"Live Your Music" Regional Tour Analog Way at Heineken's "Live Your Music"

w w w . e - t e c h a s i a . c o m

APRIL 2018

For The Technical And Production Professionals

NEWS : CHAUVET Holds First-ever Open House in Singapore

LIVE

Lumieres Hong Kong

Analog Way at Analog Way at Heineken's Heineken's "Live Your Music" "Live Your Music" Regional TourRegional Tour

Analog Way at Heineken's "Live Your Music" Regional Tour

KNOWLEDGE HUB: How to Mic Vocals and Musical Instruments

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04 FIRST WORDS

06 NEWS

22 VIDEO FILES

24 ENNOVATIONS

38 SOLUTIONS HIGHLIGHT

44 - 50 KNOWLEDGE HUB

44��Stage�Monitoring�Solution,�Silent�Stages��3D�Projector�Simulation45��How�to�Mic�Vocals�and�Musical�Instruments�46��All�About�Wireless:�Antenna�Positioning�and�Best�Practice48��Building�Your�Audio�System�‒�Choosing�Your�Mixer50�

40 SHOW PREVIEW

PALM�EXPO�India

52-60 LIVE

52�� Lawo�V_remote4�Debut�at�Australia�Day�celebrations53�� DiGiCo�Chosen�for�Wang�Feng�The�Times�Tour54�� Hong�Kong�Lights�up�for�Lumieres�with�Support�from�disguise56�� The�P.A.�People�at�the�PyeongChang�Olympics�with�Clear-Com57�� DiGiCo�SD10�Pumps�up�Bollywood�Music�Project�201858� Analog�Way�at�Heineken's�“Live�Your�Music”�Regional�Tour59�� Staging�Connections�at�the�Brisbane�Broncos�30-year�Celebrations60�� Protec�Helps�Elrow�Deliver�Opening�Night�to�Remember�at�SOHO

Beach�Club

62 THE LAST PAGE

62 HACK MY WORK

IN THIS ISSUE 53

44

62��Audio�Engineer�memes

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

VOL 19 ISSUE 4 APRIL 2018

42 SHOW REVIEW

Live�Entertainment�Expo�Tokyo

62��The�Mystery�Flight�Case

63 EVENTS CALENDAR

FIRST WORDS ETA - April, 20184


To�subscribe�to�Entertainment�Technology�Asia�click�here:�https://www.e-techasia.com/subscribe/

PUBLISHED�BYSpinworkz�Pte�Ltd,�51�Bukit�Batok�Crescent,�#06-10�Unity�Centre,�Singapore�658077.�Tel:�(65)�6316�2716�Fax:�(65)�63162715,�www.spinworkz.com�

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

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

April�is�a�busy�month�for�exhibitions.�There�is�InfoComm�China�in�Beijing,�NAB�in�Las�Vegas,�Prolight�+�Sound�in�Frankfurt�and�the�inaugural�SLV�Symposium�in�Kuala�Lumpur.

For�most�ETA�readers�PL+S�Frankfurt�and�SLV�Symposium�are�the�exhibitions�that�would�matter.�PL+S�Frankfurt�would�see�a�number�of�

solutions�being�launched.�We�would�like�to�suggest�that�you�read�our�E-Newsletter�release�of�4�April�for�a�preview�of�what�you�can�expect�at�the�exhibition.�Here�is�the�link�to�our�E-newsletter�site:�https://www.e-techasia.com/newsletter/

24�‒�26�April�sees�the�inaugural�SLV�Symposium�exhibition�nearer�to�our�doorstep�at�Kuala�Lumpur,�Malaysia.�Spinworkz�will�be�bringing�Dante�Level�3�training�to�the�exhibition.�It�is�a�free�to�attend�training.�There�are�also�a�number�of�brands�who�will�be�holding�their�training.�I�would�like�to�suggest�that�readers�visit�the�site�for�more�information:�www.slvsymposium.com

I�will�be�at�Prolight�+�Sound�Frankfurt�and�hope�to�catch�up�with�some�of�you.

We�will�also�have�a�booth�at�SLV�Symposium�so�please�do�drop�by�and�say�hi�to�us.�We�will�be�at�booth�6-25,�at�level�6,�outside�the�main�exhibition�halls.

Have�a�great�April�everyone:)

Thomas�Richard�PrakasamPublisher�/�Editorial�[email protected]

Ram�BhavanashiEditor,�India�And�Middle�[email protected]

Julie�TanAdmin�&�[email protected]

Natalie�[email protected]

Daniel�NgiamMEDIA�Rep�for�Spinworkz�Pte�LtdTel:�+65�[email protected]

CREATIVE CULT

Shankar�VenugopalART�/�LAYOUT�[email protected]

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Martin�Audio�Appoints�IAC�Qatar�as�New�Regional�Distributor

UAE: Mar�n Audio has appointed Al Isteklal T.C-IACQatar as its new distributor in the State of Qatar.

Today represen�ng a large number of premium pro-audio brands, IAC Qatar was set up in Doha in 2004, and developed by the founder Akram Hamada and co-founder Ayman Hamada. The company had been seeking well-established pro-audio brands to complete its por�olio and meet the rapidly expanding growth and desire for professionalism in the region. “During this search we came across Mar�n Audio, and we felt they would be the perfect partner to take advantage of this opportunity,” said Projects & Sales Manager, Elie Salameh. “We were aware of the versa�lity of their products, and their global reputa�on for providing world class audio across the board.”

IAC Qatar's marke�ng team has wasted no �me in promo�ng the brand. Working alongside its technical and engineering team, they will be organising open days and workshops in Qatar, par�cipa�ng in many exhibi�ons and using social media channels.

They already see huge poten�al for popular brands such as CDD, CDD-LIVE, Blackline, WPC, WPM and MLA in a wide range of rental staging and fixed install sectors. In par�cular he envisages a strong response from Sports Stadiums, Hotels, Club, Schools, Theatres and Universi�es.

“We are presently working on many contracts related to fixed installa�on projects, at the same �me supplying many event and rental companies specialising in sports, hotels, clubs and hospitality assignments,” confirmed Salameh.

IAC Qatar has already received induc�on and training from Mar�n Audio's technical team in Qatar, and IAC audio engineers will be undergoing further technical and sales marke�ng training in the UK. In conclusion, he said, “Adding Mar�n Audio to the family, and having it as part of our distribu�on por�olio, will complete the jigsaw, and enable us to deliver a world class performance that will sa�sfy our clients way beyond their expecta�ons.”

mar�n-audio.com

Ayrton�Welcomes�DYNLIGHT�LLC�as�Exclusive�Distributor�for�the�Middle�EastUAE - Ayrton is delighted to announce the latest addi�on to its interna�onal distributor network as DYNLIGHT LLC. of Abu Dhabi is named as its new, exclusive distributor for the GCC region and Lebanon. The arrangement comes into being with immediate effect.

To mark the occasion, Produc�on Director, Thomas Linke, has been newly appointed as DYNLIGHT's brand

manager for Ayrton products. Originally from Germany, Linke joins DYNLIGHT from his posi�on as Area Manager of A&O Technology Middle East, where he spent a decade building a comprehensive understanding of the region. He shares a passion for Ayrton and is backed by DYNLIGHT's innova�ve and proac�ve distribu�on ethos and excellent customer support.

“We are especially excited to be the exclusive distributor for Ayrton in this region,” says Linke. “The entertainment industry is growing at a phenomenal rate in the GCC and the demand for Ayrton products is

keeping pace with it as Ayrton's reputa�on for quality, reliability and innova�ve ligh�ng fixtures precedes it. We want to be able to supply our customers with world-class products and already have enquiries from ligh�ng designers who want to specify Ayrton fixtures in their upcoming projects. We are preparing to be very busy indeed!”

“With DYNLIGHT as our new distributor and Thomas on board as their dedicated Ayrton brand manager for the region, we are now in a posi�on to offer our GCC and Lebanese customer base even greater access and support for all our Ayrton product line,” says Ayrton's Global Sales Director, Michael Althaus. “We want to take this opportunity to welcome DYNLIGHT and Thomas to the Ayrton network and are looking forward to working with them as we strengthen Ayrton's presence across the GCC.”

Thomas Linke can be reached at:Tel: +971 50 715 87 73 Email: [email protected]

(L-R) Akram Hamada, Mar�n Audio EMEA sales manager, Bradley Watson, and Elie Salameh.

Thomas Linke of DYNLIGHT LLC

NEWS ETA - April, 20186


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Adamson�Welcomes�Van�Nghe�Music�Center�as�First�Vietnamese�E-Series�Partner

VIETNAM: Adamson Systems Engineering and its Vietnamese distributor, Van Lam Audio Equipment, have welcomed Ho Chi Minh City's Van Nghe Music Center as Vietnam's first E-Series partner. Following the delivery of Adamson's globally standardized Applied Cer�fica�on training for Van

Nghe Music Center's technicians, the company will demo its new system at Ho Chi Minh City's “Demo ProSound in Vietnam 2018” trade show from March 22-23, 2018.

“I had an opportunity to hear several products from Adamson's E-Series and S-Series at an in�mate demo in Hamburg last year, and was immediately impressed by the audio quality. I knew right there that we'd found the high-end system we'd been looking for that will help scale our company to the next level,” says Mr. Hieu Van Nghe, the owner and namesake of Van Nghe Music Center. “The support we've received from Van Lam, Sonos Libra in Thailand, and Adamson has been world class. We're very confident in our decision and look forward to pu�ng the system to work on larger events.”

The company's new Adamson system is comprised of 24 E12 three-way, full range line array cabinets with 6 E219 and 8 E119 complementary subwoofers. Van Nghe Music Center is one of Vietnam's longest running pro audio, ligh�ng, video, and staging rental houses. Addi�onally, the company operates a successful musical equipment retail store in Ho Chi Minh City.

(L-R) Mr. Nguyen Duc Cuong, Van Lam Audio Equipment Owner &

Mr. Hieu Van Nghe, Van Nghe Music Center Owner

“The new system is key to our plan for con�nued growth and will enable us to a�ract new business from larger and higher-profile tours, fes�vals, and events,” adds Hieu Van Nghe. “We're very happy to welcome Van Nghe Music Center as our first E-Series partner and newest member of the elite Adamson Network,” comments Nguyen Duc Cuong, Owner of Van Lam Audio Equipment. “Our pro audio market in Vietnam has been advancing in recent years, and Van Nghe Music Center is a major part of that trend. We're excited about the response we've had to the Adamson brand and look forward to working closely with Van Nghe Music Center to further Adamson's presence on large-scale and mission-cri�cal applica�ons going forward.”

adamsonsystems.com/en

(L-R) Mr. Hai, Van Lam Audio Equipment; Mr. Alfonso Mar�n, Sonos Libra; Mr. Hieu Van Nghe, Van Nghe Music Center Owner;

Mr. Nguyen Duc Cuong, Van Lam Owner; Mr. Phan Nhat, Van Nghe Music Center

Analog�Way�and�Cosmo�Sign�Distribution�Agreement

HONG KONG: Analog Way and Cosmo Pro-AV Co. Ltd. have announced their new distribu�on agreement for Hong Kong and Macau.

For more than 30 years, Cosmo Pro AV's mission and objec�ve has been to supply professional audio visual products and to provide expert rental and staging services. Cosmo offers a full range of top audio visual brands from all over the world, bringing the latest technology advancements to Hong Kong and Macau. With its highly-skilled team, showroom and studio premises, Cosmo is well equipped to provide top-notch project design assistance, demonstra�on of equipments and opera�onal trainings to all customers.

