ETA Mobile 2016 10

2016

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Ultra Music Festival Makes A Rocking Debut

TECH TALK: Why Do Loudspeakers Need to Be Big? PROJECTS: The Art House Wyong NEWS: CompleteAVL Solutions Opens Thai Office

Be bright, choose right.

Are you confident about your future investments?

Ranging from laser projection through to show control, image processing, 4K, and flexible LED solutions, we empower you to wow your audiences in new ways.

With a focused approach on events, Barco leverages its expertise to create technology you can rely on.

Be bright, choose right. Choose Barco.

F series projector

HDF series projector

E2 presentation switcher

Contact Barco for more information Barco Singapore Private Limited │Tel: +65 6587 7356│e-mail: SEA.Sales@barco.com

www.barco.com/events

INTHISISSUE: V O L

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LIVE 45 SOUTH KOREA: Christie 06 NEWS Delivers Spectacular Visuals For “The Magic 27 VIDEO FILES Flute” 46 SINGAPORE: Ultra Music 28 ENNOVATIONS Festival Makes A Rocking Debut TECH TALK 50 CHINA: Shure Amps Up 36 Why Do Loudspeakers China’s First EDM Reality Need To Be Big? Show 51 TAIWAN: MLA Moves Over PROJECTS 500,000 Taiwanese At The 40 AUSTRALIA: The Art House Beach Wyong Already Creating 52 MALAYSIA: Good Vibes An Impact Festival 2016 42 INDIA: Dev Electronics Pushes Up The Power At 55 EVENTS LISTING Bar-Bar 44 INDONESIA: 5-star Sound System For Rockstar Gym

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Reading through Facebook posts, I was shocked to read of how in India, Sound.

Com tech staff were man-handled at an event by local thugs with the police acknowledging that this things happen and to let it go. As if it is not enough that the weather sometimes plays havoc at live events and sometimes production companies face equipment failure even after all the checking and let us not forget rogue clients who delay payments or worse do not pay, now they have to face thugs!!!

So for once I got to be on the other side of the fence – being a client at our Systems Integration India Awards that was held in conjunction with InfoComm India at the Bombay Exhibition Centre in September.

It was a super tight schedule and the worse part of it was that the sound production company could not do proper sound check due to the event being held at the Hall where the exhibition was taking place and had only 15 minutes to work with the entertainer before the event began. Thankfully, overall it went well though there were minor hiccups. But what caught my attention was the company that we had hired for the staging and table setting as well as being overall coordinator working with the sound and light companies for the event.

The company was Core Networks headed by a young Sheldon who did an excellent and professional job. Every last minute request was done and some of the things were not even in our agreement. Sheldon and his team were truly professional and were involved in the event as if it was their own event.

FIRST WORDS

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We got all the accolades for a well run Awards but the truth is on that day, Core Networks, the production team, the entertainer (Mihir Joshi) and the emcee pulled it off wonderfully for us.

Thomas Richard Prakasam

Publisher/Editorial Director thomas@spinworkz.com

To subscribe to Entertainment Technology Asia (ETA)click here:

http://www.e-techasia.com/subscribe/

Shireen Ho Assistant Editor shireen@spinworkz.com

RAM BHAVANASHI Editor, India And Middle East ram@spinworkz.com

JIMMY CHIN Design And Production jimmy@spinworkz.com

ROSALIND TAN Editor, Digital Platform (Freelance) rosalind@spinworkz.com

JULIE TAN Admin & Circulation admin@spinworkz.com

PUBLISHED BY

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

DISCLAIMER

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

NEWS

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ETA October 2016

Robe Launches Spiider Worldwide On The Web

The Spiiders at the recent PLASA EXPO in London

GLOBAL: The global launch of Robe’s highly anticipated new product and “Next Big Thing” - the Spiider – took place on Thursday 15th September 2016 at 12 midday (CET - Central European Timezone) - following an innovative and fun teaser video and a huge amount of chatter that helped ramp excitement within lighting and visuals communities.

Spiider is set to redefine the parameters of moving LED wash light technology … and judging by the immediate reaction and comments ... it will make major impact as another amazing and creative lighting tool from Robe.

Spiider is a brand new LED Wash luminaire.

It builds on the extreme success of Robe’s best-selling ‘industry standard’ LEDWash series … with a completely new concept and incredible optics.

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It has one super bright 60W RGBW LED multichip in the centre which is surrounded by 18 x 30W RGBW LED multichips, and it is this optical design that resembles the spider’s web that gave rise to the name.

It is also so much more than ‘just’ a wash!

It can be used as a beam, and - a first for LED wash light stage luminaires - it has an eye-popping flower effect!

The impressive zoom goes from 4 - 48 degrees, while the light output is outstanding, offering more than 50.000 lumens at 5 metres.

Spiider has all the great features that made Robe’s LEDWash series such a well-respected industry-wide product for all applications, including a virtual colour wheel, tungsten lamp emulation, individual pixel control, in-built wireless DMX on request and loads more.

Forty-two Spiiders were in action on the Robe stand at the PLASA expo in London where they engaged and WOW’ed visitors in an intricate choreographed web of audacity and imagination!

Robe’s CEO Josef Valchar confirms, “Spiider is really something special which everybody will love!”

After PLASA, Spiiders will be stopping the show at LDI in Las Vegas and also available for individual demos via Robe’s worldwide distribution network.

Check out the Spiider video below:

www.robe.cz

UGLY IS THE NEW BLACK The UGLYBOX MK2 is hailed as the ‘riggers best friend’, an indispensable tool in the lighting riggers and technician’s arsenal. With the capability to send and receive W-DMX™ signals and to check their signal strength,. The W-DMX™ UGLYBOX MK2 is great for testing the limits of the W-DMX™ radio system and/or checking DMX data, in a portable, pocket sized format.

The W-DMX™ UGLYBOX MK2 can also be used to check W-DMX™ signal history that can also be saved to SD Card, allowing the user quickly to see any transient problems in the system. The Uglybox runs on batteries that lasts over 8 hours.

For more info please visit wirelessdmx.com

wirelessdmx.com

- It is about trendsetters, not followers

NEWS ETA October 2016

CompleteAVL Solutions Opens Thai Office

Guests to Open House being entertained.

THAILAND: The 8th of September saw CompleteAVL Solutions holding their Thailand office launch event. The multi-storied office offers a showroom at the ground floor and features administration, warehouse and service centre facilities. The Thai office has actually been operating for a year now, building up on their distribution solutions and manpower and the time was ripe to let the industry in Thailand know what they are able to offer. “We are working with our dealer and SI network that we have built over the year. Our goals are simple. To show the industry that we are able to offer affordable and reputable quality solutions to meet their needs,� said David Toh, who is managing the office in Thailand and happens to be fluent in Thai.

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CompleteAVL’s current line up of solutions on offer in the Thai office includes: • GLP Lighting fixtures from Germany.

• Nova sound system from Germany that offers point source, line array, monitor, PA, amps, and processors audio solutions.

• Powersoft amplifiers from Italy.

• Truss and accessories such as flight case, power distribution and safety cables.

• DJ Power smoke machines from China.

• OSRAM Bulb in a dealer capacity.

Guests mingling and checking out the solutions

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Desmond opening the door to the showroom

“We are fully ready to serve the industry in Thailand. We had spent the year to build on the brands we wanted to represent and of course expertise and training,” highlighted David.

The official opening saw a mix crowd of media, dealers, SIs and end-users. Two brands were specifically highlighted at the event.

Soren Storm and Michael Muenz of GLP Lighting Asia were present to give a brief overview of the company and its solutions to the guests.

Powersoft’s Asia rep, Arthur Soh also took the opportunity to introduce the company and its solutions. A light show within the showroom showcased the GLP Lighting fixtures.

Special emphasis was placed on the Award-winning GLP GT1 hybrid lighting fixure. The GT-1 from GLP is a true hybrid fixture, working as both a Spot and a Beam fixture with highest levels of performance.

Using a high powered 470 Watt discharge lamp, its high quality optical system produces a light beam that features an enormous 22:1 ratio zoom range from 2.5° to 55°. The GLP GT-1 is a versatile fixture that can be used for a range of applications. Its features include a unique baseless design, inbuilt wireless DMX control, full 16 bit pan and tilt movement, full range dimming and shuttering capability, an in built

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Complete AVL Solutions GM, David Toh flanked by Michael and Soren of GLP

battery for fixture setup, an auto sensing power supply and a low weight of just 25kg.

“We believe that CompleteAVL will be a strong partner for us in Thailand. They know our fixtures well and we are confident that they will position our product in the right context for the industry. GLP has a long pedigree in the lighting business and our solutions offer quality and features at a reasonable price point,” said Soren.

The tented space just outside the office offered guests not only refreshment but also entertainment and a chance to view the Powersoft K-series amps in action.

“We are confident that appointing CompleteAVL Solutions will help us make a mark in Thailand, where our product can easily be used for both touring and installation,” said Arthur Soh. “Our decision to open a Thai office is strategic. With Singapore just about one and a half hour away, it is easy and quick for us to get support. In addition, by concentrating on being just a distribution company, we will be able to offer alternative solutions to the industry.

We will be able to support them should there be a need with design

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ETA October 2016

Gerald a guest from Singapore with Arthur of Powersoft

and quick service accessibility. More importantly we are bringing reputable brands to the market, which we feel would excite the market,� said David.

You can get in touch with CompleteAVL Solutions Thai office via (T)02-0617601 or you can email David at david@completeavl.com www.completeavl.com

The Showroom

The GLP GT1 showing its prowess

35 Years xy

d&b is 35. Shane is d&b.

Shane Bailey is Managing Director of National Audio Systems, d&b Distributor for Australia.

They‘ve been on board since 2001. “I’ve worked with d&b since 2001, almost half the company’s life, and the first thing that struck me was the sense of working together. I’ve made many close friends through d&b and we’ve never settled for anything less than the best sound we could ever achieve.

What a great journey.” In 35 years d&b has evolved from a small garage venture to a worldwide standard in professional sound systems. It’s people like Shane who make this story possible, and just that bit different from the rest.

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Megabox Chooses Barco’s Flagship Laser Projector For Its "Full Premium Auditorium"

SOUTH KOREA: Barco’s flagship laser projector (DP4K-60L) was selected for Megabox’s new ‘full premium auditorium’ at the newly opened Starfield Hanam mega mall. With this investment, Megabox further expands its offering with superior image quality and the brightest 3D, combined with a cutting-edge sound system.

