bit more confronting. And well done those performers - they came through magnificently. The Panoramas were robust and never let us down.”

“It was great to be able to watch the company run through a number and then take that freshly into the pre-vis work,” remarked John.

“Rehearsal videos were also vital. We arrived at stage rehearsals with stuff for every scene in the console and the first pass of the cue synopsis in the stage manager’s prompt copy. That meant we never held anybody up. Jason and I worked every night after rehearsals latest finish was around 3am from memory. Everything always looks better in the still of the wee hours! And we had a couple of possums to keep us company in the tent.”

Jason Fripp programmed the show as he and John go back quite a long way, over many shows, and they have a great understanding. They set up the pre-visualisation out at the Olympic Park rehearsal venue for a week.

“Then there was the part of the road case that the console was sitting in, filling up with water via some strange trickle-from-somewhere effect but luckily we discovered it before it got to the fan vents … just!” added John. “The water also made any backlight very difficult to judge as the bounce off the wet raked stage surface was quite nasty.

The weather Gods have been particularly unkind this season with unbelievable rain almost the norm. The Chameleon crew have had to work hard to keep the gear working and the constant rain has made maintenance very difficult at times.

“Apart from the fact that Chameleon won’t give me nice shiny new lanterns to trash in the weather, their service was great! Sam, Liam and Mikayla were all terrific and ran a good crew - great attitude and didn’t let a little bit of water get them down. Much. Well, to be fair, it was monsoonal at times!”

Photo Credit: Opera Australia, Brian Thomson, John Rayment www.chameleon-touring.com.au

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63 MAY 2019

AUSTRALIA

Ramping it Up for Transmission Australia Over 200 Robe moving lights ensure an absorbing experience

The biggest Transmission dance event to date – in terms of audience numbers AND Robe moving lights – was staged at Sydney Showground in Australia, where thousands of fans absorbed the great vibes and music of “The Awakening” plus some truly phenomenal visuals courtesy of lighting designer Bas Kemper and the Vision Impossible collective.

The 2018 Prague edition - which kicked off the ‘Awakening’ cycle - was delivered with 98 x Robe fixtures, so Bas and his core programming / operating team of Zis Ankone and Martijn Deenen, both also from the Netherlands like Bas, were delighted when the spec for Australia came through offering over 200 Robes.

Over 200 Robe moving lights - 78 x Pointes, 90 x MegaPointes, 10 x Spiiders, 20 x LEDBeam150s and 19 x BMFL Blades - on the rig ensured that this replicated the seminal moments of the ‘Awakening’ cycle which started in the O2 Arena in Transmission’s ‘home’ city of Prague, Czech Republic last October… and was another truly memorable visual extravaganza of epic proportions!

These and all the other lighting for the show were supplied by leading lighting rental company, MPH Australia. The Melbourne based company has one of the largest inventories of Robe in the country. MPH’s Matt Hansen was the event’s lighting production manager and Mike Parsons was the lighting crew chief. The idea was to replicate as far as possible the ‘hi-impact ‘Awakening’ production and visual design which had been such a success at the O2 Arena in Prague.

Transmissions originators, United Music, worked closely with local promoters Symbiotic, whose Janette Bishara and Richard McNeil understood the importance of recreating the defining spirit and essence of Transmission Prague, and went all-out to ensure the 2019 Australian event provided the same awesome production values.

The Robe presence at Transmission had started seriously at the 2017 Prague event, with 24 x MegaPointes on Bas’s design. The fixture had just been launched then!

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The shape of the room in Sydney was completely different. It was a lot wider, with around 8 metres less headroom, so they scaled and re-formatted the design, including the detailed and elaborate custom Awakening set and scenic cloths together with seven video elements so it would work in the new space. A large hexagonal LED screen presided centre stage, flanked by six smaller vertically ‘stretched’ hexagonal pods rigged across the width of the stage, with lights positioned in between and around all of these and also over the auditorium roof.

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64 MAY 2019

Out in the auditorium were six columns of LED flown above the audience which were also rigged with lights like Prague.

The 78 x Pointes were used on the main hexagon and in the pods and also on the vertical trussing above the audience. Positioned thus, they worked together to produce an infinite variety of fabulous looking scenes that enveloped the whole room.

The MegaPointes were the main fixtures onstage, used for all the high impact factors, WOW looks and retinal burn-outs!

The Spiiders were carefully positioned to provide DJ back-lighting, and for extra effects from individual pixel and ring looks during some of the timecoded numbers.

The LEDBeam 100s highlighted and expanded the decoration and augmented the aerial looks created with the Pointes and MegaPointes.

