ETA OCT 2018

For The Technical And Production Professionals

Dual ChamSys Consoles at the G12 Asia Conference

TECH TALK:

What is SDI?

KNOWLEDGE HUB: Vocal Miking Techniques NEWS: Media Vision Looks to the Future with Thailand’s First K1 System

w w w.e -techasia.com

O C T 2 0 1 8

THE NEW REFERENCE POINT

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CONTENTS OCT. 2018

54

57

IN THIS ISSUE

VOL 19 ISSUE 10 OCTOBER 2018

04 FIRST WORDS

TECH TALK 48 What is SDI?

06 NEWS LIVE 20 ENNOVATIONS 35 VIDEO FILES 39 EVENTS CALENDAR

51 JAPAN: Ayrton Fixtures Make Dreams Come True at Live Roxy 52 CHINA: BlackTrax Helps Wow Chinese TV Audience 53 CHINA: Beijing International Automotive Exhibition Shines a Light on Luxury 54 CHINA: VUE Makes Waves at East Sea Festival

KNOWLEDGE HUB 36 Teaching and Training, and the Never-Ending Learning Curve

55 AUSTRALIA: John Matkovic Sets Stage for Ian Moss 56 SINGAPORE: Dual ChamSys Consoles at the G12 Asia Conference

38 Media Server: Output Configuration 40 Building Your Audio System – Mike Up Your Drum Kit 42 Maximising the Performance of IEM Systems 44 Vocal Miking Techniques for Live Sound

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

HIGHLIGHT 57 Helping You to Build Your Inventory 58 MARKET PLACE

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FIRST WORDS OCT. 2018

Next week Prolight + Sound Shanghai will open its doors from 10th to 13th October. Though we have information about the show in the inside pages, I have taken the liberty to provide additional input in case you are visiting the exhibition.

Ram Bhavanashi

Editor, India And Middle East ram@spinworkz.com

Do visit the Recording and Production Zone. Expanding to 5,000 sqm this year, the Recording and Production Zone in Hall N1 will cover recording and music production software, in addition to hardware equipment. Besides the 100 brands of recording and production equipment in the Zone, you’ll also find the new Recording Software Quarters in which 11 member companies of the International Music Software Trade Association (IMSTA) will showcase various DAWs (Digital Audio Workstations) and techniques of musical software.

Julie Tan Admin & Circulation admin@spinworkz.com

Natalie Chew Writer natalie@spinworkz.com

There is also the Stage Machinery and Theatre Technology Zone.

As one of Asia’s leading fair for the entertainment, event and production technology industries, the exhibitor profile of the Stage Machinery and Theatre Technology Zone in Hall N4 includes some stage equipment vendors and service suppliers.

Daniel Ngiam

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

Other programmes lined up include the PLSS Academy, Concert Sound Arena, Sound Studio @ PLSS and the PLSS Lab featuring Yamaha X Dante.

Thomas Richard Prakasam Publisher / Editorial Director

thomas@spinworkz.com

Shankar Venugopal ART shankar@creativecult.in

CREATIVE

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Jayaprakash

LAYOUT

CULT

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

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

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NEWS OCT. 2018

CHINA

K-array Launches K-array China Marc Vincent, CEO of K-array China explained the new business development: “Today is a milestone that sees us create the first subsidiary of K-array outside Italy,” he said. “The reason we chose China is because it is the biggest market in the world. The role of K-array China is to provide products, consultancy and after sales service to our customers.”

The K-array China team includes Roger Qi, who is in charge of sales and marketing in China. The team also comprises members from Beijing, Hong Kong and Guangzhou, providing sales, marketing, financial and technical support for the Greater China area, including mainland China, Hong Kong, Macau and Taiwan.

K-array recently staged a grand ceremony to officially announce the formation of K-array China. The formal name of the company is K-array.

CN Limited, with headquarters located in Hong Kong and a sales and service center in Beijing.

The ceremony was held in Beijing and but did not lack Italian flare. In addition to prosecco and Italian ham, K-array co-founders Alessandro Tatini and Massimo Ferretti flew in from Italy to congratulate the new company and project specialist, Daniele Mochi provided a presentation to familiarize new acquaintances with the brand.

“China is a very fast-growing market,” continued Vincent. “We feel this is where we have to expand and the best way to do this is leading the initiative ourselves, because we believe in our brand, our products and our technology and obviously we are the most qualified to make it a success.”

K-array China’s first act after the launch was to give authorization certificates to the six dealers responsible for North China, East China, South China, Henan Province and Fujian Province regions, as well as the entertainment and residential vertical markets in South China.

“Marc has already done great things for the brand in APAC so we look forward to reap the success of K-array China’s efforts,” Alessandro Tatini.

www.k-array.com

GLOBAL

Anolis and ArKaos Announce Partnership This will result in huge benefits to lighting and media designers and concept agencies using ArKaos and Anolis.

Anolis’s LED lighting, pixel-based fixtures and other hardware will have ArKaos’s newly launched cloud based communications protocol An-Ki embedded, meaning that the growing trend for video-mapped content being run through LED ‘media’ installations can be maintained remotely from anywhere in the world … thanks to the ArKaos cloud!

“This will add huge value to installation designers working in all fields” commented ArKaos’ MD Agnes Wojewoda, “It offers the possibility of fully flexible and stable control which will be added to future Anolis products, although the protocol will work with any LED fixture”.

Premium architectural LED lighting manufacturer Anolis and leading real-time visual processing technology provider ArKaos have announced a highly innovative collaboration which will see the two well-known and respected brands working together on several future product developments.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“We are hugely excited to be the first brand to team up with ArKaos on this unique project alliance” stated Anolis MD Tim Van den Eede, “As two extremely strong and forward-looking European brands, working together, we can provide cool and comprehensive lighting and media fixture ranges and control solutions at affordable prices”.

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The Weeknd ‘Starboy Tour’ The disguise pro range was used to projection map and track a giant origami triangle suspended over the audience and two giant LED screens with IMAG and dynamic video and graphics.

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NEWS OCT. 2018

Key areas and sectors of interest and activity will include digital billboards, interactive building and facade installations, corporate, industrial and commercial sales and cultural projects.

The move will involve a fluid bi-directional commercial relationship whereby ArKaos products like An-Ki and MediaMaster will be distributed by Anolis; while Anolis fixtures including ArcPix, ArcDots, DVPs and others will be sharing sales resources with ArKaos.

Both brands will be included on potential product specifications for projects.

Customers who invest via one brand will get the ingenuity, quality, experience and support of both established partners.

“Having media server and remote control technology like this as integral will set Anolis apart” confirms Tim.

Customers who invest via one brand will get the ingenuity, quality, experience and support of both established partners

It will mean that Anolis products can be supplied with a number of ArKaos’ flexible and proven media server control solutions on-board, and there will be huge potential for the existing customers of both companies to discover the flexibility of the other.

New contacts can be presented with many creative options for both fixtures and control.

Anolis underwent a major re-branding exercise at the start of 2018 when Tim was appointed as MD. He comments, “We and the team at ArKaos all share the same lively and proactive management style and can-do attitude, so we’re anticipating a long and proactive working relationship for the benefit of our respective client bases”.

Agnes concludes, “We are all looking forward to this combination of cutting-edge technologies – we will be able to offer faster, more flexible and even more versatile products and outstanding after-sales and client support”.

www.anolislighting.com www.arkaos.net

GLOBAL

ArKaos Hooks Up with NewTek NDI ArKaos hardware and real-time video software is present in every major market sector and industry, from IOT / architectural and architainment installations to LED applications and media solutions to video mapping projects encompassing live events, corporate and broadcast.

Digital control specialist ArKaos has announced its support for software-driven IP workflows using NewTek NDI Network Device Interface protocol.

Joining the industry’s largest IP ecosystem of products, and a rapidly expanding number of companies enabling IP-based customer workflows, ArKaos has integrated NDI into its MediaMaster PRO, MediaMaster Express, Grand VJ and Grand VJ XT products, which are all now recognizable as a source by other NDI-enabled applications and devices connected via a standard Ethernet local area network.

ArKaos sets the bar high with the development of its hardware, realtime video software, and game-changing protocols.

The ArKaos Ecosystem allows for the maximum and most flexible control of lighting and video, in one easy-to-use comprehensive tool.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

NewTek’s royalty free NDI technology allows video and audio sources to be shared bi-directionally across a network, eliminating the need for costly direct connections, expensive cable runs, and infrastructure upgrades … while turning every source into a destination instantly available anywhere on the network.

ArKaos CEO Marco Hinic commented, “We choose to use NDI for several reasons. The first one is simplicity. NDI will auto-discover the sources and receivers on the network and will happily coexist with other protocols used in the lighting industry. We did not even have to add any settings in our applications because when not in use, automatically no extra processing will occur. Another reason is low latency. For our customers, every frame counts and during tests, NDI proved to be very efficient in this aspect”.

The NDI SDK is royalty free for any company looking to establish IP workflows within their organization, or in the commercial products and applications they deliver.

www.arkaos.net

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10

NEWS OCT. 2018

DUBAI

Maestra Scenic is Launched for several leading fabrication contractors. Before then, he cut his ‘production teeth’ in the same industry in South Africa.

Jurgens has been deployed on many demanding and high profile shows and events, and “his wealth of talent, energy and positive personality fits perfectly with our team” says Tom.

Event design and technical production specialist Maestra has launched a new scenic department in Dubai which will operate from a dedicated facility close to their HQ in Dubai Investment Park, and will be an integral part of Maestra’s thriving event supply business.

Maestra has been providing its clients with creative scenic services for the past few years in both London and Dubai, so this consolidates the business model, and brings a key division of the contractor services portfolio in-house.

Jurgens started his career in theatre while completing an N-Dip in Entertainment Technology, specializing in Set Design & Construction. In the intervening 12 years he has acquired some serious skills in the Maestra has construction of temporary and semibeen providing its permanent structures across all genres clients with creative of the entertainment, production and scenic services for the special projects spectrums, and he’s also past few years in worked on permanent installations.

both London and Dubai

“I always strive hard to help create memorable events, productions and projects, by combining my passion and knowledge of the highest international standards and safety regulations to deliver the vision and expectations of each individual client” he commented.

Asked why he wanted to work for Maestra, known for their imagination, flair and being one of the youngest, fastest growing and sought-after production partners in a highly competitive market, he said, “What Tom and the team have achieved at Maestra in such a short time says a lot about their enthusiasm and aptitude for the industry”.

A new warehouse has been designed and kitted out for the exclusive use of Maestra Scenic, all geared towards providing a flexible workspace with maximum efficiency.

(The Maestra Scenic team in Dubai, from left to right): Matthew Allan, Jurgens Potgieter, Thabang Choice Ramalepe, Tshepo Ally Malatji, Recky Napoles, Thomas Clements Already delivering lighting, audio, video, rigging as well as scenic

An initial investment in new tooling and machinery will assist with custom set and scenic requirements, and while it is envisaged that this will be a big part of the activity, there will also be a comprehensive range of standard rental items available from stock - set flats, staging units, etc. - unleashing an even wider range of cost-effective solutions for any client.

This new scenic division is expected to be expanded rapidly as the company’s commercial success flourishes.

elements including the fabrication of set and staging, it was a “totally Clements.

The department will focus on supporting Maestra’s existing business as a truly excellent single-solution provider for all scenic and technical production needs.

The new department will be headed up by Jurgens Potgieter, who brings over 10 years of practical experience in the region, working

www.maestra-group.com

logical step” confirmed Maestra Dubai’s managing director Tom

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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NEWS OCT. 2018

CHINA

From Device to Software: Prolight + Sound Shanghai to Highlight Recording and Production Segment techniques and services used for real-time recording, multi-track recording, mixing and master tape production, including: • Audio processing equipment • Console equipment • DAW • Effectors • MIDI keypads • Monitor equipment • Pickup equipment • Professional audio interfaces • MIDI external equipment • Software 90% of former exhibitors in this zone have already confirmed their participation for 2018, with leading companies and brands including Adam, AKG, Amphion, Antelope, Apogee, AVID, DPA, Focustrite, To ensure the fair captures the flourishing yet competitive Chinese Genelec, JTS, Klang Technologies, Lewitt, Native Instruments, entertainment market, PLSS has been focusing on key areas PMC, RME, Rupert Neve, Rycote, SE, Sennheiser, of demand in the local and Asian markets, including one Shure, Superlux, Takstar, Universal Audio, Waves The 6,000 sqm of the fair’s highlights – the Recording and Production and Yamaha. Each of these will be displaying zone will feature the Zone in the Shanghai New International Expo Centre their latest products and technologies at the very latest avant-garde on 10 – 13 October 2018. show, while the likes of Elektron, ESI, Fluid equipment, techniques Audio, Focal, IK Multimedia, Musicians First, The network audio and video market has been M-Audio, Monkey Banana, Moog, Reloop, and services used for under vigorous development in recent years, Roland, Roli and Soundbrenner have real-time recording, particularly in China. In fact, a relevant study decided to premiere at the fair for the first multi-track recording, revealed that China’s short video industry value time this year. mixing and master will surpass RMB 30 billion in 2020.[1] With that in mind, the 2018 edition of PLSS will enforce its status as tape production Meanwhile, riding on the success of last year, a trade and educational platform to connect professional the 9th “National Music Mixing Contest Award recording, audio and music sectors, by partnering with global cum Recording Technology Forum” will be held again organisations, including the likes of International Music Software Trade to applaud the emerging young mixing talents. CEO of Dream Association (IMSTA). The association will line up ten of its member Window Inc, also former Chief Engineer of the Recording Section of companies for a showcase of DAW (Digital Audio Workstation) and Sony Music Entertainment Mr Akira Fukada will speak at the Forum on music software at the Recording and Production Zone in Hall N1, by his views on the aesthetics in music recording and recent trends. means of interactive live demonstrations. The participating IMSTA members will also share knowledge and techniques in using the Prolight + Sound Shanghai 2018 is an international exhibition of software, and will also recommend solutions to visitors’ queries. technologies and services for events, installation and production.