Megabox, one of the leading multiplexes operating 550 screens in the Republic of Korea, opened its first premium auditorium in Starfield Hanam — the largest shopping mall complex in the country. Megabox has equipped the auditorium with a 22m wide Harkness Clarus silver screen and Barco’s flagship laser projector (DP4K-60L). Committed to delivering unprecedented experiences to its audiences, Megabox spent 2 years investigating laser technology, eventually choosing Barco as the ideal solution.

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When Megabox became the first 4K cinema circuit in the country, its most crucial goal was to discover how to deliver the finest in image quality to its loyal audiences. “We are dedicated to offering the audience the very best,” says Youlgu Lee, Strategic Operations Senior Manager at Megabox. “This is why we decided on Barco’s flagship laser projector and the Harkness Clarus screen with Horizon 3D Plus from Masterimage.”

“The space and the technical backbone of the auditorium keep changing,” adds Hongsik Jung, Technical Engineering Senior Manager at Megabox. “Easier and flexible installation combined with easy system integration are therefore key. Barco definitely meets our needs in every area.”

“We are so proud of Megabox Starfield, our new full premium auditorium,” comments Jinsun Kim, Megabox CEO. “This auditorium expresses our commitment to deliver the full premium cinema experience, by completely redesigning the environment. We are convinced that Barco’s flagship laser projector will play a key role in the superior cinema experience.”

“We are very pleased that the Barco’s flagship laser projector is at the core of the Megabox Premium Auditorium,” says Stijn Henderickx, Vice President of Cinema at Barco. “We expect to support forward-thinking exhibitors like Megabox with these projectors, as they offer a unique combination of superior image quality, unmatched 3D brightness and low TCO while enabling simplified operations and no lamp replacements.” www.barco.com

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ETA October 2016

Show Technology Opens In New Zealand

The entire Show Technology team at the event

NEW ZEALAND: August 30th 2016 was a significant date in the twenty-six year history of Show Technology, Australia’s leading solution provider for entertainment and architectural lighting applications.

The date was the official opening of the Show Technology New Zealand office in Auckland with managing director Emmanuel Ziino welcomed officially onto the land in a Pōwhiri - a Māori welcoming ceremony involving speeches, dancing, and singing performed by a local school ‘Kapa Haka’ group. The Pōwhiri concluded with a Hongi, a traditional Māori greeting done by pressing one’s nose and forehead (at the same time) to another person at an encounter.

“It was an absolute honour to be welcomed onto the land by their chief,” commented Emmanuel. “The Pōwhiri welcomed us (the owners) and our guests (the future users) during a dedication of the building.”

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The evening was an industry event attended by invited guests who make up the cream of the professional lighting industry in New Zealand. Many guests travelled far to attend the opening including several who came from Wellington and Christchurch.

The event was supported with attendees from Show Technology in Australia including Harold Hassapis (CFO), Vince Haddad (Technical Director), Stephen Dallimore (BDM), Paul Nicolaou (Victorian Branch Manager), Elisha Blanch (Sales Coordinator) and company owners Emmanuel and Gina Ziino. Jonas Stenvinkel from Martin was lucky enough to be visiting during this time and was also at the opening.

“The opportunity to be able to work alongside our clients day to day and to be able to provide them the support they deserve, is great step and I’m very excited about what the future holds,” said Stephen Dallimore, Business Development Manager.

Harold Hassapis, Chief Financial Officer for Show Technology, has been delighted by the welcome and support that the industry has given the company since announcing the opening of a New Zealand office.

“It was humbling to see so many people in the industry here at the opening particularly as many travelled from Wellington and Christchurch having to take time away from their businesses,” he said.

“We have put a lot of effort into setting up a full service model with a significant amount of stock and a large showroom space that is useful for customers and which we will use as a training space for MA and M1 control.”

Emmanuel remarked that the new Auckland office was not just an important symbol of Show Technology’s commitment locally, but would provide new opportunities for the company to engage with local customers, and for customers themselves to interact with Show Technology more directly and with greater convenience than ever before.

4°-28° ZOOM

FLOWER

SUPER FAST

BEAM SPLITTER

COMPACT

WASH

60W RGBW

BEAM

CONTINUOUS ROTATION

THE NEXT GENERATION LED WASHBEAM.

SEE IT IN ACTION AT WWW.SPIKIE.TV

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“The Auckland office is our first off-shore venture and while it is part of Show Technology Australia, the NZ operation is a locally incorporated company,” Emmanuel added. “We have invested heavily into the local market: we own the property, we carry a lot of stock to support the local market, we have service and support locally, plus we have employed three local staff. Our New Zealand staff are locals and have many years’ experience in the industry both locally and abroad. They are very keen to offer support and advice to our customers across New Zealand.”

Heading the team in New Zealand is Branch Manager Karla Kimi who remarked “Show Technology is a family focused company and it is such a pleasure working for a great team. We also have the best product range available on the market – this role is certainly the best decision I have made!”

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Technical Sales are taken care of by Nick Reeves who added “Making the move from lighting for production to Show Technology was an amazing decision. It was the perfect time and when the opportunity arose, I leapt at it. Now I’m very happy to be involved in such a fantastic team in the industry I love.”

“Show Technology has a well-established team culture which not only makes being a part of the team a joy, it also enables us to supply the New Zealand market with class-leading support and expertise from decades of hands on experience,” added Thomas Butler, Operations Coordinator and final member of the team.

Over a period of four months, extensive building works were undertaken to transform the vast industrial building to suit Show Technology’s technological needs. The new office holds an extensive range of stock, undertakes warranty and general service work inhouse, as well as providing technical support and operator training.

The premises include a large warehouse, sales room, client meeting area, and a massive demo room with training areas as well as client parking. All designed of course with that Italian flair unique to the company.

The first MA University training program was already rolled out in September. Show Technology intends to roll out a variety of training programs over time in addition to their one on one programs for individual companies as required. www.showtech.com.au

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ETA October 2016

Tre Bass Entertainment Sdn Bhd Spices Up Its Shows With Avolites And Shure

The Tre Bass team with their Avolites consoles

MALAYSIA: Avolites and Shure have once again been chosen by Tre Bass Entertainment Sdn Bhd as their brands of choice. They have recently added a new unit of Arena Lighting Console and the Shure UHF-R and ULX-D Wireless Microphone Systems to their majestic inventory of equipment which consists currently of the Avolites Tiger Touch II, Expert Pro and their previously purchased Shure UHF-R and ULX-D. Tre Bass Entertainment is locally established by Benny Lai, since 1998 when he first started the equipment rental business with only Karaoke systems. After over a decade, Tre Bass now has its current huge equipment warehouse located in Rawang, Selangor.

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The Avolites Arena is designed for festivals, theatres and anywhere that a larger control surface is required. It combines the popular interface of the Tiger Touch II with more live control than ever before.

A brand new optical output means the Arena is equipped for fibre connections, with no signal loss over long distances, from front of house to the stage.

The Shure ULX-D® Digital Wireless offers extremely efficient RF performance, networked control, Dante™ digital audio (available only on Dual and Quad receivers), and AES-256 encryption for professional sound reinforcement. Shure UHF-R® Wireless systems master the intense pressure and extreme conditions of any touring, installation or broadcast environment, while delivering unmatched Shure sound.

As the business owner cum Sales & Technical Director, the reliability and quality of the brands makes Benny and his team feel confident while in any shows or events. www.tbe.com.my www.conceptaudio.com.my

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ETA October 2016

Lampros Sound Invests In dLive

The new dLive systems being used at the ARISE Conference

NEW ZEALAND: Specialists in sound, lighting, AV and live streaming, New Zealand’s Lampros Sound, recently invested in a dLive digital mixing system to add to its hire stock.

The new system comprises the flagship S7000 Surface and DM64 MixRack.

Based in Wellington, Lampros’ warehouse contains a number of other mixers from the Allen & Heath range, including a GLD-112 digital mixer, an iLive-T112 Surface with iDR-64 MixRack, a Qu-16 compact digital mixer, and an assortment of ZED compact analogue mixers.

The new dLive system was purchased in preparation for the ARISE Conference, one of New Zealand’s largest Christian gatherings, which hosts in excess of 6,000 attendees from 300 churches across New Zealand over the three-day event. Two additional dLive systems were sub-hired to supplement Lampros’ stock for this event and provide a consistent user experience for the client.

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The Conference simultaneously took place at two of Wellington’s largest indoor venues - the TSB Bank Arena and the Michael Fowler Centre - together with another two venues for the accompanying Glow Kids’ Conference.

“The nature of the Conference, and its crew of volunteers, meant there was a range of skill levels, and given the limited rehearsal time, it was important to use equipment that is reliable and easy to use,” explains Heath Clapperton, Lampros Sound’s in-house Sound & Production Engineer, who worked alongside the ARISE team to provide support throughout the conference.

In the primary venue, the TSB Arena, dLive consoles were supplied for FOH, monitors and recording, with an S7000, DM48 with DX32 at FOH, and two S7000s with DM64 MixRacks for monitors. All consoles were fed from a passive three way split. A Dante network ran out to an iLive-T112 and iDR-48 for the online streaming broadcast mix, and to a Macbook Pro running Logic for multi-track recording. The Michael Fowler Centre housed an iLive-T112 with an iDR-48 at FOH and another T112 with iDR-64 for monitors with a passive split. A GLD112 with an AR2412 and 2 AR84 remote IO racks ran both FOH and monitors at the Glow Kids’ Conference. Plus, a young adults’ sessions ran a GLD-112 with AR2412 and AR84 running FOH and monitors, along with an assortment of ZED-6014FX mixers for the smaller breakout rooms.

“We used A&H consoles for everything. The user interface on all the consoles is intuitive, clear and well laid out. For our Church, they are reliable consoles. We’ve been using them in bump in/out environments for almost 10 years and they deliver every week. They allow us to be flexible in what we do. We can be in 3-4 different venues for various Church events in the same week, with completely different band configurations, and run everything from one console or with dedicated FOH & monitors consoles,” concludes Tom Borkin, the Wide Production Lead for ARISE Church. www.allen-heath.com

NEW International Exhibition of Professional Technologies and Services for the Entertainment and Creation Industry www.prolightsoundME.com

Let’s master it.