France-based Analog Way is well known for its leading-edge offering of AV converters and presenta�on switchers. Analog Way recently

drew a lot of a�en�on with its new range of heavy-duty media servers engineered for the support of massive installa�ons and events from a single server unit. The powerful 4K mul�-output seamless switchers and video wall processors of the LiveCore series remain the flagship of Analog Way's offering and are commonly used for live high-end presenta�ons and to create massive video canvases involving great numbers of video outputs.

Adrien Corso, CEO of Analog Way, comments: “The proven experience and field knowledge of Cosmo's teams will be a major asset for our growth plans in Hong Kong and Macau. We look forward to frui�ul collabora�on and are convinced that our customers in rental and staging as well as in fixed installa�on markets will benefit from the best support possible."

This agreement covers the en�re range of Analog Way's products.

www.analogway.comwww.cosmoproav.com



https://adamsonsystems.com/en/

http://www.analogway.com/en/

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ULA�Group�Announces�New�Exclusive�Partnership�with�SGMANZ: ULA Group has announced their new partnership with SGM, a Danish company specializing in LED ligh�ng solu�ons.

Cuono Biviano, MD of ULA Group comments: “We are extremely proud of our new

partnership with SGM, which came just in the right �me when our company is growing and expanding into new market segments. The SGM products are of a superb quality, incorpora�ng ground-breaking technology which makes them unique and a perfect fit for both entertainment and architectural ligh�ng markets. The core values that ULA Group has been built upon align with those that SGM proudly represent throughout their business prac�ce. We are very excited to be able to partner exclusively with SGM in Australia and New Zealand and to help grow their network globally.”

Originally founded in 1975, SGM has more than 40 years of experience within the entertainment ligh�ng business. Focusing on innova�on and experimen�ng with emerging technologies, SGM has gathered one of the most experienced R&D teams managed by Peter Johansen, pioneer who helped to shape the entertainment ligh�ng industry as it stands today.

Peter Johansen, CEO of SGM, states: “I have known Cuono Biviano since the early '90s, and I have been looking for the right partner capable of represen�ng SGM, having the technical skills and qualifica�ons to market a high-tech brand. I am happy to re-establish these old �es, and I foresee that combining forces between ULA Group and SGM will definitely bring great value for Australia's and New Zealand's market, leading us to reclaim the growth poten�al of this region.”

The SGM award winning LED products are renowned for their quality and reliability and have been recently specified as a main ligh�ng fixtures on world tours by ar�sts including Beyoncé, Taylor Swi�, Robbie Williams, Pink, One Direc�on and featured on numerous interna�onal events such as Eurovision Song Contest etc.

The SGM architectural range offers high-powered LED IP rated fixtures, ideal for permanent outdoor installa�ons illumina�ng iconic building and structures around the globe.

The ULA Group will announce the dates for the official SGM product launch events in their Australian and New Zealand facili�es in upcoming weeks.

www.ulagroup.com

Elation�Professional�Acquires�M-Series�Controller�Range�from�HARMAN�Professional�Solutions

GLOBAL: Ela�on Professional announces the acquisi�on of the M-Series range of entertainment ligh�ng controllers from HARMAN Professional Denmark

ApS, formerly Mar�n Professional ApS.

The asset-based acquisi�on, which is planned to be completed before the end of Q1 2018, will include a limited-term license agreement to distribute current controller products using the name “M-Series,” as well as provide con�nued technical support and warranty service for prior Mar�n M-Series sales.

Ela�on already has in place key personnel with exper�se in M-Series technology in order to provide ongoing support and development of new products. This will ensure a seamless transi�on for the already established M-Series customer base, offering con�nuity and con�nued support by Ela�on on past sales of M-Series controllers by HARMAN Professional Solu�ons.

Toby Velazquez, President of Ela�on Ligh�ng Inc., comments: “We are excited to be able to provide a world-class professional-level control product series to our en�re customer base around the world.

By adding the well-established M-Series range and its R&D development group, who has over 25 years of experience in professional stage ligh�ng control, we are confident we can meet requests by ligh�ng designers for user-friendly and powerful ligh�ng control systems.”

Eric Loader, Global Director of Sales & Marke�ng at Ela�on, added: “The M-Series range fits well into our core customer base needs and we are excited to now offer this advanced controller series. Customers who already use these products daily are hungry for new features and products that will build on the success of this excep�onal ligh�ng control product range.”

“We're pleased that M-Series users will be able to enjoy new feature developments, while simultaneously receiving con�nued service from Ela�on,” said David Glaubke, Director of Public Rela�ons, HARMAN Professional Solu�ons. “At HARMAN, we are focusing more on our core audio, ligh�ng, video, and AV control products. While this represents a move away from ligh�ng control for the company, it represents increased investment in ligh�ng fixtures and video, where we see bigger opportuni�es to provide value and innova�on for our customers.”

www.ela�onligh�ng.com



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http://www.enepl.com.sg

Allianz�Expands�Entertainment�Insurance�to�Asia

SINGAPORE: Allianz Global Corporate & Specialty SE (AGCS) recently held its launch party in Singapore, officially rolling out the red carpet for its Entertainment insurance division in Asia.

With nearly half of the world's movie produc�on taking place in Asia and large-scale live events and music tours on the rise, Entertainment is an important growth sector in Asia as more organizers look for insurance solu�ons to protect their events and produc�ons. Since integra�ng Allianz's US subsidiary Fireman's Fund in 2015, AGCS has been expanding its Entertainment division to support customers in new markets beyond North America. In Asia, the first phase of expansion includes Singapore, Hong Kong and China.

The Entertainment product line is the latest addi�on to a growing AGCS Asia book that contributed 6% to overall global premium volume of EUR 7.4 billion in 2017. Damian Kerin, Head of Entertainment Asia Pacific, will oversee this new division.

Mark Mitchell, Regional CEO AGCS Asia, said: “The film produc�on and event industry is a thriving and fascina�ng business in Asia. Allianz has offered Entertainment solu�ons for decades in the US market and successfully expanded to Europe recently. Now we are targe�ng Asian markets with our exper�se and market-leading solu�ons for film and events insurance. The Entertainment line is a good fit for our por�olio of offerings to clients, as we already offer complementary solu�ons which support the film and events industry such as cargo insurance for touring acts. We also see an increase in clients organizing events, commercials and adver�sing so our Entertainment product allows us to offer them a full set of solu�ons all under the AGCS brand, providing them with wide coverage, global reach and financial stability.”

In the area of events, AGCS insures concerts, fes�vals, tours and spor�ng events, taking over the financial consequences of an event failure or liability claims. AGCS can also insure the cancella�on of events due to emerging risks such as pandemics and terrorism. In addi�on to the reimbursement of damages, AGCS also advises event organizers on film and event risk management.

Demand for Entertainment insurance in Singapore is likely to be driven mainly by the live events sector. AGCS insures six of the top 10 North America music tours and five of the top 10 North America

fes�vals, and will look to translate this exper�se and experience to the local market.

The rising popularity of live music acts in Singapore presents opportuni�es for AGCS to grow its Entertainment division, having seen risk inquiries locally from as early as 2015. According to PWC¹, total live music revenue in Singapore rose from USD 46 million in 2012 to USD 51

million in 2016, and is expected to reach USD 61 million in 2021, increasing at a rate of 3.4% CAGR over the period. The popularity of local music fes�vals in Singapore has seen global brands like Australia's St Jerome's Laneway Fes�val and Ultra Music Fes�val expand into Singapore.

Larger crowds are also promp�ng more organizers to seek coverage for their events. Not only are there more live events being held in Singapore, but a greater number of people are a�ending such events, leading to more complex and bigger risks. Notable local fes�vals like Zoukout, Baybeats and the Singapore leg of the Rugby Sevens World Series have seen crowd a�endance between 40,000 and 60,000 par�cipants.

Damian Kerin said: “Live events today can resemble movie sets with the amount of props and pyrotechnics u�lized, and this is where the exper�se we have in insuring films can translate to the live sector. Many of these ar�sts, whether as part of their own tour, or as part of a fes�val, are also going to several loca�ons all around the world, leading to greater risk exposure considera�ons as they vary from country to country. This complements AGCS' core competency in interna�onal insurance programs, where our global office network, risk consul�ng exper�se and large scale capacity differen�ates us from our compe�tors.”

Peter D. Williams, Global Product Leader (Live Entertainment), added: “We will do produc�on services, as we call it, so we can do the guys who put up the big TV screens, and we do the guys who do the live filming, we do the ligh�ng guys, we do all the equipment. We could also cra� a sort of loss of profits type of policy if the rental and staging companies have damaged equipment that they could no longer sort out or rent.

One of the issues that came out of the terror a�ack in Manchester was that the equipment in the auditorium wasn't damaged by the bomb, but the crew couldn't go into the auditorium and get their equipment out. So suddenly people realised there was this uninsured loss where their equipment was stuck inside the auditorium in Manchester un�l the police released it because it was a crime scene. So, we've had to look at as an emergent risk of almost non-damage loss of income that the people had.”

¹PWC Global Entertainment and Media Outlook 2017 – 2021

www.agcs.allianz.com

(L-R) The entertainment team comprised of Michael Furtschegger (Head of Entertainment Interna�onal) Damien Kerin (Head of Entertainment Asia

Pacific) and Peter D. Williams (Global Product Leader – Live Entertainment)



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CHAUVET�Holds�First-ever�Open�House�in�Singapore

SINGAPORE: CHAUVET recently held its first open house in Singapore, at the Four Points Sheraton by the iconic Singapore River. Dealers, integrators, designers and other ligh�ng professionals throughout Asia came together to mingle and congratulate the company on this new milestone.

Visitors to the open house got up close and personal with the latest CHAUVET Professional, CHAUVET DJ and ChamSys products, including fixtures in the award-winning Maverick and Ova�on series. Well-known ligh�ng industry figures Hanslee Lim, who recently joined Chauvet, and Aziz Adilkhodjaev of ChamSys were also on hand to greet guests and answer ques�ons about the company's product lineup.

The team from CHAUVET was all smiles at the open house

Also present at the open house was Stephane Gressier, the company's Interna�onal Sales Director, who emphasised that the open house was about introducing themselves to their customers in Asia, as well as building trust.

CHAUVET's Interna�onal Sales Director Stephane Gressier speaking to the audience during the open house

“It's our first venture into Asia – Asia has been growing for us because CHAUVET has been in demand, so a lot of the CHAUVET professional products have been requested by theme parks, whether it's by Disney, to even Legoland, that we did.

We're a ligh�ng company, first and foremost – solu�ons we offer are products that fill many applica�ons in the market. So because we don't have a few products that represent the majority of our sales, it means that we have many products for many applica�ons and also for different budgets. We're very strong on offering the best value, for the best applica�on.

The idea is to move towards having a presence in Singapore, but the first step is to have a person who can represent us. Hanslee was the first move, a�er that whether it's an office or a technical support team, we'll do whatever it takes to support our customers in the region. We're very big believers about doing business the right way, and it starts with good people and finding the right people."