This 6,000 sqm zone will feature the very latest avant-garde equipment,

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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THE KMS SERIES

»

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

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OLA ONABULÉ

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«

14

NEWS OCT. 2018

ASIA-PACIFIC

VUE Sets Sights Towards the East On the heels of continued North American touring success and strong follow-on demand throughout the APAC region, VUE has announced that Joe Manning will assume responsibility for market development in all APAC territories with the exception of China. In his role as an independent manufacturers’ representative for the region, Manning will fuel the brand’s upward growth trajectory by supporting existing VUE sales Joe Manning partners and expanding the brand’s reach into the massive hospitality, entertainment, and house-ofworship projects throughout the region.

“While the APAC territory is huge, there are few who understand it better than Joe,” said Ken Berger, VUE president. “With a steady hand, deep connections, and a keen sense for how to support regional sales partners, Joe will be a key link in tapping VUE’s strong market perception and enabling our partners to land more and more business

for what’s now one of the hottest pro audio brands on the planet.”

Based in San Diego, Manning will focus his attention on Australia, New Zealand, Korea, Indonesia, Japan, Philippines, Vietnam, India, Singapore, and Malaysia. VUE China will continue to support the Chinese Mainland and Macau Hong Kong markets exclusively.

“I’m excited to be part of VUE’s growth story as the brand finds its place amongst the top audio brands in the world today,” said Manning.

“VUE’s rapidly growing worldwide market presence, outstand priceto-performance ratio, and pioneering use of technology like Beryllium make the brand an excellent fit for the market. With VUE’s touring success, more and more APAC touring companies want to use the latest and greatest gear, and with new construction and retrofits of existing facilities throughout the region, the sky is the limit.”

Manning will be meeting with existing and potential sales partners throughout the region in November and will attend the InterBEE show in Tokyo from 14-16 November. For more information, please contact Joe Manning at joe@intlsales.net.

www.vueaudio.com

CHINA

Martin Audio Systems Help Budee in Prestigious CUC Masterclass Sponsorship distributor, who were sponsoring it for the first time, ensured the British manufacturer had a good presence at the event, fielding stacked pairs of DD12 and PRX subwoofers on either side of the stage in the CUC auditorium on the opening day. Proceedings then relocated to the live house/performance space on the university campus in Beijing.

CUC has a reputation as one of the top institutions in the field of information communication and has a pivotal position in the Chinese recording art education sector. Its Masterclass event started in 2001 as an informal gathering of foreign experts with Chinese professors and leaders in the recording industry, eager to build knowledge through lectures and workshops. Annually it has become the most influential and important event of its kind in the Chinese recording industry.

Budee’s recent sponsorship of the 15th annual Communication University of China Sound School (CUC) Recording Masterclass was a major success. The event has grown to become one of the biggest in China for those in the recording industry and Martin Audio’s Chinese

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

In fielding industry-leading pro audio recording and playback tools, Budee favoured the Martin Audio Differential Dispersion technology.

“We chose DD12 for the auditorium because we found it needed a little

16

NEWS OCT. 2018

more fill to cover the entire venue and it served as a very easy, very quick solution that we could implement right away and then remove after the first day,” stated Budee’s Manager, Business Communications & Development Dept, Brandon Chemers.

“For the second and third day, the space was a little more open and because it would be in place for a longer period, we were able to utilise MLA Mini in the hall.”

In sponsoring the event with Music Fans, a rapidly growing unique news media and product information platform, Budee took full advantage of this unique opportunity, and the success of the enterprise can be

measured by the fact that nearly 1,100 people attended over the three days, with a further 700,000 watching through live broadcast.

“This was the first time Budee sponsored the CUC Masterclass and it was a rousing success,” concluded Brandon Chemers. “Each day the hall was packed and the response from the internet live cast was also the highest it has ever been. We were very happy to have a diverse group of presenters who brought very interesting content and to whom the audience really responded.”

martin-audio.com

AUSTRALIA

Adamson & CMI Help Monitor City to Cover the Big Stages Network globally. This system will cover our festival work in the upcoming summer months, and can then be split into multiple systems.

It fits well with the way we do things, and will definitely help us.”

Monitor City’s Adamson system is built around the flagship E-Series and comprises a complement of E12 three-way, full-range line array enclosures and E119 subwoofers. Rounding out the package are the compact S10 two-way, full range line array enclosures. Adamson’s touring E-Racks, each equipped with three Lab.gruppen PLM+ series amplifiers featuring Lake processing and Dante audio networking functionality, drive the system.

Monitor City’s Matt Dufty (left) & Adrian Barnard Melbourne production and install company Monitor City has joined the Adamson Network with a major investment in a new E-Series and S-Series audio system. Sourced through CMI Music and Audio, Adamson’s exclusive Australian distributor, the new package allows Monitor City to cover most venues across Australia while also offering the flexibility to break into smaller or distributed systems as required.

Monitor City Co-Founders Adrian Barnard and Matt Dufty, who each boast over 30 years of experience in professional audio, carefully evaluated all the major players in the PA market before deciding on Adamson for their purchase.

“We looked at factors such as the speed of deployment, the logic of the system, its capabilities, and sonic performance,” Dufty relates.

“Adamson stood out as the best choice. It’s rider friendly and acceptable to touring professionals, and there’s a growing Adamson

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Barnard and Dufty founded Monitor City in 2006. The company now services a broad range of clients, from major festivals like Falls Music & Arts and the Unify Gathering to local government, corporate, and theatre applications. “Our company culture is one in which everyone is involved and contributes,” says Dufty. “We care that when you’re at a gig, it sounds fantastic. Anything less than that is not good enough.”

CMI Music and Audio is committed to supporting Monitor City throughout the life of their investment. “We’re very excited by Monitor City’s decision to choose Adamson, making them the first Australianowned production company to join the rapidly-growing E-Series global touring family,” remarks CMI’s Lee Stevens.

“It’s been great working with Lee Stevens and the CMI Audio team on this purchase,” Dufty concludes. “They’ve provided really good support and are very responsive, which is essential when a business is making a decision on capital expenditure this large. It’s vitally important when working on this scale that you’ve got excellent support from both the distributor and manufacturer. This is just the beginning of a long-term investment, and I know that CMI Audio and Adamson will work with us every step of the way.”

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18

NEWS OCT. 2018

THAILAND

Media Vision Looks to the Future with Thailand’s First K1 System The event featured a Thai female artiste giving a rendition of Whitney Houston’s “I Have Nothing”, which underlined K1’s intelligibility and smooth response.This was followed by high level playback of Mansa and Gulch to demonstrate the impact and full range of the system.

The evening continued with dinner and a nod to the EDM market with performances from famous Thai DJs. “It was a huge success and the attendees were really impressed with the system,” enthused Tony.

Media Vision Co., Ltd is Thailand’s premier full-service rental house and has recently taken delivery of the region’s first L-Acoustics K1 KX Standard system, which includes the recently shipped P1 processor, KS28, and LA-RAK II. Managing Director Thanaruch Hongskule, aka Joe, cites the acquisition as the best choice for long-term investment for the company.

“Media Vision already holds an extensive range of loudspeakers, but with business increasing it needed to expand on this,” explains Tanapat ‘Tony’ Mongkolkosol from Vision One, L-Acoustics’ Certified Provider Distributor for the region. “To maintain its position as the number one rental provider for the region, a solution that matches international artists’ riders and can meet the demands of Thailand’s burgeoning EDM market was required. K1 fulfils both these requirements and would allow Media Vision to service the shows that comes through the region.”

Since then, Media Vision’s K Series has been in constant use, including in the Thai edition of Heineken’s Sensation, one of the world’s biggest EDM parties, held in Halls 98 and 99 of the Bangkok International Trade & Exhibition Centre (BITEC), which have a combined capacity of 20,000. L-Acoustics’ involvement in Sensation goes back to the festival beginnings in Amsterdam in the early 2000s. For the Thai edition, Media Vision supplied a massive K1, K2, Kara, and KS28 configuration to deliver the SPL and sonic quality that has cemented L-Acoustics reputation for excellence on the EDM scene.

At the Saengsom Full Moon Party, Bangkok’s famous glow-in-the-dark paint party, Media Vision again deployed a combination of K1, K2, K1-SB, Kara and KS28, with K2 and KS28 seen at teenage music festival What the Fest at Bangkok’s Royal Paragon Hall.

Corporate and sporting events have also had the K Series treatment with Media Vision supplying systems for two major events held at Impact Arena: the Muang Thai Insurance gathering and the Badminton Thailand Open.

“Media Vision already holds an extensive range of loudspeakers, “We are delighted that Media Vision has chosen to make such a significant investment in but with business L-Acoustics,” says David Cooper, L-Acoustics Sales increasing it needed Manager. “Adding a premier system such as K1 to to expand on this” its inventory raises both Media Vision and Thailand

In spring 2018, Media Vision took delivery of a system comprising 48 K1 and 16 K1-SB, along with 24 K2, 12 Kara, 42 KS28, 24 X15 HiQ and 20 LA-RAK II, to add to its existing stock of Kara.

Almost immediately thereafter, partnering with associate company Lightsource, Media Vision held the Joe-Joe Showcase, so named after Joe from Lightsource and Joe from Media Vision. Taking place in the Banquet Hall of Nathong in Bangkok, the showcase allowed Media Vision to highlight the benefits of its new K1 system to more than 900 of Thailand’s industry professionals.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

to the top tier of the international touring map.”

“Media Vision is extremely happy with its K1 investment and with the support it has received from the entire L-Acoustics team,” says Tony. “But what they are even more happy with is that K1 is in such demand. They hardly see it in the warehouse.”

“This is the beginning of Media Vision truly being part of the L-Acoustics family,” concludes Hongskule. “The K1 system has added a whole new dimension to our audio offering and we love it.”

www.l-acoustics.com

20

ENNOVATION OCT. 2018

Allen & Heath Adds Waves Card for SQ Allen & Heath has expanded its arsenal of networking cards with the addition of a Waves SoundGrid option. The SQ Waves card provides any SQ mixer with a 64x64 96kHz or 48kHz interface to a Waves SoundGrid network using the I/O port.

Engineers can now fit the Waves card to any SQ mixer for Waves plugin processing, multitrack recording (at 96kHz or 48kHz), virtual soundcheck and audio distribution applications.

enables the use of existing Waves plugins at a very low latency, using standard Gigabit Ethernet networks rather than a USB connection.

“Waves SoundGrid has been a very popular option among our dLive users, with many systems on tour deploying a Waves card on recording duties,” commented Allen & Heath’s Head of Product, Nicola Beretta. “Since the launch of SQ we’ve received requests for the same technology to be made available here and following the release of our Dante and SLink cards, we’re very happy to tick another box in the list of protocols and standards SQ supports.”

The SQ Waves card is now shipping.

Waves SoundGrid is an Audio-over-Ethernet protocol developed by Waves for real-time professional audio applications. The card also

www.allen-heath.com

Electro-Voice adds Bluetooth Audio Streaming Models to Best-selling ZLX Speaker Series ZLX-15BT also offer the same features that have made the standard ZLX models the global benchmark for lightweight, high-performance portable sound: •

• • Electro-Voice has announced two new additions to its ZLX series -- the world’s best-selling portable powered PA speakers: ZLX-12BT (12-inch 2-way) and ZLX-15BT (15-inch 2-way), both Bluetooth-equipped for audio streaming from any mobile device.

The BT models combine the superior components, coverage and clarity of the standard ZLX models with the latest Bluetooth technology to deliver the lowest-noise, highest-fidelity streaming experience in their class.

Perfect for music playback or accompaniment, the ZLX-12BT and

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

•

QuickSmart DSP processing: Easy setup via four presets, sub/top system-match, two-band EQ, five user-programmable presets, visual monitoring of limiter status, input level control and meters, and master volume control to optimize gain structure — all via a single-knob controller with LCD. High-efficiency 1000 W Class-D power amplifiers delivering up to 127 dB peak SPL utilizing transducers designed and engineered by EV. EV-patented Signal Synchronized Transducers (SST) waveguide design providing precise and consistent coverage, minimal distortion, and maximized acoustical loading.

Three-handle design integrated into a rugged composite enclosure for an optimal combination of portability and durability.

The new Bluetooth-equipped models will be available in selected countries.

www.electrovoice.com

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22

ENNOVATION OCT. 2018

Shure Upgrades Bodypack Receivers for PSM900 and PSM1000 Monitoring Systems

Built with an integrated FPGA circuit, the updated PSM receivers are equipped with advanced digital signal processing (DSP) technology that provides high-quality digital audio over analog RF transmission. By offering higher RF sensitivity, the P9RA+ and P10R+ deliver a cleaner RF signal and better end-of-range performance. The P10R+ possesses a more robust and reliable RF signal in close proximity to digital transmiters, providing superior operability when used alongside digital wireless microphone systems in crowded spectrum spaces.

Shure has announced the new P9RA+ and P10R+ bodypack receivers that operate with the PSM900 and PSM1000 Wireless Personal Monitor Systems, respectively. Both the P9RA+ and P10R+ deliver enhanced RF performance while preserving the unparalleled audio quality and transparency that the PSM 900 and PSM 1000 are recognized for industry-wide. Designed for live performers, broadcast production managers, sound technicians, and rental agency managers, the updated PSM receivers leverage an analog/digital hybrid system that increases headroom, stereo separation, and audio fidelity.

The P9RA+ is a compact, stereo bodypack that works with the PSM 900 wireless system to deliver unparalleled audio quality and increased RF signal strength to meet the needs of professional audio applications of all kinds. All P9RA+ receivers are compatible with original P9T and P10T transmitters and all Shure SE Sound Isolating Earphones. Similarly, the P10R+ is a low-profile, twin-antenna diversity bodypack receiver that operates with the PSM 1000 wireless system. With premium features like full bandwidth RF scan, precision front-end RF filtering, and automatic RF gain control, P10R+ meets the demands of professional audio applications of all sizes.

“With the new P9RA+ and P10R+ bodypacks, we made a number of updates as part of our commitment to continually listen and react to customer feedback, including several enhancements that help RF engineers better maneuver everyday workflow challenges without sacrificing audio quality,” said Michael Johns, Senior Global Product Manager at Shure. “By designing a hybrid system that uses digital and analog technology, we’re able to improve the effectiveness of the listening experience while maintaining accuracy and transparency.

We’ve truly engineered a studio-quality product to perform on the stage and in the field.”

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“Audio quality and RF performance continue to be the most important factors when choosing a premium wireless IEM solution,” commented Johns. “The goal of the new hybrid analog/digital architecture was to make strides toward bringing pristine audio to the stage, while also improving the RF performance to keep up with the ever-growing demands of live entertainment and broadcast. By updating the technology behind our PSM receivers, we allow our customers to upgrade the already impressive performance of PSM 900 and PSM 1000.”

