ETA NOV 2018

For The Technical And Production Professionals

Avalanche of New Solutions at LDI 2018

SPECIAL FEATURE

Consistent Sound at Celine Dion’s Asia Pacific Tour SPOTLIGHT :

LD Peter Rubie on his Choice of Robe Spiders and Spikies

KNOWLEDGE HUB Bandwidth in Analogue and Digital Systems

w w w.e -techasia.com

N O V. 2 0 1 8

THE NEW REFERENCE POINT

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CONTENTS NOV. 2018

42

IN THIS ISSUE

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VOL 19 ISSUE 11 NOVEMBER 2018

04 FIRST WORDS 06 NEWS 20 VIDEO FILES 22 ENNOVATIONS

LIVE

SPOTLIGHT

51 AUSTRALIA: Encore Creates A Visual Spectacular at the QHA Awards

42 LD Peter Rubie on his Choice of Robe Spiiders and Spikies

52 INDONESIA: Argo Visual Delivers Captivating Projections at the Opening Ceremony of the 2018 Asian Paralympic Games

KNOWLEDGE HUB

54 ISRAEL: wysiwyg Helps New TV Show Achieve Great Ratings

44 Virtual Sound Check and Real World Implications

56 ASIA PACIFIC: L-Acoustics Delivers Perfect Sound for Céline Dion Live 2018 Asia Pacific Tour

46 Round or Square Chord Tubes?

48 All About Wireless: Bandwidth in Analogue and Digital Systems

58 EVENTS CALENDAR

50 Media Servers: Sequencing Skills

59 MARKET PLACE

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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FIRST WORDS NOV. 2018

The Sydney Opera House was a subject of protest in early October. The New South Wales government faced a backlash over a decision to display an advertisement for a horse race on the sails of the Sydney Opera House. The advertisement projection took place on 9th October to promote the Everest Cup horse race that was held on 13th October. This is only the second time that the Everest Cup has been held and has the largest prize pool for a “turf race” in Australia, coming in at A$13 million.

Ram Bhavanashi

Editor, India And Middle East ram@spinworkz.com

Julie Tan Admin & Circulation admin@spinworkz.com

According to newspaper reports, the Sydney Opera House itself was reluctant for its iconic sails to be used. The lord mayor of Sydney, Clover Moore also joined the chorus of criticism, “This is blatant commercialisation of Australia’s world heritagelisted Opera House for an industry notorious for damaging gambling and animal cruelty.”

Natalie Chew

The voices or protest did not stop the advertisement from being projected. The industry association, ALIA also voiced its concern and requested members help to disrupt the projection. “Bring anything that creates and/or projects light in order to disrupt the use of the Sails for advertising purposes – they are reserved for art.”

Writer natalie@spinworkz.com

Daniel Ngiam

Hundreds of protestors including the public turned up carrying banners and torches before the projection light up. The bright flash-lights partially disrupted the advertisement.

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

Obviously the commercial aspects over-rode the sentiments of the people and of the venue itself.

Thomas Richard Prakasam Publisher / Editorial Director

thomas@spinworkz.com

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

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

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NEWS NOV. 2018

GLOBAL

PROTOS Load Monitoring System Established scale. A demand for a system that is easy to set up, understand and above all, a system that ensures a safe working environment.”

PROTOS was founded to cater to these needs. Because of the unique features of the force monitoring systems, in conjunction with the global service they offer, the newly established company has already acquired partners in various countries around the world such as Holland, China, Canada, Australia, India and counting.

July of this year saw the birth of a new company specialising in load and force monitoring systems for the entertainment industry. The Dutch based company called PROTOS, meaning ‘first’ or freely interpreted ‘the best’ in ancient Greek is off to a powerful start due to their state of the art equipment, service and competitive pricing policy.

“The entertainment industry is constantly and quickly developing to keep up with the latest developments. While the audience’s hunger for state of the art shows keeps growing, concerts, plays and shows are constantly evolving and it seems like each iteration has to be more spectacular than the last.” says Jasper van der Sluis, Director and co-owner of PROTOS, along with his brother Cor van der Sluis. “Through our work with Prolyte and Doughty Asia Pacific and Prolyte Doughty Japan we have noticed a strongly growing demand for force measuring equipment on a global

Being able to measure the load that you’re lifting is essential to be able to provide safe working conditions. To protect people and expensive equipment, not only for temporary structures but also arenas and other venues that host shows on a regular basis. For this reason PROTOS offers both wireless and wired force measuring solutions.

The brothers went on to explain that the system is incredibly easy to set up and maintain and that further product development is a major focus for the company. “We are still expanding the load measuring system by adding functionality based on feedback from the industry. We’re currently working on a cloud service that, among other things, will make it possible to send (overload) messages remotely to any device connected to the cloud, mobile or otherwise.” added Cor van der Sluis.

For more information you can email info@protos-one.com protos-one.com

AUSTRALIA

Paul Rumble Joins the ULA Group as the New General Manager of Victorian Operations community will be an invaluable asset to the ULA Group moving forward”.

Paul has worked in the event technology space for over 25 years, specialising in event lighting, rigging, event design and digital visual solutions for project based installations. He was leading the technology operations team at MCEC for 10 years, before Managing Technical Production at Scene Change for past two years. During this time, Paul has been engaged in several successful projects with the ULA team.

(L-R) Paul Rumble with Cuona Biviano ULA Group is very excited to welcome Paul Rumble to the ULA Group family, joining the team as the General Manager of the Victorian office.

Cuono Biviano, Managing Director of the ULA Group, comments: “I am thrilled to welcome Paul on board to the ULA Group. Paul’s vast experience and high standing reputation within the lighting and audio visual ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“Being a customer of the ULA Group for many years while working for MCEC and Scene Change, I was always impressed by the professionalism the ULA Group displayed throughout their projects.

I am now very excited to join the ULA team in Melbourne and to reinforce the company’s strong standing within our industry,” says Paul.

Paul will be managing the team based in Melbourne, which supports mainly Victoria, South Australia, Tasmania and Western Australian markets. www.ulagroup.com

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NEWS NOV. 2018

INDIA

Audio Kris Expands DiGiCo Inventory with SD10 The purchase was made in answer to the growing demand in and around Goa, which is one of the most happening destination for global artists and musicians.”

Cris and his technical team have found the combination of the SD10 and SD-Rack to be one of the best all-round packages available to the industry, offering the right balance of sound quality, versatility and allround control. The system runs via an Optocore connection.

Cristovam De Monte Furtado with the DiGiCo SD10 Audio Kris India recently invested in its first DiGiCo SD10 and SDRack and 32-Bit Mic Pre-Amp Card, supplied by from DiGiCo’s India distributor, Hi-Tech Audio Systems Pvt. Ltd., of New Delhi.

Started in 1999 by Cristovam (Cris) De Monte Furtado as an audio rental company, Audio Kris has expanded its business to include all aspect of live events. “We have been using DiGiCo consoles since the beginning.

Their reliability, pristine audio quality and simplicity of setup were the main reason we chose them,” says Cris. “For many years, artist tech riders include DiGiCo consoles as a requirement and we always want to satisfy our client’s needs with DiGiCo. The entire team at Audio Kris is excited about the addition of the SD10, which is our third DiGiCo console.”

“Chris is determined to take his company to the next level of success by staying ahead of the competition, in terms of both knowledge and technology,” says Rajan Gupta, Managing Director of Hi-Tech Audio Systems. “The addition of the SD10 is a turning point for the company.

From live concerts to corporate events, conferences to gala dinners, Audio Kris caters to a wide range of clientele. Cris, a long-time SD user, starting with an SD9 eight years ago, says, “We quickly decided to add an SD10 to our inventory because of our growing list of clients, which includes various audio related events. With its high fader count, and high input and output buss counts the SD10 is the right addition for our rental stock. Plus, if you’re using an SD-Rack via Optocore, the audio quality is amazing and the final outcome superb.”

Karl Da Costa, Systems and Audio Engineer at Audio Kris, shares his experience of SD10. “Extra fader banks, additional user defined macro keys and a more elaborate control surface makes this console very hands on without having to toggle screens to get to specific functions,” he says.

“Audio Kris’s SD10 has the Optocore network already implemented to accommodate the growing demand for Optocore equipped DiGiCo solutions in the market now and in the future,” concludes Nirdosh Aggarwal, Hi-Tech Audio’s Director of Sales. “We are glad that we could deliver the best to Audio Kris and we are always there to provide after sales training and support.” www.digico.biz

MIDDLE EAST

Venuetech to Distribute APG in the Middle East APG, the French manufacturer of professional loudspeakers and inventor of the modular line-array, announced the appointment of Venuetech as its exclusive distributor in the Middle East. The partnership was officialised at Prolight+Sound Middle East (Dubai, 23 – 25 September), where Venuetech displayed a broad range of APG products on its substantial booth.

As APG’s exclusive distributor in the region, Venuetech will cover the UAE, Saudi, Oman, Kuwait, Lebanon, Egypt, Qatar and Bahrein. This partnership opens a new market for APG – and is in line with the company’s strategic expansion: After reinforcing its presence in France and European countries (including Spain, Denmark and Benelux), the French loudspeaker manufacturer successfully developed its brand in ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Photo: Paul Gärtner

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NEWS NOV. 2018

Asia with the opening of regional offices in Singapore and Hong Kong.

Grégory Dapsanse, APG’s marketing & business development director, explained: “The Middle East was for us the next logical step for our regional expansion, and this move further validates the strategic alliance with our sister company, Active Audio, who has been represented by Venuetech for a number of years already. We are thrilled to welcome this amazing partner as our latest distributor.”

Elie Khairallah, technical director & products manager, commented: “Our partnership with Active Audio encouraged us to extend our relationship with the group, due to their constant support and swift action. APG have great products, particularly the Uniline Compact and DX series, the former of which represents a breakthrough in its field with its Isotop™ coaxial driver. I truly believe its performance / size ratio will surpass any box from the competition.”

With both brands now on their portfolio, Venuetech will be able to respond to any projects requiring sound systems in the region.

“Venuetech and APG have a similar philosophy in their approach to proaudio: Both companies offer high end and high performance products and solutions that flexible enough to meet the most demanding requirements,” enthused Dapsanse.

As Active Audio’s distributor, Venuetech has already completed a number of major projects in the region, including the award winning audio installation at the Sheikh Zayed Mosque in Abu Dhabi, where

Venuetech asked for 96 customised MC2C columns from APG. Dapsanse continued: “For APG, Venuetech is a main player in the region, with a strong reputation and great credibility. They have invaluable distribution channel knowledge and technical expertise, as well as the capacity to handle high profile, large-scale projects like the Sheik Zayed Mosque. With such a partner, APG’s future in the region looks very promising.”

Concluded Khairallah: “The ability to customise audio solutions for the install market is very important and APG excel in this field. Their wide range of products will fit into many venues, such as auditoriums, theatres, banquet halls and arenas, on top of being ideal for rental.” www.venuetech.ae www.apg.audio

CAMBODIA

Naga Theatre Upgrades its Mixing Operations with DiGiCo SD7s Placed at both FOH and monitor positions and connected via Optocore, the SD7s have quickly become an integral part of the theatre’s set up.

“There are 56 channels of inputs at the stage area that cater for all the shows that the theatre is currently doing,” Nick Chua of Showtec Group, who supplied the consoles, explains. “More inputs can be taken from the SD-Mini Rack, FOH desk and the stage SD7 inputs if needed. Overall, the capacity and functionality of the whole system is fantastic and can cater to the large range of shows that the theatre may host.

“We have divided up the five output strips into 16 channels of outputs for FOH sends and 24 channels of outputs for stage monitors. This is more than adequate to cover any extra outputs needed at the stage end while also providing all the installed outputs for the audio system.”

Situated in the heart of Phnom Penh lies Cambodia’s Nagaworld complex. One of South East Asia’s most awe-inspiring, multi-purpose facilities, housing a world-class casino, a beautiful five star hotel and one of the country’s biggest theatres, Nagaworld caters for all. DiGiCo consoles have found themselves at the centre of this huge operation, with two SD7s now a permanent fixture for the Naga Theatre contained within the complex.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

DiGiCo always strives to provide the best support in the industry, no matter where in the world its consoles end up and the Naga theatre has been no different. “Ian Staddon at DiGiCo has been most helpful in providing advice to us prior to the install, telling us which components work best in a flexible theatre environment that caters to all different types of show and we’re very happy with our investment in the SD7.” www.digico.biz

THE KMS SERIES

»

All of a sudden I had accessible to me the widest dynamic range that I wouldn’t have expected on stage.

Photo: Elena Eggers

OLA ONABULÉ

Singer-songwriter and producer Ola Onabulé talks about the KMS series and stage microphone technique. Watch the videos here:

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NEWS NOV. 2018

JAPAN

Super 4 Adds Martin Audio WPC to its Inventory And WPC will certainly do that. The three-way, bi-amped systems is a new breed of medium-format optimised line array which brings innovative acoustic design, ultra-high performance and coverage consistency to a wider range of applications and budgets than previously possible.

