ETA Mobile 2016 11

2016

NOVEMBER

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What are the Differences Between Analog and Digital Interfaces?

PROJECTS: ReWill At The Helm Of Municipal Corporation Auditorium LIVE: Show Technology Wins At The NRL Grand Final

NEWS: Powersoft Sponsors New PAcalculate App

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89 04 FIRST WORDS 07 NEWS 51 VIDEO FILES 53 ENNOVATIONS TECH TALK 73 What Are The Differences Between Analog And Digital Interfaces?

PROJECTS 86 INDIA: ReWill At The Helm Of Municipal Corporation Auditorium

LIVE 89 AUSTRALIA: Show Technology Wins At The NRL Grand Final 94 INDIA: PR Lighting Puts Hardwell Centre Stage In New Delhi 96 MALAYSIA: ASPC Illuminates Stadium Negara With Clay Paky 99 MALAYSIA: Arkaos Employed For Shell 125year Anniversary Gala Dinner 101 EVENTS LISTING

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Rumours have been flying around about further possible consolidation in relation to brands. I have heard that there are two renowned audio brands looking for partners. Will it be a buy-out or investment and who will purchase them or will it be a wait and see situation – well as of the time of writing this, nothing concrete has happened.

I was just surprised by the names that have been thrown around as they are solid brands. Having said that I am also confident that possible investors or buyers will see really good value for the brands. Well all we can do is wait and see what happens.

My only concern is if this is really good for the industry? What keeps technology ticking are brilliant R&D personnel who are passionate about what they do and of course the thrill of gaining that competitive edge is what drives everyone. Will that be lost as more companies consolidate?

Talking about brilliant personnel, some times the simple things implemented bring about huge benefit. My recent visit to a rental & staging company in Singapore showcased their brilliance albeit in a different scale. The owner highlighted to me about how his flight cases have been modified to have little windows. He said this helps them know that their equipment is in the flight case saving them time of opening up the flight case to check if all the equipment is in it before being sent off for an event. In this instance it was specific to lighting equipment. When you consider that normally there might be at least 100 fixtures going out, it makes so much sense to save time checking and it actually becomes more productive for the staff. There were other measures that he spoke about and I am sure there are many

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other companies who think likewise to make their life a little easier.

Hmm...I am hoping that I can get more companies to share their “inhouse� solutions so that everyone can benefit:) Do keep a lookout and hopefully we will be able to share more.

Thomas Richard Prakasam

Publisher/Editorial Director thomas@spinworkz.com To subscribe to Entertainment Technology Asia (ETA)click here:

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

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

JULIE TAN Admin & Circulation admin@spinworkz.com

JIMMY CHIN Design And Production jimmy@spinworkz.com

Michael Mitchell MEDIA REP IN NORTH AMERICA Broadcast Media International Tel: +1 631 673 0072 mjmitchell@broadcast-media.tv

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 ETA November 2016

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d3 Technologies Holds Open Day And Training In Singapore

Eugene Yeo with his welcome speech during the Open Day.

SINGAPORE: d3 Technologies held an Open Day on the 27th of September followed by a d3 Fundamental Training that was held on the 28th and 29th of September, at 72-13, a performance arts venue in Singapore. d3 Technologies following, usage and demand has been growing steadily in the region which had prompted the company to set up a d3 office in Hong Kong in July this year. This was followed quickly with the set-up of d3 Studios in Singapore, Hong Kong, China, and most recently Australia. As of 5th September, the company had also brought on board Kevin Li as APAC Technical Sales Manager based in the Hong Kong office.

Supporting d3’s ambitions in the South-East Asia region is Acoustic & Lighting System who have taken responsibility as a d3 Reseller for Singapore, Malaysia, Indonesia and Thailand.

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Fernando Kufer giving a brief about d3 Technologies to the guests during Open Day.

The Open Day, which was co-organised by Acoustic & Lighting System, was filled out with around sixty guests who either attended the morning or afternoon session. It was a mix crowd of users and interested parties mainly from rental & staging companies, educational institutions and freelance designers. The event provided d3 with the opportunity to showcase their impressive range of projects and to demonstrate an insight into what can be achieved, this included highlighting the improved features of the recently released r14 software. The afternoon session had an added bonus of a live demonstration using d3 software, together with their tracking system Blacktrax, to demonstrate the real time mapping and tracking on moving set pieces.

“We are very pleased with the turnout and interest shown,” said Fernando Kufer, General Manager of d3 Technologies. “Our objective is to create and build a community of d3 users in the APAC region that will enable sharing of expertise and experiences and this is a first step towards that.”

The Open Day was followed by d3 Fundamental Training, where users learnt how to use d3’s main features including: Timeline, Stage,

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The team from d3 Technologies and Acoustic & Lighting.

Output Feeds and Projection Mapping. Altogether 24 delegates attended the Fundamental Training. The training was conducted by Lawrence Loh and Malcolm Fooh of Acoustic & Lighting System on each day respectively, which interestingly was also used as a platform for d3 to validate and certify both of them as trainers. Both Loh and Fooh had gone for extensive training at d3’s offices in the UK where they went through Fundamental to Advance Training. However the Fundamental Training in Singapore allowed d3 to observe their training of users and validate them to conduct d3 Fundamental Training. “We are pleased that we now have validated trainers for our fundamental course in the region. This will certainly spur more interest and users in the region. You can expect a lot more from d3 including

d3 Fundamental Training

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Guests during the Open Day.

Edwin Tan and colleague from Aims Productions

smaller format solutions and other materials to help the community.

We are excited about our new developments and will share them with you once it is out,” said Kufer.

Eugene Yeo, General Manager of Acoustic & Lighting highlights, “When we came across d3 a few years back in an exhibition we were already impressed and knew that it would set a benchmark. We are pleased to have been appointed as a reseller and with our in-house certified trainers we hope to work with d3 to extend the d3 base of users in the region.”

Singapore d3 Studio Aims Productions, based in Singapore, has been a d3 Studio for 18 months. “We currently have 4 designers and 3 technical staff to operate the d3 solutions,” says Edwin Tan, of Aims Productions.

“We are a multi-server company but d3 is the most powerful tool in our inventory. It is an amazing tool to use for complex projects and because it was designed by users and designers, there is strong emphasis from that perspective that sets d3 apart from the other solutions out there. Education is critical in using a system this powerful and we are pleased that d3 is continuing to put emphasis on that aspect.” www.d3technologies.com www.acousticlighting.com www.aimsproductions.com

NEWS ETA November 2016

dLive Manages Festivals In China’s Yinchuan City

CHINA: Allen & Heath dLive digital mixing systems have been employed at several important festivals held in China’s Yinchuan City, following the purchase of S7000 and S5000 Surfaces and DM64 and DM48 MixRacks by Beijing PA company, Knocklive.

The dLive systems managed FOH and monitors at the 14th Singing Festival of Chinese Western Folk Songs and The Flower Elf Game & Animation Music Festival both held at the city’s Park of Customs and Culture.

The folk festival was staged near the Najiahu Great Mosque, with the S7000 and DM64 at FOH and S5000 and DM48 for monitors. The animation festival was held in the Park’s newly-built Music Beach, and featured performances by top artists including Jolin Tsai, Second Hand Rose and Black Panther. This time, the S7000 with DM48 was used for monitors, and the S5000 was employed to manage FOH and

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recording, with the FOH DM64 fitted with a Dante card to enable multitrack recording via a laptop with DAW control. “dLive’s surface design is very user-friendly. The screen is accompanied by one knob per function assignable controls, enabling the creativity and immediacy of tactile control for key processing features. dLive is designed for live shows, offering intuitive operation, fast response and precise control - it is ideal for applications like these,” says Flower Elf Game & Animation Music Festival FOH engineer, Chen Zhiyong.

Knocklive’s dLive systems were also used at FOH for the Yinchuan City’s Mid-Autumn & Corban Festival. Organised by Ningxia TV and Ningxia Theatre, the event comprised a poetry festival with recitals by writers and TV presenters, and an all-star concert with performances from artists, including Wangjie, Wangzulan, Huachenyu and Wulantuya.

The S7000 with a DM64 was employed for the poetry festival, and the S5000 with DM48 MixRack was selected by the FOH engineer, Wu xiaodong, for the concert. “dLive is really intuitive and flexible. I can even customize channels as required. The sound is clear and the mic pre is premium. I like it very much,” he said. www.allen-heath.com

NEWS ETA November 2016

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Adam Hall Group and Nicolaudie Group In Strategic OEM Partnership

INTERNATIONAL: Adam Hall Group expands Cameo Light Solutions with professional Daslight Interface from Nicolaudie Group.

Cameo DVC 4 Powered by Daslight is a new DMX Interface and the first product to come from the recently begun partnership between the Adam Hall Group and renowned software developer, the Nicolaudie Group. The Cameo Interface offers 512 DMX channels. The DMX interface is perfect for use with the CameoÂŽ D4 software for a Mac or PC. Other strengths of the user-friendly control software include the library of over 15,000 products and the newly developed software engine, which enables the lighting to also be controlled via iPhone, iPad and Android smartphones and tablets. Individual device profiles can easily be created using the built-in Scan Library Editor. This also allows the expansive library to be extended at any time and eliminates dependence on manufacturer profiles.

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With Cameo® DVC 4 and Cameo® D4, it is very simple to put on extraordinary and complex light shows. The XEEL Effect Engine, which was designed by Daslight, offers hundreds of different effects that can be combined with each other. Pixel, chase, and positions effects for moving heads and scanners become child's play.

Thanks to Plug & Play, the intelligent Cameo® DVC 4 DMX interface can be easily connected to the computer using a mini USB interface (cable is included in delivery). The programmed data can be copied onto the interface from the internal memory. This enables the light show to be operated in stand-alone mode with 256 DMX channels and without a computer. The real-time 3D visualisation software is ideal for preparing the light show. Truss and stage elements can be added here and the lighting effects, colours, dimmer settings and gobos can be evaluated in real time with the 3D viewer.

Free software updates on the Cameo® website and professional support via Daslight guarantee a future-proof solution.

"With Nicolaudie we have found a reliable product development partner, whose innovative and user-friendly technology suits our needs. These are the best conditions for a lasting partnership, which will certainly deepen in the medium term", was CEO of the Adam Hall Group Alexander Pietschmann's positive forecast of the future.