For sound engineers who wish to retain the identical sound signature of original PSM 900 and PSM 1000 receivers, the new PSM receivers are built with an Input EQ Preset option called Match, which reproduces the audio signature of the P9RA and P10R receivers. Furthermore, PSM 900 and PSM 1000 transmitters and in-ear monitors will remain unchanged.

“We’re extremely sensitive to the fact that sound engineers may not want to alter sound quality when enhancements are made to existing product lines,” added Johns. “To that effect, we’ve leveraged the capabilities of our integrated FPGA to develop a ‘Match EQ’ setting that enables engineers to continue leveraging the exact same signature as the original PSM 900 and PSM 1000 receivers; all with the latest enhancements in RF signal reliability, improved battery life, and volume locking now incorporated.”

The P9RA+ and P10R+ bodypack receivers will be available for sale by late 2018.

www.shureasia.com

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ENNOVATION OCT. 2018

GLP Releases Supercharged impression E350 LED Moving Head GLP recently launched the impression E350 LED moving head at PLASA 2018, a new, supercharged companion to its popular impression S350, in an efficient, optimized package.

With an advanced LED engine offering unprecedented output in its class, the fixture will find favour in any type of showcase event or installation with dynamic, articulated lighting as the centerpiece. And since it offers flicker free operation, with smooth electronic dimming from 0-100%, multiple dimming curves, with no colour shift while delivering random and pulse electronic strobing effects it will also find favour in the Broadcast / TV segment.

There are many essential features in this compact fixture with its signature baseless design. The high colour temperature of 7500K provides a hard-edge mid-air effect beam, with bright gobo projections, while it is also notable for an extremely tight iris and GLP’s motorised 7:1 zoom range (7°- 48°). This creates an even and flat field with a considerable light output of up to a maximum of 9500lm.

The impression E350 also houses a CMY colour mixing system with separate CTC Channel, along with an 8-facet-prism, a light and heavy frost, a tiltable animation wheel, two gobo wheels, a super-tight 14-blade iris and 10-slot colour wheel. All functions are fully capable of working in combination with one another, making the GLP impression E350 perfect for almost any application.

GLP product manager Michael Feldmann, believes his company has produced another powerful and flexible fixture for the Lighting world.

“Due to the high efficient LED Engine in combination with the great optical system, the feature-set and the compact form factor, we anticipate immediate take-up by rental companies looking to maximise return on investment in the dry hire sector for events and shows of all types.”

He explained how GLP set the bar high in designing a blueprint tor a luminaire guaranteed to leapfrog the competition.

“Our first priority was to get maximum output and efficiency from a 350W LED engine, with intensive 7500K default white, as we knew this would be perfect for mid-size shows or wherever compact form factor and low weight are required. In fact the E350 outputs up to 9500 lm at maximum 550W power consumption!”

He stated that due to the high colour temperature the beam appears more powerful and hard-edged.

“With a great combination of break-up and mid-air effect functionality, in a package designed for easy tour handling, it is the complete all-rounder.”

Key Features: • Functions: The broad feature package includes CMY, Colour Wheel virtual CTC, Iris, Animation Wheel, Prism, 2-way-Frost, two Gobo wheels, plus 640° Pan and 262° Tilt in 16-bit resolution.

• Light source: 350W White light LED-Engine, 7500K, 8000 lm - 9500 lm • CMY and CTC Colour Mixing System: New CMY Filters system for smooth colour mixing and deep saturated colours and new CTC Technology for a seamless range from 2500 K – 8000K • High Colour Temperature for Powerful Beams: The 350W LED Engine emits a 7,500K continuous spectrum which gives a more punchy beam than lower colour temperatures.

• Two Gobo Wheels: 1x Gobo wheel with 7 interchangeable gobos plus open with precise gobo indexing and smooth and fast gobo rotation, along with a fixed gobo wheel with 10 gobos plus open.

• Animation Wheel: An adjustable animation wheel for horizontal, diagonal and vertical animation effects. Smooth rotation from slow to fast.

• Iris: Precise 14 blade iris.

• Frost: 2-way Frost system which provides soft to heavy frost effects.

• Weight & Dimensions: The E350 features GLP’s trademark baseless design with low weight of just 24.5 kg and a compact size off 471mm x 229mm x 642 mm (LWH).

www.glp.de

BroaMan Extends Mux22 Family with FrameSync8 BroaMan has further extended its successful Mux22 series of devices, with the announcement of the Mux22 FrameSync8, which provides a superior upgrade to traditional frame sync technologies.

By using revolutionary advanced timing and transport techniques, the new FrameSync option allows zero-delay frame syncs, and autoENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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ENNOVATION OCT. 2018

adjustment of its embedded audio. This addresses a number of problems which began with the use of digital equipment, notably the infamous lip sync issues and highly irritating delays for actors and conductors in live situations. These are now a thing of the past.

video syncs of any style, both black burst and tri-level, of numerous resolutions, in all PAL/NTSC/SECAM SD and HD versions.

The popular Mux22 is a universal interface, supporting all broadcast industry signals in just a 1RU chassis. By combining HD/3G/6G/12G-SDI I/O with Ethernet, Optocore and SANE digital audio networks, Mux22 provides a compact and highly efficient solution for transporting video, audio and data on just a duplex fiber.

Additionally, each of the eight Sync outputs in FrameSync8 can be individually set to either Video Sync or Audio Word Clock Sync, making the device a perfect video and/or audio sync distribution device. This will replace, in most cases, all ambiguous black burst sync generators/ splitters, word clock generators/splitters and black burst sync–to-audiounits with their mostly unknown phase relations, unknown phase shift and high jitter designs.

Each standard Mux22 can now contain a FrameSync board which allows Video Frame Sync of eight Video Inputs (eg for cameras). This new FrameSync option, which will receive its official launch at this year’s IBC Show in Amsterdam, is based on the new FrameSync8 board, which provides eight Sync Outputs in addition to the ever-present two VSync (Video Sync Board) I/O option.

Thanks to BroaMan’s rock solid technology, the phase shift and format of Video Sync are precisely matched to all eight outputs, with a guarantee that there will be no mismatch in timing. In FrameSync8 BroaMan promise that any short circuit of one output will not affect any other port. Superior low jitter <50ps and ‘same phase relation on every power-up’ is always guaranteed.

This traditional VSync I/O, which appears inside every Mux22, is independent from the new FrameSync8 board – for example, VSync can still perform the black burst-to-audio clock synchronization, while the FrameSync8 outputs can produce indepenently phase shifted

The new Mux22-FrameSync8 is now shipping.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

broadcastmanufactur.com

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ENNOVATION OCT. 2018

GLP’s Interlocking KNV LED Cube and Arc Offer Infinite Design Possibilities Whilst independent pixel mapping is available, the KNV also incorporates two integrated powerful FX engines that offer easy handling of the pixels and create stunning effects, requiring a bare minimum of programming time.

Explaining the design rationale, GLP’s MD Udo Künzler, said, “Presently, all existing strobes and Single-Pixel-Effects in the market have a defined size and framed housing. The GLP KNV Cube and KNV Arc are the first LED systems with a frameless design for maximum flexibility and independent scaling options. And by combining the two, there are plenty of options for never before seen designs to be created, such as rings, letters, walls, snakes, and so on.”

Officially presented at PLASA 2018, the modular KNV LED system from GLP can be used either individually or as a composite. Designers can rely on two basic forms: the cube-shaped KNV Cube and the KNV Arc – a device in the form of an eighth circle.

The powerful GLP KNV Cube and KNV Arc are the solution for any creative designer seeking maximum flexibility of an RGB LED fixture and white light strobe/blinder, all within a modular system that provides infinite design options.

Billed as the first frameless LED module, which combines Strobe, Blinder and Pixel-Block in the market, it looks set to become a gamechanger, as it allows production designers to effortlessly build unique structures. Any combination of KNV Cube and Arc can be combined together to form an infinite level of seamless design elements where scenery becomes lighting and lighting becomes scenery.

With so much flexibility, GLP expects the new KNV to find immediate adoption in TV set designs, touring, festivals, fixed installations and cruise ships, while its IP54 construction and modular design make this service-free system perfect for dry hire customers and cross rental.

Each GLP KNV unit houses 25 Power-pixels, each consisting of a hyperbright White LED for maximum brightness and impact along with a surrounding ring of 16 RGB LEDs for creative effects and powerful backlight illumination. Combined, each module will output an incredible 50,000 lumens.

But the KNV system goes much further. Since the modules are IP54 rated, they can be used on exposed stages, festival front trussing or other outdoor applications, with comfortable power/data daisy chain capabilities enabling large modular displays to be created — regardless of the weather.

Essential Features: • 25 Power-Pixels, each with 1x hyper-bright White LED, 1x ring of 16x RGB LEDs, • Up to 50,000 lm output per module, • IP54 rated, weatherproof design in both versions: KNV Cube and KNV Arc, • Modular system to create individual and unlimited scaling for independent creative designs, • Easy interlocking system and Power Data Daisy Chain, • Different control modes for usage as Strobe, Pixel-mapping or Multi-layer mode, with two powerful FX engines.

GLP’s KNV LED system is now shipping.

www.glp.de

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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ENNOVATION OCT. 2018

Obsidian Control Systems Debuts New Consoles at PLASA 2018 Obsidian Control Systems recently showcased at the PLASA show in London the first two lighting control products under the ONYX lighting control platform, the extremely powerful NX 2 and the portable NX Wing.

The NX 2

The powerful NX 2 is the ultimate compact yet fully-integrated lighting controller. As a member of the innovative ONYX platform from Obsidian Control Systems, the NX 2 is feature rich and never restricted in its capabilities. NX 2 offers a slate of professional features like a high brightness, full-HD multi touchscreen, 8 assignable parameter encoders, an assistive mini touchscreen, full keypad and command section, a dedicated grand master, and 10 full playbacks with four freely assignable buttons. Utilizing the latest in industrial components, the NX 2 contains a powerful Intel Hexa-Core processor, high-speed NVMe SSD drive and 16GB of DDR4 RAM. Fast boot times, instant operation and the ability to process 64 Universes right inside the console without the need for costly external processing networks result in unprecedented power in this small form factor. The NX 2 has all the connectivity and power the ever-increasing size of shows demands.

The NX Wing

NX Wing is the complementary USB control surface to Obsidian Control Systemsâ&#x20AC;&#x2122; ONYX platform.

Based on the NX 2 console, the NX Wing utilizes the same rugged design and components with an identical footprint and layout. Through its USB connection, the NX Wing provides a responsive professional hardware surface to operate ONYX on any PC system without compromises. Any user of ONYX will feel instantly familiar with the NX Wing and no setup or additional installation is required. Simply plug it into a user-provided PC with ONYX and get started instantly. NX Wing provides extensive connectivity with 4 DMX Ports, MIDI and Timecode ports while unlocking 128 Universes of control when connected to ONYX on a PC.

ONYX ONYX is a powerful yet easy-to-learn lighting control platform designed for both hardware consoles and PC systems. It is a rebranding of the well-established M-Series control platform and is designed for use with all new ONXY and existing M-Series hardware (M-DMX, M-Touch, M-Play, M2PC, M2GO, M2GO HD, M1, M1 HD and M6). Designed and maintained by real-user professionals with over 25 years of experience in lighting control systems, ONYX provides a stable and efficient programming platform that is fast to program and fun to operate.

ONYX scales from the smallest shows to the largest touring productions with easy-to-use tools and optimized graphical work environments that can adapt to any task and complexity. Obsidian Control Systems products are exclusively distributed by Elation Professional worldwide and are available in various sizes to accommodate any scale and budget.

www.obsidiancontrol.com

Elation Introduces TwinkLED at PLASA 2018 Elation Professional introduced at PLASA 2018 TwinkLED, a new and innovative LED lens design offering creative layers of powerful light beams and elegant lens illumination. TwinkLEDs offer a prominent, patent-pending LED pixel effect using dedicated high-brightness pixels inside large front lenses to provide additional layers of creativity for the lighting designer.

Elation also showed an all-new visual effect, the RAYZOR 760, a compact yet extremely powerful LED wash effects luminaire and the first fixture to feature Elationâ&#x20AC;&#x2122;s brand new, unique TwinkLED system. With a wide zoom range from 8 to 77 degrees, the RAYZOR

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

760 provides intense and well-defined mid-air beams with over 8000 lumens, as well as an exceptionally wide and even wash coverage.

Driven by seven, independently controlled, 60W RGBW LEDs, the RAYZOR 760 provides a powerful beam that stands out on any stage.

The oversized front lenses create a large surface that is enhanced by the patent-pending TwinkLEDs technology. TwinkLEDs consist of 28 individual white LEDs strategically placed inside the lens itself to create a unique additional layer of effect, allowing designers access to a fresh and innovative way of creating interest on stage. Fast, continuous, speed-adjustable pan & tilt rotation adds another layer of dynamic effects from this versatile fixture.

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ENNOVATION OCT. 2018

The Proteus RAYZOR 760 The RAYZOR 760 is also available in a compact and lightweight weather and dust protected IP65 version, the Proteus RAYZOR 760, for use in any environment and under adverse conditions. The Proteus RAYZOR 760’s multi-environmental IP65 design makes it the world’s first IP65rated luminaire with continuous pan & tilt rotation, giving designers the freedom to utilize this latest effect at any event, indoors or out. It offers the identical feature set and powerful output as the RAYZOR 760, allowing users to choose the right fixture for the application without compromise.

The RAYZOR 760

Elation showcased the CMY color-mixing Smarty Hybrid as well and was pleased to introduce its IP65-rated version, the Proteus Smarty Hybrid. This is the world’s first compact CMY hybrid fixture with true IP65 rating. Encompassing the same full feature set and using the same highly-efficient Philips MSD Platinum FLEX 200 lamp with

exceptional 6000-hour lamp life, the Proteus Smarty Hybrid’s IP65 dust and water protection means this compact and versatile effect can be used indoors or out. Features include fast movement, motorized zoom, full CMY color mixing, 13 dichroic colors, two gobo wheels, prism overlay and frost filter.