31 October – 2 November, 2016

Hall 1, Dubai International Convention and Exhibition Centre

Why you cannot afford to miss the debut of an industry-defining exhibition • The only industry platform of its kind to network and grow your business in the MENA region • Attend a rich fringe programme of informative seminars and roundtable discussions • Experience first-hand the capabilities of various event technologies within our live demo area The who’s who of the industry are guaranteed to be there. Will you?

Register online to visit at www.prolightsoundME.com/ETA Interested in viewing the list of exhibitors?

Visit www.prolightsoundME.com/Search Founding Partners

Supporting Partner

Supporting Association

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Jands Introduces RF Venue Wireless Products To Australia

AUSTRALIA: Jands Pty Ltd and RF Venue, Inc. announced a new distribution agreement for all Australian territories. Jands will offer the company’s full line of unique RF products for wireless microphones, in-ear monitors, and production communications.

Boston, Massachusetts-based RF Venue, Inc. manufactures products that reduce RF interference and signal dropouts and maximize scarce spectrum resources. Its products include proprietary antenna designs, distribution equipment, RF to optical signal conversion systems, and spectrum analysis software and hardware for audio professionals, broadcasters, and system integrators.

“Over the past few years we have organically built a loyal customer base in Australia and are excited for what Jands brings to local inventory, sales, system design, and support, said RF Venue CEO Chris Regan. “Our team has been extremely impressed with the wireless expertise at Jands and looks forward to building more business in the region.”

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Unique products from RF Venue include the Diversity Fin™ antenna for wireless microphones, the portable CP Beam™ folding helical antenna for IEMs, and the RF Spotlight™ antenna for minimizing interference in crowded RF environments. RF Venue’s portfolio of cost-effective distribution equipment will also become available, including the Optix™ platform of RF to fiber-optic converters for distributing wireless audio signals over single-mode fiber cable.

Further, RF Venue offers spectrum analysis tools – notably Vantage, a Mac OS native software application for the RF Explorer series spectrum analyzers which exports CSV files compatible with Shure’s Wireless Workbench.

“We are very pleased to be working with RF Venue in Australia,” remarked Jeff MacKenzie, manager of technical resource group at Jands. “RF Venue offers a wide range of products, many of which are unique to the market and offer practical solutions to real world RF problems. Jands has years of experience with professional grade, mission critical wireless audio systems manufactured by Shure. Now, with the addition of RF Venue, we can offer wireless solutions to a an even larger variety of applications in conjunction with Shure systems, and deliver greater value to our customers.” www.jands.com.au

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ETA October 2016

LOUD Appoints Matt Frazier As APAC Director Of Sales For Mackie And Ampeg APAC: LOUD Technologies Inc. (LOUD) has announced the appointment of Matt Frazier to the position of Director of Sales, APAC Region for the Mackie and Ampeg brands. Frazier joins LOUD after more than 20 years in the professional audio industry.

Frazier's resume includes more than a decade of Sales and Product Management positions with Avid Technologies, most recently as Senior Sales Manager of Strategic Accounts. A freelance musician and recording engineer, he holds a master's degree in commercial music. His work also includes support for a number of non-profits.

In his new position, Frazier will work with distributors throughout the Asia Pacific region and support their efforts as they continue to expand the footprint of the Mackie and Ampeg brands. www.loudtechinc.com

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ETA October 2016

Mahajak Holds Opens House

Chavalit of Ten Years After Audio Norasate of Ligthsource giving his talk

giving his talk

THAILAND: The 24th and 25th of August saw Mahajak Development host an Open House event to showcase new audio, visual and lighting products and technology. The event was held at the M Hall, Mahajak Development head office and was well attended by companies and individuals involved in PA, as well as the press.

There were many products displayed along with workshop activities.

Presentations included the Thai debut of the Shure KSM8 which is the world’s first dual-diaphragm microphone designed for vocal music and Shure MOTIV Series Recording Microphones such as MV88, MV51, MV5, MVI and MVL. JBL EON ONE and Control 80 Series were featured at the JBL booth. Crown DriveCore Install DA Series, Crown CDi DriveCore Series, dbx go-Rack and Active Direct Box and BSS solutions were also demonstrated.

Also showcased were the Soundcraft Vi3000 and Vi2000 that were debuted as the most recent digital mixers for this year, apart from the Signature analog mixer model and the SI impact digital mixer model.

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Performance by Apartment Khunpa

In addition, Mahajak presented the new networked AV solution of AMX. On the occasion of this important event, Mahajak was also honoured to invite the Managing Director of Lightsource Co.,Ltd. Norasate Somboonwong to be a guest speaker in the session “The safety in the lighting system” and Managing Director of Ten Years After Audio Co.,Ltd. Chavalit Mahaviriyakul under the topic of “The safety in the audio system”. Furthermore, there was a special mini concert from famous Thai artist at the end of the event. Lastly the participants had the opportunity to purchase new products at a special price. www.mahajak.com

The Mahajak Development Team

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TEAC To Distribute dBTechnologies In Japan

JAPAN: TEAC Corporation, operating internationally in Professional Audio and Music Instrument industries under the brand TASCAM, is now the official distributor of dBTEchnologies product lines in Japan.

The companies finalised the agreement after some meetings in Tokyo and in Bologna at dBTechnologies headquarters, where TEAC team visited the production and R&D departments of Italian manufacturer and have been introduced to the most recent dBTechnologies creations.

Mr. Kenji Matsu, TEAC CORPORATION Executive VP of Professional Audio Business Unit, who recently met dBTechnologies sales team in Bologna, comments the new partnership: “TASCAM is always looking for new business partnerships to expand our business area. I am very excited to break into real Sound Reinforcement market in Japan with dBTechnologies. I believe this collaboration will bring good and new wind into both companies and I am sure the relationship will be getting even stronger in the future. dBTechnologies Sales&Marketing Director Giovanni Barbieri is also excited and more than confident about the new partnership:

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“In the last few years, dBTechnologies expanded its international distribution network and widened its offer and product range both in the professional audio and musical instrument segment.

For this reason, dBTechnologies needed an experienced and widely respected partner to compete in the discerning Japanese Market.

Thanks to its succesful history and internationally reknown expertise in the AV world, TEAC Corp is the best possible partner to raise brand awareness and position dBTechnologies in such a complex marketplace.

Since our first meetings with the company board, I realized that TEAC’s team recognized dBTechnologies potential, and was more than ready to provide outstanding attention to all aspect of distribution, from sales and marketing, to customer support and training. For this reason, I am completely confident that this is the beginning of a longterm flourishing partnership. “ In view of a further development of their Professional Audio offer on the Japanese market, TEAC is planning a presentation event in Tokyo in October 2016. During the event, dBTechnologies product lines will be presented to the media as well as the whole sales network. www.dbtechnologies.com www.teac.co.jp/us/

VIDEO FILES ETA October 2016

Kling-Net vs ArtNet

We thank our reader P.V. Joseph for sending us this video link. It is as the name suggests a comparison between two protocols – Kling-Net from Arkaos and ArtNet from Artistic Licence Holdings Ltd. Do note that Kling-Net is a proprietary protocol.

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VIDEO FILES ETA October 2016

EK Lighting @

PALM Beijing 2016

EK PRO returned to the PALM Expo with a less frenetic light show than usual, opting instead for an expansive layout designed to show off their range of LED profiles inside the booth, while blasting their neighbors with EK’s insanely bright LED blinders. Highlights of solutions included BRIX FX and BRIX AW outdoo-r blinders, E3 WASH, EPROFILE FC and ORB 300.

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TURBOSOUND Expands Flagship FLASHLINE MONITORS Range Designed primarily as stage monitors, the FLASHLINE MONITORS also accommodate a wide range of portable speech and music sound reinforcement applications. The two new models, the TFX122M-AN and TFX152M-AN guarantee TURBOSOUND quality musical reproduction at an affordable entry level price point, making TURBOSOUND FLASHLINE MONITORS an essential addition to portable and touring packages. The two new models join the existing 4 in the range; the TFM122M and TFM152M switchable passive/bi-amp loudspeakers, and the TFM122M-AN and TFM152M-AN powered loudspeakers.

The new monitors feature 1,100 Watts of peak power from a highly portable lightweight integrated class-D amplifier. Specifically the TFX122M-AN features a carbon fibre loaded 12” ferrite low frequency driver with a titanium dome 1” compression driver. The larger TFX152M-AN features a carbon fibre loaded 15” ferrite low frequency

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driver with the titanium dome 1” compression driver. Both options provide optimal performance for wedge monitoring with 60’H x 40’V dispersion and are an exceptional choice for stage monitor, FOH, sidefill and delay line applications.

These models are designed to work individually without a controller and feature an intuitive user interface via LCD display or remote control and TURBOSOUND PC Edit software. Each speaker is powered by industry-leading KLARK TEKNIK digital signal processing and Class-D amplification. MUSIC’s revolutionary ULTRANET digital audio networking allows for connectivity to mixing consoles and other compatible digital devices – including mixers, I/O stage boxes, powered loudspeakers and personal monitoring systems.

The TFX122M-AN and TFX152M-AN FLASHLINE MONITORS are covered by MUSIC’s 3-Year Limited Warranty Program. www.turbosound.com

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ShowTex Introduces Its Latest Acoustic Panel

The Acoustic Panel is the latest acoustic development in the ShowTex product range. This durable panel ensures excellent sound performance and is ideal for fixed installations.

ShowTex Acoustic Panels are mounted in a steel frame with overall dimensions of 120 x 60 x 4.5 cm. The panels can easily be connected to each other using rivet nuts or hung vertically from the ceiling.

The acoustic filling of the panel is made from cotton fabric remnants that are shredded and treated to be flame retardant. The filling is then pressed into sound dampening matting. Finished with fabric on both sides of the recycled core, the Acoustic Panel is available in black and grey. Other colours are available on request.

ShowTex Acoustic Panels have a sound absorption coefficient of 1.00!

Ideal for schools, offices, congress halls, recording studios and so much more. http://www.showtex.com/en/products/acoustic-panel

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MIDAS M32 Firmware Is Major Leap Forward MIDAS, released its much-anticipated Firmware and Application Software Update, V 3.0, for its award-winning M Series. Major performance enhancements now await users of the esteemed M32, M32R and M32C digital platforms. With strong focus on networked system control, MIDAS has gone the extra mile for the milestone update by including new versions of all of its remote control apps, M32-Edit and M32-Mix for all platforms with this consolidated 3.0 release.