The open house was a chance for CHAUVET to meet its customers, also allowing industry professionals to network and engage in

some light-hearted fun

www.chauvetprofessional.com



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http://www.connected-pa.com

http://[email protected]

PMX�Joins�Adamson�Network�with�Significant�E-Series�Investment

PHILIPPINES: PMX has cemented its status as one of the Philippines' top produc�on technologies suppliers with a significant investment in an E-Series loudspeaker system from Adamson Systems Engineering. Adamson's exclusive Filipino distributor, Stage Cra� Interna�onal, consulted on system choice, made the sale, and provided PMX staff with extensive training in January 2018. “As we've grown to take on larger tours and fes�vals, we've had to expand our inventory accordingly. Adamson's E-Series boasts the sound quality that allows us to differen�ate from the compe��on and rider acceptance we need in a large-format loudspeaker solu�on,” comments PMX Owner Ferdi Garcia. “The Adamson product has been very well received by the K-pop community, which has a strong following in the Philippines. We're looking forward to offering our customers this premium product for all kinds of applica�ons.”

PMX's new E-Series package includes 18 E15 three-way, true line source enclosures and eight complemen�ng E219 subwoofers, with Stage Cra� able to provide addi�onal cabinets for more expansive systems. Coinciding with the purchase, Stage Cra� invited PMX staff to its Mandaluyong City headquarters to undergo Adamson's globally standardized Applied Cer�fica�on training conducted by David Dohrmann, Adamson's Technical Director for the APAC Region, and Ayumi Hanano, APAC Educa�on and Support Coordinator. “We very much appreciate the support we've already received from Stage Cra� and Adamson,” adds Garcia. “Having so much experience and audio exper�se behind us made us even more confident that we made the right decision joining the Adamson Network and becoming an E-Series partner.” Over the years, PMX has evolved from specializing in basic ligh�ng systems to supplying sophis�cated audio, ligh�ng, video, and staging systems for live and corporate events of all sizes. As such, the company has supplied turnkey solu�ons for the likes of Tiesto, Avicii, Steve Aoki, and many other top interna�onal ar�sts while also earning a reputa�on for mul�media system design and integra�on for a wide range of venues. “We've had a tremendous response to Adamson in the Philippines since taking on the line last year, and PMX took advantage of a major opportunity with their recent investment,” comments Elizer Ylanan, Stage Cra�'s Technical Sales Engineer. “We're looking forward to suppor�ng them as they con�nue to grow their profile and supply audio solu�ons for major clients and events throughout the country.”

www.adamsonsystems.com/en

Adamson Applied Cer�fica�on trainees, including technicians from PMX, at Stage Cra� Interna�onal HQ

dLive�Mixes�Champion�of�Songs

MALAYSIA: Malaysian AV rental company, MJ Event Management Sdn Bhd, recently supplied a large-scale Allen & Heath dLive S Class digital mixing system to manage the spectacular final of the na�onal song contest, Anugerah Juara Lagu (Champion of Songs).

The event, hosted by broadcaster TV3, and watched by 6.1 million viewers, featured performances by the 12 finalists, plus guest appearances. Several of Malaysia's most prominent audio engineers were enlisted to mix this pres�gious event, with Zairi Ariffin at FoH and Jim Teh handling Monitors, supported by Zunun from TV3. The system engineer was Mohamad Firdaues, who has been a leading advocate of dLive in the country.

MJ Event Management specified an Allen & Heath dLive system to mix both FoH and Monitors, and to provide the broadcast feed via an ac�ve spli�er. The system included a pair of dLive S7000 surfaces running in mul�-surface mode with a DM64 MixRack, plus an S5000 surface and DM48 MixRack. System I/O was supplemented by two DX32 expanders. A Waves3 card enabled 128 channel mul�track recording of the performances. Some 30 ME-1 personal mixers were supplied, enabling musicians to control their own monitors.

www.allen-heath.com



https://adamsonsystems.com/en/

http://www.allen-heath.com/


http://www.se-audiotechnik.com



Gaana�Bollywood�Promotes�PR�Lighting�To�The�MaxINDIA: Ananta Stagecra� called on a total of 172 fixtures from the PR Ligh�ng catalogue to provide dynamic illumina�on for the recent

Gaana Bollywood Music Project. This two-day event was held in the Indian capital of Delhi, and according to Ananta Stagecra�'s Jay Joshi, the spectators were mesmerised by the spectacular lightshow.

Local company Ananta Stagecra� had recently invested heavily in PR Ligh�ng, and as the official ligh�ng partner for the event they were able to field 60 x PR XR 330 Beam II; 50 x PR XR440 BWS; 38 x PR XR480 BWS and 24 x PR XLED 4022RZ to achieve impressive brightness and versa�lity.

These fixtures populated two massive stages, both expertly designed by house ligh�ng designers Jay Joshi and Sohail Mansuri to provide maximum bang for the buck.

The ligh�ng designers themselves were hugely impressed. Said Sohail Mansuri, “I have never come across such robust fixtures un�l now. The weather condi�ons during produc�on and for the show itself provided a major challenge. During programming hours the temperature dropped to around 6°, while during show hours it would soar to 4°. Yet the fixtures worked flawlessly and I was able to create immense designs.”Added Jay Joshi, “I have been working with PR Ligh�ng fixtures since 2016 and they have always shone bright on my shows. I have never come across any problems, or the need to trouble shoot, as we regularly service them.”

He said the star performer was clearly the PR XLED 4022RZ. “These were able to wash out the en�re stage, and the Vortex and Kaleidoscope effects are tremendous features of the fixture. The spectators really appreciated the ligh�ng.”

www.pr-ligh�ng.com

MIPRO�Wins�iF�DESIGN�AWARD�2018TAIWAN: MIPRO came up tops as a winner in this year's iF DESIGN AWARD, a world-renowned design prize. The winning product, TA-80 digital plug-on transmi�er, won in the discipline “Product”, in the “Audio” category. Each year, the world's oldest independent design

organiza�on, Hannover-based iF Interna�onal Forum Design GmbH, organizes the iF DESIGN AWARD.

MIPRO TA-80 won over the 63-member jury, made up of independent experts from all over the world, with its quality design and impressive features. The compe��on was intense: over 6,400 entries were submi�ed from 54 countries in hopes of receiving the seal of quality.

“We are honoured to receive the pres�gious iF Design Award. For 22 years, we've been dedicated to develop wireless microphone technology to supply the best wireless microphone products to our customers. The TA-80 digital plug-on transmi�er turns any premium wired microphone into a digital wireless system producing the natural sound. It exhibits excellent performance and is suitable for acous�cal measurement, broadcast, recording studio, film shoo�ng and musical instrument, so it provides an ideal solu�on for our customer to accomplish their projects in a fast and easy way. As a leader of digital wireless microphone technology, MIPRO con�nues to improve its product design. This award means a lot for us!” said MIPRO CEO, K. C. Chang.

The MIPRO TA-80 is a true digital plug-on transmi�er designed for secure, crystal-clear, and interference free communica�on. The TA-80 turns any wired microphone into digital wireless system, offering significant improvement

over tradi�onal analogue wireless systems. Thanks to its switchable phantom

power capability, it is the right tool with premium condenser or dynamic microphones in any professional applica�on. It is extremely well suited for use as an acous�c measurement tool, recording and musical instrument microphones. MIPRO TA-80 is a great choice for maximizing overall sound quality and performance while elimina�ng cable clu�er.

About the iF DESIGN AWARD

For 65 years, the iF DESIGN AWARD has been recognized as an arbiter of quality for excep�onal design. The iF label is renowned worldwide for outstanding design services, and the iF DESIGN AWARD is one of the most important design prizes in the world. Submissions are awarded in the following disciplines: Product, Packaging, Communica�on and Service Design/UX, Architecture and Interior Architecture as well as Professional Concept. All awarded entries are featured on the , in the iF WORLD DESIGN GUIDE iF design app iF design exhibi�on Hamburg and are displayed at the .

www.mipro.com.tw

Solomon Chang and Eugene Chen

MIPRO R&D team with the TA-80 designers seated at the front row

http://www.pr-lighting.com/

https://ifworlddesignguide.com/

https://ifworlddesignguide.com/app

https://ifworlddesignguide.com/app

https://ifworlddesignguide.com/exhibitions

http://www.mipro.com.tw

http://www.christiedigital.com











Working�Together�for�Bright�Outcomes:�The�Barco�APAC�Partner�MeetingTAIWAN: At the Barco APAC Partner Mee�ng held in Hsinchu, Taiwan, on March 20 to March 22 this year, Barco played host to more than 60 of their partners from the Events/ProAV industry .

For Barco, the APAC Partner Mee�ng is an excellent opportunity to come together with their partners from the Asia-Pacific region to discuss different issues, innova�ons and evolu�ons in the Event/ProAV world. It's also the perfect occasion for sharing visions, delving into technical updates, discussing best prac�ces and of course, networking with other professionals.

The event kicked off on March 20 with a welcome dinner hosted by Barco Senior VP for APAC, Olivier Croly. As well as enjoying fine food and networking, our partners were treated to an innova�ve and transfixing dance performance in which five dancers moved in, out and

around images brought to life by Barco's UDX projectors.

Other highlights from the mee�ng included a speech from S�jn Henderickx, VP ProAV, Events & Simula�on, and Peter Pauwels, Director Strategic Marke�ng. They brought their areas of exper�se together in a rive�ng topic: 'Transforming content into insights and emo�ons'.

Thomas Magna, President of Theme Entertainment Associa�on APAC, also ventured on stage to give the keynote speech. Audiences were treated to his insights into theme park and museum applica�ons in Asia.

New Barco technology was also put on display. UDX and F-Series projectors, X-Series LED displays, image processing technology and the UniSee video wall captured the imagina�on, all coordinated quickly and easily with the technological convenience of ClickShare.

Partners were also given the opportunity to deliver their views and feedback. Barco listened to their insights on trends and challenges they are facing, while discussing what and how Barco can help them achieve bright outcomes.

Finally, Olivier Croly encouraged everyone to raise their glasses to the global success of the UDX projectors – and the sale of the 1000th unit. However, this was not to be the last achievement to be celebrated at the APAC Partner Mee�ng. Guests were invited to put their hands together to the unexpected but welcome news that Barco's partner, Mr. Chung, President of Good Media, from Korea had placed an order for two XDL projectors. The first order of its kind in Asia, with hopefully many more to come.

www.barco.com

LED X Series

Celebra�ng the sale of 1000 units of UDX

Unisee

Sri�Lanka�Hosts�RCF�Audio�AcademySRI LANKA: The new RCF distributor for Sri Lanka, Mul� Audio Visual, held a two-day RCF Audio Academy training in February. The course was one of

the most a�ended ever presented by Lucio Boiardi Serri, official trainer for RCF Audio Academy with the presence of most of the rental companies in the country. The excellent Srilankan hospitality and the superb loca�on were fundamental to host 150 people. A�er the Live Sound seminar, various product demos followed, including HDL 6-A + SUB 9004 (indoor), HDL 20 + SUB 8006, HDL 30-A + SUB 9007, and HDL 50-A + SUB 9007.