The Proteus Smarty Hybrid

Also on hand was the Artiste Van Gogh, a powerful framing wash LED luminaire with outstanding light quality and the ideal partner to the profile luminaires in Elation’s growing Artiste range. Providing up to 16,000 total lumens from an efficient 380W high CRI LED engine, the Artiste Van Gogh excels at color rendering for precise color reproduction. CMY and CTO color mixing and a 7-position color wheel provide flexible color options and an internal 4-blade barndoor system allows for beam shaping and light control at any angle. With a wide zoom range and choice of PC or optional Fresnel lens, the Van Gogh is capable of concentrated beams to wide washes for use in a variety of applications that require high output and precise beam control.

www.elationlighting.com

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ENNOVATION OCT. 2018

Robe Rocks PLASA with SuperSpikie

Complete with a specially compiled sound track, a custom in-house designed water curtain effect, oodles of moody fog and haze courtesy several MDG machines … and utilizing around 200 skilfully positioned Robe moving lights, Nathan explained, “The goal was to create an immersive highly visual environment where people would want to stay, meet, chat ... and discuss business!”

As well as creating a superlative piece of theatre to follow the acclaimed Robe “Cirque” show at this year’s Prolight+Sound Frankfurt and last year’s popular “Mirror Man” at PLASA, Robe strove to take interactive exhibition stand design to a new level.

Robe brought an animated, vibrant, high-impact theatre meets rock ‘n’ roll live show to the centre of its stand design at the 2018 PLASA entertainment technology expo in London’s Olympia.

Putting ‘performance’ at the heart of the presentation, Robe launched its brand new SuperSpikie moving light.

The spectacular show, which also illustrated other new and current Robe products including the new RoboSpot remote follow spotting system running with MDC (multi device control) and the new iParFect, the first in a series of upcoming IP rated luminaires.

Inspired by the Tomb Raider / Indiana Jones movie and e-games adventure genre – the show concept, “The Lost World Trilogy”, was originated by Robe’s own creative team led by Nathan Wan and Andy Webb.

It was the first of three jaw-dropping movie set quality booth designs that will be rolled out by Robe at selected trade expos worldwide over the coming months Seven dancers starred in an all-action 8-minute extravaganza choreographed by Chris Manoe, taking them on a risky and dangerous mission negotiating jungles, caves and volcanoes in search of a stash of hidden treasures, which turned out to be...

SuperSpikies!!!

Apart from pulling people to the booth, there was a massive buzz around the expo which ensured that Robe was a talking point, right there on the show floor and across social media and other communication channels.

Robe’s CEO Josef Valchar commented, “It looked amazing … the BEST, most interesting and detailed booth design we have produced to date … which really showcased the products in a scenario for which they were designed”.

With all those people flocking to the booth, business was brisk for the Czech manufacturer.

The SuperSpikie attracted plenty of attention with 18 incorporated into the show. The product is a larger, more powerful and seriously supercharged version of the phenomenally popular Spikie moving light ... with all the same features, AND a much brighter, fatter beam plus rotating gobos for producing additional stunning aerial effects.

Visitors loved the cute little hedgehog ‘logo-bug’ stick-ons which were an extension of the ‘big-and-small hedgehog’ SuperSpikie teaser media campaign.

Robe’s modular RoboSpot remote follow spotting system was a great success over the last year, and this is now available with Multi Device Control (MDC) for use with up to 12 units of Robe’s newest fixtures, including the BMFL range, MegaPointes, DL7 and DL4 series luminaires and Pointes.

BMFL FollowSpot LT was another new product launched at the show - a brighter ‘Long Throw’ version of the standard BMFL FollowSpot, with all the standard features and a different optical system and a tighter beam spread that is optimised for extra brightness over long distances!

Naturally the best-selling MegaPointe – its first public physical reveal was at PLASA 2017 - was prominent in the show, together with Spiiders, Tarrantulas, Spikies, iParFects – in the rain curtains – CycBar 15s, ColorStrobes and Divine UVs.

www.robe.cz.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

H W IGH ITH P CA OWE RD R IO BA ID SS AR R RA EF UP Y P LEX AN TO RE PA D 8 SE S 13 00 TS UB 4 W DB R W OO MA MS FE X PO RS SP W AP L ER FO PL R ICA QU T IC ION K P FR R EQ ES UE ETS LD NC FO S YR Y R ST ES DI E PO ST M NS OR S D EC TIO YN ON N- X ® FR DS TO BE EE P UR T FO M IN PE EC G R OP R FO HN UN TI RM OL IFO MIZ AN OGY RM ED CE CO HF VE WA 3 RA VE FO 6 M GE GU R M ID 0° DU E OR AL 5° TIL MO T P UN OL B TIN E R UL IRC G EC TR H P AN EP A LY GL TA RU C ES CL GG AB E ED INE PO T W LY IT UR H EA FIN ISH

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32

ENNOVATION OCT. 2018

New ADB Products at PLASA 2018 ADB recently introduced a range of their new products at the PLASA show in London.

The LEXPERT family is a range of LED units featuring advanced digital technology and extremely high quality light. The LEXPERT fixtures are designed for those who appreciate the advantages of LEDs, but still prefer white light sources: a step towards the future, but with respect for the ways of those who have to use them.

The LEXPERT PROFILE SPOT and FRESNEL lights feature white-LED solutions for replacing 1 KW halogen lamps. The series includes the compact and versatile LEXPERT EMPHASY. LEXPERT units are guaranteed by Osram and ADB’s long experience in the lighting industry. They provide excellent value for money.

The OKSALIS is a static LED washlight which gives you total control over the quality of all forms of white and colored light. The Oksalis washlight is based on HCR (High Color Rendering) technology, a LED light module consisting of six chips, each one devoted to a different color: amber, cyan and lime have been added to the three classic ADB OKSALIS basic red, green and blue colors.

The Oksalis and Klemantis share the same light technology. Together they form a product line able to provide a very wide color range with an extraordinary color spectrum coverage, and different shapes and light distributions.

ADB also released version 2.0 of its renowned lighting software,

featuring the following main new features: • Over 10,000 templates with bi-weekly updates independent from software updates • Fixed faders in submasters, not included in page management, like Playbacks with IN & OUT • Grand Master, Independents, and Fields • Innovative HSI colors handled by a Color Picker The exclusive Park Function, by Device or

by Parameter Another highlight was the new mobile solution: Wily is the Smart lighting application for the Hathor product range. Much more than a remote control, the App enhances iPads and iPhones into freely configurable smart consoles.

Lastly, the KLEMANTIS was of course among the stars of the show.

KLEMANTIS is an asymmetric cyclight based on a six-color LED module, which uses cutting-edge HCR (High Color ADB KLEMANTIS Rendering) LED technology to deliver a wide selection of colors from bold hues to pastel shades.

Thanks to an innovative algorithm, the unit is capable of achieving a stable CRI of over 97 (up to 99), as well as an impressive tunable white light ranging from 2500K to 8000K. Its light output is enhanced by an innovative optical system, which enables the Klemantis to generate a uniform light with excellent diffusion and perfectly blended colors.

Extensions to the Klemantis family will be presented at ProLight+Sound: the more compact 500mm version (KLEMANTIS AS500) and the new symmetrical optical units available as accessories.

www.adbstagelight.com

Flexible and Configurable Video Processing from RGBlink • • •

RGBlink’s new D6 truly aims to deliver, promising high-performance 4K video end-to-end, and presentation processing in any resolution up to 4K@60 with uncompressed 4:4:4 processing.

Other key features include: • 4K@60Hz on HDMI, DisplayPort and/or 12G-SDI Intuitive Interface • Modular Architecture • ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Detachable front panel Advanced Image Enhancements including Noise Reduction Control Remotely from XPOSE, T-TWO or RGBlink OpenAPI

All inputs are modular with options including 4K 60fps on HDMI,DisplayPort and Dual Link DVI, as well as 12G-SDI for uncompressed 4K. D6 has RGBlink XPOSE built right in for interactive and visual configuration in conjunction with the large integrated touch screen LCD display.

Check out the product video here: https://www.youtube.com/ watch?v=QlZI8QHLWXo&feature=youtu.be

www.rgblink.com

Meet the F80: is just the start Museums, attractions and boardrooms understand the benefits of 4K. In terms of image quality, itâ&#x20AC;&#x2122;s hard to beat. But for the F80, that is just the start.

Imagine a stylish 4K projector that offers superb true-to-life colors and is also incredibly easy to use, totally flexible and offers long-term performance (even 24/7 if you need it).

4K technology is embedded in everything that Barco does. From our UDX projectors to Nexxis, cinema projectors and control rooms, we are used to bringing users the performance their business needs.

Enhance your installation with the best in 4K â&#x20AC;&#x201C; knowing that this is just the start.

ENABLING BRIGHT OUTCOMES

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ENNOVATION OCT. 2018

MDG’s New ATMe WPE Weathers the Storms at PLASA 2018 MDG enjoyed a hugely successful PLASA London where it presented its latest products. These included the new IP55-rated Me2 WPE fog and ATMe WPE haze generators, a standard Me2 fog generator, the FAN digital fan, and the ICE FOG Compack HP low fog generator alongside two award-winning products, the ONE dual mode haze and fog generator, winner of the LDI Best Debut product in 2010, and the RFP (Round Floor Pocket) which won the ABTT Engineering Product of the Year 2018 in June.

Alongside its regular stand, MDG was proud to have two of its new ATMe WPE weatherproof hazer generators and an ICE FOG Compack HP involved in the spectacular dance and light show on the adjacent Robe booth.

The ICE FOG Compack HP was sited up on the raised dance stage and provided lush amounts of low fog in which the ‘Fire Woman’ danced, her fire-eating antics adding a fabulous contrast with the pure-white smoothness of the low fog around her.

ATMe WPE is laboratory-tested, approved and certified, to offer IP55 protection against adverse weather and ingress of dust which can cause costly and time-consuming maintenance problems for long term installations in indoor and outdoor theme parks and attractions, come rain or shine. ATMe WPE is ideal for both indoor and outdoor use.

MDG ICE FOG Compack HP low fog generator and ATMe WPE weatherproof haze generators add to the drama of Robe’s spectacular The Lost World Trilogy show at PLASA London 2018 MDG ATMe WPE weatherproof haze generators showcase the lighting to perfection on Robe’s spectacular The Lost World Trilogy show at PLASA London 2018 Inspired by Indian Jones and Tomb Raider movies, the show environment emulated tropical forests, caves and volcanoes. Here the ATMe WPE machines really showed their true mettle as they stood for three days under torrential ‘tropical rain’, adding to the drama of the adventure unfolding on stage as they produced constant fine haze to showcase the lighting, even amid the downpours!

“People were very surprised to see a haze generator able to perform successfully in such harsh ‘outdoor’ conditions,” says MDG CEO Martin Michaud. “But seeing is believing, and we are proud to say our ATMe WPE units drew much admiration at the quality of the haze they produced, and the sheer volume of water they could tolerate being thrown at them! There is no doubt they are very capable of the job they were designed to do, that is provide powerful haze generation for permanent installation in theme parks, outdoor events and festivals, or theatre shows involving water effects, whatever the weather.”

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It retains all ATMe’s characteristics and quality enabling it to create the finest, almost invisible mist which shows off laser and light beams to perfection. Its ATMe pedigree also ensures it has the same qualities of safety and reliability, 100% duty cycle and the famous MDG APS (Automatic Purging System) that prevents residual build up and clogging, which are the hallmarks of all MDG haze and fog generators’ success. It can be controlled via DMX, is RDM-ready, and is suitable for use with CO2 or N2 gas. Its universal switching power supply (100-250 VAC, 50/60Hz, 715W) and CE/CSA/US certification ensure it can be used worldwide.

Photo credits to Louise Stickland.

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VIDEO FILES OCT. 2018

Ovation SP-300CW by CHAUVET Professional

Tencent Broadcast Spectacular for Zhao 2018 Chaoyin Release Night

The Ovation SP-300CW is a quiet, medium throw LED powered followspot that projects a crisp cool white beam. On board manual dimming and a full-blackout iris are standard for beam control along with smooth manual sliders for zoom and focus to adjust from a spot to a flood. A 6-slot manual boomerang is attached to the front of the unit to add your favorite gel colors and provide quiet color changing.

For Tencent’s broadcast spectacular, Redline Technology used a disguise gx2 media server in combination with Panasonic PT-SRZ31KC projectors and a BlackTrax system. The tracking setup included 13 infrared tracking cameras and 11 infrared LED tracking points positioned around the sphere to track it during the performance.

MediaMaster Timecode Tutorial with Pioneer CDJ Decks and ShowKontrol LIVE

SGM P10 vs Q-10. Check Out the Comparison

Check out this handy tutorial put together by ArKaos, and learn how to use Timecode tracking with MediaMaster! Used by international artists, nightclubs and festivals, ShowKontrol LIVE gives you realtime information of connected Pioneer DJ equipment and lets you sync realtime via Ableton Link, Midi, SMPTE and many other protocols.

It also listens to Pioneer DJ PRO DJ LINK and sends Timecode to MediaMaster.

It’s a battle of the luminaires! Watch as SGM Light’s P-10 goes headto-head with the Q-10, drawing comparisons from beam angles and weatherproof capabilities to colour calibration and colour temperature range. Who won this fight? You decide!

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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KNOWLEDGE HUB OCT. 2018

THE ALEX SCHLOESSER COLUMN

Teaching and Training, and the Never-Ending Learning Curve I fear this is becoming more of an opinion column than a tech column.

On the other hand I don’t think I can address complex matters and ideas in a very limited word count and space. However, since there is no absolute and objective opinion about the arts and the things that we do for a living, I think it is fair to have a good dispute and discussion amongst ourselves. Since we are in the entertainment industry, I also like for this column to be entertaining so here is another little anecdote from my deep vault of memories.

In the early days of my career and when I had gained a little experience and know how, I remember that I was very opinionated and whether I was at a event or a concert, I had very clear opinions and views about things and gear and also about people, whether it might be colleagues or artists. It was clear to be that the FOH guy “was an idiot” and did not know his job and that the system tech “had no ears”, when things did not sound that way they should or the way I had expected them to be sounding.

Sadly my clear worldview was not going to stay as clear and clean as it was right then.

understand that nothing is ever as simple as it seems, because if it was, then somebody else would have seen it and done the appropriate thing already.