Japanese rental company Super 4 has invested in a Martin Audio WPC PA to handle its many events and concerts. The company recently placed the order for 18 x WPC elements and 6 x SX218 subwoofers with Martin Audio Japan.

Also in Mr. Higasa’s thinking was the scalable resolution of WPC, which unlocks the full potential of WPC and provides an adaptable pathway into the world of advanced optimisation. “I am very excited to see how it will contribute to our business in terms of quality and scalability,” he continued. “At the same time we have also introduced [Martin Audio] XE300 to our hire stock. The low profile design is excellent and I was surprised how powerful it is in spite of not requiring any major tuning.

This will be extremely useful when set-up time is restricted.”

Super 4 is a regional company, based in Takamatsu, Kagawa, and explaining the reason for the purchase, their Vice President, Mr. Higasa said, “It has been 18 years since we established the company, and during that time we have expanded from our first purchase of a microphone, up to the level where we can handle major events by ourselves.

“All the while we have watched developments with Martin Audio, and having experienced MLA and MLA Compact, and understood the philosophy behind the consistency of sound as well as the capability to control noise spill.”

He says that recently his company faced an issue with regard to noise pollution and this convinced Mr. Higasa to purchase a WPC rig with the intention of being able to achieve the required controllability. “Today’s PA is not only for the satisfaction of sound engineers but also for the clients and the audience,” he notes. “It is important for us to satisfy everyone and meet all considerations.”

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Mr. Seki, the President of Super 4, added that the new system will come into its own at professional wrestling matches. “Recently, there has been increasing focus on entertainment and so the sound quality for the show is getting more important. We know that WPC will be able to deliver clear and powerful sound to every seat in the arena — and this is our absolute ideal in terms of quality.” martin-audio.com

PHILIPPINES

Prolyte Asia Rigging Campus Makes its Mark in the Philippines Prolyte Asia Pacific is well known for hosting the quarterly rigging and training campus at their training facility in Petaling Jaya, Malaysia. Since the first campus back in September of 2007, over 300 participantshave been trained by instructor Harold Waldack. And in the 9 years following it, the vast majority of participants took the final examination and were honoured with the highly respected rigging certificate, issued when the theoretical and practical aspects of the training are successfully passed.

Beyond the Blue, Quezon City based distributor of Prolyte Structures, Systems and StageDex for the Philippines, recently took the initiative to ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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NEWS NOV. 2018

organise and host this 5 day Campus in the Philippines. Based on their own experience from participating in the Campus some years earlier in Malaysia, the management of BTB suggested to organise the same campus in their own country, thus providing the opportunity to train and teach more people about safe rigging practices without the need for travel and accommodation for locals.

Although it only took 3 weeks to organise the campus, the session was completely booked within the blink of an eye. The equipment (Prolyte ST ground support with S52SV truss series, Prolyft chain hoists and PPE equipment) was supplied by Forsk Ink, one of the leading rental companies in the Philippines.

Not only was this the first time for the Asian rigging campus to be held elsewhere, but it was also the first time the practical section of the training (ground support building, repelling, bridle installation etc.) took place indoors, as Forsk Ink‘s massive TV rehearsal studio was available for the Campus.

According to Alex Tan, Managing Director of Beyond the Blue, the Campus was a big hit and Beyond the Blue has announced their second Campus in early 2019 as there is a long list of people that want to attend the training. Do keep an eye out for the schedule to be announced by Beyond the Blue and Prolyte Asia Pacific. www.beyondthebluecorp.com www.prolytepap.com

SINGAPORE / MALAYSIA

Mackie Partners with City Music and CK Music in Singapore and Malaysia there remains sharp and focused on the future. In these and other ways, we at Mackie have a lot in common with City Music and CK Music, and we all look forward to growing together.”

Mackie is pleased to announce that City Music Co Pte Ltd has been appointed its distributor in Singapore, and CK Music Sdn Bhd has been appointed its distributor in Malaysia, effective immediately.

Established in 1968, City Music is one of Singapore’s leading retailers and wholesalers of musical instruments and professional audio equipment and one of the island city-state’s key music industry players.

A subsidiary of City Music, CK Music opened its doors in Kuala Lumpur, Malaysia, in 1988, and is now a leading musical instrument and pro audio retailer and wholesaler in Malaysia.

“City Music and CK Music have thrived for decades in their respective, dynamic markets,” observes Mackie Director of Sales, APAC, Matt Frazier. “With a foundation of long-term success, the leadership team

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“We have had a longstanding relationship with Mackie as their authorized reseller, so we’ve supplied Mackie products to our musical instrument and pro audio customers for many years,” relates City Music’s Hoe Yeegn Lougn. “Today, we are extremely thrilled and honored to finally represent Mackie as sole distributor for both Singapore and Malaysia. We are very excited about this new partnership and look forward to the great business ahead.”

Both distributors will be the exclusive distributors for their respective regions, and will handle sales, marketing, fulfillment, and customer service. www.citymusic.com.sg www.ckmusic.com.my www.mackie.com

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NEWS NOV. 2018

AUSTRALIA

KV2 Audio Demonstrates VHD5.0 at Myer Music Bowl, Melbourne angle, which on VHD5.0 can be done via remote control as the fly bar incorporates integrated tilt adjustment.”

A noise curfew was in place until midday, but everything was ready to roll as many of Australia’s leading sound engineers started to arrive to experience this new format in large-scale sound reinforcement. With the VHD5.0 Constant Power Point Source Array, KV2 has focused on creating a modular system that has minimal destructive interference while utilising multiple components in a small number of cabinets. VHD 8.10 Low Mid expansion boxes are arrayed around the VHD5.0 Mid High enclosure providing the headroom needed to deliver the low mids and keep the sound balanced.

In essence the system is pieced together to represent one very large point source, each part of the system being proportional in size to the frequency wavelengths it reproduces. The radiated power of each bandwidth therefore remains consistent and balanced in relation to the overall frequency response. This ensures the same sound is delivered to every seat in the house.

The KV2 Asia Pacific team recently gathered in Melbourne to demonstrate the new VHD5.0 Constant Power Point Source Array and the VHD2.0 Large Format Point Source System at the city’s best-known outdoor venue, the Sydney Myer Music Bowl.

Loading in at 7.00am, both systems were flown and ready for operation by 10.00am. Angus Davidson, technical director for Asia Pacific and North America was in charge of the set up. “It never ceases to amaze not just how quickly these systems go up but how little tweaking is required once they are in the air,” remarked Davidson. “Basically, once you get the height right it is simply a matter of adjusting the tilt

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The general feedback from visitors was extremely positive as was their amazement as to how well the sound held together despite a strong breeze blowing across the venue. “A number of engineers have commented on the system’s consistency in both frequency response and SPL in all parts of the venue but what has really impressed people is the intelligibility and coherent reproduction of the sound at the back of the venue well over 100 meters from the speakers. The fact is, that unlike line array, there is virtually no destructive interference occurring in the listening field, hence there are no losses, just a gradual drop in level as you reach the rear of the venue.”

A number of audio engineers expressed their interest in using the system. Tim Millikan, who has worked with many of Australia’s leading artists including INXS, Midnight Oil, Paul Kelly, RocKwiz, and many more, summed up the system’s performance in a few words, “Incredible intelligibility, from a whisper to a roar.” kv2audio.com

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NEWS NOV. 2018

CHINA

RGBlink X3 Helps Enhance Celebrations of Vingroup Anniversary

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Vingroup celebrated its 25th year of being involved in the real estate segment in Vietnam, with a mega event in in Da Nang, where a RGBlink X3 device was used to provide video processing solutions in conjunction with LED displays.

Throughout the Vingroup’s gala, X3 operated in videowall mode to make use of the maximum outputs.

The X3 delivered scaled video to the LED displays via DVI, and to other connected equipment via SDI output.

Presets created in advance provided clean, smooth switching of a range of video sources including prerecorded media and live camera feeds.

The stage was shaped with 3 LED displays with provider ProSHOW Technology JSC choosing X3 to fulfil the project needs given the need for seamless switching and simultaneous multiple video layers.

The Project Manager, Toi La Lee Hai of ProSHOW, highlighted the RGBlink products quality saying, “X3 was ideal for this event, and I am sure we will have similar projects with RGBlink products in the future.”

X3 is a video processor and scaler for signals up to 4K signals featuring up to 16 inputs and 8 full HD outputs. Popular with rental companies like ProShOW, X3 is very flexible, able to be configured with signals to requirement, and dynamically display a range of video, as was the case for the Vingroup event.

RGBlink specializes in professional video signal processing, particularly seamless switching, scaling and advanced dynamic routing.

Technology is developed through ongoing investments in research and development by RGBlink.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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Introducing two new members of the ZLX series: ZLX-12BT & ZLX-15BT The superior components, coverage and clarity of the world's best-selling portable PA speakers, combined with the latest Bluetooth technology to deliver the lowest-noise, highest-fidelity audio streaming experience in their class.

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20

VIDEO FILES NOV. 2018

Datavideo SE-500HD Video Presentation Switcher

AV Stumpfl presents PIXERA

Learn more about Datavideo’s SE-500HD, which is the ideal 4-channel video mixer for presentations. This instructional video goes through everything you need to know about the mixer, featuring 10-bit processing, 1080p, a built-in audio mixer, and other great features like picture-in-picture, split screen, and a built-in keyer.

This clip introduces PIXERA, a 64-bit software system for real-time media processing, compositing and management that is built around the key theme of usability. With PIXERA, AV Stumpfl combines one of the most powerful render engines in media server history with a groundbreaking new interface approach. Users can gradually discover the options and features and can smoothly transition from being a beginner to becoming a specialist.

Maverick Storm 1 Wash Sneak Peek

GSL System at Osaka-Jo Hall

Get the first peek at the all new Maverick Storm 1 Wash! This epic IP65 rated RGBW Osram LED moving head is the first of its kind to join the award-winning Maverick series. Pixel-mapping effects, a virtual gobo wheel with background colors, a massive zoom range, 16-bit dimming and multiple control protocols further add to its versatility.

Arxiduc Audio and Star Tech required an audio system that provided clear and even coverage for the Naoto Inti Raymi concert at Osaka-Jo Hall, Japan. The team chose the d&b GSL for the job after experiencing the directivity control of the GSL. The team also comments on how the rear rejection minimizes the reflections in the venue, and how the d&b system meets the needs of sound engineers.

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ENNOVATIONS NOV. 2018

NEW 3D DWG Libraries Release for MILOS Systems MILOS is pleased to announce the release of their latest 3D component libraries for direct use with AutoDesk platforms and other DWG file compatible CAD systems.

The library contains over 1000 new blocks from the vast range of truss systems available from the MILOS portfolio. The new edition features quick-snap assembly points as well as pre-assigned component attributes including part codes, system weights, dimensions and accurate bracing patterns for rigging and set construction integration.

Visit the MILOS Download Center to download the files. www.milossystems.com

DPA Microphones’ Smallest Microphone Capsules Make a Big Impact Several years of research, feedback and direct responses from trusted customers and onsite visits in the theatre, film and television industries, went into the creation of DPA Microphones newest addition to its d:screet and d:fine ranges.

DPA was proud to showcase its smallest high-end pro audio microphone capsule ever, the d:screet CORE 6060, 6061 Subminiature Microphones and the d:fine CORE 6066 Subminiature Headset Microphone at the recent AES. Measuring in at just three millimeters (0.12 inches) in diameter – the new 6000 series is 60 percent smaller than DPA’s existing 4000 series.

While the new mics may be small, they are powerful in terms of performance, as all three incorporate the company’s CORE by DPA microphone amplification technology, which reduces distortion and increases dynamic range. The microphones with CORE by DPA have also achieved an IP58 waterproof rating, which provides water and moisture resistance. In terms of technical specifications, all three 6000 series capsules are omnidirectional and have a frequency range of 20 Hz - 20

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

kHz. The d:screet 6060 lavalier has a noise floor of only 24 dB(A), while the d:screet 6061 lavalier and d:fine 6066 headset have noise floors of only 26 dB(A). This is similar to the company’s existing 4000 series miniature mics. All three capsules are available in black and beige, and more colors will be added to the range later.

DPA has received positive reviews from many industry leaders, including notable sound designer’s Dan Samson, Gareth Fry, Richard Brooker and Gareth Owen all of whom were surprised by the exceptional sound quality packed into the small, compact design.

The d:fine 6066 Headset has also been redesigned to be a lightweight, one size fits all headset that attaches over the ears for maximum comfort and has a three point, spring mechanism to help it grip below the ears and to the side of the head for added security. With a fully adjustable boom, this new headset is very easy to fit and has a redesigned cable attachment that allows the cable to run down the wearer’s back, so it can’t be seen.

DPA’s new Subminiature Microphones will be available in November. www.dpamicrophones.com

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ENNOVATIONS NOV. 2018

Datavideo Launches New 4-Channel 1080p HDMI Video Presentation Switcher events, and any live event production. Four scaled HDMI inputs and two HDMI outputs allow users to mix and match video resolutions and connect a variety of video sources that include laptops, tablets, and cameras without the need for video converters.