He went on to say that the collaboration with Nicolaudie highlights a fundamental part of Adam Hall's product strategy. "One of our company goals is increased collaboration with product developers."

Simon Bennett, Daslight Product Manager at Nicolaudie: “We’ve been in the Entertainment Industry along-side Adam Hall Group as established manufacturers for over 25 years and share a passion for high quality products. It’s exciting to be joining forces and I’m very much looking forward to our future journey together.” www.cameolight.com www.nicolaudie.com www.daslight.com

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ETC Reveals New Products At PALM Expo China 2016

CHINA: The ETC stand at the PALM Expo China 2016 was fitted with lighting products designed to fit any installation, which attracted crowds to its stand.

The following new ETC releases were showcased at the booth:

ColorSource family The ColorSource family is a complete, high-quality LED system for venues on a budget. Available in two sizes with optional audiovisual capability, ColorSource consoles provide hands-on control with the ability to run effects, mix LED colours, control moving lights and play back cues. The ColorSource Relay wirelessly switches power and transmits DMX and RDM to hard-to-reach places. ColorSource Spot and ColorSource PAR luminaires create bright light with better color than other four-color LEDs, thanks to their unique RGB-Lime emitter mix.

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Mobile lighting-control bundle ETC has the mobile control solution for tours or cramped lighting booths.

ETCnomad is tiny enough to fit on a keychain, but delivers the power and features of Eos-family software. Programming Wings provide a dedicated facepanel in the same layout as Gio desks, with playback and fader controls, parameter encoders, and level and rate controls. The brand new Eos Motorized Fader Wings expand the capabilities of Eos-family consoles. Available with ten or twenty 60mm motorized faders, they pack 100 pages of playback control into a small, modular package.

Irideon FPZ Irideon FPZ is a sleek, compact LED framing projector with superior optics and advanced features. The dimmable fixture has locking three-plane shutters, allows for DMX and local dimming control, and can be adjusted on site.

It has built-in 25-50° zoom optics, a rotating barrel, an E-size gobo and pattern slot, and an integrated media holder for gels and diffusers. Producing more than 800 lumens of output, Irideon FPZ comes in 3,000K, 3,000K Gallery (90CRI), 4,000K and 5,000K versions. www.etcconnect.com

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Acoustic & Lighting System Introduces RCF’s HDL 50-A

MALAYSIA / THAILAND: September 2016 saw the introduction of RCF’s HDL 50-A in Thailand and Malaysia. The event was organised by Acoustic & Lighting System Malaysia and Thailand (A&L) together with RCF, and is considered by A&L as its largest event thus far for the year.

The event in Thailand was held on 14th September at Bangkok’s Impact Muang Thong Thani exhibition venue. The venue provided a large open area which was suitable for A&L to showcase the power of RCF’s HDL 50-A. Hand-picked by Veera, A&L’s Thailand Branch Manager who himself was excited for the event. “It was definitely something to look forward for. We wanted to provide the best we can for our clients and guests. The location for the live sound demonstration is the key point of the event. At the end of the day, the clients would want to hear the quality of the sound themselves. The venue distance was appropriate for the line arrays to throw the sound,” commented Veera.

Lars Yoshiyama RCF Sales Manager, kicked off the event in Thailand with an opening speech after which Lucio Boiardi, RCF Product

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Great turnout in Thailand

Specailist, Audio Pro, took to the stage and provided technical information on RDnet’s configuration and speakers specifications.

Attendees were given in-depth understanding on the angles and the optimum configuration needed to create a harmonious and effective sound system.

Taking advantage of the day and space, A&L also rigged up a range of other RCF speakers for demonstration. With a total of 5 speaker towers on both sides of the main stage, the event was definitely extravagant. There were 12 units of HDL 50-A, 12 units of HDL 20-A, 12 units of TTL 33-A, 12 units of TTL 55-A and 12 units of NXL 33-A on display. As great as the line arrays were, A&L Thailand also prepared a stunning line of RCF subwoofers. A total of 32 Subwoofers were on display with 6 units of SUB 8006-AS, 6 units of TTS 56-A, 12 units of SUB 8004-AS and 8 SUB 9007-AS. As the attendees settled down, Lucio began the live sound demonstration with the help of RCF RDnet system and the sound console. Lucio emphasized to the attendees the importance of setting up the speakers with the RDnet. “One of the new features in HDL 50-A is the RDnet. It is very important for sound engineers to setup the line arrays with the help of RDnet and RCF software. A proper installation

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Lars Yoshiyama addressing the audience in Malaysia

and configuration will result in excellent sound reproduction that can throw for a long distance. As for the HDL 50-A, with proper installation and configuration, I believe it can throw for up to 80 to 90 meters with excellent sound,� commented Lucio. “I find it important and great to have these kind of events and live demonstrations. I have audience coming up to me seeking advice on

Lucio Boiardi talking technical with the audience in Malaysia

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speaker setups, configurations and technical guidance, which I was more than happy to share my knowledge with them. With these live demonstrations, I believe we will be able to share not only RCF products but the knowledge needed for sound engineers,” commented Lucio on the importance of these events.

Performer putting the HDL 50-A through its pace in Malaysia

As the event came to its final hour, attendees who had experienced the live demonstration had one final feast for their ears as a local band performed on stage with the help of the HDL 50-A. With many attendees commenting that “It’s really powerful,” it was definitely a success for A&L and RCF. “We wanted the attendees to experience the quality of the speakers for themselves without distortion or influence by others,” commented Veera, A&L Thailand’s Branch Manager. “For me the event was a huge success as I watch my guest being satisfied by what they were listening to,” continued Veera.

As for the Malaysian audience, A&L decided to host it at the Desa Park Lakeside parking space, on 20th September. Similar to Thailand, the distance for the speakers to throw was appropriate.

Not lacking in power, A&L Malaysia continued the hype left in Thailand with a total of 12 units of HDL 50-A and 12 units of HDL 20-A accompanied by 8 units of SUB 9007-AS and 8 units of SUB 8006-AS. Once again the guests got to hear and experience the HDL50-A and have conversations with the RCF team and A&L staff for a better understanding of the solution and more importantly on ensuring a proper set-up of the speakers for maximum impact. www.acousticlighting.com www.rcf.it

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Penn Elcom Expands Cable & Rack Manufacturing In Hastings INTERNATIONAL: Penn Elcom has expanded the capacity of its specialist cable and 19 inch rack manufacturing facility in Hastings, east Sussex, UK, with a substantial investment in new cable cutting and stripping machinery from market leaders Schleuniger. This will bring the cable technology and production up to the highest levels.

A bespoke built laser etching machine has also been designed and installed for adding logos, letters, numbers and other customisations to aluminium and steel rack panels, giving Penn the ability to offer further flexibility to its clients.

The move is in response to an increased demand for both standard and bespoke cable and rack manufacturing products and services after the launch of the Penn Elcom Online global web portal in January of this year. A boost in international business is seeing cables, leads and racks being shipped worldwide.

“We want to ensure that with this ramp up we continue delivering all our products and cable solutions to the highest quality standards in the quickest turnaround times for which the Penn brand is renowned,” confirms Penn Elcom’s Rob Platt.

These state-of-the-art precision machines will help streamline the workflow, maximise efficiency and underline Penn Elcom’s dedication and commitment to delivering premium customer service. www.pennelcomonline.com

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MA Lighting Appoint Total Solution For Malaysia And Singapore

MALAYSIA / SINGAPORE: MA Lighting has appointed Total Solution as an exclusive distributor for Malaysia and Singapore. The Singapore based company is one of the leading distributors for premium professional light, video and rigging products in Asia. Total Solution also started a regional service centre in 2005 to enhance its after sales customer support.

Riku Kauppinen, MA’s Director of Sales, commented on the cooperation: “Strategic partnership with Total Solution will bring MA Lighting even closer to the MA users in the region. True commercial and technical competence as well as commitment that we can see and feel in the people working at Total Solution are in the very heart of both companies work ethic. We are really thrilled to start a new era in Singapore and Malaysia.”

Total Solution’s Managing Director Glenn Wong said: “We are honoured and very humbled that MA Lighting has chosen our company as their partner for our region. At the same time we feel we have big shoes to fill as MA Lighting offers so much more than just selling fantastic products. Over the years MA Lighting has delivered a high commitment towards customer support and user training which are common business philosophies that Total Solution highly values. We strongly believe our partnership will allow existing MA users and future customers to be better served and supported in our region.” www.malighting.com www.tsm-int.com

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Japan’s Rewire Inc. Join Adamson Network

The Rewire team: Ryoichi "Rio" Ishii , Satoru Ogasawara, Mack Miyamura, Tatsuya "Charie" Okamoto, Keima "K" Kubota

JAPAN: Newly formed Japanese audio distribution company, Rewire Inc., has added Adamson S-Series loudspeakers to their inventory, bolstering their sound reinforcement support in the region.

The Yokohama-based company, which opened its doors in 2016, is spearheaded by CEO Mack Miyamura, a long-time veteran of the Japanese professional audio market. “There is much potential for E- and S-Series products in our region,” explains Miyamura. “Adamson products come highly recommended by western sound rental companies and are very competitive in the Asian market. We are looking forward to expanding their presence in Japan.”

Rewire invested in a turnkey S-Series demo system powered by Adamson E-Racks loaded with Lab.gruppen PLM amplifiers. Packaging the S-Series with the E-Rack, guarantees an efficient system with rock-

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solid performance and reliability. Rewire will also utilize Adamson’s 3D simulation software, Blueprint AV, to assist in fine tuning the design of a system as well as facilitate deployment of the rig.

“We are extremely pleased to welcome Rewire to our network,” adds David Dohrmann, technical director Asia-Pacific for Adamson. “They are a young company being led by a skilled professional with much to offer the industry. I am confident that are going to be a welcome addition to our team.”

Miyamura adds, “We are prepping to participate at the public shootouts at the INTERBEE Show in November and let people experience for themselves what Adamson has to offer.” www.adamsonsystems.com

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Martin Professional And ChamSys Add Support For The CRMX Nova USB Dongle

INTERNATIONAL: LumenRadio has announced that Martin Professional and ChamSys Ltd have chosen to add support in their respective control software for the CRMX Nova USB TX dongle to give their users easy access to reliable wireless DMX control directly from the console.

