Entertainment Technology July/August 2018 by Sun Circle Publishers

www.entertainment-tech.co.za

July/ August 2018 R38.00

THEATRE FEATURE The Little theatre HB Thom theatre Anne Valentino interview Product Round-up

PRODUCTIONS & EVENTS Miss SA Diamond Jubilee Silent Disco

COVER FEATURE

Little THEATRE INSTALLATION

C ON T E N TS

THEATRE FEATURE

www.entertainment-tech.co.za

20 The Little Theatre

THEATRE PRODUCTS

Anne Valentino Interview

24 HB Thom THEATRE

14 Naledi Theatre Awards

DJs ON DENON

Event Power Profile

38 Miss SA

Editorial Disclaimer The views, opinions, positions or strategies expressed by the authors and those providing comments are theirs alone, and do not necessarily reflect the views, opinions, positions or strategies of Pro-Systems Africa News or any employee thereof. Sun Circle Publishers makes no representations as to accuracy, completeness, correctness, suitability, or validity of any information and will not be liable for any errors, omissions, or delays in this information or any losses, injuries, or damages arising from its display or use. Sun Circle Publishers reserves the right to delete, edit, or alter in any manner it sees fit comments that it, in its sole discretion, deems to be obscene, offensive, defamatory, threatening, in violation of trademark, copyright or other laws, or is otherwise unacceptable. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publisher.

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E D I TO R

Welcome to the first edition of Entertainment Technology Magazine (ETECH). Over the past few years, we have covered both the AV integration and the entertainment technology markets in one publication. Having consulted closely with our readers and advertisers, we have decided that it is time to provide the entertainment technology industry with a dedicated media platform, which includes a new print publication, website and social media platforms specifically designed and targeted for this market.

Nicole Barnes – Editor

presents the all new Entertainment Technology media platform

for the professional entertainment technology industry

In launching ETECH, we aim to present you, our valued readers, with an opportunity to tell , share and keep you up to date with the latest technology and trends in entertainment technology. As always, we and encourage you to share them with us. We hope that you enjoy reading this publication as much as we have enjoyed putting it together for you.

your stories

your successes

value your ideas

Theatre Feature

Our in this issue focuses on technology for the performing arts – a sector that is cherished by many in the industry. We attended the Naledi Theatre Awards, where we got to witness some of South Africa’s best technical talent being recognised for their work. We had the privilege of visiting two universities in the Western Cape, where impressive investments are being made to refurbish student theatres. Finally, we chatted to Anne Valentino about her illustrious career in lighting console design ahead of Women’s Day. We also had the opportunity to see some of South Africa’s most beautiful and accomplished young women competing for the coveted title of . The dazzling Miss SA Diamond Jubilee production was produced by [sic] Entertainment and directed by Gavin Wratten, who worked in close consultation with Dream Sets and Visual Frontier to deliver a truly breathtaking show. We wish the newly crowned Miss SA, Tamaryn Green and runner-up, Thulisa Keyi all the best for the upcoming international Miss Universe and Miss World pageants. In addition to presenting you with the content that you are accustomed to, ETECH will feature a few new topics. We have launched the section with a look at Silent Disco, an innovative concept that is changing the face of dance parties in the city. We also interviewed a number of deejays about their experience with Denon DJ’s product range. This issue also marks my one year anniversary with the Pro-Systems team, and I would like to take the opportunity to thank all of the amazing people that have welcomed me into this unique family. I trust that you are as excited as I am about the future of the entertainment technology market and the role that ETECH has to play in the industry.

Miss South Africa 2018

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Our readers are technical users and decision makers Rental Technology Companies Theatres

Pubs & Clubs

Government Departments Consultants

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Educational & Training Facilities

Retail Shops & Shopping Centres

Casinos, Amusement Parks & Cinemas Corporate Events Managers

Event Production Companies

Conference & Events Organisers

Recording Studios

DJs

Regards

Nicole Barnes

@etechza

etechza

INDUSTRY news

Gearhouse introduces Showcom The Gearhouse Group’s collection of companies, branches and divisions service the conferencing, exhibition and event industries holistically. The Group is constantly evolving to meet changing needs, and while each company operates individually, they also fit neatly together to provide the widest range of technical services currently available in South Africa.

Gearhouse recently announced the latest addition to the group, Showcom, which started trading from its new home at 18 Lang Street, Bezuidenhout Valley, Johannesburg on 1 June. Headed up by Nickolas Chapman, Showcom (Pty) Ltd specialises in seamless communication solutions for any major event, offering a range of the latest technology in wireless, wired or twoway radio communication systems for user-friendly, reliable and secure communication. The company’s highquality intercom communication solutions optimise workflow in situations that demand precise, dependable collaboration. While Showcom is headquartered in Johannesburg, the services are available countrywide. “Showcom specialises in managing your communication systems onsite to ensure that your event happens

seamlessly. We offer a range of the latest technology in wireless, wired or two-way radio communication systems for user-friendly, reliable and secure communication,” Chapman explains. The official launch of Showcom was celebrated on 1 August. For more information, please visit www.showcom.co.za.

New Showcom logo

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INDUSTRY news

DWR brings it home with L-Acoustics DWR recently solidified their position as an L-Acoustics distribution partner with a series of memorable product launch events.

Audio Militia – Cannes Winner In an industry dominated by a handful of goliaths, Audio Militia has proved time and again that it has what it takes to compete while maintaining their bespoke approach to composition, sound design and final mixing.

Prime Circle demos the L-Acoustics K2 Line Source Array at DWR, Johannesburg

Remaining true to the company’s muchcelebrated slogan, “It’s all about the people” – DWR invited industry representatives, together with their families, for an evening of celebration and fun at their offices in Johannesburg on 16 July. DWR managing director, Duncan Riley and his incomparable team transformed the parking lot at Kimbult Industrial Park into a fairground for the evening, complete with rides for the children, cotton candy, popcorn and dinner for all. Central to the event, was the opportunity for the industry to hear the impressive K2 Line Source Array from L-Acoustics in action. DWR invited one of South Africa’s most celebrated rock bands, Prime Circle, to take the system through its paces. Much to the delight of all who attended, Prime Circle delivered a stellar performance, complemented by the crystal clarity of the L-Acoustics K2 Line Source Array and impressive light show. “The partnership between DWR and L-Acoustics is a great step forward for the DWR family, and we wanted to do something different to celebrate the moment,” explains Riley. “Rather than taking moms and dads away from their families to attend another event, we wanted people to feel free to bring the kids and have some quality family time while enjoying the exceptional sound the L-Acoustics K2 Line Source Array

has to offer.” Following the fun, DWR hosted a comprehensive product demonstration at the Teatro – Montecasino on 17 July, where L-Acoustics sales manager, Tim McCall presented the entire L-Acoustics product range to some of the leading sound engineers and production companies in South Africa. Speaking to ETECH after the demonstration, McCall stated that L-Acoustics is optimistic about the brand’s representation in South Africa going forward. “L-Acoustics is a company that is passionate about its people and the industry that we serve, which is an ethos that we see shared by DWR. We have already seen a significant difference to our business in South Africa,” he states. According to Riley, DWR has made a significant investment in a wide range of L-Acoustics systems, which enabled the comprehensive product demonstration at the Teatro – Montecasino. “We have never had the opportunity to demonstrate the L-Acoustics products simultaneously in a venue that is designed for highperformance acoustics with the full range of products before,” explains DWR’s Richard Smith, who has been involved with the L-Acoustics brand for more than a decade. “I feel very optimistic about the future,” he concludes.

Established in 2007 in a single studio, the team has since grown to include three separate full-service studios and an impressive list of awards. One of the company’s biggest moments came recently in the form of a Cannes Grand Prix in Radio and Audio for their work on the Carling Black Label Soccer Song for Change campaign. Engineer and composer, Richard Staub explained that the team was tasked with rerecording a traditional soccer song, “Masambe Nunu” with lyrics directed at the global issue of

women abuse. The middle section of the songs sported lyrics that directly confronted the topic and caused fans to think twice about their actions. The team was given a recording of the original song, sung live at a stadium, as well as a recording of 16 people singing the new lyrics. Using some clever audio magic, Audio Militia evolved these 16 voices into a mighty stadium full of people. The new section blended seamlessly into the original live recording, resulting in the goosebump-inducing radio edit that walked away with the Grand Prix.

INDUSTRY news

SA dealers preview the new Hybrid+ in China Viva Afrika recently hosted seven of the top Hybrid+ dealers in South Africa on a tour of Guangzhou, China, where the Hybrid+ product range is manufactured.

South African dealers gathered at Tuspark, Guangzhou, China

The E-Tech team was given the opportunity to accompany the dealers on a comprehensive factory tour in Guangzhou, where we had the privilege to see the manufacturing and quality control processes behind the Hybrid+ brand first hand. During the tour, Viva Afrika director, Luis Madeira took the opportunity to introduce the group to the brand new Hybrid+ HP range. â&#x20AC;&#x153;The Hybrid+ HP range will

replace the Hybrid+ BT Series, and offers a high-power, middle range sound system with very low distortion that has been specifically designed to meet the needs of the South African market. The new HP series will be retailing at a similar price point to the BT series, offering customers better performance at a

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INDUSTRY news

TV Audio launches the new FBT range in style TV Audio managing director, Peter Berry and his team provided guests with a wonderful opportunity to hear the FBT range at Constantia Hotel and Conference Centre, Halfway House on 11 July.

Prosound exits Audio-Technica agency

Berry states that: “When we established TV Audio in the early 1980s, the idea was to start selling electronic components with the mission to become an affordable, one-stop-shop electronics distributor. Over the years, TV Audio has secured sole agencies of well-known brands for the market that we serve. We have chosen to remain true to our vision of providing the opportunity for clients to purchase high-quality professional equipment at a price point that is appropriate for our market, which is the core motivation behind our partnership with FBT,” Berry concludes. The great sound quality of FBT’s line array was demonstrated at the event with a live performance from one of South Africa’s longest-lived rock bands,

WONDERboom. WONDERboom have released nine albums, headlined many major South African festivals and have been nominated for five Best Rock Album awards by the South African Music Awards. Band members Cito, Martin Schofield and Wade Williams, thrilled the intimate gathering with a wonderful performance, which put the system through its paces. The TV Audio team used the opportunity to provide guests with an impressive light show, showcasing the impressive versatility of Beamz Lighting fixtures, together with some stunning special effects by MagixFX, which the company also distributes. Berry and his team went to enormous lengths to deliver a product launch that would leave a lasting impression on attendees. “This is perhaps one of the biggest launch events that we have ever done, and it is such a pleasure to see our many associates in the industry enjoying the range of FBT products that we have imported for distribution,” Berry commented to ETECH. “We would not be here without the dedication of the staff of TV Audio,” Berry stated during his address at the event. “Without the support of the industry, we would not have a business. We like to regard those whom we serve not as customers but as partners. We look forward to seeing you grow with us on our journey moving forward,” Berry concluded.