The SE-500HD is a multi-format live event AV switcher with scaling on every input, built-in audio mixer, and exceptional 4:4:4 10-bit 1080p video quality. Its portable & compact design with easy-to-use professional features makes it ideal for breakout rooms, corporate

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Don’t be fooled by the SE-500HD’s compact size and price – the switcher is loaded with features such as Lumakey for graphic overlays, split screen for side by side views of the presenters, and PIP (picture-inpicture) for PowerPoint presentations. Plug in microphones and other audio sources directly into the SE-500HD and use the built-in audio mixer to simplify your workflow and get professional sound. Dedicated buttons make it user friendly and easy for anyone to operate it like a pro. Professional features, compact all-in-one design and affordable price point makes the SE-500HD ideal for any live presentation. www.datavideo.com

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ENNOVATIONS NOV. 2018

ArKaos Introduces Track DJ and Full Fixture Control for Video Mapper A second totally different scenario – where this feature is again a neat solution - is in TV studios, where the lighting designer or director must control both lighting and several LED screens which are distributed around the stage / studio.

In this case, the LD can have dozens of small video surfaces dotted around, and using Full Fixture Control, can at any moment transform the appearance of the whole space, allowing them to react to a realtime event – for example during a game or quiz show when a player or team is knocked out or transcends to the next level, etc.

This feature also has enormous potential for controlling lighting and media surfaces in the burgeoning live e-games tournament sector, which utilises large productions to ramp the excitement for both live and streamed audiences.

TrackDJ ArKaos recently previewed its powerful and flexible MediaMaster 5.4 and GrandVJ 2.6 video and media control platforms, both of which now offer two important new features: TrackDJ is designed for the seamless synchronization of video clips with a live DJ or to beat-match short video loops; while Full Fixture Control has also now been added to the ArKaos Video Mapper.

For all those reasons, full fixture control has been added to the ArKaos video mapper.

TrackDJ is a huge leap forward to DJs working at festivals and in clubs or at parties, offering more control over their own visuals.

TrackDJ is a straightforward solution for better integration between DJs or LJs and their live visuals, while Full Fixture Control is a serious advancement for lighting designers and operators, allowing them to control LED screens / surfaces and treat them just as if they are lighting fixtures.

An LD or lighting operator using MediaMaster will often be in a scenario where there are multiple video surfaces on a stage as part of the production design - especially at festivals where this is an extremely popular set up – in addition to their lighting rig.

The setup / changeover time is always extremely short and often stressed at festivals or multi-artist events, yet the pressure to use these video surfaces creatively in the show … is extremely high!

At a festival, an LD may want to treat the whole video setup as a single surface one minute and then use each individual video surface (columns, squares, shapes or whatever format these might be) with chases or strobing effects in time to the music.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

An LD can now patch any video mapper surface or video output into their control desk – unleashing the massive potential for it to become a fully creative and ‘fluid’ environment with video surfaces on a stage used just as if they were lighting fixtures controlled by all the standard lighting desk parameters and functions.

TrackDJ is a huge leap forward to DJs working at festivals and in clubs or at parties, offering more control over their own visuals.

Timecode is an important way to synch video, and ArKaos has already added support for audio SMPTE timecode in both GrandVJ and MediaMaster. This summer, ArKaos added support for timecode over Art-Net. This proved powerful and opened opportunities to do even more … so the timecode event was extended to also include BPM and artist / track name information, and thanks to these developments, it’s now a very easy method for GrandVJ or MediaMaster to track the real-time creative work of a DJ as they are playing live.

The first adopter of TrackDJ is ShowKontrol which allows GrandVJ or MediaMaster to communicate with the op level of Pioneer DJ players which are one of the universal industry standard brands. www.arkaos.net

PROTOS Wireless Force Monitoring Systems For the rapidly increasing demands of the entertainment industry, PROTOS has developed a comprehensive range of force monitoring equipment. To improve safety, with a focus on the flexibility and ease of use that this industry needs.

An intuitive and affordable solution to measuring the forces on the loads you’re lifting, or the structures you’re building:

PROTOS, THE APEX SOLUTION

PLCS-WL-LS

Wireless Loadcells available in 3.25 and 4.75 ton variants quick & easy setup and use

WWW.PROTOS-ONE.COM

PLCS-WSS

Intergrateable Windspeed meter module to measure the force of the wind

PLCS-WL-LCR

Wireless Receivers available as USB dongle or water resistant module with extended range

INFOPAP@PROLYTE.COM

26

ENNOVATIONS NOV. 2018

Columbus McKinnon Expands Portfolio of Rigging Attachments for Synthetic Slings provide a wide, smooth, load-bearing surface that won’t damage synthetic material. The flat eye opening also eliminates bunching and pinching of the synthetic sling to ensure it can be used at full capacity.

Columbus McKinnon Corporation has expanded its portfolio of rigging attachments for synthetic slings to include CM Quick Connect Hooks, CM Flat Eye Rigging Hooks and a more comprehensive line of CM Weblok Assemblies.

CM Quick Connect Hooks are a quick and easy way to add load attachment points to any synthetic sling by eliminating the need for additional hardware or assembly tools. Designed with a large, flat bearing surface and recessed area that together prevent the sling from bunching and shifting, Quick Connect Hooks allow synthetic slings to be used safely and at full capacity. In addition, to help ensure easy and proper rigging, Quick Connect Hooks are colour-coded to match common synthetic sling capacities. To promote longer sling life, CM Flat Eye Rigging Hooks

For maximum versatility, CM Weblok Assemblies allow for quick and safe sling attachment, whether users are attaching chain and a master link to a synthetic sling or a synthetic sling to a synthetic sling.

Available in two designs, including syntheticto-attachment and synthetic-to-synthetic, CM Webloks feature either single or double load pin retention depending on the application’s safety requirements. www.cmworks.com

QSC Introduces CP Series Compact Powered Loudspeakers making it easy to load, carry, lift and deploy in a wide range of portable and installed applications.

Beneath its elegantly-designed exterior, CP is equipped with a highly-efficient, 1000-watt power amplifier, matching transducers and advanced DSP, delivering performance beyond expectations for a compact loudspeaker. With the ability to mix up to three input sources (mic/line, line and music playback device) at once, CP makes a great single-box PA system that sets up in seconds. As part of a larger system, CP can be deployed on a speaker pole, as a floor monitor or as a musical instrument amplifier. One-touch DSP control with preset contours for the most common applications is also provided.

The new CP Series is QSC’s very first value-priced powered loudspeaker.

Featuring all the great performance, quality and reliability you would expect from QSC, the CP is also incredibly compact and light weight,

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Watch their video here. www.qsc.com

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ENNOVATIONS NOV. 2018

d&b SL-Series to Welcome New Member Soon design, high SPL and impressive low frequency cardioid performance to a far wider range of applications. It also sits comfortably within the familiar d&b Workflow.

Used as a stand-alone, self-contained package, a delay, or fill accompaniment to GSL, the KSL System will maintain the SL-Series family attributes from top to toe, and spans out its feature sets into wider areas and events including performance installations of any genre.

The d&b SL-Series, large scale line array family is delighted to announce the imminent arrival of a new addition.

Expanding the scope of the SL-Series, the smaller [kleiner] sibling, KSL - or as the d&b team calls him, Karl, will bring the familiar 2-way active

Tel: +603 7781 3357/3552 infopap@prolyte.com www.prolyte-asia.com ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Delivering all the recognisable features of its SL lineage, from outstanding broadband directivity to advanced rigging options, the KSL system will be delivered into the family at NAMM 2019, in Anaheim, California: 24-27 January. www.sl-series.com www.dbaudio.com

Tel: 81(0)3 6912 9720 IPDJ@prolyte.com www.prolyte-doughty.jp

28

ENNOVATIONS NOV. 2018

BroaMan Redundancy Extends to Mux22 Family

Late last year, with the announcement of the Route66 Redundancy Manager, German network fiber giant BroaMan introduced the capability of full automatic redundancy switchover between devices, by harnessing the power of Optocore. This would enable switching between Route66 Video Router and Mux22 nodes — using smart mechanism to detect when one of the fiber links between the nodes is broken.

Now the same technology has been enabled in a very popular pointto-point system — between a pair of Mux22 devices. Mux22, which combines 3G SDI I/O and video sync, with Optocore and SANE digital audio networks, now also features full automatic redundancy. Thus should one of the links fail, the system would automatically switch to the redundant path, enabling all video, audio and data channels to remain working. The switchover time is near instantaneous — implemented in just one sample length.

This facility is now available for any Mux22 device – 16 video (IVT/IVT), 8 video and 8 intercom ports (IVT/Intercom), 8 video and 4 Line I/O (IVT/IC444), 8 video and 4 MADI (IVT/MADI). www.broaman.com

Allen & Heath SQ Monitor Mixing Upgrade V1.3 firmware dovetails with the new SLink card, opening up new possibilities for FoH / Monitor splits and remote I/O, or combinations of either of these with a ME personal monitoring system. Digital splits are further facilitated by new Tie Lines, connecting input and output sockets without running through SQ’s processing.

“Space for monitor desks is often super-tight, so we’re seeing a lot of SQs in monitor world, where their big functionality and modest footprint have won them many friends,” said SQ Product Manager, Keith Johnson. “With the generous feedback and support of monitor engineers from the SQ user community, we have ticked off a wish list of new and enhanced features that make SQ the ultimate compact monitor mixer.”

Allen & Heath has unveiled a suite of feature enhancements, designed to make its SQ mixers the perfect compact monitor consoles.

SQ firmware V1.3 adds a Listen bus, enabling the engineer to patch PAFL to an IEM system, stereo nearfield monitors or a mono listen wedge, with the option to control the Listen level with the master fader.

Engineers can enjoy easy communication between FoH and Monitors, thanks to the addition of an External Input to PAFL.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

SQ V1.3 firmware also adds user permissions, enhancements to the user interface, plus FX control, MIDI messaging and instant value feedback to the soft rotary controls on SQ-6 and SQ-7. The companion V1.3 SQ MixPad app also adds new features, including FX and DEEP unit control, a patching matrix, plus integration with the signal generator and user permissions.

Download SQ V1.3 here www.allen-heath.com

BRINGING EVENTS TO LIFE The leading exhibition for show-stopping innovations ISE is the European destination for the global AV industry - discover the concepts, products and solutions that will help to shape future events and shows.

REGISTER NOW

30

ENNOVATIONS NOV. 2018

FROM THE FLOORS OF LDI

HARMAN Professional Solutions Announces Host of New Solutions HARMAN Professional Solutions introduced a range of solutions at this year’s LDI Show, including the new Martin ELP LED ellipsoid fixtures.

feature set further includes dimmer, strobe, colour mixing, gobos, iris, prism, zoom, focus, pan and tilt.

Martin ELP fixtures are available in two versions: ELP WW (Warm White) offers industry-leading colour rendering and brightness, while ELP CL (colour) delivers rich, saturated colours and class-leading output.

ELP fixtures feature industry-first advances in lighting functionality, including the highly efficient gear-based Fine Focus adjustment knob, and the Fast Focus feature which allows the fixture to be focused without data flow. ELP also offers 16-bit dimming with four selectable curves and 26 colour presets that match industry-standard colour filters. ELP fixtures can be configured with Martin lens tubes in 19, 26, 36 and 50-degree beam angles as well as third-party lens tubes.

ELP fixtures can also be configured with a wide range of accessories, including gel frames and gobos, offering exceptional flexibility in lighting design and inventory management.

It also includes a pixelated beam divided into seven individuallycontrolled, full colour segments (pixels). This gives lighting designers new options for creativity and frees them to expand in directions they previously may have never considered. The MAC Allure Profile was also designed for extreme user-friendliness with a built-in FX engine for P3 and DMX controllability that lets users swiftly alternate or mix between control protocols.

ELP is designed to maximize efficiency and deliver a flat field of illumination for smoother blending and mixing between fixtures. The ELP WW delivers 7,000 lumens of output and an industry-leading 97 CRI at 3000K colour temperature, for the truest colour representation on any surface.

The ELP CL fixture offers an impressive 6,900 lumens and a CRI of 85 in High Output mode, and 5,900 lumens and 90 CRI in High Quality mode, with a colour temperature of 6,000K (open white). Both models offer flicker-free operation for consistent light output—on and off camera.

ELP fixtures can be configured with one of four Martin lens tubes in 19, 26, 36 and 50-degree beam angles. Compatibility with third-party lens tubes, gel frames and gobos make ELP fixtures highly flexible and allow for seamless integration with existing rigs.

HARMAN also introduced the Martin MAC Allure Profile LED Moving Head, designed to support the unique performance lighting needs of rental and install clients, including concert/touring, TV shows, corporate, houses of worship, concert venues, nightclubs, and cruise ships.

Last but not least, HARMAN re-introduced the world to its unbeatable Martin P3 Visual Control Solution. P3 is a unique protocol with accompanying ergonomic control software, developed by Martin for lighting designers working in all types of applications. P3 is extremely simple to use and empowers hybrid video/DMX control for incredible looks that can’t be found anywhere else. To empower designers to make the use of P3 even more convenient, P3 will soon be integrated directly into a wide range of Martin lighting fixtures, including the new Martin MAC Allure Profile.