“We have added support in M-PC for the USB dongle transmitter from LumenRadio. We think it is a great way for our users to get access to reliable wireless technology without the need for using cables to connect a transmitter to the controller. M-PC will offer one full universe of DMX for free using the LumenRadio transmitter,” says Matthias Hinrichs, Product Manager at Martin Professional. Hinrichs continues; “We are also planning to add support for the Nova USB TX driver to our range of M-Series consoles in the near future.”

British console manufacturer ChamSys also decided to add support for the CRMX Nova USB TX dongle throughout their complete MagicQ product line. Chris Kennedy, Software Director at ChamSys Ltd explains, “We got requests from our customers to add support for the LumenRadio dongle, so we now offer plug and play support in

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both our MagicQ PC software and in our MagicQ consoles. With our MagicQ software, for PC and Mac, the users can output a full universe wirelessly for free.”

With the launch of the CRMX Nova TX USB, LumenRadio has made it easier than ever for controller manufacturers to be part of the ongoing wireless revolution in the entertainment industry. Almost all consoles today come with a USB port, meaning no expensive hardware changes are necessary to leverage the thousands of products with built-in LumenRadio receivers already available on the market. Michael Karlsson, R&D Manager at LumenRadio, explains: “We have always wanted to make our technology available to everyone. By using a standard USB connector and open protocols, wireless DMX directly in your PC or console is just a software update away”.

“We are very happy that Martin Professional and ChamSys are the first to officially support our USB TX in their consoles and PC software.

Being able to plug your transmitter directly into your computer opens up a whole new set of applications,” says Marcus Bengtsson, International Sales Manager at LumenRadio. www.lumenradio.com

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Claypaky: Forty Years Of Success, And A New Logo To Welcome The Future

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Pio Nahum, CEO of Claypak comments, “The need for modernity sometimes requires a break with tradition. This does not mean betraying the ideals with which the company was founded and has grown in the past forty years. However, the way we see it, it does mean being in step with the times including purely from the point of view of brand image, with our eyes firmly fixed on technological progress, innovation and the future.

As you can see, we have kept the Claypaky Pantone yellow found on the previous logo, whereas the general graphic design is completely different, including writing Claypaky as one word instead of two separate ones.�

So it is that Claypaky looks to the future with its new logo and continued technological progress. www.claypaky.it

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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Rani Singam, Singapore’s First Lady of Jazz, Chooses DPA Microphones SINGAPORE: Internationally acclaimed Jazz singer Rani Singam has invested in her own DPA d:facto™ Vocal Microphone after recognizing its superior sound quality when compared to other microphone brands she had tried.

As one of Singapore’s most sought-after and accomplished contemporary vocalists, Singam is renowned for her fine interpretative skills and powerful voice. Her style and her ability to connect with her audience is reminiscent of the great jazz singers such as Billie Holliday, Dinah Washington and Sarah Vaughn.

Rani Singam was first introduced to the d:facto™ Vocal Microphone in 2013 by sound engineer Varian Tan. “I was blown away by its pristine accuracy and warmth,” she says. “Ever since that performance, I would request a DPA, despite having my own personal microphone from another manufacturer.”

Rani Singam. Photo credit: Eddie Sung

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She eventually decided to buy her own d:facto™ after conducting real time comparisons between it and her previous microphone. DPA’s Singapore distributor Uni-DK was very happy to supply it.

“I found the d:facto™ to be superior on all fronts. It is without doubt my microphone of first choice for its warmth and the ability to pick up lower frequencies when I sing in my lower register,” she explains.

In recent months Rani Singam’s d:facto™ has been put through its paces at a number of prestigious concerts. In May she produced and presented a concert in support of the Law Society of Singapore – an organization that, as a former lawyer, is close to her heart. In July she collaborated with the Singapore Symphony Orchestra to deliver A Night On Broadway, which took place at the Esplanade Concert Hall, Singapore. www.dpamicrophones.com www.ranisingam.com

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Powersoft Sponsors New PAcalculate App

INTERNATIONAL: Powersoft has announced that it is sponsoring the multi-platform PAcalculate app, which runs on mobile devices such as Android, iOS, Windows-Phone, Blackberry — including smartphones and tablets.

Developed by Brusi Acoustics, a consulting firm for electroacoustic and an independent laboratory for loudspeaker directivity testing, it is marketed by Doctor Pro Audio, a leading web portal. This multi-lingual app (currently in Simplified Chinese, English, French, German, Italian, Portuguese, Russian and Spanish), contains many calculations, utilities and reference information. It is therefore a useful tool for anyone dealing with PA, sound reinforcement, sound systems, electroacoustic, pro-audio — as well as lighting.

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Explaining the sponsorship decision, Francesco Fanicchi, Powersoft’s Brand and Communications director, said, “We have decided to implement our brand on the app, by focusing on a dedicated session regarding the Powersoft limiter thresholds.”

This Powersoft tool has been developed to help users set a starting point for a limiter setup, performing real life tests to validate and tune the results. To use this tool, users simply need to select AES power - Nominal Impedance - Safety Level (from ‘Safe’ to ‘Performance’) of speakers and the consequent result will enable them to set a maximum voltage (i.e. Threshold Vrms - Threshold Vpeak - Clip V).

Since these limiters follow specific Powersoft criteria, the company has added a description to emphasize that correct limiting requires at least two stages in series. The first is a slow-reaction time to RMS level, designed to behave as thermal protection for the voice coil. The second, with faster time constants, is set to protect the transducer from excessive voltage peaks and therefore from mechanical damage.

Finally, there is the optional Clip Limiter (Powersoft X and Ottocanali Series) with a zero-attack time and look-ahead. It is designed to set maximum voltage, which should never be crossed without adding distortion.

José Brusi, the developer of the app, commented: “I hold the Powersoft brand in very high esteem for its constant innovation, both inside and outside of their comfort zone, so it’s great to see Powersoft as a sponsor of PAcalculate and join the ever growing community of users across the different platforms.”

The PAcalculate app can be downloaded here: www.brusi.com/downloads.shtml#PAC

NEWS ETA November 2016

MUSIC And Digitcontrol Partner Up For Thailand Distribution THAILAND: MUSIC has announced the appointment of Digitcontrol as the exclusive Thailand distributor for its world-renowned LAB GRUPPEN, LAKE, TANNOY, MIDAS and KLARK TEKNIK brands.

Thaweesak Thamsirisup, Managing Director of Vichai Group, commented: “We are delighted to welcome back MIDAS and KLARK TEKNIK. We have previously worked with these world-leading brands so are honoured to be invited back to represent them.”

“MUSIC is an innovator and a fast growing disruptor in the marketplace so we are very excited to team up with them to deliver

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integrated audio solutions for our customers,” added Thitikorn Sopchokchai, Director of Vichai Group. “We have a young and energetic sales team formed under the visionary leadership of Chanan Koonlaboon to assist system integrators, dealers and rental companies with a complete range of product solutions so we will move fast in line with MUSIC.” Digitcontrol is part of Vichai Group stable of companies. www.music-group.com http://vichai1983.co.th/

NEWS ETA November 2016

CSP Productions Becomes First Customer For Robe Linee

(L-R) Alan Lee and Kenny Heng from CSP with Vincent Tan of Robe Asia Pacific with the Colorstrobe and Linee fixtures

SINGAPORE: CSP Productions became the first customer in the world for Robe Linee, purchasing 36 units. The Linee’s light source features 5 x 30W RGBW LED multichips. This continuously rotatable unit has a zoom range from 4° to 33° and each pixel can be individually controlled. You can turn The Linee into an effect light with the implemented Beam Effect Engines. The light output can be quickly turned into a dynamic ray of microbeams in the air. These Effect Engines can be rotated in both directions at variable speed.

The product has ethernet pass through and implemented Kling-Net protocol for easy video mapping and control.

Kenny Heng, Managing Director, CSP Productions comments on why he purchased the Linee: “We noticed in the international riders the request for MagicBlade. The closest fixture from Robe to match that was the Linee. So we now have a product that can more than match the MagicBlade and are confident that it would easily meet riders.”

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“The Linee is a unique product which offers a lot of effects. It offers 360° rotation as well as pan and tilt movement that enables us to create good stage effect for background or as floor lights. Together with the Beam Effect Enginees and individual pixel control, the fixture offers us the opportunity to be more creative with how we use it,” adds Kenny.

Kenny also points out that the Linee features a colour LED touchscreen which makes it easy to see status and control, which he feels is very beneficial when you are on site.

CSP also took delivery of 28 units of Robe Colorstrobe adding to a total of 40 units in their inventory. “The Colorstrobes are fantastic fixtures. We recently used them for the F1 2016 event main stage, where artistes like Imagine Dragons performed. The impact was superb – mixing bright white flashes of strobing with colour created an interesting visual spectacle,” said a pleased Kenny. www.cspproductions.com.sg www.robeap.com

THE NEXT BIG THING!

SPIDERS ALL OVER THE WEB w w w. s p i i d e r.c z

ROBE_210x287_5mm_ADVERT_ka01.indd 1

27.10.2016 10:27:48

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FROM OUR WEBSITE. Here are stories you may have missed out which were featured in our website.

Get Yourself A Limited Edition SM58 50th Anniversary Microphone The Shure SM58, the world’s most popular microphone, has been a foundational and formidable part of live performance for more than 50 years. To celebrate and honour five decades of the renowned sound, design, and durability of this iconic mic, Shure is announcing the introduction of a 50th Anniversary model, along with a variety of initiatives to engage and inspire loyal SM58 fans of all ages around the world. READ MORE

The Asia Beatbox Championship 2016 Debuts MIPRO MM-59B Microphone

The Asia Beatbox Championship 2016 is the first international beatbox tournament in Asia and the biggest beatbox event in Asia. The championship was held in Taipei, Taiwan, on August 20th, 2016. The fierce competition attracted more than 180 individuals from 18 Asian countries. During the whole competition and the showcases by the 3 juries, every contestant and jury were using MIPRO MM-59B dynamic microphone to perform beatbox. MM-59B is designed specifically for beatboxers. READ MORE

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Robert Juliat Dalis cyclight and ETC Eos Consoles Form A Colourful Collaboration Robert Juliat is proud to be the first manufacturer to collaborate directly with ETC to have its award-winning 8-colour Dalis cyclight fully calibrated with the Eos family of lighting desks. Operators and lighting designers will benefit from the ease and transparency of using Eos consoles to gain full, precise control of Dalis’ complete colour spectrum. READ MORE

X-Line Advance At Vietnamese Traditional Music Festival 2016 Truong Thinh Audio Solution, a Bosch Security Certified Partner (BSCP), recently sponsored the Electro-Voice (EV) X-Line Advance system for Vietnamese Traditional Music Festival 2016. The event took place between September 27 – 30, 2016 at the Cultural Center in Kien Giang province, attracting more than 1,000 performers and musical groups from all over the country, with the finale being broadcasted live on national channels. READ MORE

PLAN YOUR PARTICIPATION to exhibit, contact: Ramesh Chetwani

+91 916 744 7440 rchetwani@palmexpo.in

PLAN YOUR PARTICIPATION to exhibit, contact: Ramesh Chetwani

+91 916 744 7440 rchetwani@palmexpo.in

Make all the connections you need for AV systems integration and installation Experience the world’s leading AV manufacturers and solutions providers all under one roof

Integrated Systems Europe is the world’s largest AV systems integration show. Over four days, it brings together more than 65,000 attendees and 1,100 exhibitors presenting the latest in technological innovation and workflow solutions for the commercial and residential installation and integration sectors.