“Prosound will use this new opportunity to concentrate on existing long-term microphone brands, Electro-Voice and DPA that are more in line with their product focus. In addition, the move will

allow further flexibility and freedom in extending the Prosound ethos of providing the right product for the client irrespective of brand allegiance,” Prosound concludes.

Peter Berry at FBT product launch and demo

In a recent statement, Prosound announced that they have elected to end their relationship with Audio-Technica. “Consistent evaluation of business policies is essential, especially in the current economic climes. In light of this (and after due evaluation) Prosound has elected to bring to an end to their relationship with Audio-Technica Professional Products,” states Prosound. The company goes on to explain that the decision was not taken lightly and that Prosound remains committed to the best interests of its client base. “The exit from the brand has taken place over the last few months and full support has continued to be offered during this period. In line with our emphasis on client service, we will continue to assist where ever possible.

INDUSTRY news

Audiosure resigns agency Audiosure has recently announced that it has decided to resign as the Avolites distributor for South Africa, effective 31 August.

inMusic appoints Audiosure Audiosure is proud to announce their appointment as commercial-install equipment distributor for Denon Professional and Rane Commercial. Long recognised for their innovative design and manufacture of products for the installed sound verticals, Denon Professional and Rane Commercial play a critical role within the ever-changing commercial installation market. The growth and success of Denon Professional and Rane Commercial is dependent on a sales/distribution entity with a thorough understanding of all aspects of the international commercial install equipment marketplace.

PLASA Show 2018 announces seminars PLASA Show is returning to the London Olympia from 16-18 September, and the seminar programme is beginning to take shape.

“We would like to assure all Avolites users that we will continue to support and service all Avolites products until such a time as a new distributor is appointed. Our thanks are extended to the team at Avolites for their support over the past two years, and we wish them every success in the future,” the company stated in an announcement on social media.

Audiosure have extended their gratitude to their loyal customers who have supported both the product and the training sessions hosted by Audiosure during its time as the Avolites distributor. If you have any questions or would like further information, contact Audiosure or visit www.audiosure.co.za

With over 20 years of experience, distributing some of the world’s top professional and consumer audio-visual brands, Audiosure guarantees to deliver top-flight service for both Denon Professional and Rane Commercial via strategic routes to market and their wealth of proven first-hand expertise. Denon Professional are leading manufacturers of professional grade audio/video recording and playback solutions, delivering innovative, premium products for the distribution, capture, and management of multimedia signal sources. Rane Commercial is an established innovator in problem-solving audio tools, professionally engineered with a focus on science, price/performance, no frills and hype. Alison Taman, general manager for Audiosure states, “We are delighted to

be joining inMusic’s commercial install family. At Audiosure, we can feel the energy and passion within inMusic to deliver products that meet and exceed the needs of this demanding market segment. The product mix within inMusic’s Pro-Install portfolio deliver an exciting range of recording, playback and multimedia signal source management solutions, from brands trusted by the most demanding professional installers and system integrators around the world – working within this vertical presents a fantastic opportunity to maximise sales opportunities and promote growth within the South African market segment for these industry-recognised brands”.

Attendees will have access to back-toback professional development sessions across the three days, delivering content from all sectors of the industry including lighting, live sound, AV, rigging and staging. The first seminars for lighting professionals is a co-hosted panel with the Association of Lighting Designers and the Association of Sound Designers who will unpack collaboration and the creative process and how lighting designers can deliver a product that fulfils expectations. The first business seminar comes from brand advisor Shéa Bennett who will reveal how to add magic to live events like never before.

New for this year is a dedicated Rigging, Production and Structures Theatre, which will offer free-to-attend, cuttingedge content throughout the show. Ilan Bahar will look into load monitoring, Scott Stewart will reveal the underlying forces of circus and aerial rigging kinematics, Dave Weatherhead will provide solid advice about automation in productions, and an international panel will brainstorm to identify solutions to problems of working from trusses. To register for the show and sign up for seminars visit: www.plasashow.com.

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ADVERTORIAL INDUSTRY news

Prolight+Sound Middle East attracts international heavyweights Global suppliers of event technology and professional audiovisual equipment are returning to the Dubai International Convention and Exhibition Centre between 23 and 25 September, to attend the region’s dedicated industry exhibition, Prolight+Sound Middle East.

Monacor International, Robe Lighting, and FBT Elettronica will be among more than 40 exhibitors from ten countries in attendance. Many of the leading global manufacturers of entertainment technology and professional AV equipment have exhibited at previous editions of the annual three-day exhibition and conference, which has now become a fixed date in the annual calendar for the regional events, entertainment, and professional audiovisual (AV) industries. Thorsten Siebers, Monacor International’s managing director, states: “After two very successful trade shows in recent years, we look forward to returning to Prolight+Sound Middle East this year.” Monacor International will launch its audio matrix system DRM-884 – a versatile multiroom PA concept for hotels, restaurants and bars, conference rooms, schools, sports centres and fitness centres. “We believe that the ME region shows great potential for growth and development, with the demand for professional audio and lighting technology rapidly gathering momentum,” Siebers concludes. FBT, a leading supplier of professional audio will be launching the FBT HORIZON series of column arrays in the region. FBT’s CEO, Bruno Tanoni, stated that the company received positive feedback from its participation at last years’ event: “FBT was impressed with the results of our participation at Prolight+Sound ME 2017, which generated new lead and provided us with the opportunity to meet some of our regional distributors.” Tanoni added: “As we are developing more business in

the installation and contractor markets, it is important to be present at Prolight+Sound ME to meet the evergrowing demand for professional products and solutions for various applications in the region.” Robe Middle East is returning to Prolight+Sound ME with some of its key moving lights and LED fixtures used in the professional entertainment, leisure, and architectural industries. “Robe will be exhibiting the MegaPointe, Tarrantula, LEDBeam 150, and the RoboSpot system, among others,” said Robe Middle East’s general manager, Elie Battah. “The MegaPointe has been one of the most successful Robe products ever and has been as popular in the Middle East region as globally. The Spiider was introduced in 2016, and has been incredibly well received, and the larger Tarrantula version is a direct response to market demands,” added Battah. Prolight+Sound is organised by Messe Frankfurt Middle East, and returns with the Events, Technology and Entertainment Development Forum, a three-day conference and workshop discussing key trends and strategies in executing world-class events and iconic attractions. Prolight+Sound Middle East is the fifth instalment of the international network of Prolight+ Sound events worldwide and is co-located with Light Middle East 2018, the region’s dedicated exhibition, conference, and awards for lighting design and technology.

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COMPANY PROFILE

Event Power powering the industry for a decade Event Power generators provide reliable power supply for outdoor music festivals

2013 – 2017

2013

2017 – 2018

Mediatech Africa

Mandela Funeral

Jacarranda Day

2016

2018

2017 – 2018

Tequila Mexican Food Festval

2013 – 2018

Spar Carols by Candlelight

2013 – 2018

2016 – 2018

Seether

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Mumford & Sons

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Event Power ensures that the music keeps playing, the lights stay on and the drinks are always cold

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2017

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2018

COMPANY PROFILE

Event Power was founded by Eventech company owner Henry Jenkins in 2008 and has gone on to establish itself as one of the leading power solutions providers for the events and broadcast industry in South Africa. In recognition of the company’s tenth anniversary, ETECH spoke with Jenkins, and Redge and Corneli Grobler about Event Power’s journey to success.

As anybody in the events industry will tell you, multiple factors go into delivering a well-executed event, many of which demand meticulous planning and expert implementation. The one factor that has the potential to derail the best-laid plans is power supply. It was this vulnerability that Henry Jenkins decided to address in 2008, when he purchased ten generator sets to provide for the needs of his production and rental company, Eventech. “There are a fair number of suppliers that one can use for dry generator hire in the country. The challenge remains that many of these service providers have little understanding of the needs of the live events market,” Jenkins points out. “We decided to invest in ten generators for our events and have extended this service to other production companies,” Grobler explains. Event Power supplies full-service temporary electrical power systems that are scalable to suit the needs of any event. The company is uniquely positioned to service the entertainment industry, as they have combined expertise in entertainment technology and power supply and distribution. “We are fastidious about maintaining our equipment and adhere to maintenance schedules on all of our assets, including generators, cables, DB boards, LED Floodlights, and all of the accessories that go into delivering power for an event,” Grobler explains. “We have finished every single show that we have started – which is a record that we are determined to maintain, indefinitely.” In addition to the full-service power solutions offered by Event Power, the company has branched into custom manufacturing to produce a range of power accessories. “Over the years, we have needed to custom design some of our own equipment to solve challenges that are unique to the events industry, and we have started manufacturing and distributing these products for our clients,” Grobler explains. This August marks an important milestone for Event Power, as the company celebrates its tenth anniversary. According to Jenkins, some of the company’s very first clients remain loyal customers. “We have built this company on service, and it is our passion, dedication and unique understanding of this industry that we believe will carry us into the future,” Grobler concludes.

INDUSTRY ENDORSEMENTS Derwalt Production Specialists and Services, a production support services company that specialises in experiential engagement, concept creation, and event production among other services, has come to rely on Event Power to supply all of the generators and power distribution for its events. “We have developed a close working relationship with Event Power over the past six years and have come to rely on the company to provide generators and power distribution for events of various sizes across a wide range of venues – and we have never been disappointed. They are reliable, professional and extremely skilled at what they do,” der Walt points out. VWV, a global brand experience agency based in Johannesburg, has also come to rely on Event Power to service the company’s wide range of corporate activations and public-focused live entertainment events. According to Martin Slabber, technical director at VWV, Event Power is VWV’s preferred provider, and the company has developed a close working relationship with Grobler and his team over the past five years. For more information on Event Power: www.eventpower.co.za

“The next time you are attending an event and see one of our generators, you can be assured that the music will keep playing, the lights will stay on, and they can keep the drinks cold.” – Redge Grobler.

LAWARDS IVE EVENTS REPORT

Celebrating Technical talent The Naledi Awards feature three categories that recognise the enormously important role that theatre technicians play in bringing South African productions to the stage. Joshua Cutts Best Lighting Design The award for Best Lighting Design, sponsored by Splitbeam, was presented to Joshua Cutts for his work on the Fugard’s production of West Side Story. “I started in theatre lighting, and after a long absence from the theatre environment, I thoroughly enjoyed working on this production,” Cutts states. He thanked the West Side Story team and his family for his achievement.