Like many, he thinks MegaPointes are great for the brightness, small size and diversity of looks they can bring to any setting. He finds them perfect for trance music events which need to look scenic but also have a full-on rawness and punch to suit the music. “From tight, heavy beams to wide angle looks, and also in combination with standard Pointes, MegaPointes are a joy to work with” he stated.

The BMFL Blades were all focussed on lighting the décor and scenic elements as well as key lighting for the DJ positions and backlighting for the dancers. All the fixtures were originally chosen by Bas, together with some substitutions for the Sydney show, a task which Zis coordinated.

He appreciates the intensity of the tight beam when the Spiiders are fully zoomed in, an effect used to back light the DJs and enhance the stage depth. Even in the vast Showground venue, Zis remarks that the little LEDBeam100s really ‘popped’ and were instantly visible in all the photos.

Zis loves Pointes for their “all-round variety and functionality”. Utilising them to the max, he created ‘structural scenery’ for the massive wide aerial looks that characterised this Transmission Australia edition.

The power and accurate shuttering of the BMFL Blades was harnessed to enhance the extensive décor elements and to help create a spacey vibe that both contrasted and run in conjunction with the screen visuals.

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65 MAY 2019

A fantastic line-up included performances from Above & Beyond, Marlo, Vini Vici, Ilan Bluestone, AVAO, Vision Impossible, Marcus Santoro, Sander van Doorn presenting Purple Haze, MarLo, Simon Patterson and many more. Transmission’s own production manager was Cyril Horanek and their visual show direction was by Vision Impossible, with SFX by AVM SFX and lasers operated by Ministry SK from Slovakia.

Dancers, choreography and costume design was co-ordinated by Marina Stepanenko and Tereza Lojkaskova. Pyro for Transmission Australia ‘The Awakening’ was delivered by Foti fireworks, staging by Stagekings Australia, the video supplier was Mediatec AP, sound was from Sydney based JPJ Audio and the laser hardware came from Lumina Visual Productions.

As the lighting and general production design followed the architectural lines of the building so closely, getting the symmetry right to accentuate the shape of the space was vital to all the technical elements looking their best, and the end results showed the dynamics and integrity of Bas’s original ‘Awakening’ design. Lighting was run via two grandMA2 consoles at FOH and a grandMA2 light for backup.

Zis notes that it was an excellent experience working on site with the team from MPH. The lighting rig proved extremely reliable and the process was efficient and streamlined.

“The quality of the Robe fixtures really came across on this project” he commented. “Combined with a great atmosphere, we could make the whole arena massive and overwhelming or close things right down, so it became a close and intimate space as the mood directed”.

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Photos by Palci www.robe.cz

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66 MAY 2019

AUSTRALIA

Technological Wizardry from DPA Microphones Brings Extra Magic To The Theatre Stage

d:screet microphones, along with the benefits of ‘CORE by DPA’ amplification, are delivering an even better audience experience

Major theatre productions often have lives involving multiple productions in multiple countries, which provides a great opportunity for the production team to assess the equipment they are using and make changes to benefit from advances in technology. This was exactly the situation multi-award-winning sound designer Gareth Fry found himself in, opening Harry Potter and the Cursed Child in Melbourne, Australia after its success in London and New York.

expands dynamic range so that the microphones deliver an even clearer sound - from the ‘highest of the highs’ to the ‘lowest of the lows’.

“DPA’s d:screet 4061 Miniature Microphones have long been theatre stalwarts because they sound great, are very tough and are small enough to hide on cast members,” Fry explains. “I’ve been using the legacy version of these microphones for years, and we typically hide them in the hairline, on the forehead, so they are not visible to the audience.”

Five months before the play was due to open in Melbourne, DPA Microphones launched its new 6000 Series of Sub-miniature

In 2017, a year after the play opened in London, a second production was established on Broadway. By this stage DPA had launched its new d:screet CORE 4061 Miniature Microphones featuring ‘CORE by DPA’ amplifier technology. This development minimises distortion and ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“For the Broadway production I was keen to take advantage of technological developments to get the best possible sound out of the microphones.” Fry says. “Then, when we opened in Melbourne, I was keen to make them as invisible as possible.”

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Microphones, which at only 3mm across, are significantly smaller than anything else the company produces.

It takes months of preparation to open a show in a new city, and when it comes to the sound there is occasionally a need to tweak the system design so that it works with the acoustics of the local venue.

“It’s often better to make the show work with the venue, than to try to force it to fit,” Fry explains. “The changes are rarely major because what we have works really well. But we’ll never turn down the opportunity to refine aspects of the show, and each new ensemble of actors brings something new to the show.

Often in theatre, we’re trying to balance the need for vocal reinforcement, without it being immediately obvious that we are doing vocal reinforcement. Not always – it does really depend on the style of the show.”

For many productions the hairline is as close as a microphone can get without being visible. The microphone capsule and cable will be coloured to match the actor’s hair colours and the back of their neck. It is also not uncommon to put two radio microphones on a performer, in case one fails.