The course began with an analysis of Point Source and Line Array audio systems, deepening the physical principles of linear source systems. A thorough digression on Subwoofers completed the primary study of the emi�ers, which was then followed up with the actual course of System Design, with a complete lesson on design and prepara�on of the audio systems. All RCF so�ware such as the Shape Designer and RDNet Networked Management system and the measurement systems such as Smaart or Systune were then analyzed. The last part of the Live Sound course taught the audio technicians to understand the secrets and solu�ons for the op�miza�on and temporal alignment of audio systems with RDNet.

h�p://www.mavlk.com/

http://www.barco.com/

http://www.mavlk.com/


http://www.slvsymposium.com

VIDEO FILES ETA - April, 201822


KinesysDEMO／AVC

A�stunning�performance�put�up�by�Kinesys�and�Audio�Visual�Communications�Ltd�(AVC),�its�rental�dealer�based�in�Japan.�Watch�how�the�team�worked�to�make�the�visual�performance�a�success,�with�the�backdrop�changing�from�intergalactic�travel�to�a�glittering�cityscape�at�night.�

STRIKE�P38�by�CHAUVET�Professional

STRIKE�P38�is�a�compact,�punchy�and�outdoor-ready�blinder�and�strobe�powered�by�a�90W�warm�white�LED�source.�An�emulated�“amber�shift”�warms�the�colour�temperature�of�the�light�as�it�dims�to�mimic�incandescent�lights.�The�unit's�IP-rated�fan�keeps�it�cool�enough�for�use�as�a�wash,�while�IP-rated�direct�power�and�DMX�connections�eliminate�undesirable�whips.

RIVAGE�PM�10�at�Experience�12�-�Lagos�2017

Sound�engineers�talk�about�their�experience�with�Yamaha�Rivage�PM10�at�“The�Experience12�‒�Lagos”,�which�is�one�of�the�largest�gospel�musical�concerts�in�Africa.�Some�features�that�were�important�to�them�included�the�transparency�of�the�audio�and�the�ease�of�working�with�the�system�to�bring�forward�a�memorable�performance.

Meet�Paul�Wong,�Avolites�New�Managing�Director

What�makes�Paul�Wong�tick?�Find�out�in�this�short�video�where�he�talks�about�his�childhood�aspirations,�his�work�ethics�and�what�he�hopes�to�bring�to�the�company.�He�also�talks�about�the�various�opportunities�that�Avolites�will�be�keen�to�take�on�in�the�future.

https://www.youtube.com/watch?v=XvakPxxJBXc&feature=youtu.be

https://www.youtube.com/watch?v=QnOOFtY9zzg&feature=youtu.be

https://www.youtube.com/watch?v=Uj8gHPvHkVY

https://www.youtube.com/watch?v=X8h60Vkhizk

http://www.adamhall.com

http://www.adamhall.com

ENNOVATIONS ETA - April, 201824


New�ADB�Hathor�Release�2.0

ADB has released version 2.0 of its Hathor so�ware. New main features include:Ÿ Over 10,000 templates with bi-weekly updates independent from

so�ware updatesŸ Fixed faders in submasters, not included in page management,

like Playbacks with IN & OUT, Grand Master, Independents, and Fields

Ÿ Innova�ve HSI colours handled by Colour PickerŸ Exclusive Park Func�on, by Device or by ParameterŸ Extension of remote control func�ons via dedicated so�ware

which runs on an iPad (op�onal so�ware provided separately)

Release 2.0 of Hathor so�ware can be found on the new ADB Stagelight website, both on the page devoted to Hathor and on the download page. Users with previous versions of the so�ware will be required to log in with their email addresses to download version 2.0.

A quick start guide for installa�on is available HERE

www.adbstagelight.com

Outline�Launches�Newton�-�an�Advanced�Multi-source�Audio�Processor

Outline's Newton (patent pending) is an all-new FPGA-based processing pla�orm designed to be the management and control core for audio networks in touring, broadcast and fixed installa�on applica�ons.

Newton provides management of sophis�cated audio systems by combining mul�-format channel rou�ng with simultaneous standards conversion and digital signal synchronisa�on. Newton addi�onally incorporates powerful new filter technology along with clock and powering redundancy, all in a 1U networkable chassis.

A unique system topology is provided by very high-quality FPGA-based SSRC (synchronous sample rate conversion) and ASRC (asynchronous sample rate conversion) with outstanding dynamic range and ultra-low distor�on. The unit supports up to 15 clock source op�ons and a virtually unlimited number of filters using Outline's proprietary WFIR filtering technology (patent pending) suppor�ng raised cosine filtering technology. It also features independent, internal dual-redundant universal AC mains supplies (fi�ed as standard) with dual cooling fans.

Newton's I/O configura�on will provide 216 channels in both direc�ons simultaneously using a fully automa�c clock source and audio signal switchover facili�es. The system and set-up are fully controllable via Outline Dashboard so�ware for Mac OS (download it here).

Newton is available in three hardware versions – Newton 16, Newton 16+4 and Newton 16+8 – to suit the requirements of differing applica�ons or projects. All processed signals and direct outputs can be routed out of Newton using any of the available audio standards – Dante (AES67 compliant), AES3, Madi Op�cal and Madi Coaxial. Internal processing is all at 96kHz, with an internal data depth up to 64 bits. In each processing sec�on users have precise control over Level, Delay, Polarity and Raised Cosine Filters (implemented within WFIR Equalisers), all func�ons that are required to manage and op�mise a loudspeaker system.

While Newton 16 is an all-digital device, Newton 16+4 and Newton 16+8 add local analogue inputs and outputs. Newton 16+4 adds four auxiliary analogue inputs and outputs while Newton 16+8 adds 8 auxiliary analogue inputs and outputs. Each analogue input is also provided with addi�onal processing and matrix allowing inputs to be processed, routed and mixed into the main matrix.

All three versions of Newton share the same motherboard, and it is possible to upgrade from Newton 16 to Newton 16+4 or Newton 16+8. Mul�ple Newton devices are easily interconnected to form a network that is scalable to meet all audio applica�ons.

newton.outline.it

https://www.adbstagelight.com/downloads/?category=35&tax=download_public_category&post_type=download_public

https://www.adbstagelight.com/

http://newton.outline.it/

http://www.palmexpo.in/register



SGM�Light�Launches�new�VP�Series

SGM Light has announced the launch of a new Video Pixel product series, Video Pixel Linear fixtures that are designed to improve the direct view experience, the reliability through �me, and the colour mixing consistency of complex light and video outdoor installa�ons.

The series uses SGM's advanced Qua-Pixel technology, which applies SGM's passive thermal management and implements the In-Cluster colour mixing.

The series consists of four fixtures each with a 19.05 mm pixel pitch and a 120° viewing angle. The series is designed to create powerful pixel mapping and media effects, and is available in two different lengths (1220 mm and 305 mm) and with either a clear or an opal front glass. The clear lens allows a direct view of sharp pixels with an immense brightness, while the Opal version offers a so� frosted look for textures, even light distribu�on and diffused effects.

These compact linear products with 2,000K - 10,000K colour temperature presets can achieve mul�ple effects and are perfect for video and ligh�ng displays. With the single mul�core cable, it is easy to link up to 79.3 meters (65 VPL 1220-20 units) in one circuit, crea�ng no gap between connected fixtures. Driven directly by 200-240 VAC, these low weight fixtures reduce power consump�on and installa�on costs, since there is no need for external power supplies.

The new Video Pixel Linear fixtures from SGM Light will be complemented by the powerful SGM VP Processor, the intui�ve SGM VP Administrator so�ware, and the new VP-Net protocol. The fixtures are suitable for a wide range of applica�ons, both linear and radial installa�ons, and ideal where high-visibility and a very flexible setup are essen�al.

sgmlight.com

Martin�Audio�Announces�New�Flyable�15”�Subwoofer�for�Wavefront�Precision

Mar�n Audio has introduced the SXF115 – a passive subwoofer featuring a powerful, long-excursion 15” (380mm)/4” (100mm) voice coil driver in an ultra compact bass reflex enclosure, capable of 136dB at 1 metre.

The ideal companion for Mar�n Audio's new Wavefront Precision

Mini (WPM) op�mised line array, it can extend the performance down to 42Hz and can be flown as part of an array, or ground-stacked separately. Cardioid opera�on can be achieved by arranging the SXF115 in forward and rear-facing pairs.

The design of the 15” driver maximises output while minimising power compression and distor�on, and four reflex ports reduce air noise at very high output levels. The SXF115 enclosure is constructed

from mul�-laminate birch ply, finished with a durable polyurethane coa�ng and equipped with a perforated steel grille, skids and twin bar handles. An M20 threaded fi�ng in the top surface facilitates pole-moun�ng of up to four WPM or MLA Mini enclosures.

Managing Director, Dom Harter, commented, “Wavefront Precision line arrays have sold very successfully and across more varied applica�ons than ini�ally expected. With that has come demand for addi�onal subwoofer solu�ons. We recently added the high output SXH218 for WPC and now we're pleased to introduce for WPM the flyable SXF115. The SXF115 is also compa�ble with MLA Mini in fixed installa�ons where ground-based, rack-mount amplifica�on is preferred, so we expect to see very healthy sales of this sub.”

SXF115 will ship from May 2018.

mar�n-audio.com

https://sgmlight.com/


http://www.broadcast-asia.com/visitor-registration

http://www.broadcast-asia.com





http://www.IAAPA.org/AsianAttractionsExpo



Airstar�Launches�BULBS�for�the�Event�Industry

Airstar has announced the release of their newest ligh�ng balloons inspired by iconic bulb shapes: Meet BULBS. This new range boasts a vintage and industrial look to produce a truly unique atmosphere for any event. The inspira�on behind BULBS came from Pierre Chabert, President and Director of Innova�on at Airstar. The BULBS are named a�er great inventors and are inspired by vintage bulb shapes appreciated by the general public and the Airstar network. “The event market constantly needs to renew itself to provide new ideas and solu�ons for its customers and the general public”, explains Airstar sales director, Xavier Ponson. “Tradi�onal light bulbs are popular shapes that you can find in most design stores and interior decora�on

outlets nowadays. We believe it can have a similar success for events, so we decided to turn it into an Airstar innova�on.” With their original shapes, BULBS replicate giant models of tradi�onal bulbs, while bringing the highest quality thanks to Airstar's tex�le cra�smanship. BULBS can be laid out on the floor or hanged on ceilings, they can be used indoors and outdoors (IP54 ra�ng) and ensure both a unique and trendy decor. Available in eight different shapes and sizes, ranging from 1m60 for the smallest model to 4m30 for the largest, they are the perfect solu�on to any needs and environments. BULBS are equipped with a built-in fan allowing to keep a perfect shape. Installa�on �me takes between 15 and 40 minutes in total depending on the size of the model. BULBS are fully customisable thanks to various embedded LED light op�ons, as they were designed to host different light sources already available in three others products from the Airstar event range: the Crystal RGB (colour LED), the Crystal Dynamic White (white LED) and the Crystal RGBW (white and colour LED). They can also be connected via DMX and controlled manually to create a one-of-a-kind light show. The LED technology offers a lifespan of over 50,000 hours while reducing the power consump�on (80W to 300W depending on the models). They are able to operate between 100V to 240V, 50/60Hz. BULBS are currently shipping. www.airstar-light.com/en

http://www.airstar-light.com/en

http://www.acousticlighting.com



CHAUVET�Professional�Introduces�Rogue�R1X�and�R2X�Spot�Fixtures

CHAUVET Professional has added a powerful new punch to its popular Rogue series of moving fixtures. The company has introduced two bright and bold moving spots: the 300W LED Rogue R2X Spot and 170W LED Rogue R1X Spot. Their intense output and rich collec�on of features notwithstanding, the two newcomers are surprisingly compact and affordable.