Joshua Cutts accepts the award for Best Lighting Design

Gladman Balintulo Best Sound Design Gladman Balintulo was awarded for his work on Sarafina! in the category of Best Sound Design, sponsored by Splitbeam. Balintulo acknowledged Mbongeni Ngema, who wrote the award-winning score for the Broadway musical production as well as Mark Malherbe, one of South Africa’s most prolific theatre sound engineers, for his support.

Gladman Balintulo accepts the award for Best Sound Design

Mathew Wild accepts the award for Best Set Design on behalf of Conor Murphy

Conor Murphy Best Set Design In the category of Best Set Design, Conor Murphy was announced the winner for his work on the Fugard’s production of West Side Story. Murphy was unable to attend the award ceremony in person but was represented by West Side Story director, Mathew Wild. According to Murphy, Wild had initially been working with internationally renowned South African set designer, Johan Engels before his untimely death in 2014. “Johan and Mathew had a number of creative days together, during which they designed the set for The Fugard’s production of West Side Story. When I came to the production as set designer, I felt that it would be right to continue with Johan’s ideas, and tried to realise them for the Artscape stage,” Murphy explained. Murphy accepted the award on Engel’s behalf.

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AWARDS

The industry Supports The Naledi Awards The 14th Naledi Theatre Awards ceremony was held at the Teatro – Montecasino on the evening of 18 June. The prestigious awards evening recognised a wide array of performers, artists, and technical professionals for productions staged during 2017.

The Naledi Theatre Awards, organised by icons of the performing arts, Des and Dawn Lindberg and their team of 20 judges, are recognised as the premier awards event on the Gauteng theatre calendar. The awards play a critical role in highlighting the achievements of South Africa’s greatest theatre producers, directors, performers, and theatre technicians – many of whom struggle to etch out a living in the performing arts but persevere regardless. The Naledi Theatre Awards, as an institution, faces similar challenges, with funding for the event remaining precarious over the years. Speaking to ETECH in a recent interview, Dawn Lindberg states that without the support of managing director of Gearhouse Splitbeam, Alistair Kilbee, the award ceremony would not have been possible this year. “We are profoundly grateful to Tsogo Sun for sponsoring the Teatro – Montecasino for the awards ceremony. While the venue is truly magnificent, the Teatro does not have its own equipment, and Splitbeam stepped in to provide the most comprehensive rig we could have asked for.” Speaking on behalf of Gearhouse Splitbeam, Kilbee explains that as the leading theatre and professional rental specialist in the country, Splitbeam has always been a huge proponent of the Naledi Theatre Awards. “Now that the Naledi Awards are at the Teatro-Montecasino, we have the opportunity to lend our support.” The three-year sponsorship agreement that was initiated at this year’s iteration resulted in an outstanding production.

“The Naledi Awards Ceremony was simply stunning – in line with the best awards ceremonies in the world. There are many incredibly dedicated, brilliant people involved in South African theatre, and Alistair is without doubt among them,” states Dawn. Kilbee and the Gearhouse Splitbeam team provided a comprehensive lighting rig, featuring fixtures from Varilite with GrandMA lighting consoles, which were programmed and operated by Joshua Cutts. Rigging was provided for using Prolyft hoists and audio featured a Meyer Sound system. “As specialists in the field, Gearhouse Splitbeam understands the challenges involved in producing theatre in South Africa. Our goal is to provide the best tools and technology for theatre production designers at ‘theatre-friendly’ pricing,” Kilbee concludes.

SA theatre in the spotlight THEATRE

Despite the often cited opinion that theatre as we know it is a dying art, theatres across the world continue to thrive â&#x20AC;&#x201C; and writers, directors, performers, and the theatre technicians that make it possible, continue to produce work that people want to see.

Photo by Lucus Ledwaba

Meshack Mavuso dons the late Mgcineni (Mambush) Noki's iconic green blanket in Aubrey Sekhabi's Marikana: the Musical

Theatre

The Apartheid policy is passed into law by Government

1948 1959

The Group Areas Act makes public recreation spaces racially segregated

1965 1972

Sizwe Banzi is Dead, written by Athol Fugard, John Kani and Winston Ntshona is staged in Cape Town

Zakes Mda receives the Amstel Playwright of the Year Award for We Shall Sing for the Fatherland

Ubu and the Truth Commission by Jane Taylor first performed at The Laboratory in Johannesburg

Aubrey Sekhabi, presents Marikana: the Musical depicting the events leading up to the infamous Marikana Massacre.

The first independent, non-racial theatre, The Space Theatre opens in Cape Town

1974 1976 1978 1980

Mbongeni Ngema’s Sarafina! opens on Broadway

Staging of King Kong – South Africa’s first all-Black musical production

1988 1994

The Market Theatre – an independent, non-racial theatre in Johannesburg opens its doors

Woza Albert! – a political satire by Percy Mtwa, Mbongeni Ngema, and Barney Simon is staged in New York.

Nelson Mandela’s release heralds the end of Apartheid in South Africa

1997 2012

Yaël Farber takes the award-winning Mies Julie, a SA adaptation of Strindberg’s classic Miss Julie to the UK.

the constant struggle for funding, the theatre continues to play a pivotal role in determining the type of society that we live in. There are few of us that can expunge the image of Mgcineni (Mambush) Noki, in his iconic green blanket, leading protesting mineworkers during the 2012 Marikana wage strikes. In a demonstration of state instituted violence not seen since the fall of Apartheid, the Marikana Massacre – as it has become known – saw the South African Police Force opening fire on demonstrators, killing 34 men including Noki. South African writer and director, Aubrey Sekhabi, presented audiences with an audacious musical production Marikana: the Musical in 2015. Since its debut, the controversial production has received a number of notable awards, as well as an enormous amount of positive and negative attention from critics, political analysts and civil society. At the end of the day, whether you think that Marikana: the Musical is a fitting tribute to those who lost their lives in this tragedy or, conversely, that it is in poor taste; the fact remains that the work continues to engage South Africans in critical conversations about who we are, what we believe and who we want to be. It is heartening to report that a number of universities in the country have recently made considerable investments in their student theatres, which promises to develop and nurture the talent that will drive South African theatre for generations to come. In the articles that follow, we will examine some of the projects that have been undertaken to refurbish university theatres in Cape Town. We also had the privilege of meeting with Ann Valentino, one of the leading lighting console developers in the world, who shared her story as a leading woman in professional lighting. I hope that you enjoy our theatre feature. – Nicole Barnes

FEATURE FOCUS

theatre reflects society

In South Africa, despite

Theatres continue to invest in technology and knowledge to provide South Africans the opportunity to tell their stories

A big upgrade for the Little Theatre UCT revamps the Little Theatre

HB Thom Theatre breaks new ground in hoisting technology HB Thom upgrades to fully programmable scenery hoist system

Valentino sets the bar women in lighting ETECH interviews World-renowned lighting control developer, Anne Valentino.

Theatre Products • lighting • networking • Audio

2015 19

THEATRE

Nestled under the shadows of Table Mountain, the University of Cape Townâ&#x20AC;&#x2122;s Little Theatre has served as the bedrock for some of the most celebrated theatre talents in South Africa and continues to produce theatre and film professionals that compare with some of the best in the world. Over the past few years, UCT has rolled out a comprehensive refurbishment programme, with the objective of bringing the infrastructure at the Little Theatre in line with rapidly advancing global standards in theatre technology.

big upg

for the Litt 20

THEATRE

Electrosonic implements a significant upgrade to the stage lighting at UCT's Little Theatre.

grade

tle Theatre

THEATRE

Luke Ellenbogen demonstrates the ETC Eos Ion XE console at The Little Theatre UCT

The ETECH editorial team recently had the opportunity to visit UCT’s refurbished Little Theatre, accompanied by live events manager and theatre installation expert Robbi Nassi from Electrosonic. Working in close collaboration with theatre management at UCT, Electrosonic has deployed a lighting control and fixture installation upgrade that has resulted in The Little Theatre being technically on par with some of the best professional theatres in the world.

A LITTLE THEATRE WITH A LOT TO GIVE The Little Theatre serves as the centrepiece of UCT’s Centre for Theatre, Dance and Performance Studies (CTDPS), which includes several studios and performance spaces, a comprehensive technical department, a meticulously maintained wardrobe, a fully equipped workshop for set design and construction, and a range of teaching and rehearsal venues. Luke Ellenbogen, who has served as production manager at The Little Theatre for the past eight years, explains: “With the recent emergence of intelligent LED lighting technology and associated digitised control, the field of technical theatre has undergone a revolution over the past decade. The University’s mandate is to produce graduates that are able to respond to whatever environment they find themselves in once they graduate. It is, therefore, imperative that the CTDPS’s learning spaces are equipped with the resources needed to offer students the opportunity to experiment with the wide range of theatre technologies available.” To achieve the technical refurbishment of The Little Theatre, UCT turned to Electrosonic SA. “We have worked with the team at Electrosonic for many years, and during that time we have established a strong working relationship,” Ellenbogen states. “Electrosonic has always been extremely understanding of our needs. They offer exceptional after-sales service on all of the products that they have installed at our facilities and are willing to go the extra mile to support us. When something does go wrong, we can rely on the team at Electrosonic SA to respond immediately, and they have never let us down,” he concludes.

Network-based lighting control from multiple patch bays

Little Theatre invests in lighting solutions LIGHTING THE LITTLE In addition to the extensive facility upgrades at CTDPS, UCT has invested in new lighting, networking and control infrastructure throughout the facility’s performance spaces. The theatre management team at UCT provided Electrosonic with a brief that included the house lights, stage lights, dimming and control, and lighting console at front of house. The objective of the project was to bring the theatre’s infrastructure in line with international performance and safety standards. Electrosonic responded with a comprehensive installation plan, based on Electronic Theatre Control (ETC) solutions. “Deploying an ETC-based solution made the most sense, as ETC is recognised globally as a leader in the design and manufacturing of lighting technology for theatre applications and offers a full range of products that are scalable to suit the specific requirements of an installation,” comments Nassi. ETC’s Unison Paradigm system has been used to oversee some of the largest, most complex and demanding lighting installations in the world and operates using ETC’s powerful Paradigm 4.0 software. Following installation, the architectural lighting control system, used in conjunction with Sensor 3 Power Control, integrates all aspects of the theatre’s lighting – from house lights to working lights, and is operated using multiple Unison Button Stations that are strategically positioned throughout the venue. “All equipment installed runs through a network, which is managed using the Luminex 26i Network Switch so that one can configure, programme and control any lighting aspect of the venue from multiple points around the space, linked to one central point,” Nassi explains.

