Pro Systems May/June 2013

March / April 2013 R35.00

Viva Afrika – Hybrid

May / June 2013 R35.00

AV SyStem IntegrAtIon | InStAllAtIonS | lIVe eVentS | StudIo & BroAdcASt AudIoSOUTHERN AFRICA

medIAtech AfrIcA 2013 PreVIew

greenIng dIgItAl SIgnAge

world’S lArgeSt outdoor led Screen

ProlIght + Sound 2013

SAmAs 2013 reVIew

Bon JoVI lIghtIng dIrector InterVIew

RussiAn JewisH MuseuM instAllAtion

Cover Story

viva afrikaViva Afrika Sound and Light (Pty) Ltd

Unit 2, 2 Drakensburg RoadLongmeadow Business Park West, West� eld

PO Box 4709, Rivonia, 2128, South AfricaTel: 011 250-3280, Fax: 011 608-4109

[email protected], www.hybrid.co.za

Performance beyond it’s price

Hybrid+ 4.1High power class D amplifi er

Frequency Response:

20~24 000Hz (1W +/- 0.5dB)

Maximum Rate Power (RMS):

at 4 ohm: 2 200W/channel x 4 channels


Signal to noise ratio: 103dB (A-weighted)

Weight: 12.5Kg

Dimensions mm:

489mm(W) x 88mm(H) x 502mm(D)


Frequency Response:

20~24 000Hz (1W +/- 0.5dB)





Weight: 7.7Kg

Dimensions mm:

489mm(W) x 88mm(H) x352mm(D)

LA212Line source speaker system For audiences up to 50 000

Frequency Response (+/- 6dB):

50~18 000Hz

Maximum SPL /1m (Calculated):

134dB Continuous

137dB Program

LF Driver: 2 x 12” CELTO ACOUSTIQUE

Ferrite magnet, 3” In/Out voice coil

Power Rating: 900W RMS LF + 200W HF

Weight: 63Kg gross

Dimensions mm:

960mm(W) x 377mm(H) x 488mm(D)


Frequency Response:

20~24 000Hz (1W +/- 0.5dB)





Weight: 11.7Kg

Dimensions mm:

489mm(W) x 88mm(H) x 480mm(D)

EXS218 LF SubwooferSuitable for indoor and outdoor live performances

Frequency Response (+/- 6dB):

30~1 100Hz

Maximum SPL /1m (Calculated):

136dB Continuous

139dB Program

LF Driver: 18” CELTO ACOUSTIQUE

Ferrite magnet, 4.5” In/Out voice coil

Power Rating: 3 000W RMS

Weight: 96Kg gross

Dimensions mm:

1 080mm(W) x 580mm(H) x 780mm(D)

Great sound with brains to match!!

All you need from one system

EXS218 LA212LA212

With built-in digital signal processor controlled using Windows 7 or 8. Android 4 & iPad IOS 6. Wi-Fi control software for laptop or tablet included.

Digital Signal Processor Features: • Input delay up to 100m

• 31 Band graphic EQ with fl at top response

• 8 Band parametric EQ with band-pass

• High-pass, low-pass, notch and shelving

• User confi gurable look ahead limiter

• Crossover with selectable slope of 6, 12, 24 or 48dB/octave and L-R,

Butterworth or Bessel slopes

• Input matrix confi gurable • Output delay up to 15m

• 30 User presets

Great sound with brains to match!!Great sound with brains to match!!

SHOWCASING

AT

MEDIATECH

AFRICA

www.digiled.com

digiLED Ti6S – 6mm and MC10 – 10mm Curved LED Screens / PSL Awards, May 2013

digiLED Screens are available for hireand supported by:digiLED screens are distributed in Africa by:

+27 11 805 6353

Visit us at Mediatech Stand D15

4

newS

It’s amazing how quickly the year has passed – Pro-Systems News is over a year old and another Mediatech Africa advanced technology trade show is upon us.

The positive feedback Pro-Systems has received from advertisers and readers alike has truly made this adventure worth the hard work and the late nights. I take this opportunity to thank my team, our advertisers and you, the readers, and welcome feedback in making Pro-Systems the best possible read!

Our cover story in this issue, The Russian Jewish Museum, is testimony to the skills and expertise we have in our country. Austrian firm, Kraftwerk Living Technologies, turned to South African partners Digital Fabric to provide both project management and on-site installation services, led by the internationally acclaimed museum designers Ralph Appelbaum and Associates.

Once again the local industry stands out with Questek’s configuration and integration of the Absa Lumen screen. This is the world’s largest LED solution to date, bigger than those at Piccadilly Circus in London and New York’s Times Square.

With South Africa positioned as the “Gateway to Africa” we are certainly setting the standard for the use of audio visual technology. This year’s Mediatech Africa will not only showcase state-of-the-art equipment but will also deliver SABA’s Digital Broadcasting Infrastructure Seminars, The Africa Loudness Summit, as well as a host of interactive demonstrations and workshops.

Join us in welcoming the international manufacturers and guests to Mediatech Africa and come and meet the Pro-Systems team on Stand Number F51.

Regardssimon Robinson

Publisher & editor

Contributors

Contents

Claire Badenhorst | Industry expert with eight years experience in event management, PR, marketing and advertising within the professional audio, video, lighting and staging sector. Claire has played an integral role in the development of the concept and content creation of Pro Systems and works closely with our advertisers and readers.

simba nyamukachi | A graduate in journalism and has an honours degree in Media & Culture Studies. He grabbed the opportunity to join Sun Circle Publishers in his first position as a journalist for Pro-Systems News. He has an immense passion for the AV and live entertainment industry and is furthering his AV integration knowledge by completing an online accredited AV training program.

louise stickland | Professional journalist and photographer with huge passion and enthusiasm for technology and the production industry. Louise initially worked and toured as a lighting designer after graduating from university. She has many years experience in the music and live event sector, and works closely with leading international designers, production companies and technology manufacturers.

Paul watson | After touring professionally with several bands in the UK and then the US, Paul went on to open his own commercial recording and rehearsal facility, where he was resident producer/engineer for six years. For the last five years, he has been a regular contributor for a number of UK titles, covering live sound, studio sound, lighting, video, broadcast and post-production. He is also European Editor for one of the major US trade music publications.

Greg Bester | Musician and audio engineer – proficient in both the analogue and digital domains and has extensive experience mixing live music, setting up and configuring loudspeaker systems, monitoring and general stage management. He has mixed hundreds of events and is comfortable on large and small-format mixing consoles.

Publisher & editor | Simon Robinson | [email protected] Journalists | Greg Bester | [email protected] and Simba Nyamukachi | [email protected] sub-editor | Tina Heron

advertising sales | Claire Badenhorst | [email protected] design | Trevor Ou Tim | [email protected] subscriPtions | Albertina Tserere | [email protected]

Sun Circle Publishers (Pty) Ltd | Tel: +27 11 025-3180 | Epsom Downs Office Park, 13 Sloane Street, Bryanston, Johannesburg | PO Box 559 Fourways North 2086, South Africa

www. pro-systems.co.za

eddie Hatitye | Professional journalist and former editor of Music Industry Online, Eddie has been actively involved in the South African recording and music industry for the past 5 years. He has a strong passion for music production and has leveraged this knowledge and his contacts to further his career as a journalist.

news

Audiosure sign distribution deal .....................5

Crestron House opens .....................................5

Skilling Vari-Lite users ........................................5

Calibre sign up Prosound ................................6

Panovision Telepresence in SA .......................6

GearShack acquires Global Truss ..................6

CTICC appoints IVTM .......................................8

Audiosure celebrates dealers ........................8

Sound Harmonics brings Ayrton to SA ...........8

AVU handles Galaxy S4 World Tour ..............10

PVision arms 2RM Security.............................10

WATCHOUT for Afrikaans music awards ......12

SuperSport OB van gets DiGiCo ..................12

WiTP trains follow spotters .............................12

MeDiAteCH PReView

Mediatech 2013 .............................................14

On show at Mediatech .................................16

International guests at Mediatech ..............22

systeM inteGRAtion

Digital signage

– the greener alternative: Part 1 ..................25

Lumen illuminates Jo’burg skyline ................30

Streamlining education .................................32

Russian Jewish Museum installation .............34

InfoComm educates AV sector ...................38

Handy apps for AV integrators .....................40

instAllAtions

Kearsney College ...........................................42

KONG: the king of all clubs... .......................46

CRC Church Bloemfontein ...........................48

A quest for the best .......................................50

liVe eVents

Signing off for Shure .......................................52

Avidly digital ...................................................54

SAMAs 2013 .....................................................56

Bon Jovi’s lighting director Interview ...........58

Beyonce: London’s O2 Arena ......................60

Justin Bieber: Beliebe it! .................................62

PRoliGHt + sounD RePoRt

Prolight + Sound 2013 Review ......................68

South Africans at Prolight + Sound .............72

Prolight + Sound Director Interview .............74

Greg Bester’s Best of the Best.......................76

FACtoRy touR

Touring Robe ...................................................78

stuDio & BRoADCAst

Miktek C5 Review .........................................82

Drum Recording Tutorial: Part 1 ....................84

Neil Snyman Interview ...................................86

soCiAl

Audiosure Dealer Evening ............................87

Crestron House Opening ..............................87

Neets Product Launch ..................................87

Robe Factory Tour ..........................................87

Sennheiser RF Seminar ...................................88

Sony Conference for Africa ..........................88

Women In Technical production

Follow Spotter Training ...................................88

Philips Vari-lite Training ...................................88

5

Audiosure, a top professional audio visual

and consumer brand distributer, added new

AV control systems company, Neets, to its

commercial AV inventory. The company

unveiled the Neets brand to the South

African market at a product launch held at

their Johannesburg offices on 21 May.

Neets released a statement on their

website expressing their excitement about

their venture stating: “We are proud to

present Audiosure as our distributor in South

Africa. Audiosure have been active on the

South African market in the past 12 years and

has a great team with focus on local training

and education.”

Neets brings more than just a new control

system to the South African market; the

company brings experience from more than

14 years of making AV control systems in

more than 50 000 class and meeting rooms

worldwide.

Speaking about the Neets product range,

Camilla Brengosz, from Audiosure’s

Commercial AV and Technical Division said:

“Neets provides much smarter solutions

especially in configuration of control systems

which saves system integrators time, efforts

and headaches.

The company, in accordance with Danish

design traditions, has also developed control

systems and electronics which are not only

easy to configure, but also easy to install

when you are standing on the ladder and

easy to use for teachers, professors and

presenters.”

On 15 May Electrosonic SA celebrated the

official opening of Crestron House in

Blackheath, Johannesburg. The guest

speaker at the event was Robin van

Meeuwen, Vice President of Crestron

International. Also present were Steven

Dullaert, Director of Distributor Sales at

Crestron International, Rupert Denoon,

Crestron Regional Manager for South Africa.

From Electrosonic SA; Bruce Genricks,

Managing Member and Eugene Coetzee,

AV Systems Manager attended.

Crestron House, which is in Weltevreden

Road just opposite Cresta Shopping Centre,

will house a dedicated team devoted to

distributing and supporting Crestron

products. The move away from Electrosonic

SA offices to a dedicated venue will facilitate

better service for customers, increased stock,

and better repair return time.

Crestron House boasts four demonstration

rooms, one of which doubles up as a training

room. Besides kitchens and bathrooms there

are a further six rooms, to be used as offices

– or converted for other purposes should the

need arise. There is also a warehouse and

ample parking for customers.

In his speech Robin van Meeuwen pointed

out that South Africa is the most far-flung

country of the EMEA (Europe, the Middle

East and Africa) region and explained that it

was important for logistics and support that

South Africa has its own hub. He went on to

speak in glowing terms about the growth of

Crestron in South Africa (around 30% growth

this year alone), and congratulated the

South African team on their “commitment,

passion and drive for the business.”

Van Meeuwen commented on the

amount of stock carried at Crestron House,

and promised to increase it. He also

promised to up the training in Crestron’s

products, and to supply the necessary tools

newS

Audiosure sign distribution deal with Neets

Skilling Vari-Lite users hands-on

Audiosure’s Quintin Venter shows off neets

todd Kessler imparting tech skills

Rupert Denoon and Robin van Meeuwen (VP of Crestron international)

Philips Vari-Lite’s technical trainer, Todd

Kessler, recently returned to South Africa to

present Warranty and Service Training

course to DWR Distribution customers and

in-house staff at their Johannesburg offices.

The training course, which was aimed at

equipping users with skills to technically

support their gear, was held in May.

The visit marked Kessler’s second sojourn

to South Africa. He visited the country In June

2010 at the height of FIFA World Cup soccer

fever. Speaking about his most recent visit

the trainer expressed delight at being

warmly welcomed back into South Africa.

“The best part of the job is the people I get to

meet and train and the opportunity to pass

on my years of experience. The people I met

here were fantastic,” commented Kessler.

“I could tell from the first time I was here

that there was an increased knowledge and

enthusiasm, they all did very well and their

gear has been kept in excellent shape. I

particularly admire their ‘anything to

make it happen’ mentality.”

Kessler, who has been with Philips

Entertainment since 1996, also stated that

the objective of Philips Vari-Lite is to

provide tools for lighting designers to help

them to bring their inner artistic world into

reality. “We truly give them all the tools

they need and have the tendency to think

about how the product will be used. The

quality of the fixtures is very important and

that’s why so many professional’s shows

tend to rely on our products around the

world,” he concluded.

to ensure the success of the South African

outfit stating: “We’re going to give you more

tools so that you can be successful, because

without you being successful we can’t be

successful. We have to act like one big

family.”

Crestron House opens its doors

6

newS GearShack acquires Global Truss agencyGearShack, a company offering premium

power distribution and a variety of

aftermarket products for the rental industry,

was recently officially appointed distributer

of Global Truss products for sub-Saharan

Africa. The company released a statement

officially announcing this partnership in late

May.

Global Truss is one of the leading

manufacturers of truss systems in the world

and has established a worldwide distributor

network that is currently spread in more than

25 countries.

Speaking about the deal Pedro Savic,

Managing Member of GearShack, stated:

“GearShack has used the Global Truss

products in various applications in the rental

market over the past two years and we are

very satisfied with the durability and quality

of the product.”

Savic also added that the Global Truss

brand has many benefits including that it is

compatible with other popular brands as

well as having TÜV certification. In addition,

the product is manufactured under ISO 9001

specifications.

Calibre UK has extended its global reach

further with the appointment of Prosound as

its new distribution partner for sub-Saharan

Africa.

Based in South Africa, Prosound is a hugely

experienced distributor and rental company

with several decades of expertise under its

belt for supplying professional sound and

lighting equipment.

With more of its customers also requiring

hardware solutions for multi-screen shows

and installations, the link with Calibre UK was

a natural progression, according to

Prosound’s Technical Director, Mark

Malherbe.

“Our reputation has been built on using

only market-leading products in both our

sales and hire departments, so when the

opportunity arose to add Calibre to our

roster, we jumped at the chance, he says.

“We supply a number of high-end

production companies not just in South

Africa but in East and West African countries

as well. Whether they are putting on a small

conference or a 10-screen, multi-input show

we believe we will have a Calibre UK

image-processing solution that meets their

needs, and which they can trust to be

seamless and stable.”

Pauline Brooksbank, Managing Director,

Calibre UK, adds: “The market for high-

quality image processing in sub-Saharan

Africa is growing very fast, and we believe

Prosound is perfectly positioned to offer our

entire range to this market including the

HQView and FoveaHD ranges.

“The synergy between video production,

sound and light is growing not just in the

rental arena but in fixed installations as well,

and we look forward to seeing more of our

products being sold into all these sectors

through the good auspices of the team at

Prosound.”

Calibre sign up Prosound as distributor

Huawei Enterprise South Africa, a business

group of Huawei Technologies and the

world’s largest telecommunications and ICT

equipment manufacturer, has officially

announced the local release of its Panovision

Telepresence offering.

The Huawei TP3206 is the first panoramic

Telepresence solution in the world, consisting

of one co-optical centre camera and three

impressive 55” ultra-narrow bezel displays to

provide users with an immersive and

internationally competitive conferencing

experience.

In addition the TP3206 supports local

conference, front mount installation and

maintenance and saves space, power

consumption and bandwidth – lowering TCO

by up to 30%.

In a corporate environment where

telepresence systems are growing, a degree

of interoperability and reliability is essential in

realising the benefit of investment in this

technology. As such, the Huawei TP3206 also

adopts standard-based H.235 and AES

encryption techniques to ensure cross

platform integration as well as security.

Finally, the TP3206 features a touch based

Graphical User Interface and employs

Huawei’s popular MediaPad for conference

control. The offering also includes Huawei

Super Error Concealment (SEC) and

Intelligent Rate Control to ensure a consistent

user experience, even in low bandwidth

environments.

Launching Panovision Telepresence in SA

SA Dealers: Jasco +27 11 266 1500 | Visual Impact +27 11 788 9879 | SBSS +27 21 425 6337 | Protea +27 11 719 5700Sony Broadcast & Professional +27 11 690 3200 | www.pro.sony.eu/mea

8

newS

The Cape Town International Convention

Centre (CTICC) recently announced that it

has appointed INHOUSE Venue Technical

Management (IVTM) as its new audio visual

supplier.

According to CTICC general manager for

operations, Aage Hansen, the centre has

entered into a business partnership with

IVTM, which will now be responsible for

overseeing all the audio-visual requirements

and solutions for the centre and its clients.

The new appointment supersedes the

existing partnership between the CTICC and

its former in house audio visual supplier AV

Alliance; its contract concluded on

30 April 2013.

“As a convention centre committed to

continually raising the benchmark in terms of

creating memorable experiences, the CTICC

places key emphasis on partnering with

suppliers who share this vision,” says Hansen.

“Partnering with IVTM, which boast an array

of innovative leading audio visual

technology and services, means that the

centre now offers its clients unparalleled

meeting experiences in terms of audio visual

services.”

“As a provider of three complementary

services, IVTM is able to offer an

unprecedented level of technical service in

the fields of lighting, audio, audio visual,

rigging, power, structures, IT equipment and

services,” says Managing Director, Ashraf

Omar. “We are excited to join forces with the

CTICC to further raise the global

competitiveness of the local meetings and

events industry,” he adds.

Audiosure, home to some of the world’s top

professional audio visual and consumer

brands, held a Dealer Evening at their head

offices in Johannesburg on 10 May. The

event recognised and rewarded distinction

within the Audiosure local and regional

dealer networks.

During the evening the company also

conducted the inaugural Audiosure Dealer

Awards to some of their outstanding traders.

Greg Payne, Audiosure’s Sales Manager,

states: “We introduced our Dealer Awards to

reward our customers for their outstanding

achievements across various categories, in

2012. Our Dealer Awards will be an annual

event and will take place at our first Dealer

Evening of the year which happens in the first

half of the year. We thank all our customers

for their ongoing support and look forward to

rewarding them again at our 2014 Customer

Awards.”

Audiosure has a diverse product offering

across its divisions and operates on a strictly

wholesale basis and supplies their products

to end-users through a network of specialist

dealers around the country. The company is

passionate about the industry as well as

committed to growing their business, and

that of their valued partners.

Sound Harmonics brings Ayrton to SASound Harmonics, a professional audio

company dedicated to providing high

quality solutions to the entertainment

industry, recently announced a distribution

partnership with Ayrton. The two companies

sealed the deal in April this year during the

Pro Light + Sound exhibition.

“Ayrton are well known as innovators and

have registered numerous patents – their

new products are testament to this and

Sound Harmonics is excited to be

showcasing these brands at Mediatech

Africa in July. The South African market is

looking for some fresh new lighting ideas and

we’re confident that Ayrton will not

disappoint,” said Joseph Mandy, co-director

of Sound Harmonics.

The AYRTON brand was born in 2001 when

Aestetique-designs, lighting and technology

amateurs and virtuosi got together. AYRTON

is specialised in developing intelligent LED

light products for entertainment and

architectural applications. Sound Harmonics

will parade many products at Mediatech

Africa including the Ayrton Rollapix 100 and

the Ayrton Nandobeam 302.

The ROLLAPIX 100 is the first linear LED

luminaire fitted with a 4:1 double zoom

system. The distinctive characteristic of the

ROLLAPIX 100 is the eight independent

10-Watt RGBW LEDs teamed with two zoom

systems, which can be controlled separately

to create a multitude of diverse effects.

The Nandobeam 302 is a powerful and

ultra-fast moving head in a compact

housing. It boasts 19 x state-of-the-art 15 Watt

LEDs with 8º narrow beam to 40º wide

coverage. Thanks to its 5 000 lumen output at

40º angle the NANDOBEAM 302 is the

perfect lighting tool for use as a BEAM

moving head.

Audiosure celebrates dealers

CTICC appoints IVTM as AV supplier

John silver hands the Dealer of the year Award to A1 stores

use your unique code: AD01000

Free registration at www.mediatech.co.za before 7 July 2013 and avoid paying R50 at the door

17 - 19 July 2013Coca-Cola Dome, Northgate

Johannesburg, South Africa

Contact: Johan Oosthuizen: (011) 313 1615 • [email protected] • www.pansolutions.co.za

Visual TECHNOlOGY

lCD / Plasma Displays

Projectors

10

newS

Forming part of the Samsung Galaxy S4

World Tour, the Galaxy S4 was launched to

the South African market at the Sandton

Convention Centre in Johannesburg recently

and was attended by 2 000 guests.

The elaborate event consisted of two

parts; a formal conference followed by a

spectacular surprise party where the

entertainment included everything, from

aerial acts to ballerinas in LED tutus, popular

DJs to lighting that was breath-taking. This

was the largest event Victor Vermaak, from

AV Unlimited (AVU), had worked on as

production manager. It was also the

proudest moment of his career so far. AVU

were commissioned to supply full technical

support.

The greatest challenge for Vermaak and

Garrith Castelyn (AVU’s in house creative

and designer) was designing a concept that

would fit into the budget without losing the

essence of the concept pitched. Top prize

would be incorporating the extras that

would change the look of the event

completely, one of them being a cleverly

designed LED ’chandelier‘ that made up a

part of the elaborate DJ booth and stage

centre to the after party room.

A mere two weeks prior to the event, AVU

received the green light from their client,

Mela Events, to go ahead with the full

concept. “I actually knew from the

beginning when I sent out the hopeful

budgets that the show would be amazing,”

said Vermaak. “When they signed it off and

the lighting designer, AVU’s very own

Renaldo van de Berg, had all the fixtures on

his dream list, I knew it could only go well.”

Mediatech has welcomed Wild and Marr’s

JBL Professional and Shure brands as Gold

Sponsors for this year’s technology exhibition.

As forerunners in the distribution and

installation of professional audio and video

equipment in Southern Africa, Wild and Marr

are committed to showcasing quality

brands, top service capabilities and

innovative technologies.

“Mediatech is a great platform to network

with professionals from all over Africa and

provides an opportunity to impart

knowledge and market trends of our brands

to visitors and industry professionals,” says

Wild and Marr’s systems engineer, Gustav

Tietge. This will be Wild and Marr’s first year as

sponsors, having exhibited at Mediatech in

previous years. Visitors can again look

forward to top cutting-edge technology

products and services at their stands (G34,

G35 and G36) on the exhibition floor.

JBL Professional, an innovative developer

and manufacturer of line array loudspeaker

technology will show its M2 Master Reference

Monitor – a free-standing, 2-way system that

can be placed in any environment to

provide an exceptionally accurate

monitoring experience. While, Shure will

present its capabilities as a forward-thinking

technology innovator with the ULXD Digital

Wireless System for professional installed

sound reinforcement.

AVU handles Galaxy S4 World Tour

JBL and Shure gold sponsors at Mediatech

PVision arms 2RM Security with video solution

Local display technology provider, PVision,

has concluded an agreement with one of

South Africa’s foremost security and risk

management groups, RM Security, to furnish

a new Johannesburg command centre with

advanced video technology and

applications.

The partnership, which saw PVision

implement 24 ultra-narrow bezel 46” LCD

displays in a 12X2 configuration supported

by a Galaxy video wall processor for multiple

video layering, is the first of its kind in South

Africa and aims to equip both private and

government organisations with an

internationally competitive security solution.

Significantly, 2RM Security’s ‘Zero Centre’ is

Africa’s only known forensic command and

control centre which incorporates recently

demilitarised risk management technology

to provide a comprehensive suite of controls.

Also, ‘Zero Centre’ stands alone as the

only SABS approved security solution of this

nature in South Africa, earning ISO 9001

certification upon it’s launch in April 2013.

As the beating heart of the command

and control centre, PVision’s 12X2 video

configuration enables 2RM Security’s

Project Manager team access to a variety

of information as incidents develop. An

interactive touchscreen display also allows

users to swiftly cycle through information

while the Galaxy processor layers

information behind it.





Mediatech

12

newS





WATCHOUT Premium Partner, PENMAC Audio

Visual, supplied Dataton WATCHOUT

multi-image display and presentation

software to manage visual and audio

content for the creative layout of the stage,

set décor and LED screen information at the

second Ghoema Afrikaans Music Awards.

The awards ceremony was held at

Carnival City Big Top Arena on 14 April.

“For this project, the client required a

complex video server solution to map the

video content onto the required spaces. We

ensured that multiple video and audio files

were played back in sync and on cue during

production,” explains Malcolm Finlay,

Managing Director at PENMAC Audio Visual.

Sound designer Murray Lubbe required

the flexibility of having 16 high quality audio

playback tracks available to support the

visuals during the two-hour broadcast

production and that could be used for live

band performances at the show. PENMAC

Audio Visual integrated Dataton WATCHOUT

with the Ovation media server and

sequencer from Merging Technologies to

ensure that multiple tracks played back in

frame-accurate sync to the visual content.

“By integrating Ovation with the Dataton

WATCHOUT timeline, it’s possible to achieve

a high specification multi-track audio server

solution that has perfect frame accuracy.

“Once the server IP addressing in Merging

Technologies’ Ovation is set, it really is as

simple as naming your audio track grouped

file with the same name as your auxiliary

timeline in WATCHOUT. Just play the visuals

and the audio follows – job done!”

Fredrik Svahnberg, Marketing Director at

Dataton says: “We’re delighted that

WATCHOUT was used throughout the awards

ceremony by PENMAC Audio Visual. Its open

platform and ability to work well with

software such as Ovation is testament to its

integration flexibility and suitability for

large-scale events.”

WATCHOUT for Afrikaans music awards

WiTP and Gerda Kruger train follow spotters

Lighting experts, Gerda and Philip Kruger,

recently presented a Follow Spotter Training

Course on 9 and 10 April for Women in

Technical Production (WiTP) at the

Johannesburg Promusica Theatre.

The course, which was presented as a

community development initiative, trained

eight women who have not worked in

theatre before in an effort to give them a

marketable skill.

The Follow Spotter Training course is

normally presented as a one-day course, but

Gerda and Philip decided to do the WiTP

over two days, with day one dedicated to

the theoretical aspects and day two to be

totally practical Follow Spotting. It is a joint

initiative between WiTP, Johannesburg

Promusica Theatre and Philip Kruger

Consulting that saw all parties donating their

time and resources free of charge. Melony

Eksteen of WiTP made all the arrangements

and negotiated the use of the Johannesburg

Promusica Theatre with Loran Robertson, the

general manager.

As an extension to the Follow Spotter

Training course, Philip Kruger Consulting and

Gerda Kruger will be hosting ‘The Art of

Follow Spotting – An Introduction’ at

Mediatech Africa to be held from 17 to 19

July 2013.

Gerda Kruger enlightens a willing trainee

Kevin Glover the owner of Sound Stylists, a

provider of sound, AV, lighting and staging

rental solutions and production services

throughout South Africa, recently installed a

DiGiCo SD10 with fitted broadcast module

into one of SuperSports’ OB vans.

Supersport offers in-depth coverage of

local and international sports and was the

first broadcast facility to embrace a DiGiCo

SD8 three years ago.

Speaking about the installation Glover

states: “The fact that we could move

SuperSport towards a more broadcast

orientated OB digital mixing console while

maintaining a common operational format,

which is the case with DiGiCo SD consoles, is

a no brainer.”

Glover added that Tadco, local

distributors of DiGiCo, as always, were on

hand to provide support and training.

SuperSport OB van gets DiGiCo SD10

Introducing the LR24 pro-ribbon line-array: HiFi sound at concert Sound Pressure Levels has now become reality

For more information, visit or www.alconsaudio.com www.wymiwyg.info

visit us at

stand C15

Matrix

14

medIAtech AfrIcA shoW PreVieW

With over 6 395 attending Mediatech in 2011 including 270 from 40

foreign countries, 2013 aims to break all previous records with over 7

000 expected visitors from the continent and around the globe. Over

120 exhibitors and thousands of products across multiple verticals will

be the central focus of the expo, as well as peripheral happenings

where the industry is encouraged to participate.

Speaking of happenings, Mediatech 2013 is chock full of events

and things to do and see. The first-of-its-kind Africa Loudness Summit

is set to make an impact on the broadcast industry in a profound way,

addressing the problem of fluctuating loudness between

programmes, ads and channels. This has proven to be a huge

problem not only for viewers but for content producers, production

houses and broadcasters due to a lack of standards being followed in

the industry as a whole. Presented by EBU PLOUD Chairman and

leading loudness expert, Florian Camerer and hosted by sector

training leaders Asikhule, the EBU R128 loudness standard will be the

central issue of discussion. So if you want to know what R128 is all

about, come along to the seminar.

As usual, the outdoor sound demos look to be as big a hit as they

have been in past years. Eight major distributors will be showcasing

their latest, biggest and baddest loudspeaker systems in a barrage of

A/B madness. The demos will be running throughout each day of the

expo so expect BIG sound.

SABA, the Southern African Broadcasting Association, will be

presenting the Digital Broadcasting Infrastructure and Platforms

Seminar aimed to arm broadcasters across a wide range of media

with the industry knowledge on how to successfully build and

manage an effective digital broadcasting infrastructure. Points of

interest in the seminar include DTT (Digital Terrestrial Television), IPTV,

DTH satellite broadcasting and a host of other topics related to

digital broadcasting.

Of course, it doesn’t end there as there are many other events to

attend such as the Tadco Technology seminars; the Designing AV

Systems for the Digital System seminar by Extron; the Internet

Protocol & Network Essentials for Broadcast Engineers conference

by Sacia; the Art of Followspotting by Philip Kruger Consulting; and

the Mediatech Exhibitor Networking party, which is always a big hit

when it comes to meeting and greeting because, after all,

Mediatech is about making connections and getting in touch with

the right people in your field.

the African loudness summit

This industry-wide overview of ‘all things loudness’ offers a unique

opportunity to benefit from global experience in solving the

loudness problem and in dealing with loudness regulation.