Find out more: www.iseurope.org Organised by

Integrated Systems Events A joint venture partnership of

need.

All the connections you

VIDEO FILES ETA November 2016

Vivid Sydney Lighting Show

By now everyone in the lighting and projection mapping business would know about Vivid Sydney for its amazing lighting and projection mapping. The 2016 Annual Vivid Sydney Lighting Festival begins with Amazing light shows around Sydney. This video includes, The Sydney Opera House, The Sydney Harbour Bridge, Customs House, MCA and more. Enjoy it.

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Rani Singam

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Performing With DPA

Internationally acclaimed Jazz singer Rani Singam has invested in her own DPA d:facto Vocal Microphone after recognizing its superior sound quality. Singam is renowned for her fine interpretative skills and powerful voice. This video shows Rani performing at the Singapore Botanic Gardens with the DPA d:factor microphone.

ENNOVATIONS

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ETA November 2016

d&b audiotechnik Introduces New Loudspeaker Solutions For Permanent Installation

24S, 24S-D and 21S-SUB

The new 24S and 24S-D point source loudspeakers from d&b audiotechnik are set to conquer permanent applications including night clubs, live performance venues, houses of worship, multipurpose centres and sports venues. These latest additions to the established xS-Series re-set the performance level for installation specific point sources, and along with the arrayable xA-Series, all feature redesigned front grills making them more unobtrusive than ever before.

“The 24S, 24S-D and 21S-SUB are designed to set and forget. They meet the exact day to day demands of permanent installation with minimum fuss and maximum reliability,” explains Wolfgang Schulz, Product Manager of installation products at d&b.

Differing only in horizontal dispersion, with 75° x 45° and 110° x 45° (h x v) respectively, the 24S and 24S-D house two 12” LF drivers in a

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dipolar arrangement and a single hornloaded 1.4” exit compression driver. This HF horn is rotatable, meaning the 24S/24S-D can be mounted either vertically or horizontally. By separating the LF drivers, they achieve constant directivity control in the same plane as the dipole down to approximately 500 Hz. The result is a powerful single box solution that avoids the transmission of energy into the reverberant field, and increasing gain before feedback when working with open microphones. With a frequency response extending from 55 Hz to 18 kHz, 24S and 24S-D are the perfect all-in-one solution for any full range application.

With this extended bandwidth, the 24S and 24S-D point source loudspeakers are a truly stand-alone option, while for applications with bass heavy program material, the new 21S-SUB provides additional low end support from a conveniently small footprint. Housing a single 21” driver in a bass-reflex design, the 21S-SUB can be operated in standard mode, to produce a frequency response of 35 Hz to 105 Hz, or as a supplement to other d&b subwoofers in INFRA mode, extending the LF performance to 33 Hz with an upper limit of 85 Hz. In combination with the installation specific d&b amplifier, 30D, the 24S, 24S-D and 21S-SUB produce 138 dB SPL, 137 dB SPL, and 134 dB SPL respectively, and serve as the ideal alternative to a small multiple cabinet line array. The flexibility of the system makes it ideally suited whenever ceiling height and amplifier channel count make a line array inappropriate, not to mention the budget benefits of the point source approach.

With their purposefully designed larger cabinet volume, the 24S/24S-D deliver an improved low frequency reproduction for a truly full range point source, yet are modest enough to preserve sight lines and overcome rigging and placement restrictions, continued Schulz. “The 21S-SUB is the perfect option for any install when bass heavy program material is the name of the game, and is the perfect companion for the 24S and 24S-D.” www.dbaudio.com

35 Years xy

d&b is 35. Vanessa is d&b.

Vanessa Chompoo is a Marketing Specialist for d&b. She’s been on board since 2015. “d&b is growing up fast and strong. Being part of a world class brand makes me feel so proud.” In 35 years d&b has evolved from a small garage venture to a worldwide standard in professional sound systems. It’s people like Vanessa who make this story possible, and just that bit different from the rest.

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Elation’s Rayzor 360Z A High-Speed LED Beam/Wash Luminaire With Zoom

Elation Professional announces launch of a new beam/wash moving head in its Rayzor Series of compact and high-speed LED luminaires, the Rayzor 360Z™. The Rayzor 360Z houses (3) 60W RGBW LEDs for a powerful thrust of light and includes a 5° to 50° motorized zoom for the versatility of narrow to wide beam angle spreads.

The Rayzor 360Z offers surprising brightness for its size (20,550 Lux @ 3m with 5° zoom) and with fast and precise 16-bit continuous 360° pan and tilt rotation it can add an energizing look to any show.

Also useful as an effective wash light, colour temperature is variable from 2,700K - 8,000K and colours mix uniform from vibrant saturates across beautiful pastels to authentic warm and cool shades of white.

And for programming convenience, a variety of colour macros are included.

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The Rayzor 360Z offers a full complement of other professional features, including electronic strobe and 0-100% dimming with selectable dimming curve effects. The fixture allows for individual pixel control, which opens up for custom designs or users can turn to the convenience of built-in macros. Refresh rate frequency and Gamma brightness are also adjustable.

The fixture is controllable via multiple DMX channel modes, includes ArtNet and KlingNet protocol support and is RDM ready (remote device management). Multiple unit power linking makes for quick installation and customizable setups.

The Rayzor 360Z features a full colour 180° reversible LCD menu display with a 7-button touch control panel. Professional grade 5-pin XLR DMX in/out, RJ45 etherCON and Powercon True1 in/out connections are included. The fixture operates flicker free for use in TV and other broadcast applications and an auto-sensing power supply covers worldwide voltages and frequencies. www.elationlighting.com

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Yamaha Releases “MonitorMix for Android” Ready For The CL/QL/TF Digital Mixing Consoles

With the release of “MonitorMix for Android”, Yamaha is expanding the users’ experiences with a wider range of wireless devices. “MonitorMix for Android” is now available for free download from Google Play.

The MonitorMix application for the CL/QL/TF Series allows individual wireless monitor mixing from up to 10 iOS and Android devices simultaneously. Each performer can have convenient control over the monitor buses assigned to them, without having to deal with complex settings or parameters. They can also create personal Group settings for even easier adjustment: all instrument levels on just one fader, for example.

“The Renowned ‘MonitorMix’ application is now compatible with Android devices.” says Yoshi Tsugawa, director of Yamaha’s pro audio business unit. “We would like to improve the experience of simple personal monitoring systems for more users than ever before.” www.yamahaproaudio.com

ENNOVATIONS ETA November 2016

SGM Launches G-4 Wash SGM has released a new addition to its G-range of moving heads. The G-4 Wash is a lightweight and compact high-power Fresnel wash light with superb colour mixing and very low power consumption.

Unlike most conventional wash lights, the G-4 Wash comprises red, green, blue, amber and mint LEDs that mix directly in the light source. Additionally, it has a dichroic enhancer that creates a deep blue (Congo blue), delivering a very

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saturated black light effect. The fixture has a CRI of more than 90 (typically 93).

Equipped with a Fresnel lens, the G-4’s optical system is designed to deliver a staggering output for a fixture with such a small footprint, and equally perfect colour mixing with a completely even field with no hotspot.

The durable, IP65-rated exterior of G-4 Wash and the built-in dehumidifier ensure that the fixture is kept free of externally induced impact on internal optics and light source unit, such as smoke fluid, dust and dirt. Therefore, the G-4 Wash is ideal for outdoor applications and is practically maintenance-free.

With an impressive zoom range of 9°-76°, the G-4 Wash enables designers to create tight beams and powerful washes, as well as everything in-between. Because of its unlimited colour options and unique colour rendering capabilities, the G-4 Wash is highly suitable for multiple applications such as theatres, concerts, cruise ships, exhibitions, architectural installations or any application where high output, stunning colours and dramatic colour effects are desired.

The G-4 wash can be remotely configured, controlled and monitored via RDM. www.sgmlight.com

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Martin Audio Delivers Significant Upgrade To MLA Software

Martin Audio has announced a significant upgrade to Display™, the software brain of the MLA Series. This represents what R&D Director, Jason Baird, now describes as “the world’s most accurate prediction and optimisation array software, bar none.”

Display is the numerical optimisation process that eliminates lengthy trial-and-error tuning sessions, so that an MLA Series system achieves the required audience coverage straight out of the box.

Based on a highly accurate acoustic model of array behaviour, it gives a very precise prediction of the direct sound produced over the audience as well as areas where sound is to be minimised. It takes the guesswork out of array design, deployment and control – generating ready-to-use DSP filter configurations and comprehensive rigging information, including mechanical load safety analysis.

The patented optimisation process evaluates thousands of potential array configurations against multiple target functions — such as frequency response, flatness and sound leakage into non-audience areas. With the computer working behind the scenes, the engineer retains full artistic control over the system’s balance or ‘house curve’ —

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Display simply replicates what the engineer hears at the mix position to the entire audience.

This Display software upgrade represents the biggest of its kind so far, and the key improvements and added functionality will delight both new and regular users. A significant amount of in-the-field research and feedback was carried out across a series of tours and festivals to validate this latest upgrade.

Display 2.2 can run on the latest devices and Windows operating systems offering the user:

• Increased Accuracy - Acoustic data has been re-measured using more advanced techniques and re-calibrated to deliver the most accurate prediction and optimisation software on the market.

- Hard avoid feature is optimised more effectively for varying distances from the array, while the introduction of a leakage threshold limits the effort of reducing output below a certain level.