THEATRE

The ETC ColorSource ThruPower cabinet meets The Little Theatre's power control needs

THE LITTLE STAGE COMES TO LIFE The most critical aspect of the lighting installation at the Little Theatre remains the stage lighting. Central to the stage lighting rig at the Little Theatre is the Ion® XE console, billed as the compact workhorse of ETC’s Eos family. Jeremy Roberts, ETC’s regional manager for subSaharan Africa explains that the ETC Eos family offers straightforward programming syntax, together with a range of features that allows lighting designers and operators to work at a granular control level. The award-winning Eos colour tools provide unprecedented control over LED colour mixing, while customisable Magic Sheets and Direct Selects speed up technical processes and allow for customised interfaces to be built to optimise workflow.

available free of charge. Students can hone their skills working on a laptop, and shows that have been programmed using the software can be saved and imported onto the Eos Ion® XE console at front of house for rehearsals and performances. In addition to the state-of-the-art lighting control installed at the Little Theatre, the University has recently taken delivery of the ETC ColorSource Engine with CYC attachments – a dedicated cyclorama fixture specifically designed to create smooth washes of light on a cyclorama or wall. In addition to the fixtures from ETC, The Little uses Martin Professional Mac Auras together with the Martin Mac moving head wash and profile units to light the stage.

“Over the past few months, alumni who have seen the upgraded facilities have made their displeasure felt, as many of them wish that they could re-experience their training, with the new equipment and

Jeremy Roberts inspects the installation of ETC technology at The Little Theatre

“The Eos family has been designed from the ground up in close collaboration with lighting designers and programmers that specialise in lighting theatre, ballet, opera and TV. As a result, every aspect of the console – from where the keyboard controls are positioned to the syntax used – ensures the needs of theatre lighting programmers are met,” Roberts explains. The Eos family software ensures that all features are accessible, regardless of the model that you purchase. ETC’s research and development department is constantly developing features in response to feedback from the Eos user community. Of particular importance for applications in higher education, Eos software is

technology in place,” Ellenbogen declares. “I have heard the words ‘it’s not fair, why didn’t we have all of this when we were studying’ repeatedly over the past few months, which implies that we have done something right,” Ellenbogen concludes. 23

THEATRE

Photos by Duncan Riley

Situated in the heart of South Africa’s Western Cape Province, Stellenbosch University has continued its legacy of investing in the development of South Africa’s artistic community with a recent upgrade of the institution’s extensive drama department, including the HB Thom Theatre.

DWR installed the first fully automated and programmable scenery hoist system at the HB Thom Theatre at Stellenbosch University

THEATRE

HB Thom Theatre replaces is old counterweight rigging system with a state-of-the-art ASM scene hoist system.

The scenery hoist installation at the HB Thom Theatre comprises 24 ASM HCWA Twin Master Hoists.

A key component in the institution’s current infrastructure modernisation project at the HB Thom is an ultra-modern, fully programmable scenery hoist system, manufactured and produced in Germany by ASM Steuerungstechnik. Installed by local ASM distributor, DWR Distribution, the installation has brought the HB Thom Theatre’s scenery hoisting system in line with more than 400 international theatres to have adopted the technology in recent years – and represents the first installation of its kind in South Africa.

BUILDING FOR THE FUTURE The HB Thom Theatre opened its doors in 1965, largely due to the vision of University Rector HB Thom, who instituted the first chair in Drama at a South African university in 1961. Almost fifty years later, the HB Thom is cherished not only by the students at the University of Stellenbosch but by the broader community, as a cultural asset that consistently presents both student and professional work of an exceptionally high standard while providing a platform for development theatre. Stellenbosch University recently committed to upgrading theatre infrastructure to ensure that students and staff are afforded the opportunity to gain experience in a facility that is comparable with modern theatres across the world. In addition to new lighting and control, the theatre is now home to the first fully automated and programmable ASM theatre hoisting system in the country. According to the theatre manager at the HB Thom, Albert Snyman, the University is committed to producing graduates that are equipped with the skills, knowledge and experience needed to excel in professional theatre upon graduation, both locally and abroad. At an institutional level, Stellenbosch University is committed to providing the tools and support to staff and students to enhance their learning and success. With this guiding principle behind the theatre upgrade, the institution is guaranteed to continue to produce some of the country’s best theatre performers and technicians for the years to come.

ASM HOISTS THE HB THOM TO NEW HEIGHTS Central to the theatre refurbishment project instituted at the HB Thom Theatre is the replacement of the facility’s 53-year-old counterweight rigging system with a state-of-the-art, fully programmable scene hoist system. Following extensive consultation, the University of Stellenbosch commissioned DWR Distribution to supply and install the HCWA hoist system by ASM. According to ASM, the light-weight, ultraslim design significantly reduces forces on stage structures and opens up new installation possibilities, including flexible hanging on head pulley structures or on wall installations. ASM’s HCWA hoist system is specifically engineered to ensure that a traditional theatre counterweight flying set can be replaced by a scenery hoist, making the upgrade as effortless and cost-effective as possible. Depending on the design, each winch can move a maximum load of 1000kg up to 34 meters, using between six and twelve installed ropes, at a whisper-quiet 45dB.

“Once installed, the ASM scenery hoist system is fully automated and programmable, allowing theatre technicians to preprogramme set changes for an entire production.”

THEATRE

The control system for the ASM Hoist.

HCWA Twin Master Hoists featuring ASM’s unique two-channel safety winch and narrow construction.

INSTALLATION INNOVATION Prior to the installation of the ASM Scenery hoist system at the HB Thom, a comprehensive structural analysis was carried out by DWR together with ASM engineering consultants, who approved mounting the ASM hoists on top of the theatre’s existing grid. On completion, the installation comprised 24 HCWA Twin Master Hoists, which feature ASM’s unique two-channel safety winch concept and extremely narrow construction, and is the most powerful and efficient product in the ASM HCWA range. Rob Young of DWR Distribution, who served as a team leader on the project explains: “The installation included replacing the old pullies and bars on the grid with new units. During installation, we split the hoist in half, as there was a logical place where we could undo a few pins, enabling us to separate the unit into two. We then made a gantry crane off the top of the back wall of the theatre at approximately 16m high, using electric chain hoists to haul the units up.” According to Albert Snyman, who serves as theatre manager at the HB Thom, a key requirement of the new scene hoisting system for the HB Thom was that it needed to be fully automated and programmable – which the ASM HCWA system provides. Controllers for the hoists are located on the grid, with four controllers in a rack each controlling eight hoists. A three-phase power cable together with a network cable run to each power stack. The network cable runs down to stage level and connects to either an automated, programmable, Master Desk, CD1, or the smaller RC128 controller, located on a trolley. “The control system for the ASM Hoist System is very similar to a lighting desk,” Young points out. “A programmer can instruct a bar to come down with the use

of a touchscreen and joystick. When the bar is at the desired height, the programmer simply records the position and programmes it in. Continuous load monitoring on the flybars is shown in real time on the display screen, which provides accurate overload and underload protection,” Young explains. André Bragard, sales director of ASM, explains that ASM’s main objective is to develop and manufacture theatre and entertainment products for worldwide applications. The company relies on its global network of approved and trained distributors to install and maintain ASM products at a regional level. “ASM has every confidence that our South African distributor, DWR Distribution has the skill and capacity to ensure that ASM systems are installed and maintained to comply with the highest safety standards,” Bragard concludes. Moses Sowka, founder of ASM adds: “We are very proud to have worked with DWR to successfully deploy an ASM hoisting system at the HB Thom Theatre. It is very rewarding to see that our products are appreciated by our partners and, most importantly, by the end users. It is this positive feedback that continues to motivate us to improve our existing products and develop new, innovative solutions for the global entertainment industry.”

Continuous load monitoring on the flybars is shown in real time on the display screen, which provides accurate overload and underload protection.” – Robert Young

Anne Valentino THEATRE EXPERT

sets the bar for women in lighting ...If you work hard enough and assert yourself, and use your mind and imagination, you can shape the world to your desires. â&#x20AC;&#x201C; Malcolm Gladwell (2008) Outliers: The Story of Success

World-renowned lighting control developer, Anne Valentino, has employed all of the above strategies to establish herself as a leading authority in a field that is not only highly competitive and deeply specialised but is also largely dominated by men. Valentino spoke with ETECH during her recent visit to South Africa about her inspirational journey from a small-town girl to the incomparable leader in lighting control development for the entertainment industry that she has become.

THEATRE EXPERT

How did you first become involved in entertainment technology? I grew up in a small town in South Louisiana in the US, which had no arts programming to speak of and I did not encounter the theatre until I started college as a psychology major at the age of 17. During my freshman year, I was too young to go out drinking with the other students, and therefore spent a lot of time in the dorm on the weekends. One evening, a young woman named Holly Hartmann knocked at my door and invited me to join her at the university theatre. A group of students were working on a production of “One Flew Over the Cuckoo’s Nest”, and I was immediately welcomed and put to work on set construction. My father was a shipbuilding engineer and had taught me how to weld, which turned out to be a useful skill as the whole set was constructed out of aluminium. I instantly fell in love with the culture and ethics of the theatre world. Everything about it spoke to me – the work ethic, the dedication and most importantly the people. I felt as though I had finally found my tribe. It took me about a year to change my major to technical theatre, and I graduated in three years at the age of 20.

How did you start your career in lighting? After my undergraduate studies, I had no idea how to launch my professional career. My decision-making process was rather capricious in those days, and I decided to attend graduate school in my father’s hometown of Laramie, Wyoming to buy myself a little time. During my two year post-graduate studies at the University of Wyoming, my interest in theatre lighting grew. Upon leaving graduate school, I still didn’t know how to find a job. I had no professional experience and no idea where to find opportunities. I managed to get some work doing set design and construction for a series of historical symphonic dramas written by Paul Green back in my home state, and finally decided to follow a few friends to Austin Texas. I did what everybody does when you can’t find a job in your field, and waitered tables for a while. While reading through the Austin American Statesman one day, I saw an advert for a technical director at a new theatre complex that was being built in a small town called Orange Texas.

World-renowned lighting control developer Anne Valentino presents at the Market Square Auditorium.

THEATRE EXPERT

Valentino shares her insight into the development of modern lighting control consoles.

Lighting designers from across Africa attended Anne Valentino’s lecture at the Market Square Auditorium.