This has also caused my alarm bells to go off when people claim to have found the ultimate answer to all the difficult questions (no. it’s not 42, or maybe it is). I find this the biggest challenge and the biggest blessing of working in our industry. The more you learn, the more you are hungry to understand more and for you to go deeper in your understanding and your appreciation. In my case I found that my learning is driven by hunger for input and not by pressure to do or learn something new.

One of the things that our industry has recently adopted, is immersive audio and Wave field synthesis and other 3D Audio formats and approaches have been explored a lot better and deeper. I was lucky and blessed to be working with colleagues and artists who are also curious about those things and I participated in shows where those technologies where applied as good as possible under real world conditions.

And again, it is easy to be opinionated at the beginning and the more I learn and have read about the topic, the more I understand, that this is a extremely complex and also complicated topic and much research is still required to come to decent conclusions.

“One of the things that our industry has recently adopted, is immersive audio and Wave field synthesis and other 3D Audio formats and I did read on one recent publication that someone said that “stereo is approaches have been dead”, after experiencing one of those immersive technologies in a demo room explored a lot better setup. Now with all due respect and after I and deeper.” have read four books on the topic and I had a

As I grew older and learned more, all this became much less defined and the opinion blurred a lot. That of course is very weird, that when you learn and know more, your view gets more blurred. My understanding is today, that simple opinions result from simple understanding, but then again over the years, I have come to

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chance to use this even in large scale applications, I must say that this is still stupid. Good stereo is as fantastic today as it was at its invention and I challenge you to convince me otherwise. Cheers.

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KNOWLEDGE HUB OCT. 2018

THIS SEGMENT IS BROUGHT TO YOU BY disguise

Output Configuration

One of the critical steps to take when operating any media server, is configuring your outputs. All the hard work you have done when creating your content, sequencing your show and integrating the media server with other systems won’t matter if your video content does not get to the display devices.

Most media servers have the ability to output in lots of different formats. These formats will be clearly displayed in your media server specifications, but the most common formats are DisplayPort (DP), Digital Visual Interface (DVI), High Definition Multimedia Interface (HDMI) and SDI (Serial Digital Interface). When you purchase a media server, usually it has a fixed set of these output formats, but some allow you to mix these formats together in the same machine.

When setting up your media server output configuration, preparation is key. A lot of the decisions on how the system is set up should be made long before you get to site. It’s important for the system engineers to communicate with the media server programmer and content delivery team to ensure everybody knows what the end goal actually looks like.

Careful consideration also needs to be taken if you intend to use the media server in an environment with live cameras. If this is the case, the media server needs to be fitted with Genlock capabilities (also known as a sync card), this allows the media servers video outputs to be locked to an external clock so they present video frames at the same time as the connected cameras capture a frame. If you do not configure Genlock correctly, the result will be rolling bars on the camera output as the timing of the display devices will not match that of the camera.

The next main setup step is to define which screens or layers in the media server, are being output to which screens or devices in the real world. Most common media servers handle this with some kind of mapping or grouping system. Generally speaking, the output configuration remains fixed for the length of the event or project, whereas the mappings or groups will change on the fly.

Once you know which mapping needs to go to which output, you’ll be able to work out your output resolutions. Generally, your output resolution should match your content resolution, if you are working in a pixel perfect environment. Your media server will also have an output resolution limit at a hardware level, usually defined by the maximum pixel count of the GPU. Check your media server specifications for further information on this.

Most media servers have an output window, where you assign all of your screens or mapping groups to the individual hardware outputs of the media server. There are often a number of useful controls at the output head level.

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Examples of such functionality – Warping is useful in projection workflows where the projection surface does not match the content or 3D model inside the media server (i.e. where the lineup from the manual or automatic calibration needs a slight fine-tune), there are often a number of powerful warping layers that can be applied directly to the output. By using these tools there is no requirement for projector keystoning or any other warping inside the physical projector which allows for additional on-site flexibility.

Test patterns Another common function that can be done at the output level, is triggering of test patterns separately from normal content. Usually, to playback test patterns, you would have to use a standard media server layer with the test pattern content. This can disturb the media server programmer and create delays. By applying a test pattern at the output level, this allows the media server programmer to continue working, whilst the output of a particular screen is simply overridden for a short period of time.

Soft edge blending A very common function in projection workflows, is the need to manually soft edge blend projectors together, if the media server does not have an automatic blending function. Soft edge masks should be set at the output level as they will not change for the duration of the project. Most media servers allow you to import a JPG or PNG to use as a mask, and some even allow you to draw the mark directly in the media server software.

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Re-sizing Most media servers all you to re-size the output content independently of the original content. This usually means reducing the pixel space it occupies, therefore ‘scaling down’ the content. This is useful when you have content that is, for example, 1920x1080 but your actual output display is 1280x720. The downside of using this kind of functionality, is that you ‘crush’ pixels and the content is no longer pixel perfect.

Flipping & Rotating One final thing you may need to achieve is to flip or rotate the content.

For example, your projector may be mounted at a 90-degree angle or the content was made in the wrong way. These are useful functions that may well come in handy and would be cumbersome to achieve by doing in your layer programming.

Once you have configured your outputs, the final step is actually assigning content to them. All media servers do this in a different way, but most follow the same principle that you ‘sample’ content from the mappings or output groups and place that content on the ‘destination’

output. For more information about output configuration, consult your media server’s user guide.

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KNOWLEDGE HUB OCT. 2018

HARMAN EDUCATIONAL SERIES PART 8

Building Your Audio System – Mike Up Your Drum Kit Welcome back to Building your Audio System series. In the past 8 months, we’ve learnt the importance of having a good PA, the factors to consider when deciding on the requirements, and how to configure and set up the monitor systems. This month, we will look into a minimalistic set up for miking up the drums for a show.

There are many reason to explore a minimalist set up for our drum kits. Sometimes, we run on a lean setup and do not have 16 separate inputs to mic every inch of a drum kit. And sometimes, less is more – the legendary drum sound on Led Zeppelin’s When the Levee Breaks was the result of two overhead drum mics suspended from the rafters above the drum kit!

Before we dive in to a 2-mic setup, let us examine how pro engineers mic drums when they have no limitations. Professional engineers typically mic drums with ten mics or more, depending on the size of the kit. Spot mics are aimed at a particular drum (kick, snare or a particular tom), trying to pick it up with as little bleed (aka leakage or spill) from the rest of the kit as possible.

Overhead mics are placed above the drum set. Unlike spot mics, overheads are intended to capture the entire kit at once. Finally, in recording applications, there are often room mics (either a single mono mic or a stereo pair, or both), which are placed back from the kit to capture the sound of the drums interacting with the room acoustics.

Room mics are used to add space to the drum sounds in the mix. All of these different mic types run on their own tracks. The engineer then uses a combination of them to create a balanced and exciting drum sound. Drum kits are always mixed in stereo, unless a specific retro effect is desired.

of the snappy part of the kick sound you’ll capture, and vice versa.

Experiment with positioning. If you don’t have a dedicated kick-drum mic (for example an AKG D112 MKII or D12 VR), it’s preferable to use another dynamic mic of some kind. For the overhead, use a condenser mic if you can, as it’s likely to give you crisper reproduction of the high end of the kit.

Experiment with placement of the overhead mic. Start with it on a boom stand above the kit, centered enough that it picks up an even blend of the snare, toms and cymbals. Try Figure 2: A basic two-mic drumdifferent heights, from a foot miking setup, with a kick drum mic or so higher than the highest and an overhead mic. cymbal and lower. The closer the mic is to the kit, the less room reflections it will pick up, which, in home studios without acoustic treatment, is usually preferable. If the room acoustics are pleasing, try moving the mic back from the kit. The further back you move it, the more ambience you’ll pick up.

Pairing Up The other option for miking a kit with two mics is to use two overhead mics in a stereo configuration, recording each mic on a separate track.

Depending on the style of music and with the proper placement, you can get good coverage of the entire kit, including kick, from two overhead mics. There are several tried and true methods for arranging the mics in a stereo miking application, each with its issues and benefits.

Kick and Overhead Let’s start our journey into minimalist drum miking with a 2-mic setup that features one mic as an overhead to capture the overall kit sound, and a second mic as a spot mic on the kick drum. This type of configuration offers good control over the sound and Figure 1: A basic two-mic drumlevel of the kick in the mix, and miking setup, with a kick drum mic a reasonable balance of the and an overhead mic. rest of the kit, assuming you’re careful with how you place the overhead mic. The downside is that it limits you to a mono drum mix.

You could use what’s called a spaced pair configuration, which entails spreading the mics out on either side of the kit until you find a good balance of kit sounds and left-to-right image. But it wouldn’t be a preferred choice, because although it gives you a wide stereo image, it’s prone to phase problems, which can cause cancellation and distortion if the recording is heard in mono. These problems, known as comb filtering, result when the same sound (for example the snare drum) reaches two different mics at slightly different times.

Place the kick drum mic close to the front head of the bass drum, or even inside it. The closer it gets to the back (beater) head, the more

AKG offers “matched pairs” for a number of their microphones, including the C414 XLS.

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To avoid phase problems, engineers over the years have developed several stereo miking configurations (Blumlein, ORTF, M/S, XY) that require a specific placement of the two mics in relation to each other.

It’s generally best to use a matched pair of the same mics for these applications, to ensure that the left and right stereo tracks sound matched.

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Figure 3: AKG offers “matched pairs” for a number of their microphones, including the C414 XLS

To get the most from these techniques, you need to use a pair of the same mics, otherwise the differences in response will throw off the stereo image. If you want to really make sure the mics are as closely matched as possible, you can even buy matched pairs that have been factory tested to make sure that their specs are identical. AKG offers matched pairs of many of its mics including the C214, C313, C414 XLII, C414 XLS, and C451B.

XY is the simplest stereo-miking configuration. It consists of two cardioid mics, one above the other, with their heads aligned at right angles. An XY configuration captures a rather narrow stereo field, but the image is safe when summed to mono. With any stereo configuration, be careful with placement vis-a-vis the kit, so that you’re getting an even amount of level on each channel. Otherwise, one side will sound louder than the other in the mix, and you’ll have to compensate with your volume faders during mixdown to get it into balance.

Probably the best choice for a stereo drum-miking configuration is a

relatively new one called the Recorderman method. It consists of two mics, one placed over the snare (about two drumsticks’ height above the snare head), and one over the shoulder of the drummer. The mic placement must be measured so the two are equidistant from the snare and the kick. Done properly, the Recorderman method yields a pleasing and well-balanced stereo image free of phase problems.

Two is Enough As long as you work carefully, and make sure you’re using the correct mic configurations, it’s definitely possible to get a good sound with two mics. If possible, we encourage you to experiment with the different methods discussed here, to see which one gets the best results.

We would also love to hear your insights on trying out a two-mic configuration!

Do you have your preferred drum kit miking technique? We would love to hear from you! Let us know by dropping us a note at HPro.APAC@ harman.com.

If you would like to visit us at our HARMAN Professional Solutions APAC Experience Centre in Singapore, drop us an email to fix up an appointment.

Visit us at http://pro.harman.com for more information.

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

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To learn more, connect with us on

42

KNOWLEDGE HUB OCT. 2018

ALL ABOUT WIRELESS BROUGHT TO YOU BY

TENTH INSTALMENT

Maximising the Performance of IEM Systems used to notify the receiver that the transmission is a stereo MPX encoded signal, is doubled in the receiver to synthesise the original 38kHz sub-carrier. This is then used to demodulate the double sidebands to obtain the Difference signal. The left audio channel is equal to the electronic sum of the Sum and Difference components.

The right audio channel is equal to the electronic difference of the Sum IEM systems are typically required to transmit stereo audio signals. To and Difference components. In other words, (L+R) + (L-R) achieve this, the RF carrier is encoded to transmit two audio is equal to 2L (left audio channel), and (L+R) - (L-R) is signals via a process referred to as stereo multiplexing equal to 2R (right audio channel).

(MPX). In a stereo IEM system set to operate in Shure have mono, the stereo input is summed to mono at the implemented a The frequency response of a stereo transmitter, then transmitted and demodulated hybrid approach whereby multiplexed transmission is fixed at 30Hz – as a standard FM signal. When the transmitter 15kHZ. IEM transmitters feature internal is set to operate in stereo, Sum (L+R) and PSM receivers feature a filtering to ensure audio signals above Difference (L-R) signals are transmitted along digital audio architecture in 15kHz are attenuated prior to modulation with a 19kHz pilot tone. The 19kHz pilot conjunction with the to ensure they do not modulate the tone serves to inform the receiver that the 19kHz pilot tone. Accidental modulation transmission is encoded in stereo. analogue MPX of the pilot tone can result in distortion and transmission scheme degradation of the stereo image, or in severe The MPX encoding scheme specifies that a 38kHz cases, muting of the IEM receiver. sub-carrier is Amplitude Modulated by the Difference signal. The Difference signal is therefore transmitted The key to ensuring mix integrity in IEM systems is to above the audio frequency range. The 38 kHz sub-carrier is respect the frequency response limitations of the MPX process. suppressed, but both the upper and lower AM sidebands are retained.

Excessive gain applied to high audio frequencies at the mixing These sidebands are then combined with the Sum signal and used to console is further exaggerated by the pre-emphasis EQ applied in the frequency modulate the carrier. transmitter. This can severely degrade the integrity of the pilot tone, regardless of the transmitter’s internal filtering. Inserting notch filters at 16kHz on the console output busses will increase the slope of the transmitter’s internal filter, helping to maintain pilot tone integrity.

Welcome to the tenth instalment of All About Wireless, brought to you by SHURE. In this issue, we will examine the stereo multiplexing process and discuss techniques for maximising the performance of IEM systems.

The pilot tone is not the only characteristic of stereo multiplexing that needs to be considered. The upper harmonics of widely panned audio signals may aggravate the L-R Difference signal sidebands, especially if the audio signal features sharp transients. This too may cause degradation of the stereo image and frequency response may also be compromised. In extreme cases, dynamic interactions between one channel and the other can be detected. For this reason, limiting the stereo width of dynamic high frequency audio sources can make challenging signals easier to encode and faithfully demodulate.

The Stereo Multiplexing Process A mono receiver presented with an MPX encoded stereo transmission will only demodulate the L+R mono signal from 30Hz – 15kHz. All other components above 15 kHz are suppressed by the receiver.