Florian Camerer will share Africa-relevant know-how and what

R128 means in practice – the real implications, the real costs,

gearing up (and down) and practically developing and

implementing necessary new procedures associated with

compliance.

Whether you’re in broadcast, production, live or post – whether

you’re a financial decision maker, an engineer or an operator – this

one-stop, learn-it-all conference is for you!

Mediatech 2013 – BIGGER and better than before

well, it’s a Mediatech time once again and this years’ show looks to be the biggest one yet. Following on the success of previous years, Mediatech maintains its spot as the continent’s premiere technology trade show; conceived as a nucleus of interface and networking for the advanced technology, broadcasting, pro-AV and entertainment industries.

15

shoW PreVieW medIAtech AfrIcA

Day 1: An Introduction to Loudness: what is the problem? What is

loudness? The international standard ITU-R BS. 1770-3; EBU R128 in

detail; loudness in television, radio, film and music.

Practical Guidelines – The African regulatory framework; what we

need to do to stop the loudness wars in Africa; EBU mode metering

and its practical application.

Day 2: A Broadcaster Perspective – Challenges, opportunities and

best practice; EBU R128 in a broadcast workflow; live and packaged

content; ingest, normalisation and asset management; the time and

money implications of EBU R128.

A Production Perspective – Challenges, opportunities and best

practice; EBU R128 in a production workflow; production guidelines for

live and post production; the time and money implications of EBU

R128

Day 3: Vendor Offerings – Commercial overview and demonstrations

of metering; normalisation, media management, loudness workflow

and related technologies; training and consulting opportunities

Open Forum Discussion – Regulators, broadcasters, production and

post-production professionals, vendors talking loudness; next step?

live outdoor sound demos

The outdoor sound demos have to comply with noise and

environmental bylaws. Therefore all structures may not exceed six

metres in height nor 85dBSPL long term in sound pressure level.

outdoor sound Demo schedule CoMPAny systeM All DAys Morning sessionIntro session All 10:25am – 10:30amAlcons Audio Matrix Sound 10:30am – 10:45amL-Acoustics Sound Harmonics 10:45am – 11:00amDAS CES Live 11:00am – 11:15amDB Technologies Viva Afrika 11:15am – 11:30amHybrid/Audio Centre Viva Afrika 11:30am – 11:45amMartin Audiosure 11:45am – 12:00pmJBL Professional Wild and Marr 12:00pm – 12:15pmAdam Audio Segma 12:15pm – 12:30pmCoda Tadco 12:30pm – 12:45pmNexo Tadco 12:45pm – 1:00pmRigging session DWR 1:00pm – 1:15pm

Afternoon sessionIntro session All 2:25pm – 2:30pmAlcons Audio Matrix Sound 2:30pm – 2:45pmL-Acoustics Sound Harmonics 2:45pm – 3:00pmDAS CES Live 3:00pm – 3:15pmDB Technologies Viva Afrika 3:15pm – 3:30pmHybrid/Audio Centre Viva Afrika 3:30pm – 3:45pmMartin Audiosure 3:30pm – 3:45pmJBL Professional Wild and Marr 3:45pm – 4:00pmAdam Audio Segma 4:00pm – 4:15pmCoda Tadco 4:15pm – 4:30pmNexo Tadco 4:30pm – 4:45pmRigging session DWR 4:45pm – 5:00pm

note: This schedule is subject to change

16


sABA Digital Broadcasting infrastructure and Platforms seminar

The SABA seminar will disseminate their course in the following

schedule:

Day 1: Platforms for sustainable digital broadcasting infrastructure• session 1 – This workshop session will highlight some of the key

issues that broadcasters may encounter as they engage in the

process of implementing and rolling out their digital

broadcasting services. Real-life case study scenarios will be

employed to highlight the issues and challenges as well as the

practical solutions that can be implemented by broadcasters

and other industry stakeholders.

• session 2 – As satellite broadcasting technology is to be

considered by many industry experts as playing a major role in

the push to the DTT platform in Africa, many broadcasters and

regulators are reviewing and scrutinising the role of this

technology and associated services. This workshop session will

turn the spotlight on satellite-enabled broadcasting. It will

showcase the benefits of this platform and examine what, if any,

synergies there might be with the DTT platform. Issues and

solutions—on the technical and commercial sides—will be

addressed to give a comprehensive and informed

understanding of what can be accomplished with the

technology.

Day 2: Delivering Dtt: innovative solutions and Platforms• session 3 – The consumer-side equipment, ie. the digital set-top

box (STB) and integrated digital TV (IDTV) devices, will ultimately

determine the success, or otherwise, of migration to Digital

Terrestrial Television (DTT) in Africa. This workshop session

examines the crucial issues and factors that broadcasters,

regulators and other members of the industry need to be aware

of and act upon to offer effective consumer equipment and

support to their viewers.

Technologies, platforms and solutions will be examined from the

technical and commercial perspective providing a 360-degree

view to attendees.

• session 4 – One of the key benefits of digital broadcasting is that

it allows for the creation and provisioning of services in a way not

previously possible with analogue infrastructure. This workshop

session will assess the new and innovative platform that

broadcasters and service providers can take advantage of to

bring additional services and applications to their markets. It will

fully examine how platforms such as IPTV and VoD as well as

triple-play services can be effectively and profitably deployed.

The session will examine how the various stakeholder

relationships are structured and how these can be fully

leveraged.

Day 3: Digital Radio and Dtt implementation Checklist• session 5 – Radio has been determined as the killer application

of broadcasting. The access and reach of radio put the platform

in a crucial position, especially as jurisdictions aim for the

universality of digital broadcasting services. This workshop

examines the various technologies, platforms and evolving

solutions available for digital broadcasting and how

broadcasters and regulators can rapidly implement the

applicable platform that suits their respective needs.

• session 6 – The session will produce a broadcaster-based

‘checklist’ for the digital switchover. Under guidance from session

leaders, participants will break off into focus groups to discuss the

issues under the following headings:

– Technology

– Content

– Spectrum and licensing

– Regulatory issues

– Business case for broadcasters

– Transition management

– Funding and financing

Relevant feedback from the group discussions will be compiled and

condensed to create a practical checklist that will serve as a resource

for African broadcasters as they navigate their way through the

process of DTT deployment and implementation.

Allen & Heath Qu-16Qu-16 takes compact digital mixing to a new

level with innovative design and exceptional

functionality combining to create a superb

professional mixing experience. Bristling with all

the features you’d expect from a top of the

range digital console and incorporating

technologies pioneered on our GLD and iLive digital mixing systems,

Qu-16 has the power and pedigree to deliver class-leading audio

performance. Whether you’re switching from analogue or updating

your digital desk, it’s time to experience the new digital with Qu-16.

Distributed by www.audiosure.co.za view at stand C5 C9 C6 D5

AViD Venue s3l systemGet the performance, sound

quality, and features that

countless live sound

professionals have come to rely

on in a system architecture

that’s built for the future. The

modular Avid S3L System is comprised of a high-performance

HDX-powered processing engine running AAX plug-ins, scalable

remote I/O that can live on stage or in a rack, and a head-turning,

compact control surface that’s built for the road, but equally at home

in the studio.

Distributed by www.segma.co.za view at stand E6

On show at Mediatech Africa

1717

Ayrton nandobeam 302 NANDOBEAM 302 is a powerful and ultra-fast

moving-head in a compact housing. It boasts 19 x

state-of-the-art 15 Watt LED’s with 8º narrow beam

to 40º wide coverage. Thanks to its 5000 lumen

output at 40º angle the NANDOBEAM 302 is the

perfect lighting tool to be used as a BEAM moving-

head. Thanks to its individualal control of 3 semi-ring and centre LED, it

makes the NANDOBEAM 302 very versatile: Beam, Wash or Matrix.

Distributed by www.soundharmonics.net view at stand E15

Barco overView MVl-615The OverView MVL-615 is an easy to operate 4:3 LED-lit

projection module that has been designed to offer the

typical detail and brightness needs in SXGA+ resolution for

demanding small to medium-sized control rooms.

Distributed by www.questek.co.za view at stand F23

Barco RlMw8Barco’s RLMW8 brings the saturated colours of 3chip

DLPTM projection to events and fixed installations, at

the price of singlechip DLPTM technology. With an

enhanced contrast, quick and creative stacking

options as well as builtin warping capabilities for

curved surfaces, Barco’s RLMW8 is a versatile choice

for mid to large sized venues.


ClAy PAKy sharpy wash 330Sharpy Wash 330 is an extraordinarily compact,

lightweight 330 W washlight, with the luminous

efficiency, graphic and optical performance of a

1000W fixture. It is extremely silent and quick, and fitted

with a complete CMY color system, special colors, 6.5°-48° zoom,

mechanical dimmer, beam shaping filter and motorised top-hat. It is an

eco-friendly light, allowing considerable running and consumption cost

savings.

Distributed by www.dwrdistribution.co.za view at stand J1

CoDA AuDio ViRayViRay is Coda Audio’s new compact

3-way symmetrical line array with DDP

(Dual Diaphram Planar-wave-driver)

technology. It was designed for mid-size

touring and installation applications. The

ViRay’s dedicated hardware allows it to be ground stacked, flown or used

as downfills for the LA12 System. For a size of 674x242x36 mm (WxHxD) and

a net weight of 25.5kg, ViRay’s performance is outstanding, delivering

high powered, quality audio.

Distributed by www.tadco.co.za view at stand K9

Crestron DMPs-300-CThe DMPS-300-C from Crestron is a

complete, high-definition presentation

control and signal routing solution for

boardrooms, lecture halls, and

videoconference rooms. Integrating the

control system, multimedia matrix switcher, mic mixer, audio DSP, and

amplifier all into one 3-space rack mount package, the DMPS-300-C

affords extensive signal routing flexibility and high-performance signal

processing without the need for separate components. Auto-configuring

inputs enable plug-and-play compatibility with a wide range of digital

and analog sources. Built-in DigitalMedia™ and HDBaseT™ connectivity

affords a streamlined wiring solution for interfacing with remote AV

sources, computers, and display devices.

Distributed by www.electrosonic.co.za view at stand F12

WATCHOUT PREMIUM PARTNERSOUTH AFRICAPENMACPhone: +27 11 [email protected]

MEET US ATMEDIATECHBOOTH:H17

18


Crestron DVPHDThe world’s only multi-window video

processor that displays high-res

computer and high-definition video

signals with HDCP, provides a

fully-customisable HD graphical

environment, and enables real-time annotation and touch screen

control — all in a modular, scalable hardware platform. The DVPHD is

configurable to handle up to eight different inputs of virtually any type,

including HDMI, DVI, DisplayPort (Multimode), HD-SDI, and analog

signals.[1,2] Industry-leading support for HDCP ensures seamless

compatibility with content-protected DVD, Blu-ray Disc, digital HDTV,

and multimedia computer sources. Advanced high-definition image

processing achieves astounding realism and detail for every input signal,

with the ability to display up to eight separate video images at once, or

seamlessly switch between them using alluring digital transition effects

and customisable graphics.

Distributed by www.electrosonic.co.za view at stand F12

Dataton wAtCHPAXWATCHPAX, a solid-state media player tailored

for maximum performance with Dataton

WATCHOUT multi-display production software.

WATCHPAX™ is a dedicated media player for your WATCHOUT show, an

alternative to PCs in your rig. Behind its elegant exterior, there’s built-in

WATCHOUT software and optimised hardware. Robust and reliable,

WATCHPAX is backed by 40 years of AV engineering.

Distributed by www.penmac.co.za view at stand H17

dB technologies DVAt12DVA T12 is a step up the evolutionary ladder

from the successful DVA T4 line array system.

Although it provides more power and has

greater range, its active three-way design

makes it just as easy to set up and install as its

predecessor.

Distributed by www.vivaafrika.co.za view at stand A15 + B19

extron DsC 301The Extron DSC 301 HD is a three input,

HDCP-compliant video scaler that

includes an HDMI input, configurable high

resolution analogue and composite video

inputs, and an HDMI output. The DSC 301 HD accepts a wide variety of

video formats including HDMI, HDTV, RGB, component, and standard

definition video. It features advanced Extron video signal processing

with 1080i deinterlacing, EDID Minder, and automatic input switching.

Analog audio from any of three stereo inputs may be embedded onto

the HDMI output.

Distributed by www.extron.co.za view at stand G26

FresneleD 250The FresneLED 250 Tunable White is one of the most

interesting products of the new Green Line Range,

The most complete LED product line of the highest

quality and efficiency, specifically designed for

the performing arts and TV studios, available on

the market today.

FresneLED 250 White Tuneable is a 250W high efficiency LED, long-

lasting, tunable CCT (3000-6500K), high CRI (>92), zoom 13°-79°.

Distributed by www.movievision.co.za view at stand A23

GAlAXy-X4The GALAXY-X4 is a stand-alone display

wall controller that accepts a standard

single or dual-link DVI input and can

flexibly display this across four output

monitors. Each output can be driven as

DVI or analogue RGB, and can represent an arbitrary crop region of the

original input image. The output resolution and frame rate does not

need to be related to that of the input as the GALAXY-X4 will optionally

upscale and frame-rate converts each cropped region independently.

Additionally, each output can be independently mirrored or rotated

through 90°, 180° or 270° to support creative mixes of landscape and

portrait monitors.

Distributed by www.electrosonic.co.za view at stand E11 + F11

Gearshack PowerboxGearshack Design and Distribution has spent

the last two years researching and developing

a completely new range of premium power

distribution products for the

sound,stage,lighting and a/v industry. The

range will be presented to industry at

Mediatech Africa. The makers of the range decided to develop the

products based on his personal 25-year hands-on experience as a

sound, stage, lighting and a/v technician. The range is in the process

getting SABS certification.

Distributed by www.gearshack.co.za view at stand F9

GReen Go CommsGreen-GO is an all-new communications

system which simply plugs into an existing PoE

Ethernet network. It incorporates digital

communication, with optional cue Lights and

text messaging. Dual circuit beltpack and

wall panel outstations are available. The system can be connected to

the same Ethernet network that is running the lighting and display

systems in real time.

Distributed by www.soundharmonics.net view at stand E15

Hybrid + lA 212The LA212 is a large format, scalable passive

line array which boasts 1 100W RMS per box

(900W+200W) and engineered to address

audiences of up to 50 000.

Up to 12 speakers may be rigged per array at

ten times the currently prescribed safety standard. The 12” CELTO

Acoustique, ferrite magnet drivers boast a three inch voice coil and are

European-made to premium specifications. The 2.8’ neodymium

magnet, TC4 high frequency diaphragm is Aquaplasted, which means it

is covered with a flexible coating that increases longevity and at the

same time smoothes the top end response.

Distributed by www.vivaafrika.co.za view at A15 + B19

JBl M2 Master Reference MonitorAddressing the growing need for high dynamic

range and reference-monitor accuracy in a broad

range of studios, JBL has developed the M2 Master

Reference Monitor: A Free-Standing, 2-Way System

that can be placed in any environment to provide

an exceptionally accurate monitoring experience.

Leveraging a new generation of JBL high-output,

ultra-low distortion transducers, the M2 provides in-room frequency

response of 20 Hz to 40 kHz, and an extraordinary 123 dB maximum SPL

to meet the demanding music, cinema and broadcast production

requirements for impactful dynamic range.

Distributed by www.wildandmarr.co.za view at stand G35

le MAitRe Haze MasterHazeMaster is Le Maitre’s most advanced

and powerful hazer yet. With a massive

output capacity and rugged construction,

it has been designed every step of the

way for the road. Combined with award

winning haze technology, producing pure,

fine, consistent and long-lasting haze, it really is a class act.


MAC Viper ProfileThe MAC Viper Profile is a new breed of high-

output profile luminaire with an exceptional

feature set, superior light quality and a highly

efficient optical system. It outperforms all market-

leading profiles in the 1200-watt range and is even

an alternative to 1500-watt fixtures. The Viper

Profile is not only brighter, it is also a faster and more compact

solution. With its 1000-watt HID source, the Viper consumes less

power, making it over 50% more efficient than its 1200-watt rivals.


Martin Audio MlA CompactMLA cellular technology combines ground-

breaking cellular array design with fast,

automated intelligent software to deliver a

dramatically increased level of performance

and coverage consistency compared to

conventional line array technology.

In the short time since its introduction, the full-size MLA has received

multiple awards for innovation. Now, MLA Compact™ brings the

revolutionary cellular technology behind MLA to a wider range of

touring and installed sound applications.


Martin M6Martin Professional’s new M6 is a state-of-

the-art lighting console that functions as a

highly advanced visual control surface.

Designed to control everything from

conventional and moving lights to the most

advanced media server, the M6 has been designed for today’s

demanding multimedia shows and tomorrow’s challenges.


Martin RusHMartin Professional is targeting the installation

market in a big way with the launch of an all-new,

cost-effective line of effect lights – RUSH™ by

Martin. RUSH will comprise a comprehensive

range of affordable effect products with the first

RUSH lights. Martin Rush consists of RUSH MH 1

Profile, RUSH MH 2 Wash RUSH MH 3 Beam, RUSH PAR 1 RGBW, RUSH

Pin 1 CW and RUSH Strobe 1 5x5.


Midi DomeThe Midi Dome is a new innovation that

Gearhouse SA will be installing in one of

the car park areas at Mediatech. This

brand new structure appeals to a variety

of customers looking for temporary

space with exceptional safety ratings

and generous rigging capabilities.

Distributed by www.gearhouse.co.za view at Outdoor Demo Area

20


neC X463unThe 46” NEC X463UN takes your LCD

video walls to new levels of impact.

This professional-grade large-screen

display is designed for the rigors of

24/7 operation while introducing new

levels of impact to your facility.

Advanced technologies of this model include direct LED backlighting

for improved uniformity, full high-definition resolution (1920 x 1080) and

a 5.7mm distance bezel width. Additionally, this display can be

deployed in video walls up to 10x10 (100 displays). The X463UN also

offers Intel’s Open Pluggable Specification (OPS), which is the first

industry-wide standardisation in option slots that allows easier

installation, use and maintenance of digital signage.


neXo stMSTM is NEXO’s latest System that allows contractors

the flexibility to design a wide range of systems, from

a simple ground stack to a massive stadium system.

STM stands for Scale through modularity, which is a

design philosophy aimed at saving costs. No longer

will a contractor need one system for corporate jobs

and another for the touring market and so on.

Distributed by www.tadco.co.za view at stand K9

Philips sl nitro 510The SL NITRO 510 is a cutting-edge new LED

based strobe luminaire that provides

intense bursts of light and dynamic effects.

The tightly packed array of over 1300 high

power LEDsensures maximum output and

full-field, even distribution across 1200. The

rugged construction, Showline standard LCD menu system,

continuous-on operation and lower power consumption guarantee

the SL NITRO 510 is the perfect strobe luminaire for any application.


Philips strand 250Ml Console This is the perfect desk to introduce

you to the world of intelligent fixture

control. Built for entry level operation

and small to medium sized theatres,

the Strand Lighting 250ML console

gives you a simple interface, great features and an even better price.

It merges the world of conventional dimmer/channel control using

traditional Command Line operation with an easy to use interface for

attributed fixtures using a color LCD screen that has soft keys and

attribute encoders.


Powersoft K seriesThe K Series offers various power ratings in 6

models ranging from 2 x 2400 watts/ch. 4

Ohm to 2 x 9000 watts/ch. 2 Ohm, still

maintaining the 1 unit size. The K Series has

become the flagship of Powersoft’s

technologies, ranking in the “Top Class”

amplification of the global pro audio market.

Distributed by www.iled.co.za view at stand J2

Prolyfte AetosProLyft AETOS is the brand new ProLyft hoist range.

The AETOS range is fully equipped to meet future

demands in lifting equipment and offers clever

features and carefully engineered product

attributes. The AETOS range comprises of a

standard 500kg and 1000kg hoist and will be

expanded in the near future.

There is a 500kg hoist, a 1000kg hoist and two

manual Aetos hoists available.


RoBe PointeIt’s very bright and super-fast with a sharp parallel

beam that cuts through the air and across video

with ease. It can project a static or rotating glass

gobo to produce precision in-air and surface

images with an even focal plane. Tight or at full 20

degree zoom, the output is crystal clear and

brilliant. Add in either rotating, 6 way linear or 8 way

circular, prisms to create wide reaching effects across any set.


shure ulXD DigitalShure ULX-D Digital Wireless offers

uncompromising 24-bit audio

clarity and extremely efficient RF

performance with single, dual,

and quad channel receivers for

any size professional sound

reinforcement application.


sony VPl-sw535CThe VPL-SW535C offers simultaneous

dual-touch annotation capability on the

projection screen with the use of

supplied pen devices and drawing

software. Combined with its ultra short

throw projection, it is a great fit for

launching interactive lessons in a classroom or establishing instant

communication space in a corporate environment. The VPL-SW535C

delivers a large image from an extremely short distance (i.e.; an

80-inch image can be achieved from 19 inches distance from the

screen), which helps presenter to avoid glare from the projector when

standing in front of the screen.

Distributed by www.pro.sony.eu view at stand E23

soundcraft si expressionDrawing on more than a decade of

experience in the field of digital audio

mixing, the Soundcraft Si Expression

exploits some of the newest DSP,

component technology and

manufacturing techniques to deliver our

most powerful cost effective digital console ever! Each console in the

range is identical in its feature set so your only choice is how many

faders and local mic amps you want. With a range covering the super

portable 19” rack mount Expression 1 to the mighty Si Expression 3 with

its 30+2 faders and 32 mic/line inputs there is a model to meet all

needs.


21

shoW PreVieW medIAtech AfrIcA

Clean, suppor t ive d is t r ibu t ion.

t ( + 2 7 ) 11 7 9 1 70 0 9 w w w w. t adc o . c o . z a e s a l e s @ t ad c o . c o . z a

touchit technologiesTouchIT Technologies’ new range of

4 point multi-touch LEDs specifically

designed to capitalise on the

increasing numbers of Apple

Macintosh users in both the

education and corporate market.

The new range of LEDs supports

many of the Apple Mac trackpad gestures allowing the Mac user to

benefit from multi-touch gesture input in OS X directly from the LED

screen.


VidiGo Visual RadioVidiGo Visual Radio turns radio

broadcasting into an

entertaining and compelling

visual show. Visual Radio is an

add-on to your radio

production without the need

for extra staff. It enables you to

take radio broadcasting to the

next level, by giving your audience the change to experience unique

radio moments. Visual Radio turns your listeners into viewers.


Vivitek D55x seriesThe Vivitek D55x Series offers premium

performance at attractive pricing, with

resolutions and connectivity for every

requirement. The series consists of five

different models, of which two feature a

native XGA resolution (D551 and D555), while the Vivitek D557W

comes with a WXGA and the Vivitek D552 and D556 with SVGA

resolution.


wharfedale Pro Delta The Delta Series has been designed

from the ground up to provide

outstanding performance and

reliability. The Delta Series utilises

robust technology and durable

components to ensure that it can

meet the demands of touring, rental

and fixed installation applications.

High output, low distortion cast frame woofers with 3” voice coils are

used throughout the range for unparalled low frequency

reproduction. 2” titanium compression drivers are coupled to 90°x45°

elliptical waveguides for impressive output level and smooth HF

dispersion.


22


Marco CantaluCompany Name: AeB industriale – dB technologiesJob Title: Product Specialist

Meet Marco at Viva Afrika Sound & Light,

Mediatech Africa, stands A15 + B19.

Mark HoskingCompany Name: Harman studer Job Title: Sales Director Middle East & Africa

Meet Mark at Wild and Marr,

Mediatech Africa, stand G35

Freddy sickoCompany Name: shure europe GmbHJob Title: Market Manager Middle East & Africa

Meet Freddy at Wild and Marr,


Reiner sassmanCompany Name: CamcoJob Title: MD

Meet Reiner at Tadco, Mediatech Africa, stand K9.

He will be holding Seminars on Camco amplifiers.

Mick AndersonCompany Name: Coda AudioJob Title: Export Sales Manager of

Meet Mick at Tadco, Mediatech Africa, stand K9.

He will be holding seminars on Installation specific and

rental adaptive solutions from Coda Audio.

Frank Andrewartha Company Name: QuestJob Title: Product specialist

Meet Frank at Tadco, Mediatech Africa, stand K9.

He will be holding seminars on Realistic Solutions for

the real world from Quest.

Denis BaudierCompany Name: neXoJob Title: Sales Manager

Meet Denis at Tadco, Mediatech Africa, stand K9.

He will be holding Seminars on The latest High end

Technology from NEXO.

ian staddonCompany Name: DiGiCoJob Title: Vice President of Sales

Meet Ian at Tadco, Mediatech Africa, stand K9.

He will be holding seminars on everything you ever

wanted to know about the royalty of mix.

tim McCallCompany Name: l-AcousticsJob Title: Sales Manager

Meet Tim at Sound Harmonics,

Mediatech Africa, stand E15.

Harry Gladow Company Name: Coolux

Job Title: Business Development Manager

Meet Harry at Questek, Mediatech Africa, stand F23.

Helmut ProtteCompany Name: CooluxJob Title: Director of Global Sales and Projects

Meet Helmut at Questek, Mediatech Africa, stand F23.

stuart GibbonsCompany Name: le Mark GroupJob Title: Managing Director

Meet Stuart at Movievision,

Mediatech Africa, stand A23.

Donny ChanCompany Name: FilmgearJob Title: Managing Director

Meet Donny at Movievision,


eric laiCompany Name: KupoJob Title: Sales Manager

Meet Eric at Movievision, Mediatech Africa, stand A23

Franco ZaghiniCompany Name: D.t.sJob Title: Vice President of Sales

Meet Franco at Movievision,


Ron KnellCompany Name: RoscoJob Title: Business Development Manager, Eastern

Europe & South Africa

Meet Ron at Movievision,


nicolo Fabio olivaCompany Name: spotlightJob Title: General Manager

Meet Nicolo at Movievision,

Mediatech Africa, stand A23

Arjen HoflandCompany Name: Rtw GmbH & Co. KG Job Titles: Sales Manager: International Sales Manager

Meet Arjen at Wild and Marr,


lawrence iviani Company Name: PowersoftJob Title: System Engineers

Meet Lawrence at iLed, Mediatech Africa, stands J2

International guests at Mediatech Africa

24


Raul novickCompany Name: Kramer electronics Job Title: Sales Director for

Meet Raul at Electrosonic SA,

Mediatech Africa, stands E11 + F11.

Andre Bragard-De naeyer Company Name: ADB lighting technologies Job Titles: Sales Manager: Area Sales Manager

Meet Andre at Electrosonic,

Mediatech Africa, stands E11 + F11.

David Budge Company Name: Harman GroupJob Titles: Sales Manager: Director of International

Sales – Middle East & Africa

Meet David at Wild and Marr,

Mediatech Africa, stand G35.

elaine PeakeCompany Name: le Maitre ltdJob Title: Head of Sales

Meet Elaine at DWR Distribution,

Mediatech Africa, stand J1.

Richard sillittoCompany Name: Rs sound ltdJob Titles: Sales Manager: Sound Supervisor

Meet Richard at Wild and Marr,

Mediatech Africa, stand G35.

Peter KirkupCompany Name: lumenRadioJob Title: VP Entertainment

Meet Peter at DWR Distribution,


Paul erik HaseloopCompany Name: Prolyte GroupJob Title: Sales – Major accounts

Meet Paul at DWR Distribution,


Michael Qincy strathmannCompany Name: MA lighting internationalJob Title: Technical Sales

Meet Michael at DWR Distribution,


Massimo BolandrinaCompany Name: Clay Paky spAJob Title: Sales Manager

Meet Massimo at DWR Distribution,


Martin MichaudCompany Name: MDGJob Title: Owner / CEO

Meet Martin at DWR Distribution,


Koy neminathanCompany Name: AvolitesJob Title: Sales Director

Meet Koy at DWR Distribution,


Julian ChivertonCompany Name: DoughtyJob Title: Sales Director

Meet Julian at DWR Distribution,


Harald von den stemmenCompany Name: Robe lighting s.r.o.Job Title: Sales Director

Meet Harald at DWR Distribution,


Grant Bales-smithCompany Name: Philips entertainmentJob Title: Sales Manager Europe

Meet Grant at DWR Distribution,


Jack PalacioCompany Name: D.A.s. AudioJob Title: International Sales Manager

Meet Jack at CES Live / Design Audio System,

Mediatech Africa, stand H18.

stephane GressierCompany Name: ChauvetJob Title: International Sales Director

Meet Stéphane at Audiosure,

Mediatech Africa, stands C9 + C5 + C6 + D5.

sam BowdenCompany Name: ChauvetJob Title: Product Specialist

Meet Sam at Audiosure,


Kevin BrombergerCompany Name: surgeX internationalJob Title: Managing Director of Sales

Meet Kevin at Audiosure,


Dirk Jan VermeulenCompany Name: Delta electronicsJob Title: Business Development Manager

Meet Dirk at Audiosure,


Brian GroganCompany Name: Vivitek CorporationJob Title: Sales Manager EMEA

Meet Brian at Audiosure,


25

diGitAl siGnAGe SyStem IntegrAtIon

Since November 2009 when emails emerged from the University of

East Anglia in the UK throwing into question the veracity of data

supporting the theory of man-made global warming, public

discourse about the idea that greenhouse gasses generated from

human activity trap the sun’s warmth and thus ultimately will raise

global temperatures to threatening levels has become highly

contentious. As a consequence, where the concept of being ‘green’

once was looked upon as admirable, the disputed science of global

warming has, in the minds of many, cast a pall of suspicion over

anything labelled as ‘green’. However, regardless of the charges and

counter-charges over the science behind the theory of global

warming, few could dispute the broader notion that protecting the

environment is essential to the health, well-being and survival of this

planet’s inhabitants.

This article examines the topic of being “green” in the context of

digital signage. It does not seek to address whether or not manmade

global warming exists, if there were ulterior motives behind the

proponents of that theory, or how – or even if – politicians should

respond. Rather, this paper explores how digital signage can minimise

the environmental impact of communicating with the public, specific

steps to take with digital signs to ensure the environmental impact of

their use is minimal, and most importantly the concept that

employing ‘green’ strategies with digital signage is a wise business

decision.

With this knowledge, it will be possible to reap the numerous

benefits communicating via digital signs offers while simultaneously

taking steps to conserve precious natural resources and protect the

environment.