I decided to apply and – shockingly enough – I was hired (I think because I would work cheaper than anyone else). I later asked Steve Schulman, who hired me, why he had given me the job, knowing that there were better-qualified candidates who had applied. He responded: ‘It was clear that you were smart, and that you would work hard. Somebody needed to give you a break – and someday, it will be your turn to give someone a break.” The Orange Texas theatre was brand new, but it was the most poorly consulted theatre I have ever seen. We had electrics that would not fly all the way to the deck because the multi-cable was cut too short, so you had to get up on the scaffolding to hang the rig. It had a hospital intercom system, so only one person could talk at a time. It was the most dysfunctional space imaginable – but we somehow made it work.

When did you start building lighting consoles? As a result of my frustrating experience as a technical director, I became increasingly interested in the business side of the industry. I wrote a letter outlining my concerns to Joel Rubin, who then served as president of sales for Kliegl, an American equipment manufacturer. We met briefly at a conference in 1982, and he subsequently offered me a job as a technical writer. I, therefore, decided to move to New York and started working with Kleigl and later got involved in product demonstration and training at the company, just as the transition to computerised equipment started to take hold. Following my time at Kliegl, I took up a position with Crews Folsom doing design and build work for television studios and refitting theatres. While at Crews Folsom, I served as a Strand product representative, and Strand headhunted me as a dimming and control product manager. It was during this time that I started working on my first consoles – the Light Palette 90 and the LightBoard M desk.

Just after launching the Strand consoles, founder and CEO of ETC, Fred Foster offered me a position as a dimming controls product manager. Fred informed me as I arrived, much to my astonishment, that the position has become manager of research and development. Over the years that followed, we worked with David Cunningham on developing ETC’s Sensor dimming system, Source Four fixtures, while also developing the Obsession product line with John Ide.

When did you start to specialise in automated lighting? Shortly after moving to Los Angeles to work for Strand, I was invited to a big dance show called Solid Gold by a production company called Morpheus. The company was among the first to use automated lighting, and I was very impressed with the technology. I realised that a bullet train of automated lighting was coming that would revolutionise the field – and decided that if I did not learn something about it, I would very quickly become a dinosaur. Because of that, I felt it was time to leave ETC, as the company only worked in the non-automated realm at that time. I moved back to LA and was working with David Cunningham when Vari-Lite started their architectural lighting division, Bob Dungan called me and offered me a position in the new business unit. At the time, Vari-Lite had the Artisan on the market – but it was getting a bit long in the tooth, and the research and development team were struggling to get started on developing a new console. Bob, therefore, suggested to Vari-Lite cofounder, Rusty Brutsché, that I be moved onto the project, and Michael Snyder and I started work on specifying the Virtuoso console.

Programmers are a critical component in the on-going development of lighting control products. If you refuse to listen to their feedback, preferring to dictate to them based on the premise that you know better, your product will suffer and is unlikely to gain popularity in the market. 30

THEATRE EXPERT

When did you start work on the ETC Eos console? Shortly after starting my own consulting company, Dennis Varian contacted me and asked me to consult on the development of a new desk for ETC – which was to become the Eos. Dennis and I worked for a couple of years figuring out what kind of platform we wanted. We knew that we needed something for the theatrical market because concert touring was very well served. Finally, in 2003, we started actively building the Eos, which we launched in 2006. I continue to work with ETC on the Eos product family and became a permanent employee of the company in 2016. I have been very blessed with some amazing opportunities over the years. New consoles are not built from the ground up very often, and I have simply been in the right place at the right time when a lot of these projects were launched. I love the work that I do, especially working with our customer base. I enjoy the fact that I work with people who are half my age because they keep me young and push me in ways that I think are good for me.

Has being female affected your career? Looking back, I don’t recall my gender being a particular issue – certainly not one that I allowed to affect me too deeply. For the most part, if people have an objection to me based on my gender, I choose not to take it personally and acknowledge that it is not my fault or my problem to fix. I look back at the trajectory of my career, and if there is a glass ceiling based on gender, I am not aware of it. It is, however, difficult to ignore the fact that this industry requires you to be on the road a lot, which can make it difficult for many women to have and maintain a family. There is a biological imperative that women are the ones that have to give birth and who, in the vast majority of cases, are the primary nurturers in the family. Men can do a lot – but they can’t make breast milk. I made a very personal decision not to get married and not to have children, in part because of the demands of my career. I can honestly say that if I had children, I probably would not have been able to sustain the career path that I have chosen. Not to say that it is impossible, I have a friend in the UK whose partner is a stay-at-home dad, while she has an international lighting design career. It is, however, not usually the case.

Have you encountered gender discrimination at times? There is one incident that sticks out in my mind as blatant gender discrimination, which occurred when I was the director of research and development at ETC in the 1990s. I went to PLASA in 1992, and there was a product being launched that I really wanted to see. I kept going into the booth, and nobody would show it to me. I walked out and was kvetching to Keny Whitright, the owner of Wybron, explaining that I could not get these people to talk to me. He walked me back into the booth and, with him standing next to me, there was immediate engagement. The product representative started the demo, and as soon as I asked a question, the rep would direct his answers to Keny – continuing to ignore my presence completely. It was infuriating. Finally, exasperated, Keny took me by the shoulders and physically moved me in front of the rep to try to make the point. Ironically, Richard Pilbrow put together a PLASA panel on what it is like to be a woman in lighting in 2016. I was joined on the panel by Dawn Chiang, an American lighting designer together with a number of other women with established careers in lighting. During the discussion, a young woman in attendance pointed out that she found it frustrating coming to shows because she was so often dismissed –

I have been very blessed with some amazing opportunities over the years. New consoles are not built from the ground up very often, and I have simply been in the right place at the right time when a lot of these projects were launched. – Anne Valentino

even though she was a key decision maker in her organisation. I was frustrated to hear this because it meant that no progress had been made, 25 years later.

How has being a woman in a male-dominated environment worked to your advantage? At the risk of sounding sexist, I think that women are innately better listeners, and this job is all about listening. When you are designing a console, you come with a vision for the final product. If you are lucky, people adapt to it, and they use it. However, many of the programmers that are using the console to make a living have their own ideas and unique needs, and we need to be responsive to that. Programmers are a critical component in the on-going development of lighting control products. If you refuse to listen to their feedback, preferring to dictate to them based on the premise that you know better, your product will suffer and is unlikely to gain popularity in the market. As a woman, I am very invested in seeking out feedback and responding to what I am told. I have no need to be recognised as ‘an authority’ – preferring to learn every day.

Do you have any advice for young women that are trying to establish themselves in the industry? I have found that the best approach to adopt when dealing with the select few men that have treated me differently because I am a woman, is simply to ignore it. The best response to gender bias is simply to be the very best that you can be at the job that you choose to do – which the only thing that is ultimately in your control.

THEATRE PRODUCTS

Photo by Brinkhoff

THEATRE PRODUCTS

Warhorse (2014): Teatro at Montecasino

Martin Professional MAC Quantum Profile The MAC Quantum Profile represents the latest in LED technology which, in combination with Martin’s proprietary optical design, delivers a crisp and bright output. Any concerns about lamp ageing, shifts in colour temperatures, green colour points, misaligned lamps and declining output are eliminated, as consistent LED technology guarantees that the last show on the tour looks as good as the first.

KEY FEATURES • Flat field, crisp image, high contrast • Super high-speed movements and effects • Full feature set including colour mixing and 1:3 zoom • Consistent photometric performance via LED technology www.electrosonic.co.za

Martin Professional MAC AURA XB The MAC Aura XB is an awardwinning, compact LED wash light, which incorporates many new features, first introduced with the MAC Quantum Wash™. The MAC Aura XB offers additional brightness, a new superior colour mixing system and an optimised lens design for tighter beams and more washes. Martin’s unique and patented Eyecandy Aura Effect™ is also part of the package.

KEY FEATURES • Super-bright single-lens wash with fully pre-mixed colour • Broad colour palette, RGBW colour mixing • Eye-candy Aura Effect™ • Built-in FX engine • 6000 Lumens output www.electrosonic.co.za

Martin Professional MAC Encore Performance CLD MAC Encore™ Performance CLD integrates cutting-edge LED technology with proprietary and innovative light engine carefully engineered to generate pristine, full spectrum light with ultra-high colour rendition. The feature-packed moving head offers unparalleled 6000 K crisp, neutral daylight. Its advanced colour mixing system delivers the full palette from subtle pastels to vibrant saturated colours.

KEY FEATURES • Pure white LED engine, 6000 K CCT • A flat field without colour temperature variation during zoom and dimming. • Flicker-free operation, LED driver frequency for all camera applications. • Fully electronic dimmer/ shutter control www.electrosonic.co.za

ETC ColorSource PAR An LED luminaire, the ColorSource PAR uses a proportionate recipe of red, green, blue, a twist of lime and an extra dash of red to expand the ColorSource PAR’s colour range, giving richness only possible from ETC LED luminaires. It outputs bright, beautiful light and is easy to use – with or without a lighting desk – and lives up to ETC’s high standards for quality.

KEY FEATURES • RGB-L chipset • Homogenised optics • Simple user interface with seven-segment display • PowerCon in and thru • DMX/RDM in and thru (5-pin) www.prosound.co.za

ETC ColorSource Linear

ETC ColorSource CYC

The ColorSource Spot features a precise combination of red, green, blue and lime emitters. ETC applied its extensive colour-mixing knowledge to the fixture to ensure that it can achieve brighter, richer and more believable colours than other budget LEDs. The ColorSource Spot accepts all the Source Four LED accessories, zoom and fixed-focus lens tubes, and CYC and Fresnel adapters.

The ColorSource Linear is contained in a strip light or batten form factor and uses the same proportionate recipes of red, green, blue, and lime LEDs as the ColorSource PAR. The Linear fixture was designed to allow multiple fixtures to be mounted end to end with no visible break in light. The ColorSource Linear is available in three lengths.

The ColorSource CYC is a dedicated cyclorama fixture with a sole purpose of creating beautiful, smooth washes of light on a cyclorama or wall. This is the first ETC fixture to use this unique five-colour mix; red, green, blue, indigo, and lime, which gives a great range of colours at an affordable price. With a compact and lightweight design, it fits easily on your stage floor or hangs from a pipe.