A stereo receiver is able to demodulate the MPX encoded carrier to output discrete left and right channels. The 19kHz pilot tone, initially

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These phenomena are commonly misdiagnosed as hardware faults, RF interference, or dying batteries. In many cases, these anomalies are actually the sound of stereo multiplex transmission breaking down at its fundamental operating principal. If source audio is allowed to modulate the pilot tone, stereo reception and the resultant sound quality will be poor. If transient high frequency signals panned hard left and right are prominent in the mix, stereo imaging and frequency

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response can be compromised.

Many audio engineers have discovered that switching the IEM receiver to mono mode seems to solve these problems. The pilot tone is not required for demodulation in mono, so switching to mono merely hides these problems. Providing artists with a coherent stereo IEM mix by mixing appropriately for MPX is a better solution. That said, the use of the mono operating mode may be useful in congested RF environments where the stability of a stereo multiplexed transmission may be compromised by interference.

Shure PA411 Active Antenna Combiner In terms of RF noise, IEM systems consisting of 3 or more channels require active combining in order to use a single transmit antenna.

Connecting individual antennas directly to each transmitter is not recommended as this can enhance the power level of intermodulation products, increasing the risk of interference. Passive combining of IEM transmitters is also not usually recommended as this can lead to the generation of intermodulation products at disruptive power levels.

Active combiners are recommended as they are designed to combine IEM transmitters while supressing the power level of intermodulation products and keeping the signal noise floor to a minimum.

Another common issue with IEM receivers is that most models feature a single receive antenna. Unfortunately, the lack of a diversity receiver makes the system more susceptible to multipath dropout. Some manufacturers market their IEM receivers as diversity systems, but it’s the earphone cable that is sometimes used as the second antenna.

The diversity performance of such systems is questionable as the earphone cable is not usually tuned appropriately to act as an antenna.

Thankfully, Shure’s flagship PSM1000 system features a belt pack IEM receiver with two tuned antennas for true diversity performance. The

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

RF performance of a true diversity IEM receiver is much more stable, especially in congested RF environments.

Whilst most manufacturers have now migrated towards digital modulation schemes for wireless microphone systems, the majority of IEM systems currently available are still analogue.

In the future, if extremely low latency systems can be realised, we may see manufacturers move towards digital modulation schemes for IEMs as well.

Until then, Shure have implemented a hybrid approach whereby PSM receivers feature a digital audio Shure P10R+ True Diversity architecture in conjunction with the analogue MPX transmission scheme.

IEM Belt Pack Receiver The hybrid approach allows Shure to offer the benefits of high quality digital audio processing with no sacrifice in system latency.

Next month, we will begin examining some key differences between analogue and digital wireless microphone systems. We will compare bandwidth requirements and the impact of noise in each system.

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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Vocal Miking Techniques for Live Sound Providing an optimal listening experience for the audience at a music performance, or even a lecture, depends upon the engineer’s technical knowledge. Too often microphones are chosen and placed based on past experiences and industry tradition: the microphone is selected and placed in a specific position in front of a singer or speaker just because this is the way everyone else is doing it.

Many of the best performers have made a point of trying different microphones and listening to the sound from their performing location, or listening to a good recording of the performance later. This has led some performers to prefer specific mics: Frank Sinatra, the Shure Model 55 or Altec 639B; James Taylor, the Earthworks SR40V; Garth Brooks, the Countryman E6; Joni Mitchell, the AKG C451 (especially for recording); Rihanna, the Sennheiser MD 5235 or SK 5200; Charlie Daniels, the Heil PR35. We’ll look at reasons that might lead a performer to choose one mic over another.

The engineer’s job is a bit easier if the talent comes in with his/her own mic. But in most cases, it is the engineer’s job to select the lead and back-up vocal mics. Doing this well requires a deep knowledge of mic characteristics, the process of vocalization in the human body, and the ways in which the mic and the vocal production interact.

Many live-sound engineers originally moved into the field from a background in amateur recording, and therefore think that a mic’s job is to pick up the sound of the source accurately. In fact, for live sound, this may not be possible or even desirable. If the performer has commercial recordings available, making the performance sound like the recording is likely the goal. Since the performing environment is very different from the recording environment, the demands made of the mic are also very different.

Proximity Effect Live sound usually requires the use of a directional mic in order to avoid feedback squeal from the main and/or monitor speakers. All directional mics are subject to proximity effect, which is a bass boost when the mic is close to the source. Figure 1 shows the frequency response of the Electro-Voice PL80 handheld mic, at two different working distances.

The dashed line indicates that there will be about a 12-dB low-frequency boost decreasing directly with frequency, for a 1-cm Figure 1: Proximity Effect of working distance. The bass Cardioid Mic boost will be even more pronounced if the mic is used in “tonsil position”: with the windscreen touching the lips. In this position, the presence of the mic interferes

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By Richard Honeycutt

with natural vocal sound, since it acts more-or-less as a plug in the mouth opening. At working distances of about 2 feet or more (the manufacturer says 6 inches), the PL-80’s response is flat.

Proximity effect can be helpful for bass singers by boosting low notes that may otherwise be weak. For other singers, proximity effect also makes the mic act as a sort-of noise cancelling mic, which is less sensitive to distant sounds below—in this case—1 kHz, providing somewhat greater gain before feedback. Only if the mixer has EQ capable of returning the “close” frequency response to a normal shape can proximity effect be used in this way without creating excessive bassiness. If the proximity effect occurring at the working distance the vocalist is using cannot be accurately compensated by EQ on the mixer, the result may make the vocalist sound as if (s)he has a cold!

Different directional mics have different frequency responses when used under conditions that emphasize proximity effect. Many vocal mics have a built-in bass cut to reduce proximity effect, but the resulting “close” response, though flatter than the one shown in Figure 1, still varies widely from mic to mic. Much of the control of the mic sound in the low vocal range depends upon the singer’s mic technique, since the working distance is not under the engineer’s control. The detrimental effect of uncompensated proximity effect is more serious for male singers than for females, since typically more of the male’s vocal range is in the frequencies boosted by proximity effect.

Presence Peaks and Absence Dips Many mic users do not like a flat frequency response, but prefer a highfrequency boost. This boost is called a presence peak, leading one to question whether singers having shrill voices might need an “absence dip”! The response shown in Figure 2 has a presence peak maxing out about 15 kHz. This response can assist some singers and speakers, but can also cause serious feedback squeal. As with proximity effect, the shape of presence peaks varies widely from mic to mic. Frank Sinatra’s favorite mic had an 8-dB presence peak at 6.5 kHz, creating quite a challenge in terms of feedback control.

Especially for wireless mics, maximum SPL is an important characteristic of the mic. It is not unusual for a mic in “tonsil position” to be exposed to as much as 150 dBSPL. Even some respected wireless Figure 2: Frequency Response of transmitters cannot Mic with Built-in Proximity Effect handle such levels Compensation and a Presence Peak without clipping.

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KNOWLEDGE HUB OCT. 2018

Handling noise should be minimal in a vocal mic for handheld use.

Figure 3 shows the internal shock mounting (notice arrows) of an AKG D1000E dynamic mic. Although the soft rubber parts in this particular mic show the effects of age, in a new mic, they do an effective job of reducing handling noise. In general, lower-priced mics—especially directional dynamic mics—have less effective internal shock mounting.

Windscreens or pop filters are essential to avoid “p-popping” in handheld vocal mics. These are usually built into pro-grade Figure 3: Internal shock mounting in mics, but can also be added a quality dynamic mic as external accessories.

The breath blast exits the mouth forward and at about a 10°-15° angle below the horizontal, so p popping can be minimized by careful mic positioning. One advantage of an earset mic is that these mics are not in line with the breath blast.

As illustrated in Figure 4, a mic’s directionality varies with frequency.

This means that the mic’s frequency response changes as the source is moved off-axis.

Figure 4: Variation of polar pattern with frequency for one particular dynamic mic

For this particular supercardioid mic, most of the variation occurs in the rear lobe or above 8 kHz, making it of little concern for handheld vocal use. For some mics, the variations are problematic. Figure 5 shows the polar plots for the Earthworks SR40V hypercardioid mic. Note that these polars are essentially constant up to 16 kHz. The Voice As A Sound Source

Figure 5: Polars for earthworks SR40V

We’ve all heard people with singing or speaking voices that could be described as “smooth as honey”, “rich”, “full”; or conversely, strident or shrill. These vocal characteristics are complemented or exacerbated by the frequency response of the mic, both on- and off-axis.

Figure 6 shows an FFT of the speech waveform produced by a lady whose voice has been described as “shrill”. Since the sample was about 5 minutes long and thus it incorporated most of the frequencies she normally produces when speaking, we can conclude that her voice naturally has pronounced peaks at about 300, 600, and 2,000 Hz. The

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

2,000-Hz peak (actually, double peak) is the one responsible for the shrillness.

Figure 6: Frequencies Produced by Shrill-Voiced Talker Figure 4 shows the same lady’s voice, using the mic with a pronounced deviation from flatness. The result is a slight reduction in the lowerfrequency peak, a 2-dB increase in the middle peak, and almost complete eradication of the 2-kHz peak. Surprisingly, the mic’s non-flat response de-emphasizes the shrillness in her voice. Different mics, having different non-flat frequency responses, could just as well have exacerbated the problem.

Figure 7: Shrill-voiced person speaking through Peaky Microphone Vocal sources can be complex, especially in the near field. The sound radiated from the nose can act like a point source. The chest sound can act like a plane source. This is why the perceived sound, the timbre, may change a lot when moving the microphone in the near field of a vocalist.

The level from the point source drops 6 dB per doubling of the distance.

The levels from line sources drop 3 dB and plane sources do not drop at all! At a distance (a few meters away) the singer eventually becomes a point source, but close-up, the mic may see different behavior.

Figure 8: Tenor voice miked at chest

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KNOWLEDGE HUB OCT. 2018

Traditionally, voice teachers and coaches have divided the vocal range into “chest”, “throat”, and “head” registers, according to the part of the body from which certain ranges of pitch seem to radiate. Today, we’re more likely to hear the terms “chest”, “head” and “mix”. Whatever terminology one uses, the resonance of the chest, throat, and head cavities affect the timbre of the voice. The proximity of the mic to the origin of sound radiation will affect the way the vocalist sounds in performance.

Not only do these results clearly illustrate that there are differences in the sound we get depending upon where the mic is positioned, but they also indicate that a very directional mic, or an earset mic, that did not pick up chest tones would produce a different sound for the same vocalist. When we combine these effects with the proximity and presence peak effects, we can easily understand why no single mic sounds equally good on all vocalists.

In recording studios, the vocal mic does not have to be so close to the singer, and it can be positioned so that it picks up chest, throat, and heads tones more-or-less in balance, as indicated by Figure 11. Of course, this creates a much more natural vocal sound, free from the “squeezed” quality that can result from using a handheld mic in the tonsil position. But in live sound, we have to do the best we can within the limits imposed by the need for high gain before feedback.

Figure 9: Tenor voice miked at throat Figures 8, 9, and 10 show the FFT of a recording of a tenor singer, with the mic positioned 1 cm from the chest, throat, and mouth, respectively. The same line of music was sung for the chest and throat positions, but the musical line for the mouth position was about a 5th (roughly 50%) higher in pitch, so that the singer could produce head tones.

Figure 11: Tenor voice with a “balanced” mic position

Figure 10: Tenor Voice Miked at Mouth Notice that the sound in the chest position drops significantly above 800 Hz, while the throat contains stronger components up to about a kHz. Also, the throat position is purer, having lower amplitudes of the non-harmonically-related pitches (less jaggedness in the FFT plot).

Perhaps surprisingly, the sound levels measured at the throat position are more uniform at low frequencies than the levels measured at the chest position.

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Although we’ve been concentrating on the acoustical effects of vocal mic choice, it is true that the psychological aspects of performing may also be crucial to a performer’s mic choice. These aspects may include the mic’s “feel”, weight, and appearance, all of which can affect the performer’s state of mind during the performance; and as Yoga Berra said about baseball, so it is with musical performance: “two-thirds of it is 90% mental”! Figure 12 shows a Heil P35 vocal mic made especially for Charlie Daniels, incorporating visual themes important to him as well as superb acoustical performance.

Figure 12: Charlie Daniels’ custom Heil PR35 vocal mic

A sound engineer who is well-versed in the idiosyncracies of a wide range of microphones, and has at his disposal a good variety of models, can greatly enhance a vocalist’s performance.

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 worldâ&#x20AC;&#x2122;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.

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TECH TALK OCT. 2018

What Is SDI?

Serial Digital Interface (SDI) is a professional digital video interface standard that has been used since the early 90s. From its relatively humble beginnings to 8K support, here’s what you need to know about SDI and its benefits compared to other interface standards!

• • • • • •

What is SDI? Understanding bitrates What kind of SDI standards are there?

Who manufactures 6G and 12G interfaces?

What makes SDI special, compared to other standards?

What’s the future of SDI?

transferred from one source to another - it measures how much data is transmitted in a given amount of time. Bitrates are most often measured in bits per second (bps), kilobits per second (Kbps), megabits per second (Mbps) or gigabits per second (Gbps). The bitrates in the SDI standards are listed as the maximum bitrate the standard supports and are closely correlated to the video resolutions.

WHAT IS SDI?

WHAT KIND OF SDI STANDARDS ARE THERE?

The SDI (Serial Digital Interface) is a family of digital video interfaces (SDI, HD-SDI, 3G-SDI, 6G-SDI and 12G-SDI), that was first standardized in 1989 by SMPTE (The Society of Motion Picture and Television Engineers). The standard has been widely adopted by the broadcast industry, and is used for transmission of uncompressed, unencrypted digital video signals in TV studios and facilities. The SDI standard, however, is not limited to uncompressed content.

With the latest introduction of the standard, the Serial Digital Interface family consists of eight standards, ranging from the initial SD-SDI to the latest 12G-SDI standard. Here they are, with the corresponding standard name in brackets.

SDI and HD-SDI have traditionally only been available in professional video equipment, owing to licensing agreements that restricted use in semi-professional AV equipment, as well as consumer equipment.

As the world evolves, so has the SDI standard. Additional versions of the SDI standard have been developed to support continuously increased resolutions (HD, UHD, 4K, 8K), higher bitrates and more colors. The latest additions to the SDI family of interfaces made their debut in March 2015, where 6G-SDI and 12G-SDI standards were published.