P3 allows video content to be controlled and mapped to Martin creative LED video products, including the Martin MAC Allure Profile, VDO Face, VDO Sceptron, VDO Dotron, VDO Fatron, VC-Grid, VC-Strip, VC-Dot, Exterior PixLine, Exterior Dot-HP, and other yet-to-be-announced Martin products. The heart of the P3 eco-system is a system controller such as the Martin P3-050, P3-150, P3-300, or P3-PC, which then connects to all P3-enabled fixtures in the system. The P3 ecosystem ensures flicker-free operation and uniformity, rock-solid, high-quality performance, and simple, quick mapping and automation for flawless execution of any lighting design.

P3 software is immediately available at martin.com

The Martin MAC Allure Profile is the first fullyfeatured moving head to combine a proprietary, solid state RGBW additive colour mixing engine, a 7-segment pixelated beam and onboard P3 and DMX controllability that lets users swiftly alternate or mix between control protocols. The overall

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The Martin ELP WW and ELP CL LED ellipsoidal fixtures will be available through authorized resellers starting in December 2018. The MAC Allure Profile is also expected to ship in December 2018. www.harman.com

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ENNOVATIONS NOV. 2018

Elation Adds World Premiere Product Launches to LDI 2018 Lineup Showing at Elation’s LDI booth for the first time anywhere were the Artiste Monet and Proteus Profile.

The Artiste Monet is an extremely bright, full-featured, 45,000 lumen LED Profile fixture offering outstanding projection quality, a comprehensive FX package, dynamic framing and a wide array of colours via its innovative Spectracolor engine. The new Spectracolor array uses traditional CMY colours but adds variable RGB flags for rich and vibrant primary colours. In combination with variable CTO colour correction, the Monet produces colours that were previously impossible to achieve from theatrical pastels to the purest reds, blues or greens ever produced by a colour mixing system.

The Artiste Monet

The Monet houses a full blackout, 4-blade framing system with unlimited indexing and continuous rotation control that allows shapes to rotate while morphing and transforming for transitions, projections and aerial effects not previously possible. Monet’s comprehensive FX package includes 7 rotating and 7 fixed glass gobos, full animation wheel, dual prisms, dual frost and a high-speed iris. With a fast 6

to 50-degree zoom and an impressive 160mm front lens, the Monet has the power to cut through at even great distances in arena touring environments or large TV or theatre stages. Providing up to 45,000 lumens from an efficient 950W white LED engine, the Artiste Monet is ideal for any application requiring superior output, stunning effects and unmatched colours in a quiet and refined luminaire.

The Proteus Profile is an extremely bright IP65-rated LED Profile fixture offering outstanding projection quality in any environment. Providing up to 45,000 lumens from an efficient 950W LED engine, the Proteus Profile is the ideal fixture for any outdoor application requiring superior output, bright and powerful beams, and quiet operation, as well as stunningly precise gobos and colours. Proteus Profile provides the designer a comprehensive FX package with 6 rotating and 7 fixed glass gobos, full animation wheel, dual prisms, dual frost and a high-speed iris. Its indexable framing system provides full blackout shutter cuts for precise beam shape control. With a fast zoom range from 6 to 50 degrees and an impressive 160mm front lens, the Proteus Profile has the power to cut through at even great distances in any outdoor concert or special event, and with its fully dust and waterproof design it is an ideal fixture for theme parks and cruise ships as well. www.elationlighting.com

Claypaky Unveils New Products SHARPY PLUS is the first true 100% HYBRID unit, able to be a perfect beam light and a perfect spotlight. It fits a totally new, top-rankingperformance Osram Sirius 330W X8 lamp and weighs only 21.6 kg (47.6 lb). All its functions are extremely quick. A Linear 3° to 36° (1:9) zoom covers the entire range linearly, both in SPOT mode and in BEAM mode. This feature makes the SHARPY PLUS unique on the market. In Sharpy Plus BEAM mode, it is capable of extraordinary power output (over 300,000 lux at 10mt distance).

The AXCOR SPOT 400 and AXCOR PROFILE 400 provides the mediumpower applications with compact, bright, LED moving spotlights, complete with every device you need for exceptional projected visual

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

effects. There is nothing like them in their category for variety of effects and possible combinations.

The AXCOR PROFILE 600 is the new benchmark on the medium-high market, standing out for its versatility, its high level performance and the superior quality of its light. The luminous efficiency is among the highest for this power category, and can be further increased by about 25% if necessary thanks to the exclusive “boost mode”. The HEPIKOS is an innovative Hybrid Wash/Beam light AXCOR PROFILE 600 that combines low power consumption with colour quality, without compromise, in its highly compact body. www.claypaky.it

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

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

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

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

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

Organized by:

A project of:

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ENNOVATIONS NOV. 2018

Cameo Showcases New Professional LED Lighting Innovations Adam Hall North America, Inc., the newly formed subsidiary of the Germany-based Adam Hall Group, presented a new line-up of LED lighting innovations from its Cameo brand portfolio at this year’s Live Design (LDI).

with 10–38 degree adjustable beam angles. With its continuously variable iris diaphragm, linear frost filter, two gobo wheels and a circular 3-facet prism, the EVOS S3 delivers impressive projections and effects.

As a compact 100-watt beam moving head, the Cameo AZOR B1 provides a massive 180,000 lux at three meters. The high-quality glass lens has an extremely narrow beam angle of 2 degrees.

With 14 intensive colours plus white, split colours and 17 static gobos, the possibilities for creative mid-air effects are limitless.

Visitors to the exhibition had a chance to see the new OPUS Series and F-Series, as well as a first look at the latest products in the field of professional LED lighting equipment from the ever-growing Cameo portfolio, including the ZENIT W300 outdoor wash light and the ZENIT B200 – the most powerful battery-powered wash light currently available on the market.

In the field of moving spotlights, the new OPUS Series from Cameo comprises three moving heads: OPUS SP5, OPUS SP5 FC and OPUS S5.

The OPUS SP5 is a 500-watt profile moving head with 15,000 lumens light output, a CMY colour mixing system and linear CTO. Its premium-quality optics, featuring a 130 mm front lens, provide a wide zoom range from 6 to 42 degrees and enable extremely consistent projection, free from hot spots.

Cameo OPUS SP5 The OPUS SP5 FC is a RGBAL LED profile moving head. At just 300 watts, it provides a huge luminous flux of 9,000 lumens with a CRI of over 90/TLCI 93. Its high-quality optical system and adjustable beam angle of 6 to 44 degrees ensure consistent projection free from colour shadows.

OPUS SP5 and OPUS SP5 FC feature a fourfold diaphragm slider system, whereby the angle and position of each slider is adjustable through +/- 45 degrees until completely closed. The OPUS SP5 FC also features a rotating animation wheel.

The smallest member of the OPUS family is the OPUS S5 spot moving head – a workhorse that really packs a punch. With its 380-watt LED, the OPUS S5 delivers an enormous light output of 17,500 lumens. The CMY colour mixing system and a linear CTO-correction of 6,500 to 2,600 K provide the demanding lighting designer with immense creative freedom.

Cameo EVOS S3

The Cameo EVOS S3 is a spot moving head with a powerful 350-watt cool white LED and specially developed optics for very even light distribution. It provides 12,000 lumens of light output and, with CMY color mixing and linear CTO correction, it creates brilliant colours. The spotlight is equipped with a motorized zoom

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The range of three super powerful Fresnel spotlights – Cameo F2 D (5,400 K daylight LED), Cameo F2 T (3,200 K tungsten LED) and Cameo F2 FC (RGBW LED, infinitely adjustable from 2,800 K to 10,000 K) are perfect replacements for traditional 1 kW Fresnel spotlights.

Cameo AZOR B1

These Fresnel spotlights feature lifelike colour reproduction with a high CRI of 96/TLCI 97 and smooth zoom and adjustable beam angles of 15 to 40 degrees (F2 D and F2 T) and 18 to 55 degrees (F2 FC). Additional features include four selectable 16-bit dimmer curves with adjustable response. 8-way barn doors and gel frames are included.

Following on from the successful launch of the ZENIT W600, Cameo presented the powerful outdoor wash light ZENIT W300 whose 21 x 15 W RGBW LEDs provide a high luminous flux of 10,000 lumens for rich color bends. Without a diffuser, this wash light features a beam angle of 21 degrees and a field angle of 40 degrees. Optional accessories enable alternative beam angles which can be set in a matter of seconds, thanks to SnapMag filter frames. Its professional features also include an integrated 2.4 GHz W-DMX transceiver and control via RDM, DMX or infrared remote control. IP65 classification guarantees long-term outdoor use.

Total independence without mains connection is provided by the Cameo ZENIT B200 battery-powered outdoor wash light. Its 21 x 15 W RGBW LEDs and luminous flux of 4,500 lumens enable the creation of consistent colour blends. A powerful, heavy-duty LG Chem lithium-ion battery is built in. The battery management system protects against overcharging and deep discharging. Otherwise, this wash light shares the same professional features as the Cameo ZENIT W300 and W600. www.cameolight.com

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ENNOVATIONS NOV. 2018

ADJ Launches Ground-breaking Hydro Series IP65-Rated Moving Heads Despite its small size, the X1 packs in plenty of beam-shaping features.

Its colour wheel offers a diverse selection of 14 colour options, including UV and a CTB colour correction filter, plus open white. A second wheel is loaded with a varied selection of 15 GOBO patterns plus open, which include 4 beam reducers and the versatile fixture also features a 16-facet bi-directional rotating circular prism as well as 0-100% smooth digital dimming and variable speed digital strobing.

Plus, its fitted with a frost filter for a wash effect.

The larger Hydro Beam X2 harnesses the power of an extremely bright Osram Sirius HRI 37OW LL discharge lamp, a brand new lamp chosen

by ADJ that offers an exceptionally long lamp life of 6,000 hours. It generates an enormously powerful 3-degree beam of light and offers a raft of professional-caliber features including linear motorized focus, an in-built frost filter and an integrated USB port for software updates.

Hydro Beam X1 and X2 ADJ has unveiled its latest technology breakthrough: IP65-rated moving head beam fixtures. The new Hydro Beam X1 and Hydro Beam X2 will bring weatherproof moving heads within the reach of a huge number of production companies and installers working on projects with budgets that up until now would not have allowed for IP-rated fixtures.

Despite its small size, the X1 packs in plenty of beam-shaping features. Its colour wheel offers a diverse selection of 14 colour options, including UV and a CTB colour correction filter, plus open white

With robust construction and IP65-ratings, the Hydro Series fixtures are designed for both indoor or outdoor use. Their durable casings protect them from dust, sand, moisture and liquids, making them ideal for use in all situations from dusty deserts in California to rainy fields in England. Perfect for festivals and outdoor events, as well as installation in open-air clubs and other outside entertainment spaces, the groundbreaking fixtures offer an extended operational life and reduced maintenance requirement due to their sealed casing design.

The compact yet potent Hydro Beam X1 is powered by an Osram Sirius HRI 100W discharge lamp that offers an impressively long operating life of 6,000 hours. Combined with precision optics and a tight 3-degree beam angle, this allows the fixture to generate an extremely powerful beam that travels over a long distance and is capable of creating a wide variety of stunning midair effects.

Measuring just 12” x 8” x 19” / 308mm x 210m x 488mm and weighing in at 34.5 lbs. / 15.5kg., the X1 is ideal for installations where space is limited or lighting fixtures need to be unobtrusive. The unit’s compact dimensions also make it ideal for touring and event production duties, minimizing trucking and storage space, while its small form also allows it to achieve exceptionally fast and agile movements.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

An 11 slot plus open GOBO wheel is provided with 5 glass and 3 metal patterns, as well as 3 beam reducers, all of which are replaceable and rotatable. In addition, a separate wheel features 12 colours plus open, which include 3200K and 5600K colour correction filters. The fixture also features two separate 8-facet prisms, one circular and one linear, both with overlay and bi-directional variable speed rotation.

With dimensions of 16” x 13” x 25” / 402 x 330 x 630mm and a weight of 64 lbs. / 29kg., the X2 model is significantly larger than the X1 but is still a relatively compact fixture considering its output power and feature set. This makes it ideal for tours and production companies looking for a potent, weatherproof fixture, that is convenient to store and transport. It’s combination of powerful beam and expansive collection of features also makes it ideal for permanent installation in large outdoor nightclubs and other entertainment venues.

Both fixtures feature IP65-rated waterproof powerCON input and output sockets, allowing the power supply for multiple fixtures to be linked from a single socket. IP65-rated XLR input and output sockets are also fitted: 3-pin on the X1 and 5-pin on the X2. All of the input/output sockets on both models are fitted with rubber protective covers that can be used to provide water protection whenever a particular socket doesn’t have a cable plugged in.

Both models are estimated to be available at the beginning of 2019. www.adj.com

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ENNOVATIONS NOV. 2018

All Eyes on Robe for T1 Launch 18-bit dimming system, while the high CRI provides the natural and harmonious skin tones so fundamental to theatre and television / film applications. For television work, there are other features like a plus / minus green channel and a special flicker-free management for use with multiple vision systems and recording formats.