New for V 3.0 is the new Automixing option; output phase inversion for all local, auxiliary and Ultranet outputs, X-Over filter options for Main LR and Mono/Center bus EQ, new Ethernet or MIDI remote control from compatible control surfaces, providing physical controls for distant mixers, such as M32C. In relation to the updated Mobile Apps, the new M32-Mix for iPad and M32-EDIT for Win/Mac OSX/Linux/RPi2 feature a completely redesigned touch-optimised and scalable user interface with keyboard shortcuts for fast, elegant operation. With huge functionality and customisation of workflows, the Apps offer everything on virtually any available platform!

MIDAS believes that Corporate board meetings, panels, presentations and worship events will benefit greatly from the automatic mixer algorithm, which provides more gain to the speaker with the highest combination of volume, fader level and weighing factor, while others are attenuated proportionally.

The MIDAS M32 firmware update 3.0 and the new M32-Edit app are available for immediate download at midasconsoles.com. The new M32-Mix app is available for immediate download in the Apple App Store.

A compatible MixingStation App from developer David Schumann is available in the Android Google Play Store. www.midasconsoles.com

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Martin Audio Introduces BlacklineX For Portable and Installation Martin Audio has announced BlacklineX, a classic suite of passive loudspeakers representing a reinvention for the modern era of its Blackline series.

The original Blackline Series, launched in 1999, set a new standard for affordable professional loudspeaker systems — becoming synonymous with sound quality and reliability for live music venues, nightclubs and installations worldwide.

Now, with BlacklineX, Martin Audio’s R&D team has engineered a whole new range — delivering the signature sound of warmth, nuance and clarity at a price point not previously possible — all in a clean, smart design with no-compromise between the needs of installation and portability. Applications range from portable sound reinforcement and stage monitoring for live bands, DJ’s and corporate events, to installations in nightclubs, bars, commercial spaces and Houses of Worship.

BlacklineX Series comprises of four two-way systems — from the ultracompact X8 to the powerful X15 — and three subwoofers, including an unobtrusive slimline model.

Each symmetrical, multi-angle full-range enclosure features a user-rotatable horn for horizontal or vertical orientation, and has a screw-free, foam-backed steel grille. Comprehensive mounting options include wall-bracket, eyebolt suspension and pole-mounting.

Ergonomic handles at the rear of each full-range enclosure make for easy handling while maintaining clean lines.

All BlacklineX Series enclosures are constructed from plywood and are finished with a durable black textured coating, with white and custom RAL colour options available to order.

BlacklineX will start to ship in late October, 2016. https://martin-audio.com/products/series/blacklineX

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New PR6000 Spot And Wash/FS

PR Lighting found the long-standing PALM Expo China trade fair in Beijing to be the perfect showcase for its new high-powered PR6000 Spot and Wash/FS combination.

Combining an advanced optical path with the Philips MSR Gold 2000/1 FastFit lamp source, the fully-featured Spot offers 10:1 zoom ratio and the Wash has different Framing options.

The PR 6000 Spot is a CYM colour mixing system with macro derived from a single colour wheel featuring seven colours plus white. Useful features of this DMX-controllable fixture include three levels of power (2000W, 1500W, 1200W). Colour temperatures are 5800K (2000W) and 6700K (1200W), with CTO 0-100% linear colour temperature correction system.

As for effects, the PR 6000 Spot features Dimmer, Iris and Strobe, as well as two rotating gobo wheels, each with six replaceable gobos plus open. Alongside this is a 7.3°-68° zoom, 3-facet prism and frost filter while a replaceable animation wheel offers additional ripple or flame effect.

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ETA October 2016

The head movement offers 540° of pan and 270° of tilt, with auto position correction and adjustable beam angle.

Sharing much of the same form factor and features (without the various gobo and effect wheels) the PR6000 Wash/FS variant additionally features a Framing module (with four framing blades, offering 0-90° rotation, to produce different size and shape graphics).

The fixture also contains two colour wheels, each with seven colours plus open, and stepped/linear colour changing is optional. The Beam angle (Fresnel lens) is 7.5° in high light mode and is 39-80° linearly adjustable. www.pr-lighting.com

A twist on fast performance

Verto Truss

Incorporated dirt-repellent system and no protruding parts

The tool-less connection is almost completely silent

Incredible fast connection by a simple flick of your wrist

The Verto truss is a new revolutionary system, making truss connection fast, silent and safe. The Verto truss brings a totally new perspective on truss assembly and is described as a game changer in our industry. www.prolyte.com

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illumination Physics presents 'Super Dot'

The illumination Physics Research and Development Team was responsible for designing the light fixtures for Studio City, the latest mega resort and casino to open on the Cotai Strip in Macau. One feature of the building was troublesome. Known architecturally as ‘the upper starburst’ – ten narrow fingers of steel pointing towards the sky like outstretched fingers of two hands, this feature formed the highest points on the building and required innovative illumination.

Many lighting designers would have suggested using indirect lighting from below. But illumination Physics knew from the outset that this lighting approach would make it difficult to achieve a crisp focus and the resultant sky glow and spill would be unacceptable. illumination Physics has designed and manufactured over 100 different direct view LED dots over the last ten years and believe that they were the first movers of this innovative product. Given their specialty in

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large-scale customised façade lighting, they immediately recognised that the light fixture needed to produce a 360 degree visibility without allowing the light to travel upwards. Furthermore, it would also need to produce a much brighter output than any of its predecessors.

Hence, the concept for the Super Dot was formed. The prototype was immediately manufactured and tested on the construction site so as to assess its performance over a similar height and distance. Using a special disk-like lens with an internal reflector we were able to produce a 360 degree emission that did not allow light to escape above the horizontal azimuth. This enabled all of the available light to be utilized effectively.

The Studio City Super Dot is a 130 watt RGBA luminaire. The use of amber colour mixing was a deliberate strategy they adopted in order to produce a range of ‘golden hues’ that cannot be achieved with RGB or RGBW. The Super Dot has become an LED beacon that will be adapted for other projects as required. The Studio City upper starburst lighting quandary was solved using this innovative new luminaire but it will have future applications wherever a ‘mast top’ architectural feature is required.

The Super Dot is a low volume product but is emblematic of the illumination Physics philosophy – ‘Why get it half right, when with a little effort, it can be perfect’. www.illuminationphysics.com

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Allen & Heath Launches New Performance DJ Mixer

Allen & Heath has launched the Xone:PX5, a new 4+1 channel DJ performance mixer, that combines classic Xone analogue audio quality with comprehensive digital connectivity and next generation performance-focused FX processing. Equipped with the legendary Xone VCF filter, 3-band total kill EQ on all channels, and a new internal Xone:FX engine, the PX5 also features a high spec 20-channel USB soundcard with Xone:Sync and MIDI integration, all packaged within an intuitive surface layout.

The PX5’s FX engine features the newly developed Xone:Xcite library of performance-focused FX, coupled with familiar hands-on controls for instant, instinctive operation. A hybrid FX mode combines the internal and external send & return FX for advanced FX processing.

Meanwhile, the legendary Xone filter system includes HPF, BPF, LPF, resonance control and frequency sweep, plus the option to route the Aux channel and External Return to the filter.

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The premium internal 20 channel / 24bit / 96kHz USB2 soundcard is class compliant on Mac and enables 5 stereo channels to be streamed into the mixer from performance software, whilst the new Xone:Sync engine features comprehensive MIDI clock options, enabling the connection of external software/hardware instruments, such as drum machines and synthesizers. Xone:PX5 also features plug n’ play connection via X:LINK to the Xone:K series controllers for further MIDI control options. www.allen-heath.com

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d3 Releases Their Third Major Software Release In 2016

d3 Technologies is excited to announce r14, their third major software release this year. r14 introduces two brand new features: real-time generative effects and device recording. Other improvements include improved DMX patching, sACN and CITP support, cue lists, as well as various under-the-hood performance updates.

Leading r14’s features is Gold support for Notch real-time generative effects playback. Notch introduces a new era for content and effects creators, letting users edit and create high quality real-time content in a node-based environment, then transfer and play back in d3 without time-consuming rendering. Notch content is rendered in real-time on the GPU, so it can also apply effects to your live video capture / IMAG or be made responsive to live stage data, such as audio, MIDI, automation or BlackTrax tracking. r14 also comes with a library of sample effects to get users started including: Colour Correction/ Grading, Distortion, Edge Detect, Edge Ghosting, Fish Eye, Glitter, Glow, Rain, Ripples, Scanlines, Snow, Sparks, VHS. A significant advancement in d3 is a brand new feature, Device Recording which allows external device signals to be recorded and played back on d3’s timeline.

Device Recording gives users a whole new level of power when creating performance responsive content. Users can capture MIDI, DMX, Automation and BlackTrax in one pass during rehearsal, then

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sequence to their heart’s content, even once the performers have left the stage.

Other notable features include d3’s cue list, which have been completely revamped, allowing users to trigger any cue in any track, and edit cues within the cue editor without having to jump to the track.

Under the hood, d3’s networking system has been completely rewritten, making it faster, more reliable, and better-behaved over wireless networks. Users can run wireless editors without having to set up dedicated wireless routers.

Lighting Console integration has also been significantly improved with the addition of CITP. Thumbnails can now be transferred between d3 and Hog 4 and GrandMA2 Lighting Consoles enabling faster Sockpuppet sequencing. sACN has been added as an input and output source of DMX. The DMX device manager has been revamped to allow the configuration of thousands of DMX devices in the same project, and output can now be spread across multiple machines, resulting in near unlimited DMX output universes.

Lastly, support for OpenEXR still images, improved workflow for VFC setup, improved rendering performance across the board, increased support for dual GPU laptops, and hundreds of bug fixes and improvements were made based on feedback from d3’s global network of users. r14 went through extensive in-house testing, and was released to a group of d3 beta testers for a to be put through its paces before being released to the public. Additionally it was put through final live environment testing by d3’s Ash Nehru and Andy Briggs, and d3 user Laura Frank at the recent VMA’s and Miss America.

Current d3 customers have automatic access to the r14 upgrade.