• • • • • • •

SD-SDI (SMPTE 259M) ED-SDI (SMPTE 344M) HD-SDI (SMPTE 292M) Dual Link HD-SDI (SMPTE 372M) 3G-SDI (SMPTE 424M, 424M:2012) 6G-SDI (SMPTE ST-2081) 12G-SDI (SMPTE ST-2082)

SD-SDI (SMPTE 259M)

UNDERSTANDING BITRATES

The SD-SDI is the first version of the standard and was introduced in 1989. It supports resolutions up to 576i (NTSC and PAL compatible resolutions at 25 frames per second) and four different bitrates: 270 Mbit/s, 360 Mbit/s, 143 Mbit/s, and 177 Mbit/s.

Before digging into the details of the various SDI standards, let’s take a look at one of the most important parameters of the standard: the bitrate (bandwidth). The bitrate describes the rate of bits being

The 270 Mbit/s is by far the most widely used as it is the PAL/NTSC standard. The widescreen version of the standard was introduced later supporting bandwidths up to 360 Mbit/s.

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TECH TALK OCT. 2018

ED-SDI (Enhanced Definition, SMPTE 344M) The Enhanced Definition version of the SDI standard was developed to support progressive resolutions (576p) and not only interlaced variations of the NTSC/PAL standard. It allows bitrates up to 540 Mbit/s and a dual 270 Mbit/s implementation.

•

and the world of TV. The resolution is exactly corresponding to 4 x HD (1920x1080). The UHD format is also a SMPTE standard (2036-1).

4096 x 2160 (DCI, Digital Cinema Initiative) is the 4K resolution adopted by digital cinema. Where UHD matches 4 x HD signals, the 4K DCI is 4 x 2K (2048x1080). The 4K DCI format is also standardized by SMPTE (2048-1).

HD-SDI (SMPTE 292M) 12G-SDI (SMPTE ST-2082) HD-SDI arrived in 1998 following the introduction of HD resolution (720p and 1080i). It supports bitrates up to 1,5 Gbit/s (1.485 Gbit/s and 1.485/1.001 Gbit/s). The latter, with a factor of 1/1.001 was created, allowing the HD-SDI standard to support video formats with frame rates of 59.94 Hz, 29.97 Hz, and 23.98 Hz. This was to maintain support of a wide number of existing NTSC systems.

Dual Link HD-SDI (SMPTE 372M)

“SDI and HD-SDI have traditionally only been available in professional video equipment, owing to licensing agreements that restricted use in semi-professional AV equipment, as well as consumer equipment”

As with the ED-SDI, the HD-SDI standard required a more up-to-date version as the market adopted HD on a broad front and required support for higher bitrates. The Dual Link version of HD-SDI supports bitrates 3 Gbit/s (2.970 Gbit/s, and 2.970/1.001 Gbit/s more precisely) and up to 1080p (progressive) resolution at frame rates of 60 Hz, 59.94 Hz, and 50 Hz. 3G-SDI (SMPTE 424M, 424:2012) The 3G-SDI is a 3 Gbit/s interface (more accurately, 2.970 Gbit/s, and 2.970/1.001 Gbit/s) that was standardized in 2006. It was revised in 2012 (SMPTE ST 424M:2012) to support all the same features as the Dual Link HD-SDI 1.485 Gbit/s interface, but in this version the implementation requires one cable, compared to two in the previous standard.

6G-SDI (SMPTE ST-2081) The 6G-SDI is a 6Gbit/s interface (5.940 Gb/s or 5.940/1.001 Gb/s) and it supports 4K 30 frames on a single link, and was announced as a standard in 2015, the SMPTE ST-2081.

With the continuous growth and widespread use of 4K, this was a natural development of the SDI family. It was previously possible to use 4 x HD-SDI signals to transmit 4K at 30 frames or 4 x 3G-SDI signals to transmit 4K up to 60 frames per second, but with 6G-SDI this is done by a single or dual link.

Note that there two 4K standards, UHD and DCI – both defined by SMPTE. Let’s take a brief look at the difference between the two 4K standards: • 3840 x 2160 (UHD, UHD-TV) is the 4K resolution used in broadcast ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The first version of the 12G-SDI standard was introduced simultaneously with the 6G-SDI interface in 2015. It was revised in 2018 (ST 2082-10:2018) and covers Standard Dynamic Range (SDR) and High Dynamic Range (HDR) Source image formats into single or multiplex 12G-SDI 10-bit interfaces. Owing to the higher bitrates allowed in the standard, 12G-SDI supports 4K 60 from a single link and 8K 30 from a dual.

WHO MANUFACTURES 6G AND 12G INTERFACES? Several manufacturers have announced support of 12G SDI interfaces.

One of these is Bluefish444 which has announced its KRONOS range of video, audio, and data processing I/O cards, supporting multi-channel 4K 60p, High Dynamic Range and High Frame Rate SDI. Blackmagic Design has the same in its Decklink series of capture cards. Deltacast has also announced its first 12G SDI card DELTA-12G-elp-h 1c which supports 1 x 12G SDI or 4 x 3G SDI channels – flexible as inputs or outputs. There are, of course, a lot of other manufacturers who also build 12G SDI solutions in addition to those mentioned above.

WHAT MAKES SDI SPECIAL, COMPARED TO OTHER STANDARDS? One of the most important criteria for video standards is image quality.

If we look at standards such as DVI, HDMI and DisplayPort, there is virtually no difference in image quality among them – or the SDI standards. However, the SDI standards have a few benefits up their sleeves, compared to the others.

• • • • • •

Cable lengths Optical fiber Physical connector Fully uncompressed audio and video SDI has no HDCP SDI has time-code embedded

Cable lengths Being able to distribute a video and audio signal over longer distances is one of the most prominent benefits of SDI. The different serial digital

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TECH TALK OCT. 2018

audio support in the 3G SDI interface to 32 audio channels (16 pairs) interface standards all use one or more coaxial cables with BNC on a single link. connectors. Depending on cable quality (of course) you should be able to run a HD/3G-SDI signal over SDI has no HDCP 100 meters (300 feet). This is unrivalled by any “With the 24G-SDI of the other standards such as HDMI, DVI or DisplayPort. standard in development – HDCP (High-bandwidth Digital Content Protection), is a security protocol to prevent With optical fiber as the choice of which will support 8K, copying of digital audio and video content as transmission cable, you can send a high 120p resolution – there is it travels across connections. It was developed end 4K or 8K signal over impressively long

by Intel Corporation, and connections such as no doubt that the SDI distances.

DisplayPort, DVI and HDMI use it. The protection standard will be requires a handshake between the source device Optical fiber support around for a and the output device, which results in frequent long time.” problems (no signal, signal drops, etc) even in Manufacturers are gearing up for the next professional installations. generation 12G-SDI with several products already HD-SDI has no HDCP. As HDCP is also quite slow, SDI signal on the market – pushing the boundaries for what is will respond faster while switching between sources. expected for transmission speeds and distances. As an example, Blackmagic Design has introduced a converter named Teranex Mini, Time-code which has a built-in optical fiber connector. By using fiber, they claim you can push 12G-SDI UHD at 2160p60 up to 10,000 m (32,808 feet).

Last but not least as regards benefits, the SDI standard carries both the video signal and time code in one cable. Other interfaces, such as HDMI Physical connector or DVI, have no time code support, while DisplayPort does.

The different SDI standards use BNC connectors with coaxial cables.

WHAT IS THE FUTURE OF SDI? What are the benefits of a BNC connector, compared to its rivals?

One of the chief advantages is that the BNC connector is a closeWith the 24G-SDI standard in development – which will support 8K, fitting connection which is physically locked when attached. The male 120p resolution – there is no doubt that the SDI standard will be connector has a pin, fitting into the main wire, which is further secured around for a long time. Having seen the first 8K projector (by Digital in place with an external ring that locks in position.

Projection) and how they ran 16 3G/HD-SDI cables into it for a single 8K feed – it’s obvious that we need to step up the race for higher On my TV set, two of four HDMI connectors broke after just a few years. resolutions. And SMPTE seems to have done just that by being close to They were mounted on the side of the TV, and the pressure of the cable publishing the 24G-SDI standard! pushing down (gravity, you know!) caused two of the connectors to break – almost simultaneously.

References and more reading: www.techopedia.com Obviously, I should have fixed the cables to the back of the TV better, www.jigsaw24.com but… The HDMI cable has no physical lock. Both DVI (two screws) and wolfcrow.com DisplayPort connectors have a fixing mechanism, but BNC is by far www.extron.com superior. The DisplayPort is a great second, as the DVI connector pins get bent in many installations.

David Aleksandersen is Commercial Support Manager at Dataton, the Uncompressed video and audio Swedish show control manufacturer and maker of the WATCHOUT Being able to transmit uncompressed video is not a game-changer as multi-display system. Before joining you can do that on the other video standards as well. But the SDI family Dataton, David held positions as also has the added advantage of offering embedded audio.

CEO of Nordic Media Lab/Smart Simulation, Product Marketing Embedded audio Manager at Barco and Academy David Aleksandersen, Commercial Support Manager at projectiondesign. He Not all display standards support embedded audio. While HDMI and Manager, Dataton has been responsible for worldwide DisplayPort do, DVI does not. The HD and SD interfaces support 16 development and execution of marketing, sales and initiatives in channels of embedded audio, and with the newer implementations of knowledge transfer and partner training. the standard such as the 3G SDI, the SMPTE ST 299-2:2010 extends the ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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LIVE OCT. 2018

JAPAN

Ayrton Fixtures Make Dreams Come True at Live Roxy in Japan The latest additions to the live music club have boosted its success and popularity

1,800 lumens and a luminous intensity of 180,000 candela for an overall consumption of only 130W. CosmoPix-R, another of Ayrton’s steady sellers, is a unique lighting fixture based on the concept of the famous double-rotation spheres with PAR36 lamps, dating back to the early ‘80s. Fitted with 12 separately-controlled 60W LED light emitters in a 12-face arrangement and having continuous double rotation on the pan and tilt axes, CosmoPix-R has a light output of 18,000 lumens.

Japanese live music club, Live Roxy Shizuoka, is proud to have added a permanent installation of Ayrton Ghibli, MagicDot-R and CosmPix-R fixtures to enhance the experience of the bands that play there and the audience who come to dance the night away in one of Shizuoka’s latest music venues.

Live Roxy Shizuoka, which has a standing capacity of 882 people, opened with a grand celebration in February 2018 after Live Roxy’s owner, Mr. Mitsuhiro Matsuura, invested in two Ghibli fixtures, five MagicDot-R, and a central CosmoPix-R for the stage lighting.

“Since I was a teenager it has been one of my long-term dreams to open live music clubs,” says Mr. Matsuura, once a band member himself. “When I first discovered Ghibli, Magicdot-R and Cosmopix-R, I felt that they would make my 20year-long dream perfect because not only the artists, but also the Live Roxy audiences, would experience excitement from the effect of those fixtures. I had heard of Ayrton’s good reputation, and I found it to be true. Once I saw the fixtures for myself, there was no hesitation at all in my decision to purchase them for Live Roxy.”

Ghibli is Ayrton’s first LED spot lighting fixture, and has a light output of 23,000 lumens which makes it a very powerful tool to illuminate artists on stage. The optics produce an extremely uniform fat beam with no hot spot, and its gobos and colours exactly meet the needs of live entertainment.

MagicDot-R, one of Ayrton’s most popular products, weighs only 5.3kg and is a highly compact, light, ultra-fast and powerful fixture, which occupies very little space in an installation whilst still delivering a high quality performance. MagicDot-R offers an overall luminous flux of

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Hibino Lighting Inc., Ayrton’s exclusive distributor in Japan, was responsible for arranging the demo of the Ayrton fixtures for Live Roxy, and supplied and installed them, along with a full lighting and rigging package and lighting console, before its grand opening in February.

“Permanent installation of Ayrton’s fixtures is one of our growing business sectors,” says Mr. Yukitoshi Watanabe of Hibino Lighting Inc. “We listen to what our customers want, and recommend the proper lighting fixtures to meet the conditions of each venue. Ayrton’s lighting fixtures have great reputation in Japan for beautiful light and colours, and for their robustness, all of which meant we had no difficulty in getting Live Roxy’s investment.”

Mr. Matsuura commented, “I have a big plan to expand our live music club business. Live Roxy Shizuoka is a baby step for the plan.

My first encounter with Ayrton’s fixtures has made me realize that Ayrton’s reputation is real, and this experience has led me to consider purchasing more Ayrton fixtures in the future.”

www.ayrton.eu

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LIVE OCT. 2018

CHINA

BlackTrax Helps Wow Chinese TV Audience Blacktrax helped the team put on a perfomance that was truly out of this world

Tencent, the Chinese internet company that owns the WeChat, Weixin and QQ social media platforms, wanted to put on a broadcast spectacular. The music event – which was to be shown on the Guangzhou Broadcasting Network - would combine a broad range of visual images, avant-garde dance, graffiti art, new media technologies, e-sports culture, fashion, rock and roll, hip-hop, ballads, twodimensional elements, and antique music.

With such a complex show, which was designed to be a compelling visual feast and which would require absolutely perfect synchronization between performers, stage elements and effects, a producer’s thoughts quickly turn to the capabilities of BlackTrax real time tracking technology.

Redline used a disguise gx2 media server in combination with Panasonic PT-SRZ31KC projectors and a BlackTrax system. The tracking setup included 13 infrared tracking cameras and 11 infrared LED tracking points positioned around the sphere to track it during the performance.

“Redline’s creative design proposal for the show was a moving planet, which was achieved by integrating the BlackTrax tracking system and disguise system on the moving planet in the centre of the stage,” recalls Jack Sun, founder and managing director of Redline.

“As the planet moved, images changed in response to the movement in real time – which amazed the audience. Its flexibility, mobility and openness made BlackTrax a perfect choice for this project.”

That was certainly the case for Redline Technology.

The overall design concept for “Zhao 2018 Chaoyin Release Night” saw a falling planet as the centerpiece of the production, with its motion initiating a range of startling lighting effects that powerfully amplify the story with its themes of love, loneliness and impetuous youth.