KEY FEATURES • RGB-L array • Simple user interface with seven-segment display • PowerCon in and thru • DMX/RDM in and thru (5-pin XLR or RJ45) • LED droop compensation www.prosound.co.za

KEY FEATURES • ETC’s RGB-L chipset (Red, Green, Blue and Lime) • Homogenized optics • Simple user interface with seven-segment display • PowerCon in and thru power connections • DMX in and thru (5-pin XLR or RJ45) www.prosound.co.za

THEATRE LIGHTING

ETC ColorSource Spot

KEY FEATURES • • • •

All LED (RGBI-L) Rich, bright light Fanless operation Stand-alone presets and sequences • Simple setup and user interface

www.prosound.co.za

Photo by Louise Stickland

THEATRE PRODUCTS

Sister Act (2015): Joburg Theatre

Robert Juliat Follow Spots

Phillips VL2600 Profile

Launched earlier this year at Prolight+Sound, Robert Juliat resents the Alice 600w LED followspot. The new dynamic short-throw model features an exclusive 600W cool white LED source and is the first professional LED follow-spot able to deliver high output, comparable with that of 1200W discharge followspots. With its compact dimensions, silent operation, smooth electric dimming and the benefits of no lamp change and powerful output.

The Phillips VL2600 profile is capable of 19,000 lumens of high colour temperature, high contrast light output from its 550W light engine, and has a zoom range of 7-48°. With a wider colour range than that of the VL2500, you get a wider selection of saturated colours with adjustable CTO adjustment. Compact, light, fast and accurate, the VL2600 Profile is easy to use and maintain.

KEY FEATURES • • • •

Long-life LED source Beam shaping from 13° to 24° Fine balance Built-in Electrosonic flicker-free power supply • Silent-running cooling fans www.dwrdistribution.co.za

KEY FEATURES • Lower Power Consumption – approximately 820W (550 LED engine) • High output – 19000 lumens • Flat, even, beam • Wide zoom range – 7°- <48° High Contrast Ratio www.dwrdistribution.co.za

GrandMA3

ETC Eos

Founded on the legacy of the previous grandMA consoles, the grandMA3 represents a radical rethink of what’s possible from a lighting control platform. The elegant new system-architecture incorporates new fixture, feature and effects-handling at its very heart. The system features groundbreaking concepts from top industry visionaries, presented within a refined user interface, and is designed to make practical tasks more intuitive.

From Broadway shows, opera houses, theme parks, awards shows, houses of worship and television studios to school auditoriums and basement theatres, Eos enables the world’s best lighting. Eos® family controllers are built for venues of every scale, but they share a common programming surface and powerful software. With Eos, your workspace is familiar – no matter where your work takes you.

KEY FEATURES • Large multi-touch screen surface area • Screens can be fully configured to suit user needs • Using the advanced MA-Net3 protocol, grandMA3 systems can output up to 250,000 parameters • Software updates, technical support www.dwrdistribution.co.za

KEY FEATURES • Patch up to any 256 universes within the sACN 65,536 universe specification • Six Colour Pickers and Gel Picker for LED and CMY colour mixing • Magic Sheets, ETCNet2™, Net3™ /ACN, Art-Net and Avab UDP output protocols www.prosound.co.za

Luminex Network Intelligence is a Belgian-based manufacturer of data distribution equipment for professional lighting, audio and video applications for the entertainment industry. The company offers a complete range of network switches, converters/nodes and DMX splitters, providing AV designers and technicians with cutting edge technology to build a complete data distribution system for large venues, including theatres. • Luminex switches are validated against many protocols • RLinkX protocol ensure that signal won’t be lost during a show • Redundancy on power and temperature levels • Converters and splitters are RDM enabled www.electrosonic.co.za

Luminex GigaCore

Luminex LumiSplit

The Luminex GigaCore Gigabit Ethernet switch is designed to cope with the most demanding lighting and AV installations.

The Luminex LumiSplit is one of the most versatile rack-mounted DMX splitter for professional lighting solutions, perfect for touring and live events. Luminex splitters are completely configurable through RDM but also offer RDM filtering to prevent issues with non-RDM lighting fixtures.

KEY FEATURES • Managed through a web interface, the unit can be configured from the front end display • Four SFP cages to create complex network topologies over fibre links, including mesh or ring • Additional available options make the GigaCore 16Xt one of the most secure systems • Pre-configured groups (VLAN) for most AV protocols • Compatible with ArtNet, sACN, MANet, Dante™, RAVENNA/ AES67, Q-LAN, and PTPv2 IEEE1588-2008

KEY FEATURES • Rack-mounted • Enables Remote Device Management (RDM) • Boosters are visible and configurable from any RDM controller • Robust housing with galvanic and optical isolation per outlet • Neutrik PowerCon True1 connector www.electrosonic.co.za

LIGHTING • CONTROL • NETWORKS

Luminex Network Intelligence

www.electrosonic.co.za

200 mm

HCWA

the new scenery hoists

the new scenery hoists HCWA

200

200 mm

www.dwrdistribution.co.za OFFICIAL ASM DISTRIBUTOR FOR SOUTH AFRICA: DWR DISTRIBUTION Block C, Unit 1, Kimbult Industrial Park, 9 Zeiss Road, Laserpark, Honeydew, 2170, Johannesburg IT’S ALL ABOUT THE people Tel: +27 11 794 5023 | Fax: + 27 11 794 5702 | sales@dwrdistribution.co.za

Otto-Lilienthal-Str. 14 D-33181 Bad Wünnenberg-Haaren Phone +49 2957.99091-00 info@asm-steuerungstechnik.de www.asm-steuerungstechnik.de

Photo by Jesse Kramer

THEATRE AUDIO

Richard O’Brien’s The Rocky Horror Picture Show (2013): The Fugard

L-Acoustics KIVA II Kiva II is a new ultra-compact modular line source. Despite its ultra-compact format, the Kiva II features L-Acoustics’ Wavefront Sculpture Technology™ (WST), giving it a long throw capability and delivering even SPL from the front row to the back of the audience. Its coplanar transducer arrangement and new K front grill generate a symmetric horizontal coverage of 100 degrees without secondary lobes over the entire frequency range.

KEY FEATURES • • • •

138 dB of peak SPL (+ 6 dB SPL vs. Kiva) Compact footprint, low weight High amplifier density (16 ohms) Smooth 100° horizontal polar response (K grill) • 15° inter-element vertical flexibility • Multiple rigging accessories • RAL CLASSIC, IP55 rating www.dwrdistribution.co.za

Meyer Sound Leopard line array With its exceptional precision and headroom, the patent-pending LEOPARD reproduces the audio source with extraordinary accuracy, captivating audiences with both power and subtle musical detail. Innovative engineering brings the astonishing audio capabilities of the LEO Family to a compact and versatile package. The LEOPARD is ideally suited to mid-sized touring and live theatre, worship and live performance installations.

KEY FEATURES • Distortion-free sound reinforcement • Unrivalled resolution and detail • Drivers that pack a punch • Low end comes alive • Tested, measured, guaranteed www.meyersound.com

DiGiCo SD7T When running a theatrical production, there are many powerful options that the SD7T software provides you with giving you greater flexibility than ever before. In theatre mode, you have access to more powerful cue list automation and editing. Now you can easily update specific parameters, across all cues automatically, using Auto Update mode, which gives you the ability to alter your cues on the fly.

KEY FEATURES • The SD7T boasts 256 processing paths at 48kHz/96kHz (or 128 at 192kHz) • Standard channel processing, whether inputs or outputs • Channel delay, DiGiTube, Single and multi-channel presets • Dual insert points, Hi- and Lo-pass filters @ 24dB/octave • 32 gangable 32-band graphic EQs, 48 stereo effects, and 36 control groups (VCAs) www.dwrdistribution.co.za

PRODUCTION

Miss SA

Diamond Jubilee sparkles with brilliance

PRODUCTION

The Diamond Jubilee of the annual Miss South Africa pageant, held for the first time at Sun Internationalâ&#x20AC;&#x2122;s Time Square Sun Arena in Pretoria, sparkled like never before.

Tamaryn Green walks the ramp during the opening sequence of Miss SA 2018

It’s never been so easy to think big

The new Axcor 300 family of moving LED fixtures brings Claypaky’s no-compromise quality and performance to the broad mid-market. Now, more designers than ever before can achieve their biggest ideas. With a physical size, power consumption, price-point that disguise their strength and creative potential, the Axcor 300 range enables a new world of expression in touring, events, TV, theatre and installed lighting markets. The Axcor Spot 300, Axcor Wash 300 & Axcor Beam 300 are available now! AXCOR 300: small body, big personality, mass appeal.

DISTRIBUTOR FOR SOUTH AFRICA: CLAYPAKY DISTRIBUTOR FOR SOUTH AFRICA:

DWR DWRDISTRIBUTION DISTRIBUTION It’s all all about People It’s aboutthethe people

BlockC,C,Unit Unit1 1 Block Kimbult Park, KimbultIndustrial Industrial Park9 Zeiss Road, Laser Park 9 Zeiss Road, Laserpark Honeydew, Honeydew,2170, 2170,Johannesburg Johannesburg

+27 11 794 5023 Tel:Tel: +27117935066 Fax:+27117925076 Fax: +27 11 794 5702 sales@dwrdistribution.co.za sales@dwrdistribution.co.za www.dwrdistribution.co.za www.dwrdistribution.co.za

www.claypaky.com

PRODUCTION

Produced by [sic] Entertainment and directed by Gavin Wratten for live broadcast on M-NET (DSTv channel 101) and Mzansi Magic (DSTv channel 161), the Miss SA pageant offered the live audience, judges and contestants – not to mention the millions of South Africans who watched the live broadcast – a spectacular show. The title of Miss South Africa, together with the coveted title of Miss Universe South Africa, was bestowed upon Tamaryn Green, with the title of Miss World South Africa going to Thulisa Keyi.

A Beautiful Team

A Beautiful LED Wall

Dream Sets, one of the country’s leaders in set design and production for the live events industry, designed and delivered a breath-taking stage for the 60th Miss SA pageant, featuring the largest number of LED screens ever to be used on a Miss SA production. Dream Sets has a proud history going back to 2008 as the set builders for this prestigious annual event. The relationship has grown over the years and in 2015 Dream Sets was appointed the official set and technical supplier to Miss South Africa. Dream Sets relied on the support of MGG, the venue’s in-house service technical provider for professional technical support. The impressive lighting and set design were created in close collaboration with Gavin Wratten by Joshua Cutts and Andre Siebrits from Visual Frontier. “I have been lighting the Miss South Africa pageant for four consecutive years, and while it is always a beautiful event, we wanted to bring something special to the Diamond Jubilee,” Cutts told ETECH in a recent interview. “[sic] Entertainment have taken Miss SA to the next level. The technical team on this production have become a family over the years, and I am immensely proud of the Dream Sets crew,” said Sean Hoey of Dream Sets. The technical director for Miss South Africa 2018, Eben Peltz of Dream Sets added: “We appreciate the professionalism and absolute dedication of everyone involved. We loved working at the Sun Arena, and once again the team delivered.”