Greening basics

Often when the environmental impact of digital signage is

mentioned, some valid, but rather well-worn assertions are made.

First, when compared to printed signs, digital signage appears far

greener. Digital signage messaging, which can be updated easily,

eliminates the need to print new signs over and over as messaging

necessities change. The fewer the signs that get printed, the fewer the

trees that need to be cut, transported to mills, processed and made

Digital signage – the greener alternative: Part 1

With digital signs, updating ads and promotions is a matter of a few keystrokes.

Digital signage offers an environmentally friendly way to communicate that’s effective, efficient and good for the bottom line.

26

SyStem IntegrAtIon diGitAl siGnAGe

into paper. Additionally, with digital signage there

is no need for inks and chemical coatings as with

printed signs. Waste disposal is also a common

environmental concern with printed signs.

Cutting out the need to replace printed signs

eliminates the energy needed to dispose of or

recycle the signs and —to the degree printed

signs aren’t recycled— the impact of adding tons

more paper, plastic, ink, chemical coatings and

paints to landfills. Another benefit to the

environment is the ease with which digital signs

can be updated. Sending new messages out via

a digital signage computer network eliminates

travel required to physically visit the location of

each sign, which is necessary to replace old

printed signs with new versions. Eliminating the

transportation component reduces pollution and

thus the impact of signage on the environment.

But these considerations are only one element of

the green equation. There’s also the impact

going green can have by reducing or entirely eliminating certain

expenses.

Going green – a sound business strategy

Going green with digital signage isn’t simply a matter of reducing the

environmental impact of communicating with the public; it makes

good business sense. While that may seem a bit surprising, upon

closer examination it becomes clear that communicating with digital

signage can be less expensive than doing so with the print

alternative. Interestingly, what makes it cheaper also makes digital

signs more environmentally friendly. What ties economy and being

green together is the ability of a digital sign to display countless

messages, which is something that would require innumerable,

printed signs.

Consider a casino that relies on backlit transparent signs to

promote specials, entertainment acts and other features. In this

instance, the sheer quantity of signs needed to tell patrons about

frequently changing entertainment acts and special offers along with

the expense of the backlit signage medium make using digital signs a

cost-effective alternative. With digital signs, updating ads and

promotions is a matter of a few keystrokes. Equally important is

eliminating the need to manufacture the transparent plastic film and

specialised inks required to print backlit signs.

Digital signs also answer the question of proper disposal before it’s

even raised. Obviously, the specific type and expense of printed signs

in use will impact when the financial break-even point is reached by

choosing the digital alternative, but in the example of a high-volume

signage use like a casino it can be two years or less. Closely related to

the cost benefit of digital signage vs. printed signs is something that

could best be described as “message per metre.”

Digital signage networks have an innate ability to playback

multiple pages —one after another— in an endless sequence just as

a TV channel plays back a ceaseless lineup of entertainment,

commercials, news and other content. That ability means a

theoretically unending sequence of desired messages can be played

back on a digital signage network in a finite space. It’s almost silly to

conjure up how printed signs would do something similar —wallpaper

the entire planet? Clearly, when it comes to the number of messages

communicated per metre (or whatever unit of measurement desired)

of space, digital signage is the clear winner.

From the perspective of being green, winning the “messages per

metre” crown makes digital signage a far more environmentally

friendly and aesthetically pleasing alternative. From a business

perspective, the ability to playback the sequence means more

goods and services can be promoted per unit of wall space, which

should positively affect sales.

When it comes to actually producing the message to be

communicated, digital signage is a better business and

environmental approach. Whether it’s printed or digital signage,

there is a pretty well established workflow to creating a message. The

former requires transport of people and actual end product at

several points in the process. From the moment paper stock arrives at

a printer till the time someone in an organisation —or an outside

contractor— actually hangs the finished printed sign, transportation

never ceases, nor does the environmental impact of that

transportation.

On the other hand, the digital signage workflow is far more

efficient. There literally is zero transport of physical media and people

required between the point of origination of a digital signage page

and where it’s displayed. Cutting out all of “the middlemen” needed

from concept to delivery in the print workflow makes digital signs an

attractive alternative from a productivity point of view, and reducing

the transport of people and materials makes digital signs the greener

choice.

Add to the efficiency equation the ability of some digital signage

software applications to extract specific information from existing

databases and facilities management software packages to

automatically create digital signage page , and the positive impact

digital signage can have on the productivity of an organisation

becomes even clearer.

A simple way to evaluate energy

efficiency is to get familiar with the

government’s ENERGY STAR

programme as relates to monitors.

+27.11.447.6162 or 0861.398766 (inside South Africa only) www.extron.com

Scaling Presentation Switcher with DTP Extension

Extron IN1608

The Extron IN1608 HDCP-compliant Scaling Presentation Switcher accepts and scales a wide variety of video formats to a common, high resolution output rate. It provides DTP 230 twisted pair signal extension for sources and displays, and offers enhanced audio functionality with available integrated power amplifiers. Built for professional environments, the IN1608 offers a host of integrator-friendly features and provides a complete AV switching system in one rack-mountable enclosure.

Key Features:

• Integrates HDMI, HDTV, RGB, and video sources into presentation systems with audio switching

• Video inputs: two DTP 230, four HDMI, two universal analog • Video outputs: one DTP 230, two HDMI

• Advanced scaling engine with 1080i deinterlacing and selectable output rates up to 1920x1200, including 1080p/60 and 2K

• SpeedSwitch® Technology provides exceptional switching speed for HDCP-encrypted content

• Key Minder® continuously verifies HDCP compliance for quick, reliable switching

• EDID Minder® automatically manages EDID communication between connected devices

• Two mic/line inputs with 48 volt phantom power can be independently mixed with program audio and embedded onto the HDMI output

• HDMI audio embedding and de-embedding

• Remote configuration and control via Ethernet, RS-232, and USB

• Available models with energy efficient Class D integrated amplifiers

IN1608

A DTP connections extend HDMI or DVI plus control and analog audio up to 70 meters (230 feet) over a single CATx cable

A Remote powering of DTP transmitters and receiver simplifies installation

A Compatible with CAT 5e, CAT 6, CAT 7, and Extron XTP™ DTP 24 twisted pair cable

A Compatible with all DTP HDMI 230 and DTP DVI 230 models

IN1608 SA: Stereo amplifier with 50 watts/channel

IN1608 MA: Mono amplifier with 100 watts @ 70 volts

DTP Twisted Pair Capabilities

Audio Amplifier Models Available

IN1608 SA

See us at Mediatech – Stand G26

pro_systems_news_south_africa.indd 1 5/23/13 9:39 AM

28

SyStem IntegrAtIon diGitAl siGnAGe

Minimising environmental impact of digital signage

While digital signage offers certain advantages over printed signsfrom

the standpoint of environmental protection, that’s not to say the

digital medium isn’t without its own set of environmental concerns.

Among the most serious are power consumption and the

associated environmental impact of producing the electricity

needed to drive the displays and computers that feed them; the use

of hazardous materials in the production of digital signage displays

and computers; and the impact of display and computer disposal as

well as that of the packing materials needed to ship the devices to

their locations safely.

Display power consumption

On the display side of the equation, the growth of LED technology for

backlights presents an alternative to fluorescents and has made it

possible for display manufacturers to employ new power savings

strategies, unavailable with fluorescent backlights, in an increasing

number of panels.

One such strategy is the use of Pulse Width Modulation, which can

be used to vary LED power consumption and brightness. A simple

way to evaluate energy efficiency is to get familiar with the

government’s ENERGY STAR programme as relates to monitors. It’s

also wise in many applications to turn off individual digital signs or all

the signs on a network after hours to save energy.

Digital signage player power consumption

The other power draw in a digital signage system is the player —

typically a computer running dedicated software. Here, a few

alternatives are possible to minimise power consumption, depending

upon the application. Embedding the computer in the actual digital

signage display can produce power savings —simply by eliminating

an entire computer monitor and other redundant pieces of hardware,

such as a second video card. Even if using an embedded computer is

not possible, certain things can be done to minimise power

consumption of a standalone system, such as replacing spinning disks

with solid-state disks. SSDs also require less cooling, which can

translate into power savings.

Hazardous substances

In July 2008, an article in New Scientist magazine based on research

by a University of California-Irvine professor set off alarm bells in the

press about NF3, a gas used in the production of LCD panels, solar

panels and integrated circuits. According to the article, the gas has

thousands of times the affect on the atmosphere as a comparable

amount of carbon dioxide.

But as a Columbia Journalism Review article said in August 2008,

the media hyped the findings and distorted the impact of NF3 on the

environment —mostly because of the small quantity of the gas being

released into the atmosphere. The article quoted Michael Prather, the

professor responsible for the study, as saying: “It’s not a big deal by

itself,” Prather said in an interview. “We’re looking at less than half a

percent [the impact] of CO2. Is it the most important thing? No. But it

should be in the market basket. And it should be monitored.”

Regardless, hazardous substances used in digital signage players

(computers) and fluorescent backlights are legitimate concerns with

the former using components with lead and cadmium content and

the latter containing mercury. On the positive side, however, the

European Union has established its RoHS (Restrictions of Hazardous

Substances) directive restricting the use of six hazardous materials,

including lead and cadmium. Further, California has enacted its own

restrictions on the use of certain hazardous materials in electronics

manufacturing. Such efforts have and will continue to make digital

signage greener.

Disposal and waste

One way to minimise the impact of disposing digital signage

components is to extend their lives. Doing things like choosing

longer-life backlighting options, such as LED technology, and limiting

monitor use to the time of day when, for example, a store is open or

an air terminal is actually in use, can lengthen life. Additionally,

donating old displays to charity not only can benefit worthy

organisations but also keep panels in use and out of landfills. In fact,

many communities will not accept monitors and computers as waste.

Finally, the fragility of monitors and computers makes proper

packing material essential for safe transport. Asking about the use of

recycled packing material and recycling that material after delivery

of panels and players is also important for those wishing to make their

digital signage installation as environmentally friendly as possible.

unrelated goal of communicating to the public about environmental

concerns recognises that there’s more to communicating successfully

than a well-defined message. It’s almost as if the Screen Forum

transplanted the concept of public service announcements from the

television medium to the arena of digital signage, except digital

signage networks have no government mandated public service

obligation to fulfill.

The above white paper was reprinted with permission from the

Digital Screenmedia Association (DSA). For more information, go

to http://www.digitalscreenmedia.org.

Sett ing standards

LED display systemsProduct catalog

Telephone: +27 11 706 0405 Email: [email protected] Website: www.questekadvanced.co.za

LED display systems

Larger than life

Inspiration is everywhere

Image is everything

30

SyStem IntegrAtIon lArGe-sCAle led disPlAY

This colossal LED installation, which covers all four sides of the office

block, is not only Absa Tower’s new crowning glory but it is also a

beacon in Jozi’s cityscape similar to that of London’s Piccadilly Circus

or Times Square in New York.

Absa’s humdinger of an LED display, collectively known as Lumen,

was switched on and unveiled in Johannesburg during a spectacular

event at Carlton Centre on 19 March. As the tallest building in Africa,

Carlton Centre provided an unmatched viewing angle for the

gargantuan display, which is an integral part of Absa’s wider 10-year

inner city rejuvenation project.

size counts

Designed by US-based Herring Media Group, Absa Lumen has been

billed by Barco LiveDots as its largest LED solution to date, featuring a

2 650 square metre LED display composed of 2 880 TF-20 tiles. It

contains almost 20 million LEDs, this amazing display is used for

branding and marketing purposes. It was chosen on account of its

reliability and impressive image quality, achieved through the

combination of Barco LiveDots’ TF-20 LED display system and unique

image processing technology.

To put the sheer magnitude and scale of Lumen display into

perspective one has to understand that each of the four giant LED

screens is almost twice the size of a basketball court at 38 metres long

and 17 metres high. The LED display can be seen from 1.5 kilometres

away on the ground and 2.5 kilometres in the air. The Lumen screens

are bigger than those at Piccadilly Circus in London and New York’s

Times Square.

The installation, which commenced in October 2012 and

completed in a record four-month period, embraced the skills and

talent from local Barco distributor – Questek Advanced Technologies.

The company is responsible for many ground-breaking displays and

visual solutions in South Africa including those at Green Point, Royal

Bafokeng and Orlando Stadia.

Speaking about the Lumen project CEO of Questek, George van

Gils, says that the installation had been one of his company’s most

challenging and exciting projects to date. “The sheer magnitude of

the Absa Lumen screen required some groundbreaking technology

and IT integration never before attempted in the world. Questek is

very pleased with the screen’s performance and quality of image,

which has far surpassed our client’s expectations.”

Questek Advanced Technologies handled the configuration and

integration of the 2 880 TF-20 tiles that make up the screen, ensuring

that the unit is run, controlled and monitored as one single image by

one single operator. Van Gils points out that his company’s

responsibilities started with the testing of all the tiles as they arrived in

the country and then to prepare them to be installed onto the steel

structure.

“In addition to the entire cabling configuration and set-up

undertakings, Questek also installed all the control room equipment

and will be responsible for the on-going local maintenance and

upgrades of Absa Lumen,” says Van Gils.

The complete Lumen system can be monitored and controlled

from anywhere in the world where there is internet access due to the

Johannesburg is home to some of Africa’s tallest buildings and the city’s skyline with its many impressive skyscrapers has become universally identifiable. one of these noteworthy buildings, the Absa towers, recently installed the largest light emitting Diode (leD) display of its kind in the world above its 29-storey building, writes simba nyamukachi.

Lumen illuminates Jo’burg skyline in a big way

31

intelligence of the Barco controller. The four sides of the LED display

that wrap around the building form a live canvas that allows video

and images to move seamlessly from side to side. The media

displayed on the large screens is generated from four Coolux media

servers which provide seamless video content on a timeline that is

remotely uploaded and controlled.

Ecofriendly,energyefficient

Apart from being the largest display installation in the world, the

Johannesburg set-up is also one of the most eco-friendly displays in

the world.

The TF-20 technology ensures exceptionally low power

consumption due to the use of extremely efficient components and

the smart driving of individual LEDs. On top of that, the ingeniously

tilted LED configuration aims the light bundle of the LEDs downwards

to increase the viewing experience for the audience. This significantly

reduces power consumption and light pollution while, at the same

time, enhancing the perceived brightness and image quality.

What’s more, thanks to the active system ‘agent’, the brightness of

all four façades can be controlled separately and automatically,

therefore ensuring the best contrast/brightness ratio at any time of

day, at any viewing location. This system also allows the operator to

optimise energy efficiency with a few simple steps to limit cost and

impact on the environment. To offset some of the carbon emissions

on Lumen, Absa is building one of the largest rooftop solar

photovoltaic farms in South Africa on top of Absa Towers North.

Questek and Barco’s sA legacy

If one looks at Barco Installations at Green Point, Royal Bafokeng and

Orlando Stadia and now the recently completed Lumen installation, it

is easy to see why Questek is at the forefront of state-of-the-art display

installations in South Africa. According to Van Gils this is because

Questek supplies solutions that are high profile and mission critical.

“In any of these cases a failure could be seen by thousands of

people and be an embarrassment for the operator or branding

company. Imagine if the Absa project was only working half the time

or there were blank spots on the screen – this would reflect on the

company’s professionalism and could do more harm than good. The

consumer would comment that if the company cannot even keep

their sign going how good is their IT infrastructure?” Van Gils says.

He went on to say that digital signage has now reached a

breakpoint as it has become more affordable than it was in the past,

putting Questek in a good place to continue to break new ground.

“We will therefore see more and more companies using this LED

technology for advertising their companies, but I would like to

emphasise that quality and reliability will be a key factor in this regard.

Having an iconic screen such as Lumen installed demonstrates

Questek’s competence and will lead to more major installations,” he

concludes.

tech box:

• 2880 X Barco TF 20 tiles

• 5 X Barco DX 700 processors one for each wall plus one hot

standby

• 5 X Coolux servers

• 2 X Coolux managers

• 1 X Barco 8X8 DVI Matrix

• 1 X Barco 8X* HD/SDI Martrix

• 2 X Barco ImagePro II

• 2 X Dual Screen Marshall 10.4” displays

[email protected] www.ephproductions.co.za 012-345 5303 082 924 9046

How would you like us to go?

For all your LED Screen requirements to the Rental & Live Event Market.

How would you like us to go?How would you

We also supply Sound - Lighting - Audio-Visual - LED Screens - Stage - Structure - Generators - Crew - Creativity…

32

SyStem IntegrAtIon AV uPGrAde

i often muse how things that are now trivial and taken for granted were absolute science fiction back when i was growing up. think about it. we can now speak to someone on the other side of the planet with crystal clear video and audio on a flat panel display, installed in a wall if you like. it may as well be star trek. now if they’d only invent time travel and teleportation, we’d be really impressed.

Coming from the days of overhead projectors and chalk boards,

technology seems to be slowly replacing the old ways we used to do

things and that includes education. No more messy transparency

pens. No more asthma-inducing chalk dusters. You can almost get

away with never having to write anything down thanks to the

proliferation of iPads and laptops, which are now common in all sorts

of places. Goodbye, 2B pencil. It was real.

But it’s not only the learner that benefits from the efficiency and

ergonomics of technology. The lecturer too has access to new,

exciting tools which help streamline the broadcasting of knowledge

to the learner and keep things focussed on what everyone is there to

do: learn.

The Tshwane University of Technology (formerly Technikon Northern

Gauteng) as one would assume, is an institution that owes it to itself to

stay abreast of current trends. They are, after all, a technology-driven

institution. If learners want to go out there and tackle the tech world,

there is no use only knowing how to use DOS if everyone’s using

Windows 8, if you know what I mean?

For that reason a comprehensive upgrade of their campus facilities

were commissioned in order to bolster the way lecturers are able to

disseminate information.

Specialist AV installation and integration companies FROG AV and

Audio Visual Center were selected for the installation, which was

originally tendered for three companies. The workload, which was

globally spec’d, was therefore handled by both companies albeit in

separate, designated parts of the campus.

Warren Tree from Audio Visual Center comments. “The project has

been going on for about a year now. It’s basically a major upgrade

for the entire TUT organisation and was split between the two

companies because of the sheer size of it.”

According to Kevin Gelman, Regional Sales Manager of Audio

Visual Center, the original idea was to bring in another company to

manufacture the podiums but since Audio Visual Center

manufactures their own, they picked up the work load in that regard.

In terms of the comprehensive upgrade, there are around three

hundred TUT venues across the country where both FROG AV and

Audio Visual Center have been commissioned for work. So, the while

companies are both installing similar equipment, they work mutually

Streamlining education By Greg Bester





33

AV uPGrAde SyStem IntegrAtIon

exclusive from one another based on the division of work load among

the venues. In terms of the challenges faced during the installation,

Warren Tree comments once again.

“It’s also a case of their time lines being so tight. A lot of these

venues you can only get into when they are in recess so that’s the

reason they’re needing as many people as possible to work on them.

For instance, the installation Kevin is starting now, we’ve only got the

April/March recess to finish those auditoriums because after that

they’re fully booked.”

The upgrades in general included a comprehensive upgrade of

projectors and cabling centred on an Extron MLC226 IP push-button

control system with the Extron MLC226 IP intercom system. Along with

the control system, they have also integrated Extron’s GlobalViewer

Enterprise software system whereby all control systems on the network

can be monitored. This enables the user to get reports on usage of all

networked components in the room and helps immensely in

gathering data to indicate future plans of action. Routing and

switching is handled by Extron MLS 406SA six input Medialink switchers.

Replacing the overhead projectors of old, Sony EVID70 ceiling-

mountable document cameras, Dell 4220 XGA data/video projectors

and a Grandview motorised screens were installed to disseminate

documents to the learners. In the past, TUT lecturers have been

accustomed to physically carrying all their presentation equipment to

class. This including setup would take up to 30 minutes and and then

a further 30 minutes for break-down. Of course, this time could have

been better spent lecturing.

With the new upgraded systems, lecturers simply need a memory

stick to present a class.

Full audio capabilities were installed throughout the upgrade.

Beyerdynamic Revoluto microphones were integrated where

necessary along with Behringer FBQ-100 feedback destroyers. For the

presentation loudspeaker systems white Extron SM 3 flush mount

speakers were installed, powered by the integrated stereo amplifiers

of the MLS switchers.

In a few of the lecture halls where interactive white boards were not

installed, smart podiums were spec’d. SMART Interactive Pen Displays

were the go to choice. This enables the lecturer to give presentations

and lessons while directly annotating with the magnetic pen or finger.

The presentation and annotations are then reflected on the projector

screen.

Of course, all the equipment had to be theft and vandalism proof

so custom racks were manufactured and comprehensively installed.

The podiums were also heavily secured to ensure nobody can tamper

with the equipment inside.

the wrap

Today learning does not just entail books and other archaic

methods of distributing information. The internet, projection,

in-classroom document cameras and networked control systems

are making the accessibility of knowledge more streamlined and

intuitive. I, for one, am impressed at what companies like FROG AV

and Audio Visual Center are doing for our learning institutions and

we can only hope that in the future more of them follow suit.

34

SyStem IntegrAtIon interACtiVe solutions

Whilst the international trend in museums is to adopt higher levels of

interactivity and unusual display technologies, it’s not everyday that a

single museum is able to commit to cutting edge interactivity within

traditional museum craftsmanship of the highest order. This fine act of

balance requires vast experience and large budgets, something that

museum design leaders Ralph Appelbaum and Associates (RAA) are

quite familiar with. The New York based practice have been

responsible for some of the largest and most prestigious museums

globally including the American Museum of Natural History and

several major Holocaust Museums. The Moscow project was therefore

well suited to their vast experience in combining high levels of design

and build detail with extraordinary digital content.

The Moscow project was complicated in that decision-making and

implementation involved many key role players; from client to RAA, to

Spanish Museum fit out contractor General de Producciones y Diseño

(GPD) and on to the various specialist contractors. The technical end

of this was awarded to Austrian firm Kraftwerk Living Technologies,

well known for their large installations in the visitor attraction arena.

Kraftwerk turned to South African partners Digital Fabric to provide

both project management and on site implementation services. The

relationship between Kraftwerk and Digital Fabric extends back to

2006 when Kraftwerk’s 4D motion base seats were used in a Digital

Fabric project at Gold Reef City. “We have maintained a close

working relationship ever since and the Moscow opportunity was a

natural extension of that relationship”, says Digital Fabric’s Gavin

Olivier. “Kraftwerk was aware of our extensive museum experience,

not just in the black boxes, but in our sensitivity to detailed exhibition

build and content”. Digital Fabric’s technical director, Alex Sanfilippo,

the Russian Museum of Jewish History and tolerance Centre in Moscow became the largest of its kind when israeli President, shimon Peres, and Russian Foreign Minister, sergey lavrov, officially opened its doors on november 8 last year.

Technology meets history in Moscow

Phot

o co

urte

sy D

igita

l Fab

ric

35

interACtiVe solutions SyStem IntegrAtIon

then engaged with a team of designers from RAA, GPD, Kraftwerk

and various content producers over several weeks at the mock-up

facility that GPD had established in Seville, Spain for proof of concept

trials. With final designs in hand, the SA based team of seven set out

for 6 long and challenging months in Moscow.

the museum

Constructed within a former Moscow bus depot; the museum is

practically a building within a building. Covering almost 5000m2, the

exhibition is a lesson in detailed visitor flow and creative use of space.

The building infrastructure is minimal with most of the spaces defined

by large-scale exhibition elements. The narrative is one of Jewish

History within Russia and as such dedicates much of its resources to

describing the Jewish way of life, beliefs and philosophies.

The visitor journey starts in the Beginnings Theatre, a sixty-seat 4D

theatre in the round that uses three curved projection screens around

the perimeter to tell the story of Creation from a Jewish perspective.

Each screen is served by a three-projector-wide blend, but twin

stacked to create passive 3D playback, making for a total rig of

eighteen projectors. An advanced auto-alignment system is used for

automatic warping and blending of all 18 projectors and was

developed by Brainsalt Media. The projection is augmented by

multichannel audio, motion bases, heavy fog, wind effects and, on

cue, light rain from above and in the hand rails compliments of a high

pressure water purification plant. This theatre required a dedicated

plant room to house the compressed air, water and fog systems; all of

which formed part of the audiovisual team’s responsibilities.

A view from the function platform above the beginnings theatre

36

Further aspects of Jewish life are manifested in highly detailed and

themed spaces such as the Shetl, which explains, amongst others, the

Synagogue, Marketplace, Shabbat, Making a Living, and Lessons at

Cheddar, typical of the time. There is no shortage of technology in this

area including an interactive Torah, clever screens behind mirror

glass, virtual books and displays of everyday objects that are touch

sensitive, triggering dramatic interactive re-enactments and lighting

crossfades on four metre high theatrical gauzes. Perhaps the cleverest

part of this area is the complete invisibility of the technology, not a

single screen, speaker or sensor is visible to the visitor.

At the perimeter of the main exhibition floor there are a series of six

studios, each dealing with a more specific time based event in history,

such as the development of cities, the Bolshevik Revolution and the

formation of the Soviet Union. These studios are crammed with

interactivity, from speaking, interactive coffee shop tables to

numerous iPads and larger touchscreens and culminating in a

projection touch-table in the shape of a five-pointed star. This exhibit

deserves special mention in that it is covered by five projectors, all of

which overlap in the centre of the star creating a complex geometry

that is seamlessly blended and warped in the centre where all five

projectors converge. Touch input is via five custom capacitive foils

fitted below the projection surface. As per the Beginnings Theatre an

auto-alignment system is used to reset the crops, blends and warps

each morning to compensate for movement that occurs over time in

the building structure. “ It sounds quite simple, and while the auto

alignment is very powerful, the mechanical alignment and accuracy

of installation was paramount,” says Sanfilippo,” some of the graphical

elements in the interactive content are only a pixel wide; with most of

it being displayed in the common central blend region, meaning that

the setup has to be 100% perfect at all times”.

The key moment in the exhibition journey is the area entitled “The

Great Patriotic War and the Holocaust”. For obvious reasons it is also

the most difficult area to engage with. It contains various exhibition

elements that include, photographic, audio, original artifacts and

archival materials, set in front of a massive 26m x 4m curved

projection surface, served by seven 3-Chip WUXGA projectors. Once

again the warping and blending is handled by a Brainsalt system, also

fitted with auto alignment. The highly customised, perforated screen

surface conceals multi-channel audio and four films are delivered in

looped succession. The content is testimony to what budget and

experienced filmmaking can deliver, with astounding panoramic

imagery, derived from both moving and still archival footage, mostly

all rescanned dozens of times to increase resolution and then

masterfully stitched together to create the super-wide format of the

12000 pixel-wide content. “This is a complete contradiction between

fascination at the sheer scale and quality of the production and the

absolute horror of the content and reality of war”, says Olivier, “its one

of those pieces that you can watch a hundred times during setup and

then cry your eyes out when you finally sit down and allow yourself to

focus”.

the technology

Needless to say, the quantities of equipment required to deliver a

system of this nature are huge. Of bigger concern are the logistics

involved in getting such a diverse range of equipment into Russia. The

same applied to much of the museum furniture and exhibition

SyStem IntegrAtIon interACtiVe solutions

“It’s a testimony to the organisation

and experience of the Kraftwerk

team and the tenacity of the SA

boys, that we completed on time,

against many odds.” – Alex sanfilippo

the interactive star table in the soviet area, where content is synchronised to the monitors in the peripheral displays

Phot

os c

ourte

sy D

igita

l Fab

ric

37

interACtiVe solutions SyStem IntegrAtIon

equipment which could get stuck for weeks at a time at the border

crossings, causing knock-on effects for for AV installation, given the

high level of integration of equipment into set-works. “What didn’t

change, however, was the opening date, which constantly loomed

on the horizon as the days passed waiting for critical items,” recalls

Sanfilippo. “It’s a testimony to the organisation and experience of the

Kraftwerk team and the tenacity of the SA boys, that we completed

on time, against many odds. Moscow is not the easiest place to work,

and without support structures such as the translators, we would have

been pretty stuck in some instances”.

So how does a system of this size and complexity fit together? At

the heart of it all is the content delivery, all based on multichannel

Brainsalt Media linear video servers and interactive servers, 73 in all.

Delivery of signal to the 150 odd displays was over structured cabling,

using mostly Atlona HD Base-T transceivers. The displays are a

combination of LCD, Touch LCD and Projectors. Projectors consist

largely of Panasonic units with a few Projection Design units for

specific tasks. LCD’s are primarily Samsung with ELO for the touch

derivatives.

All audio is processed by QSC Audio DSPs, with QSC amplification

feeding a wide range of loudspeaker products across more than 160

channels. These are mostly QSC, but also include speaker products

from Solid Drive, K-Array, Brown Innovations, JBL and Renkus-Heinz.

Once again the emphasis is on balancing invisibility and

performance.

Controlling all of the above is a Crestron backbone with a master

AV2 processor coupled to seven slave processors throughout

equipment clusters. The system covers all aspects of daily scheduling

and maintenance reporting as well as the control core linking all

interactive elements, tactile inputs and linear playback. The

museum’s technical staff interface via a 46” X-Panel display providing

high resolution site layouts for ease of access.

The visit ends with a dedicated space called the Tolerance Centre.

This sit-down experience employs 60 iPads in custom housings to

capture visitor responses to a series of film-based scenarios that

challenge the audience on issues around tolerance and

acceptance. The films are played out on a 4x4 seamless videowall

that also displays the outcomes of the activity.

Alex Sanfilippo sums it up, “Digital Fabric are proud to have worked

on a project of this nature, its scale and complexity make it without

doubt one of the most rewarding for many reasons. To work with a

world-class team that can design and construct something as

significant as this does not happen often, this is not just about a cool

job to feature in our portfolio, what we take away from a project like

this influences the way that we look at all aspects of our business.

technical suppliers

Digital Fabric is a South African market leader in the design and

integration of systems for the museum and visitor attraction markets.

With more than 30 years of combined AV experience, Gavin Olivier

and Alex Sanfilippo have managed to stay at the cutting edge of

technology, specializing in bespoke development and award

winning interactive experiences. The ability to deal with high levels of

detail allows Digital Fabric to deliver on projects large and small, both

locally and abroad.