Download it now: download.d3technologies.com www.d3technologies.com

Christie Projectors Deliver Vibrant and Lifelike Visuals at DNA-Sharaku Musical Theater in Japan

Christie Boxer 4K30 and Roadster HD20K-J projectors display spectacular images around the stage of DNA-Sharaku musical theater, creating unique visual experience for the audience

NHK Enterprises commemorated its 30th anniversary by showcasing the musical theater titled “DNA-Sharaku” at the New National Theater in Tokyo, using four Christie Boxer 4K30 projectors and a Roadster HD20K-J projector. The vibrant and lifelike display of colors from the projectors offered a high level of visualization with a blend of human interplay, which beautifully melded technological innovation with traditional art form.

When you are the leader in visual projection, you have the solutions to meet the most challenging setting. From the smallest of meeting rooms to the most sophisticated virtual reality and simulation systems, Christie delivers the right visual solutions backed by the best in customer service.

So don’t hold back your vision. Christie will help you find the right visual solution for every possible and seemingly impossible location and application need.

www.christiedigital.com

USA ph: +1 714 236 8610 sales-us@christiedigital.com

CHINA-SHANGHAI ph: +86 21 6278 7708 ask-china@christiedigital.com

INDIA ph: +91 80 6708 9999 ask-india@christiedigital.com

KOREA ph: +82 2 702 1601 ask-korea@christiedigital.com

AUSTRALIA ph: +61 (0) 7 3624 4888 ask-australia@christiedigital.com

CHINA-BEIJING ph: +86 10 6561 0240 ask-china@christiedigital.com

JAPAN ph: +81 3 3599 7481 ask-japan@christiedigital.com

SINGAPORE ph: +65 6877 8737 ask-singapore@christiedigital.com

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Why Do Loudspeakers Need To Be Big? By Tim Hamilton

16-Box Proel Axiom line arrays at the Counties Fitness in New Zealand.

"There is no question that the new studio together with the Axiom line array has contributed to the continued growth of the Club," concludes Counties Fitness' Owner and General Manager Ian Wilson.

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common point of contention in many projects is the location and size of the loudspeakers. I’ve worked with many architects and owners over the years and in almost every project someone on the design team will ask me questions such as, “Why do the speakers have to be so big?” “Can they be put off in the corner?” “Can they be recessed behind the wall?” “How about putting them up in the 50’ peak of the sanctuary?” and “Can you make them pretty?” These and many similar questions are often voiced and the temptation sometimes is to give a short response or simply tell people, “no” and dictate that the speakers have to be in a certain place.

But I have found that investing some time in educating the team goes a long way toward getting a great solution. It takes some diplomacy and finesse to have a helpful and productive discussion with architects, owners, and design team members to lay out and explain why the

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location and size of speakers is important, and if you can effectively and accurately discuss the issues, the benefits are great.

An often overlooked part of system design is educating the client and the design team. So, early in the design process it needs to be established just how important the sound system is to the project.

A good designer has to make sure things have been explained to the critical stakeholders and that they understand the trade-offs and design choices – while also remembering that the audio system has to be a high priority for the client or it will not be prioritized in the space.

As much as it pains me to admit it, there are times when the sound system is not the most important thing in the room.

In these situations, the designer may have some flexibility in the size, format, and location of speakers. But many sound systems are crucial to the success of the project (if it’s important enough to reinforce with loudspeakers, it’s important for them to work well!).

With these types of systems it pays to be able to defend the design.

The problem is that most people on the design team don’t think the sound system is that important – until it doesn’t work in the space.

Then it can become a big and expensive problem to try and fix and suddenly everyone else gets amnesia about the earlier conversations they had about the speakers looking nice and pretty!

So, how can we go about having these important conversations before there’s an issue? Let’s first assume we are working on a project where the sound system is “crucial” (i.e., a large church, auditorium, or other venue). The space is intended to be “nice” and you’re running into issues with aesthetics and the speakers. Someone is pushing back on the loudspeaker system design and wants the speakers smaller, or put in a less optimal location. Where do we start in explaining the design?

First, we need to talk about location. Sound should come from where the action is. It sounds more natural and the human brain doesn’t have to work as hard to make sense of things if the eyes can see the

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EV horn loaded and front loaded loudspeakers at the Nimibutr stadium in Bangkok that has a seating capacity of 5600.

sound source (loudspeaker) and the “action” (the talker or performer generating the sound). The loudspeakers need to be low enough in the space for people in the front rows to see them in their vertical peripheral vision.

A good rule of thumb for figuring this out is to sit in the front row, look at the source, and note if you can see the loudspeaker in your vertical peripheral vision. You can do this in the actual room if it’s already constructed, or you can do this in a model (EASE, SketchUp, Revit, etc.). If the loudspeakers are too high in the room, it starts to sound like a disembodied voice (or the “Voice of God”). You may still be able to hear the loudspeaker, but it takes more effort for the listener to follow along. Since our ultimate goal is clear and concise communication, anything that impedes this goal should be avoided. If the loudspeakers have to be pushed higher they can be supplemented with stage fill speakers, but many designers may consider this a compromise or coordination headache.

Second, we need to talk about size. Small speakers may be fine in small places, but bigger speakers are probably needed in big places (not just higher SPL, but also physical size). Honestly, there are many rooms that can be serviced by a simple 2-way speaker cabinet (or

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What many people outside the audio industry don’t fully understand is that the size of the horn directly influences the frequencies that can be controlled. several cabinets) with a 1.5” driver attached to a small horn combined with a 12” or 15” woofer.

But more complex rooms may require a loudspeaker with more size (longer throw to the back, highly reverberant, low ceilings, or other challenges). Here we’re not just talking about a bigger cabinet. We also need to get more control (or higher directivity or Q) – but a higher directivity device generally means that we make a trade off to a bigger device.

So, what provides control? The two basic ways to guide sound from loudspeakers are horns and stacking multiple drivers together.

Horns are pretty well known – anyone who has used a megaphone understands the basic principle that a horn has the ability to direct sound in a certain direction.

What many people outside the audio industry don’t fully understand is that the size of the horn directly influences the frequencies that can be controlled. A small horn can only effectively direct much higher frequencies, but a larger horn has the potential to direct frequencies much lower in the audio spectrum. The “magic” in loudspeaker designs is to figure out how to best mate the driver to the horn and then design the size and shape of the horn to best reproduce the audio.

Our purpose here is to help stakeholders understand that bigger horns offer the possibility of controlling sound at lower frequencies. The “price” of that control is that bigger loudspeakers will have a larger aesthetic impact and bigger loudspeakers may also be more expensive.

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The other main method for controlling sound is stacking multiple drivers next to each other. Many loudspeakers that we would define as “line arrays” or “column arrays” use this method to provide control — typically in the vertical plane.

For a “line array,” typically the horizontal control is defined by the horn angles in the box (or the radiation pattern of the drivers) and the real effectiveness of the array is in the vertical control. The vertical control happens by the interactions and spacing between the drivers. The more drivers placed next to each other, the more the radiation pattern “collapses” and starts to narrow in the plane in which the drivers are placed.

If you stack them vertically you get a narrowing of the projected sound in the vertical plane. How much vertical control the array is capable of providing is defined by the height, and the longer the array of drivers, the lower the frequency that can be effectively controlled.

At the same time this can produce unwanted anomalies in some of the higher frequencies in the side lobes of the horizontal coverage pattern.

The “magic” of the line array design is take multiple drivers and multiple types of drivers and have the final product sound great.

But the point is that the more vertical size in the array, the more control it is potentially capable of delivering. Assuming that the speakers are well designed and are using physics effectively, a loudspeaker with a larger horn or a longer array of stacked drivers will control lower frequencies better.

Of course, that doesn’t necessarily mean that it will sound better. It just means it has the potential to control better. You still need to use your ears to make sure it sounds good!

The goal in all of this is to provide a sound system that makes the client (the person or group who is writing the check) happy. If every client understood how sound works in these complex devices it would be fairly easy to convince them what type of loudspeaker would be best.

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For most projects and designs it tends to be a compromise of location, size, aesthetics, price, and performance that dictate what loudspeakers are ultimately used. Most clients don’t understand these complexities, so the system designer has to have enough knowledge of what the client is trying to achieve and also have the expertise and knowledge to explain things well enough so that the client and design team can work together to accurately assess how the loudspeaker will perform in the room, not just how it looks.

This article was first published on SynAudCon and adapted with the author’s permission. www.prosoundtraining.com

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AUSTRALIA

The Art House Wyong Already Creating An Impact

The P.A. People provide audio and lighting solutions for keynote venue

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he Art House Wyong is a new, much needed fly-tower equipped performing arts venue in the heart of the NSW Central Coast.

Having just opened in May 2016, the centre is already a success, boasting a 500 seat proscenium arch Theatre and a flexible 130 seat ‘Studio’ space, suitable for emerging artists or digitally linked to the Theatre as an orchestra room. Amazingly, this beautiful venue was 100% council funded, and brought in at a cost just below $14 million, an incredible return on investment that has not only hosted productions by beloved local companies, but is already attracting Australia’s finest touring acts.

Sydney’s The P.A. People installed the heart of the Art Houses’ technical systems; the equipment that makes the everyday use of the venue possible and viable. Along the way, they helped ensure that the equipment was industry standard, fit-for-purpose and made the venue as attractive as possible for touring performing arts companies and local groups alike, for years to come.

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“It’s great to see local councils building theatres,” said architect Tim Greer of Tonkin Zulaikha Greer Architects. “They’re very difficult buildings to deliver, with their multiple stakeholders. Wyong, with their limited resources, now have a great asset. Not everyone in the community agrees that there should be a substantial amount of money committed to the performing arts, but Council has a responsibility to build projects in all areas, whether its sport, arts or public spaces.

They have to manage constrained budgets. It’s terrific they’ve delivered this. There’s a strong culture of theatre and performance groups within the local government area of Wyong who have agitated for this venue for a very long time, and it’s good they’ve got such a great facility.”

“The P.A. People are fantastic,” said Simon Austin of theatre engineering consultancy Schuler Shook. “There’s not a lot of companies in the market that can handle fitting out performing arts centres with high-end audio and high-end stage lighting. The P.A. People are pros, there’s no question.”

Adding to Austin’s comment is Simon Koenig, Technical Manager, The Art House Wyong, “The P.A. People are very knowledgeable.

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They walked the council through the process and as we changed and updated a lot of the specified equipment throughout the project, The P.A. People were prompt with re-quotes and keeping council up-to-date.”

“As a result, the council got amazing value for a regional theatre, and the community is now enjoying a very professional space, “he continued. “We didn’t have to sacrifice on the technical aspects, and we installed industry standard equipment. The lighting and sound equipment we use every day isn’t where the cost savings were made.