“The R2X and R1X both are true to the Rogue spirit of pu�ng rugged, roadworthy fixtures within reach of the average budget,” said Albert Chauvet, CEO of Chauvet. “However, we stepped things up with the Rogue R2X and Rogue R1X, so our customers can add extra punch to their shows even at larger venues.”

In addi�on to their impressive output (11,000 lumens for the R2X Spot and 6700 lumens for the R1X Spot), both fixtures offer a range of performance features designed to spice up any show. The R2X

Spot, for example, features a 16.5° beam angle, two variable scrolling colour wheels with seven colours and split colour capability, as well as a 3-facet prism and smooth gobo morphing between its dual gobo wheels.

“Designers will be able to create an unlimited number of shape-changing and split colour effects with the R2X Spot,” said Chauvet. “These capabili�es, along with the fixture's incredibly bright output, rich colours and 16-bit dimming make it a versa�le design tool.”

The Rogue R1X Spot is also a crea�ve powerhouse, with its motorized iris and focus for beam shaping, 16° beam angle for crisp gobo projec�ons and a colour wheel that features eight colours, split colour ability, and con�nuous variable-speed scrolling. Adding to its versa�lity are its dual gobo wheels with seven interchangeable gobos, as well as its 3-facet prism for stunning aerial effects and 16-bit dimming for smooth fades.

Both fixtures are RDM enabled for remote addressing and trouble-shoo�ng, and both feature: Neutrik powerCON power input/output connec�ons for power linking; simple and complex DMX channel profiles for programming versa�lity; 3- and 5-pin DMX input/output connec�ons; and selectable PWM se�ngs for flicker-free opera�on on camera.

The R2X offers a selectable LED maximum output, allowing it to match Rogue R2 Spot fixtures that are already in a rig, while the R1X can be matched to exis�ng Rogue R1 Spot units. These features should come in handy, since the two powerful new fixtures should be occupying prominent posi�ons in more than a few Rogue rigs in the months ahead.

www.chauvetprofessional.com

Claypaky's�K-EYE�HCR�Marks�a�New�Era�for�LED�Stage�LightingClaypaky's new K-EYE HCR range of ligh�ng fixtures takes LED light quality to its highest peak of performance yet, giving ligh�ng designers and directors access to CRI (colour Rendering Index) values never before achieved by an LED fixture.

With Claypaky's High colour Rendering (HCR) algorithm, colours and textures of costumes and props retain richness and scenic finishes show off a depth and lustre never seen before under LED light. Skin tones appear more natural and in a world where entertainment is increasingly seen up-close and personal through the eye of a lens, the K-EYE HCR technology ensures performances are lit with integrity.

The HCR algorithm, newly developed by OSRAM and Claypaky, ensures the K-EYE HCR family of wash lights deliver an

The K-EYE HCR range from Claypaky offers CRI values greater than 97, up to 99

http://www.chauvetprofessional.com/



unprecedented degree of control over the quality of white or coloured light. The white light that the fixture produces has been heralded by some ligh�ng designers as the 'closest to tungsten outside of the conven�onal ligh�ng fixtures'.

Claypaky CEO Pio Nahum comments, "We know that our most demanding customers, par�cularly in the sectors of television, film and theatre, have long felt the need for a ligh�ng tool that differed from others in the marketplace for the 'quality' of the light it produced. Achieving this desired 'quality' is no simple ma�er. Light quality is the sum of mul�ple factors, including diffusion uniformity, colour temperature, colour control features and, most of all, a high colour rendering index. To meet these requirements, Claypaky and Osram have developed HCR technology."

The heart of the K-EYE HCR wash light is its six-colour LED light source. In addi�on to the basic red, green, and blue colour emi�ers, Claypaky has added amber, cyan, and lime LEDs to create a source which provides the widest colour range with unrivalled colour spectrum coverage. With HCR technology, this light engine produces typical CRI values greater than 97, up to 99 - values previously only available from conven�onal light sources. Thanks to this landmark development, that guarantees broader coverage of the colour gamut, ligh�ng designers now have access to every nuance and every shade of every colour.

Already an award-winning line, the K-EYE HCR range collected the pres�gious PLASA Award for Innova�on at the PLASA Show in

London in September 2017, rewarded for its introduc�on of innova�ve new technology and its clear improvement of technical prac�ce. Speaking of the K-EYE HCR, the PLASA Innova�on Awards judges said it was, "An LED wash light that delivers a new approach to accurate colour rendering, star�ng at chip level, rather than manipula�ng exis�ng sources."

The K-EYE HCR range includes two moving head models: the K-EYE K20 HCR, with 37 LED emi�ers, and the K-EYE K10 HCR, with 19 emi�ers. In addi�on to the moving head fixtures in the range, Claypaky has recently added sta�c versions: the K-EYE S10 HCR and the K-EYE S20 HCR.

To give designers access to highly accurate satura�ons and hues, the K-EYE HCR range offers four modes of opera�on. RAW mode offers specific control of each colour, while HSL mode provides complete control of hue satura�on luminosity, fully exploi�ng the poten�al of the six-colour system. In addi�on, the RGB and CMY modes work in the classic Claypaky style.

The K-EYE HCR also boasts silent opera�on and completely flicker-free output, making it suitable for use in television, concert halls and opera or any professional fields of applica�on where silence, brightness, and excep�onal light quality are required.Photo credit: Claypaky

www.claypaky.it

http://www.claypaky.it/

http://www.mipro.com.tw



PR�Lighting�Announces�New�Omega�Moving�Zoom�Bar�

Featuring six RGBW 4-in-1 60W LEDs, PR Ligh�ng's new Omega is a versa�le moving bar effect fixture, producing a powerful, zoomable

blade of light. Each pixel can be controlled individually and the light output can easily be converted into dynamic rays of mid-air micro beams.

This fully-featured product boasts all the func�onality customers have come to expect from PR Ligh�ng fixtures. It contains: Mechanical dimming (linearly adjustable); Electronic strobe (0-25 fps); 540° pan and endless 270° �lt; Each colour individually pixel controllable; Colour touchscreen, brightness adjustable; Over-temperature protec�on; Wireless DMX controllable.

Housed in IP20 high temperature plas�c housing, the net weight of the Omega is just 14.1kg.

Shipping will begin in late April, and the product will be seen for the first �me at Frankfurt Prolight+Sound.


Avolites�Ai�v10.1�Update

Avolites' Ai now boasts an updated version of 10.1. The release is currently available and compa�ble with all v10.1 showfiles.

Improvements made to v10.1 include a fixed bug where the playhead in clip preview didn't show at �mes, and a fixed crash on the surface modeller when adding goemetry to a projector.

Other key improvements include a fixed audio bug, enhanced DMX output, and mul�ple Notch textures and parametres which are now listed.

Ai downloads may be found HERE

Martin�Audio�Introduces�Ultra-high�Output�Subwoofer

Mar�n Audio has launched the SXH218 – an extremely powerful subwoofer capable of producing 148dB peak output at 1m, it is the ideal partner for Wavefront Precision WPC arrays where maximum low frequency output is required. It can also be a standalone solu�on for premium permanent installa�ons such as nightclubs.

Key features include an ultra-high output ground-stacked subwoofer, hybrid horn/reflex loading for maximum acous�c efficiency and low frequency extension dual long-excursion 18”/4.5” voice coil neodymium drivers, and forward or rear-facing opera�on.

Managing Director, Dom Harter, commented, “It looks des�ned to be the fastest selling subwoofer we've introduced in some �me.”

The product will ship from April 2018.

mar�n-audio.com


https://www.avolites.com/software/ai-downloads




Allen�&�Heath�Adds�Class-Leading�AMM�and�Expansion�Options�for�SQ

Allen & Heath has introduced new expansion and advanced automa�c mic mixing (AMM) capabili�es for its SQ digital mixer series as part of a major firmware update.

SQ V1.2 firmware supports the DX Hub, a hardware expansion hub which allows mul�ple DX168 stage box expanders to be connected to an SQ mixer. DX Hub enables SQ users to source the full 48 channels from the stage, all at 96kHz, or to deploy up to eight portable expanders wherever required.

V1.2 adds two independent AMMs, based on the proven D-Classic algorithm. The AMMs are part of Allen & Heath's DEEP processing system, providing a zero-latency solu�on for mixing speech applica�ons such as conferences, mee�ngs, broadcast and panel discussions. SQ can handle two simultaneous mee�ngs with up to 24 mics each, or the AMMs can combine to manage a single conference with up to 48 channels.

Other enhancements include a pair of new RackFX units for the SQ FX library - the Noo Phaser and Chorus - plus factory processing libraries to provide a star�ng point for new users and the ability to change channel colours to speed up engineers' workflows.

SQ Product Manager, Keith Johnson commented, “SQ is a superb console for AV and corporate work, and thanks to the power of our XCVI core and DEEP processing we've been able to add twin, class-leading AMMs without compromising our <0.7ms latency. DX Hub support lets you put the I/O wherever you want it, whether that's ge�ng all inputs from the stage or distribu�ng up to eight 96kHz DX168 expanders around an installa�on. And probably the most asked-for feature of all is the freedom to assign colours to your channels, which really helps to manage your mix at-a-glance.”

www.allen-heath.com

http://www.allen-heath.com/



http://www.prolytepdj.com

http://www.prolytepap.com



ADJ�Introduces�New�Modular�LED�Par�Design

ADJ has introduced its latest range of professional LED par fixtures, the MOD Series. Each of the four new models offers a different LED light-source, suitable for a wide variety of applica�ons, but they all feature the same innova�ve modular casing design which takes LED par flexibility to a new level.

These unique pars are 'modular' in two different ways. First, the main body moves – pulling the LEDs inside the casing – so that a snoot can be quickly and easily created to eliminate side glare if required in a par�cular situa�on. Second, the black metal outside casing can easily be removed and replaced with a pearl white housing kit (sold separately). This means that produc�on companies and rental houses can invest in just one set of LED pars but have the flexibility of using them in either white or black depending on the requirements of each event or project.

Four fixtures make up the MOD Series, each with the same pioneering design but with a different configura�on of LEDs. The entry-level MOD QA60 features four 15-Wa� 4-in-1 RGBA LEDs for a total power output of 60W. Offering a diverse pale�e of colours, this affordable fixture is ideal for a wide variety of stage, dancefloor and architectural ligh�ng du�es.

For larger venues and produc�ons when increased brightness is required, the MOD QW100 boasts a total of seven 15-Wa� 4-in-1 RGBW LEDs crea�ng a total power output of 105W. The use of a white LED element for this model in place of the amber featured on the QA60 allows for intense cool white washes of light to be created.

Also offering a total power output of 105W, the MOD TW100 makes use of 4-in-1 CW/WW/WW/A LEDs to allow exac�ng control over the colour temperature of white light washes, making this fixture ideal for stage illumina�on. As with all LED-powered fixtures, it generates much less wasted heat than tradi�onal stage ligh�ng that u�lizes filament lamps. This helps to keep the temperature down on stage, making for a more comfortable experience for performers.

Finally, at the top of the range is the MOD HEX100 which features seven 15-Wa� 6-in-1 RGBWA+UV LEDs allowing for an extended gamut of colours including both cool and warm white. The inclusion of the UV element also means that the fixture can create a classic 'UV glow' effect

when used alone as well as exci�ng UV-infused colours – such as hot pinks, lime greens and electric blues – when combined with the other LED elements.