• • • •

Improved Sonic Consistency Faster Splay Optimisations Enhanced Usability Richer Graphics

To take into account the input EQ changes required, Display 2.2 is being released in tandem with VU-NET 2.0 control and monitoring software. This allows for the Input EQ to be adapted automatically to the new output from Display 2.2, and VU-NET 2.0. Furthermore, it will also support CDD-LIVE!, enabling a cohesive architecture of control and monitoring for Martin Audio systems.

The Display 2.2 upgrade is automatically sent to existing MLA owners, while VU-NET 2.0 can be downloaded from Martin Audio’s software webpage: https://martin-audio.com/software www.martin-audio.com

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Studiomaster Professional Adds High Quality VHF Microphone

The ER-7 series, a high quality VHF microphone system has been added to Studiomaster Professional expanding range of wireless solutions. This model is heavily inspired by the immensely popular ER series from the Indian pro audio manufacturer. With a heavy focus on rugged usage environs, the ER-7 is compact, lightweight, and robust.

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The system is available in both handheld and lapel variants. The ER-7H incorporates a clear and well-built handheld microphone transmitter.

The ER-7L on the other hand features a body-packtransmitter with a sensitive and clear lapel microphone transmitter. The system operates on the VHF band & performs impeccably and delivers a respectable line-of-sight range. To avoid unnecessary noise and interference in the output quality, a premium-grade compander (compressor-expander) circuit has been incorporated in the Studiomaster Professional ER-7 VHF microphone system.

Studiomaster Professional goes an extra mile by adding a special circuit to fortify protection againstmicrophone switch clicks and pops.

Both the transmitters are powered by easily available 9V alkaline batteries. The Studiomaster Professional ER-7 receiver sports an unbalanced 1⠄4� jack output connector.

This ER-7 series VHF wireless microphone system is ideal for rental companies, hirers, and other PA applications, with its plug-n-play approach, intuitive interface, and stable performance. www.studiomasterprofessional.com

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Shure Releases Wireless Workbench 6.12 System Control Software

Shure Incorporated has released the latest version of its Wireless Workbench System Control Software—Version 6.12. The update is designed to put maximum power and flexibility into the user’s hands.

The addition of several new features will help wireless users better manage and monitor wireless system performance over the network, from pre-show planning through post-performance analysis.

Shure has created Timeline - a new logging utility designed to capture essential channel status information over time. Information recorded includes RF level, antenna status, audio level, interference, ShowLink Remote Control status, and battery level. With optimized data storage, Timeline can record data from all networked channels for an indefinite amount of time, given sufficient system resources. Capturing and viewing the recorded data enables users to troubleshoot wireless system operation and determine the source of issues, should any arise. Wireless Workbench provides ultimate control over displayed information, enabling complete customization of the visualized data to best suit user needs.

Version 6.12 also includes a new set of frequency coordination enhancements, designed to provide more flexibility and power to users

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coordinating solutions with high-channel counts, including: • Scan Peak Management to process and classify peaks more accurately in scan data • Ignore IMDs to manually ignore the Intermod (or IMD) spacing parameters associated with a given set of frequencies, enabling increased counts of calculated frequencies • Customizable Coordination Order to adjust the order in which frequencies are coordinated by dragging and dropping groups of frequencies in the Coordination Workspace.

Connecting to devices from a remote location will now be supported with version 6.12. With this update, Wireless Workbench 6 can connect to devices outside of a local network. Ideal for environments where devices are managed in separate subnets—separate VLANs, floors of an office building, venues in a park—the feature extends monitoring and control functionality beyond the local network for significantly increased flexibility and control.

To accompany the extended reach of control that Wireless Workbench now exhibits across subnets, version 6.12 will also introduce support for Access Control - a new feature that will be added to select Shure networked devices. Access Control enables users to specify PINs for networked devices that protect the device from being manipulated by any Shure control software that have not authenticated.

This protection lets a team of users benefit from the monitoring aspects of Wireless Workbench without incurring the risk of potentially changing the operational status of wireless systems.

Wireless Workbench Version 6.12 is available for download at http://www.shureasia.com/en/products/software/wwb6 Watch This Video For An Overview Of Timeline Features:

www.shure.com/asia

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ADJ Expands Focus Series With Focus Spot One Compact Moving Head Housing a powerful 35-watt white LED light-source, as well as the added bonus of a separate 3W UV LED, the Focus Spot One is capable of creating impressive pattern projections as well as impactful mid-air beam effects. Its diminutive size makes it ideal for installs where ceiling height is limited, or for mobile applications where vehicle space is at a premium, however this small form doesn’t limit its output or features, which are unprecedented for a unit of this size and in this price bracket.

As with all of the Focus Series units, the Focus Spot One boasts remote electronic focus adjustment, which means that GOBO projections can be kept sharp, regardless of the distance between the fixture and the projection surface.

Another key feature of the Focus Spot One is EZ GOBO change. Not only are the unit’s six GOBOs replaceable to allow custom pattern projection, but changing a GOBO is an extremely simple task. Just one screw needs to be removed in order to swing open the top lid and access the GOBO wheel. Individual GOBOs are then easy to slide in and out, meaning that patterns can be changed on-the-fly between shows or events.

Not only does the Focus Spot One allow EZ GOBO replacement, but all of the GOBOs can be rotated at variable speed in either direction.

The GOBO rotation is also indexed, which means that custom GOBOs – such as corporate logos – can be programmed via DMX to appear in the correct orientation every time, regardless of the projection angle.

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In addition to the GOBO wheel, the Focus Spot One also features an independent colour wheel loaded with eight vibrant colours. The colour wheel can also be set to a position between two adjacent colours in order to add even more interest to projections with split-colour effects.

What’s more, the in-built UV LED means that the unit can also be used to bath a venue or stage with ultraviolet light to make white and florescent materials spring to life.

With a beam angle of 16-degrees, the fixture is ideal for projecting GOBOs over short-to-medium distances and its compact size makes it a very agile mover. It is able to shoot through its wide 540-degree tilt and 240-degree pan angles at speed, but – thanks to micro-stepping motors – is also capable of smooth slow sweeps and precisely positioned static projections. The unit’s expansive feature set is completed by 0-100% digital dimming – with five selectable curves, GOBO shake, variable speed digital strobing and random slow to fast pulse effects.

The Focus Spot One also offers a wide variety of control options.

It comes pre-programmed with four different and varied built-in lightshows, which can be run in either Show Mode – at a set speed – or in Sound Active Mode – triggered by the beat of the music by an internal microphone. For simple control of the inbuilt lightshows, the Focus Spot One is also compatible with the ADJ UC IR remote (sold separately). The unit is also compatible with ADJ’s new Airstream IR app, which allows the same control from an iOS tablet or phone.

For professional users, all of the Focus Spot One’s expansive set of features can be accessed remotely via DMX. As well as being incredibly compact, measuring 7.75” x 8.75” x 14.25”/ 197mm x 221mm x 360mm (LxWxH), the Focus Spot One is also lightweight, at 12.5 lbs. /5.7 kgs. Despite its small size, this is a professional fixture, and it is accordingly equipped with locking PowerCON AC input and output sockets.

Check Out The Focus Spot One Demo Video www.adj.com/focus-spot-one

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Analog Way’s VIO 4K Converter Updated With New Enhancements

Analog Way is thrilled to release a new version of the VIO 4K, highlighting ARTIS. ARTIS is a new high-quality scaling technology that offers unrivalled content quality. Also available is the loop-through for DVI, HD15 and HDMI inputs and the possibility to import or export a configuration.

ARTIS, a Major Evolution for Scaling ARTIS was developed to allow smart scaling. This new exclusive up or down scaling engine, based on a highly-developed algorithm, delivers unparalleled image quality for all resolutions. Whether dealing with scaling an image up to 4K or zooming on to a specific area of the image, ARTIS has been engineered to accurately preserve every element of the original source and to reduce pixilation and artefacts.

This new technology guarantees crisp images and vivid colors while maintaining ultra-low processing latency. In addition, three sharpness levels are available to let the operator optimize the results according to his needs and preferences.

ARTIS does not require any hardware upgrade. Any existing VIO 4K device can be upgraded to firmware revision 1.20.19 in order to benefit from these improvements.

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Video Loop Mode Available for HD15, DVI and HDMI Inputs The latest VIO 4K version contains new features that will help to meet the operator’s needs and increase ease of set-up. Besides the already available SDI active loop-through, the loop mode can now be enabled on the HD15, DVI or HDMI output plug, turning it into an unscaled loop-through of the corresponding input. It also enables a local monitor to be easily connected or a video signal to be routed to another device. Through the loop mode, the same content can be processed simultaneously by various devices. The set-up is simplified, since only a mere cable is necessary to route the signal from a device to another one with no need of using a splitter. This enhancement is immediately available, even for units already in the field; current owners of VIO 4K need only update their device with version v1.20.19 to benefit from it.

Import/Export Feature is Now Available The VIO 4K now offers the ability to import and export quickly and easily the partial or full configuration of the device, including all settings and presets, by selecting which categories to export.

Exporting or importing the device configuration can be achieved either directly from the front panel menu or the Web RCS. This can be performed from the device’s internal storage, a USB key or the user’s computer disk. Whether it deals with a simple backup or a large event where the configuration needs to be duplicated to many VIO 4K, this feature allows the operator to save precious time. www.analogway.com

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Yamaha Launches The New HPH-MT8 and MT5 Studio Monitor Headphones

Yamaha is pleased to announce the upcoming release of the latest additions to the MT Series professional studio monitor headphones, the HPH-MT8 and MT5/MT5W. The new models will replace the HPHMT220 and HPH-MT120, rounding out the lineup of live audio and studio headphones developed around the concept of providing live and studio audio engineers with the high levels of precision and fidelity required for professional monitoring environments.

Inspired by the philosophy of sonic purity established by the development of Yamaha's industry standard NS-10M studio monitor speakers, MT series headphones are designed to deliver flat, highresolution sound with precise stereo imaging and faithful source signal reproduction while providing a high level of isolation and comfort to ward off fatigue during extended monitoring sessions.

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The MT8 and MT5 feature custom drivers equipped with 45mm and 40mm CCAW voice coils respectively, along with powerful neodymium magnets to achieve precise definition and control even at the highest output levels. Made from aluminum wire coated in highly conductive copper, the lightweight yet powerful drivers deliver a broad frequency response of 15 Hz-28 kHz for the MT8, and 20Hz - 20kHz for the MT5.