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BlackTrax demonstrated once again that, for anyone looking to create an immersive, engaging, thrilling visual spectacle, it is truly indispensable.

blacktrax.cast-soft.com

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LIVE OCT. 2018

CHINA

Beijing International Automotive Exhibition Shines a Light on Luxury with HARMAN Professional Solutions

Showtec International selects Martin MAC Encore Wash and MAC Viper Wash DX to deliver vibrant and impactful lighting for high-profile auto show other set elements with great precision. MAC Viper Wash DX features an outstanding quality of light and unlimited color choices, while its internal framing system allowed the Showtec team to use it as a highly capable automated substitute for conventional daylight Fresnel fixture.

To deliver rich color and premium white light for the auto show, the team also used MAC Encore Wash, a full-featured LED alternative to the Viper Wash DX. MAC Encore Wash comes in two high-quality color temperature variants. Encore Wash WRM offers unparalleled 3000 K warm incandescent emulation, while Encore Wash CLD produces unmatched 6000 K crisp, neutral daylight. Both variants can be utilized as substitues for traditional tungsten fixtures with the additional benefit of color mixing and automation.

“Beijing International Automotive Exhibition is one of the biggest Showtec International recently partnered with HARMAN Professional Solutions to create a stunning visual experience at the Beijing International Automotive Exhibition.

Based in Singapore and operating internationally in China, Malaysia and Kuala Lumpur, Showtec is a leading provider of professional audio, lighting, video and rigging services for concerts and other large productions. Showtec was recently hired to provide lighting for the Beijing International Automotive Exhibition, a biennial auto show in which top manufacturers such as Lexus, BMW and Mercedes-Benz showcase their latest luxury models to the largest and fastest growing auto market in the world. In order to ensure an elegant atmosphere with immersive lighting, Showtec relied on an array of cutting-edge Martin by HARMAN lighting fixtures.

“High-end events like the Beijing Auto Show require state-of-the-art lighting solutions to highlight the importance of the new innovations being exhibited,” said Henry Ang, Managing Director, Showtec International, Singapore. “With this goal in mind, the Martin fixtures were a perfect fit, helping to transform the venue into a supercharged visual environment in which attendees would never forget where they got their first look at the new Porsche!”

Showtec utilized the new MAC Viper Wash DX, a full-range wash luminaire equipped with an innovative internal shutter system that enabled the team to map the light projection onto the car models and

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auto shows in the world, and we’re honored to be represented there

by Showtec International,” said Ramesh Jayaraman, VP & GM, APAC, HARMAN Professional Solutions. “The Martin lighting fixtures enhanced attendees’ visual experience, and helped create a lasting positive impression of the event in their minds. We’re glad to meet the unique demands of this world class event, and we thank Showtec for their commitment to customer satisfaction and faith in HARMAN products.”

www.showtecgroup.com

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LIVE OCT. 2018

CHINA

VUE Makes Waves at East Sea Festival

al-12 line array system anchors all-VUE system at beach-front music festival on Zhoushan Island, China

In keeping with its mission to establish VUE as the go-to live sound brand in China, the recently expanded VUE China team provided full audio services for the East Sea Festival from August 31- September 2, 2018. Set on the beach in the fishing port town of Zhujiajian on the southern tip of Zhoushan Island, the 3-day festival featured an array of international and local acts including American Kim Taylor and Shanghai’s Nova Heart. Shanghai-based VUE China provided specified an all-VUE system for the event’s main stage, featuring the al-12 largeformat line array system.

According to VUE China’s president, Mr. Gu, the festival was the latest opportunity to demonstrate VUE’s world-renowned performance to an ever-larger audience of performers, engineers, and concert-goers alike. “We were honored to provide audio services to the eighth-annual East Sea Festival and to deliver a world-class acoustic experience to all involved. There’s no question why the al-class is one of the most in-demand line array systems on the market today – it’s incredibly easy to transport and configure, and sets an entirely new standard for audio quality.”

The mainstage lineup included performances across a wide range of genres. From light punk and thrash metal to pop and folk, further demonstrating the versatility and headroom of the VUE system. The headline act on the first night was American folk/pop artist, Kim Taylor; the second day started with DJ/rap then Mongolian Metal band Voodoo Kung Fu, followed by Chinese pop/metal headliner Nova Heart; the third day consisted of a mix of local DJ/rap artists.

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The main-stage system included 32x al-12s hung 16x per side, 20x hs221 subwoofers ground-stacked in a line along the front of the stage and splayed electronically for wider dispersion; 8x al-8s as front fills stacked four high and spread in two stacks across the front of the stage on top of the hs-221s; and a stack of hs-25s and al-8s on each side of the stage provide front fill.

www.vueaudio.com

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LIVE OCT. 2018

AUSTRALIA

John Matkovic Sets Stage for Ian Moss with CHAUVET Professional The lighting company adopted a “less is more” approach to lighting the artist’s performance

“Music is the space between the notes,” wrote Claude Debussy. The great French composer would most likely have been very pleased with John Matkovic’s lighting design for a recent concert by Australian rock legend Ian Moss at the Griffith Regional Theatre. Adopting a “less is more” approach to lighting the singer/guitarist’s acoustic show, Matkovic relied on subtle color washes to support the artist on stage.

This is not to suggest that his show was bereft of texture and color. Far from it; utilizing a collection of CHAUVET Professional Rogue fixtures supplied by Showtools International, Matkovic employed a combination of background beams, washes, gobos and out of focus prisms along with some haze to reflect the moods of the music in a subtle, but powerful fashion.

Matkovic deployed eight Rogue R1 Spot fixtures, four evenly spaced on his most upstage bar and four on his most downstage bar. The four upstage fixtures were tilted at a 45-degree angle to emphasize their beams and gobos when backlighting the artist. The four downstage units were called upon to wash the stage backdrop. Additionally, he had Rogue R2 Wash fixtures flown in midstage and upstage positions for down lighting and back lighting.

“There was a large backdrop with Ian’s name and the title of his current album release,” said Matkovic. “I didn’t want to wash in open white since it was so large on stage, and it had to complement what I was

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doing lighting Ian. I had four of my R1 Spots to cover the backdrop with single and dual colored prisms and blew it out of focus to the larger side. This allowed me to cover the backdrop without any hard edges and it gave me great color saturation. The color intensity was actually too bright for this type of show, so I ran the R1 Spots at about 30-percent. The split colors also created a subtle sense of depth and contrast, which made the backdrop more evocative and interesting.”

Given that the Ian Moss concert was largely a solo show, Matkovic had to focus his lighting tightly to create a sense of intimacy on the spacious and relatively empty stage. “I was able to keep the area tight by using the R2 Washes’ zoom to a minimum,” he said.

The rich colors of the zoomed in washes conveyed varying emotions to suit different songs. “I complimented some of Ian’s songs with color, like using reds and ambers for ‘Flame Trees,’ blues, greens and ambers for ‘Bow River,’ and purples and open white for ‘Saturday Night as examples,’” said Matkovic. “I also reflected the music by the rate of color changing and through gobos. You don’t need to light the whole stage to engage the audience in this type of show. In the end if you reflect the music and create a supportive and interesting backdrop, your lighting was a success.”

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LIVE OCT. 2018

SINGAPORE

Dual ChamSys Consoles at the G12 Asia Conference Nick Ho and Justin Poh put faith in console in creating a vibrant atmosphere for the conference

Ina The consoles were integral to the experience provided by Faith Community Baptist Church From a humble beginning in 1986, Faith Community Baptist Church has grown into one of the largest and most dynamic houses of worship in Asia. The vibrant spirit of this church was very much in evidence this August, when it hosted the G12 Asia Conference. Held at the Singapore Expo Convention & Exhibition Centre, the three-day event draws worshippers and church leaders from throughout Asia.

Noted designer Nick Ho has been responsible for lighting G12 Asia since 2015. This year, he and his long-time collaborator Justin Poh took the event’s lighting to a new level of intensity and engagement with a 22-universe, multi-faceted lightshow that used over 500 fixtures. They ran the show on two ChamSys consoles: a MagicQ MQ500 Stadium and a MagicQ MQ100 Pro. “Each year, I am excited to come up with different looks based on the stage design,” said Ho. “The G12 Asia Conference has a variety of things happening during the conference: there’s the walk-in moment, the worship performance, the sermon and preaching, the altar call, and the musical segments. We also have to engage the audience with lighting.

Plus, everything has to look good on camera, so there are a lot of moving parts to consider.”

linked. “A very important function for us in this application was the Net Session Mode,” he said. “We used a master-slave sync and backup.

Justin and I were busking much of the time. Most of the Worship part of the event involved busking for us. Some of the songs were programmed into our cue stacks, but we added busking for the effects from the faders and buttons.”

Another essential feature for Ho was the group of extra flashes above the faders of his MagicQ MQ500 Stadium. “There were 15 extra flashes buttons where I could put in many cue chasers and bump cues into it,” he noted. “I also liked the 4x3 execute flashes. I preset many look positions, colors and strobe effects on them. Plus, I really liked that the MQ500 has so many playback faders.”

Also coming in for praise from Ho were the MagicQ MQ500 Stadium’s Cue Stack features. “The ability to change from ‘Cue Timing’ to ‘Chase Timing’ with just a touch on the screen was very nice,” he said. “I also liked that there was a ‘Wait’ column where I could set timing to allow cue to follow on to the next cue.”

Ho started designing his lighting plot in Auto CAD. “Most lighting vendor and stage builders use CAD for paperwork, so we liked starting this way,” he said. Then, using the MQ500’s inbuilt visualization software, Ho and Poh quickly preprogrammed positions using the simple plot view, color and beam palettes, and cue stacks.

Ho’s dual ChamSys console arrangement helped him keep all of these moving parts working together smoothly. “The MQ100 we used is my own personal console,” he said. “It’s something I have had and loved since 2005. My lighting partner Justin Poh used that desk to control the 138 fixtures that lighted the audience. I used the ChamSys MagicQ MQ500 (supplied by E&E in Singapore) to control the overhead rig and the floor fixtures on the main stage.”

What Ho and his team programmed were stunningly attractive visuals that seemed to flow effortlessly with this event through each of its many activities, immersing worshippers every step of the way. For Ho, this was the most rewarding part of his G12 Asia experience. “The G12 organizing committee told us the lighting supported the event,” he said.

“As a designer, that is the best thing you can hear.”

To coordinate his busking with Poh’s work, Ho had the two consoles

www.chamsysusa.com

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57

HIGHLIGHT OCT. 2018

Helping You to Build Your Inventory UK, with offices in Milan, Moscow, Montreal and most recently in Singapore. They supply all, types of entertainment technology; audio, lighting, video, staging and rigging.

The company comprises of international industry veterans supported by a young team in their UK headquarters and warehouse. Garry Nelsson and Keith Dale are renowned figures in UK, whereas Michelle Morin hails from Canada, Monica Savio from Italy and Irina Gromova from Russia all having served in respectable positions in their respective companies. Collectively, their experience in the entertainment industry exceeds 100 years covering all disciplines from lighting to sound.

“10K Used Gear Limited are well connected to offer a variety of used or ex-demo products from the world’s leading manufacturers and suppliers. Our reputation for providing excellent service has enabled us to build a large and reliable network of suppliers and customers, including in Asia,” said Garry Nelsson.

Garry Nelsson Many of the rental & staging companies had small beginnings. Owners got into it maybe by being in a band or running a small mobile disco for house parties. It generally stamps from an interest and leads to something bigger. Purchasing used equipment to get kick started is normal. The existence of used gear transactional companies are part of the bigger eco-system. Young companies salivating over an equipment but not in a position to buy it are now offered an opportunity to do so.

Established companies as they move on to the latest gear can also look into releasing their old gear and getting some money back certainly does not hurt. Logically used gear transactional companies help you build your inventory whether you are a newbie or an old bird.

One such company is 10K Used Gear Limited that was founded in 2005.

10K Used Gear Limited buys and sell used entertainment technology around the world. 10K Used Gear Limited is headquartered in the

Garry adds, “There is demand for used gear and it makes sense for companies to release their inventory when new equipment arrive. It is a win win situation. We are the conduit for the sales and purchase.

However we ensure all parties’ interests are taken care as we provide an escrow type of service. All parties must be satisfied before we release the money.”

Buyers will be pleased to note that all products sold are covered by a 72 hour warranty. Some items are covered by various extended warranties.

Listing and purchasing of products is as easy as ABC. There is no cost to list products. However should a product be sold there is a small commission payable to 10K Used Gear Limited. Buyers only pay the agreed purchase cost. Freighting costs are separate and generally borne by the buyer. 10K Used Gear is also able to arrange freighting anywhere in the world (well almost) at competitive rates.

Listings in the 10K website range from a few hundred Euros to over hundred thousand Euro. It all depends on what you are looking for.

Beyond the traditional rental & staging companies, entertainment venues, houses of worship, and performance theatres will also find the site useful.

Garry highlights, “Our reputation over the years has grown due to our excellent after sales service. Hundreds of companies use our site to list or purchase because it is straight forward and all party’s interests are protected. Our representative in Singapore adheres to the same principle and we believe we will grow even further in the Asian region.”

www.10Kused.com The 10K Used Gear Limited office in UK. ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

58

MARKET PLACE OCT. 2018

Enquire

FOR ENQUIRIES OR TO LIST YOUR USED EQUIPMENT CONTACT 10K USED GEAR ASIA CONTACT BASED IN SINGAPORE:

MANOJ CHAMANLAL

manoj.chamanlal@10kused.com

Enquire

Electrovoice XLC Line Array System

Clay Paky Scenius Spot

€25,000.00

€2,935.00

All in good working condition Manufactured year 2005

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Includes foam inserts and are supplied with omega brackets and bare end True 1 cables. All in very good working condition

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Martin Audio – MLA/MLX

Avolites ART 2000 Dimmers

L’Acoustics LA-LAK (LA8)

€51,745.00

€7,050.00

€11,500.00

MLA speakers and MLX subs for sale

5 years old and in very good working condition

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Christie Digital Microtiles Display Unit D100 Package (1)

Christie Roadie HD+35k Projector

€59,025.00

We have for sale refurbished Christie Digital Roadie HD+35K Projector, these are all in excellent condition and the price is per piece

We have for sale a refurbished Christie Digital Microtiles Display Unit D100 Package, includes Microtiles Screen S300 & Microtiles ECU E100. Price is for complete package

LA8 Rack with 3 x LA8 with AES in very good condition

€13,395.00

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MA Lighting grandMA2 replay unit -RPU

€7,400.00

Great condition RPU from early 2017 -