All four models feature the same flexible scissor yoke which consists of two separate brackets held together by a pair of thumbscrews. These can either slide together and lock into place to create a single hanging bracket or slide apart to create a variable-angle floor stand. This makes the MOD Series pars flexible fixtures that can be used for venue up-ligh�ng, stage down-ligh�ng and many other applica�ons.

Each fixture is also supplied with three interchangeable frost filters. These can be used to expand the standard beam angle of 17-degrees up to 20, 40 or 60-degrees, as required. The lenses are quick and easy to fit, secured in place with four convenient thumbscrews (supplied), and mean that the same fixtures can be used to create narrow sha�s or broad washes of light depending on the requirements of a given project. In addi�on, a set of black metal barn doors is also available as an op�onal extra, offering even more flexibility.

A choice of 6 different opera�onal modes make the MOD Series ideal for all kinds of ligh�ng installa�ons – both permanent and temporary – covering the whole spectrum from standalone opera�on to full DMX control. A 16-segment backlit LED display on the rear of each fixture makes mode selec�on simple, while 64 built-in colour macros make it easy to select popular colours and hues. Mul�ple fixtures can also be linked together for synchronized master/salve opera�on and an IR sensor allows remote control using either the ADJ Airstream IR app or UC IR controller (sold separately), which provide alterna�ves to standard DMX control.

The MOD Series pars are professional-caliber fixtures and feature both 3-pin and 5-pin XLR input and output sockets to allow easy integra�on into any DMX ligh�ng system. Locking powerCON mains input and output connec�ons are also included, allowing mul�ple fixtures to be connected to one power supply.

Compact dimensions of 7” x 8” x 9.25” / 174 x 204 x 235mm (LxWxH) mean that the MOD Series pars will fit into small spaces, providing unobtrusive yet powerful illumina�on wherever it is required. And, with a weight of just 6 lbs. / 2.6 kg., the fixtures are ideal for one-off events and mobile ligh�ng setups that need to be easily transported.

“ADJ has a strong reputa�on for producing LED-powered pars which combine innova�ve design, excellent reliability and fantas�c value for money,” enthused ADJ USA's Na�onal Sales Manager, Alfred Gonzales. “Now, with the MOD Series, we're pushing the boundaries even further. With a completely reimagined casing design, the MOD Series has been created to give ligh�ng designers more flexibility and more power. By inves�ng in the MOD Series, ligh�ng professionals will not only have par fixtures that offer unrivalled versa�lity and brightness, but the unique op�on to purchase pearl while housing kits for a frac�on of the cost of completely separate white-cased fixtures.”

The MOD QA60, MOD QW100 and MOD HEX100 are available from ADJ USA now and the MOD TW100 is due to begin shipping in April 2018.

www.adj.com

http://www.adj.com/



CHAUVET�DJ�Introduces�BTAir

CHAUVET DJ has ushered in a new era of wireless ligh�ng control with the introduc�on of BTAir, an app that uses Bluetooth wireless technology to control lights directly from a phone or tablet without any addi�onal hardware needed.

Combined with new Bluetooth wireless technology enabled CHAUVET DJ lights - SlimPAR T12 BT, SlimPAR Q12 BT and COLORband T3 BT-- BTAir is redefining ease and flexibility of ligh�ng control. The new app is available for iOS and Android pla�orms. Users can download the free app from the Apple or Google Play stores. BTAir effortlessly pairs with

Bluetooth wireless technology enabled CHAUVET DJ fixtures. Users can create, store and recall scenes, control colour fades, chases and more.

SlimPAR T12 BT makes remote light control easy with its on-board Bluetooth wireless technology. SlimPAR T12 BT has 12 tri-color (RGB) LEDs, and its compact design easily fits inside s�cks of truss, making it perfect for truss warming. An op�onal IRC-6 remote can also be used for control, as well as DMX, automated and sound-ac�vated programs.

In addi�on to Bluetooth wireless technology compa�bility, SlimPAR Q12 BT features 12 quad-colour (RGBA) LEDs that generate a broad spectrum of colours and achieve natural-looking colour temperatures. Easily set sta�c colours or automated programs with the op�onal IRC-6 remote, or create eye-catching effects with sound-ac�vated and automated programs.

COLORband T3 BT is a linear wash light also featuring built-in Bluetooth wireless technology. Twelve tri-coloured (RGB) LEDs are on-board, and 3 zones of control are available to create amazing automated effects. Access built-in automated programs via op�onal IRC-6 remote, Master/Slave or DMX.

“We are always working hard to develop technology that can break down barriers to using and controlling ligh�ng,” said Albert Chauvet, CEO of Chauvet. “We're excited for people to discover this groundbreaking solu�on that makes controlling lights easier than ever.”

www.chauvetdj.com

https://www.chauvetdj.com/

http://www.prolytepap.com/



ArKaos�Launches�MediaMaster�5.2

ArKaos stays at the cu�ng edge of entertainment video and media solu�ons with the release of MediaMaster 5.2, the latest so�ware version for its powerful and flexible real-�me video control so�ware pla�orm.

The key new features that 5.2 brings to MediaMaster users are:Ÿ DMX Merge: To combine parameters like Pan and Tilt from a

ligh�ng console and video sources from MediaMasterŸ Pixel Blending: U�lising the Blend func�on, the colour output of a

ligh�ng console can be blended - via DMX from the ligh�ng console with the video output of MediaMaster.

Ÿ Kling-Net Dra� Devices: Allow a show to be prepared remotely – disconnected from the physical devices

Ÿ Extended Fixture Crea�on: Supports complete DMX Devices like moving heads with Pan / Tilt

Ÿ 64 Bit Support: for all applica�ons – enabling quicker and more responsive opera�on.

DMX Merge allows a sophis�cated collabora�on between video sources and individually pixel-mappable ligh�ng devices, so a fixture – for example a 5x5 matrix-style unit or a light with LED rings – can be panned or �lted into specific posi�ons simultaneously to pre-defined pixel-mapping / effects playing.

This opens up a whole new crea�ve avenue for ligh�ng and visual designers, operators and programmers. The DMX Merge command enables the ligh�ng console to generate an Art-Net stream to control the pan / �lt func�onality.

MediaMaster receives that Art-Net stream and works on the LED colour values, eventually replacing them as the ligh�ng designer decides how the blending should specifically occur, and the merged result is sent to the ligh�ng fixture defining the colour output.

MediaMaster 5.2 makes this feature – currently available only on top end consoles and control pla�orms – more accessible, more powerful and easier to use, as well as affordable to a greater range of users and scenarios.

Pixel Blending is a unique func�on also associated with the new Art-Net merging capacity and allows subtle and elegant effects to be triggered via the MediaMaster.

The LD may want to use – for example – a series of upstage LED ba�ens in block colours which will be programmed via the ligh�ng console. At another point in the show, they may want to display a cool kine�c texture across the front of the same LED ba�ens.MediaMaster 5.2 controls how this blending occurs. Two DMX channels define the opera�on and the colours mixed by the console and rendered by the MediaMaster.

The LD can have precision control over how the MediaMaster inserts the colour values across the LEDs and how this – respec�vely – affects any programming on the ligh�ng console.

For fast moving, hi-energy EDM, trance and techno shows, it's possible to strobe the MediaMaster output from the ligh�ng console… keeping visuals totally in sync and harmony with the beat and rhythm of the DJ.

Kling-Net Dra� Devices

This invaluable feature allows offline mapping and the poten�al maximisa�on of �me that can be used efficiently and effec�vely – perfect for show environments where minutes and seconds count!

Kling-Net enabled devices no longer need to be physically connected to a server running MediaMaster 5.2. The system's plug-and-play func�onality means programming can con�nue quickly and effortlessly, presen�ng greater flexibility and more op�ons for shows with mul�ple devices that need mapping.

Extended Fixture Crea�on

The Art-Net DMX merge facility implemented in MediaMaster 5.2 unlocks the system's true poten�al to work with more complex ligh�ng fixtures which have more than just LED channels.

The fully redesigned fixture crea�on dialogue in version 5.2's Art-Net mapper makes it quick and easy to support devices like LED panels, matrix-style units and LED wash lights with individual ring and pixel control.

64 Bit SupportEvery applica�on in MediaMaster 5.2 is compiled in 64-bit mode. This u�lizes addi�onal available memory, giving users more instant access to content, programming and effects in real-�me without latency or rendering lag.

MediaMaster has been designed by ArKaos to enhance the crea�ve design experience in any show, event or display scenario.

www.arkaos.net

https://www.arkaos.net/



Make�Any�Presentation�an�Event�with�RGBlink's�New�M3

RGBlink's new M3 offers sophis�cated presenta�on switching with advanced mixing capabili�es & monitoring into a single device. The vision mixer console includes broadcast style features for quick access during any performance.

The M3's modular design offers the widest range of features and formats tailored to presenta�on applica�ons including mul�-screen videowall applica�ons for Live Venues and Corporate facili�es. Users may also reconfigure the unit as required.

The M3's all-in-one design features dual LCD displays that allow the operator to monitor output and sources with preview & program directly on the M3 without the need for external screens.

Other features include: scene edit and seamless switch, save configura�ons and an op�onal redundant PSU.

www.rgblink.com

PR�Lighting�Announces�ARC�LED�1360�Hybrid�Strobe

Module layout for the M3.

PR Ligh�ng has announced the release of a new LED hybrid strobe — the ARC LED 1360 Strobe T/D.

With its IP67 weather resistant ra�ng, making it perfect for use in all condi�ons — both inside and out — the fixture can func�on as a powerful graphic strobe, providing an unbelievable punch, as well as a blinder and flood.

Available in cool white (6500K) and warm white (3000K), it has a 120° field angle, an LED display with four-bu�on, flick free opera�on for TV and film use.

Deriving its light source from 360 x 1W Osram LEDs, the strobe flash rate is between 0-25 fps (with macros). Other features include a 0-100% linearly adjustable dimmer; LED board temperature and fixture usage �me read-outs; over-temperature protec�on — all packaged in a high-intensity, die-cast aluminium IP67 housing, with a weight of just 9kg.

The ARC LED 1360 is expected to have its first showcase at next month's Prolight+Sound Show in Frankfurt.


ATTACHES IN SECONDS.LASTS A LIFETIME.

Rip-Tie Pte Ltd114 Lavender Street CT HUB2 #05-92 Singapore 338729Tel : +65 6702 5278 Mobile : +65 9825 8670

www.riptie.com

http://www.rgblink.com/


http://www.riptie.com

SOLUTIONS HIGHLIGHT ETA - April, 201838


Introducing�the�d&b�Soundscape:�the�Evolution�of�the�Listening�Experience

Based on an excep�onal audio system processor and two so�ware modules, the d&b Soundscape opens up a whole world of crea�vity. The product marks the beginning of a new era of sound experience - for the sound designer, for the engineer, for the ar�st and for the audience.

Combining d&b loudspeaker systems with state-of-the-art processing power, object-based mixing and sophis�cated room emula�on, d&b Soundscape is a toolkit to enable the crea�on of an unparalleled listening experience - natural, harmonious, enveloping and emo�onally engaging.