The equipment that makes the venue run is where the quality is, so the shows don’t suffer.”

Gear List The Theatre’s PA is a JBL VRX 900 Series system, with four elements each of VRX932LA-1 at left, centre and right. Two VRX918S subwoofers are flown above centre. Front fill is provided by seven JBL AC18/26s. The rig is powered and processed by a combination of Crown DCi 4 and DCi 8 amplifiers. Further processing for the Back-of-House system is courtesy of a BSS BLU-100, also connected to the Dante network. The Studio’s PA is a flexible system of JBL EON615s and 610s that can be flown or tripod mounted as required. The house mic kit is a mixture of wired and wireless models from Shure.

Mixing desks are Yamaha digital on a Dante backbone, with a QL5 for large shows in the theatre, and a smaller TF1 for the Studio, or smaller, single operator shows. A Yamaha Rio3224-D sits at the

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Theatre’s prompt side, a Rio1608-D at opposite prompt. A second Rio1608-D is sleeved and can be deployed anywhere on the Dante network as needed. An eight-in Ri8-D and an eight-out Ro8-D are mounted in the bio box for local I/O. Dante sits on a separate switch from the building’s IT network, with the Primary and Redundant connections run on separate V-LANs. There are 24 dedicated Dante patch points throughout the building.

The stage management console is a custom P.A .People build, and houses a Jands EZICOM 401 master station, a Leon Audio QLM16 MK4 cue light master station, Shure mic and a dual 8” LCD video monitor.

Comms headsets are from beyerdynamic, and Back-of-House area paging is through a combination of JBL and TOA ceiling and surfacemount loudspeakers.

Theatre lighting control is from an industry standard ETC Gio, while the Studio is run from a smaller ETC Element 40. The system is built around 20 Jands HPC12 digital dimmers, which control a predominantly LED rig built around ETC Source 4 LED models and Selecon Rama LED Fresnels, flown from Jands JLX-Pro lighting bars.

Cyclorama wash is provided from seven Chroma-Q Color Force CF72 LED battens.

The P.A. People also installed Jands curtain tracks in the Studio, 11 LED displays and three cameras for digital signage and performance relay throughout the building and the video infrastructure to support it, including HD-SDI links between the Studio to the Theatre to enable the Studio to be used as an orchestra room. www.papeople.com.au

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INDIA

Dev Electronics Pushes Up The ‘Power’ At BAR-BAR In Mumbai & Pune

Wincomm integrates Alcorn McBridge solutions for Show Control, A/V and Lighting

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ar Bar is the new rage in Mumbai and Pune where the ‘youth’ of all ages congregate over the weekend (and weekdays too!) for amazing deals on food and drinks, and to party the night away to some awesome dance music. It’s got style, it’s got energy, and yes, it’s got spirit! – Lots of Spirit (s)! In fact, the more you drink, the less you pay.

Located in the confines of the iconic Phoenix Marketcity mall – in Pune as well as in Mumbai, this property has been started by the same hospitality chain that runs iconic places like Shisuan House and 212 All Day Cafe & Bar. And what truly works for the venue at both cities is its unique business model - the bill gets cheaper as the number of drinks increase!

And in addition to the overabundance of amazing spirits and delectable food, the much loved ambience that Bar Bar adorns across Mumbai and Pune, is further enhanced by an awesome music schedule – programmed

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by none other than the supremely talented Bollywood Mix King DJ Akhtar himself.

A representative of the Bar Bar management shares a few insights about the response that they’ve had from the audience to their gig programming, saying, “It’s been very positive and encouraging so far.

People have supported the gigs whole-heartedly by enthusiastically attending in numbers. We’ve also received a great deal of positive feedback regarding the music, and have implemented this to further enhance future programming prospects. Another aspect that our patrons absolutely love is the way the place sounds – through experience we know how crucial it is to have a good audio system in place that can ably support and reproduce great quality music. And to ensure that this aspect was covered thoroughly was always a priority for us. So it’s really a shot in the arm when our patrons commend Bar Bar for being a venue that sounds every bit as good as it looks.”

With the management commending the aural appeal to be every bit as great as the visual appeal of the venue, further probing into the site reveals that the venue is laced with a comprehensive audio system from powerhouse pro audio manufacturer ‘PowerX’ – a brand that has emerged as the next big thing in the pro audio circuit in India.

The powerful and efficient audio system at Bar Bar in Mumbai as well as Pune has been designed and commissioned by the team from Dev Electronics – the comprehensive pro audio solutions provider from Mumbai. After carrying out an extensive research and detailed analysis of the space, the Dev Electronics team, lead by Ketan Shetty, devised an impeccable audio solution for each of the venues, where in cabling and power solutions, placement of loudspeakers and most importantly the acoustical properties of each of the individual venues were taken into consideration while designing the PA. The main PA at the Mumbai venue consists of eight units of the PowerX PF10 mkII two way compact loudspeaker along with two units of the PowerX 118S subwoofer. The entire system is powered using amplification from PowerX with the Pro3000 and Pro4000 power

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amplifiers in active use. And a single unit of the dbx260 loudspeaker management processor is used for all routing and processing applications.

The main PA at the Pune venue consists of eight units of the PowerX PF10 two way compact loudspeaker along with two units of the PowerX 118S subwoofer. Two units of the PowerX PF8 two way compact loudspeaker also features in the VIP seating area. The entire system is powered using amplification from PowerX with the Pro3000 and Pro4000 power amplifiers in active use. And a single unit of the dbx260 loudspeaker management processor is used for all routing and processing applications.

Not to forget, the DJ booth is loaded with goodies for the people who make the audience dance to their tunes, as this section features gear from Pioneer including DJM 900 NXS2 mixers and CDJ 2000 NXS2 players to delight.

Talking to the installation team about the challenges encountered during the project, they mention that one of the main work-around was the low ceiling of the indoor section. The placement of the loudspeakers and the flying points had to be done in an innovative manner so as to ensure that the lights and decorative fixtures would not obstruct the projection path of any loudspeaker. Ketan and team also suggested appropriate placements for the subwoofers too, so that all the energy would be focused on the dance floor and there would be no low-frequency cancellations. Plus, with the help of the Dbx260, the installation team provided a novel way of controlling the audio level and maintaining optimum audio performance at all times.

The management are quick to compliment the installation team on a job well done as they mention, “The pro audio system designed and integrated by Dev Electronics has improved the overall ambience of the venue to a great extent – be it in Pune or in Mumbai. The owners are extremely happy with the overall sound quality as well as with the look and placement of the loudspeakers. The entire setup looks neat and attractive, and the performance is absolutely spot on! All in all,

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Bar Bar truly is one of the best sounding places in the city – be it Pune or Mumbai!”

Audio System at BarBar Pune PowerX PF10 compact two way loudspeaker – 8 PowerX PF8 compact two way loudspeaker – 2 PowerX 118S subwoofer– 1 PowerX Pro4000 power amplifier PowerX Pro3000 power amplifier Dbx260 loudspeaker processing unit – 1 Pioneer XDJ R1 all in one controller

Audio System at BarBar Mumbai PowerX PF10 mkII compact two way loudspeaker – 8 PowerX 118S subwoofer – 2 PowerX Pro4000 power amplifier PowerX Pro6000 power amplifier Dbx260 Loudspeaker processing unit – 1 Pioneer CDJ2000 Nns2 players Pioneer DJM900 Nxs2 mixer www.develectronics.com

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INDONESIA

5-star Sound System For Rockstar Gym

EV loudspeakers offer high level of intelligibility and music reproduction

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ockstar Gym is a one-stop, children and teen total development centre designed to enhance physical, socio-emotional and cognitive skills. The state-of-the-art facility offers a variety of classes such as Dance, Gymnastics, Yoga, Martial Arts and fun fit sports programs in swimming, tennis, basketball and futsal for children from 6 months to 16 years. With the headquarters based in central Jakarta, Rockstar Gym has a total of 9 branches all over Jakarta. It is one of the fastest growing Kids & Teens Gyms in Indonesia since it opened for business in March 2011.

Rockstar Gym has always demanded a good sound system in all their outlets to provide a wonderful atmosphere for their members with excellent performance both when it comes to distribution of music and announcements to address their audience on the class schedule and safety procedures in case of emergency.

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Rockstar’s management team consulted PT. Sinergi Anugrah Mandiri and Y2C International to design, supply and install audio systems for their 2 new outlets located at Pluit Village mall and Cinere Bellevue XXI. The Pluit Village outlet is fitted with indoor fitness rooms while the Cinere Bellevue comes with additional facilities of a swimming area.

EV ZLX and EVID speaker models offering a high level of intelligibility and coverage in the sleek, compact enclosure were specified by the installers and were deployed in both outlets. The ZLX12P’s cover the gymnastics room in the studio, reception and the lounge area where the parents sit and relax while waiting for their kids in class and the EVID 6.2T designs with elliptical weather-resistant ABS enclosure to cover the rooftop pool surround areas.

Following the installation, the Rockstar Gym’s management is impressed with clear intelligibility and music reproduction of the proposed loudspeaker that addresses the audio needs of Rockstar’s fitness, lounge, pool and reception areas.

“The system price is reasonable compared to the loudspeakers of the same specification and it is very user-friendly. They provide very good customer support and after sales service,” commented Sam Kevin from PT. Sinergi Anugrah Mandiri. “I am very happy with the EV loudspeakers that are currently installed at the Pluit Village mall and Cinere Bellevue outlet.” www.boschsecurity.asia

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SOUTH KOREA

Christie Delivers Spectacular Visuals For “The Magic Flute” Christie Roadsters create visual impact for opera performance

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hristie projectors mesmerized audiences with a delightful visual spectacle during the enchanting fairy tale opera “The Magic Flute” (Die Zauberflöte) composed by Mozart, that played at the Seoul Arts Center (SAC) until September 27, 2016.

The performance stars world-class Korean singers such as Tenor Kim Woo-kyung (as Tamino), Baritone Kong Byung Woo (as Papageno), Soprano Chang Hae Ji (as Princess Pamina) and Bass Attila Jun (as Sarastro).

The amazing visuals have been made possible with four Christie Roadster WU20K-J 3DLP® projectors sponsored by Christie Korea and installed by Christie’s Korean partner IMTEC for this opera performance. Two units have been deployed for rear screen projection while the other two projectors are used for projections on the front stage structure/ front curtain, and on the stage floor.