LED screens took centre stage at this year’s iteration of the Miss South Africa pageant, with one of the largest LED walls that the MGG team has ever built providing a visually beautiful and highly interactive set. The LED display consisted of more than one thousand panels, controlled by two Hippotizer Boreal Media Servers. Instead of the more conventional continuous screen, Cutts designed ‘screen strips’, which were positioned at different angles on the stage, while graphic content ran seamlessly across all the LED panels, simultaneously. Johan Botha and Tim Parker worked in unison setting up the Hippotizers and LED screens, of which at least seven hundred were Absen pieces consisting of V4 (4.8mm outdoor) and DV2 (2.9mm Indoor) interlocking panels. “We used two 4K outputs with one Boreal running the 4.8mm LEDs, and the other Boreal controlling both the 2.9mm and centre LED screen,” said Botha. “Thanks to the Hippotizer it was so much easier to map the content. We did have to cut up all the content and remap it, but it was easy. When we switched the LED screens on for the first time, the accuracy of the Hippotizer was phenomenal.” Having used Hippotizer’s Video Mapper, the system was connected to MA Net, so that lighting designers Cutts and Siebrits could run the AV on the grandMA2 lighting consoles. “It worked like a dream,” said Botha. “What I love about the Hippotizer is that while it takes time to set up, in the end, it does not matter how complex or versatile a show may be – everything is simplified. We could run the system without a worry.” Botha stated that the two machines worked together perfectly, and the frame accuracy was fantastic. “We were happy with the Hippotizers, which kept up with all the content,” commented Siebrits. “When you chose a look, it was there immediately.”

Photo by Duncan Riley

Tamaryn Green is crowned Miss SA 2018

PRODUCTION

A beautiful light show In recognition of the 60th anniversary of the Miss South Africa pageant, show director, Gavin Wratten of [sic] Entertainment based the design of the show on a theme that captured the beauty and lasting elegance of diamonds. “This year was the diamond jubilee, so we tried to use geometrical shapes that captured the angular nature of the diamond,” Cutts explains. The main stage was 28 metres wide by 8 meters deep, with a 14-metre ramp extending to the front and a 9x6 metre presentation stage at the end of that. Special effects included a kabuki drop to reveal the 12 finalists. “Every year, we try to bring something new to the show. This year we used a kabuki drop to reveal the contestants as the opening scene, which proved to be a great moment in the show,” Cutts points out. The Sun Arena provided a much more expansive venue for the Miss South Africa pageant, and therefore Cutts specified a much larger lighting rig then was used in previous years. The Sun Arena has an extensive in-house lighting rig, which is largely made up of Robe fixtures. Cutts augmented this with Dream Set’s inventory to produce a lightshow that captured the timeless elegance of diamonds with understated colour and tone, but still provided the lighting necessary for a live broadcast. “Being in the Sun Arena for the first time, the larger venue required a bigger lighting rig then I have had in previous years to cover and fill the space from a lighting point of view. I think – all in all – it felt like a bigger production in comparison to years past,” Cutts explained.

Cutts used Robe BMFL Blades for all of the key lighting across the main and thrust stages, with the fixtures rigged on FOH trusses for maximum reach. Twelve BMFL Spots were used for producing breakup and other effects down the ramp from the stage, to the presenter stage at the end of the thrust. Four V-shaped trusses were installed above the stage for the overhead lighting positions, and 18 BMFL WashBeams were rigged on these and used for dramatic beam work and texturing the stage and set. The Robe MegaPointe, however, proved the star of the lighting show, with 24 fixtures positioned for maximum impact on a truss running across the back of the stage just above the LED columns. “The MegaPointes are awesome,” proclaims Cutts. “The beams are so powerful that they sliced straight through the ambient light coming off the LED screens, and I was able to create fantastic in-air effects utilising the gobo wheels and prisms,” he explains. One of the highlights of the set design for Miss South Africa 2018, was the six water fountains that shimmered around the contestants during the show. “We wanted to use water on the stage again this year. In previous years, we used water curtains with projection – so this year I suggested using water fountains to Gavin,” explains Cutts. To achieve this, the team installed two 900mm deep pools into the stage floor, which held 36 tonnes of water. The fountains were achieved using water pumps that were controlled from the grandMA lighting console that was used to programme the show. Cutts decided to light the fountains using beams from above, together with subtle tones of aquamarine on the LED panels behind the fountains. “The secret to the lighting design for Miss South Africa was achieving the correct balance between the contestants walking on the runway and the water features,” Cutts concludes. The result was a dazzling production that highlighted the beauty of South African women and the incredible talent that brought the show to life from behind the scenes.

Photo by Duncan Riley

PRODUCTION

Sixty years of Miss SA celebrated with more than 40 former Miss SA winners on stage.

Expert OPINION

Expert Opinion – Ruud De Deugd Ruud de Deugd is product manager of ProlyteSystems at Prolyte Group. There is a trend for productions and touring structures to get larger and more heavy, like for Metallica and Rammstein. Even though PA and video equipment have become lighter, we see more and more set pieces, motion or special effects in the production, contribution to a growth in total weight. Some bands, like Rammstein, have their own complete set, which travels the world. For example, the Bruce Springsteen production used a Prolyte roof structure for their tour in Scandinavia, which proved to be more efficient from a logistic point of view, it saves enormously in transportation. That is one of the benefits from Prolyte’s global network, we have our structures placed in many countries, so touring productions do not need to take the roof structure with them. This could mean a great saving in production costs, as well as contributing to creating a smaller ecological footprint. For Dance festivals, we see a trend for more elaborate set decoration and the integration of video, light equipment and set pieces into one structure. This means that rigging these structures becomes more complex; sometimes this offers a challenge to do it save, especially under time pressure. In these structures Prolyte truss is often used as a “coat rack” as we call it, just a frame to attach all equipment and set pieces to. We often work closely with Layher to make this possible and to make it safe.

Prolyte Space Roof and XXL Roof

Trends in Roof Systems and Touring Structures build a wide range of dimensions, both larger and smaller. The benefit of this roof are the rigging possibilities and accessibilities for a rigger. Every 1x1m in square there is an easily accessible rigging point available which can handle significant loads. Depending on the position of that rigging points in the roof, such a rigging point can handle 2000kg as a single point. In combination with the specially designed top canopy, which guarantees efficient water drainage, this roof is a very flexible and user-friendly stage structure. The Space roof can handle 30 tonnes live load in general, divided over the complete roof structure, plus a PA load of four tonnes per side. Although this is the standard live load this roof can handle, we do get frequent request to see if we can fit in heavier productions. For Metallica, we made specific calculations and some extra reinforcements to get the 55-tonne production in, and we were able to support the 48-tonne production set for Rammstein. In close contact with the rental or staging companies which own the stage, we are always able to find a solution to make it possible to squeeze the production in the roof structure, although there are limits. The Paul McCartney 2016 tour with 85 tonnes was too much for the roof. Which of course is not a shame, because there are just a few stage structures which can handle those loads. Apart from the Space Roof Prolyte has also developed the XXL roof, a gable top roof structure, this roof can handle approx. 30 tonnes divided load, when needed we can add extra towers in the back. Depending on the size and shape of the structures, the loading capacity can differ greatly. For example, dome or arch-shaped structures are more favourable in loading terms.

The Prolyte Space Roof is a modular roof system based on a space frame structure. The roof can be suspended from standard Prolyte CT towers. The Standard Space Roof is 37x22x205 meters in size but can be

Serious truss for serious loading

When loading gets seriously heavy, truss needs to be taken serious. You don’t want to take risks working on this scale, doing the job properly, your solution must be reliable. Invest in peace of mind, rely on complete solutions from Prolyte. www.prolyte.com | Official Prolyte distributor

LC3

Innovations > Used as a type of compact and portable high-end modular line array speaker system; > Excellent acoustic performance of extremely high definition voice and sound reproduction; > Good substitution for traditional column speaker system and line array speaker system; > LC163A includes 16pcs 3inch cone speaker units and 16pcs dome tweeters; > 4-channel Class-D amplifier(4*450W/8Ω) and maximum SPL 135dB for each cabinet; > LC212A is a type of elegant “V-shaped” band-pass subwoofer system; > Built in with a power amplifier with total power reaching as high as 2400W; > Easy system connection and “plug and play” solution; > System can be freely combined and split for multi-purpose application.

DM20

iPad Control

> S/PDIF in/out & AES/EBU output > 7" 1024x600 IPS touch screen > Input: 12 MIC(4 COMBO), 2 ST,S/PDIF input,USB input > Touch screen sliding operation > 8 FX (2 Modulation,2 Delay,2 Reverb,2 GEQ) > BUS: L/R +4MONO+4ST+1Monitor/High quality components:NEUTRIK XLR,ALPS faders > 2 USB(recording/playback) > iPad remote control > Electro-gain of 12 MIC > 2.1 output > Support acoustic environment improvement at RTA measuring mode. > 31-band GEQ. > Support ogg, flac, ape, WAV and MP3. > Bus layer send function allows directly sending the required input channel to current bus at bus interface.

PROFESSIONAL STUDIO & DJ

The saying – “if it's too loud, you are too old” – may hold true for millions of party-goers across the world. However, in our modern urban environment – where the boundaries between residential and commercial spaces get closer – “if it's too loud, you are probably breaking the law” holds truer. 46

THE ULTIMATE URBAN EXPERIENCE By the early 2000s, increased awareness about the potential harms of urban noise pollution, motivated city authorities across the world to enforce noise curfews with a greater rigger. Refusing to be deterred, festival organisers and clubs owners across Europe and America took advantage of the emergence of wireless technology to keep the party going. By the mid-2000s, party-goers were listening to music well beyond noise curfews at festivals, street parties and clubs across the world, using wireless earphones. The global phenomenon of silent parties continues to spread, supported by the rapid development of the technology which makes these events possible. South Africa is no exception – with an innovative partnership between Silent Disco SA and Denon DJ bringing the city’s party fans together in Johannesburg.