Almost 5 years in development and with extensive field tes�ng by some of the world's leading ar�sts and venues, d&b Soundscape changes the approach to live sound mixing and system design. What has long been an exercise in managing limita�ons now becomes a process that is freely crea�ve, far from the restric�ons of mix busses and stereo imaging, this new technology allows the crea�on of sound system designs with which acous�c environments can be created and sound sources placed and moved.

“Soundscape fulfils a devo�on we've had for decades,” says Ralf Zuleeg, Head of Sales Services and Applica�on Engineering at d&b audiotechnik, and the driving force behind the development of d&b Soundscape. “The ques�on has always been, 'How do we give the same natural, authen�c listening experience to every member of the audience?' Soundscape allows us to do that. It's the truest case of the d&b goal of 'Democracy for Listeners'.”

'Soundscape' is a well-chosen name: just as the landscape is our three-dimensional visual environment, the soundscape is the totality of the sound around us at a specific �me and place. Realising that concept, the d&b Soundscape represents an important experien�al evolu�on, moving forward from the limita�ons of conven�onal sound design.

Whereas a stereo image only fully works for the frac�on of the audience posi�oned on the centre axis between le� and right sources, the d&b Soundscape delivers true audio reality, an audio mix of sparkling clarity and unprecedented separa�on, without loss, to every

audience member. Vocals, keys, drums, guitar - all are heard in their true loca�on on the stage. Gone is the exhaus�ng disconnect between what the eyes and the ears tell the brain. With d&b Soundscape, the senses are aligned: the brain can literally relax and enjoy the show.

The core of the d&b Soundscape is the DS100 Signal Engine, a high-performance audio processor with Audinate Dante networking and a powerful 64x64 level and delay matrix with extensive in- and output processing.

The full poten�al of d&b Soundscape is accessed via two op�onal so�ware modules which together form a powerful toolkit for sound designers - d&b En-Scene and d&b En-Space. Both are accessed via the familiar R1 Remote control so�ware.

d&b En-Scene is a sound object posi�oning tool allowing the individual placement and movement of up to 64 sound objects. It accurately depicts stage scenarios so that each sound object corresponds both visually and acous�cally. The en�re audience now hears what it sees and vice versa.d&b En-Space is an easy-to-use room emula�on tool which can add and modify reverbera�on signatures for any given space, giving an enriched, natural-sounding reproduc�on. These reverbera�on signatures are emula�ons derived from acous�c measurements of six interna�onally renowned performance venues and convolved within the audio processor. This results in a natural modifica�on to the acous�c characteris�cs of a space, whether indoors or outdoors.

Crucially, d&b Soundscape is eminently usable. It works effec�vely in either 180 stage proscenium set-ups or 360 configura�ons and has been designed to integrate with the exis�ng d&b Workflow: systems can easily be set up and configured with d&b ArrayCalc. The DS100 is not a closed system, it is open for integra�on via the AES70 (OCA) protocol with industry standard consoles and show controllers, as well as replay and tracking systems. This ease of use and open access was an essen�al part of the d&b thinking from the start. The result is an open door into a new world.

David Claringbold, Chief Marke�ng Officer at d&b audiotechnik, says, “We are excited to introduce d&b Soundscape to the world. Sound is a powerful communicator with a deep emo�onal connec�on to our subconscious. In developing the d&b Soundscape we have envisaged a future that enhances the quality of experience for ar�sts, audiences and engineers, extending the crea�ve capabili�es of events and venues. With Soundscape, d&b is a key contributor to an audio technology conversa�on that opens up a new fron�er of possibility.”

Soundscape demo/pre-produc�on facili�es are now available at the d&b offices in: Backnang, Germany; Nailsworth, Great Britain; Paris, France; Asheville, North Carolina (US); Singapore; Yokohama, Japan; and with d&b partners in Vantaa, Finland.

www.dbsoundscape.com/global/enwww.dbaudio.com

http://www.dbsoundscape.com/global/en

http://www.dbaudio.com/

http://www.infocomm-india.com

SHOW PREVIEW ETA - April, 201840


PALM�Expo�2018:�What�to�Expect�from�India's�Largest�Pro-audio,�Lighting�and�Audiovisual�expo

PALM Expo 2018 is set to open its doors to visitors in less than two months now, and the excitement among global pro sound and light manufacturers, as well as Indian distributors of top brands, is at an all-�me-high.

Hosted in Mumbai - India's entertainment capital and city of Bollywood, the expo will take place at the Bombay Exhibi�on Centre in Mumbai from 31 May – 2 June.

The Indian market con�nues to mature at a rapid pace. The entertainment event industry has seen phenomenal growth in the last decade with music fes�vals becoming a youth culture. The demanding concert riders of these interna�onal ar�sts, has made it obligatory for rental companies and suppliers in India to invest in state-of-the-art equipment and has led to an improved industry setup.

The events industry in India is expected to cross Rs 10,000 crore (100 billion USD) mark by 2020-21, as per an EY-EEMA (Event and Entertainment Management Associa�on) report. The industry, which was at Rs 5,631 crore in 2016-17 overall, has been growing at a 16% CAGR, even overtaking the Indian media and entertainment (M&E) industry, which is growing at 11-13% CAGR, the report called '#Experience_Next' said.

Another report by Futuresource predicts audio market growth by $1 Billion in 2018 covering touring, rental and portable audio markets.

Es�mate of 5 million DJ set ups in India per annum is guidance on the value of the market. Controllers or consoles and CD players or Media players, mixers, speakers and amplifiers works up to a massive sound reproduc�on gear driving events across ver�cals. Top-end set-ups from premium brands would account for 10% or 50,000 DJ set-ups.

The PALM Expo (now in its 18th edi�on) will propel this growth by encouraging connec�on between manufacturers, distributors, dealers and end users. New products and technology at PALM will

Hustling and bustling of the visitors and exhibitors on the PALM Exhibit floor at PALM Expo 2017

11-year-old DJ “ATOM Bass Boy” proved that music knows no bounds at the PALM DJ Championship stage in 2017

SHOW PREVIEW ETA - April, 201841


impact Indian, as well as interna�onal markets and business in the coming year. PALM delivers an invaluable and privileged opportunity to meet all major distributors and importers and equally important top sound & ligh�ng engineers and designers and AV consultants and systems integrators.

In the last 17 years the PALM expo, true to its mantra - “pu�ng technology in place and mo�va�ng the market”, has built brands in the Indian market, as it is where Indian professionals visit to acknowledge new technology and product and trends and techniques.

New Technology and Solu�ons at PALM

The PALM Expo 2018 is all geared up to welcome 25,000 visitors over three days a�ending Exhibit Halls and features covering 27,000 sqm. The range of exhibits will showcase over 500 brands from over 200 exhibitors represen�ng the best technology and products in sound and light, cinema, and systems engineering & AV from USA, Europe, China and India.

This will be a great show for product buyers as major pro audio brands display an endless slew of pro-audio, ligh�ng and AV products and turnkey solu�ons that include high-end professional speakers,

line arrays, amplifiers, woofers & subs, mixers, consoles, patch panels, cables, connectors, mics, headphones, extended racks, stage ligh�ng, lasers, smoke & fog machines and more.

Hall 1 is the pro audio, no-sound hall. This hall maintains a business atmosphere, as AV Consultants, Systems Integrators and dealers and distributors from across the country account for a major percentage. Hall 5 will showcase the best brands in Ligh�ng and Laser while YAMAHA showcases and en�re range of pro audio and backline equipment in its own independent hall – hall 2.

This last lap into the show is already abuzz with excitement among exhibitors on the next killer product from their own por�olio which they hope to bring to the expo floors.

PALM's evolu�on in providing total solu�ons in event entertainment technology has witnessed the largest gathering of system integrators than at any other expo in India. AV consultants necessarily a�ending PALM each year for sound and light solu�ons demand display and projec�on solu�ons integral to their project implementa�on. Audiovisual exhibits have been prominent at PALM as the preferred des�na�on for latest LED displays, Videowall display and projec�on systems.

PALM 2018 focus on Audiovisual is a game changer for the AV industry in India. For the first �me the AV industry will have a real opportunity to reach the poten�al market in exhibi�ng to over 21,000 unique visitors, directly or indirectly involved in AV technology.

Cinema Sound and Digital projec�on and display is also a special focus in the 2018 edi�on. PALM 2001 was the birthplace of digital cinema in India and this dynamic tech space is evolving rapidly today. In its 18th consecu�ve edi�on PALM has brought back this segment in force.

www.palmexpo.in

Padma Shri Dr. Resul Pooku�y , Oscar-winning Sound Designer at the PALM Conference and Seminar stage in 2017.

Winners of the pres�gious PALM Sound & Light Awards 2017

http://www.palmexpo.in/

SHOW REVIEW ETA - April, 201842


Live�Entertainment�Expo�TOKYO�Enjoys�Another�Successful�Year

For the fi�h year running, Live Entertainment Expo TOKYO opened its doors to exhibitors to show off their latest solu�ons to visitors. The three-day trade show saw record numbers of 475 exhibitors and 23,876 visitors, cemen�ng its status as Japan's largest trade show for the live entertainment and media industry.

Exhibitors presented their latest services and technologies, including: a 4K-HDR/HD relay mobile, 3D hologram theatre, waterproof moving lights, visual mo�on system with ultrahigh precision, light weight 4K/8K displays and various other equipment/services forconcerts, sports events, and stage entertainment.

Highlights included Riedel's display for Bolero, its expandable, full-roaming, DECT-based intercom system in the license-free 1.9GHz frequency range. Fully integrated into Riedel's Ar�st digital matrix intercom pla�orm, Bolero can be used as a wireless beltpack, wireless keypanel, and a walkie-talkie radio.

Riedel's booth at the Live Entertainment Expo

The�fifth�instalment�of�the�event�saw�a�record�number�of�exhibitors�and�visitors

The company also took the chance to introduce its MediorNet line of media transport and management solu�ons: new to Japan, the system combines signal transport, rou�ng, signal processing, and conversion into one integrated real-�me network solu�on. Elimina�ng the need for re-wiring when produc�on setups change, MediorNet increases the flexibility of any installa�on while significantly reducing cabling and setup �me.

Other interes�ng displays at the Expo included Cinefocus's 3D hologram theatre, making use of the Panasonic PT-RQ32KJ and PT-RZ31KJ projectors to bring the holographic performances to life. Both projector series combine 3-Chip DLP imaging with original SOLID SHINE Laser Phosphor technology to produce vividly-coloured pictures rich in detail with excellent brightness. The PT-RQ32KJ boasts be�er-than-4K resolu�on with a high-speed 2560 x 1600-pixel (WQXGA) DMD chip that shi�s each pixel ver�cally and horizontally, quadrupling the pixel-count.

Japanese company Crea�ve Space Inc also showed off their waterproof ligh�ng solu�ons: the WP AL400LED, WP PAR1512, and the WP 230Beam

Taiwanese company BRUVIS was also present at Live Entertainment Expo, showcasing their mul�-media servers which include different formats of audio and video integra�on, picture processing, special effects combina�on, �me track edi�ng system and mul�-path synchronous output. BRUVIS was also keen to demonstrate its 3D mapping skills, showing how their so�ware created clear and complete 3D projec�on images regardless of the complexity or irregularity of the surface. One interes�ng �dbit they shared was that all their products were named a�er Taiwanese endemic species, with product names transla�ng into species such as Formosan Black Bear, Mikado Pheasant and Formosan Landlocked Salmon.