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The results are bright, colourful and lifelike visuals that enhanced the overall quality of the 160-minute performance and heightened the audience’s enjoyment of this classic opera. Lively and flamboyant Photo credit: © Seoul Arts Center _ images displayed in the “garden” OPERA Die Zauberflote 2016 scenes, as well as visuals exhibiting outstanding detail and contrast in the darker “Temple” scenes help to immerse audiences into the story about Prince Tamino’s quest to rescue Pamina from the evil clutches of high priest Sarastro.

“We have been very encouraged by the overwhelming and positive response during last year’s show, and are pleased to return to the SAC for another run of ‘The Magic Flute’ that showcases remarkable visuals

by Christie’s advanced projection technology,” said Min-Don Joo, Director, IMTEC. “The Roadster WU20K-J projectors have delivered exciting visuals that not only brought the various scenes to life, they also enabled audiences to better appreciate the opera performance. It is a wonderful combination of art and technology.”

The opera played to enthusiastic crowds since its opening on 16th September, with families flocking to the theater to experience Mozart’s whimsical and imaginative tale of good versus evil. It was performed bilingually with the singers reading their lines in Korean and singing the songs in German, so that children could better appreciate and understand the production.

Henry Khang, General Manager, Christie Korea, commented, “We are thrilled that audiences are captivated by the visuals displayed by our Roadster WU20K-J projectors. I would like to thank our partner IMTEC for a job well done, and would encourage more theater owners and performing arts groups to employ projection technology as a means to explore new possibilities and enhance audiences’ enjoyment of stage performances.” www.christiedigital.com

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SINGAPORE

Ultra Music Festival Makes A Rocking Debut

Collaborative effort by D8 and UAV helps make the event memorable

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o, it finally arrived after teaser events like last year’s Road To Ultra showcase. Singapore became the latest destination for the Ultra Music Festival which is considered one of the largest dance spectaculars in the world. The inaugural EDM festival was held on, if I may say virgin grounds – a 30,000sqm open field space just beside the iconic Marina Bay Sands.

Some of the world’s top DJs rocked what is estimated to be a crowd of about 40,000 over the two days event that was held on the weekend of 10 and 11 September. Upfront there were issues but thankfully the organisers managed to resolve them quickly for a much happier experience on the second day of the event. One issue that was beyond the control was the heavy downpour in the morning of the first day event that made it a soggy, muddy experience for the ravers. Long queues on the first day from entry to food and drinks was another blemish. On the technical side, unfortunately the monumental giant

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U structure in the main stage failed to work on day one. Thankfully it was resolved and the impact it had on day two was clearly visible. This things happen but what is great is that the producers and technical team managed to resolve it. The next time round, we are sure all these details will be sorted out well in advance.

The 30,000sqm space had three stages – one main stage and two smaller stages. The main stage stretched 84m long and showcased all the main EDM acts, whereas the Resistance stage had more underground and techno styled sets played and the Live stage represented different genre of pop music.

In all 47 Artistes rocked the two day event, which by the way was the first full Ultra edition in South-East Asia and the 10th edition worldwide.

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A Collaborative Effort The main contractor for the Ultra Music Festival was Digital Eight Pte Ltd better known as D8 and who was also specifically responsible for the total production of Main Stage.

They were ably supported by UAV. UAV was responsible for the Live Stage structure and VIP Area, including all local correspondences with local Authorities such as drawing, PE and the Marina Bay Sands MICE team took on Audio Visual support for the Resistance and Live Stage areas.

In addition, D8 had to work closely with Ray Steinman the stage designer for Ultra for the main stage. “There were of course as expected changes to the design and at the end we included more LEDs and lights to keep as close as possible to the look and feel of Ultra festivals around the globe,” said Henry of D8.

“The main challenge for us was communication with Miami due to the massive time difference. But the team was very professional. The weather was also another factor that played a massive role. We had unexpected wind and rain conditions during set up and on show days.

Structural safety was our main priority. But we were certain on the integrity of the structure.”

Adds Ruben of UAV, “This venue has never been utilised for such a massive Festival with Audio Visual. The event space with unpredictable weather conditions gave us a very challenging period.

Wind factor was tremendous and we had to take many precautions to ensure the safety of all our structure and set-up. Also we should not underestimate the paperwork. Proper paperwork had to be done prior to the event which gave us many sleepless nights in terms of

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GrandMA lighting console

calculations and endorsements from Relevant Authorities in Singapore which were handled by myself and my colleague Feroz. In this, the main event co-ordinators PICO lent us great support with their vast experience and knowledge. The managers on ground Paul and Mark made sure we had all the necessary information and tools needed to build this massive structure from ground Zero.”

All three stages were concurrently utilised but as the space was large, and the stages set fairly wide apart, audio cross-over was not an issue and the revellers could enjoy the performance at each stage without distraction.

Make Some Noise “Ultra has a very high standard for their production. L’Acoustics was their main choice for sound,” said Henry.

Adds Ruben, “Ultra being a International Brand, we had a design and rider to follow passed down from the main producers in Miami USA. The K2 Audio System was passed by the Organizers and D8 team designed a suitable system for this event.

The make up for the main stage audio included 42 units of L’Acoustics K2 for long throw coverage with 20 units of K1SB Subwoofers supported with 40 units of SB28 Subwoofers, provided the right

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80 amount of oomph for the festival. 12 units of L’Acoustics Kudos were deployed as Front Fills. 4 units of Kara per side with 4 SB18 subs were used for DJ monitors. All the speakers were powered by L’Acoustics LA8 amplifiers providing enough power to hit the right spot for the crowd.

The audio design and mixing for the festival was handled by D8’s very own sound system engineer, Raj. “As most of the acts in the main stage were playing similar styled music, there were no real challenges in the mixing front,” said Raj. The console of choice used for both the FOH and Monitor Mix was AVID Profile from DigiDesign.

Pioneer came in to assist as sponsors and together with D8’s exisiting DJ equipment, the DJs were well supported with their respective requirements. Interestingly two well-known DJs, DJ T-Bone from Malaysia and DJ Deepak from Singapore were roped in for the main stage to help co-ordinate with the main acts for a smooth flow. Hmmm...I suppose they speak the same DJ lingo.

Was Audio spillover an issue?

Considering that this event was being held next to a hotel there would have been as expected

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concern over audio spillage and dB levels.

Henry comments, “Yes there were strict regulations on sound levels, but we created very detailed sound vision files so that we would not affect the quality at the site but at the same time not disturb the guests in MBS.”

Visual Impact Especially in an EDM festival, all three elements – sound, light and visual play an important role in enveloping the audience into the ambience and thus not surprisingly 1580 LED panels were used for the main stage. “We supplied 600sqm LEDs of 5.2mm pixel pitch,” highlighted Henry.

“To complement the audio, we also ensured that we only provided top brand lighting fixtures. In this case our lighting fixtures were from Clay Paky and Robe. We used 42 units of Clay Paky Alpha Spot 1500, 64 units of Sharpy, 24 units of B-EYE K20 with 16 units of Robe BMFL Wash beams and 40 units of Robe Spikie. Also supporting the lighting cast was 64 units of atomic strobes and 64 units of sunstrip active LEDs.”

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Henry highlights that the B-EYE K20 and the Robe BMFL was rigged at the main structure with the rest of the lighting fixtures placed on the left/right side of the layer system.

Lighting console of choice was the Grand MA2 full size with an exception for the above&beyond act that had requested for Chamsys mq100 pro with execute wing and playback wing.

“You can’t go wrong when you use quality lighting fixtures and they definitely helped with the whole ambience with the intense and bright colours. Considering that the lights had to fight with the LEDs, we had to be sure that all the elements worked well together and I am pleased that we achieved that,” said Henry.

Kudos To All It took a team effort to pull of South-East Asia’s first Ultra Music Festival. Yes there was a little hiccup with the LED on the first day but any company worth their salt will quickly work to resolve it and that is exactly what the entire team did. www.d8projects.com www.uav.com.sg All photo credit: Ashok Kumar

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CHINA

Shure Amps Up China’s First EDM Reality Show “Heroes of Remix” Axient wireless system a perfect fit for complex environment

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hure, partnered with China’s first Electronic Dance Music (EDM) television show “Heroes of Remix” to provide performers and audiences an experience of top-notch acoustics and unparalleledaudio fidelity. The highly popular music television show is currently aired on Jiangsu TV and is judged by four talented musicians from Asia - Leehom Wang, Phoenix Legend, Harlem Yu and Psy. As China’s first EDM show, the requirement for wireless systems with extremely efficient and reliable RF performance is high because the wireless systems are widely used by not only the singers, but also the judges, MCs and the band members. Shure worked with one of China’s top sound engineer, He Biao, on the show to deliver superb audio quality. Shure’s flagship wireless system Axient Wireless Management Network, as well as UHF-R Wireless Systems and ULX-DTM Digital Wireless Systems were implemented with a total of 64 channels to ensure the topmost standards of audio quality was upheld within the studio and for television viewers.

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Axient wireless system was developed for complex wireless environments like “Heroes of Remix”. The system features highly advanced planning and control capabilities that are able to preemptively respond to different spectrum management needs. Axient’s efficient use of the available RF spectrum allows for seamless and uninterrupted audio transmission throughout the show. The AXT600 Axient Spectrum Manager was used during rehearsals to detect possible interferences, and could precisely calculate the information necessary for the optimal allocation of available frequencies to all wireless channels. The entire wireless system was further completed with the Shure UHF-R and the ULX-D wireless systems, as well as two pairs of UA874 active directional antennas for improved signal reception.

Offering a series of high-end features including live frequency scans, the Shure Wireless Workbench 6 software was also used for all channels in order to systemically manage and monitor available frequencies and backup frequencies to provide reliable audio transmission.

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In addition, various Shure microphones including KSM8, KSM9/ KSM9HS, Beta58A and WL50 lavalier, were used to carry each performer’s voice with distinct clarity. The world’s first dual-diaphragm handheld dynamic microphone, KSM8, can adapt to a changing studio environment and meet the vigorous requirements of live performance with unprecedented clarity. The top-of-the line KSM9 and KSM9HS wireless condenser microphones are able to capture vocal subtlety with extraordinary detail for live performances. Visually unobtrusive, the WL50 lavalier microphones are ideal for singers who have to perform live and dance. The Shure microphones provide excellent stability and flexibility for sound engineers to pair with different performance styles.