QUIETLY RAISING THE ROOF Owner of production company Perfect Tone Music, Tony Brinsford was one of the first to bring Silent Disco events to South Africa, following his positive experience with the UK branch of the company some years ago. ETECH spoke with Brinsford about Silent Disco SA, a company that is currently among the leaders in the SA silent party trend, at the Viva Afrika offices earlier this month. According to Brinsford, the Silent Disco concept is simple, yet revolutionary. Three deejays, each on their own set of decks housed on a single stage play simultaneous sets that are transmitted wirelessly across the venue. Party-goers can hire a customdesigned set of Silent Disco headphones that are programmed to receive the three different wireless signals. Deejays on the stage are backlit with red, green or blue, which corresponds to lighting on the headphones to indicate which deejay a listener is following. The listener can adjust the volume and select a channel of their choice, using simple toggles on the headset. The net result is hundreds of

PROFESSIONAL STUDIO & DJ

Silent Disco party at The Beerhouse, Fourways Johannesburg

people dancing the night away to the music of their choice within a stone’s throw of residential areas – without breaking any laws or having to shout at the barman to order a drink. “We started the Silent Disco parties five years ago, at the Cape Town branch of Beerhouse, a Bavarian craft beer bar and eatery. Three years ago, we started offering Silent Disco parties at Beerhouse in Fourways, on the last Thursday of every month. Over the years, Silent Disco parties have gained an enormous following in Johannesburg, with patrons returning for every event that we hold,” Brinsford concludes.

SMART PARTNERSHIPS In an interesting turn of events, while recruiting new deejays for the Silent Disco platform, Brinsford discovered the local deejay, Morgan Pienaar. “When I heard Morgan beatboxing, I realised that it would be a very interesting addition to the repertoire of talent on offer on the Silent Disco stage,” Brinsford explains. While

enjoying a new audience for his skills as a Silent Disco deejay, Pienaar was appointed as Denon DJ product representative in September 2017. “Tony and I got to talking about the Denon DJ range, and it turns out that Tony has been a vehement supporter of Denon DJ for most of his professional career,” Pienaar explains. “The synergies seemed almost too good to be true, and we started working to bring the Silent Disco platform together with the Denon DJ brand,” Morgan states. According to Pienaar, the Denon DJ range of multimedia players are ideally suited to the Silent Disco concept. “A conventional festival deejay takes a very different approach to deliver a set – which generally involves beat mixing a predetermined set list within a specified genre,” Pienaar states. Tony’s Silent Disco deejays have a very different environment to work with and operate more like buskers. “We often take requests from the crowd and need to mix on the fly. Denon DJ’s highly flexible capabilities allow for genres that cannot be beat mixed to be played within a set, with help from the effects capabilities and

smooth faders featured on Denon DJ decks,” Morgan explains. Since establishing the partnership early this year, all of Silent Disco’s gigs have been achieved using Denon DJ equipment. The results have been well received not only by the ever enthusiastic crowd but by Pienaars’ fellow deejays. Deon, one of Brinsford’s resident deejays states: “Denon DJ is one of the top deejay controller brands in the world and since Denon DJ has come on board with Silent Disco, we have loved having the opportunity to use the equipment.” Craig concurs, “I love working on the Denon DJ product range because it is user-friendly and the sound quality is phenomenal.”

www.vivaafrika.co.za

DJs on Denon PRODUCT REVIEW

Denon DJ’s world-renowned range of sturdy, reliable, user-friendly products provides a quality experience for users and listeners alike. Sleek and simple, Denon

DJ delivers on both form and function. ETECH spoke to several working deejays across the country about their experience with the range. Andre Le Roux, also known as andre.the.dj. or DRE, has been deejaying for the past thirty years, having started his career at the tender age of 17. He cut his teeth as a club deejay working with vinyl in the 1980s and has gone on to establish himself as a much sought-after performer across Johannesburg and Cape Town. andre.the.DJ

Andre Le Roux

Q: What is your overall impression of the Denon DJ Q: Do you have a favourite piece of Denon DJ gear? brand? A: With robust metal casing and great support- you can’t A: My favourite is definitely the Prime Series, but I also love the little go wrong with Denon DJ. The product is robust, and the quality is it at the level that I need it to be. We always get excellent support and assistance from Viva Afrika’s Denon DJ product representative Morgan Pienaar.

monster MC7000.

Q: If you could buy any piece of equipment from Denon DJ what would it be? A: The Prime Series SC5000 is on my wishlist. I love the variable weight settings on the decks for scratching. The Mixer X18 Prime also features on my list as well as the VL12 turntables.

Deep House enthusiast Emilio Govender, alias DJ Milo has been deejaying for over a decade. He is a regular fixture at some of Johannesburg’s biggest clubs and music venues, such as Madison Avenue and News Café Northriding, among others.

DJ Milo

Emilio Govender

Q: What is your overall impression of the Denon DJ Q: If you could buy any piece of equipment from Denon brand? A: Denon DJ is a really good, reliable brand. The product DJ what would it be? A: I would like to get my hands on the new delivers what you need to perform as a professional deejay.

Q: Do you have a favourite piece of Denon DJ gear and what are some of your preferred features? A: I enjoy working on Serato, which works seamlessly with the Denon DJ range. In terms of features, the Denon DJ range offers exceptional scratching ability, together with really smooth faders.

Denon DJ SC5000 Prime Professional Media Player. I love the design, and the product has all that you could ask for on a single platform. I find Denon DJ’s media players to be very user-friendly because everything that you need is centrally located and easy to find.

Neo Mofokeng, known in the EDM culture as DJ Neps, is a dedicated house enthusiast, who cites classic, commercial and future-house among his favourite genres. Mofokeng has headlined the SA Gin and Rum Festival in Johannesburg featured on Primedia’s 94.7 Highveld Stereo and has been featured on various internet-based radio stations. DJ Neps

Neo Mofokeng

Q: What is your overall impression of the Denon DJ brand? A: Denon DJ is a well-recognised and established brand that

and change between USBs. The search engine on the device is also on point.

Series range and the MCX8000 are among my favourite products from Denon DJ. I enjoy the link capabilities on Denon DJ devices. When you play to more diverse crowds, it is great not having to chop

analogue. The hardware is more robust than many competitors, and you feel in control of what you are doing. It is also a very aesthetically appealing set of hardware

manufactures gear that is both consistent and reliable. Q: If you could buy any piece of equipment from Denon Q: Do you have a favourite piece of Denon DJ gear and DJ what would it be? A: The Denon DJ Prime Series is, without what are some of your preferred features? A: The Prime question, on my wish list. While the music may be digital, the feel is

Stones and Bones are a Gauteng-based Afro-Rock duo, consisting of KG “Bones” Mohlaka on vocals, synths and decks, with CJ “Stones” Steenkamp handling saxophone, guitar and vocals. The duo have been performing together for 17 years, and have produced several chart-topping singles, including Amahloni, featuring Toshi, and Masambe, featuring Mpumi. Stones and Bones

CJ Steenkamp and KG Mohlaka

Q: What is your overall impression of the Denon DJ brand? Q: Do you have a favourite piece of Denon DJ gear and A: The Prime Series has allowed us to express our artistic creativity in what are some of your preferred features? A: Without our live performances. Whatever we can dream up in our minds, we know that Denon DJ will find an innovative way to incorporate that into their updates. Denon DJ is a brand that is made by deejays for professional deejays and is, quite frankly, revolutionary. The future is here, and it goes by the name of Denon DJ.

question – we both love the Denon DJ Prime Series, and it remains a firm favourite. Regarding features, the dual layers on the SC 5000 are great. We also need to mention the effects included on the X1800. The trigger pads, together with the incredibly easy and pinpoint accurate loop function, as well as the ability to LAN network different players make working with Denon DJ a great experience.

Q: If you could buy any piece of equipment from Denon DJ what would it be? A: The Prime Series…over and over again.

Neil Hunter is relatively new to the industry, with two years of professional deejaying under his belt. Neil has played alongside the likes of DJ Voltrex, Twins on Deck, and Chunda Munki. DJ NXIL

Neil Hunter

Q: What is your overall impression of the Denon DJ brand? nicely-sized, ergonomic buttons. A: I really enjoy the features that Denon offers, and I personally Q: If you could buy any piece of equipment from Denon believe that Denon DJ is the best brand out there for what I do. DJ what would it be? A: The Denon SC5000 Prime, for its ease of Q: Do you have a favourite piece of Denon DJ gear and use, its large buttons, big user-friendly screens, and eight cue pads. I what are some of your preferred features? A: The Denon HP really enjoy working on it. 600 headphones are a personal favourite of mine, as well as the Denon SC5000 Prime. The HP 600 headphones have total noise cancellation, while the SC5000 Prime has great screens, and

SOCIAL

Theatre tour Cape Town

Jeremy Roberts with UCT technical staff

Cape Town theatre tour group, Little Theatre UCT

Quest open day hosted by DWR Johannesburg Jeremy Roberts and Robbi Nassi

Frank Andrewartha

Duncan Riley and Glenn Duncan

Gary Furman and Kevin Glover

Kyle Nel and Sakkie Coetzer

Arline Copans, Joe Copans, Roly Oliver and Carmin Junius

Peter Berry with Aidan Wolhuter

Chris Andrews and the team from Bounce Sound and Lighting

JBL VTX A12 Launch hosted by Wild & Marr Johannesburg

FBT launch

hosted by TV Audio Johannesburg

Anne Valentino Market Square Auditorium Vandena and Mahesh Kathawaroo with Deon Scheepers and his team

Johannesburg

L-Acoustics Open Day

One Night Only

Johannesburg

hosted by DWR

Mark Gaylard, Denzil Smith, Robert Izzett and Justin Le Roux

Jeremy Roberts, Jesse Dullabh and Jade Hanekom

Prime Circle demos the L-Acoustics K2

ULTRA-COMPACT MODULAR LINE SOURCE Packing a 138 dB wallop, Kiva II breaks the SPL record for an ultra-compact 14 kg/31 lb line source. Kiva II features L-Acoustics’ patented DOSC technology enhanced with an L-Fins waveguide for ultimate precise and smooth horizontal directivity. WST® gives Kiva II long throw and even SPL, from the front row to the back, making it the perfect choice for venues and special events that require power and clarity with minimal visual obtrusion. Add to that a 16 ohm impedance for maximized amplifier density and a new sturdy IP45 rated cabinet, and you get power, efficiency and ruggedness in the most elegant package. www.l-acoustics.com

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Official DistributOr Name of company fOr sOuth africa: DWr DistributiON unit 1, Kimbult industrial Park, 9 Zeiss road, laserpark, honeydew, 2170, Johannesburg NO. Street/P.O. box - Cityblock andc, zip code and Country - Telephone/E-mail - Website It’s all about the people tel: +27 11 794 5023 | fax: + 27 11 794 5702 | sales@dwrdistribution.co.za | www.dwrdistribution.co.za