KRAFtweRK living technologies is one of the leading companies in

the field of professional audio-visual system integration. The Austrian

based specialists combine and synchronise high-quality systems to

provide tailor-made overall solutions for the global market. For more

than 20 years KRAFTWERK has been engaged in the technical

conception and development of AV solutions that find application in

many different areas – from the entertainment industry to the

automotive industry. Focused on providing highest quality and

innovation, KRAFTWERK has become a trusted partner for turnkey AV

projects. The service range includes technical design, engineering,

implementation and maintenance. KRAFTWERK has executed

numerous projects all over the world and has defined the standards

for state-of-the-art system integration since its founding in 1992.

the Pillar shards area with large format projection and integrated touch monitors

38

SyStem IntegrAtIon trAde shoW rePort

in the über technological commercial AV systems integration industry innovation and constant product launches are the order of the day and without an event such as infoComm trade show, AV professionals would be hard pressed to keep abreast of all the new products on the market.

Since its inception in 2004, the trade show has been an

indomitable force that persistently showcases a wide array

of technologies and business opportunities for the AV sector.

This year’s InfoComm, which took place in Orlando,

Florida from 8 to 14 June at the Orange County Convention

Center, has grown to attract more than 35 000 attendees

from wide-ranging market sectors, including business,

government, military, education, worship, healthcare,

hospitality, retail and entertainment. Along with a trade show

floor that exhibits the latest from all of the industry leaders in

audiovisual, staging and signage, the educational

programming provides attendees with opportunities to

develop skills and update certifications during the

conference.

The leading trade show for the commercial audiovisual

industry also provided educational opportunities to

thousands of professionals that attended this year’s

week-long event. Through the InfoComm University,

attendees were afforded career-advancing training and

certifications as well as an opportunity to learn from

InfoComm partner organisations and manufacturers who

provided additional training sessions to round out the

educational offerings.

Although education programs were abound at the trade

show, the InfoComm International Certified Technology

Specialist (CTS) programme stood above the rest. The

certification programme had the exhibition abuzz with talk

of the new discoveries. InfoComm has been administering

this CTS certification for more than 30 years, and it is the most

trusted and recognised programme worldwide for

commercial audiovisual professionals.

“Earning CTS credentials are a way to easily represent

knowledge and experience in the workplace and to

potential customers,” said David Labuskes, CTS, RCDD,

Executive Director and CEO, InfoComm International.

“Offering the testing at the InfoComm show has proven

invaluable to many AV professionals, providing a tangible

ROI that extends well beyond the event.”

Other prominent educational sessions during InfoComm

2013 were the Women in Technology Symposium, Digital

Image Content in Live Event Production, CTS-I Prep, Business

Leadership Workshop and Integrating AV Services in an IT

Dominated World. These sessions addressed pertinent issues

within the industry and featured industry experts who

provided insight and solutions to many students.

Analog way Ascender 32After the successful introduction of the NeXtage

16 and SmartMatriX Ultra, Analog Way

completes its LiveCore series with the

introduction of the Ascender 32, a powerful AV

processor equipped with 32 scalers.

Ascender 32 is a powerful multi-screen Seamless Switcher with 32

scalers. The system offers versatile connectivity through 12 seamless

inputs with 42 input plugs: 6 x HDMI; 9 x DVI I; 3 x DisplayPort, 12 x 3G/

HD/SD SDI; and 12 x Universal Analog. It can handle any source from

composite video (up to 2560x1600) and outputs a variety of formats,

including HD TV and computer format up

to 2560x1600 and 4K.

Revoluto mic units for Quinta Beyerdynamic presented the new

Revoluto microphone units for Quinta. The

new microphone units with Revoluto technology complement the

range of microphone units for the wireless conference system Quinta.

Using intelligently connected microphone capsules, the patented

Revoluto technology provides a corridor characteristic. This gives the

speaker maximum freedom of movement whether sitting, leaning

back, standing or speaking to one side volume and tone quality are

unaffected. The gooseneck microphone is no longer needed,

therefore giving participants an unrestricted

view.

elite screens Kestrel stage seriesElite Screens exhibited the Kestrel Stage free

standing portable electric projection screen.

The Kestrel Stage Series is a portable, free

standing floor rising motorised front projection

screen.

The MaxWhite FG 1.1 gain material that has wide diffusion

uniformity for added performance versatility. It is also GREENGUARD

certified for indoor air quality emissions as well as for children and

schools (GREENGUARD #90390). The initial screen sizes are 100 or 120

diagonal inches in a 16:9 (HDTV) aspect ratio. The screen’s

mechanised cross rising apparatus is driven by a 17rpm, 130w tubular

motor. Its 10nm torque provides superior weight

tolerance in addition to a longer operational

lifespan. Elite’s Kestrel Stage provides a simple in

line three-way switch.

Crestron Green light Power Pack The Crestron Green Light Power Pack is a room controller designed

to communicate with photocells, occupancy sensors and control

stations to automatically control lighting in any room.

The entire Power Pack family provides cost-effective and powerful

lighting control for classrooms, small offices, and open-plan offices.

Ideal for new construction as well as retrofitting existing buildings,

power packs are designed to install and commission quickly and

easily. The Green Light Power Pack connects to a central control

system, making it an integral part of the building

energy management system.

sony BVM A seriesSony showed off the BVM A series. It is the third

generation OLED model line-up and is a

replacement for the recently discontinued BVM series monitors. This

new design uses all of the features from the current series but offers a

major optical improvement.

InfoComm educates AV sector

39

These new models almost completely eliminate any shading or off

axis colour shift. The BVM A series model design is mirrored from our

successful BVM E/F Trimaster EL OLED models. All of the features

offered from the older BVM series are available now with the new

BVM XXXX A series. This new master monitor delivers the same

outstanding black performance, quick response with virtually no

motion blur and a wide colour gamut like the BVM series.

earthworks iM12 wEarthworks exhibited the IM12 W. The company has expanded

its Installation Series to include the IM12 W, a 12-inch gooseneck

cardioid condenser microphone designed for fixed installations.

The series previously offered a three-inch and six-inch model.

The primary applications for the IM Series include ceiling-

mounted teleconferencing, distance learning, surveillance,

boardrooms, government facilities

and ambient room micing.

nti M2230 Mic NTi Audio Unveils New High

Performance Measurement Microphone.

The new M2230 measurement microphone extends NTi Audio’s range

of measurement microphones at the top end.

Its specifications comply fully with IEC 61672 and fulfill all class 1

requirements, including environmental requirements. The microphone

features an extremely low residual noise floor of 16dB(A) and supports

precise and linear measurements up to a

maximum of 139dBSPL.

Christie twist The Christie Twist – Image Warping and Edge

Blending Module made an appearance at

InfoComm Show.

The Twist is a powerful and easy-to-use tool to manage complex

arrayed projectors that allows users to expertly create seamless

images on flat, curved or cylindrical surfaces.

Christie Twist is a dedicated, purpose-built hardware and software

solution that enables full image warping and advanced edge-

blending through the control of a powerful and easy-to-use graphic

user interface. By manipulating geometry and blending, this powerful

tool allows pixels to be mapped to virtually any projection surface

with proper geometry and perfect

pixel-to-pixel alignment.

Barco encore Presentation switcherThe Encore Presentation Switcher is

the most advanced video processing

and presentation control system on the market today.

The system provides source selection, automatic source acquisition

and configuration, advanced windowing features, seamless

switching, video effects and integrated control for professional video

presentations. Encore’s modular, scalable architecture allows the

system to support a wide variety of show configurations. The system

can efficiently support from 1-32 screens with any combination of

independent display or seamless

wide-screen display elements.

lifesize uVC ClearseaLifeSize UVC ClearSea provides a

simple and flexible solution for

instantly connecting any desktop

or mobile device to one another

and to the meeting room. And now, with unlimited user

accounts, you can extend video calling throughout your

organisation.

Powerful collaboration tools, such as presence and text chat,

content sharing, live call transfer and a ring-all feature, ensure

that workers can connect faster and easier than ever before.

When you need to connect via video with people outside your

organisation, you can use the convenient and easy invite-a-

guest feature. Connect with multiple people at the same time

through LifeSize UVC ClearSea configured with LifeSize® UVC

Multipoint™.

40

SyStem IntegrAtIon APPs round-uP

Crestron-Mobile-Pro

Take full control of your home, office or boardroom

from any Apple iOS or Android™ mobile device.

The popular Crestron Mobile Pro® app[1] turns an

iPhone®, iPod touch®, iPad®, Samsung™ Galaxy

Tab, HTC EVO 4G™, HTC™ Droid™ Incredible,

Motorola Droid X, or other mobile device[2] into a

virtual Crestron touch screen. Using a wide variety

of smartphone and tablet devices, Crestron Mobile

Pro lets you control your home theater or whole-

house AV systems, lighting, climate control, shades,

security and other functions from virtually anywhere.

Crestron Mobile Pro is available for purchase and download

through the iTunes® Store and Google Play™. The app is engineered

for scalability and open-platform compatibility. A system configured

to work with an Apple device also works with Android, so all your

devices work the same and every member of the family enjoys the

same quality user experience.

AV Buddy

The AV Buddy Audio Visual Application is designed

for the professionals or beginners in the Audio Visual

industry. The app is an essential information and

calculation tool, which will assist your Audio Visual

needs including pinouts, charts, cut lengths,

diagrams, clear AV connector photos, descriptions,

AV calculations. Each connector has a description

with useful information.

Visual connections: BNC – With cable diagram

and cut lengths, COMPOSITE – includes colour

coding for various equipment, DVI – with Various DVI type diagrams

and pinouts, HDMI – Includes a version comparison chart, SVIDEO –

4,7 and 9 pins, VGA – Pinouts and diagram, F-CONNECTOR – includes

common coax cable diameters.

Audio connections: 3.5 + 6.5 JACK – with stereo and mono

diagrams, XLR – includes 3 & 4 pin pinouts, SPEAKON – connections

and diagram, RCA – Different audio colour connection.

signalscope Pro

SignalScope Pro for iOS devices is a real-time

analysis toolset, suitable for use in areas such as

acoustics, audio, electronics, and vibration.

SignalScope Pro includes 4 tools for dynamic signal

analysis, as well as a signal generator for producing

test signals. SignalScope Pro also turns your iOS

device into a platform for data acquisition, storing

acquired data in ascii text files, MAT-files, or PDF or

JPEG images for later retrieval from your device.

Input signals can be acquired from the built-in accelerometer, or

from the current audio input path (iOS automatically selects the

audio input path according to which external audio devices, if any,

are connected to your device). Different engineering units, including

volts, amps, pascals, gs, and ips (inches per second) can be assigned

to input channels of the dock connector audio input or the headset

input (not available on 1st generation iPod touch devices). Sensitivity

calibration can also be performed for any audio input device or input

channel.

speakertest

Whether you want to buy new speakers or just want

to test the ones you have already, the SpeakerTest

app is an indispensable programme for testing the

speakers. It’s is a simple sound generator that

generates simple sine wave (20Hz-20kHz) or noise

(white, pink and brown) that enables you to test the

quality of the speakers (given that you know how a

sine/noise should sound). Just connect your phone’s

headphone output with the amplifier input and press the play button.

The generator makes mono sound with support for various sample

rates (8 000-44 100Hz) and sound buffer sizes.

Vivitek application

Vivitek Corporation’s new app for end

users and its dedicated channel partners

has been designed to provide a

convenient, simple, interactive tool that

simplifies the specification and

installation of Vivitek projectors.

With over 300 pages of content, the

new app provides an easy tool to review product specifications, lens

options, select products and make distance mounting

calculations. 42 products are available to view, across six product

segments, with products categorised into; Pocket, Portable,

Multimedia, Education, Large Venue and Home Cinema. The app

allows the user to view information about each projector with a

detailed specification page, available accessories and a distance

calculator plus a reseller only section which contains further sales

information and training materials.

novisign digital signage player app

Install this player once on any

Android-based device tablet,

phone or Android TV. Use www.

novisign.com software as a

service solution to create,

manage and broadcast your

campaign in real time. Digital

signage offers countless ways to promote your business with

easy-to-use, off-the-shelf components.

NoviSign offers digital signage software as a service – Your digital

sign will be up and running in minutes with NoviSign web-based

service to load and broadcast your Android-based sign screens

running on this Android digital signage application. Update your

advertising campaign by locale, event and time to attract

potential buyers to your store, service, Website and more. The

NoviSign Android player is free and designed to play low-cost

software as service; no special hardware needed and setup is

easy and quick!

Handy apps for AV integrators

42

InStAllAtIonS Venue solution

FoH position showing both the Midas Pro2c audio console and the Martin M1 lighting console

Kearsney College, a prestigious 92-year-old Christian values-based

school in Valley of a Thousand Hills, KZN, recently upgraded their

600-seater performance venue’s audio and lighting systems.

Commissioning Niklas Fairclough through his company Northwind,

it was he who handled the acoustic, electro-acoustic design, lighting

and installation to their existing performance space. Kearsney

College is hailed for its art, culture and sports programs and in

particular its celebrated choir so a high quality, precise and great

sounding system was of paramount importance. The Kearsney

College choir is a twelve-time gold medal winner at the World Choir

Games, starting in 2000.

Fairclough, a recording studio owner, audio engineer and

consultant, has an impressive track record of designing and

contracting performance venues all over the globe – including a

recent installation at the CTMI Church in Trianon, Mauritius – so his

expertise were exactly the ticket the college needed to bring their

upgrade to fruition. The client brief at Kearsney College was to create

a multi-purpose venue to handle rock gigs, drama and musicals.

Audio

EAW was Northwind’s go-to choice for the performance halls audio

system installation and Surgesound, due to their superb hands on

approach, technical knowledge and great systems support, were

naturally the preferred supplier.

For starters, sixteen EAW NTL720s – eight per side – were selected for

the main hangs. These are self-powered, tri-amplified, three-way

sealed line source boxes with dual six-inch low frequency drivers, dual

six-inch mid frequency drivers, and six one-inch HF domes. They offer

110 degrees of horizontal dispersion and 12 degrees vertical.

Frequency response comes in at 17Hz – 20kHz with a maximum

calculated output of 128dB SPL peak and 122dB SPL long term. The

NTL720s were chosen for their notable high-fidelity and solid sound

pressure level performance.

Of course there are a fair amount of challenges that come with

any installation.

Fairclough comments: “The system was to be installed whilst the

hall was still being used for scheduled events. Extensive steelwork had

to be installed to support the hangs and steelwork up in closed off

ceiling voids made orientation a challenge.”

Low end duties are handled by two EAW SB1001s per side; dual-18

inch vented sub bass enclosures in ‘clam-shell’ configuration. Their

frequency response is 20Hz – 160Hz (-10dB) and their maximum

calculated output is 135dB SPL peak and 129dB SPL long term.

The amplification and processing for the NTL720s are all housed

on-board. Each enclosure totals 1 500 watts broken down into

3 x 500w for the low, mid and high frequency drivers.

‘NT’ in an EAW product model name alludes to the fact that the

loudspeaker carries on-board amplification and UX processing. The

NT design overcomes the problems of transient smearing and honk

due to internal reflections within the horn and phase plug. EAW

implemented their Focusing technology, which is specialised DSP that

employs exact, complex filter responses required to eliminate smear

and honk, resulting in a smooth frequency response, true transient

performance, and a lack of colouration. Using the EAW Pilot software,

Greybox and Focusing settings can be sent directly to the NTL720s,

which are all networked via RT45 connections.

In terms of the Kearsney installation, the UX DSP along with EAW’s

Focusing technology allowed for accurate control of the venue

coverage pattern and level control for all 16 NTL720s. The result is a

consistent coverage from the front seating area, extending to the rear

and balcony areas.

For the subwoofers, a single Lab.Gruppen PLM14000 amplifier with

on-board Lake processing was employed. The PLM14000 is a

Private school invests in high end audio By Greg Bester

43

Venue solution InStAllAtIonS

two-input, two-output amplifier that offers 7000w per channel at

2Ohms or 4350w per channel at 4Ohms. The on-board Lake

processing offers parameters for gain, delay, cross-over slope, EQ

and limiting, utilising exclusive lake processing algorithms.

Of course, Van Damme cabling, another of Surgesound’s

products was used extensively throughout the installation. Tourcat

CAT 5E flexible stranded conductor cabling was used for the

active NTL720 DSP system and the Lab.Gruppen PLM14000 and

Tour Grade 4 x 2.5mm speaker cable was utilised for the

Subwoofers.

For microphone and instrument cables, Tour Grade Classic XKE

and Pro Grade XKE cable was used, respectively. Finally, for the

active on-stage monitors Ambicore Power and Signal Multicore

10A cable was installed.

When asked about how the particular brands he installed

made the job easier, Fairclough had this to say: “There is a great,

articulate ‘studio-esque’-type sound from the EAW NTL720s. It’s like

sitting in front of large Genelecs! Secondly, the Lab.Gruppens

are industry standards. They provide superb sound and awesome

reliability. I am proud of the fact that the school has a far reaching

vision that encompasses a no-compromise approach to its

projects. This allowed us to spec and design this particular phase

with the right equipment to handle a brief that was multipurpose.”

For on-stage monitoring, six active Mackie/EAW HD1221

wedges were selected. These monitors are installed with

transducers designed by EAW and are custom tuned by them.

They are 1200W a piece, powered by on-board class-D power

amplifiers, and include a 12” neodymium woofer and a 1.75”

compression driver.

Finally, a Midas Pro2c was installed as the FOH console.

lighting

A hybrid lighting system was installed with an aim to provide a good

backbone for expansion in the future. A Martin M1 control desk was

the hub of the lighting rig combined with a Martin DMX 5.5 RDM

Splitter and an Electon dimmer were the go-to choices. The M1

features a high resolution folding touchscreen, digital LCD buttons,

multiple wing attachment options, and support for four DMX universes

with up to 8 192 parameters and 1000 cuelists. With the DMX 5.5 RDM

Splitter, data integrity is maintained over long DMX runs while boosting

the weak DMX signals to their original output level.

the wrap

When working with the right gear installed by the right team, an

effective client-pleasing system can be achieved. Kearsney

College is an institution with a noble air about it and given its

92-year history, it clearly has had a long-term vision for the future.

Part of that long-term vision is the need for a quality audio and

lighting system to service its performance hall and it’s world-class

choir, which, from the looks of it, has been meritoriously achieved

by Northwind and I’m sure given the flexibility and high quality of

both the audio and lighting systems, they will be enjoying their

future events immensely for years to come.

Comprehensively, the following lighting products were installed and supplied by Johannesburg-based company, electrosonic:• Martin M1 control desk.

• Martin DMX 5.5 RDM splitter

• Electron dimmer

• 9 of Martin Mac Aura

• 4 of Martin Mac 350

• Robert Juliat Cricket 1000W

• follow spot

• 8 of Versalight LED RGB

• 12 of Par 64

• 4 of Versalight LED Amber/White H/

Power Par 64.

• Jem Compact Hazer Pro

Rear view of the eAw ntl720 line-array Midas Dl251 i/o unit and lab.Gruppen PlM14000 amplifier

A part of the quad of eAw sB1001s

46

InStAllAtIonS Venue solution

Aside from its name conjuring up images of a very large gorilla

perched at the top of the Empire State Building clutching a distressed

damsel, KONG is indeed as imposing as it sounds, including but not

limited to the bizarre urban Goth décor and the gargantuan,

earth-shattering, chest-imploding, arrhythmia-inducing Hybrid+

sound system that was installed there.

The sound, of course, is one thing, and we’ll get to in a moment, but

as you enter the club through its black velvet drapes, the mood is set

immediately. Life-size ancient Greek statues with wire muzzles,

mysterious dark thrones topped with skulls of desert beasts, a samurai

mummy encased in glass in the main bar, orchids in glass cubes and

a wall of faux-greenery are just some of the strange ornamentation

the club is laden with.

There’s a lot of high tech stuff, too. The main dance area is

spanned on the entire far side by a large full-colour LED wall; as is the

six-metre long DJ booth. And then, of course, is the sound system.

Hybrid+, the premium loudspeaker systems brand of South African

audio equipment manufacturing giant, Viva Afrika, was the go-to

choice for the installation, installed by Mayen Pather of

Johannesburg’s Maysat Audio Visual. He comments on the

challenges faced when performing the installation.

“The main challenge was that we were contacted late in the

project when all the ceilings were complete. I had issues with

installing the cabling. It was difficult and time consuming but we got

it done. The other problem was to get the speakers on the dance floor

to be mounted from the concrete via chains, because the ceiling

boards have been fitted and painted. I had to cut the ceiling open

days before the club opened and have it ready on time. Luckily

everything worked out.”

In a club such as this, aesthetics are as important as the sound.

Hybrid+ has got a range of new products aimed at filling specific

niches within the market whether it is a full-size line array system for

large scale outdoor gigs, to clubs requiring pumping sound to get hips

and feet moving. In particular the PRIME series of loudspeakers were

selected for their unique look and dance-floor aesthetics. Let’s take a

full foray into what was installed at KONG.

Components

The main dance floor is where it all happens but that doesn’t mean

the rest of the club should suffer. As I was given an initial tour of the

installation in the empty club by Bernard Pienaar, director at Viva

Afrika, it was completely evident that the goal here was to give all

club-goers a quality aural experience. This was met by the fact that

no matter where you are in the club there is a speaker pointing in your

direction, with subwoofers strategically placed throughout to make

sure the sound is full and high fidelity at all times.

Focusing our attention once again at the dance floor, PRIME212

passive enclosures were selected and placed on each quadrant,

totalling four. These 1 100W 2 x 12 mid/high loudspeakers are an

intriguing combination of dual honeycomb-shaped speaker cavities

and an externally mounted high-frequency waveguide that

resembles a gramophone horn. Like the entire Hybrid+ line, the

drivers are all custom European-made CELTO Acoustique.

The 12” woofers are ferrite magnet-based with three-inch voice

coils and the high frequency driver is a 1.4” exit, neodymium

KONG is the king of all clubs...

there’s a hip new club in town and it’s called KonG. ‘suffering’ for his art, Greg Bester went to check it out of course.

the dance floor

47

Venue solution InStAllAtIonSmagnet-based Aquaplasted 2.8” TC4 diaphragm. Aquaplast is a

substance used to coat loudspeakers in order to smooth high

frequency response. Frequency response comes in at 50 to 19 000Hz

with a maximum output of 131dB continuous and 134dB peak.

The subwoofers of choice, which flank either side of the DJ booth

stacked vertically end-to-end, are four EXS218 dual 18” passive

enclosures. Granted, these aren’t the companion subs to the PRIME

range, which would normally be the PRIME218s. Pienaar comments:

“The EXS218s were chosen because of the logistics of having to

vertically stack the enclosures. The PRIME218s have bevelled edges

and would be too unstable and therefore dangerous to stack this

way.”

The result is a sturdy vertical stack of four 18” subwoofers on either

side of the DJ booth. The EXS218s handle a whopping 3 000W RMS / 6

000W peak, have a frequency response of 30 to 1 100Hz and boast a

maximum output SPL of 136dB continuous and 139dB peak.

Additionally, a single EXS218 was placed on the far side of the main

bar to keep the bass pumping in that locale where the bar might

block the low end coming from the dance floor subs.

The rest of the peripheral sound in the club is handled by Hybrid+

PRIME10CXs, placed strategically throughout. What makes these

300W 1 x 10” speakers so special is that they are a co-axial design

which means that the HF driver is contained under the dust cap of the

woofer. They too contain CELTO Acoustique drivers and offer a

frequency response of 60 to 20 000Hz and a maximum SPL of 123dB

continuous and 126dB peak.

All in all, 16 PRIME10CXs were placed throughout the club periphery

from the main bar to the smoking bar. Speaking of the smoking bar,

four B212 800W RMS 2 x12” subwoofers were placed throughout that

zone to keep the bass full. The B212 enclosures are made from 18mm

birch plywood which allows for a high degree of cabinet flex and

therefore an extended low end from a compact design. They have a

frequency response of 35 to 1 500Hz and a maximum output SPL of

126dB continuous and 139dB peak at 1m.

The amplifiers installed, of course, were all stereo Hybrid A-series

models. Three varieties were implemented, namely A2 400s

supplying 820W per side at 4Ohms; A3 000s supplying 1 100W per side

at 4Ohms; and A5 000 supplying 2 000W per side at 4Ohms. In terms

of what amplifier powered what speaker, here’s the list:

• 1 X HYBRID A-2 400: Main dance floor PRIME212 HF

• 2 X HYBRID A-3 000: Main dance floor PRIME212 Mid

• 2 X HYBRID A-5 000: Main dance floor EXS218 Subs

• 4 X HYBRID A-2 400: Both bars and VIP areas PRIME10CXs

• 2 X HYBRID A-3 000: Smoking bar B212s

• 1 X HYBRID A-5 000: Non-smoking bar sub

System processing came courtesy of three DBX Drive Racks. For the

main dance floor a DBX260 Drive Rack was employed along with two

Drive Rack PA/+ processors for the surround PRIME10CXs in the two

bars and VIP areas.

Of course, the DJ booth would not be complete without DJ

equipment. Two industry-standard Pioneer CDJ-2 000s were installed

along with a companion DJM-900NXS mixer. For booth monitoring a

db Technologies Opera 605D active 600W DJ monitor with integrated

DSP was installed and, finally, two Hybrid HH1200 Fazer machines for

hazing the dance floor.

When asked about his affinity for the Hybrid brand and why it

made the job easier, Mr Pather said: “The Hybrid brand made the

installation easy because the new range is compact and easier to

work with, not forgetting compact with a big bang. I have been

dealing with VIVA AFRIKA for many years and over which will have

built a strong relationship regarding trust and service that we provide

for each other.”

the sound

On Saturday 1 June I attended the Playboy Playmate of the Year

party at KONG to get a view of, er, the club in action and to

experience the sound system for myself. Donning my black jacket

and shiny leather shoes I must admit that I felt a little VIP as I was

ushered into the club, bypassing the crowds at the behest of Ari, the

club manager and my contact there. The place was already

pumping and the dance floor was starting to buzz. Of course, at this

point the DJ wasn’t pushing it much so my friend who I brought with

me and I decided to head to the bar to grab a very expensive

Heineken.

The first thing I noticed was that no matter where I stood in the club,

whether in the main bar area or in the smoking bar, the sound was

clear and full. It wasn’t overbearing by any means, but instead was

clean and comfortable. This was due, I assume, to the PRIME10CXs

– which are compact and loaded with co-axial drivers – could stay

nicely out of site while supplying full range sound. The fact that there

were subwoofers placed throughout the club kept the low end nice

and full as well.

As the night went on the music got louder and louder and, despite

being forewarned by Bernard Pienaar that even he found it difficult to

stand on the dance floor during peak hour, I took my chance and

stepped in there. Sure enough, it was one of the most fantastic

onslaughts of club sound I have ever heard. Quite simply put, without

finding gratuitous superlatives to describe the situation, it was

ear-shatteringly loud. Personally, I have never felt bass quite like it and

even when going to the restroom you could hear the bass rattling the

stall doors. Saying that, the sound was not ear-piercing; the high-end

remained smooth. I’m sure this has something to do with the

Aquaplast layer on the HF drivers.

the wrap

The sound system at KONG is immense, powerful and actually

sounds rather great, particularly for dance music. The fact that the

boxes are 100% Proudly South African, to me, just increases its

appeal. Futhermore the unique design of PRIME series fits in

perfectly with the unconventional décor of the club and the

vertically stacked dual 18” subwoofers command thoughts of

impending bass for those who attempt to take on the dance floor.

For those who ever had doubts that South Africa was capable of

producing a loudspeaker system of international calibre; think

again.

the smoking bar

48

InStAllAtIonS houses oF WorshiP

the houses of worship market is obviously in a steady state of rising returns given how many massive churches we constantly see upgrading their sound reinforcement systems to the state-of-the-art. indeed, some of the largest and most sophisticated permanent indoor installations will be found among them and it’s clear to see that fervent church-goers really enjoy the excitement and sheer power of a chest-pounding service. Conceivably, these systems could routinely accommodate the largest bands and services at extreme sound pressure levels with ease.

One network of churches that is on the rise is the International

Federation of Christian Churches, formerly known as the International

Fellowship of Christian Churches founded in Durban on 18 August,

1985. They are an umbrella organisation for hundreds of formerly

independent churches across the country and the globe, including

the Christian Revival Church (CRC) in Bloemfontein, led by Pastor At

Boshoff. They recently upgraded their own system, supplied by

Johannesburg-based L-Acoutics supplier Sound Harmonics directed

by owner Joseph Mandy.

the previous system

CRC, had a previous L-Acoustics dV-DOSC system that was in itself

quite substantial to service their 5 300 seat sanctuary, including a

balcony. The room is large but very wide coming in at around 35m x

100m, which obviously presents certain acoustic problems and

coverage challenges.

For starters, the previous system included 18 dV-DOSC boxes; three

clusters of six, four dV-Subs; two per side. The dV-DOSC is a dual-8”

line source enclosure where the drivers are mounted in a V-shaped

configuration and a 1.4” exit titanium diaphragm, neodymium

compression HF driver. It has a full range frequency response of 160Hz

to 18kHz within a +/3dB tolerance. The dV-Subs are the companion

subwoofers for the dV-DOSC line source system and are triple-15”

enclosures with a power handling of 1200W RMS and a frequency

response of 40 – 200Hz. They have a usable low frequency response

of 35Hz (-10dB). Handling front fills, four MTD108As controlled by a

MTD108LLCa controller were selected and four MTD115bs controlled

by a LLC115b-st controller were positioned for pulpit monitoring.

As far as amplification goes, six LA48a, five LA24a and one LA17a

were spec’d and system processing was handled by a DolbyLake

processor.

So as you can see, the previous system is nothing to sniff at. Nine

dV-DOSC boxes a side with four dB-Subs would command almost any

large gig, whether indoors or outdoors. The problem faced in the

CRC sanctuary, because of its dimensions, is optimal coverage.

By Greg BesterA sound ministry in Bloemfontein

the l-Acoustics sounDVision 3D coverage simulation of the Christian Revival Church

49

houses oF WorshiP InStAllAtIonSthe upgrade

To supplement the pre-existing system, an L-Acoustics KARA

supplementary system was spec’d. A further 14 KARA boxes; seven

per side, were hung alongside two dV-DOSC arrays (nine per array)

as in-hangs and a further eight newer model SB118 subwoofers were

placed to supplement the existing dV-Subs. Of course, being that the

KARA system is newer there were slight tonal differences in the boxes

and this was yet another challenge faced by Mandy and his team.

He comments: “Because the two PAs overlap quite a bit, to get the

delay right between the in-hangs and out-hangs was critical. There is

also a clear distinction between the dV-DOSC and the KARA. The

client, already a fan of the dV-DOSC, immediately noticed the

difference in HF between the systems, because the KARA is a bit

smoother. So getting them to match up was a bit tricky.”