“Heroes of Remix” has taken China by storm since its debut in summer. Shure is proud to have worked with the show’s audio team to bring cutting edge sound technology and audio fidelity to viewers across China. www.shure.com/asia

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TAIWAN

MLA Moves Over 500,000 Taiwanese At The Beach Weather elements handled easily by MLA

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ne of the most popular open-air music events, Hohaiyan Rock Festival recently took place at Fulong Beach, Taipei, Taiwan.

The event began in 2000, and is annually organised by the city government. This year, MSI Japan Taiwan operated for the first time with Martin Audio’s flagship MLA loudspeaker array, giving the system its open-air debut in Taiwan (having previously been used by MSI Japan Taiwan indoors).

Many of Taipei’s most popular artists performed at the beach side location, which is an attractive site for the audience. And for the sound system, the engineering team needed to make a special effort. The main hangs comprised 19 MLA and a MLD Downfill on each side, and side fills were formed of six MLA elements and two MLD. Six MLX subs were flown and three groundstacked MLX in a cardioid pattern were staggered in three positions on each side of the stage, making a total of 18 cabinets.

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Mr. Watanabe from MSI Japan Taiwan, who operated the event, commented: “First of all, we had to set the speakers at the lowest level we could, to prevent the sea wind. Though temperature was variable, between daytime and after sunset, we needed to set the parameters to keep MLA’s performance sustainable — and thanks to its adaptive properties, there was no effect from the weather at all.”

“We arranged the audience area 200m from main stage, but the organisers also requested that the entrance gate, which is located 400m from the stage, also needed sound coverage. It was a simple and easy mission for MLA, but we were concerned that the sound would spill onto the second stage, and might interfere with the show.

So, we set a ‘hard avoid’ [preset in DISPLAY software] and solved the problem immediately.”

Mr. Watanabe added that at first, the local crew was concerned with the idea of designing the sound system without a delay tower. “But once it was set up they were really surprised by the high performance, and also the effectiveness of the hard-avoid settings.

“The festival resulted in a grand success, and MLA is already being spoken about for next year’s event.” www.martin-audio.com

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MALAYSIA

Good Vibes Festival 2016 With Digital Aid

Good Vibes 2016 had every element to make it a successful event

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tanding in the middle of a wide open area; lush greens filled our vision, weather that soothes our skin and the infinite amount of fresh air going through our lungs. There was nothing more we could ask for as city dwellers. We definitely felt the good vibes in the area along with the music played by the musicians throughout the event. It’s the time of the year again when Future Sound Asia organized one of the most anticipated music event. Held on 12th and 13th August 2016, Good Vibes Festival 2016 kicked off with a blast at Batang Kali, Genting Highlands. Living up to its name “Good Vibes” the event was designed and planned to provide music that emits positive and good vibes for its audience. We asked the audience to describe the event to us, “It’s an enjoyable event, it brings us away from the mundane lifestyle we have,” commented one of them. Others described it as a place to meet new people with the same interest and a place to enjoy great music and company.

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Situated beside Genting Sky Bridge, with the ease of access, plentiful of parking space and wide open area, it was certainly a venue that was planned strategically. Additionally, with Future Sound Asia offering tickets that includes accommodation, the event was definitely a hit, attracting audience from all over the world. Aside from the row of canopy stalls selling merchandize and beverages, one will certainly notice the two magnificent stages prepared for the festival. With such a huge festival event it was only logical to appoint an audio visual rental company that could pick up the challenge and handle the task confidently, that’s where Digital Aid, better known as D8 fits nicely.

Future Sound Asia appointed D8 as the audio visual coordinator for Good Vibes 2016. With a history of working together in past events that were held in Sepang International Circuits (SIC), D8 took the challenge in providing the best audio visual equipment for the festival.

“It was definitely a major project for us and we wanted to create an atmosphere that was extraordinary. We took some of our best equipment such as the Clay Paky lighting fixture and L-Acoustic speakers for the event,” commented Amin, D8’s Technical Director.

“We wanted to create an atmosphere and memory that would be engraved into the audience minds. Weeks of planning were initiated

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for us to finalize our equipment list and layout plan for the stage,” continued Amin. Under the evening sky, the two magnificent stages were well lighted up with at least 134 lighting fixtures throughout the two festival days. Controlled and coordinated through the grandMA 2 and Chamsys MagicQ board, the Lighting Engineers showed world class lighting display. “We called the left stage Red Stage while the right stage as Blue Stage,” commented Amin. “It is important to keep the flow of the performance, with the two stages, artistes can rotate between stages,” continued Amin conversing how the organizers planned the event. A total of 61 lighting fixtures were installed on the Red Stage. For the fixture at the top of the stage there were 6 units of Clay Paky Alpha Wash 1500, 14 units Clay Paky Alpha Spot HPE 1500, 10 units of Clay Paky ALEDA B-Eye K20 and 15 units of Atomic 3000. As for the floor fixture D8 used 12 units of Clay Paky ALEDA B-Eye K20 and 4 units of Atomic 3000. As for the Blue Stage, there were a total of 72 lighting fixtures installed.

There was a total of 12 units of PR XLED 1037, 16 units of Clay Paky Sharpy Standard, 12 units of Robin 100 LED Beam and 6 units of Clay Paky Alpha Wash 1500 for Blue Stage flown fixture.

Additionally, D8 used 5 units of Clay Paky Alpha Spot HPE 1500, 7 units of PR XLED 1037 and 7 units of Atomic 3000 for the floor fixture. “We also used 7 units of LED Wall each 12 ft in height

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and 4 ft in width specifically for the band Two Door Cinema Club that performed on the first day,” added Amin. “The process of mounting these lights over the truss systems, can be considered one of the challenges we faced.

Nevertheless we manage to mount these durable lighting fixtures up to the truss systems on time,” commented Amin.

Aside from the fantastic and dazzling lighting performance, it was highly noticeable that the main speakers used in the festival event were none other than L-Acoustic speakers, known for its professional standards and quality. At least 100 or more speakers rocked the area as the subs vibrated the surroundings. A total of three line array speaker tower were constructed for the festival. Each tower consists of 2 units of L-Acoustic K1 Sub and 12 units of L-Acoustic K2. Additionally, the front field of the stage was equipped with 27 units of L-Acoustic SB28 and 4 units of L-Acoustic Kudo. “One of the most vital point in creating a line array system, is the angle it is able to cover.

We decided to go with 12 units of K2 and 2 units of K1 Sub as it was more than enough to throw the sound across the space,” commented one of D8’s crew. As for each stage there were 4 units of L-Acoustic Kudo and 4 units of L-Acoustic SB28. “Specifically for the DJ performance on stage 1 we used a total of 6 units of L-Acoustic Kara and 2 L-Acoustic SB28,” mentioned by one of the sound crew.

As for the speaker drivers D8 utilized the functions of L-Acoustic LA8.

Quality equipment, well executed plans, awesome crowd, bountiful food & beverage and an amazing line up of artistes were the key elements for a successful event. Good Vibes 2016 had every element

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to make it a successful event. With international and local bands performing throughout the two days, audience were able to experience live performance from their favourite bands such as Ta-Ku, Disclosure, The 1975, Two Door Cinema Club, Tokyo Police Club, Purity Ring, Mark Ronson, Enterprice, Kyoto Protocol, Jumero, Mutesite, Froya, Alina Baraz, Angus & Julia Stone, Ryan Hemsworth, Toko Kilat, Sevencollar T-Shirt, Juno & Hanna, The Fridays and lastly The Temper Trap. If that wasn’t enough, Good Vibes 2016 also invited various DJs to perform in their Electric Field canopy for audience who wanted a little electro and techno action. Overall, there was much fun and chill. The audience awaits for more awesome events that Future Sound Asia has in store. http://futuresoundasia.com/ http://d8projects.com/ http://www.acousticlighting.com/

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EVENTS LISTING 2016

Oct 26 - 29 Prolight + Sound Shanghai 2016 Venue: Shanghai New International Expo Centre, Shanghai China Site: www.prolightsoundshanghai.com

Dec 06 -08 InfoComm Middle East and Africa Venue: Dubai World Trade Centre, Dubai Site: www.infocomm-mea.com

Oct 31 – Nov 02 Prolight + Sound Middle East Venue: Dubai International Convention & Exhibition Centre, Dubai Site: www.prolightsoundme.com

2017

Jan 19 - 22

Feb 22 – 25

NAMM Show 2017 Venue: Anaheim Convention Centre, Anaheim, USA Site: www.namm.org/exhibit/ WN17

Prolight + Sound Guangzhou 2017 Venue: Area A, China Import & Export Fair Complex, Guangzhou, China Site: prolight-sound-guangzhou. hk.messefrankfurt.com/ guangzhou/en/visitors/welcome. html

Feb 07 – 10 Integrated Systems Europe 2017 Venue: Amsterdam Rai, Amsterdam, Netherlands Site: www.iseurope.org

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Feb 27 – Mar 02

Apr 22 – 27

Guangzhou Entertainment Technology (GET) Show 2017 Venue: Poly World Trade Centre Expo, Guangzhou, China Site: www.getshow.com.cn

NAB Show 2017 Venue: Las Vegas Convention Center, NV, USA Site: www.nabshow.com

Mar 23 – 25 China Content Broadcasting Network (CCBN) Exhibition 2017 Venue: China International Exhibition Center, Beijing, China Site: www.ccbn.tv/EN/

Apr 04 – 07 Prolight + Sound Frankfurt 2017 Venue: Frankfurt am Main Site: pls.messefrankfurt. com/frankfurt/en/aussteller/ willkommen.html?nc

Apr 12 – 14 InfoComm China (IFC) 2017 Venue: China National Convention Center (CNCC) Site: www.infocomm-china. com/en/

May 11 – 13 LED Expo Thailand Venue: Hall 5-8, IMPACT Exhibition and Convention Center, Bangkok, Thailand Site: www.ledexpothailand.com

May 23 – 25 BroadcastAsia 2017 Venue: Suntec, Singapore Site: www.broadcast-asia.com

May 23 – 25 CommunicAsia 2017 Venue: Marina Bay Sands, Singapore Site: www.communicasia.com

Jun 01 – 03 PALM Expo India 2017 Venue: Bombay Exhibition Center, Goregaon East, Mumbai, India Site: www.palmexpo.in