All this is combined with accurate framing shutters, a dynamic focustracking zoom, variable frosts, bespoke breakup and aerial gobos, animation wheel and prism, offering total control for finessing and finetuning the most demanding of designs for theatre, television and touring.

Robe launched its brand-new T1 Profile luminaire at the LDI 2018 expo in Las Vegas – the luminaire was revealed for the first time.

The T1 Profile, is specifically designed to fulfil the challenging requirements of three very diverse disciplines – theatre, television and touring - in one comprehensive fixture. The new MSL (Multi-Spectral Light) LED light source is impressively bright, yet the T1 Profile is full of theatrical subtlety. With CMY colour control, and a radical new custom colour creation system and wide ranging CCT control from 2700K to 8000K, all variations of colour are possible! The precise needs of theatrical dimming are catered for with Robe’s ultra-smooth

Robe also brought out the all-new iParFect 150 FW RGBW, which is loaded with cool features starting with an exceptionally-wide zoom of 3.8° to 60°. It is completely silent due to passive cooling and the IP65 rating makes it ideal for any outdoor application.

Other characteristics include both CMY & RGBW colour control, 18-bit dimming and tungsten emulation with both selectable & variable colour temperatures providing total output control. The powerful, punchy beam combined with a Fresnel style beam edge, results in a smooth, beautifully homogenized shaft of light emanating from this compact, lightweight fixture. www.robe.cz

100%

... installation complete.

With a vast range of install products, designed and engineered at our headquarters in Germany, we are the convenient one-stop supplier for contractors and system integrators. Meeting the demands for smart audio installations that elegantly fit into any décor, we provide solutions ranging from complete pro audio systems all the way down to the mounting hardware, wires and connectors.

Right from the planning stages, we support your commercial projects with individual consultation, comprehensive service and attractive pricing so you can maintain your competitive edge. Of course, our expert assistance continues long after the successful completion of your installation. Visit adamhall.com/install and discover what our full-scale offering can do for you!

VISIT OUR SHOWROOM IN SINGAPORE Adam Hall Asia Pte Ltd · Singapore 737853

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

SOUND LIGHT STAGE HARDWARE TECHNOLOGY TECHNOLOGY EQUIPMENT FOR FLIGHTCASES share the experience:

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adamhall.com/install

38

ENNOVATIONS NOV. 2018

WORK PRO Sets Sparks Flying with Pyron Controllers WORK PRO has officially launched their new range of control hardware: Pyron. Bringing together the company’s established background in digital audio and lighting control with their R&D team’s experience of remote firing systems and pyrotechnic control, WORK PRO’s Pyron range comprises several wirelessly controllable devices designed to provide event organisers and touring companies with complete control of stage effects and hardware ranging from stage pyrotechnics, audio and lighting effects to CO2, flame and cold fire spark machines.

At launch, the Pyron range includes an advanced suite of control software, two different DMX-equipped, battery-operable hardware consoles (the FDC W and the more fully-featured FDC A) and the FD P1 wired or wireless trigger pad, all of which are built into easily portable but durable IP67-rated water-resistant ABS transport cases for use in demanding event environments, indoor and out. The consoles connect to M2 pyrotechnic firing modules; up to 64 M2 modules can be used with each console, and each M2 can launch up to 16 fireworks simultaneously.

The consoles form the command centre of any Pyron system; both may be mains- or battery-powered for stage use, in the latter case

utilising twin rechargeable 12V lead acid batteries with enough power to last several shows of average length. The FDC W can route trigger commands and macros to connected pyrotechnics via dedicated connections at the same time as controlling stage machinery, lighting and audio effects and processing via its DMX output. The top-ofthe-range FDC A offers all of the functionality of the FDC W, but adds Open System Control (OSC) and Ethernet connectivity for more control options, plus a dedicated pad of hardware trigger buttons to which different firing options or macros can be assigned for live use, programmable via its built-in alphanumeric keys and two-line LCD; alternatively, the Pyron software control suite allows macro programming and assignment to be carried out on both consoles via the graphical user interface of a connected computer.

The FD P1 Fireworks Digital Pad is designed for users that need a dedicated trigger pad separate from the main console. It can be connected to the console via a cable or wirelessly as required. Up to 25 macros or individual connected pyrotechnic hardware can be triggered via the dedicated 5x5 matrix of assignable buttons, while another 3x5 matrix of trigger buttons in the separate DMX section allows simultaneous control and triggering of connected DMX-compatible lighting or audio processing hardware. www.workpro.es

Philips Vari-Lite’s VL10 BeamWash Sets New Standards in Aerial Dynamics Signify launched the new Philips Vari-Lite VL10 BeamWash luminaire. Following successful tests on prime-time television and live concerts in recent weeks, the VL10 BeamWash was officially unveiled at the LDI exhibition in Las Vegas, Nevada.

VL10 Wash effects The first lighting fixture to be designed around the new highperformance Philips 25R Platinum 550W lamp, the VL10 BeamWash packs a new level of power, dynamics and personality into a compact, fast-moving body.

The VL10 BeamWash produces 28,000 lumens of output from the concentrated power of the new lamp, making it the brightest and most versatile fixture in its class. Its 2.2-48˚ zoom range delivers a broad choice of looks, from crisp, tight beams to wide, smooth washes and mid-air blasts, enhanced by an unrivalled suite of creative beam effects.

Among the effects choices available are dual overlaying prisms, an 8-slot rotating gobo wheel and an aperture wheel featuring 12 designs, ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

including beam reduction to a laser-like 0.7˚ and a range of bold breakups and aerial dynamics. Designers can access a further layer of design versatility with the exclusive new VL*FX glass animation wheel system, while mega-stepping, twist and shake control also add to the creative mix.

Effects can be softened with the internal frost, and strong, even washes can be created using the dedicated wash mode. As usual, designers can choose from the full Philips Vari-Lite color palette: the enhanced CYM color system and fixed color wheel offer everything from the subtlest hues to the deepest reds and blues.

The fixture’s large 180mm front lens gives a stage presence usually associated with far larger fixtures, combining personality with performance in this compact, fast-moving body. Weighing just 33kg, the VL10 BeamWash is brighter, lighter and more versatile than any comparable fixture on the market. Signify became the new company name of Philips Lighting as of May 16, 2018. Signify Entertainment Lighting comprises the Philips Vari-Lite, Philips Strand and Philips Selecon brands, as well as the Philips Showline range of LED stage luminaires. www.signify.com

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ENNOVATIONS NOV. 2018

AV Stumpfl Presents PIXERA Media Servers AV Stumpfl presented the upcoming PIXERA media server system at the LDI show – the PIXERA is a 64-bit system for real-time media processing, compositing and management,

• Seamless integration of 2D and 3D spaces for fast show programming, compositing and warping/projection mapping • Integrated projector and LED display databases for drag and drop pre-configuration • Supports NDI streaming • Powerful render engine for ultra-high resolution content

built around the key theme of usability.

Users can gradually discover the options and features and can smoothly transition from being a beginner to becoming a specialist. Actions in the 2D and 3D space follow the same mechanisms. The system was designed so that users can execute the most important basic actions in record time and with minimum effort.

A radical new interface logic enables even first-time users to intuitively understand the main software mechanics. Entering the world of professional media playout solutions has never been easier. With PIXERA, AV Stumpfl combines one of the most powerful render engines in media server history with a ground-breaking new interface approach.

In addition to the new PIXERA software, AV Stumpfl also presented two powerful new media server models called PIXERA one and PIXERA two to the public. Both models are now available.

PIXERA one is a compact 1U server model, that can play back uncompressed 4K at 60fps. With a depth of only 45cm, the PIXERA one is perfect for installation environments. PIXERA one will be available with 2 or 4 outputs. PIXERA two is a 2U server model that is similar to the PIXERA one in many ways but offers more customization options and a redundant power supply. PIXERA two will be available with 2, 4 or 8 outputs.

The new PIXERA software is scheduled to be released in February 2019.

Some of the highlights of PIXERA include: • Extremely user-friendly GUI

avstumpfl.com

DESIGN MEETS QUALITY.

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

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ENNOVATIONS NOV. 2018

Green-GO Creator Brings DMX Ethernet Revolution to LDI 2018 programmable as output, input, merge, backup and more, as node ports. The result is a significant saving in hardware cost for productions using Ethernet/DMX systems.

ELC Lighting recently presented its new ELC GBX Distribution System at the LDI exhibition in Las Vegas. The Netherlands-based company is also the creator of Green-GO, the renowned, multi-award winning, digital intercom over Ethernet system, which itself revolutionised communications for major live events, multi-function performance venues, houses of worship and leading broadcast facilities.

The new GBX Distribution System, which utilises standard Ethernet protocols and DMX, has been specifically tailored for live entertainment applications, where the variety of data protocols would overload and saturate commercially-available network switches. When connected, and loaded with ELC’s advanced dmXLAN software, the system transforms how DMX can be distributed from an Ethernet network.

Key to the innovation is ELC’s new nodeGBx8 Slave node unit. This serves as a substitute for a DMX splitter rack, with all DMX ports fully

The Slave node unit forms an important part of the ELC GBX Distribution System, of which the dmXLAN switch (GBx10 or GBx18) forms the backbone. With the switch as master, up to 15 slave nodes can be daisy-chained via the Ethernet ports, giving a system rack with 120 fully programmable DMX/RDM ports. Supporting all open protocols including sACN, Art-Net and ShowNET, the system revolutionises Ethernet/DMX network distribution, and delivers major new efficiencies to the event production market.

The GBX Distribution System was first seen at the PLASA Show in London in September, where it was nominated for a PLASA Award for Innovation. All ELC’s product ranges, including the GBX Distribution System and Green-GO digital comms systems, are manufactured by ELC in Gemert, The Netherlands. www.elclighting.com

Clear-Com Brings New, Enhanced Intercom Solutions to LDI 2018 At the LDI Show 2018, Clear-Com showed new hardware and software functionality for FreeSpeak II, a digital wireless intercom for live performance, theater and broadcast users.

Also on display was E-IPA, the new high-density audio-andintercom-over-IP connection card for the Eclipse HX digital matrix intercom family.

A significant firmware update to FreeSpeak II provides new functionality, including a cleaner User Interface and text messaging, together with InSite to provide improved diagnostics and telemetry screens, and audio enhancements systems when used in complex radio environments, such as tracking beltpack roaming between cellular transceivers and quality of service over time.

The new 1.5 firmware is available as an update for the FSII-BASE-II base station and its CCM management software.

The new FreeSpeak II 1.9 GHz IP Transceiver, IPT, features AES67 connectivity, low-latency signal distribution and high-performance audio routing with high audio bandwidth. As a result, FreeSpeak II wireless beltpacks can now be addressed across a user’s LAN. Additional enhancements include supporting a higher density of users per transceiver.

All IPT Transceivers are connected to an AES67 IP switch and to the Eclipse HX system fitted with Clear-Com’s new E-IPA high density audioand-intercom-over IP system card; each E-IPA card provides up to 64 ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ports of IP connections, which effectively supports 64 IPTs. The IPT can be powered from a PoE switch or local power source. Direct fiber connection is also available on each IPT. FreeSpeak II wireless beltpacks are seamlessly handed off from IPT to IPT, never losing connection on the intercom if the user stays within the radio zone. Each Transceiver supports up to 10 FreeSpeak II wireless beltpacks; twice as many beltpacks as the existing FreeSpeak II transceivers.

Natively AES67 compliant and SMPTE 2110-30 ready, the E-IPA card provides 64 streams of low-latency and high audio bandwidth connections for linking existing and new IP-based Clear-Com products, and will be the vehicle for future interoperating with other AES67 compatible Clear-Com products. The E-IPA card comes in 16, 32, 48, and 64-port options, and is compatible with Eclipse HX-Delta, Median and Omega systems, allowing users to build an extremely dense network with a mix of connectivity options. Compared to other Audio/Intercom-over-IP connectivity options on the market, intercom users can optimize their investment on Eclipse HX and conserve system card slots for other connectivity needs.

FreeSpeak II, the IPT Transceiver and the E-IPA card were available for demonstration, together with a wide range of Clear-Com’s trusted communications solutions, at the recent LDI show. clearcom.com

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disguise Presents Latest Innovations at LDI 2018 disguise demonstrated its latest major software release, r15, which has been designed to tackle some of the industry’s most pressing visualisation challenges. New features include OmniCal, the camerabased projector calibration engine that gives disguise the ability to ‘see’; Lux, a stage visualiser that brings together the technical planning and creative vision of a project; VR support; and heatmaps for projector studies. disguise also showcased the solo, a new compact yet powerful server that is ideal for smaller productions and experiences within theatres, fixed installs, studio setups and smaller venues; the new HDMI 2.0 VFC card, the latest in disguise’s Video Format Conversion technology that enables users to run 4K resolutions at 60fps: and the award-winning gx range which powered real-time generative content from Notch, and demonstrating their latest innovations in physics and HDR lighting. disguise.one

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SPOTLIGHT NOV. 2018

Creative Expressions

LD Peter Rubie on his choice of Robe Spiiders and Spikies for his design Versatility, value for money and a dash of pizzazz are some of the factors influencing the choices made by Sydney based LD, Peter Rubie, when he is creating his work.