The sturdy design features a closed-back, circumaural configuration that offer a comfortable fit, while the solid ABS housing, die-cast aluminum support arms(MT8 only), and sweat-resistant headband ensure that these new models have the durability required for the rigors of road travel. The large ear pads are made from a smooth synthetic leather and low-resistance cushions that absorb excess vibrations and reduce sound leakage, providing outstanding isolation and stress-free wearability over extended periods of time. A threedimensional arm pivot construction and highly adjustable slider length allows the angle of the ear pads to fit the shape of the wearer’s head perfectly, helping to alleviate fatigue. MT8 headphones also feature steerable earcups for single-ear monitoring, and a detatchable straight 3 meter cord and coiled 1.5m cable that comes equipped with a corrosion-resistant gold-plated stereo mini-plug and a gold-plated 6.3 mm stereo adaptor that allows them to be used with both professional audio gear and portable audio players.

“Ever since the development of the industry standard NS-10M studio monitors, we've maintained a uniform approach in all of our recording and sound reinforcement products that seeks to achieve the purest sound reproduction possible, and give our users an ideal platform to work from when creating their own signature sound.” said Yoshi Tsugawa , Business Unit Director of Yamaha Commercial Audio. www.yamahaproaudio.com

TECH TALK

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By Pat Brown

What Are The Differences Between Analog And Digital Interfaces?

Are you new to digital audio? Are you confused by the landscape of formats that have emerged in the marketplace? Following is a short expose that may shine some light on this potentially confusing topic.

Inputs and Outputs It’s all about inputs and outputs (I/O). How do I get an audio signal from one to the other? The ongoing evolution of professional audio has produced a number of viable digital interfaces to complement legacy analog I/O practices. The choices may seem confusing at first, but when you break them down the strengths and weakness of each become apparent. In this overview, I will start with analog since it is familiar to most readers and serves as a reference for the discussion of digital formats. I will focus on professional interfaces only. While similar in many ways to consumer I/O, professional are more robust against electromagnetic interference (EMI) and allow much longer cables – both requisites for large sound systems.

(Figure 1) An analog interface is point-to-point, with no exact requirements with regard to cable type, connector type, and cable.

A professional analog interface is a point-to-point connection between an output and an input (Fig. 1). It is electrically balanced, which provides strong immunity to EMI. Cabling is shielded twisted-pair. The interface is impedance mis-matched, where a low output impedance

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(typically < 200 ohms, or Ω) drives a high input impedance (typically > 2000 Ω). The impedance mismatch simplifies the interface by (usually) eliminating the need to consider specific impedance values. For example, a 100 ohm output would produce the exact same signal level into any high impedance input (10kΩ, 20kΩ, 30kΩ, etc.). An “output” simply connects to an “input” – end of story. It is often permissible to passively split an analog output to drive several inputs. It is not permissible to “Y” multiple outputs together.

The signal is in the form of a time-varying analog voltage that can span a level range of over 100 dB. Signals are classified by the magnitude of this voltage (e.g. mic level, line level, loudspeaker level).

The signal flows in one direction only – from output to input. Cable lengths are limited by cable capacitance, and can approach 300 m (1000 ft) in some applications. Analog connectors are classified by the number of electrical contacts. The impedance of cables and connectors is not a consideration, since analog audio signals are low in frequency in terms of the electromagnetic spectrum (Fig. 2).

(Figure 2) Analog audio (sometimes called baseband audio) is below 100 kHz in terms of spectral content. This is “low” frequency in terms of the entire electromagnetic spectrum.

Pros: • • • • •

Simple and mature.

Easy to troubleshoot.

Ultra-reliable.

Does not require impedance-matching between output and input.

Signal propagation through a device or down a cable is instantaneous, with no practical delay or “latency” that must be considered.

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Cons: • The electrical properties of the cable can degrade the signal.

• Multiple audio connections, along with electrical “grounds” can produce ground loops, which may in turn cause hum and buzz problems.

• Multi-pair cables are heavy and expensive.

Digital I/O – Audio Industry-Specific Formats The professional audio industry has standardized several point-to-point digital audio formats. These are designed to largely insulate the user from the complex inner workings of the interface and the complexity of the data. The most common are AES3 (USA) and AES-EBU (Europe).

I’ll use AESx to refer to both. They are mostly identical except for a few details.

(Figure 3) A digital audio interface has more exact requirements than an analog interface. This includes an (approximate) impedance match, and there are less connector options.

Like analog, AESx is a one-way connection between an output and an input. AESx was designed to allow the use of balanced analog cabling and connectors, most often an XLR male output driving and XLR female input via a shielded twisted-pair cable. For short runs (< 30 m, or 100 ft), one may use the same cable as for a balanced analog interface. Low-capacitance cable designed specifically for digital I/O can extend the cable length to 100 m (300 ft). As always with cabling, your mileage may vary depending on the specifics of your application.

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Other cabling options exist including coax (AES3id – essentially a video interface) and category cabling (e.g. CAT5e). AESx can also be deployed using space-saving DB25 connectors on multi-pair cable (up to 16 channels). The exact implementation is product specific, and there are passive methods for converting between each. The manufacturer determines the specifics based on the target market for the product.

An important difference between analog and AESx is that an AESx connection carries two audio channels over a single twisted-pair. There is nothing special about the XLR connectors, and some products allow the user to select between analog and digital using the same input or output connector, saving space on the chassis (Fig. 4). The high compatibility with analog I/O cabling and connectors is a major strength of AESx.

(Figure 4) The input connectors for a four-input AESx processor. Note that for XLRs are required for analog, but only two are required for four channels of AESx (two channels on each connector). There is a switch to select between analog and AES (courtesy Marani).

Digital Audio Quality The objective of digitization of the analog signal is lossless encoding.

This requires a sample rate greater than 2 times the analog signal bandwidth, along with a dynamic range that approaches 100 dB. So, the main attributes of the data are the bit depth and sample rate.

Most devices default to “24/48” which means 24 bit words flowing at a 48 kHz sample rate. Greater sample rates are possible, and are sometimes used for special applications. The sample rate, bit depth,

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and number of channels can be multiplied to yield the “data rate.”

This gives us a simpler, one number way to describe the digital audio resolution. Figure 5 shows the minimum data rate for one channel of full-range audio. A strength of digital audio in general is that the data rate can be reduced using lossy or lossless compression schemes.

AESx signals are usually not compressed to reduce the data rate, since the minimum requirements for full resolution are easily met by the current technology.

(Figure 5) Sample rate and bit depth can be expressed as a data rate for the digital bit stream, a sort of conveyor belt for the one’s and zero’s that make up the digital signal.

AESx digital audio consists of two channels, with a data rate of about 6 Mbps.

The bit stream contains the audio samples (or payload) along with metadata that carries information about the signal required for decoding. This “protocol” must be adhered to by both the output and input circuits, or no audio will flow.

Since the data rate approaches 10 MHz (a 1.5 MHz fundamental plus odd harmonics), the interface must be impedance-matched (110 Ω) to prevent degradation of the signal traveling down the cable by reflections and standing waves. Like all impedance-matched topologies, AESx is a one-to-one connection – one output drives one input.

Multi-channel versions include AES10 (MADI) and AES50 (HRMAI).

While based on AESx, the details regarding clocking are quite different.

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These multi-channel interfaces are popular for connecting digital mixers to their respective stage boxes.

It’s About Time All digital signals require a clock signal to keep multiple components in synchronization. AESx has the clock signal embedded in the data stream, so a dedicate word clock connection is often not needed for simple systems. AESx components often have word clock I/O for more complex systems.

The output of a digital component is always latent relative to the input.

There is an unavoidable delay. Latency is cumulative, and system designers have a “latency budget” that must be observed to avoid timing issues.

Pros: • • • •

“Analog-like” regarding I/O. Two channels on one cable.

High immunity to electro-magnetic interference and ground loops.

24/48 resolution is lossless with regard to analog I/O.

Cons: • Potential clocking issues.

• Requires special instrumentation to troubleshoot.

• Due to the high frequency nature of the signal, an impedance match is required between and output and an input.

• Output is always latent – the only variable is “how much?”

Digital I/O – Data Networks Once the analog audio signal is digitized, it’s data. Technology has provided some very efficient means of data transport between computers, the most widespread of which is the Ethernet network.

Audio-over-Ethernet (AoE) exploits the low cost and ubiquity of data networks to transport audio data. While AESx and its siblings are audio industry-specific, AoE utilizes technology from the Information Technology (IT) industry as a means of audio transport.

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(Figure 6) AoE requires the connection of each component to a network switch. The I/O connections are made using a configuration program (e.g. Dante Controller™ or Cobranet Disco™).

The analog waveform is first sampled, and then “packet-ized.” A packet consists of a few audio samples and some additional “meta” data necessary to traverse the data network. The AoE protocol (e.g.

Cobranet, Dante, Q-Sys, Ravenna – there are others) assures that the data gets “on” and “off” of the network to produce a contiguous waveform at the receiving end. High speed networks (e.g. 1000BaseT or “Gigabit”) can transport hundreds of channels. Unlike the “oneway street” AESx formats, a single cable can carry signals in both directions.

It’s Not Audio. It’s Data!

Regarding I/O, it’s a data network and the rules are rigid and established by the IT industry. The user is largely insulated from the complex inner workings of the network, and deployment in smaller systems is relatively plug-and-play.

Audio practitioners must acquire IT skills to deploy large AoE networks.

Ideally, an audio-only data network is established using dedicated network switches. Increasingly, AoE may reside on the venue’s backbone with other data traffic such as email, web browsing, point-ofsale, etc. – the so-called converged network. On a converged network, the audio packets must have higher priority than other data traffic.

This is called Quality of Service (QoS). A chunk of a large network can

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be reserved for audio data through use of a Virtual Local Area Network (VLAN). A VLAN requires a more sophisticated “managed” switch than a simple, dedicated network.

Due to the simple wiring, quantity of channels, and low-cost network hardware, AoE has become a very popular digital audio transport. A major difference between AoE and AESx (and its siblings) is that AESx, like analog, is point-to-point, requiring a direct connection between the output and input. AoE is a network, so signals can be routed between any network devices, regardless of where they are connected to the network. This provides extreme versatility regarding signal routing for larger venues, campuses, studios, etc.