“Radio mics get bashed, dropped, sat on and jumped on,” Fry adds.

“There’s a lot of stress on the cable connectors, not to mention plenty of sweat, makeup and hairspray around the place. It’s a hard life for a radio mic.”

Fry says he is delighted with the new DPA d:screet 6000 Series – both in terms of the sound quality they are delivering and their robustness and aesthetics.

“They are so tiny that they just disappear. With a 4061, if it isn’t well hidden you can definitely see a microphone, especially if you are double miking, but with these you just mistake them for a small mole.

They are effectively invisible. The actors prefer wearing them too, because they are less obtrusive.”

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67 MAY 2019

Fry adds that often in the preview period when his sound team are trying out different mic positions, he will get notes from producers and directors about mics being too visible.

“Since switching to d:screet 6061 mics I’ve had significantly fewer notes.” he says. “Plus they sound as great as the original 4061s – and they are incredibly water resistant. In the past if you have a scene where the actors come in to contact with water you have to go to extreme measures to protect the microphones, or use something like a heavy duty d:screet 4661, but the IP rating on these makes them seem impervious to water.”

As well as preparing for the San Francisco and Hamburg productions of Harry Potter, opening in 2019 and 2020 respectively, Fry has just opened an adaptation of the best-selling novel, Alys, Always, at the Bridge Theatre, London. Again, the cast are miked up using DPA 6061 microphones, this time utilising the Sony DWT-B03R mini digital transmitters. Although Gareth Fry is best known for his cutting-edge work in theatre, he has also designed events and exhibitions such as the landmark V&A David Bowie Is exhibition, and sound effects for the Opening Ceremony of the 2012 Olympic Games. His book Sound Design for the Stage has just been published by Crowood Press. http://www. garethfry.co.uk/sound-design-for-the-stage www.dpamicrophones.com

ALEX COLUMN

68 MAY 2019

The Loneliness of Front of House I will not get tired of trying to get the distinguished reader here engaged in dialogue. In today’s column, I want to share a bit of background of my personal history and career and hope to hear from many of you out there about your own experience. To our younger colleagues, I hope that this gives you an insight of how things work for myself and I hope this is in sync with what you are doing. It is quite possible though, that some rather romantic views of working in the entertainment industry might take a hit here today.

When I started in the industry in 1987, my first opportunities as a sound engineer was as a monitor engineer and I quickly enjoyed some reputation for myself about being able to serve six or seven clients at the same time (the musicians on stage) and to manage the tasks at monitor world very well. There are of course many funny incidents from this period, that would easily fill a book. During this period, I learned a lot about the situation on stage with lots of signal from the main P.A. feeding back on stage as well as all the backline and amplification fighting for their spot in the sound universe on stage. On top of this you had to make everything heard at the appropriate places and to provide good solutions for the artist. Silent stages and In Ear Monitoring have helped a lot, although mixing in ears and monitors at the same time has raised a new challenge for Monitor Engineers and luckily manufacturers of mixing consoles have addressed this very well now.

However, I found that what I was doing on stage was not very creative, because I was serving the artistes and gave them what they wanted and needed and I felt that this was more a technical than a creative job.

Hence, I started looking for opportunities in Front of House and also in Broadcast. To me this is where the fun really began and the immediate feedback from the Audience to what you are doing at F.O.H. was always exciting and thrilling. I have always done the occasional monitor engineering job, but the clear majority of my work was as a Front of House engineer.

While immersed in the work at FOH, it didn’t occur to me what my situation was, but it is generally a very lonely place and situation at Front of House amid the audience and the only time that people are looking at you is when something is sounding wrong. In this regard, the

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best show is the one, where the audience I did and still enjoy the never heard the engineer solidarity of being alone mixing and they simply in my world of work in enjoyed the show and the concert and never the middle of 10,000 realized that someone people and to reference was mixing for them.

This is an important with the audience if understanding because they enjoy what I am some colleagues seem to doing. think that they are being paid by fader movement and I have often found that when it sounds right, just leave it and enjoy the concert. Over the years the situation at FOH can easily lead to FOH engineers becoming hermits and despite us being in the middle of the audience, we might not be the most sociable type of people.

I did and still enjoy the solidarity of being alone in my world of work in the middle of 10,000 people and to reference with the audience if they enjoy what I am doing. In this position, you will face a thousand decisions a day and you will have to decide and take responsibility and consequences of what you have decided and you must be okay about this. I have had this all along and as much as I enjoy socializing, I am very happy and content at the lonely FOH position or in the lonely broadcast studio audio control room. How about you?

Join the conversation and share your thoughts with Alex. Alex can be reached at alex@asaudio.de

69

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