Peter Rubie has spent the last 11 years devising a wide variety of lighting design work for different types of performances but specialises in productions that are a hybrid of classical and modern/pop/rock music.

His lighting ‘choreography’ requires an intimate and up-to-date knowledge of what’s available and how it can be used to achieve different effects. He often uses Robe products, distributed by specialist lighting and staging equipment suppliers, Jands.

Robe has released some new LED products in the last year and Peter was keen to get his hands on them, having been a fan of Robe’s previous range: “I programmed a big private lightshow launch for Jands when they released the Spiider and Spikie into Australia earlier this year and knew instantly I wanted to use them on a show.”

Soon after, he received a very special project fromMinistry of Sound Australia to create a lighting spectacular for a performance of ‘Orchestrated’ at the Sydney Opera House.

The Spiiders and Spikies offering different perspectives in Orchestrated Peter started with a centrepiece truss based on the Ministry of Sound logo to sit above the rear of the stage and filled it with Spikies. The show, with 772 timecoded lighting cues needed to flow with the orchestrations but also needed lots of tricks to accent the dance beats builds and drops.

“The Spikie for me is like every other micro LED beam fixture over the last year but on steroids,” Peter says. “The colours are mixed nicely before a single PC style lens so you don’t ever see individual LED smarties, it has a nice zoom range right from a parallel pencil-thin beam to a smooth even wash with a nice soft edge.

Then there’s the unexpected. Robe have managed to squeeze in a 3 facet prism, which looks great when breaking up the beam at narrow zoom as well as the unique flower effect which people simply don’t expect to come out of a fixture of this size. It’s a little bit retro, but very cool and the photos speak for themselves. It looks incredible through haze and turns the fixture into something you would expect from a moving profile. These tricks along with its endless rotation, made it perfect for a centre focal piece when used in numbers.

Orchestrated featured 18 units of Robe Spiiders and Spikies each ‘Orchestrated’ was designed to re-imagine some of the world’s most loved dance-floor anthems with a live symphony orchestra and a group of Australia’s most talented singers.

“Tim and his team had strong ideas of what they wanted, but having worked with them before designing MOS Club, they also trusted me to create something to emphasise and accent the music,” Peter says.

“I also knew what the orchestra needed. You can’t be too extreme with the creative side of the lighting to the point where the musicians can’t see the music to do their jobs.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“It’s size and price are comparable to many of the other small LED beam-wash fixtures on the market so you can get a lot of bang for buck when you want a lot of units,” Peter remarked. Weighing in at no more than 7kg each was also a plus for Peter. “On that show, there was a 500kg weight limit on the fly line which had to include all rigging of the centrepiece from an overhead LX truss, but thankfully with the low weight of the Spikie that was not a problem.”

Peter’s real workhorse over the course of this year however has been the Spiider LED Wash from Robe. Orchestrated had 18 Spiiders, supplied by Chameleon Touring Systems along with the Spikies.

“The Spiider has a beautiful quality of light, at the right brightness.

At the same time though, it’s very versatile and clever in that it incorporates the same ‘flower effect’ in its centre chip, so both types of lights work really well together.”

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“I was even able to use the Spiider as a side fill which it delivered with some nice pastels and then at times I could add the dynamic element of the flower effect seeping through the orchestra.”

Peter also commented on the physical appearance of the Spiider, “Another thing I really like is the finish to the lens. It has a certain glossiness to the eye but leaves behind the massive glare that you get from wash lights of the same brightness. That means the disc of LED’s isn’t constantly catching my eye up on the truss or on the sides so your focus can stay on the talent.

Additionally, there isn’t a large amount of side spill coming off the lens so I can rig them close to curtains, cycs, projection and walls and only light up the surface I’m actually pointing the fixture towards.”

With every show he does, Peter has several criteria that must be met, especially if he has discovered something new.

“Once you know what the show is, of course you need to work out what type of lights be used for that scenario and then whether they will work in that particular venue and for that particular show.”

“I have personal favourites that I like to use, but with anything new the question is which brand and which model, and whether we have the budget for them and if they are available. The Robe gear is becoming really popular in the rental market so since the Orchestrated show earlier this year I’ve been able to use both the Spiider and Spikie on quite a few other shows.” This included a tour of The Empire Strips Back across California which Peter chose to have 30 Spiiders in a staggered bar arrangement.

The George Michael tribute show featured 16 units of Spikies “I enjoyed user the Spiider so much at the start of the year that I’ve continued to spec it as my LED wash light of choice. I’ve used it on Eskimo Joe, Swing on This, Meow Meows Pandemonium and a big tribute show to George Michael with a full symphony backing. Again, it was important that the orchestra were part of the picture for a lot of these shows so having a wash light that can produce perfect pastels when we want to pick out the players is just as important as the punchy saturates. For Meow Meow, I again added the Spikies alongside the Spiiders for some beam fun. eight units upstage in clusters of four worked great for rock fan outs, and another four downstage to frame Meow Meow for big diva moments. Being small, they easily tucked in around the conductor’s podium and under the piano. For the George Michael tribute, I rigged 16 Spikies on droppers to create a simple but effective grid of beams that could do more intimate moments down on the orchestra or blast out into the crowd or up in the air for the real wham moments (pun intended).”

Peter deployed 30 units of Spiiders for the Empire Strips Back tour “It started off as a smaller rig here in Australia with some moving beam lights that had plenty of flash and movement but since upgrading the Spiider rig, we’ve added a whole other dimension and more of a theatrical element. It’s really important as the rig plays a big part in setting the scenes being the only main flown element / backdrop to the show.”

Commenting on the Robe range as whole, Peter said “Robe are making some really interesting products at the moment without sacrificing on quality. Having visited their factory earlier this year you can see that they take the R&D, manufacturing and quality control very seriously which is pleasing to see so I look forward to seeing what comes next.”

For more information on Peter Rubie’s work, visit his design website. www.robe.cz peter.rubie.com.au

Meow Meow’s Pandemonium features 18 units of Spiiders and 12 units of Spikies ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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THE ALEX SCHLOESSER COLUMN

Virtual Sound Check and Real World Implications Let me try something a little more technical for this issue please and I hope you will enjoy this as well. I have come to think a lot about Virtual Sound check recently and the pros and cons and where and how to use this and I want to share those thoughts along with some small advice.

Anyone who uses Virtual Sound Check already, will be bored, but I hope that there are still some of you who don’t have so much experience with this. Virtual Sound Check is only possible because of two major developments in our industry. One is the advent of Hard Disk recording systems with large number of input channels and the other is the availability of total recall digital mixing consoles.

Today, this is very comfortable with DANTE and DVS (Dante Virtual Soundcard) available at a very cheap price and most digital consoles offering an add-on DANTE interface, but historically this was a breakthrough. It feels odd to call this historical, when all this is roughly only twenty years ago as of 2018.

The main reason why I got so excited at the time was because I was doing quite a few larger classical concerts and events and the one thing that was always the biggest challenge was rehearsal times and the ability to get the mix together. Even if you wanted to get in early and do all the preparations in a perfect sense, the venue was usually not available two days in advance, so the result of your work was always pending on your ability to put it all together in an hour’s time. Being able to sound check with the orchestra gone (and the conductor and the client and all the other people with great opinions) was a giant relief at the time.

In Rock & Roll this is normally not a problem, because if you can find a band that does not enjoy an extended three-hour sound check, then something is wrong with the band. To them the sound check is a mix of onstage rehearsal and the ability to hear their gig in a different environment and generally being on stage is quite addictive, so who wants to leave really? However, in classics, they will be on the minute and once the hour sound check is through, you either have the mix together or you are screwed (PG13 language here).

Virtual Sound Check is only possible because of two major developments in our industry.

One is the advent of Hard Disk recording systems with large number of input channels and the other is the availability of total recall digital mixing console

My first virtual sound check system included a ETHERSOUND system and it involved a DIGIGRAM PCM Card for a PC system and a Digital console (at the time an Allen & Heath ILIVE system) with an ETHERSOUND interface card. The next stage was the “pro” version of a PROTOOLS rig along with the respective PROTOOLS HD cards and the respective interface cards in the DIGIDESIGN VENUE Console. Both systems worked fine, but for the pricing difference of about 75k US Dollars at the time.

The “pro” version was rather comfortable, but technically the “light” version delivered the same results.

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To avoid possible misunderstandings, the Virtual Sound check does not help with any room tuning, or it does not help raise the feedback level of any Omni microphone or any onstage lavaliers or headsets, but it allows you to tune the mix and the voicing of each instrument to get to a result, that you might otherwise only be able to achieve for the last song. In my experience, it resulted in better concerts and in me being much more relaxed at the beginning of the show, because you know, that what you will hear is not going to be embarrassing to you, or the conductor or the orchestra on stage. That’s a very good place to be in.

Alex can be reached at alex@asaudio.de

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THIS SEGMENT IS BROUGHT TO YOU BY disguise

Sequencing Skills

All media servers require some form of sequencing. One of our previous articles covered some of the key differences and benefits from timeline programming vs real-time control from something such as a lighting desk, but in either of these environment’s – how do you, as the Programmer, set yourself up for success in your programming environment?

The big benefit of sequencing a show on a lighting desk, is that it’s often a lot faster to sequence than on a traditional timeline based setup.

This is because lighting desks have been using fast workflows for many years, and are now very well refined tools for controlling parameter heavy fixtures. Things that can often be hard on timeline based media servers (running the show in a non-linear order, or referenced data sets) are things that lighting desks do extremely well.

If you are working with a traditional timeline based media server, your environment requirements will vary vastly from more of a remotecontrol media server that relies heavily on a lighting desk to control it.

When sequencing a show or event on a timeline based media server, there are some particularly important things to decide, before programming begins. Some examples of this would be, length of the show, how the timeline will be divided up, amount of media that needs to be played and what external protocols might be triggering the system.

Let’s discuss how the timeline is divided up - the show may even run across multiple timelines – as this will form the backbone structure of your sequencing. If it is a musically based event, sectioning up the timeline to match the format of the music is a very common approach, but you may also want to section up based on an external trigger, such as Timecode which would require a slightly different structure.

Communication between the event producers is a great way to start thinking about what structure the timeline should take. There’s nothing worse than making all of those decisions, only to find out that the show requires a different approach.

To help with this, most media server systems have a way of setting cue (or section) points on the timeline, as well as notes to make it clear what happens at those points. They’re commonly called something like ‘Cue’, ‘Tag’, ‘Section’ or ‘Part’. Mastering these functions, can make seqeucning more quicker and tidier to operate, so consult your media server documentation for further information.

Fig 1: Image of a typical media server timeline with basic sequencing If you are not sequencing the timeline directly on the media server, and instead sequencing the server directly from a lighting desk or other external controller, a lot of the same considerations still need to be taken. Instead of dealing with the Timeline, you will likely set the project up in some form of Cue stack and depending on the format of the event, that Cuelist may be one large Cuelist or smaller Cuelists being triggered from a master, or any number of other combination’s.

For example, a Theatre show may choose to have two, a Cuelist for Act one and a Cuelist for Act two.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Fig 2: Image of a typical lighting desk cue stack Dealing with large amounts of media can be a unique challenge on both sequencing platforms as well. In general, media servers have some very well-built media management tools built in. They often support content versioning, proxies, frame replacement, naming and many other functions.

Consult your media server documentation for further information.

When working with large amounts of media, to aid in your sequencing, you should make corresponding paperwork for where media is used throughout the show. That means it would be easy for somebody else to take over sequencing, if you were to fall ill or are suddenly unable to complete the sequencing. It’s also extremely useful to have in the case of having to replace specific pieces of media, last minute. This may be a manual process on a timeline based media server, but on a lighting desk, you could update a single preset and that updates all corresponding cues.

Finally, to make the most out of your sequencing time, take the initiative and look at what quick access features your media server has. A lot of media servers that support timeline sequencing have a vast amount of keyboard shortcuts to master. Using these keyboard shortcuts is almost always faster than clicking through the Graphical User Interface and utilizing them effectively can seriously reduce your sequencing time. During your sequencing sessions, don’t let large amounts of windows or widgets crowd your timeline display space, close them regularly if you are not using them, or look at what smart ‘docking’ tools your media server has built in that allows you to quickly hide and recall commonly used layouts. Your media server documentation should list these functions in details. www.disguise.one

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KNOWLEDGE HUB NOV. 2018

ALL ABOUT WIRELESS BROUGHT TO YOU BY

ELEVENTH INSTALMENT

Bandwidth in Analogue and Digital Systems Welcome to the eleventh instalment of All About Wireless, brought to you by SHURE. In this issue, we will discuss the bandwidth characteristics of analogue and digital wireless microphone systems.

In an FM wireless microphone system, the amplitude of the modulated carrier remains constant, but the bandwidth varies. The frequency of the carrier is modulated by an amount proportional to the instantaneous amplitude of the input audio signal at a rate equals to the frequency of the input audio signal. When plot as a function of time, the envelope of the carrier frequency modulation represents the input audio signal.