A further challenge presented was the fact that because Pastor

Boshoff likes his foldback monitoring very loud, the interaction

between the MTD115Bs and the original placement of a centre hang

was causing some tonality and feedback issues, caused by the

proximatey effect of the dV-DOSC centre cluster, located 1.5m from

the pulpit. This is why Mandy decided to go with separate, spaced

in-and-out hangs.

“The original idea for the PA was a left, centre right configuration

but due to the high levels the system was being driven, power

coming from behind the centre-hang was causing audible stage

issues. That is why we decided to go with the four spaced clusters.

The end result was remarkably better.”

Putting the larger dV-DOSC arrays on the outsides and the smaller

KARA arrays on the insides was also a strategic move, based on the

dimensions of the room and therefore the amount of throw required.

“The throw from the stage to the back is quite a short throw and on

the sides it’s a very long throw. So it made sense having the system

configured that way. So now the sound pressure and tonal balance,

when you walk around is the same,” says Mandy.

Looking at the L-Acoustics SOUNDVISION 3D model of the

coverage pattern in the venue, it is plain to see that from front to back

there is only a margin of around three to four dB of difference in SPL.

The front seats experience about 103.6dB while the rear seats on the

balcony about 99.6dB. The system still has an additional 6dB in

headroom (RMS).

For powering the KARA system, four L-Acoustics LA8 amplified

controllers were installed. These amplifiers have on-board DSP and

are networkable which negates the need for a dedicated, outboard

controller such as the Dolby Lake.

Front of house also received an upgrade with the installation of an

Innovason SY80 digital console fitted with eight-engine FX and

31-band graphic EQ cards. The console can handle 104 channels but

only 48 (on stage) were spec’d to cover the needs of the church.

Combined with physical inputs, FX and graphic EQ, a total of 72 inputs

and 32 outputs are afforded. Lastly, the console is connected to the

stage box on the Ethersound protocol on CAT5 cable.

the wrap

Often a supplementary upgrade to an existing system can prove

trickier than a ground-up installation. Fitting the new components

in with the old presents challenges of tonality while the venue

dimensions call for a rethink of the positioning of the arrays. Sound

Harmonics clearly had the knowledge and experience to tackle

each problem effectively and in conjunction with L-Acoustics

SOUNDVISION software, the job was executed successfully and

with as much precision as possible. Church-goers at the Christian

Revival Church in Bloemfontein will, no doubt, enjoy high-quality

sound reproduction for years to come.

Worldwide Distribution: MA Lighting International GmbHAn der Talle 24-28 · D-33102 Paderborn · [email protected] · www.malighting.com

Just wing it!MA onPC command wing and MA onPC fader wing – sophisticated yet a� ordable

DWR Distribution ccUnit 38 Graphite ParkFabriek Street

Strijdompark2194, Johannesburg www.dwrdistribution.co.za

Tel :+27117935066Fax +27117925076

Distribution South Africa:

An array of seven KARA boxes

the stage-monitoring speaker system

50

InStAllAtIonS ProduCt reVieW

Australian loudspeaker, amplifier and accessories manufacturer Quest engineering, while being a relative newcomer to the south African audio market, has been designing and manufacturing professional and commercial products in Australia for the better part of two decades. i, for one, was unfamiliar with Quest prior to Prolight and sound in Frankfurt but the more i learn about them and the more i get to hear their products, the more it becomes evident that they are a quality company that has untapped potential not just in south Africa, but worldwide.

Just taking a look at current Quest Engineering news it’s plain to see that their products are catching on. This isn’t just another company looking to sell their latest knock-off line array – they don’t even manufacture one – but rather they seem to focus on what they are good at which are quality products aimed at specific applications.

The overwhelming majority of Quests products have the designation ‘compact’. But don’t let this give you the impression that their performance is small in any way. This is their forte’: big sound in a small footprint. Accordingly, research and development is a huge part of what they do. In fact, Quest has been manufacturing products for other industry brands for many years including one-off prototypes to custom bracketing to full production runs. The fact that they are the only company of their kind in Australia with a purpose built, anechoic chamber and Klippel test machine instils huge confidence in

me that they know what they are doing.The HPI110 is part of their latest HPI line of compact passive

loudspeakers aimed at small footprint installations that pack a punch. It also has a few tricks up its sleeve. Let’s take a look.

Features

The HPI-110 is a compact passive loudspeaker aimed at greater voice clarity thanks to, in no small part, the HPI system which we will cover shortly. At first glance the speaker gives off a modern, sophisticated vibe because of its well-engineered lines and sleek, futuristic look. It is definitely a unique looking speaker. The enclosure is loaded with a 10” high power neodymium woofer and a 1.4” exit neodymium compression driver. Power handling comes in at impressive 600w RMS at 8 Ohms and can pump out a max SPL of 130dB at 1m. The HPI-110 has a typical sensitivity of 98dB at 1kHz and finally, two parallel Neutrik Speakon connectors are found on the rear panel.

The sturdy steel wrap around handle acts as structural reinforcement for the speaker, while also serving as an extremely robust rigging point and also assisting in vibration reduction.

Probably the most interesting aspect of this speaker is the engineering that went into its high frequency waveguide to increase voice intelligibility. Quest has identified that that one of the biggest challenges facing the reproduction of clear voice in most venues is the interfering effects of primary wall reflections back to the listening area. The theory goes that if the listener’s ears receive equal or more reverberated than direct sound from the source (the loudspeaker system), intelligibility suffers. This is due to the delay in time between the direct, non-reflected sound from the loudspeakers and the sound reflected off of wall boundaries. Residual reverberant decay due to further reflections compounds the issue.

To combat this, Quest has come up with a specialised, asymmetrical

By Greg BesterA quest for the best

51

ProduCt reVieW InStAllAtIonS

Light to make you look...To learn more about how Philips Entertainment can help you create unique and engaging experiences for your audience or visitors: seleconlight.com, strandlighting.com, philips.com/showline, vari-lite.com or distributor for South Africa DWR - dwrdistribution.co.za

Philips_Quarter_Page-Pro-Systems.indd 3 30/05/2013 09:06

Unit 38 Graphite Industrial Park, Cnr Commercial & Fabriek Street, Strijdom Park, RandburgTel: +27 11 793 5066 Fax: +27 11 792 5076 [email protected] www.dwrdistribution.co.za

waveguide that provides 30 degrees of horizontal dispersion at the top of the flare and 60 degrees at the base. This focuses the higher frequencies towards the floor at a wider angle while keeping wall reflections to a minimum. It also keeps high frequency throw focussed to the rear of the venue due to the 30 degree portion of the waveguide. The result is greater overall clarity, extended throw and a speaker that sounds great at any point in the venue. Furthermore, with the HPI-111 variant, the waveguide can be rotated 90 degrees for horizontal installation and there are multiple rigging systems available to meet almost any installation need.

Note: The HPI-111 is the 10” model that can rotate. The driver in the 110 is too big to rotate to horizontal. The 111 has a smaller driver and a little less power and the flare is a wider dispersion. The HPI-110 is configured to operate in an array of up to three boxes or hung as a two box vertical combination. The HPI-111 also features a full face grill making it more subtle for architectural aesthetics.

How does it sound?

I was able to check out a HPI-110 in action at the offices of South African Quest distributors Tadco in Johannesburg at the courtesy of their Strategic Marketing head Josh Oates. The system set up for this review was a single HPI-110, two HPI-212S – both powered by a Camco amplifier – and fed by a Digico SD11 by microphone and music played from an iPod.

My first impression when hearing the HPI-110, despite listening in an untreated smallish warehouse, was that the top-end was very smooth and unobtrusive. It was as if we were listening solely to the point source without much interference. The midrange was present and up-front albeit without becoming strident. In particular, the vocals were very clear and controlled and the breathy nuances came through. Of course paired with the HPI-212S subwoofers, the sound was quite simply huge. Playing around with the crossover, we settled on 120Hz which gave the system a nice bump in the punchy zone where the kick drum resides.

Turning our attention to the throw and vocal clarity of the system, we opened the rear loading door to the warehouse and pointed the HPI-110 outdoors. Josh assured me that the throw of the speaker was incredible and after walking around 75 metres out, ending up on the other side of the road across from their parking lot, the results were impressive. There was very little drop-off in terms of vocal clarity and level and I was left pretty amazed at how no matter where we stood, the vocal clarity didn’t suffer at all. Quest’s promises were clearly delivered.

The rigging is also quite elaborate for the HPI series, called the

‘Quick Rig Series’. Check this pdf out to get an idea of the versatility here: http://www.questaudio.com.au/downloads/HPI-Quick-Rig-Reference-Sheet.pdf

A full manual here: http://www.questaudio.com.au/downloads/hpi-rigging-manual.pdf

the wrap

Quest may just be getting going here in South Africa but after hearing the HPI-110, it is clear they are on the right track to establishing themselves as a strong contender in the market of high power, compact loudspeaker systems. The HPI-110 delivered, as far as I’m concerned, in all fronts and despite the waveguide trickery they employ to control dispersion, it is not at the expense of fidelity. They simply sound great and that’s the bottom line.

Note: Just as some background info... each Quest product is designed around solving a particular audio problem or situation. Consequently each product will have a particular niche where the performance will be particularly good for the price.

Quest HPi-110 compact passive loudspeaker

52

Founded by Sidney M. Shure in Chicago, Illinois in 1925, they were

originally in the business of supplying radio part kits and traded under

‘The Shure Radio Company’ brand name. By 1928, they had grown

considerably to 75 employees and upon Sidney’s brother, Samuel J.

Shure, joining the company it was renamed to Shure Brothers

Company. Their first microphone was produced in 1931 – the Model

33N Two-Button Carbon Microphone – and in 1939 they produced the

Model 55 Unidyne Microphone, arguably the most recognisable

microphone in the world known as the Elvis mic.

Nowadays Shure boasts large consumer and professional

catalogues of such audio-electronics as microphones, wireless

microphone systems, phonograph cartridges, discussion systems,

mixers and digital signal processing units. Particularly in the realm of

microphones and wireless microphone systems, they are one of the

world leaders.

On 24 April 2013 at the Killarney Country Club in conjunction with

SA distributors Wild and Marr, Shure Europe GmbH unveiled their new

Axient wireless microphone system to the South African market,

presented by Ron Hautzinger, Freddy Sicko and Harald Metzler.

Axient: the idea

The motivation behind Axient is to provide a more intuitive wireless

microphone system that negates the need for external RF

management. Additionally, the fact that it is a networkable product

opens up a whole new world of control and in fact provides remote

control possibilities that were not until recently possible. In short,

Axient provides the following advantages over traditional systems:

• electronic frequency spectrum management. The Axient

system will isolate the most interference-free frequencies for

each transmitter on the system and block out those that are

already occupied. Backup frequencies will be assigned to each

transmitter and will intuitively change based on the interference.

• Dual transmitter redundancy. The Axient receivers can

accommodate two transmitters and will switch to the redundant

one in the case of failure or interference.

• A wireless 2,4GHz backbone. Remote management and

control of transmitters on the Axient network is now a reality

using the ZigBee protocol. A fully modular, networked system

that connects via regular CAT5 Ethernet.

Component overview

The Axient system is termed the ‘Axient Wireless Management

Network’ by Shure. In this day and age it seems that almost every

peripheral is becoming network enabled whether it is to stream,

transfer raw data, impose control remotely, or for monitoring

purposes. Of course, this move is quite understandable considering

the new world of capability that is afforded to us through such a

system.

The Axient system is a modular, networked wireless microphone

system with which you can assemble a simple microphone/

transmitter/receiver system or expand by adding on additional

components depending on your needs.

Basically, the complete core system consists of either the AXT100 or

AXT200 transmitters; the former being a belt pack and the latter a

dual-transmitter handheld, the AXT400 Dual Channel Receiver, the

AXT600 Spectrum Manager and the AXT610 Showlink Access Point.

Other options include the AXT900 rack mount charging station, which

can be custom configured by loading battery charging modules

based upon which transmitters you are using. There two different

battery types for each of the transmitters.

Given that this is a network-based product, connectivity options

are paramount. Shure offers a purpose-built Roadrack Ethernet

Switch, the AXT620, which includes DHCP technology. An antenna

distribution system, the AXT630, is also offered.

Shure’s Wireless Workbench 6.0 software can also be integrated

and is used to configure the entire system, from frequency

management to full control over all parameters that are accessible

from the front panel of each component.

Signing off for Shure

shure is a company who have had an inspiring history. indeed, it’s not too far of a stretch of the imagination to suppose that they have touched almost every major live event and recording project to date. their microphones, from the industry standard sM58 and sM57, to the sM7 Bruce swedien used for Michael Jackson’s vocals on the best-selling album of all time, Thriller, are quite simply ubiquitous. one wonders if the audio world would have fared the same without them.

lIVe eVentS ProduCt reVieW

53

ProduCt reVieW lIVe eVentS

washing the worldWIth COLORSw

ww

.cla

ypak

y.it

EXCLUSIVE DISTRIBUTOR FOR SOUTH AFRICA:DWR DISTRIBUTIONIt’s all about the People

Tel: +27117935066Fax:+27117925076

www.dwrdistribution.co.za

SHARPY WASH 330

The little washlight that makes a big difference!

DWR_190x65.indd 1 31/05/13 14:09

How does it all work?

As mentioned, the smallest Axient system possible is simply an AXT100

or AXT200 transmitter and one AXT400 Dual Channel Receiver. This

will operate like a normal wireless system albeit without the data link.

However, for a more sophisticated system and to take advantage

of the data link and spectrum management, an AXT 600 Spectrum

Manager is required along with the AXT610 Showlink Access Point. The

Showlink Access Point can either be powered externally or via power

over Ethernet, connected to the system via the Ethernet switch.

All receivers connect to the Spectrum Manager via a data hub

and the Showlink Acces Point is basically the universal access point

whereby all transmitters send and receive control data. Control data

includes remote adjustment of gain – a welcomed feature – to

locking and muting of the transmitter, among other features like

transmitter identification through blinking. Each dual receiver can be

cascaded enabling antenna feed to up to 40 or so from a single set of

antennae. At this point it may be pertinent to note that the data link is

independent of the RF transmission, which is kept in the analogue

domain to keep latency at a minimum. The Showlink control data

runs on a digital back-end link on the 2.4GHz band. This may worry

some people do to the fact that everything from WIFI, wireless

keyboards and mice, and even microwaves transmit on this band

which makes it pretty crowded. To overcome this obstacle Shure

opted to go for a completely different, uncluttered 2.4GHz control

protocol called ZigBee that is completely different from WIFI and is

therefore no threat in terms of band interference.

The Spectrum Manager is essentially the unit that scans the RF

environment and configures optimum and backup frequencies for

each transmitter. Using Wireless Workbench 6.0 on your PC provides a

more in-depth graphical representation of the entire spectrum and

can be used to automatically block out frequencies occupied by, for

example, terrestrial television stations. There are even pre-

programmed regional profiles of fixed-use frequency bands,

depending on the country and region you are working in.

Given the fact that each transmitter is powered by differing Li-Ion

batteries depending on whether you’re using the belt pack or

handheld, the AXT900 can be loaded with charging modules to suit

your needs. Additionally, these batteries are smart. Using the AXT900

charging hub, you can monitor battery health, charge count, and

discharge voltage from the batteries to be put into storage mode.

This helps prolong battery life and is a cost saving exercise in the long

run. Of course, the AXT900 also links in with the network allowing

battery health to be monitored from Wireless Workbench.

wireless workbench

Shure’s Wireless Workbench integrates fully with the Axient system and

provides full control. You can virtually configure your racks from within

the software and it even accommodates third party systems from

other manufacturers. However, frequency management, once you

have run your scans, has to be inputted manually to non-Axient

systems because, of course, they do not have an Axient data link.

Simply put, the procedure is to link all of your receivers, run the

software, perform an RF scan, assign channels to the receivers and

then sync the transmitters. Primary and backup frequencies will be

assigned; causing your RF worries to disappear. If in the event there is

frequency interference, the Spectrum Manager will automatically

send control signals via the Showlink to the transmitter and it will switch

over to the backup frequency. There will be about a 500ms dropout

but for most people that is unnoticeable and far better than

consistent dropouts and RF distortion. Another option is to run two

transmitters on two different frequencies, received by the dual-

channel receivers in Frequency Diversity Mode.

As mentioned, using the AXT100 belt packs you’ll need two;

however the AXT200 handheld (compatible with most Shure

handheld capsules) has two built-in transmitters. In the event of

interference on one frequency, the redundant transmitter will take

over instantly with far less dropout time that is for all intents and

purposes, unnoticeable.

the wrap

In a nutshell, Axient addresses all the current problems with

spectrum management and running a complex setup of a host of

wireless mics. It will help rental companies cut costs in the long term

because it will negate the need to hire an RF technician, delivering

more head-ache free shows and allowing the performers and

engineers to get on with what they are there to do without any

distractions.

54

lIVe eVentS ProduCt reVieW

Avidly digital

the march of technological progress

amazes me. the power of the microchip has never seen such staggering

heights and now with iP-based systems coming to the fore, we start to see audio mixing systems appearing with increasing

power in progressively smaller footprints, writes Greg Bester.

As the analogue snake slowly becomes a thing of the past, which I’m

sure many live audio techs are very happy about, so are outboard

racks; saving the backs of loaders worldwide.

Now we have complete mixing systems that consist of simply a

control surface and a stage box with remote-controlled preamps

connected via CAT5 or fibre. These systems can literally transmit

hundreds of channels bi-directionally, accommodate redundant

systems, and route audio practically anywhere; this, and not to

mention the processing power that was previously unavailable.

Avid is a company that has been on the cutting edge of digital

audio for the past 20 years. Their Pro Tools HD systems are the de

facto industry standard and their Media Composer / Nitris systems are

steadily coming to the forefront in the digital video editing world. Of

course, a digital audio recording system encompasses all of the vital

components required to put together a live mixing system, namely

AD/DA converters, processing, and a powerful audio routing and

mixing engine.

It makes sense, then, that Avid stepped into the live sound arena

with the introduction of their VENUE live mixing consoles. First

produced by their former and now dissolved subsidiary, Digidesign in

2005, what made the VENUE systems great was that they integrated

seamlessly with Pro Tools for multi-track recording and used the same

TDM, DSP-powered plugins employed therein. This has the obvious

advantage of bringing the processing power of the studio to the

hands of the live sound engineer. Now if one could only overcome

that silly obstacle of attaining experience and skills!

Since then there have been three versions of the VENUE system:

the D-Show, the D-Show Profile, and the SC48, in descending order of

size. But recently Avid announced a new addition to their live console

line: the S3L System, an affordable, compact mixing system that uses

the same VENUE software found on their other live mixing systems.

overview

The S3L system is basically a compact, modular, AVB (Audio Video

Bridging) networked live mixing system with the power of Avid’s new

proprietary AAX plugins and HDX-powered processing engine. Of

course, any system of this nature invariably includes remote and

scalable remote I/O which connects to the network, and the S3L is no

different. Up to 64 microphone inputs can be accommodated over

the AVB protocol which is used to connect the modules throughout

the system.

In addition you can record directly to Pro Tools by merely plugging

into the console via your Ethernet port, a welcomed and simple to set

up feature. What’s more is that your VENUE show files are cross-

compatible on any Avid live system.

One of the most interesting features of this system, which will only

become available in future revisions, is that the user will be able to use

the control surface as a EUCON controller for Pro Tools and other

DAWs. This feature reflects the wonderful cross-platform flexibility

afforded to us currently in products of this nature.

A further advantage of this system is that it is hyper-compact due to

its modularity, but we’ll cover that further as we proceed through the

modules. There are three main components to the system, namely

the S3 Control Surface, the E3 Engine and the Stage 16 remote I/O

box.

s3 Control surface

The S3 Control Surface optimises the term ‘compact’, coming in at

71cm x 36,3cm. It is between 3.2cm and 7.2cm thick. Basically you get

a bank of 16 faders with six bankable layers and 32 OLED-illuminated,

touch-sensitive rotary encoders and each channel control parameter

is colour coded for quick access and adjustment.

There are 16 ten-segment LED meters with pre– and post-fader

metering options. On-board I/O includes four analogue inputs; two

XLR mic/line inputs and two TRS line inputs, which can be used to

connect a talkback microphone, audience mics or playback

devices. There are also four analogue outputs; two XLR line outputs

and two TRS line outputs for connecting recording devices and

near-field monitors. There is one ¼-inch headphone output as well.

To connect to the AVB network there are two Gigabit Ethernet AVB

ports featuring latching etherCON connectors on the rear of the

surface. There are also two USB 2.0 ports exclusively for connecting a

keyboard and mouse, one ¼-inch TRS footswitch port, two console

light ports and a Kensington lock slot.

There is no display built into the surface but why that is will be

covered shortly.

55

ProduCt reVieW lIVe eVentS

Sapphire Touch

Avolites Head Offi ce: T: +44 (0) 208 965 8522

E: [email protected]

W: www.avolites.com

Avolites Media: T: +44 (0) 208 965 8522

E: [email protected]

W: www.avolitesmedia.com

Sapphire Touch

Tiger Touch

Photo Courtesy of Immersive Ltd

TitanMobile

Ai Infi nity Media Server

PO28352-Avolites-190 x 136.indd 1 12/03/2013 11:52

Unit 38 Graphite Industrial Park, Cnr Commercial & Fabriek Street, Strijdom Park, Randburg

Tel: +27 11 793 5066 Fax: +27 11 792 5076 [email protected] www.dwrdistribution.co.za

e3 engine

The E3 Engine is the core of the S3L mixing system. This 2U rack unit

runs the VENUE software and acts as the mission control centre for the

entire system and the 32-bit floating point HDX-powered system that

powers the AAX plugins is also housed there.

The E3 can accommodate 24 aux busses, LCR, eight mono matrixes

and eight VCA groups. Channel processing includes a four-band

parametric EQ on every input and output, 16 graphic EQs and full

dynamics processing on all channels.

Two-track recording is offered via standard USB flash drives

connected to the on-board USB 2.0 ports however for multi-track

recording, the E3 is connected directly to the Ethernet port of your

computer to record/playback up to 64 audio tracks over the AVB

network. No audio interface is required.

Additional I/O includes four XLR mic/line inputs, four XLR line

outputs, four channels of AES3 input and output (XLR), GPIO (two in/

two out), and word clock input and output. There are three Gigabit

AVB ports, one ECx Ethernet port for wired/wireless remote control

and one DVI video port. This is where your monitor will connect for full

graphic representation of all console parameters. Finally, there are

four USB 2.0 ports; two on the rear, one on the front, and one internally.

One thing to note about AVB is that all devices on the network are

auto-discoverable and auto configurable. That means that when

you plug any of the modules into each other, the system recognises

them all and sets up the network automatically. AVB is designed to

be future-proof and expandable which means that the S3L is likely to

see much expansion and upgrade in the future.

stage 16 remote i/o

The Stage 16 remote I/O is exactly what it sounds like; the stage box

I/O module of the S3L system. All in all you get 16 XLR mic inputs/

preamps, eight XLR line outputs and four channels of AES3 output. It is

4U in size and includes two Gigabit Ethernet AVB etherCON ports for

connection to the E3 Engine and for daisy chaining up to four Stage

16 boxes, totalling 64 inputs. Regular off-the-shelf, shielded 350MHz

Cat5e cable is the network transport medium of choice, achieving a

maximum snake cable length of 100 metres.

the wrap

Starting at around $17 999 (+ – R177 000) for the base system and

coming in at around $30 000 (+ – R296 500) for the 64 channel

system, the S3L is fantastic value for money given the features that it

offers. The fact that the entire system is modular and compact

enough to fit into your boot makes it very appealing and I’m sure it

will suit both rental companies and installations alike.

Plus you get the power of HDX-powered AAX plugins, multi-track

recording with no further hardware but your laptop or PC, the

robustness of the AVB network, and comprehensive connectivity

and I/O in a variety of options. Avid have a habit of changing the

game and the S3L looks to be a game changer.

For a full demonstration of the S3L visit Mediatech 2013 to see

Robb Allen from Avid performing demos with it at the Segma stand

(Avid SA distributor).

56

lIVe eVentS ConCert rePort

Technical producers of South Africa’s grandest musical awards

pushed the envelope again this year to present a remarkable

installment of the 19th MTN SAMA awards. Staged in the Sun City

Superbowl on May 11, the event was beautifully crafted from start to

finish.

The majority of the companies that supplied the previous SAMAs

were on the bill again this year. These included Vertical Limit

Productions (VLP), Nevermachine, Dream Sets, MGG Productions, AV

Unlimited, Audio Logic and Visual Frontier. As overall production

company VLP provided a 360° production solution and was also

responsible for organising the other SAMA events that took place

before and after the big night. The VLP team, led by Delmarie

Seaward, comprised 65 crew members. Part of their brief from the

organisers was to relook the entire production and introduce

something fresh and better than last year’s show.

VLP contracted Dream Sets to supply all technical and staging

elements. This also involved designing and building the set. AV

Unlimited was contracted to supply all video elements while MGG

Productions supplied additional lighting gear. The lighting and sound

departments were handled by Joshua Cutts and Marius Marais from

Visual Frontier and Audio Logic respectively. LaserX supplied the lasers

and Nevermachine, headed by Gavin Wratten, directed the show for

live broadcast on SABC1.

the set

The set was designed by Wayne Pettit Sproule from Dream Sets and

built under the directorship of Robert Hoey. It was certainly one of the

highlights of the production, thanks partly to a giant ‘gazebo’

structure that was erected in the centre of the stage. This structure

Preceded by last year’s internationally acclaimed 18th edition, the 2013 Mtn south African Music Awards (sAMAs) had to live up to expectations, and they did – writes eddie Hatitye.

Joshua Cutts lights up the stage at the sAMAs

Fresh look and feel for SAMAs

57

ConCert rePort lIVe eVentS

could turn into a light box and also serve as a perfect projection

surface for 3D mapping. The stage offered three main sections; the

first being for performances, the second for the house band and the

third for awards and speeches. A mobile hi-res LCD screen mounted

behind the awards area provided a great backdrop to most of the

stage activities.

The gazebo was made of steel covered in Lycra and a special

seamless screen material. It was hung off five 1-ton motors and its legs

were braced to the ground. On either sides there were two large

shapes supporting it on one-ton motors. “It (the gazebo) was really a

big risk but it paid off tremendously,” says Seaward. The remainder of

the stage was mostly built with stock rostra and 22-milimetre plywood

filler pieces covered with square (1.2 x 1.2 metre) MDF tiles.

It took Dream Sets about a month to build the set offsite and three

days to assemble it in the Super Bowl. The set’s various elements and

other technical equipment were transported to the venue with two

12-metre flatbed trucks, two 12-metre containers, two eight-ton trucks

and one six-ton truck. A total of 52 Dream Sets personnel worked on

the project off and onsite.

Video mapping

3D video mapping played a crucial role in the overall look and feel of

the production. This process mostly involved AV Unlimited projecting

fascinating graphics onto the set’s various objects. The mapping was

powered by Coolux’s Pandora’s Box media servers and Barco FLM

HD14 projectors. “We piggybacked the large surfaces either side of

the centre structure and used a single projector for the side screens,”

explains AV Unlimited’s Dave Thompson. “We then used the Warper in

Pandora’s Box to map the set (capture the parameters) and create

the warp file of the surfaces.”

Thompson worked closely with Guillaume Ducray, Clive Maake

and Sazi Mgaga, all from AV Unlimited.

lighting

A unique element on this year’s production was the use of time codes

built into the audio tracks to help sync the lighting with the audio and

video. This allowed lighting designer Joshua Cutts to trigger lighting

cues with precision and musical accuracy.

This was Cutts’ second consecutive SAMAs. He decided to light the

main gazebo internally. His rig incorporated 48 Clay Paky Sharpys –

possibly the highest quantity of Clay Paky Sharpys ever employed on

one show in South Africa. He also incorporated a great deal of Robe’s

moving lights, Robert Juliat Aramis Followspots, Marin LC Panels and

Philips Selecon SPX 36deg profiles. Programming was done onsite

using a grandMA 2 full size console and this process took about a

week to complete as Cutts had to precisely sync his design with all the

audio and video offerings.

In addition to musical director James Bassingthwaighte (from

Thatch Music) and creative director Wessel Albertse, Cutts worked

closely with Raymond Endermann from LaserX. Endermann was

tasked to provide laser effects to the live acts as well as to map parts

of the sets. He did this with two 36w Nano Rainbow lasers, one Nano

22w laser and four sets of laser fingers. To control the lasers he used

Pangolin Beyond software over a fibre network and the results were

truly impressive.

Audio

The sound design was done by Marius Marais of Audio Logic. Marais

used the in-house d&b audiotechnik system, which comprised eight

J8s loudspeakers, two J12 cabinets and 10 J subs. A total of 12 Q1 out

fill cabinets were used to cover the sides of the venue together with

four Infra subs, which were stacked on the ground around the venue.

The house mix was done on a Studer Vista 5SR digital mixing

console and the mix for the monitors came from a Studer Vista 1. A

Soundcraft Vi6 console was reserved for the live broadcast audio mix

and in total there were 130 input channels to work with. “This was

easily achieved with the Studer consoles,” explains Marais. “The

broadcast mix on the Vi6 was well planned with the snapshot feature,

filtering down the input channels to only the needed inputs for each

performance.”

The television director did not want any monitors cluttering the

stage so the performers had to use in-ear monitoring systems. This also

meant that Marais had to spend a great deal of time training them.

The in-ears used were a combination of Shure PSM900 and PSM1000

monitors. For the house band Marais used a myMIX monitoring system

with 15 stations. A total of 30 handheld radio microphones were used,

including Shure, AKG, Audio Technica and Beyer Dynamic. Vocals

were done with Shure UR4 and ULX-D radio systems.

Marais’ team comprised seven members, namely Johan Griesel

(broadcast engineer), Nathan Thiart (stage tech-house band),

Kenson Makeke (stage tech – house band), Christo Visser (radio

tech-vocals) and Andre Schoeman (radio tech – in ear monitors).

They worked closely with four technicians in the SABC OB van.