The audio practitioner must learn the specifics of the AoE “flavor” that they are using. This includes running a control application on a PC to route audio signals, and configuring network switches for the required QoS.

Which AoE “Flavor?”

There are competing AoE formats. As of this writing, Audinate’s Dante™ enjoys the most widespread use. This can (and probably will) change with time, and competing formats such as Audio Video Bridging (AVB) (now referred to as Time Sensitive Networking (TSN)), will emerge as alternatives. AES67 is an initiative to produce interoperability between the various AoE formats, so it may eventually be possible intermix AoE formats.

It is important to point out that AoE is just a transport. The quality of the digital audio is determined by the sample rate and bit depth. As such, all AoE formats should sound the same.

Pros: • • • •

24/48 digital audio.

Hundreds of channels on a single CATx cable.

Ubiquitous cabling and connectors.

Low-cost hardware infrastructure.

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Cons: • • • • • •

Data networks can get complicated.

Problems can be difficult to troubleshoot.

Converged networks require cooperation with the IT department.

No intuitive relationship to analog audio.

QoS issues.

Multiple AoE protocols exist, and no manufacturer supports all of them.

• IT is a different skill set, and requires specialized training.

Spectral Content and the Need for “Exactness” One way to frame the differences between the formats is in regard to the requirement for “exactness” of the interface variables. This, in turn, is based on where the signal spectrum falls in the overall electromagnetic spectrum. As with most things audio, it is a gradient, with no clear “right” or “wrong” answer. Since audio by definition is low in frequency, analog audio interfaces are fairly permissive with regard to the interface details. One can sort of “get away with murder” and still get audio. Many wire and connector types will “work” but it is good practice to use twisted-pair cabling, ideally with a shield. Cable testing is basically a simple continuity test. The signal pair can be “bridged” with a butt set to detect the signal (Figure 7).

(Figure 7) A simple “butt set” is all that is required for analog troubleshooting.

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Digital I/O moves further up the spectrum. The interface details become more black and white. For example, analog audio simply requires a low impedance output be connected to a high impedance input. All digital I/O formats require an impedance match, but AESx is more permissive than AoE. This explains why we don’t need “special” XLR connectors for AESx signals. It’s also why Euroblock and DB25 connectors can work. Even analog cabling can work at short distances.

Cable testing is often performed by the audio gear itself, and whether the AESx input can “lock” to the AESx output. Special testers are available that allow the lock signal to be detected, and the audio decoded and listened to (Fig. 8).

(Figure 8) A specialty tester for AESx interfaces (courtesy Whirlwind).

At the highest frequencies (AoE on a gigabit network) the interface details are so stringent that they can’t be left to chance. The interface, cables, and connectors have an exact specification and no decisions are left to the end user. While continuity testers can work at the most basic level, the testing can (and should) be much more sophisticated. Along with cable testing there is a need to verify the system bandwidth, component addressing, Power-over-Ethernet (PoE) requirements, and more. Instrumentation for troubleshooting can be PC-based or stand-alone (Fig. 9).

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(Figure 9) A stand-alone tester for network troubleshooting (courtesy Fluke).

(Figure 10) The requirement for precision in interfacing depends on the spectral content of the signal. The higher the data rate, the more the details matter.

The Inevitable Metaphor If you read my stuff then you knew this was coming. Hereâ&#x20AC;&#x2122;s a way to describe the various interface methods to the lay person.

Analog is like driving a jeep on a one-way dirt road. In spite of the bumps, the vehicle can weave all over the place and still get to its destination intact. AESx is like a Formula One car on an oval track. The higher speed requires a smoother surface and some boundaries. AoE is like a bullet train. There is an exact path and the margin for error is razor thin. At those speeds, any small discontinuity can have disastrous consequences.

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This also explains why there are so many poorly performing analog systems in use. Impaired analog interfaces can still pass audio and no one may even realize they are impaired unless there is a direct comparison to a more ideal interface. So, as we move up in the spectrum from analog, to AESx digital, to AoE the interfacing details become more exact and there is less room to bend the rules. What we get in exchange for increased complexity are more channels and greater versatility – valuable benefits for many system types.

Digital audio has not obsolesced analog, and AoE has not obsolesced AESx and its siblings. All have their place. Analog still remains the standard by which to judge the fidelity of a digital system. Sometimes the simplest approach is the best, and sometimes it isn’t.

About the Author: Pat Brown along with his wife Brenda are principal owners of SynAudCon. SynAudCon provides online and in-person training in audio and acoustics. Pat writes articles for trade publications and authored three chapters for Glen Ballou’s “Handbook for Sound Engineers”. He is also a co-author of Sound System Engineering – 4th Edition, the premier text book on sound system design.

Pat is also the president of Pro Sound Testing Company, Inc. Pro Sound Testing provides precision loudspeaker testing for the audio industry. His experience with loudspeaker testing allows him to bring that much more information to the seminars. www.prosoundtraining.com

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AUSTRALIA

ReWill At The Helm Of Municipal Corporation Auditorium

SI tackles reverberation and distinct aesthetics to deliver outstanding sound

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hen it comes to tricky installs, new buildings with unobtrusive audiovisual systems can be about as tough as it gets. Especially when the room in question has 20-plus foothigh ceilings, tons of reverberation, distinct aesthetics (and a picky architect) around which to design. Such was the case of the Municipal Corporation newly constructed Auditorium at Rajkot in Gujarat, which integrator ReWill of nearby city Ahmedabad, was tasked with converting from a Large Hall into a high-tech space that could host a variety of events, including cultural festivals with entertainment.

Project started with creating an audio simulation report by Goa based consultant Buland Shukla (now a team member of ReWill) with co-ordination and design by Company principle Willis Desai. When discussing the objectives, Architect of facility stated, â&#x20AC;&#x153;We needed to install the technology in the auditorium to continue to attract outside

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performances and touring groups to the community. The auditorium is used for local theater productions, Arts programs, and hosts drama, cultural events, musical nights, meetings and gathering. We also wanted the AV systems to be easy to operate and reliable. The previous technology required an AV specialist to run it, and we wanted to get away from that.â&#x20AC;?

The turnkey contractor Malani Construction Company from Rajkot contracted ReWill Sound and Diplay Technologies Pvt Ltd, to design the new technology systems and integrate and install the systems within the designed bill of quantity by Architect and consultant L.J Purani & Associates, Ahmedabad. To successfully integrate the technology in the auditorium, ReWill needed expertise in both parts of its corporate name Sound & Display.

The audio systems were the highest priority, and JBL- pro audio speakers are installed throughout the auditorium. Left, right, and center speaker clusters are ceiling-mounted in front of the stage proscenium with each cluster containing single low-frequency subwoofers. Five Pair on left & right and two in centre speakers are installed to provide full sound throughout the auditorium.

Front Of House A mixing desk is installed within the centre seating area for better audition of the Front of House or Main PA. Audio is mixed using a Yamaha M7CL-48, a the 48 channel digital audio mixing console. Shure wireless handheld and headworn microphones are available for the performers. New Bose Professional speakers are also installed in the conference hall near the building entrance.

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New projectors are installed in both the auditorium and conference.

A Benq XGA, DLP, 5,000-lumen projector is in the auditorium; the projector for the conference room is the same projector brand and model, installed as a ceiling-mounted unit, so it can be protected during events.

To improve the ease of use, a Crestron control system is installed, which can be accessed by a control panel on ipad mini with Crestron apps. Further Delhi based stage lighting company LBT lighting was selected to cover two major areas, the main stage and the outdoor faรงade lighting of building. LBT (Lumen Bright Technology) provided 10R moving head lights, eight profile lights, thirty six LED PAR lights with RGBW colours with dedicated 1024 channel DMX lighting controller installed side by side to the audio console. For warm colour tone, conventional spot lights with Tinhao dimmer was installed.

Outdoor faรงade was created with National flag theme using IP rated outdoor waterproof LED PAR units. www.rewilltech.com

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AUSTRALIA

Show Technology Wins At The NRL Grand Final Lighting designer Tom Wright mixes and matches perfectly

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ighting designer Tom Wright had the task of lighting the prematch entertainment at this year’s NRL Grand Final at Sydney’s ANZ Stadium. Fortunately, he had done the job before, as well as several State of Origins, and knew how to overcome the complexities associated with the production.

“You never really know where you are until one to two weeks out,” he admitted. “I have to give huge thanks to the Chameleon Touring Systems team for riding that with me. Chameleon’s Luke Cuthbertson is one of the calmest account managers I have ever worked with! I think I sent seven versions of the plot and the seventh was only a week before the event.”

Tom designed a backdrop which consisted of five ‘Towers of Power’ that resembled medieval catapults being pushed onto the field. They

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Lighting Designer Tom Wright

sprung erect to backlight the stage area and add height to the lighting.

The structures rose from flat to 45 degrees, then raised again, on cue, to almost vertical.

Constructed by Stageset, each Tower was faced with ten ShowPro LED GoldenEYE 77 panels to produce a huge shaft of blinding light. They also had content played through them to give shape and movement to the back of camera shots. Each Tower also had twelve Martin MAC Aura’s (Aura XB’s on the outside and normal inside) rigged in a box configuration to mirror stadium light towers.

“My biggest concern with the Towers was weight especially as I wanted to put as much lighting as possible on them,” added Tom. “I knew the Aura XB’s were insanely bright and would work well. They also have nice looking faces which was important.”

Richie Sambora’s stage and performance was in daylight and so Tom placed four Clay Paky B-EYE K20 fixtures behind him and four Sunstrips to uplight the performers. Eight GoldenEYE 77 panels were placed upstage to create a cross pattern so whether Richie was shot from the left or right, there was always a panel in camera shot.

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Keith Urban’s main stage housed twenty Clay Paky B-EYE K20, a fixture that Tom says always looks good on camera.

“Keith likes big swathes of colour such as all orange or all blue,” explained Tom. “We knew if we had the B-EYEs as well as GLP impression X4 Bar 20s, we’d get nice big curtains of light over the stage whilst still able to have beams. I didn’t want any fixtures onstage that needed to be striked as you often find the stage is the last to get power and the last thing you want to do is be sending strike commands to the stage just as you are about to start. The crew hate having dimmers on these gigs; there’s a hell of a lot of cabling, and a lot more fault finding to do. So I tend to use Sunstrips to light up the performers although I put a massive amount of frost on them so there isn’t a hotspot of light pointing at someone’s chin.”