Figure 1: Bandwidth consumed by an un-modulated Vs. modulated carrier Specifications for FM systems typically include a value for Frequency Deviation. This is a measure of the maximum possible carrier modulation, expressed in kilohertz. However, the bandwidth required for a frequency modulated wireless microphone is typically far greater than the Frequency Deviation specification suggests. The reason for this is that the Frequency Modulation process results in the generation of multiple sideband components. These are spaced sequentially, both above and below the modulating carrier frequency, at intervals equal to the frequency of the input audio signal. Fortunately, the power contained in each sideband component decreases significantly as they move further away from the carrier frequency.

One challenge with coordinating an analogue FM wireless microphone system is that the varying frequencies and power levels of the sideband components can generate unexpected Intermodulation products if they interact with the sideband components of adjacent carriers. This is a key factor limiting maximum channel count within a given range, as adequate bandwidth needs to be reserved for each carrier to prevent sideband interaction. Current best in class analogue FM wireless

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microphone systems may be capable of supporting 15 or so active transmitters within a 6MHz slice of spectrum.

In contrast to a Frequency Modulated carrier, a digitally modulated carrier occupies a fixed bandwidth regardless of the fidelity and dynamic range of the input audio signal. As the bandwidth consumed per channel is constant, the risk of unexpected IMD caused by sideband interaction is effectively eliminated. This is a key advantage of digital wireless microphone systems. The predictable and consistent nature of the digital modulation scheme enables the precise characterization of all possible Intermodulation products, allowing for a denser coordination of active microphones with a greater degree of operational stability.

Well-designed digital wireless microphone systems may exhibit a wider frequency response and increased dynamic range compared to analogue FM systems. However, it is not possible to directly transmit data representing a full fidelity audio signal with 120dB dynamic range within a single channel’s allowable bandwidth. Not all digital wireless microphone systems are created equal. Different systems often employ different modulation schemes, many of which are proprietary, and some are more spectrally efficient than others.

Figure 2: Bandwidth comparison – 2FSK Vs. 8FSK Vs. ULX-D The spectrum scans above compare the bandwidth consumed by three systems transmitting high-fidelity audio via three different modulation schemes: 2-bit Frequency Shift Keying (FSK), 8-bit FSK, and a proprietary modulation scheme implemented in the Shure ULX-D system. Total span in each scan is 1MHz, which equates to 100kHz per division. On reviewing these scans, 8FSK measures several times more spectrally efficient than 2FSK. The ULX-D scan is actually showing two active transmitters, so is twice as efficient as 8FSK! It’s clear from these scans that the modulation scheme employed has a great impact on spectral efficiency, the importance of which is compounded as system channel counts increase. If planning a high channel count system, it is important to review the bandwidth specification of the systems you intend to

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KNOWLEDGE HUB NOV. 2018

time slots. This technique increases spectral efficiency by enabling multiple microphones to use the same carrier without interfering with each other. Every device in the system is afforded the opportunity to use the carrier for a fixed amount of time. At any point in time, only one device Shure Axient will be transmitting on that shared carrier.

In addition to specialised modulation schemes, Digital and ULX-D are The compromise is a significant increase in data compression algorithms are employed industry-leading in terms latency, so multiplexing techniques are to further increase spectral efficiency. Most usually only implemented in wireless practical audio compression schemes are of spectrum efficiency. These microphone systems designed for lossy in nature. A lossy data compression systems support up to 47 active conferencing or discussion applications scheme discards a certain amount of the transmitters within a 6MHz slice rather than live performance. input data stream deemed to be least There is a trade-off between the significant. Quality lossy compression of spectrum, more than three complexity of the modulation scheme, schemes typically divide the full fidelity times the channel density of the degree of data compression, and data stream into a number of sub-bands. leading analogue the resulting improvement in terms of Each sub-band is then processed separately FM systems spectral efficiency, demodulated audio to deliver the desired ratio of data compression. quality, and system latency. Ideally, the The sub-band streams are then reassembled into a result is a robust and spectrally efficient system single full fidelity data stream that is used to modulate with low latency and decompressed audio that is the carrier. practically indistinguishable from the source audio. However, the quality of this process varies greatly between systems from different Digital systems also allow for the implementation of multiplexing manufacturers. High-tier digital wireless microphone systems from techniques to further enhance spectral efficiency. Multiplexing is industry leading manufacturers typically sound considerably better than a general term for the process of combining several signals or data older analogue systems. However, older high-tier analogue systems streams into one for transmission over a shared medium. While many from these leading manufacturers remain competitive, and in some multiplexing techniques exist, the one most commonly implemented cases, may still outperform new digital systems from less established in digital wireless microphone systems is Time Division Multiple Access manufacturers.

(TDMA). use. Shure Axient Digital and ULX-D are industry-leading in terms of spectrum efficiency. These systems support up to 47 active transmitters within a 6MHz slice of spectrum, more than three times the channel density of leading analogue FM systems.

Next month, we will continue comparing the performance analogue and digital wireless microphone systems, focusing specifically on the ingress of noise. We will examine several common noise mitigation techniques implemented in digital systems to improve audio quality, extend operating range, and increase operational stability.

Figure 3: TDMA – transmitters have dedicated timeslots to operate on a shared frequency TDMA is a multiplexing scheme whereby multiple transmitters use the same carrier frequency to transmit bursts of data in individual

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Hayden Leiper is an Electroacoustic Engineer with 15 years’ experience in the professional audio industry. Currently employed as a Technical Consultant with Shure Asia Limited, Hayden’s current responsibilities include wireless and audio systems Applications engineering support; authoring, editing, publishing, and presentation of educational materials for the Shure Audio Institute; and support of training seminars, webinars and educational programs conducted by Shure Asia’s channel partners. www.shureasia.com

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RIGGING AND SUCH, A BLOG BY RINUS “RHINO” BAKKER

Round or Square?

It is generally accepted that our entertainment trusses are equipped with chords made of round tubes. There is not an organisation that specifies this common diameter in a law, not even in a standard. Such a common understanding is what I call a ‘silent standard’: it is not stated on paper, but generally accepted as normal.

What about other shapes?

Even though the round tubes of 50mm are commonly accepted, we see different shapes appearing in our industry. Some manufacturers produce oval shape aluminium extrusion battens for their fly bars systems, in circa 80x50mm’s. A (slight) increase in vertical capacity, but not any stronger in horizontal direction.

Some trusses are made of 50mm square tubes, easier to cut, weld and definitely a bit stronger than the round tubes. A conspicuous square We also accept it that these tubes have an outer diameter (OD) of tube chords type is the Prolyte BGR70, with 80x80x5mm 48-50mm (read also the blog: just one single tube). This is extrusions. The BGR70 is designed to create large within the same range as ‘standard’ scaffolding tubes: spans that can hold heavy loads. The rectangular It is generally 48,3mm OD. Less of a coincidence is that in many profiles create a truss that can be used for new or newly installed theatres, the batten size of spans up to 45 meters, still allowing a centre accepted that our the fly bars is often in that same 50mm range. point load of 750 kg. Usage for another entertainment trusses are purpose can influence the choice for equipped with chords made of round or square tubes.

A silent standard, why? round tubes. There is not Well, if we combine all types of show-related material, we have uncountable kinds of hooks, Once the trusses are leaving the territory an organisation that clamps, claws, triggers, snappers, lockers, of 50mm chords for reasons of capacity, specifies this common brackets etc.. A lot of the material is used every they enter into the realm of (temporary) diameter in a law, not day again, often in different venues to suspend the support structures. At that very moment the millions of entertainment equipment units. round cross section shape of the chords have even in a standard The size of 50mm diameter became the widely become less important anyway. The application accepted size of the round tubes in our business. If that of fixtures or similar equipment is not the first dimension might not be sufficient for reasons of strength, it requirement. has to be decided which other size is suitable. Very soon there will be a www.prolyte.com discussion about what the standard of choice should be.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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LIVE NOV. 2018

AUSTRALIA

Encore Creates A Visual Spectacular at the QHA Awards disguise media server ensures all goes according to cue

The Queensland Hotels Association (QHA) held their Awards for Excellence Gala Presentation on 8 October 2018 at the Brisbane Convention & Exhibition Centre, engaging long-term partner, Encore Event Technologies to delight the 1,100 guests.

Along with incorporating creative and production services, Encore also provided live digital technology via Event Feed social integration. The skin design of the social media feed was also designed to complement the overall theme to complete the experience.

Encore were tasked with creating the atmosphere of a modern summer sun-soaked beer garden, indoors. This was achieved through combining an impressive custom stage set, unique multimedia, engaging digital services and stunning creative styling.

Encore’s latest edition, the disguise media server, ensured the announcement of the awards ran smoothly, managing 196 cues, live multi-camera switching, audio stings and entertainment tracks. All of this was pre-programmed the week before the event by Encore’s Head of Production Andrew Priddle and Technical Director Tim Stewart.

Guests were welcomed by lush turf running through a traditional timber arbour dressed in Edison bulb drops and fresh greenery with QHA branding. With the stage being the focal point for the awards, Encore created a unique custom set which included a 5.7m projection circle along with two large rounded projection screens either side. The full projection surface totalled 26.5m wide x 5.7m high, while 6m delay screens positioned in the back half of the room ensured full room coverage.

“Having worked on the QHA Awards for many years, the challenge is always how to outdo the previous years’ event. Our client had a clear vision for this year’s awards and I’m proud to say our team exceeded their expectations,” commented Stacey Buckley, Event Manager – Encore Event Technologies.

Two winding, foliage trusses framed either side of the stage while oversized curved circular trusses covered with foliage and beautiful festoon lighting, hung over the stage and dance floor.

Continuing the styling, a stunning ceiling feature complete with oversized hanging foliage and Edison bulb drops caught guests’ eyes and was perfectly positioned above the second awards presentation area.

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Kelly-Anne Mott, Events and Partnerships Officer from Queensland Hotels Association was thrilled with Encore’s work. “We are absolutely delighted with how spectacular the event was. Encore once again delivered, from the custom circular screen and stage set, to the stunning furniture and styling, to the content and digital services.

Another superb event that addressed our brief beautifully: a modern Queensland beer garden,” said Ms Mott. www.encore-anzpac.com

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INDONESIA

Argo Visual Delivers Captivating Projections at the Opening Ceremony of the 2018 Asian Paralympic Games

A total of 24 Christie Roadster HD20K-J projectors lit up the Gelora Bung Karno Stadium to welcome para-athletes and officials from 43 countries

Bright and vivid projections on the stage’s backdrop during the opening ceremony of the 2018 Asian Paralympic Games in Jakarta Argo Visual Delivers Captivating Projections at the Opening Ceremony of the 2018 Asian Paralympic Games. A total of 24 Christie Roadster HD20K-J projectors lit up the Gelora Bung Karno Stadium to welcome para-athletes and officials from 43 countries Christie’s Indonesian partner Argo Visual (PT. Argo Omega Prima) delivered stunning visuals that captivated thousands of spectators during the opening ceremony of the 2018 Asian Paralympic Games at the Gelora Bung Karno Stadium in central Jakarta.

The projections were accomplished using 24 Christie Roadster HD20K-J 3DLP projectors, with bright and colorful visuals displayed on a huge

curved-shaped backdrop on the stage that measured 40 meters in width and 20 meters in height. It resembled the equator line with traditional elements and motifs in its structure and architecture, which symbolized the strength and fighting spirit of the country’s Paralympic Games athletes.

The 2½hour opening “We are absolutely delighted to play a role in the opening ceremony of one of the world’s ceremony, broadcast live to millions across Asia, biggest Paralympic sporting events with a vibrant projection mapping performance was a flamboyant sequence during the main show segments,” said Ignatius of unity and inspiration Alvin Antono, managing director, Argo Visual.

“Working side-by-side with Italian-based displaying the talent and event organizer Balich Worldwide Show (BWS) spirit of people with engaged by the Indonesian Asian Paralympic disabilities

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Games Organizing Committee (INAPGOC), and local organizer PT. Royalindo Dutaexpo, we have pulled out all the stops to present a topnotch show for audiences from Asia and beyond.”

and I’m very pleased that the Christie J Series projectors rose to the occasion once again and delivered optimal visuals throughout the event,” Antono added.

Having recently completed the highly-acclaimed projection mapping show at Indonesia’s National Monument (Monas) in Jakarta to welcome athletes to Indonesia for the 2018 Asian Games, it was a natural choice for Argo Visual to count upon the Christie J Series to provide another round of spectacular visuals for the 2018 Asian Paralympic Games opening ceremony. Antono noted that Argo Visual has been a Christie user for many years, and its trusty fleet of Christie projectors has served the company well on numerous occasions.

The 2½-hour opening ceremony, broadcast live to millions across Asia, was a flamboyant sequence of unity and inspiration displaying the talent and spirit of people with disabilities, as host country Indonesia welcomed athletes and officials from 43 countries participating in the international multisport event under the “We Are One” theme.

Christie Roadster HD20K-J projectors installed in customized stacking frames on one of the projection towers

Myriad exciting visuals were displayed during the opening ceremony For the Asian Paralympic Games opening ceremony, the 24 Christie HD20K-J projectors installed at the Gelora Bung Karno Stadium had to be hoisted to the fifth level of the arena using a crane, and fitted in customized stacking frames on two projection towers. Each tower housed 12 projectors situated about 170 meters away from the projection canvas. The physical installation process took three days to complete but the calibration and fine-tuning of the projectors lasted for another 10 days.