A computer-generated 3D video mapping render becomes... ...a live interactive stage

58

lIVe eVentS industrY eXPert

tell us a little about yourself and what inspired you to become a lighting designer?sooner: I took dance in high school. I was a complete nerd and took

advantage of extra credit whenever possible. We were told if we

joined the tech crew we could get extra credit in dance. That’s when

I fell in love with lighting. I saw my first rock concert in 1997 – The

Smashing Pumpkins with Lars Upton as lighting designer – and realised

that I actually loved rock n’ roll lighting more than dance.

you got a BFA in technical theatre with a concentration in lighting design from emerson College. How has this helped develop your skills? Do you think you would have fared the same without it?sooner: I feel like I could have gotten by without the degree, but it

helped shape and mould skills that I otherwise would not have

gained working for a production company.

what was one thing you learned as a stage hand at the Majestic theatre in Boston that has stayed with you your whole career? Please elaborate.sooner: Unfortunately I don’t remember much of these years. I

worked for a lighting company in New Hampshire for a majority of my

college career. I learned via ’trial by fire’. I learned the importance of

speed and improvisation when building various types of lighting rigs. I

also learned a lot about sound and rigging. I think that working for a

company that does both sound and lighting helped me realise the

importance of working as a team on a gig. It’s not always ALL about

the lights!

Coming from a theatre background, do you apply that approach to a rock n’ roll stage show?sooner: Not at all. They are two completely different monsters.

Bon Jovi’s lighting directorSooner Routhier Interview

Bon Jovi recently visited our shores and brought

along with him lighting director sooner Routhier.

sooner is a veteran of the industry and has worked with top us acts such as Rage Against the Machine, Daughtry, linkin Park and Rihanna. Pro-systems journalist Greg Bester

caught up with her to talk shop and find out more.

let’s see what she had to say.

sooner Routhier

59

Can you describe your first big break that pushed you into the ’big time’?sooner: I met my current business partner, Robert Long. He hired me

on my first arena tour in 2005. We’ve been working together ever

since.

you’ve subsequently worked for such top acts as Chevelle, Linkin Park, Rage Against the Machine, Rhianna and, of course, Bon Jovi. what do you think is the most difficult part of the job at this level? Does it get easier because you’re working with professionals, or does the pressure get heavier and the job more intricate?sooner: Every job has its challenges. It’s really just figuring out what

those challenges are in the beginning. With Chevelle – we were

working in clubs. We had to make an amazing light show happen

with the different tools provided to us. With Bon Jovi, it’s watching Jon

at all times. He constantly changes the show. I have to constantly

watch where he’s going next. I wouldn’t say it ever gets easier or

harder. It’s just different.

what is your favourite show you have ever done and why?sooner: Rage Against the Machine – every show. The energy at every

show was intense.

Being a woman in a predominantly male-dominated industry, what advice do you have for young girls aspiring to become lighting designers?sooner: Don’t make it an issue. Most men love working with women

on the job. Besides, we smell better.

Do you think having a so-called ’woman’s touch‘ is beneficial to the art of lighting design? Do you see any differences in how you approach the craft as opposed to your male counterparts?sooner: If I do, it’s gone! HAHA! I’ve been working for some pretty

heavy rock bands for years. I had to learn how to be badass instead

of how to paint a ballerina’s body!

where is your favourite destination that you have travelled to?sooner: Thailand.

what do you do with your free time?sooner: I always try to explore on days off when I’m on the road. I also

try to run every other day. Relaxation always involves reading.

Bon Jovi

60


Whether you’re a lifelong fan or just someone who appreciates a good

vocal performance, there’s no debating it: Beyonce is bloody amazing.

However, for her it’s not just about being on stage; she reviews her show

tape every night, and she’s heavily involved when it comes to the audio

and lighting elements.

“Beyonce is definitely not shy about her opinions on things, and it’s

good to hear those specifics, although it’s not always easy making

them happen,” smiles Eighth Day Sound’s Stephen Curtin, who is also

FOH engineer for The Mrs Carter World Tour. “She always wants a nice

clean vocal, but she gets far more particular than that: she likes to be

very well heard over the music out front, which can be challenging for

me as I have to build in some headroom, first to accommodate the

music and then her vocal, and that’s before you start hitting any kind of

system conversion.”

Vocal chain

Due to Beyonce’s seriously wide dynamic range, her vocal chain is

somewhat longer than most: signal from her Sennheiser SKM 5200-II

handheld (with MD 5235 dynamic capsule) hits the pre-amp on the

DiGiCo SD7 at FOH, gets crushed a little by an inserted Avalon 737

compressor, then gets sent to a group where it receives a light squeeze

from a Waves compressor plugin; before finally settling at the master

fader.

“The vocal’s going through a few different stages, but it’s not limiting

her dynamic range; it’s just harder live than in the studio to be able to

go with the music,” Curtin insists. “She’s got to be limited beforehand, to

find out how low she can go before she’s lost, so it’s a case of balancing

compression to get it to sit in a pocket of 8dB as opposed to 20dB.”

Beyonce and the ‘Big Mamas’ (her three backing singers) also have

their own dedicated monitor engineer, Daniel Gonzales, who also works

from an SD7, while Demetrius Moore works monitors for her band from

an Avid Profile.

“It’s pretty crazy during a Beyonce performance at monitor position

as there is a lot of talkback going on and it tends to get very vocal,”

Curtin admits. “For one guy to concentrate on Beyonce, the girls and

the band would be very taxing!”

There are 12 channels of Sennheiser EM 3732-II wireless receivers on

the tour, to cater for the eight Sennheiser SKM 5200-II handheld mics

and four Sennheiser SK 5212-II belt pack transmitters (for the horn

section). IEMs are Shure PSM10000s.

“The flexibility of the RF when working with Sennheiser is great,

because unlike many manufacturers, if you buy something in a certain

range in the US then come over to Europe, you can re-tune it,” he says.

“On the flip-side, Shure took hold of the in-ear world when they brought

out the Diversity receiver belt packs with the PSM1000s, which made our

RF and monitor guys way happy in terms of stability.”

At FOH, Curtin is running 80 channels on his SD7 at 96kHz, so that it ties

in with the whole system.

“I’ve always been a DiGiCo man and it’s fantastic that we can run at

96kHz. This means we’re straight out of the desk into the Dolby

processors and amplifiers at the front end of the PA without any sample

rate converting going on whatsoever,” he explains. “We’re using a mix

of AES and analogue because Demetrius (Moore) needs analogue

signal as there’d be a lot of sample reconverting involved if we went AES

into the Avid (Profile) console.”

Curtin is utilising one DiGiCo SD-Rack at FOH and there are a further

four on stage. Flexibility is key on this show, he says, and much of that

stems from his DiGiCo setup.

“I have one local SD-Rack and there are three on stage which we’re

using as inputs; then there’s a fourth SD-Rack which is mainly used for

the support stuff and a few extra bits and pieces,” he explains. “The

flexibility of DiGiCo is what drew me to the consoles in the first place;

everything is simpler and more intuitive, and compared to other

manufacturers, there are less steps to go through to get to where you

want to be when mixing.”

Eighth Day is providing crew and PA for the entire tour, and the

sizeable rig is by d&b: two hangs of 20 J-Series enclosures with eight

cardioid-configured flown J-Subs per hang constitutes the main L/R; a

further 16 J-Series make up the side hangs; and 12 Q-Series boxes make

up the centre clusters. There are an additional nine J-Subs per side on

the floor and a scattering of d&b M4 wedges on stage, should the

in-ears go down; and the bassist and drummer are using Pearl Throne

Thumpers.

system tuning

System tech, Eighth Day Sound’s Arno Voortman, uses Smaart and

WinMLS to make his calculations, though he admits this venue didn’t

need much tweaking.

“The tuning process at the O2 Arena doesn’t take long as it’s very

similar to an American arena, which I’m obviously used to,” Voortman

explains. “I use Smaart for the low-end timeline and WinMLS for

everything else.”

Voortman is a big fan of d&b for its ease-of-use and versatility; and as

far as processing goes, he lets the speaker do all the talking:

“I find DSP is often being abused these days, as in over-processed,

which can actually make it a detrimental thing; suddenly systems sound

worse instead of better! If a system is a good system, why should you

tweak the hell out of it?”

US-based company, Upstaging, provided the lighting rig – and it’s like

no other I’ve ever seen, the focal point of which is undoubtedly LeRoy

Bennett’s ‘Wall of Inferno’, which utilises a massive 446 of SGM’s new

low-profile, lightweight X-5 strobes, and 208 Clay-Paky Sharpys. As a

result, this show (we think) is the brightest ever to be recorded on a

concert stage.

“I was very impressed by the X-5’s combination of power

Mrs Carter lights up London’s O2 Arena

on May 1 the unmistakeable vocal talent that is Beyonce descended on london’s o2 Arena and put on a show that was so spectacular sonically and aesthetically that it will surely last long in the memory of all who witnessed it, writes Paul watson. Beyonce live at london’s o2 Arena

61

consumption, brightness and rugged design,” Bennett explains “In

addition, the fact that each strobe breaks down to three individual cells

is great, as it enables me to project very low res graphics as well as bright

blasts of light and strobing.”

Bennett was responsible for the entire lighting design which

incorporates more than 1 000-fixtures and has also allowed him to

experiment with some ideas he’s had up his sleeve for some time,

according to lighting director and operator, Whitney Hoversten.

“When someone finally came out and said ‘let’s just do a big lighting

show’, LeRoy was all, ‘oh yes, let’s try a lot of tricks on this one’,” Hoversten

recalls, tweaking his grandMA2 at FOH position after sound check. “In

terms of the ‘Wall of Inferno’, what the X5s are capable of is absolutely

fantastic, especially given their compact size and low power draw; every

4 x 4 pod is just one circuit which is a huge advantage with power

distribution, so it’s bright as hell.”

Reflectinglight

“Then at the ‘Bey Stage’ we’ve got some very cool things going on.

LeRoy came up with the concept of having all the light coming from the

ground and reflecting back down and we’ve done that using mirrors. We

beam light from the Sharpys onto customised MAC 700 fixtures that have

had the head taken out and a mirror put in its place, and it works really

well: on one side you get this flat surface so if you go in a tight cone or

tight iris it looks like just another Sharpy, but if you do it wide you get these

cool pink square beams; and on the other side you’ve got these

amazing mirror ball effects.

“By the end of the experiment, we realised the concept isn’t just a one

trick pony too: because of how the light hits the two sides, when you spin

it, it does some really amazing things; we discovered some cool stuff by

accident, which is always a bonus, and Beyonce loves it!”

It’s not only the mirrors Mrs Carter has taken a fancy to, however: at her

personal request, a further 15 X-5s are to be added to fill in across the

centre section of the stage!

There are 198 mirrors used in total, and additional fixtures include 71

Martin Vipers; 94 Martin MAC Auras; 28 Vari-Lite VL3500 washes; seven

Syncrolites; and two Martin MAC 3s.

In terms of control, Hoversten says nothing on the market comes close

to the grandMA2.

“The grandMA2 is completely customisable, so I can put anything

anywhere; and unlike other consoles, you the user tell it how you want to

receive the information,” he says. “The software’s Layout View is also

fantastic; it allows you to assign icons to fixtures, which means I know

instinctively where everything is, and that’s really great for the operator,

especially with a rig of this size. It’s a great step forward in terms of lighting

control.

“Then from a programming standpoint, because I’m always doing

things on the fly, this console is also great because of its quick access; on

the hardware side, its parameters, universes and general control

capabilities are also very impressive.”

I was sat at FOH position (ridiculously, next to Jay-Z!) throughout the

show, which looked and sounded absolutely out of this world. The system

was being driven very hard, but any slight distortion just enhanced the

experience, to be honest; the band were phenomenal, and the

intelligibility and energy that came from Beyonce’s voice – well, I don’t

know where to begin...

After opening with Who Run The World (Girls), a two-hour set left the

crowd mesmerised, and Beyonce was right on the money – she didn’t

seem to break a sweat, despite dancing her backside off throughout!

There were two highlights for me: her being zip-wired to FOH to perform

the latter part of the show from her ‘Bey Stage’, which was right on top of

us; and the unbelievable finale: as Beyonce came to the end of her

mega-hit, Halo, Bennett’s unbelievable ‘Wall of Inferno’ provided the

ultimate ‘wow’ moment as more than 1 000 fixtures illuminated the entire

arena.

A fitting end to an amazing night.

62


Marzullo is a seasoned road

warrior who’s been there, seen it,

done it, worked with some of the

brightest stars on the planet and

received multiple T-shirts... and

he’s still smiling!

His unflappable calm, charm

and great sense of humour

permeates from the top down

right through the Bieber 100 plus

production crew who were

approaching the end of the

European leg of the ‘Believe’ tour.

The show is nothing short of

stunning!

A high-energy molten mix of theatre, dance, rap, rock and pop,

starting with Bieber’s unapologetically rock ‘n’ roll and God-like

entrance on a giant set of angel’s wings flying through the upstage

video screen to the final explosive chords of ‘Believe’. Full of visual

trickery, highly entertaining, dynamically paced to match the

attention spans of the Twitter generation … and I loved it!

Whatever people say and think about Bieber – I discovered to my

surprise that an awful lot do have an opinion about him – when

onstage he’s 200% there for his Beliebers.

The ‘Believe’ tour started in September 2012, three months after the

release of the album – his fourth studio work and the fourth to hit

number one internationally.

The epically – and appropriately – proportioned production and

set design for the tour was the result of some intense collaborative

imagineering between movie director Jon M Chu, the show’s

Creative Director (he also directed concert biopic Justin Bieber :

Never say Never) and Marzullo, complete with the scenic pieces and

various props which were all conceived by visual designer Christobel

Valecillos.

The set and stage is big, bold and stark with three layers, lots of

deck space and LED screens, most of which move in some way,

reflecting both the more urban and mature direction of Bieber’s

music and Chu’s penchant for dance action – with plenty of space to

showcase the visually striking choreography.

It’s around 110ft wide and 58ft deep including a sizable thrust so

Bieber can get right among his audience. Reaching out and

touching is one of the essentials underpinning the show. There are

several hydraulic lifts dotted around the space that drops down

below or elevates above the stage, plus a crane arm that rises up and

does a 270 degree rotation with him standing at the end of it.

The stage was built by All Access in Torrence, California, the thrust

by SGPS Inc. Las Vegas and the LED screens are all WinVision – a

combination of 9mm and 18mm from Chaos Visual Productions.

Overhead are three long tracking trusses extending right out over

the audience. The centre one is used for the ‘Whirligig’, a large metal

set piece that looks like something from Area 51 with two contra-

rotating rings built – together with most of the rest of the ‘in air’ set – by

SGPS.

Moved by six winch lines, this carries various lighting fixtures and the

wings for Bieber’s entrance are also attached to it.

The two outer tracks are used to accommodate four large custom

Beliebe it! in Sweden

i joined the hordes of loyal Beliebers flocking to stockholm’s Globe Arena to experience the Justin Bieber phenomenon live – sating the appetite of 45 000 happy hormonally-charged followers over three nights – and enjoyed a fabulously warm welcome from Production Director tom e Marzullo and his large and friendly crew.

By Louise Stickland

tom e Marzullo –Tour Director/Production Designer

64


lighting pods per side – also made by SGPS – that glide up and down,

driven by a copper track ‘brush’ system similar to that utilised to

power underground metro networks. This avoids the need for

complex and unwieldy cable management and also supplies mains

power to the lights on the pods.

There were about 110 rigging points for the full show co-ordinated

by Lead Production Rigger Billy Daves, who worked for the European

leg with UK-based Steve Armstrong. Together with Lead Carpenter

Jesus Arroyo, they figured out how best to fit the infrastructure and 22

trucks of kit into each venue.

The tour’s Navigator automation and screen tracking control

system was developed by Fisher Technologies (recently acquired by

Tait Technologies) and is run by Kyle Wolfson. This deals with

everything except the hydraulic lift elements, which are all operated

from local positions under the stage.

lighting

Lighting Designer Chris Kuroda is

based in Fort Lauderdale Florida,

and ‘Believe’ is his first ‘adventure’

with Marzullo!

The basic stage and set pieces

and the onstage LED screens

were in place by the time he

joined the team, so this was his

starting point for the lighting

design which needed to fit in

around these structural elements

and the presence of the Whirligig.

Other than that, his task was to

bring some elegance and carefully crafted lighting magic to the

bigger picture. Known for his subtle and perceptive style, while there

are many big rock-tastic moments in the set, the objective was that

lighting should give it edge, mood and some distinct urbanisation, all

the time following the music with theatrical precision.

No traditional cross stage trussing positions were feasible due to the

Whirligig tracking down the centre of the room, so he came up with a

six angled mid-stage truss immediately above that area onstage and

– together with Marzullo – the two outer tracking trusses containing

the four sleds that move up and down.

Between the ‘dance tower’ side video screens in the wings are

another six vertical trusses which are filled with MAC 101 LED washes.

The total number of lighting fixtures is around 450 of which Martin

MAC 101s are the most prominent with a total of 148, used to produce

several special effects and visual tricks as well as for washing large

areas of the stage and thrust.

The mid stage trusses contain 22 x MAC 2K Washes, some with the

Beam conversion kit and 22 x Mac 3 Performances.

On the tracking sleds at the sides are a total of eight Syncrolite 7Ks

plus more MAC 101s and Clay Paky Sharpies, and there are further

101s and Sharpies on the Whirligig.

Having the tracking pods and the lights on the Whirligig is really

flexible for hitting all areas of the stage and the ego ramp as well as

lighting the audience and ensuring they remain part of the show.

He uses a grandMA2 full size for control, with another running in fill

tracking backup which has been his console of choice for some time.

“It’s incredibly user friendly, you can set up and lay it out exactly as

you want and there are multiple ways to do everything – it’s just so

flexible,” he comments.

The 85-minute show contains nearly 2 800 cues. He and

programmer Andrew Giffin pre-visualised it in MA3D ahead of six

weeks’ technical rehearsals in Long Beach. “We needed every

minute of it,” he confirms.

All the kit is supplied by Christie Lights of Toronto

sound

FOH sound engineer Gordon Mack and Clair Global’s Systems

Engineer Arnie Hernandez had their work cut out to deal with the

maelstrom of pubescent screams and get Bieber’s voice out above

this challenging frequency … but that’s the nature of the

performance – and one of the skills involved in mixing this type of

artist.

Having been with Bieber for four years, it’s also something that

Mack has honed into as much of a fine art as is possible!

The European touring PA was specified by Hernandez and based

on the Clair i-5 system plus his extensive knowledge of the European

arena circuit, all supplied through Aesch, Switzerland-based Audio

Rent.

The main hangs are 14 deep i-5s with a row of i-5bs on the outside,

with side hangs of 10 deep i-3s and then eight BT-218 subs per side on

the ground, which are massively efficient and deliver the nice, bold

bassy groove that Mack likes for the mix.

All are powered by Labgruppen PLM 200 000Q amps, utilising the

on-board Lake processing for EQ ad time alignment, with the whole

system run via AES3 to keep the signal as digital as possible.

Hernandez works with this system all the time. “It’s versatile and

great for large arenas,” he comments. They added extra delays for

the three largest venues on the itinerary.

Mack mixes the show on an Avid Profile console. He likes its small

Chris Kuroda – Lighting Designer

Gordon Mack – FOH Engineer (left) and Arnie Hernandez – Systems Engineer

Justin Bieber in an angel outfit

65

ConCert rePort lIVe eVentS

footprint, speed and lots of ‘bells and whistles’.

In terms of style of sound reproduction, he tries to get it as close to a

stupendously loud replication of the CD as possible “That’s what the

kids want to hear – like they are in a huge car,” Mack comments.

Bieber’s voice is good to work with. “He’s a strong vocalist with a

good tone,” he confirms. His trademark headset mic is a Crown 311 –

also one of Mack’s favourites – and the hand-helds all have Heil RC22

capsules. He also uses a vintage style Heil Fin during Die in Your Arms

set which sounds “incredible”. Mack likes the Heils for their good value

and in-the-face high gain-to-feedback ratio.

As for the big, screaming, hyper-charged crowds, having been

dealing with them for some time, both with Bieber and other artists

that he engineers like Chris Brown, Mack is fabulously unfazed … he

simply listens ‘past’ it!

There’s an optimum level at which he will run the PA for a good,

solid sound and it does not get pushed beyond that. Dispelling the

myth that hysteria is beyond control, he says confidently: “They soon

calm down if they can’t hear the music!”

Over onstage monitor engineer Alex Macleod joined the Bieber

rollercoaster in May 2012 and keeps everyone in order.

The five core band are all on Shure PSM 1000 IEMs for their main

feeds and some also have wedges – standard Clair SRMs –

ensconced below grills on the downstage edge of the second stage

level which is where the band is positioned.

The Clair R4 side fills are primarily for the dancers and there’s also a

drum fill comprising an SRM with a BT-218 on top

He’s touring with a DiGiCo SD10 console, utilising all the on-board

effects and features, which is full with around 90 input channels and

40 outs.

The main challenge is keeping it consistent each night and

ensuring Bieber’s vocal stays right up in the mix with a loud crowd. Like

all the rest of the crew I spoke to, for him, Believe is: “A lot of fun

working with some great people!”

Video

Ken Delvo from Chaos Visual

Productions showed off the vast

collection of cuddly toys given

refuge in video world during the

course of the tour – in fact, there

was a bit of a competition

between the stage based

departments on this front!

He also explained the basics of

the LED screens which comprise a

large 9mm WinVision surface Joel Merrill – Monitor Systems Tech and Alex Macleod – Monitor Engineer Ken Delvo – Spyder Operator / Screen Management

Justin Bieber in stockholm

66


tech Box

lighting gear list:

• 48 x Clay Paky Sharpy

• 8 x Clay Paky Alpha Profile 1500

• 12 x Robin 1200 LED Wash

• 6 x Robin 600 LED Wash

• 12 x Robe Colorbeam 700

• 16 x Robe 2500 Colorwash

• 16 x Robe 700 Colorspot

• 6 x Robe 700 Colorwash

• 8 x Philips Vari-Lite VLX Wash

• 22 x Martin 101s

• 6 x Atomic Strobes

• 36 x Led4ce 18s RGBW

• 4 x Robe Cityscape Extremes

• 24 x Longman LED par

• 48 x Longman Colorme 011A Battten

• 60 x Philips Selecon SPX 36deg Profiles

• 12 x ADB 2k Fresnels

• 72 x Par64 Parcans

• 1 x GrandMA 2 Full Size

• 1 x GrandMA 2 Lite

• 1 x GrandMA 2 OnPC

• 1 x GrandMA 2 NPU

• 2 x GrandMA NSPs

• 2 x Coolux Pandora’s Box Media Servers

• 2 x SuperTrouper II Followspot

• 2 x Robert Juliat Aramis 2500w Followspot

sound

• d&b audiotechnik system

• Studer Vista 5SR

• Soundcraft Vi6

• Shure PSM900 and PSM1000 in ear monitors

• myMix monitoring system

• Shure UR4

• ULX-D radio systems

Video

• 2 Coolux – Pandora’s Quad Output servers

• 1 Coolux – Pandora’s BoxMedia Manager

• 6 Barco FLM HD 14s.

upstage, which split apart for the entrance, then below these on

the deck are more 9mm rigged on eight carts which move into

different positions during the show.

The two front-facing ‘side’ walls slightly offstage each side are

WinVision 18, and further reverse screens of 9mm face the rear

side seats for those sitting behind the stage in 270 degree

scenarios.

Outside of these in the full rig set up are left and right IMAG

projection screens.

Playback content was storied on two Hippotizer HD 3.1 media

servers, with two more running as hot backup, and output to

screen via a Lightware MX 16x16 DVI-Plus matrix switcher into a

Christie Spyder X20 operated by Delvo using a Montage II M2C-50

console. In total for the show he had 169 Spyder cues and nine

manual ones.

The Hippotizer content was monitored and previewed using an

Avitech multi-viewer, and the servers were timecode triggered

from a feed supplied by Pro Tools engineer, James ‘Scrappy’

Stassen.

Custom footage was produced by a number of sources,

including Imag8nineteen mainly commissioned by Jon Chu, who

also directed some of the sequences himself, along with film

maker Mat Hale.

Live cameras were directed

and cut by Mark stutsman

using a Panasonic AV HS450

switcher. It wasn’t the multi

camera extravaganza you

might have expected,

tastefully and intelligently

used, it was great to see that

less really can be more!

At FOH there were two Sony

HXC-100s with long lenses, one

concentrated on Bieber and

the other was used for all the

cut-aways.

A third hand-held camera was used by Bieber during Out of

Town Girl to film the audience and himself.

The video system was all sourced and set up by Chaos in LA

and shipped to Europe, together with six crew.

The visual equation is completed with lasers, pyro and special

FX from Strictly FX, Illinois.

With over 100 in the crew party, Marzullo has done an amazing

job of amassing a seriously talented team of individuals with flair,

imagination and plenty of synergies to take this show around the

world.

It’s evident that people are confident and relaxed, the huge

operation has flowed relatively seamlessly and he’s the first to

admit that impressive though the engineering and technicals are:

“It’s the human element of this show that is really inspirational,” a

fact obvious to anyone entering their world.

Believe is a tour of many paradoxes. While Bieber takes some hard knocks in the press for basically nothing more profound or sinister than ‘typical…whatever’ teenage behaviour, he regularly uses his strategic mastery of tactical Tweeting to his staggering 37 million followers to defend himself.

It gives him an accessibility that’s endearing and believable to his core fan base – he’s there, only a Tweet away – illustrating concisely how the power and global reach of cyber-sonic communications has helped mould his career so far.

Mart stutsman, Video Director

Viva Afrika Sound and Light (Pty) LtdUnit 2, 2 Drakensburg Road

Longmeadow Business Park West, West� eldPO Box 4709, Rivonia, 2128, South Africa

Tel: 011 250-3280, Fax: 011 [email protected], www.hybrid.co.za

viva afrika

SW218 Dual 18” Subwoofer

Frequency Response (+/- 6dB): 30 – 100Hz

Average Sensitivity: 101dB/1W/1m

Driver: Customised Beyma 18” LF driver,

Neodymium magnet 4” voice coil

Connectors: Heavy duty NEUTRIK Speakon NLT4M

Power Rating (AES): 2 400W RMS / 8 000W Program / 9 600W Peak

Weight: 80Kg

Dimensions mm: 580(W) x 1 150(H) x 750(D)

K-LA28 Dual 8” 2 Way Passive Line Array

Frequency Response (+/- 6dB): 60 – 20 000Hz

Average Sensitivity: 96dB/1W/1m

Driver: Customised Beyma and Faital driver

Connectors: 2 x NEUTRIK Speakon NI4MP

Power Rating (AES): LF 200 + MF 200 + HF 50W

Passive X-over Frequency: 450Hz / 2.2kHz Passive

Weight: 19Kg

Dimensions mm: 590(W) x 236(H) x 436(D)

K-LA Series

SW Series

Core TechnologyThe K-LA series is primarily used for fi xed installation

and touring systems. The result of in-depth research,

the Audiocenter R&D team has developed the unique

PTVTM technology which combines phase and

waveguide engineering together seamlessly.

A perfect match for all Audiocenter full

range speakers.

SHOWCASING

AT

MEDIATECH

AFRICA

68

Audio

Allen & Heath announced their new Qu-16 digital rack mount mixer which incorporates technologies found in the GLD and iLive range of digital consoles. Notable features include 19 motorised faders, 16 recallable AnaLOGIQ preamps,

Qu-Drive multitrack recording/playback on USB drives, a 800x400 touchscreen, a dSNAKE remote stage box audio port, USB audio streaming, DAW MIDI control, and on-board RTA with Peak Band indication.

New from Behringer, the iSTUDIO

iS202 iPad docking station was showcased at the Music Group stand in Hall 8.0 of Prolight and Sound. The iSTUDIO iS202, an iPad-based audio interface aimed at live and studio recording, offers two mic/line inputs on XLR combo jacks, a stereo line/phono input on RCA connectors, left and right TRS main outputs, jacks for a footswitch and an expression pedal, MIDI I/O, USB MIDI output and an RCA video output for connecting to a TV or projector.

Powersoft unveiled their latest range of K Series amplifiers. The K Series offers various power ratings in 6 models ranging from 2 x 1 000W/ch at 8 ohms to 2 x 9 000W/ch at 2Ohms, still maintaining the one unit size.

Lab.Gruppen’s IPD (Intelligent Power

Drive) Series of networked, DSP-driven amplifiers were released at this year’s Prolight and Sound at the TC Group stand in hall 4.1.

Available in two power configurations, IPD 1 200 and IPD 2 400 (2 × 600w and 2 × 1 200w, respectively), the IPD series incorporates on-board DSP, networked monitoring and control via PC or iPad, a

those who have never attended Prolight and sound in Frankfurt before could easily be forgiven for underestimating the sheer magnitude of the event. Quite simply put, it’s massive. walking around the Bockenheim and westend-süd districts of Frankfurt one would struggle to miss the massive Messe complex that Prolight and sound and its sister event, Musikmesse, calls home for four days in the spring. For that matter, walking around the Messe itself, one would struggle to keep one’s feet blister free!

this year Prolight and sound/Musikmesse was a record breaking event. 113 000-plus visitors from 142 countries attended, surpassing the previous attendance record set in 2009. this included 42 300 international visitors; 71 200 from Germany alone. Figures for 2012 came in at 109 481 from 120 countries with 68 267 German visitors.

of course, the focus of the event is the products of which there were more than 30 000 on display. it would feasibly take many more than four days to make a comprehensive sweep of all of the immense and spaced out halls so we have compiled a list of notable mentions in terms of new products. let’s take a look.

ProlIght + Sound eXPo rePort

Spotlight on Prolight + Sound 2013 By Greg Bester

www.audiosure.co.za

Sometimes less is more: less space...more power. Delivering high powered, superior sounding amplifi cation in a compact format, E100

guarantees exceptional sound quality and utmost reliability in the most demanding conditions. Our advanced 92% effi cient Class D output

stage runs cool and draws less power from the mains.Backed by a 5 year warranty, get more, for less.

Find the full specs at www.mc2-audio.co.uk.

E100. More power 2U.4 x 2.5 kW, 12 kg, Class D Power Amplifier

Imported by

Spotlight on Prolight + Sound 2013

Viva Afrika

70


4-channel input matrix, graphically displayed front panel controls, analogue and AES3 inputs with redundant fail-over, Lab.Gruppen limiters and sturdy construction.

The CS3 Discussion System by AKG was presented at the Harman Group stand in hall 8.0. Aimed as a conference system for small-to medium-sized meetings, the CS3 is modular and entirely plug and play which ensures easy setup for untrained people. The base unit connects to all relevant devices such as PA, recording, external audio sources and camera control systems and there are various gooseneck options available.