Tom was particularly impressed by the GLP impression X4 Bars, describing them as fast, responsive and capable of delivering great colours.

“When you put them into the tight 2° beam they are awesome.” He said. “Keith has something like 270 on his current tour, I was only able to offer him 20! We put them in a criss-cross configuration on the

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The “Towers of Power that resembled medieval catapults being pushed onto the field.

They sprung erect to backlight the stage area and add height to the lighting.

stage knowing that if you tilted them forward, you would always hit someone on stage.”

With so many LED fixtures onstage Tom wanted something tungsten for the cameras and so he added thirty-six Elidy panels pointing in random directions so the camera would always pick up something.

Twenty-four Martin MAC Viper AirFX were hung from roof trusses (six per truss) to project patterns onto the stage and Tom was amazed by their long throw. Everything else that was not the main show - such as Jessica Mauboy’s solo performance and Dami In’s national anthem was lit entirely by the MAC Viper AirFX. And when the pyro smoke got heavy towards the end of the show, the MAC Viper AirFX cut through like no other fixture could.

Twenty Clay Paky Mythos were rolled onto the field mainly behind the stage from where they could fill wide shots.

“You don’t do much creativity with them, you just point them in nice pretty patterns into the sky and they just perform,” Tom said. “You only need to put them in a classic fan and they look incredible. I also like to shoot them across the field in a criss-cross effect. It looks

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spectacular if you don’t put a pan effect through it, you just see a changing pattern of light on the field and it looks huge.”

Normally Tom would only install four follow spots into ANZ Stadium but due, to the increased number of performers on stage, he increased this to six; four always on Keith and two for his two guitarists. For the key moments in his duet with Jessica Mauboy, all six were put onto them.

“I chose Robert Juliat Cyrano follow spots as they are bright and so easy to use,” Tom said. “In fact the crew just walked up there and had them operating without any instruction from me. They’re smooth and for such a low wattage, you would mistake them for something twice as powerful.”

For control Tom used an MA Lighting set up of two grandMA2 light consoles, two MA NPU Nodes, and four MA NSP Nodes.

“MA2 is the leader and you wouldn’t choose anything else,” he commented. “There’s no way you can do some of the networking on any other consoles that I know of, to that level of stability and security.

I knew I could work in the pre-viz suite, take a show file, load it into the console and it would just work.”

Fortunately for Tom, Chameleon Touring Systems’ managing director Tony Davies is a big Cronulla Sharks fan and as such, was somewhat generous with his supply of lighting!

Show Technology offers lighting solutions for entertainment and architectural applications through a select network of partners around Australia and New Zealand. They distribute Martin, Clay Paky, MA Lighting, and Robert Juliat amongst other brands. www.showtech.com.au

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INDIA

PR Lighting Puts Hardwell Centre Stage In New Delhi MSS supplies 20 XR 200 parallel beams for Dutch electro star

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ew Delhi-based Modern Stage Service (MSS) recently supplied all technical production, including sound, trussing, LED wall — and PR Lighting fixtures — for a major concert by one of the world’s leading DJ/producers, Hardwell. This took place at Jawaharlal Nehru Stadium sports arena in New Delhi.

Appearing on his I AM Hardwell tour, the Dutch electro star performed before a sold out crowd of 15,000 people with many others waiting outside the arena.

MSS has been representing PR Lighting in the sub-continent for the past decade, and the company provided lighting designer, Dinesh Verma, with 20 of the popular XR 200 Beams. These were used on the main stage and succeeded in creating “an amazing effect” according to Sahil Wadhwa, director at Oneup Productions (MSS’ production company).

Looking for a tight, powerful parallel beam from a low wattage source, Sahil said, “We needed to choose a fixture that would provide the best beam possible and the PR XR 200 turned out to be the best option.

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“We were already entirely familiar with the fixture as we have been using it for a long time. We used new lamps for the show and it turned out to be a perfect solution.” Underlining its popularity, Sahil continued, “The XR200 is our preferred choice for concerts such as this, just as it is for various lighting designers around the globe.”

The lighting was triggered from a grandMA2 Full Size console (with a second for back-up).

“The XR200 Beam proved to be a great choice for this event and more than delivered the required output,” stated Sahil Wadhwa in summary.

“We are also handling a number of theatre shows, where this fixture is being used, along with many wedding events in the city.” www.pr-lighting.com

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MALAYSIA

ASPC Illuminates Stadium Negara With Clay Paky

Lighting fixtures provide the perfect feel for Malaysia’s hottest Chinese duo singers

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inning “MY ASTRO Supreme Billboard Awards 2009” for various categories, 东于哲 also known as Thomas Jack is one of Malaysia’s hottest Chinese duo singers. Debuted in the year of 2009, they have been active in the music industry releasing multiple music album throughout their career. Organized by Galaxy Group and More Entertainment, “Fantasy Concert Thomas Jack” happened on 20th August 2016 at Stadium Negara. With a total of 10,000 permanent seating, there was more than enough seating for fans to spectate the duo.

Audio Synergy Projects & Concepts (ASPC) who have been in the AV equipment rental industry since 1998 took the opportunity to provide their professional AV services at the concert. Having been in the industry for a long duration, ASPC has achieved various certificates such as ISO 9001 and OHSAS 18001. Focusing on delivering quality

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equipment and services, ASPC equipment inventory is equipped with many renowned and premier AV brands such as Clay Paky’s lighting fixtures, Antari, Martin, Lite-Puter, Panasonic, Behringer, EV(ElectroVoice) and Sennheiser’s microphone. In addition to Fantasy Concert Thomas Jack, ASPC has done various major events such as Video Games Live, AIA Award 2015, Invest Malaysia 2016 and Zrill Malaysia.

On top of their repertoire of projects, ASPC recently secured a total of 60 units of Clay Paky Mythos from Acoustic & Lighting System (A&L) adding to their ever expanding equipment inventory. “ASPC with their strengths and recognition in the industry, we are glad to do business with them,” commented Alexander A&L’s Sales Representative. “One of the challenges we face would be programming the Clay Paky Mythos. It was a new lighting fixture for us, therefore we needed time to understand how it functioned. However once familiarized, the Mythos was really a versatile lighting fixture that keeps to its function,” commented one of ASPC lighting engineer. “With functions like beam, spot and various gobos the Mythos was really convenient for us to design various lighting coordination. Not to mention that the smooth transition

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between colour and gobos, helps us to have a smooth lighting display,” he continued. As for the Lighting console, 2 units of GrandMA 2 were used to coordinate and program the lighting fixtures.

The crowd went wild as the singers and performers performed on the stage that was illuminated by various lighting fixtures including Clay Paky Mythos and Sharpy. A total of 59 units of Clay Paky Mythos and 38 Clay Paky Sharpy were used in the concert. Accompanied by various other lighting fixtures, it was highly noticeable that the beams from the Sharpy and Mythos were able to shine through the length of the stadium. Lighting Engineers coordinated and operated with diligence as the performers performed harmoniously. “It was definitely a concert worth attending. I enjoyed the ambience and the colours on stage,” commented one of the audience. The concert ended with a well-received audience that were contented with what they saw and heard. www.audiosynergy.com.my www.acousticlighting.com

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MALAYSIA

Shell 125year Anniversary Gala Dinner

Tre Bass uses Arkaos to create immersive environment

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hell Malaysia celebrated the company’s 125th anniversary in Hilton Hotel, Kuala Lumpur on 10th August. The celebrations saw 800 guests that included senior management from Shell, Government ministers, business partners and other key individuals including Shell staff.

Helping to create a memorable event was local based rental company Tre Bass Entertainment Sdn Bhd. Tre Bass transformed the venue at the Hilton hotel to help ensure Shell’s celebrations were memorable and eventful. For audio coverage of the space, Trebass provided d&b audiotechnik speakers. A combination of v8, v12 and M4 speakers with d80 amplifiers to drive the speakers were employed. For audio enhancement a mix of Shure UHFR Beta 58 and DPA d:factor wireless microphones as well as DPA gooseneck microphones. Musical instruments were also mic’ed up with a mix of DPA and Shure microphones. A Yamaha CL5 digital mixer handled mixing duties.

Lighting fixtures to create the mood and atmosphere as well as to complement the performances on stage included 22 units of Robe Pointe moving heads, 12 units of Robin 600 wash moving heads, 24 units of Robe 100 beam, 18 units of Robe CycFX 8 as well as 6 units of Vari-lite VL3000 supported with LED cans. Smoke factory haze units

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together with Antari smoke machines were also deployed. Lighting control duties were assigned to Avolite Arena and Expert Titan lighting console.

On the video front, EWSB p3.91 led panels were deployed in the centre of the stage in a larger format with smaller panels of 3 units placed on the right and left of the stage. 6 units of Panasonic dz21k projectors were employed for the side walls of the venue to create an immersive experience for guests. Kramer and Lightware fiber optic systems were deployed for transmission signals with a Roland vhd50 seamless switcher and an Arkaos stadium + studio media server on hand.

The team from Tre Bass were especially pleased with the Arkaos solutions. â&#x20AC;&#x153;We continue to use the Arkaos for our events as they are user friendly systems and can be linked with the lighting console to control both audio and video efficiently,â&#x20AC;? said a Tre Bass team member.

For the Shell celebrations, the Arkaos stadium was used for the side wall video mapping whereas the led panels on stage were run by the Arkaos studio system. www.tbe.com.my

EVENTS LISTING

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ETA November 2016

EVENTS LISTING 2016

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

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

2017

Jan 19 - 22 NAMM Show 2017 Venue: Anaheim Convention Centre, Anaheim, USA Site: www.namm.org/exhibit/ WN17

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

Feb 22 – 25

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 27 – Mar 02 Guangzhou Entertainment Technology (GET) Show 2017 Venue: Poly World Trade Centre Expo, Guangzhou, China Site: www.getshow.com.cn

Mar 21 – 23 CABSAT 2017 Venue: Dubai World Trade Centre, Dubai Site: www.cabsat.com

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

EVENTS LISTING

103

ETA November 2016

Apr 04 – 07

May 23 – 25

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

BroadcastAsia 2017 Venue: Suntec, Singapore Site: www.broadcast-asia.com

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

Apr 22 – 27 NAB Show 2017 Venue: Las Vegas Convention Center, NV, USA Site: www.nabshow.com

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