“For this event, the most challenging part was the long and extensive working schedule in the lead up to the opening ceremony, but thankfully we had everything set up without a glitch for the big day, and our efforts paid off handsomely when spectators cheered and applauded enthusiastically when the projections displaying traditional and modern imagery synchronized perfectly with the movements of hundreds of performers on stage. It was one of our proudest moments,

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Michael Bosworth, Executive Director for APAC, Enterprise, Christie, commented, “The Christie J Series has been the projector of choice for a number of major sporting events worldwide and has earned a solid reputation for offering unbeatable performance, reliability and flexibility in digital projection today. We once again congratulate Alvin and his team at Argo Visual for providing eye-catching projections using the J Series at the Asian Paralympic Games opening ceremony that had created truly memorable shared experiences.”

With a brightness of 20,000 center lumens, HD resolution, a dustsealed engine, embedded Christie Twist and an Intelligent Lens System, the Christie Roadster HD20K-J high-brightness 3DLP projectors are ideally suited for large screen applications and the most demanding outdoor installations. With a unique optics design and superior image processing, it delivers crisp, clean images with perfect color saturation and spectacular video.

Photo credits: Argo Visual www.christiedigital.com

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LIVE NOV. 2018

ISRAEL

wysiwyg Helps New TV Show Achieve Great Ratings Enables large, complex lighting design to be pre-visualized

CAST Software’s wysiwyg lighting design and pre-visualisation software has been instrumental in bringing one of the world’s most popular TV shows to Israel.

converters were used. An Ethernet network provided the required connectivity.

Having first aired in Japan in 1997, Ninja Warrior has rapidly become a must-watch TV show around the globe. The format requires contestants to use a combination of strength, stamina, skill and guile to attempt to complete an extensive obstacle course. The most recent country to join the franchise is Israel, with the Ninja Israel show debuting in July this year.

Entrusted with the lighting design were world-renowned LDs Ofer Jacobi and Avi-Yona Bueno (aka Bambi). According to Jacobi, designing the lighting for Ninja Israel was challenging because of the enormous location. The set lighting for the obstacle course needed to be combined with, and balanced against, the existing industrial lighting for the port complex as well as the television lighting.

The set for Ninja Israel is the ancient port of Haifa. An atmospheric location, it is transformed for the show by an extensive lighting installation that features over 4.5 tons of trusses together with no fewer than 800 fixtures controlled by a Compulite Vector Blue console and 350 conventional fixtures controlled by a Compulite Vector Ultra Violet console using 21 DMX universes and Compulite e-Port 41

Jacobi and Bueno turned to freelance lighting programmer/operator Ronen Ben-Harosh – an acknowledged master of Vector programming, with numerous theatre, opera, dance and TV events among his credits - for the production, not least for his expertise in 3D simulation programming using CAST Software’s wysiwyg. He also works for Danor Theatre & Studio Systems, Compulite’s official distributor in Israel. Ben

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Harosh noted the difficulties involved with the incredible size – 150 metres x 60 metres – of the set, and the significant challenges involved in the mix of fixture types.

“When Ofer Jacobi told me that we would be doing this project together, we knew that a 3D simulation would help us choose the lighting set and show Keshet TV’s managers how it would eventually look in real life. The maps I took out from wysiwyg helped me and the crew to set the lights very easily,” said Ben-Harosh.

“With a lighting set this huge and this complex, and working to very tight timescales, there is absolutely no room for error,” said Dino Mazza, Product Manager for wysiwyg at CAST Software.

“It has to be right first time – which means that the entire installation needs to be previsualised before a single fixture is hung. That’s where wysiwyg comes into its own: what you see on the screen in front of you is exactly how the lighting will look in reality. Beyond this, as Ronen points out, it allows producers to see what the finished article will look like beforehand. For a show of this size, a tool like wysiwyg is an absolute pre-requisite.”

12x Robe Robin 1200 Led Wash 8x Robe Robin MMX 16x Robe Robin Pointe 116x Eco Stage Beam 200 5R 60x Eco Stage V-715 Moving Beam Led 100 RGBW 12x Led Zoom 300 24x Eco Stage Stormi 3000 CCLED 24x Eco Stage RGBW BarLed 24x Eco Stage Top Bar 18 RGBW 21x Eco Stage Sunstrip Active (10x75w Halogen) 400x ParLed and RGBW for all The Trusses.

Conventional types included: 60x Led Profile Spot 120 36x Soft Led Panel 250x Par 64 MFL

The premiere of Ninja Israel was a substantial success for Channel 12 (Keshet TV), with an excited live audience joined by a multitude of TV viewers to give the show great ratings.

Photos copyright: Ronen Ben-Harosh Compulite Equipment list: 2 x Compulite e-Port 41 converters 2x Luminex 8 Port 23x Robe Robin BMFL Blade 17x Robe Robin BMFL WashBeam 50x Robe Robin MegaPointe 28x Robe Robin Spiider

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

To know more about the following click on the link: Compulite Vector Blue Console Compulite Vector Ultra Violet Console Compulite ethernet eport-41

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LIVE NOV. 2018

ASIA-PACIFIC

L-Acoustics Delivers Perfect Sound for Céline Dion Live 2018 Asia Pacific Tour K1 and K2 play their part in achieving consistent sound across the venues in eight different countries

Over 200 L-Acoustics cabinets were deployed for the 40,000-plus capacity, domed Tokyo Arena, which was the tour’s largest system. Picture credit Yoshika Horita.

This summer saw Canadian chanteuse Céline Dion tour “We needed a loudspeaker system that would be available the Asia Pacific. Kicking off in Tokyo and Macao, at every venue on the tour,” says Francois Desjardins, Despite the where she had last performed ten years earlier, VP R&D, Technological Solutions at Solotech, an size and complexity of the tour moved on to new territory for the L-Acoustics KX Standard Certified Provider. “This five-time Grammy Award winner, including the Tokyo Arena, with local was the first time we’d used L-Acoustics on a Jakarta, Taipei, Manila, Bangkok and Céline Dion tour, but we’d been looking at audio solution company Australia, before concluding in Auckland, it for a while and we were confident that New Zealand. The logistical feat of we would get the consistency of sound we Hibino supplying and loading picking up each system locally, which was wanted. Not only were we right, but the in the system, Desjardins dependent on equipment availability, was support we got from the L-Acoustics suppliers and his team had an accomplished seamlessly by Céline Dion’s along the way was amazing.” long-time audio provider, Solotech, achieving unexpectedly consistent sound across the venues on a 22-date Fourteen suppliers, including Hibino, Winly, easy time. marathon thanks to L-Acoustics’ K1 and K2, its Forscink, Mata Elang, Jack Sound and Norwest, international network of suppliers, and its consistency were employed over the two-month tour across of product worldwide. major venues—Tokyo Dome, Jakarta’s Sentul International

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a reality,” he says. “The Tokyo show was really complex for many reasons, and the fact that the live show was being filmed and that we couldn’t get into the venue until midnight, the night prior of the show day, added to the fun. This meant the stage had to be set up, the delay towers had to be installed and the entire system rigged in time for the show to start at 6pm. Not only did Hibino do it, they did it in an amazing timescale. In fact, they were already three hours ahead of schedule when we arrived. It was incredible, and the atmosphere was really relaxed. We felt that we had achieved something really special; the entire audience had great sound and the feeling that Céline had on stage was really good.”

In Manila’s Mall of Asia, 20 K2 with side hangs of 16 Kara were deployed by Forsc Inc. Convention Center, Taipei Arena, Mall of Asia Arena in Manila, Impact Arena Bangkok and the Spark Arena in Auckland—all with varying requirements. Much of the venue information was supplied by Alvin Koh, L-Acoustics Head of Application for Asia, drawing from the extensive L-Acoustics library of venue plans. Desjardins and Jon Trudeau were able to model each system in L-Acoustics’ Soundvision software ahead of time, addressing the challenges specific to each venue.

“System engineer Jonathan Trudeau was in direct contact with each provider so we could talk to them about how the system was to be set up, and they were able to check that everything was working properly,” explains Desjardins. “We did this for every venue and using Soundvision made it very easy. The software is quite straightforward: you simply input the loudspeakers and it gives you a result. This means you always have a consistent starting point, then it’s just a matter of taste when you’re tuning the system. For everything else, I just followed the guidelines. With other software we use, the results are not always as good. With Soundvision, I always achieve the result I was looking for.”

The 40,000-plus capacity, domed Tokyo Arena required the tour’s largest system which comprised two hangs of 16 K1 with four K2 and a centre hang of four K2; two hangs of 20 K2 for side fill; two hangs of delays of 16 K2 each and two of 14 K2. A dozen Kara provided front fill, and two ARCS Wide were positioned left and right on the stage lip for outfill. Low frequency was handled by 12 K1-SB, flown behind the K1 hangs, and 40 SB28 floor subs positioned in front of the stage. Delay subs were four stacks of three SB28.

Despite the size and complexity of the Tokyo Arena, with local audio solution company Hibino supplying and loading in the system, Desjardins and his team had an unexpectedly easy time.

“Hibino did the most fantastic job in turning our paper dream into

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

At the Mall of Asia, Two hangs of four K2 for delay, six Kara positioned along the stage lip as front fill, with a further two for side fill, four stacks of four SB28 floor subs.

Desjardins declares that he is happy with the uniformity of the systems from country to country and with the support he has received. He reports that Denis Savage, FOH mixer, was pleased with the end result as well.

“It’s good work in training and education from L-Acoustics in Asia,” he states. “It’s important that the L-Acoustics family is tight and consistent as you move from country to country and nothing unnecessary is added to the system. The support we’ve had from the first time we discussed things with L-Acoustics in Paris and LA, as well as with Alvin in Asia and the local suppliers has been amazing.

“I have been working with Céline for 26 years, have faced many challenges and have received great support along the way and L-Acoustics more than lived up to our expectations. I was really pleased the system translated well from paper to reality. From the beginning to the end, it was a positive adventure. I would love to do it again.” www.l-acoustics.com

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EVENTS NOV. 2018

EVENTS CALENDAR 2019 Jan 24 - 27 NAMM Show 2019 Venue: Anaheim Convention Centre, Anaheim, USA Feb 05 – 08 Integrated Systems Europe 2019 Venue: Amsterdam Rai, Amsterdam, Netherlands Feb 21 – 23 LED China 2019 - Shenzhen Venue: Shenzhen Convention & Exhibition Center, Shenzhen, China Feb 24 - 27 Prolight + Sound Guangzhou 2019 Venue: Area A, China Import & Export Fair Complex, Guangzhou, China Feb 27 – Mar 01 Live Entertainment Expo Tokyo Venue: Makuhari Messe, Tokyo, Japan Mar 27 – 28 IoT Asia Venue: Singapore Expo, Singapore

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Apr 02 – 05 Prolight + Sound Frankfurt 2019 Venue: Frankfurt am Main Apr 06 – 11 NAB Show 2019 Show starts on April 09 Venue: Las Vegas Convention Center, NV, USA

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Apr 10 – 12 InfoComm China Beijing 2019 Venue: China National Convention Center (CNCC) May 08 – 10 SecutechAsia Venue: Taipei Nangang Exhibition Centre, Taipei, Taiwan May 08 – 11 Guangzhou Entertainment Technology (GET) Show Venue: Poly World Trade Centre Expo, Guangzhou, China May 30 – 1 June PALM Expo India 2019 Venue: Bombay Exhibition Center, Goregaon East, Mumbai, India Jun 09 – 12 Guangzhou International Lighting Exhibition Venue: China Import and Export Fair Complex, Guangzhou, China Jun 12 – 14 Conference Programme starts on Jun 08 InfoComm International 2019 Venue: Orange County Convention Center, Orlando, USA Jun 12 – 14 Conference Programme starts on Jun 11 IAAPA Asian Attractions Expo 2019 Venue: Shanghai New International Expo Centre in Shanghai, China

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June 18 - 20 ConnectechAsia (BroadcastAsia 2019) Venue: Suntec, Singapore

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June 18 – 20 VISIT SITE ConnectechAsia (Communic Asia and NXTAsia 2019) Venue: Marina Bay Sands, Singapore Jun 27 - 29 VISIT SITE LED Expo Thailand Venue: IMPACT Exhibition and Convention Center, Bangkok, Thailand Jul 18 – 20 Pro AVL Indonesia in conjunction with Toursim Technology Asia and Broadcast & Media Technology Venue: Jakarta International Expo, Jakarta, Indonesia

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Jul 18 - 20 Summer NAMM 2019 Venue: Music City Centre, Nashville, TN

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Aug 27 – 29 Integrate Venue: Melbourne Convention and Exhibition Centre, Melbourne, Australia

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Sep 18 – 20 InfoComm India 2019 Venue: Bombay Exhibition Centre, India Sep 18 – 20 LED China 2019 - Shanghai Venue: Shanghai New International Expo Center

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MARKET PLACE NOV. 2018

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