Electro Voice revealed their new ZLX range of portable loudspeakers available in both powered and passive varieties in 12- and 15-inch models. Loaded with EV-engineered drivers and one-inch titanium tweeters, they can be used as both mains and monitors. The powered models include a 1 000w Class-D amplifier along with one-knob

DSP control, reflected in a small LCD display. DPA released the d:facto II vocal

microphone at this year’s Messe. The microphone features a natural sound, high separation and extreme SPL handling along with a new adapter system that permits the capsule to be connected to popular professional wireless systems such as Lectrosonics, Shure, Sennheiser, Sony and Wisycom. It also features a sturdy three-stage pop filter built into the mic.

L-Acoustics unveiled their new amplified controller, the LA4X, in Hall 8.0. The LA4X is a four input, four output DSP-loaded Class-D amplifier

that delivers 4 x 1 000w RMS at 8 or 4Ohms. Analogue or digital models are available. Four cascaded 24-bit A/D converters at the front end provide a dynamic range of an unprecedented 130dB.

Audiocenter presented their new PRO Series Amplifiers at Prolight and Sound 2013. The four models within this series offer a range from 800 watts to 1 950 watts per channel at 2Ohms to satisfy all requirements.

lighting and projection

Clay Paky revealed their Sharpy Wash 330 a compact, lightweight 330w washlight with the luminous efficiency, graphic and optical performance of a 1 000w fixture. Features include a CMY colour system, special colours, 6.5 to 48 degree zoom, mechanical dimmer, beam shaping filter and a motorised top hat. It is aimed at being an eco-friendly light.

Aimed at cost-savers, Martin showcased their new RUSH line of affordable effect lights. New products in this line include: MH 1 Profile, a super bright LED profile moving head; MH 2 Wash, a fast moving LED wash light moving head featuring RGBW colour mixing; MH 3 Beam, a beam moving head with fixed gobo wheel and 7-step iris and colour wheel; Strobe 15x5, a white strobe/blinder with a 5x5 LED matrix; PAR 1 RGBW, a bright LED PAR can with premixed RGBW colour mixing and a 200 fixed beam angle; and Pin 1 CW, a bright white LED pin spot.

High end projector manufacturer Christie unveiled their Roadster

HD20K-J projector aimed at large venues such as classrooms, concerts, conference rooms and live events. Fitted with high-quality lenses – all with ILS (Intelligent Lens Technology) – it is still compatible with existing stacking

hardware, lenses, lamps and input cards. The projector features Xenon illumination, Christie Twist, liquid cooling sand portrait display capabilities.

Robe Lighting revealed their latest effects lighting luminaire with the addition of full video output, the ROBIN MiniMe. This small, neat, fast moving fixture is LED driven with 20 000 hour lifetime source. Colours, Gobos and beam shapes are all digitally generated by the on-board micro media server. Custom artwork, still photographs and video can also be simply uploaded for projection, while live video can be streamed through the HDMI input.

CHAUVET Europe Ltd exposed their new beam light, the Legend 230SR Beam. With a tight 2.250 beam angle and an Osram Sirius 230w lamp, this fixture is strikingly bright at 96 000 lux at 15m.

Leading wireless DMX equipment manufacturer Lumen Radio released their CRMX Nova FX

wireless DMX transceiver. It supports one DMX/RDM universe of up to 512 channels with maximum refresh rate performance and has a fixed latency of 5ms.

Barco’s High End Systems launched their new Masterwing 4 expansion unit for the entire range of High End System’s digital lighting console systems. It includes three banks of 10 playback masters and a 15.6” multi touch ready display for Hog 4 OS products. Connectivity is provided to lighting consoles in the range via USB.

MDG introduced their ATMOSPHERE

APS Series haze generator. MDG NEUTRAL Fluid is heated to a precise temperature and infused with inert carbon dioxide (CO2) gas. The result is non-stop haze with exponentially reduced particle size (0.5 to 0.7 microns), giving it the longest ’hang time‘ in the industry.

71

French lighting equipment manufacturer Robert Juliat unveiled their Tungsten 600 and 700 series

Profile Spots. They offer a comprehensive zoom range covering all angles from the very wide needed for smaller venues and short throw applications, to very narrow for the long throw of large scale venues. The choice of lamps are from 1kW to 2.5kW.

staging and trussing

CM Entertainment Technology presented their Lodestar Electric Chain Hoist series. The lightweight, durable cast aluminium housings have a tough, black powder-coated finish for low visibility and reflection, ideal for entertainment applications. Capacities include 125kg, 250kg, 500kg, 1 000kg, 2 000kg and 3 000kg.

Prolyte showcased their new DOCK Stage. The DOCK Stage is based on a goal post structure; using standard MPT towers in combination with H30V arched trusses. The rotating front span of special S52SV truss not only provides the required strength but the rotating shaft also enables simple and fast build-up. A front cantilever protects the performing act from weather influences.

Litec released four new end-plated trusses, square section twist-resistant products, to ensure even higher performances and sturdiness. The new trusses are QX30SA, QX40SA, QH30SA and

QH40SA.Adam hall

presented their ah

Truss, three- and four-point truss systems, RI 290A and QUADRO

290A. Both constructions are made of high-strength, rigid 6082A T6 aluminium alloy that is 2mm thick. The diameter of the main tubes is 50mm and that of the struts is 20mm; the edge length of 290mm corresponds to the usual standard.

2m released their ERGO|Xtra Stage

Frames, versatile and durable staging units. Spans of 2m x 1m up to 6m x 1m can be manufactured as required and by installing an intermediate brace the

stage frames have an increased load capacity of 750kg/m2.Baltic Stages, showcased their

Stage Deck ST and Stage Deck

PRO, high class stage foundations designed for frequent use either indoors or outdoors with full water resistance. Custom sizes and surfaces are available.

Contact your nearest branch for professional products and advice ahead of your next installation – you won’t be disappointed.

International Conference Centre, DurbanH

Parktown Girls High School, JohannesburgH

NG Kerk, Rynfield, BenoniH

Canal Walk, Century City, Cape TownH

MIDRAND (+27 11 312 1001) DURBAN (+27 31 305 2660)

BEDFORDVIEW (+27 11 450 2871)CAPE TOWN (+27 21 905 8220)

[email protected]

DISTRIBUTION H RETAIL H INSTALLATION

72


nic Britz – Director, DwR

Nic Britz, along with DWR owner Duncan Riley,

attended this year’s Prolight and Sound.

DWR is one of South Africa’s largest

distributors of lighting and staging products

with such brands as Robe, Avolites, Clay Paky,

MA Lighting and Prolyte so the expo was a

perfect single locale for them to make

contact and strengthen ties with their brands.

Nic shares what DWR hoped to accomplish there.

“The main goal was to touch base with all of our suppliers. We

knew that there were a lot of South Africans going, including some of

our customers, so we needed to make sure we looked after them and

introduced them to our suppliers.”

Given the size of the show, the impact it has on the professional

audio and lighting industries worldwide is significant and Nic feels that

it is a window into the future and an opportunity to keep abreast of

current trends. He feels this is a great thing that benefits DWR on the

whole.

“It’s good for us to keep in touch with what’s new, what’s up and

coming and to have a look at what other companies are doing as

well as to have a look at other potential products for us to distribute.

It’s also very nice for us to be able to introduce our clients to the

people who run the companies who manufacture the products we

distribute. They like to know who they’re dealing with and it puts a

face to the company.”

Nic has been to Prolight and Sound three times previously and he

says the growth of the show is evident.

“Every year I go to Prolight and Sound more and more people from

South Africa are there – which indicates to me that it’s becoming

more popular . I haven’t been to PLASA but Prolight definitely seems

to be the show where you strike the deals and do a lot of business.”

Mark Gaylard – MGG Productions

Mark Gaylard, owner of rental company

MGG Productions, attended Prolight and

Sound for the second time. This time around

was a big eye opener for him, coming from

the rental and rigging side.

“It’s always nice to see how the rental

companies there work, from their trucking; to their rigging and to how

they generally run things. They have a very efficient way of working in

Germany. From the expo point of view, one thing I really like to do is

go see the PRG stand. They are the largest rental company in the

world and when you go back stage it’s just amazing to see how many

fixtures there are. It’s just a massive rig in there. They’re so big they

manufacture their own moving light!”

Meeting with suppliers was a great opportunity afforded to Mark

while attending Prolight and Sound. He comments: “I got a chance

to talk to a lot of the suppliers. You can make some suggestions,

which is great. They let us know what they’re planning to do and

keep us informed of updates. For instance, the update to the

Yamaha Stagemix for the iPad was launched there so it’s nice to just

take a mental picture of these kinds of things and take it back with

you.”

The quality of the show also impressed Mark.

“The sheer quality of the show is of a very high standard. All the

halls are labelled and all the information is presented well. Also, the

exhibitors spend a massive amount of money on really beautiful

stands. Every manufacturer has really gone to town.

“One thing I would like is to see more workshops presented in

English. Most of the workshops were presented in German. But if you

just think about the pro audio hall and just how many products were

there a lot of the products you don’t even get here, so that’s nice to

see. So, you can go to distributors and let them know, look, I think you

should bring this in.”

Dave livesey – the Case Connection

Dave Livesey, owner of the Case Connection,

was the single representative of his company

that attended Prolight and Sound.

The Case Connection, based in Honeydew,

is a manufacturer of a large range of high

quality custom casing solutions, including

aluminium, wooden and polyethylene flight

cases, cordura nylon padded bags and

covers, and fitters of bespoke foam interiors to any case. Given his

unique but crucial market, Prolight and Sound was the perfect place

to scout new materials and fittings, and to make sure his company

was up to scratch with the rest of the world.

“My goal in attending Prolight and Sound was to make sure the

Case Connection is on track with offering a quality product in South

Africa and to see if there are any changes in fittings or materials that

they’re using in Europe since they are one of the biggest markets.

We’ve started using the new PVC foil on the wooden cases, as they

do in Europe. It’s a lot more water proof, stronger and it just looks a lot

more professional.”

Speaking to manufacturers in order to get suggestions on how to

case their products was also a valuable aspect of the trip along with

SA contingent at Prolight + Sound

trade shows such as Prolight and sound are getting increasingly important for our industry here in south Africa as it affords distributors, rental company owners and retailers the opportunity to put a face to the brands that they stand behind. Pro-Systems journalist Greg Bester caught up with some key south African attendees at Frankfurt 2013 to get their perspective and comment on this year’s show. Here’s what they had to say.

73

eXPo rePort ProlIght + Sound

being a great opportunity to spend time with his clients.

“Often what happens is that the distributors will go to other shows

like that, when I’m not around, and by the time they get back after

they’ve made their orders they forget about ordering their cases

which puts us under pressure to get the cases manufactered in a very

short time. Whereas, if I go with them I get a better idea of what

they’re looking at and what they’re planning on buying, which keeps

me in the loop.”

On the importance of Prolight and Sound to the South African

industry, Dave says: “Prolight and Sound sets the bar. It’s like a wish list.

There are some fantastic products there and you can see how

technology is moving. So you can see, are the new products better

than your exisiting equipment and are they worth spending the

money on it. Also, in the South African market guys seem to be

working together in that one guy will buy a certain amount of lights to

compliment a competitor’s stock in case there is a big show. Our

market is small and we need to work together. It’s about relationships

at the end of the day.”

Kevin Glover – sound stylists

Kevin Glover, owner of Sound Stylists, along with

Colin Loock and Clint Fowler were the three

company representatives who attended Prolight

and Sound this year. Glover is a veteran of the

event and has attended it fourteen times so he

has a pretty good idea of what to expect.

He says: “We go there to pick up ideas, to see

what trends are out there, who’s doing what and why. In a way, it’s

probably one of the shows that offers you the most diversity, you

know, everything from the MI side right the way through to lighting,

pro audio and AV. Saying that, I found that due to the economic

climate that this year there was a little nervousness. The guys on the

stands were quite edgey, for want of a better word. So I think there’s

definitely a strain on the industry worldwide.”

Kevin’s view on the show, given his long spanning experience with

it, is a bit guarded, which is understandable. His opinion is that the

industry is effectively treading water due to the fact that budgets are

drying up and, to him, this was evident at the show.

“I think the market is just hanging in there. There isn’t a lot of money

flying around that you can throw at products. The thing you have to

understand about Frankfurt is that it’s aimed at the German market.

All of those stands are put up by the German distributors, which, for

one country, is quite amazing.”

However, in terms of products, there were some shining lights for

Kevin and according to him, the show was positive on the whole for

Sound Stylists. In his words, they “got a lot done”.

“There’s some new Coda stuff that’s coming out such as the Viray

and additions to the LA12s. There’s a new bass bin that’s basically a

bass extender that you can hang or stack, which is something that

we’ve been asking for. The Viray is very stunning sounding for a small

eight-inch array. I’ve been really impressed with Coda, full stop.

Lighting wise, the Robe Pointes were nice. We’ll probably get some of

those. AV-wise? There wasn’t anything that caught my eye as with

staging. Prolyte has a nice smaller stage that we’re probably going to

look at.”

+27 11 791 7009 [email protected] www.tadco.co.za

Distributed by

- Patented Dual Diaphragm Planar-wave-driver- ViCOUPLER- Sensor controlled subwoofer

Our 3 most advanced innovations

The compact ViRAY system will change the wayyou think about loudspeaker systems forever.Coda Audio making music more enjoyable

74


Michael, give a bit of background on yourself. what is your history?I started with Sony Music and was with them for a long time. I then

went to Messe Frankfurt to do a study programme where you work for

three months and study for three months over three years. In this time

I did a bit of organising with my colleagues as a student for

Musikmesse and Prolight and Sound. Because I’m a musician my

heart beats for music. It was a dream for me to work on these

exhibitions. However, it did not work well for me initially as all the

positions were filled. So I started to work as a team assistant for

technical shows worldwide, starting with a sanitary heating show in

China.

so that was your foot in the door?Exactly. That was my first step at Messe Frankfurt in a real position.

After that I was promoted as a sales manager for Light and Building

that deals with decorative lighting, which gave me a view into

technical lighting. I did quite well with Light and Building sales and

then moved on to the International Meat Fair called IFA.

Eventually the previous director of Prolight and Sound, Jürgen

Kupczik, called me and said, “We have a job position at Prolight and

Sound in pro audio. Are you interested?” So I said, yeah, that would

be amazing, I would love to do it! I then started as a sales manager

for the audio section in hall eight. After three and a half years, in 2010,

Mr Kupczik decided to change his position at Mess Frankfurt and was I

fortunate enough to be promoted to show director. I have the

background from the Light and Building show and because I am a

musician I know the industry quite well. Now my part is quite different

to a sales manager. I do the strategy, concept and vision.

was taking over from Jürgen Kupczik quite a challenge or a natural transition, being involved in the pro audio section previously? New positions are always a challenge but not just because I took over

from Mr Kupczik. It is a challenge because you have to think about

how to improve the show, how to keep it fresh, and how to bring your

own face to it. Jürgen Kupczik directed the show for nine years and

he did a great job so it’s always a challenge to continue that success.

But I have my own visions, thoughts and strategies so it was quite easy

for me to look at the show, talk to the clients a about the future and

then implement my goals.

Can you give me a little bit of background as to how Prolight and sound started? Actually, it started a long time ago at the spring show, a consumer

goods show, at Messe Frankfurt. In this spring show there was section

The right direction– Michael Biwer Interview

on 1 november 2010, Michael Biwer took over the position of Director at Prolight and sound, the world’s largest events technology trade fair, from his predecessor, Jürgen Kupczik.

Biwer, 33, has worked in various positions at Messe Frankfurt since 2004 and has worked with the Prolight + sound team since 2008. A business economics graduate (BA), he has had extensive experience in the field of events technology and in the world of trade fairs at large. Pro-Systems journalist Greg Bester caught up with Mr Biwer at Frankfurt 2013 to find out a little more about him and Prolight and sound 2013.

Michael Biwer

75

eXPo rePort StudIo & BroAdcASt

for musical instruments and also professional lighting and audio. I

don’t know exactly the year but after many years of exhibiting music

products there, Musikmesse emerged in 1980. As part of Musikmesse,

there were obviously sections for audio, lighting, etc, but the first

Prolight and Sound as a self-made show began in 1994. So 2014 will be

the 20th anniversary of Prolight and Sound.

what do you see the show doing in the next five years? Do you expect more growth?Of course, as an exhibition organiser you always want more growth

and you also need to grow because your superiors are looking at your

figures! But from my point of view, it is more about improving the

quality of the show. At the moment I see many different product

groups merging together. If you look at the London Olympics, I got

the feeling that it was the first time where cameras, media networks,

lighting and audio all spoke to each other over networks. So that’s

why we are trying to get every manufacturer in this section in one

place in the future.

The other direction is broadcast production where all the camera

technology is. So, for the first time we had the Moving Picture Pavilion

in hall nine, where you’ll find all the camera manufacturers. So this is

the beginning for that. I think there is a big potential for that in the

future. Yet another direction is a theatre technology section. We see

a potential in that as well as there are companies who cater to this

market who are not here. Digital signage and LED technologies is

also emerging. You really just need to take care of your target groups

and make sure that our exhibitors are satisfied.

A common gripe from exhibitors is that it’s expensive to participate in the show and it’s difficult to see a return from it. Do you hear that from your exhibitors? what do you have to say to that?We do hear that. Of course, there will be exhibitors who won’t have

new visitors to their stand so that’s why we try every single year to look

at the market to find new potential customers. That is why we

implement new sections. We, at the moment, are a very technical

show but we are starting to look at agencies, planners, engineers to

participate in the show.

I think a main point for a successful show like Mediatech and ours is

to look back on previous years to find out who the visitors were and

who the new ones will potentially be. Of course, people come to the

show to network, but if you come to the show and see the same

people year on year, it will have a negative effect. We really work

closely with our exhibitors. If they tell me they couldn’t find any new

visitors to their stand, I ask them what we can do to get the right

visitors there. We then look where we can find them in the market

and invite them. We also set up advertising partnerships, which helps.

Anything else you’d like to add?Come to our show! (Laughs).

76


solid state logic liveKnown worldwide for their high-grade

analogue and digital studio mixing

consoles, SSL announced their first

digital live sound mixer – aptly called

the SSL Live – at Frankfurt 2013. Based

on ‘Tempest’, their newly developed

processing platform, the console offers a massive 976 inputs and outputs

and 192 full processing channels.

All controls, system configuration and effects are reflected in a 19”,

multi-touch gesture controlled screen, and an additional system control

screen displays a widespread view at a glance of all signal paths

including VCAs, stem groups, auxes.

All processing is built into the control surface with full EQ, dynamics

processing and effects with 64-bit, 96kHz internal precision throughout.

Locally there are 14 SuperAnalogue mic/line inputs; two talkback inputs;

12 line outputs; four headphone/monitor outputs; four AES3 input/output

pairs; and an expansion slot to for an additional 16 line I/O.

Standard MADI I/O includes two redundant pairs of coaxial

connectors, which can be configured as independent if redundancy is

not required. An additional MADI port is included for creation of an FX

loop to a laptop, for instance. SSL Blacklight II cards can be retrofitted to

supply additional I/O up to 256 bidirectional channels. The ML 32.32

stage box includes 32 SuperAnalogue remote controlled mic/line inputs

and 32 line outputs. Multiple units can be used to create larger systems.

Avid Pro tools 11The latest version of Avid’s

preeminent digital audio work

station, Pro Tools 11, was

announced at this year’s

Musikmesse / Prolight and Sound in

Hall 5.1.

A completely new 64-bit Avid audio engine has been implemented

that delivers many times the processing power of Pro Tools 10 on

identical hardware. Offline bounce is now a reality which enables users

to mix down up to 150 times faster. A low-latency input buffer allows

ultra-low latency monitoring while recording without compromising

plugin performance and dynamic host processing increases plugin

count by dynamically redistributing processing resources.

Metering has also been given an upgrade with extended standards

support which features metering standards from simple peak, VU and

PPM to broadcast requirements. Gain reduction is also now reflected on

any channel containing a compressor plugin. Video facilities also

received an upgrade with direct HD video workflows.

Video interface support is now a reality which enables streaming of

DNxHD and Quicktime media through Avid Nitris, Mojo DX and other

third party interfaces.

yamaha nuageThe long awaited Yamaha Nuage

was showcased at the Yamaha

stand in Hall 8.0.

The Nuage is a modular DAW

control solution aimed at users of

Steinberg’s Nuendo 6, which is included in the Nuage package.

Scalable to meet the needs of the user, there are three core

components of the system: the Nuage Fader, a channel strip control

surface with a bank of 16 faders; the Nuage Master, a central control

unit for the Nuage system where all crucial functions are located; and

the Nuage I/O, three 16-channel I/O models with varying configurations

used individually or in combination for up to 128 channels on the Dante

protocol.

Other additions to the Nuage family of products includes the Nuage

Workspace, a producers desk addition to the range; the Dante

Accelerator, an audio interface installed on the working PC for extra

low-latency multi-channel audio data transfer to the Nuage I/O units;

and the Nuendo Syncstation, a hardware synchroniser for sample-

accurate sync between audio and video systems.

Any aftermarket flat panel display can be used with the Nuage

system but is not supplied with the package.

RMe MADiface XtRME, the leading audio interface

manufacturer from Germany,

introduced the world’s first USB3

audio interface in Hall 8.0: the

MADIface XT.

The MADIface XT is a 196 input / 198 output interface that boasts two

MADI optical I/O and one MADI coaxial I/O. On the front face of the

unit there are two high-end, digitally controlled mic/line inputs on XLR /

1/4” combo jacks and on the rear there are two analogue XLR line

outputs.

A breakout cable accommodates one stereo AES/EBU and one MIDI

I/O. Three further virtual MIDI I/O are embedded in the three MADI

streams. For utmost compatibility and performance the MADIface XT

includes a PCI Express D-Sub connection for connection to external PCI

express cards. All connections are fully 192kHz compatible and for

desktop operation RME’s optional Advanced Remote Control can be

connected.

Rupert neve Designs 5060 Centerpiece 24 x 2 Desktop Mixer The 5060 Centerpiece 24 x 2 analogue

desktop mixer was announced by

Rupert Neve Designs at Musikmesse /

Prolight and Sound 2013.

Designed to the be a recording studio’s Class A analogue

centrepiece, the 5060 is based on the sound and centre section of the

company’s flagship 5088 studio console and includes top notch

components such as custom transformers and offers flexible monitoring,

DAW controls and 24 channels of outboard summing.

Source and multiple speaker selection are also offered along with

monitor dimming. All 24 line inputs are fed via three DB25 connectors.

The first eight channels can be either stereo or centre panned mono

and the last 16 are stereo.

Inserts are available for the first eight line-ins for external processing

– also on DB25 connectors – along with mix inserts on TRS. A continuously

variable texture control for Silk Red and Blue modes allows mix bus

coloration via harmonic enhancement by reducing the negative

feedback on the output transformer.

Full talkback facilities are included in the 5060, along with universally

compatible DAW transport controls and a reference grade headphone

amplifier. Mix bus metering is reflected in two full-scale VU meters.

Audio addict – loud and proud! ok folks. i make no apologies. i am unabashedly audio obsessed. so prepare yourself for a gratuitous review of my highlights of Prolight and sounD, Frankfurt 2013. there shall be no lighting here.

By Greg Bester

78

fActory tour robe liGhtinG

HistoryRobe has been at the forefront of special effect lighting for the better

part of 20 years, founded in 1990 by co-owner Ladislav Petřek who

started it all by importing PAR cans, mirror balls and various other

fixtures from Germany. Sound activated lighting effects were his initial

focus, marketed through his company ProLux. However, when

co-owner Josef Valchář eventually came on board as sales manager

in 1993 they joined their efforts to design their first scanners.

In 1994 Robe Show Lighting was established and as a result of their

first Prolight and Sound exhibition, they secured an OEM customer,

Steinigke Showtechnic GmbH. The first products were scanners and

sound activated fixtures, most notably their Dominator 1200 XT, a

six-way multi-scanner.

From 1995 to 2000 Robe saw massive growth. New scanners were

produced, a new office and manufacturing premises was purchased,

the 250 spot and wash moving heads were introduced, and the TAS

brand of low-cost lighting commissioned by Coemar were produced.

2000 saw more OEM partnerships with companies like Movietec

(Germany), Starway (France) and Sagittar (Italy); moving heads the

primary focus. This was a bumper year and Robe tripled their

turnover!

In 2001 their current 5 000m2 factory premises in Valašské Mezirící

were acquired, which were completely stripped and installed with

the latest technology in lighting manufacturing. In November 2001

they moved in and have been there ever since. Later, in 2005, the

facility was refurbished and expanded to 14 000m2 which includes

6 000m2 of manufacturing and warehousing facilities.

Of course since 2001 there have been huge leaps and bounds for

Robe. In 2002 they launched as a bona fide brand (as opposed to an

OEM manufacturer) at the SIB exhibition in Rimini and at PLASA 2002

they launched the AT (Advanced Technology) series of moving

heads. Thereafter their distributor network expanded to more than 50

countries and in 2003 Robe UK, America and Italy were established.

In 2005 Robe SEA was established in Singapore to service South East

Asia.

From 2006 to 2008 many new fixtures were released including the

ColorSpot 2500E AT, the StageQube 324, the 700 series of moving

heads, and in the 2008, the DT series.

2008 also saw the establishment of their newly added 1 400m2

research and development department at Valašské Mezirící and a

name change from ‘Robe Show Lighting’ to simply ‘Robe Lighting’,

which prompted a complete company rebranding.

From 2009 onward Robe continued to grow and in that year a 3.5

million Euro Logistics Centre was procured. PCB manufacturing

company Dioflex was acquired and a 1 000m2 plastics moulding

centre was erected at the Valašské Mezirící site. At Frankfurt 2009 the

first plasma lamp products were previewed and five new products

were launched at PLASA.

In 2010 a new administrative centre in the UAE was established with

head offices in Abu Dhabi.

the journey After Prolight and Sound, 12 South Africans, including Duncan Riley

and Nick Britz from Robe’s SA distributors DWR, and I travelled to

Valašské Mezirící via bus for a tour of the Robe factory, hosted

personally by co-owner Josef Valchar and his director of global sales,

Harry von den Stemmen.

near the eastern border of the Czech Republic in the highlands of Moravian wallachia lies the unassuming and almost unpronounceable little town of Valašské Mezirící, a picturesque habitat of mountain valley life and quiet living. indeed, driving through its calm streets and soaking in the fresh alpine air, you could easily be forgiven for not being aware of its profound contribution to the world at large, particularly to that of events and entertainment. in fact, you would be hard pressed to find a major event anywhere on the planet that it’s chief export hasn’t touched. From the smallest club to the largest rock concert, Valašské Mezirící has been there. i am, of course, talking about Robe, the preeminent lighting fixture manufacturer whose factory calls the town home.

Touring Robe By Greg Bester

Robe factory in Valašské Mezirící

79

robe liGhtinG fActory tour

We were treated like royalty. The tour buses alone were enough to

make you think you were Ozzy Osbourne travelling to your next gig.

These double-storey amenity-packed coaches offered every luxury:

a media server packed with movies, flat panel displays all over the

place, a Playstation 3, a kitchen and fridge packed full of, er, juice,

comfortable bunks in case we wanted to sleep, and on-board WiFi.

For all intents and purposes, we were rock stars, albeit without a show,

and as the old adage goes, what happens on tour stays on tour so I

am obliged not to divulge the mayhem that promptly ensued.

Our first stop was the mystical and historical city of Prague. There

we were treated to a night’s stay at the wonderful Hotel Josef and

dinner of traditional Bohemia Duck at at the Plzenska Beer Hall

Restaurant in the old art nouveau Municipal House building a short

walk away from the hotel. We slept well. The next day we were given

a walking tour of the old city which ended with a catered boat ride

up the frigid waters of the Vltava River. It was then back to the busses

to continue our journey.

Six hours later we arrived not in Valašské Mezirící but at the nearby

Hotel Solan, a mountain resort lodging owned by Mr Valchar. The

building is beautifully crafted inside and out with hand oiled, fragrant

pine as the interior construction material of choice. The unmelted

snow from the previous fall still littered the ground and we were

spellbound by its unfamiliarity, so much so that we proceeded to pelt

one another with snowballs. Mark Gaylard from MGG Productions

got a particularly healthy walloping!

After checking in and freshening up, we met in the dining room for

dinner. The gorgeous and decadent food came in unrelenting waves

and included a full carvery, salads, breads, roulades, sushi, frog’s legs,

goulash and steak tartar – Czech style, not to mention desert crepes.

We were overwhelmed by the warmth and sincere hospitality of Mr

Valchar and his team and we left the dining hall fat and beaming

with warm fuzziness.

We slept well again.

the tourDioflex

Following a bright and early breakfast we once again boarded our

bus and headed off to the first stop of the five-part Robe tour: Dioflex,

the printed circuit board (PCB) manufacturer that supplies Robe and

their commercial lighting subsidiary, Anolis. Since we were travelling

with a large group of people visiting from other countries such as

Australia and Brazil, we were split up into smaller groups to efficiently

make use of the protective, anti-static clothing that was in short

supply.

Once I had donned my blue anti-static lab coat and matching

blue booties, we were lead into the first of several rooms where

workers were hand soldering components and wires to small round

PCBs in the Dioflex production room. A striking aspect of the Robe

‘machine’ that is evident throughout their facility is the fact that while

machines do handle some of the workload, humans are always

involved in the process. Almost every component, apart from ICs and

SMT components, is manufactured in-house and within a relatively

small radius so quality can be assured from start to finish.

While Dioflex has been involved with Robe since 2005, it wasn’t until

2009 that they were fully acquired as part of the Robe family. Jiri

Baros, Robe’s marketing manager, was our guide for this portion of

the tour and he took us through the various sections of the Dioflex

facility, starting in production where LEDs are fixed manually to Anolis

architectural fixtures, which are custom made to order. The focus for

these products is on static LED lighting and while they look different

from Robe products they are the same technology albeit constructed

to be vandalism and weather proof.

Next was the testing room where they do a ‘burn in’ for each Anolis

product. Harry von den Stemmen comments.

“We do a burn in for every product; at least a couple of hours. The

product will be tested at every stage of the production but here is

where they get connected to the drivers so we can see that all the

LEDs are operating correctly.”

Walking via the packaging portion of the Dioflex facility we were

then led into a room that contains a Nordsom Asymtek SELECT COAT

SL-940E PCB coating machine and an Ersa Hotflow 3 PCB curing

machine. Here the PCBs are coated with a special lacquer by the

SL-940E that prepares them for component soldering and are then

cured in the Hotflow 3. These machines work together and are

uniquely positioned to one another as the PCBs are handed off from

the Asymtek to the Ersa at a 90 degree angle – a world’s first.

The production portion of the facility was our next stop. Probably

the largest of the rooms we were shown, this room contains many

large and complicated looking automated machines that are used

for various tasks in PCB surface-mount component placement and

soldering. Eighty percent of production here is for Robe.

Starting at the near end of the room, we first see a Nordson X-1010

Axiom SMT (Surface Mount Technology) dispenser which applies

surface mount and electrically conductive adhesive and solder

paste.

Next are two DEK screen printing machines: a Horizon 03i and a

Horizon 03 for automated screen printing and proofing of solder

paste. From here the PCBs are handed off to a Juki KE-2080L; a pick

and place machine for surface mount components. This machine

accomplishes high speed placement of these components by laser

sighting from reels that are slotted into receptacles on the front of the

machine. The speed and accuracy of this machine was quite

impressive and can apply 160 components a minute. After the

components have been placed, they are checked for consistency by

a human being.

In an adjacent room we find various workbench stations where

other non-surface mount components such as capacitors,

potentiometers, and so on, are affixed to PCBs by hand. Once this

has been accomplished, the PCBs are ready for soldering.

In another adjacent, very warm room there sits a gargantuan wave

soldering machine called an Ersa EWS 330 that is responsible for

applying solder to the underside of the PCBs. Because of the way

that the solder paste has been applied and the way that the PCB has

tour attendees at Dioflex

A technician soldering at Dioflex A Robe production line technician

80

fActory tour robe liGhtinG

been lacquered and solder masked, the solder only sticks to the

terminals of the components that it has to, therefore making the

process very efficient and accurate. The PCB moves along a track

and eventually over a bubbling ‘wave’ of solder, emerging at the

out-feed with all components solidly affixed.

Finally we were led into an anti-static room used for final testing of

the PCBs by human beings. If one is found to be faulty it is sent off to

the repair department where technicians manually correct the

problem. This is the final safety net to catch the straggling defected

units in the Dioflex line.

Research and development

After all of the tour

attendees had finished

their rounds at Dioflex, we

once again boarded the

bus and headed to the

main Robe factory a few kilometres away.

Once we arrived, the first stop was Robe’s research and

development department. For obvious reasons, we weren’t allowed

to take any pictures or learn any specifics of the goings on here but

suffice it to say that this is where all development of new products is

conceptualised and prototyped.

The department is mainly made up of a group of designers and

programmers who are responsible for all the production processes,

manuals, DMX charts, enclosure design, flight case design, PCB

design and pretty much everything else that is required when

designing new products. They all work together, each with a specific

task that compliments the process.

Production and assembly

The production and assembly building is the busiest part of the Robe

factory. Upon entry we were met with the warehousing portion which

is where all components necessary for unit assembly are stored.

Considering how many lights Robe manufactures and how

widespread their products are, it was quite amazing to see how it’s all

fed from a relatively small warehouse.

We were led through this portion of the warehouse and then

upstairs to the first of two production floors. As we landed at the top

of the stairs, the first room presented to use was the pre-production

laser room. This room holds six laser etching machines that are used

to fabricate gobos. They are quite remarkable to see in action. Of

course, unlike in the movies, real lasers can’t be seen but as the

machine works you can see the lines being etched onto the glass.

The room that houses the gobo room is one of four large assembly

line rooms that contain several well lit stations on either side where

technicians sit and assemble the various Robe products. Each

production line is supplied from the warehouse by a dedicated

worker with all of the necessary components to produce their

designated products. Lifts take the components upstairs.

Šarka Hrachovčova of Robe comments: “With Robe we try to

produce as many components as we can in-house. For example all

of the metal parts that go into the fixtures we produce ourselves. The

same for the plastic housing. We never did the powder coating in the

past but this coming summer we will be doing so.”

It is in these production rooms that all Robe products are

assembled by hand; the smaller fixtures being produced downstairs

and the larger, upstairs. Robe even produces the wires which are

used in their products in-house where the correct lengths are cut and

the relevant connectors fitted.

The next phase of the production chain is the testing facility. Each

light is delivered here without the housing and it is tested continuously

for two days where they are set up next to one another in a straight

line in order to detect any visible deviation. All features are tested

thoroughly throughout the process along with a final calibration in a

dark room by light sensor and computer to assure each light performs

exactly the same to identical models.

Finally, we were taken to the packaging area where all Robe

products are packaged.

Metalwork

All metalwork pertaining to any and all Robe fixtures is done in-house.

As you enter the workshop immediately to the right you are presented

with a room of four or so workers doing small metal parts assembly

and handling such tasks as drilling and minor hole punching. The rest

of the workshop consists of heavy machinery: a Bystronic ByLaser

2 200 supplies laser cutting while a Trumpf TruPunch 5 000 handles

heavy duty hole punching. Both of these machines are automated

and can be automatically switched off via sensors if an intruder

traverses the safety lines.

There are various other machines throughout the metal workshop

that accomplish certain tasks such as a C-One 900 servo-electric

press brake used for precision bending of sheet metal. An Arku

Ecomaster 30 offers levelling of sheet metal in preparation for

bending or pressing and a Safan Darley H-Brake 120-480T allows for

high precision bending of sheet metal with forces up to 480 tons.

Clearly Robe has all bases covered.

Plastic thermoforming workshop

As with most of the other components in the Robe line, plastic housing

manufacturing is done in-house as well. The thermoforming

workshop holds two Geiss U8 thermoforming machines and two Geiss

FZ2000-ECO-Plus trimming machines.

Basically, the plastic housing of Robe products start as a flat piece

of specialised plastic imported from Germany. The sheets are then

placed into a Geiss U8 where it is heated and then vacuum moulded

onto one of (numerous) aluminium dies. The resulting housing is then

air-cooled and transferred to a Geiss FZ2000-ECO-Plus robotic

trimming machine where the rough edges are trimmed and finished

for use in production.

Witnessing the thermoforming process was quite fascinating as I

had never seen it done before and almost looks like the housing

materialises out of nowhere as if in some kind of sci-fi movie.

Technology is truly amazing.

the testing room at Dioflex

Production line technicians at Robe

81

the warehouse

The Robe facility also includes a large multi-thousand square metre

warehouse where all packaged products are held for distribution.

Thefinale

The last stop for the day was the on-site Robe showroom that

includes a bar area decorated with past Robe products and a large

theatre equipped with all the latest Robe products. Upon arrival we

were promptly treated to a very filling lunch buffet and drinks and

then ushered into the theatre where we were given demonstration of

the new Robe products.

The demo basically consisted of two sections: theatre lighting and

stage effect lighting, which are, of course, very different beasts. The

façade of the set was very interesting in that on the right hand side

was an outdoor scene and on the left hand side was an indoor

scene. As the demo progressed in this section lights were

progressively added to supply subtle theatre lighting effects

focussing on authenticity rather than effect lighting. Only LED lights

were used for this part of the demo.

As the theatre portion of the demo came to an end, a surprising

thing happened. The set façade broke in two and swung inward,

exposing a stage where equipment for a full band was set up

including drums, bass, guitar and keyboard. This portion of the show

switched to high octane effects with a rock and roll sensibility.

All in all there were five new products showcased:• ROBIN MiniMe – an LED, moving head effects light with full

video output.

• ROBIN Pointe – a new beam, spot and wash fixture that

supplies a sharp and intense parallel beam.

• ROBIN MMX Blade – a 1200 series equivalent fixture with MMX

optical technology and including a very fast frame shutter

system of four ‘blades’.

• ROBIN CycFX – a one metre linear RGBW LED strip that can

be tilted 270 degrees that includes a zoom option to open

the spread from 8 to 53 degrees.

• ROBIN Cyclone – an effects fixture that has an integrated

centre fan surrounded by a ring of 24RGBW high powered

LEDs for ‘smoke-through-the-fan’ effects.

the wrap

Whether you’re a distributor, journalist or just a lighting enthusiast,

the Robe factory tour is a huge eye-opener into one of the most

efficiently run companies one could imagine. Probably the most

impressive part of the factory, besides all the modern machinery

and top-class production, is the fact that almost all the

components to their products are manufactured in-house.

Indeed, when one looks over Robe’s company history and their

massive growth, their dedication to quality, reliability and

consistency is completely evident throughout. In fact, if you were

a fan of Robe lights previously, you will most certainly leave their

factory a life-long supporter.

ProLyft AETOS is the brand new ProLyft hoist range. The AETOS range is fully equipped to meet future demands in lifting equipment. The AETOS range comprises of a standard 500kg and 1000kg hoist and will be expanded in the near future. | www.prolyte.com

Get Ready forthe Next level

Introducing: the prolyft Aetos

Visit Dwr distribution at mediatech,

stand J1

Unit 38 Graphite Industrial Park,

Cnr Commercial & Fabriek Street, Strijdom Park, Randburg

Tel: +27 11 793 5066 Fax: +27 11 792 5076

[email protected] www.dwrdistribution.co.za

DWR Distribution Unit 38, Graphite Industrial Park, Fabriek Street, Strijdom Park, Randburg Tel: 011 793 5066 Fax: 011 792 5076 E-mail: [email protected] www.dwrdistribution.co.za

the lighting demonstration at the Robe showroom

82

StudIo & BroAdcASt ProduCt reVieW

Miktek microphones are a somewhat new company based in US

music hub Nashville, Tennessee that have burst onto the scene here in

South Africa in recent months offering seemingly top class

microphones that are already standing up to others costing several

times the asking price. But what sets them apart from the usual

fodder?

Well, first of all they’re hand made in Nashville. Don’t worry, that

doesn’t mean you need to sell your firstborn to buy one, either, which

brings me to my next point: they’re affordable. And I don’t mean

R19 000 as opposed to R20 000, I’m talking truly affordable. Next, their

capsules are proprietarily designed from the ground up, featuring

ultra-thin Mylar diaphragms sputtered with evaporated gold,

manufactured to stringent tolerances and quality controlled by real,

passionate people. Now if they can only find a way to evaporate

diamonds to go with the jewels in rappers’ teeth they might find

themselves dominating the world.

But they’re already somewhat taking over. You’ll find their

microphones being compared on popular audio forums all over net

against Neumanns, Telefunkens and other microphones with

heritages going back a lot further than Miktek. And the pros are

giving rave reviews as well as their list of fans includes Michael

Wagener, Dweezil Zappa and Keb Mo, among others. Michael

Wagener, famed LA engineer who has recorded Ozzy Osbourne,

Janet Jackson, Metallica and Extreme, reckons the CV4, their flagship

microphone coming in at around R15 000, should cost four or five

thousand dollars! I agree with him since I’ve heard it and it rocks!

Seriously!

the C5MP

The C5MP is a bundled matched pair of C5 small diaphragm pencil

condensers. They feature an MK5a .5” cardioid capsule with a

5-micron Mylar diaphragm sputtered with evaporated gold, an AMI

T5 transformer and hand-selected transistors. Every Miktek

microphone comes with its own individual serialised frequency

response chart, which is a nice touch. It instils the feeling that they

give each microphone special attention. In the case of the C5MP, the

microphones are supplied with a wooden presentation case, two

clips, two shock mounts, windscreens, a stereo bar set for ORTF or X/Y

configurations, in a sturdy aluminium carry case.

The C5 is aimed at recording instruments such as violin, acoustic

guitar, mandsolin, dobro, brass, woodwind and piano and is claimed

to produce “excellent results on drums as overheads or hi-hat mics.”

Well, that was my first thought when I received the C5 pair for review.

Overheads it is then!

sound

The C5s came into my possession at a fortuitous time. It just so

happened that one of my Neumann TLM103s, my regular choice for

overhead microphones, was in for repairs. I generally tend towards

large diaphragm condensers for overheads because I feel they give

a bigger representation of the kit and since the overheads are usually

my starting point when getting sounds, this is a complete must. For

me, that is where the sound of the recorded drum kit starts.

My expectations of the C5s were, well, to be sharply focussed with

a tight polar response, fast and bright, as most SDCs are in my

experience. I chose to mount them with the stereo mount supplied

with the bundle in the X/Y position. I like to use either the ORTF or X/Y

position when using SDCs because stereo cancelation into mono is

generally quite good. I paired them to my TL Audio C1 dual-channel

valve preamp/compressor.

Listening back to just the C5s while the drummer played left me

quite astounded at the sheer size of the capture. Quite frankly they

were full and commanding with a smooth midrange response and a

shiny top end that wasn’t overly hyped. There were no areas in the

spectrum that were biting me in the ear and paired with the valve

preamps, they were warm as toast.

The bottom end just punched through and despite just being two

microphones, the kit sounded fantastic without any close mics.

Blended in with the rest of the close mics gave me one of the best

drums sounds I have ever gotten and I am happy to say that I am very

proud of the results.

the wrap

Simply put, I am a huge fan of Miktek mics. I really can’t fault

them in any way and I sincerely hope that they can start winning

over the hearts of our local engineers like they have mine. They

are definitely high quality, passionately made microphones and

our market would be at a loss if they didn’t embrace them.

Plugging into high quality By Greg Bester

Going out into the big bad world in hopes of buying a quality, versatile and great sounding microphone to add to your collection can be quite a perplexing challenge, given the vast variety available on the market. After all of the snake oil one has to wade through (careful, you’ll slip!) the only real proof ends up being in the hearing.

tech box:

type: Small diaphragm condenser

Polar pattern: Cardioid

Frequency response: 20~20000Hz

sensitivity: 32.4 dBV/Pa

equivalent noise level: 17dB

Dynamic range: 109dB

s/n ratio: 77dB

Max. sPl: 126dB

Power supply: 48V phantom

Power consumption: 0.5mA

AM

PM

DAY

1

An introduction to loudnessWhat’s the problem? What is loudness? The international standard ITU-R BS.1770-3; EBU R128 in detail; Loudness in television, radio, film and musicPractical guidelinesThe African regulatory framework; What we need to do to stop the loudness wars in Africa; EBU mode metering and its practical application

AM

PM

DAY

2

A broadcaster perspectiveChallenges, opportunities and best practice, EBU R128 in broadcast workflow, live and packaged content, ingest, normalisation, asset management, The time and money implications of EBU R128A production perspectiveChallenges, opportunities and best practice; EBU R128 in production workflow; Production guidelines for live and post production; The time and money implications of EBU R128

AM

PMDAY

3

Vendor offeringsCommercial overviews and demonstrations of metering, normalisation, media management, loudness workflow and related technologies; Training and consulting opportunities

Open forum discussionRegulators, broadcasters, production and post professionals, vendors - talking loudness; Next steps?

84

StudIo & BroAdcASt reCordinG tiPs

I’m pretty sure I’m not alone when I say that my recording and mixing

techniques when it comes to drums have evolved through many

incarnations over the years and pretty much change every few

projects or so. This is probably due to the fact that I’m still learning

(have no qualms about that) but as time goes on I, just like many

others, focus myself to refine and rework my techniques so as to strive

for better sounding recordings.

Most of sound engineering/music production is a long journey of

trial and error where we turn, push and twiddle our way towards a

better way of tackling problems and taking our craft to more creative

heights. It becomes quite clear very early on that the frustrating truth

is that most of this stuff cannot actually be taught through a book and

even if it could, it doesn’t make a difference until our ears catch up

and can actually hear it.

No matter how technology progresses and no matter how many

people get home studios there will always be the barrier of training

your ear through constant hard work and careful objective listening.

These two concepts along with humility coupled with a keen

willingness to learn are essential ingredients to achieving excellence

in the field.

Of course, knowing the fundamentals and even a knowing them a

little more is crucial to a better understanding because, at the end of

the day, despite audio being a bona fide science that can all be

communicated with mathematics, careful execution of the

fundamentals is the name of the game. Fortunately, you don’t need a

PhD in mathematics to become a competent mix engineer because

we were born with our ears to decode these pressure waves and to

help us be creative instead of worrying about the minutiae of the little

picture. For in audio, it is the big picture that counts.

In the past, being an audio engineer was an esoteric endeavour

where a carefully selected aspirant would gather skills under a

mentorship in a professional environment and eventually, after

making lots and lots of coffee, succeed his master into being a

fully-fledged sound professional.

In South Africa mentorship programs are few and far between

which results in a lot of us learning this stuff on our own or going to

audio college, but as my experience was later to reveal to me, many

of the industry secrets that you do learn along the way as a career

professional are simply well thought out and carefully executed

fundamental concepts that are easily overlooked or sometimes

entirely forgotten. One piece of advice? Always jump in the deep

end and do the most challenging or intimidating projects you can,

and always take opportunities to learn from professionals with more

experience than yourself. And remember:

Professionalism is an attitude, and a skill set – not a platform – Tim

Halligan, www.thewombforums.com

Everything counts

The sound of the drums has always drawn my attention more than

any other aspect of recording. It is indeed my favourite part of the

album production process and nothing quite satisfies me like the

sound of well recorded and well mixed drum sound.

I’m sure from your own experiments you’ve discovered that getting

that particular drum sound is a lot harder than you’d expect and

Recording and mixing drums in the modern DAW: Part 1

whether you’re Alex Van Halen, Ringo starr or you have your own home grown garage band, recording and mixing drums in the modern DAw is no easy feat, writes Greg Bester.

“I don’t approach the drums as an

instrument per say, more an

attitude, viciously attacking

something.” – Alex Van Halen.

85

reCordinG tiPs StudIo & BroAdcASt

requires a huge amount of trial and error to achieve even

‘acceptable’ results. In the case of drums, once you get in there,

dealing with multiple microphones and phase issues, controlling the

broad dynamic range onto disk/tape at the risk of distortion or

clipping, you have the undesirable task of meeting the expectations

of yourself and your clients by manipulating them during the mix

phase into sounding larger than life, or at least suitably so to serve the

material.

Now, not all drums are required to sound larger than life. Some

drum sounds are best left natural, or at least mixed to be perceived as

such, provided they were recorded sufficiently enough to do so.

Something tells me that an improvisational jazz record would not

benefit from extreme EQing and heavy compression. Or will it? And

what about those instances when the drums need that larger than life

sound and bold, captivating energy? Is there one single idea or

secret to it, or is it a combination of things that gives the mixed

representation of the drums that certain dynamism and magic? In the

most sober of senses, the answer is simple:

Everything counts.

your sound is only as good as your source

Most of the substance of a good recorded sound (and this goes for

just about anything) begins at the point you place the microphone in

front of the source. Finished and klaar.

There is no such thing as an ‘acceptable’ sound that you are willing

to commit to tape so it can be manipulated into a ‘better’ sound

later. Take my word for it. Set your goals high.

The caveat here is that, unfortunately, the sound you capture at the

source is what you are stuck with and should not be viewed as a

‘starting point’ but the first shot at achieving whatever sound you’re

going for. This is achieved by having the best microphones possible,

placed in a well thought out manner to capture the drum kit in its

entirety, coupled to good microphone preamps and finally (in the

case of the DAW) the best possible digital audio converters and

studio monitors you can afford. This may seem daunting as not all of

us have access to the likes of Neumann, DPA, Neve, Lavry or Klein and

Hummel, but there is always a way to achieve great results with

modest gear. Will it sound better than Steely Dan? We can try, but

probably not. Will it get your project across effectively? Yes, with the

right considerations.

Hands down, the best way to start improving your sound is by

buying the finest matched pair of condenser microphones you can

afford. The reason for this is that while upgrading your hardware

(computer, mic pres, outboard gear, converters, etc) may occur at

regular intervals, a good pair of microphones will serve you for a

lifetime and supply you with the quickest way to a better sound you

can rely on.

Of course, good quality microphone preamps and digital audio

converters are essential to achieving excellence as well but the range

of their quality is narrower than that of microphones and most decent

specimens that are available now in your local pro-audio shop are

entirely usable. After all, the top shelf specimens are usually way out

of most aspiring engineers’ budget. That being said, it’s probably a

good idea to invest in at least one top quality DA converter (like the

Benchmark DAC-1; +/– $1 000) and some decent monitors because

they are the last stop before your ears and therefore it is critical that

these are representing the audio faithfully.

Lastly, and probably most importantly, a well-treated monitoring

environment is completely mandatory if you want to know that what

you’re listening to is verbatim. Anything less is a lie so careful attention

to treatment and interference at the listening position is paramount.

But, alas, that is another article.

Don’t underestimate the room!

Drums benefit immensely from a good sounding room. It is for this

reason that recording the drums in the best sounding room you can

get access to is a good idea. Generally any obvious ambience

considerations in the production are best left for the producer but

suffice it to say that the room shouldn’t have many major resonances

or dips in the frequency spectrum, particularly in the low end.

Typically drums in modern pop/rock are recorded in a large, bright,

wooden floor space, on a carpet, with baffles placed to control the

amount of room sound that enters the close microphones. Room mics

are then placed in such a way that the drum kit is picked up as a

whole and the ambience of the room is captured to separate tracks.

If space and time permits, I generally start with the overheads or room

mics when getting sounds because I like to first hear the drum set’s

sound as a whole before adding close mics.

Often, finding the right place to put the drummer in the room is a

listening exercise and the only way to do this is by the process of

elimination unless you are familiar with the room. You might have to

move the entire drum kit a few times to different portions of the room

before you come to a conclusion that a specific spot sounds the best.

All that’s required is to listen to the drummer play each time and

make a call based on what you hear. It’s simple concept, really. You

are basically listening for what you envision the mics are going to

hear, place them there, and then actually listen to them. It’s the only

way to ever know that you are capturing is what you want before you

press record.

Join us next issue for the continuance of this column.

“Drum machines maybe reliable

and all that but they can t drink as

much as me.”

– a (not-so-sober) Phil taylor of Motorhead

86

StudIo & BroAdcASt industrY eXPert

tell me where in south Africa you grew up before moving to london in 1987 and what influenced you during those years to get involved in music, recording and production?

neal: I grew up in Johannesburg. My dad was involved in the music

industry and I’d always accompany him to gigs and recording studios

when I wasn’t at school. I was about 12 when I first went to a studio with

him and decided that I wanted to be an engineer... or a pro footballer.

tell me a little about Butterfly studio. who did you mentor under and what important revelations did you have there? How influential was your experience there to your recording ethos now?

neal: The job came about after meeting someone at a different studio

while I was doing some programming for a songwriter. She worked for

Youth (Martin Glover) who owned Butterfly and said he was looking for

new assistant engineer. They had a senior guy in charge who ran the

day to day stuff but engineer Chris Potter did all of the heavy lifting

– he came in on big jobs which we’d finish at Olympic or Metropolis.

He played a huge part in my development and always had time to

answer questions and explain.

Butterfly was a crazy place. The bands I worked with went from the

ridiculous to the sublime. The gear list was quite modest so we’d always

be renting gear in, but we were always looking for new ways to use

what we had. We’d manipulate stuff, print it and move on. There was a

strong ethic of committing to an idea. No undo buttons. If it didn’t work

we’d do it again. Being able to hit undo is great but it does drive me up

the wall when artists can’t commit to anything! Youth had a profound

impact on the way I look at stuff. He’s an amazing character. My time

there served to build a solid platform to work from. I’ve evolved quite a

bit since then but the fundamentals remain the same.

you have worked with some big name artists like tom Jones, David Bowie and Bjork. what do you identify in these artists that south African artists could or should apply to their own work?neal: In a vacuum, most artists are alike. They tend to share the same

insecurities and/or ego issues. Successful artists, regardless of where

they come from, are the ones with a solid work ethic. The essence of

what make artists like The Parlotones or David Bowie successful is good

management, unrelenting work stamina and letting the people who

work for or with them to get on with what they’re good at.

How do you work these days? Do you prefer the sound of analogue, the streamlined workflow of digital or do you implement a hybrid approach? elaborate on your currently preferred recording and mixing platform.

neal: Things are changing fast. I don’t think I miss analogue at all these

days. A few years ago I would have kicked myself for saying this. I had

a hybrid DAW/outboard system for a long time (still do) but work

entirely ITB now.

The way people listen to music has pretty much pushed me to

favour software over hybrid or analogue setups. MP3, audio streaming

via YouTube, soundcloud and heavily limited radio/TV mixes have

completely killed any subjective value analogue recording has to

offer. People also listen to music differently – iPod head phones,

through their phone speakers, in their cars. It’s very rare that punters sit

down, put a record on and just listen. Making music has never been

easier. Given the tools we now have, recording a band and setting up

a good mix it pretty straightforward. The difficult thing is finding a good

song.

you have a fantastic drum sound. if you could pick three elements that make a great drum recording, what would they be?

neal: Care with mic placement, decent drum kit and most of all a

good drummer. A fourth element would be a good sounding room.

your work has won many sAMA awards. what do you think is the secret to a hit album that is hailed by your peers?

neal: I’ve not personally won any SAMA awards – a few of the bands

I’ve worked with have. I’m not sure there is a secret to winning awards.

There are many bands out there that should be selling records and

winning awards but aren’t.

you recently produced an album for newton’s 2nd law of which i am a great fan. the vocals sound really great. what microphone did you use for the lead vocals and what was your processing chain?

neal: We recorded at the SABC in M3 and I used the Sony C800 that I

think I ran through the Focusrite ISA215. The sonic character of the

vocal actually comes from the overdrive plugin in Logic.

Neal Snyman

neal snyman is one of south Africa’s top recording engineers and producers. Getting his experience early on in London’s Butterfly Studio, he has worked with such international artists as Crowded House, Tom Jones, David Bowie and Björk. Locally he has engineered and produced such acts as Mango Groove, Springbok Nude Girls, Brenda Fassie, Prime Circle and the Parlotones and from 2000 to 2005 produced the direct-to-broadcast Live on Five sessions from the SABC. His work has garnered three SAMAs for Best Rock album and one SAMA for Best Adult Contemporary Album.

Greg Bester had a chance to shoot the breeze with Neal to find out a little more about him.

neal snyman

87

SocIAl

Bhavnesh Chibba, Jason Hatchuel and Rodger da silva

Quintin Venter and Adre Joubert

Amy thomas, steven Cooper and leane thorpe

ellain shellard, Abrie du Plooy and Paul Fraser

Dalene Barnaard and Ashleigh smaller

llewellyn Pieter, Kurt du Preez, Colin loocke, Bradley ellapen, Brandon Bunyan and nick Britz

Marius Meyer, simon lamprey and Vernon Meyers

Chaz nielsen, Byron Horn, Bennie ninader and Pieter Preller

sam walker, simeon Goldblum and Rodger Reeks

Barry Jardim, Dawid smit, Claude Jardim, Jaco Potgieter and Grant Bisset

eugene Rungasamy, Rhenu singh and suraj sewlall

Dwayne Goddard, tim Corin, Christiaan stoop and Coenraad stoop

nick Britz

Pieter du toit, Charl Marais and Martin eilers

Dave opperman, Deon Mattheus and tienie smith

thea schoeman, David lorriman, tracey edwards and tarryn Montgomery

Bruce schwartz and Richard Barnes

Francois de Kock, wayne nuen, Jono Blackburn and Bartho erasmus

Gavin Atkinson and Pieter Preller

the sA contingent doing what they do best

thys Venter, Alison taman and Greg Payne

Frans setshedile and Maria ntholeng

yogashree Arumugam, Keshnee Vengetsen and Plona Mohcley

Craig Hooker, Mdu Xesi, Ditiro Madiseng and steven Mashwe

warren tree and Mike Guerin

Guillaume Gerard and Mpho Mazibuko

Vossie and Hardus Vosloo

Audiosure dealer evening – Midrand, Johannesburg

Crestron House opening – Blackheath, Johannesburg

Neets product launch – Audiosure in Midrand, Johannesburg

Robe factory tour – Czech Republic

88

SocIAl

Carno du Radnt and tshepo tshakane

oscar Brinkman

Dawid Venter and nicholas Boerma

Robin Viviers and Johan liebenberg

Chantelle le Roux, timmothy Barnard and Andrew Joubert

Jan Vermeulen, Benni tubbs and ebrahim Moolla

Henry Mokone sipho Mokonehatse, Mandla Mahlangu, shuping Mathebula and thabang Mokwena

Mike stopforth, Annie Brookestone and simon Dingle

Karsten Hinrichsen, Patrick Goodenough and edward Helliwell

Zakhele Fakazi, Humphrey Mabuza, nhlanhla Habile and schulter etyang

David Greenway, Bradley shaw and Joel Kopping

Richard Rachidi and Paul Jackson

Sennheiser RF seminar – Stage Audio Works, Strijdom Park

Sony Conference for Africa 2013 – Cape Town

Andre westraad and thomas Peters

Micheal van Dyk

Basinki sekori, Mfanafuthi njokwane and Alex Moshidi

Peter Abrahamse

Kurt du Preez, schalk Botha and thomas Peters

simon ‘Qaseem’ Mashobane

Mfanafuthi njokwane and Clement Makama

todd Kessler

Philips Vari-lite training – DWR, Strijdom Park, JHB

slungile Mkhize and nomzamo Kumalo

witP Follow spotter training group

Kelebogile Mofokeng and sanelisiwe nzimande

Philip Kruger, Melony eksteen and Gerder KrugerBongiwe Dukada and tebogo Ribane Karabo Mokwana and Dineo Phadimenyane

Women in Technical Production follow spotter training – Pro Musica Theatre, JHB

Viva Afrika

3-Way ActiveLine Array Model


3-Way Active

Active speakers Pro-active investment


DVA T12 3 Way Active Line Array Module with DSP processing


Max SPL: 136dB

HF Driver: 3 x 1” Neodymium Compression Driver

MF Driver: 2 x 6.5” Neodymium Compression Driver

LF Driver: 12” Neodymium Compression Driver

Power Rating (RMS): LF 710 + MF 350 + HF 350W

Weight: 29.9Kg


DVA T8 3 Way Active Line Array Module with DSP processing


Max SPL: 132dB

HF Driver: 2 x 1” Neodymium Compression Driver

MF Driver: 1 x 6.5” Neodymium Compression Driver

LF Driver: 8” Neodymium Compression Driver

Power Rating (RMS): LF 350 + MF 175 + HF 175W

Weight: 14.2Kg


Full of Technology

Viva Afrika Sound and Light (Pty) LtdUnit 2, 2 Drakensburg Road

Longmeadow Business Park West, West� eldPO Box 4709, Rivonia, 2128, South Africa

Tel: 011 250-3280, Fax: 011 [email protected], www.hybrid.co.za

viva afrika

SHOWCASING

AT

MEDIATECH

AFRICA

Unit 38 Graphite Industrial Park,

Cnr Commercial & Fabriek Street, Strijdom Park, Randburg

Tel: +27 11 793 5066 Fax: +27 11 792 5076

[email protected] www.dwrdistribution.co.za

Pro Systems May/June 2013

Documents

Transcript of Pro Systems May/June 2013