Rental and staging company Audio Visual Communica�ons Ltd (AVC) celebrated its 50th anniversary, and pulled out all the stops to impress event visitors, working with Kinesys and electronic dance duo FEMM to transform its booth into something akin to a concert venue. The ultra-high-precision visual mo�on system enabled the dynamic spa�al staging of large format images.

SHOW REVIEW ETA - April, 201843


AVC worked with Kinesys and FEMM to bring a concert-esque showcase to the Expo

Conferences were also held in conjunc�on with the Expo, hos�ng over 13,000 industry players as audience members.

Speakers included a founder of Rhizoma�ks – a Japanese crea�ve collec�ve known for its work in the Tokyo 2020 Presenta�on during the 2016 Rio Olympics Closing Ceremony – and the Crea�ve Director from Montreal-based Moment Factory, which is a mul�media entertainment studio well acknowledged for their technologies and interac�ve approaches for world-class a�rac�ons.

In addi�on to these global leaders, Japan's prominent music producers and event promoters discussed the trends and perspec�ves of music and live entertainment market,as well as SNS marke�ng. Industry policies and ac�ons of the Government of Japan were also described in one of the most crowded conferences.

However, the Expo wasn't just about business – visitors enjoyed lighthearted moments as well, with compe��ons such as the 8th Mic Cable Grand Prix 2018 that they could either par�cipate in or root for the compe�tors.

Contestants in the Mic Cable Grand Prix competed to be the first to roll up mic cables

One predic�on that comes from the success of Live Entertainment Expo TOKYO 2018 is that live concerts derived from animated content is an ever-growing field, and seems set to grow even stronger. With two mul�-purpose arenas already open and more to come by 2020, market demand is likely to see people put more weight on experien�al consump�on instead of material consump�on.

www.live-event.jp/en

http://www.live-event.jp/en/

KNOWLEDGE HUB ETA - April, 201844


Stage�Monitoring�Solution,�Silent�Stages�THE ALEX SCHLOESSER COLUMN

The topic of stage monitoring has been a major challenge throughout the history of our young industry. Evolu�on and progress has brought new and cool solu�ons, that have a lot of posi�ve impact all along. What I want to share here today will be well known to anybody who has done monitor mixes for a while, but I s�ll think this is good and important to remember for the future. I want to approach this from a broader

perspec�ve and I strongly encourage your and our discussion and exchange on this now and in the future.

I could not emphasize enough the impact of a clean and silent stage to the F.O.H. job of mixing. In most environments that are not stadium size, the stage volume has a major impact on what you can do out front. Sharing this with the ar�st and advising them on the problems will usually get you a be�er understanding and the ever-slightest bit of empathy for your challenge. I have found even the most egocentric performer to be willing to compromise in the interest of the gig.

The main sonic and acous�cal problem is the mix of all sources on stage in a very �ght and narrow se�ng. Whatever you hear on stage, will also picked up by every microphone, so the cleaner this is, the be�er for the performance. This should be known to ar�sts and some�mes we need to remind ourselves and the ar�st that the bo�om line is to entertain the audience.

Since in-ear solu�ons have become both more affordable and be�er in their technical spec, there is a wide selec�on of very good wired and wireless solu�ons out there. I would absolutely recommend

going the extra mile of custom molds as anything not fi�ng well, will make the rest of the job extremely difficult. Good thing is that many manufacturers even offer different adapters to the various driver pla�orms. On the upside, you can even use the custom molds for hearing protec�on when going to a very loud show from �me to �me.

On the personal mixing op�ons, there is also a great variety out there and most of them have quite acceptable sonic performance. If I had to make a choice, I would rather life with less input channels but a great built-in headphone amp, than a hundred channels in mediocre sound quality. Personally, I find that I rather have something sturdy and stable on the stage environment as things go rough occasionally and maintaining sound is impera�ve for my jobs. The good thing is that most Digital mixer manufacturers offer a good custom pla�orm, that connects very easy with their mixers and hence most rental companies will have a decent op�on available these days. I found that I need to check Firmware status of all those items before each gig and I have found the need to upgrade units more than I would like to hope for.

In any case, I would very likely bring at least a few wedges for a front of the stage op�on and a pair of sidefills to any gig, just in case something goes wrong, or some surprise guest shows up to join the band and the performance. As always, it is all about being prepared for the unknown, which will make you stand out.

Please join the discussion and comment back to me, I would love to hear from you. You can reach me at Happy [email protected]. Monitor Mixing!


How�to�Mic�Vocals�and�Musical�Instruments�by�Richard�HoneycuttFROM THE VAULTS OF SYNAUDCON

Once upon a �me, I wanted very much to be a recording engineer. At the �me, the only mic technique I knew was what I had read in early-1960's Popular Electronics, Audio, and other magazines about picking up a small jazz group with a single mic or a single stereo pair. During high school, I had the opportunity to record my small dance band, learning quite a bit about miking, as well as how to (and how not to) direct-feed a guitar amp into a recording mixer. One of my best friends was employed in radio, and he taught me a lot. So it was that when I entered college, I became recording engineer for the 50,000-wa� educa�onal FM sta�on on campus. My responsibili�es involved recording regular performances of the Winston-Salem Symphony, many student vocal and instrumental recitals, and the first handbell choir I ever heard. Our mic complement included a Neumann U81, an RCA 44DX, a Western Electric 639B, a Shure 55, an Electro Voice 666, and several Electro Voice 664's.

Although I took on addi�onal jobs with the radio sta�on as I progressed through college, I con�nued as recording engineer; in my junior year, I learned exactly how not to mic a trumpet: directly on-axis. About a year later, Doc Severinsen played at our university, and I saw how a trumpet should be miked.

A�ending concerts over the years, I no�ced that our industry goes through cycles of poor to OK to good to OK to poor mic technique, and I perceive that we are now sliding downhill on that cycle. As an example, I saw a university jazz band performance last week in which the faculty member who probably played some excellent flute solos could not be heard by the audience because of poor mic technique. In churches, worship leaders and singers with no concept of how to use a mic are legion. What we need to do is to help musicians and vocalists understand some principles of good miking, because the sound person does not ul�mately have control over how a mic is used in performance. So what follows is a reminder for those of us who may be out of prac�ce, and a reference that can be printed and used as a handout for musicians and speakers whose talks and performances we amplify, broadcast, or record. Mic choice is important, but is not the subject of this blog; instead, we'll focus on how to use the mic for various sources.

Vocals

If the mic is stand-mounted, it should be from 6” to a foot from the mouth(s) of the vocalist(s). A lot depends upon feedback margin in live sound, but for recording, closer is not necessarily be�er. The proximity effect of the mic must be considered, since even with a good mixer, proximity effect cannot be completely filtered out. If vocal groups are feeding more than one mic (See Figure 1.), the distance from each performer to the mic intended for him/her should be 1/3 or less of the distance to other nearby mics.



Handheld mics should preferably be at least 6” from the mouth, common prac�ce notwithstanding. Even with excellent pop filters, p-popping can s�ll be a problem with mics in the tonsil posi�on, and the vocals will never sound as good with the mic too close. At the other end of the spectrum, as Garrison Keillor would remind us, shy persons should not place the mic at the belly bu�on and expect it to do any good; they should just eat their Powdermilk Biscuits and hold the mic about 6” from their mouths

Brass instruments

As you may suspect from the common name of a generic brass instrument, they are acous�c horns. Thus they beam higher harmonics on axis, giving a harsh sound. The mic should be 15 to 30 degrees off-axis, and about a foot or two away from the bell. (See Figure 2.) Brass-winds such as saxophones should be miked like woodwinds such as clarinets.

Woodwinds

Clarinets, saxes, sarrusophones, bassoons, bagpipes etc. radiate sound from pre�y much the whole instrument, so the mic should be placed accordingly. Shoving it up the bell results in a “honky” sound. (See Figure 3.)

Figure 1

Figure 2

Figure 3



Flutes and Recorders

The sound of this class of instruments comes from the fipple, which is the place where the air turbulence is created near the player's mouth. Miking at the far end of the instrument will accomplish li�le, as the aforemen�oned music faculty member did not know. (See Figure 4.)

Guitars

The strongest sound from a guitar comes from the sound-hole, but the sound quality there is boomy and—in live sound—feedback-prone. Moving the mic toward the bridge improves the tonal balance, unless you get it too close to the bridge, where it may sound thin. Different guitars radiate sound somewhat differently, and some need the mic closer to the end of the fret-board, although overdoing this can result in a thin sound, or too much finger noise. (See Figure 5.)

Violins and Violas

These instruments radiate sound mainly from the f-holes and the top plate. But miking over the top plate gives a strident sound. Be�er to mic an about head level of the player, about 2-3 feet away, for a good frequency balance. (See Figure 6.)

String Bass

You can mic a string bass in front of the top plate, below the bridge, but a common technique that works well for live sound is to wrap a mic having good vibra�on isola�on in foam and wedge it gently between the tailpiece and the top of the instrument. (See Figure 7.)

Even in these days when the norm for amateur audio recording is using a smart phone with its built-in mic, it is possible to get good sound if you use decent mics, properly placed!

www.prosoundtraining.com

Figure 4

Figure 6

Figure 5

Figure 7

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In most 3D based media servers, content is created as a texture applied to the projec�on surface, for example, a car, building or set piece. Content can be made without any knowledge of the actual number of projectors that will be used - whether there is one projector or twenty, the content will stay the same.

In your media server, you then create Projector objects and add them to the scene; you set up their posi�on, rota�on and lens quali�es to precisely match those of the real projectors. The media server then renders the projec�on surface (and its content) from the point of view of each virtual projector, and outputs the resul�ng image to the real projector. If the projec�on surface and virtual projectors precisely match their counterparts in the real world, the result is a perfect image. The best way to think about projectors in 3D space is actually as cameras. The projectors 'look' at the object on which the content is mapped and output what they 'see'.

If the physical projector has to move a couple of meters to the side, there is no need to re-render any content like with a 2D based system, simply move the corresponding virtual projector to match. It will then render a new image from the projectors new point of view. Similarly, if new projectors are added, there's no need to re-render content either; just add a new projector to the scene and set it up as you did with the others.

Manually calibra�ng projectors to your 3D space

There are two ways of matching a virtual projector to its physical counterpart: Manual calibra�on, or the calibra�on process o�en referred to as QuickCal. In this ar�cle we will focus on the manual process. With both projector calibra�on workflows, you are essen�ally defining where in 3D space the projector is rela�ve to the origin point (or the centroid of the model you are projec�ng on).

The process for manual calibra�on starts by se�ng the correct resolu�on for the projector. At this point, you should also verify that the projector proper�es are all defined correctly both in your virtual projector as well as your physical projector.

Change the projector posi�on and the throw ra�o (lens value) proper�es so that the projector covers the required part of the screen surface. A laser measure is a useful way to calculate the correct posi�on by measuring the distance from the physical projector to the video surface.

The Look at posi�on of a projector defines the centre point of its corresponding output feed. When lining up a virtual projector to the physical projector it is therefore crucial to match the Look at posi�on to its corresponding point in the real world.

Look at posi�on of the virtual projector that now matches its corresponding point on the physical video screen, in this example a

THIS SEGMENT IS BROUGHT TO YOU BY disguise

wooden sculptureAdjus�ng the throw ra�o, is the next step in the manual calibra�on process. If the exact lens size is known (for example a fixed lens size is being used), enter it into the projector proper�es. If a zoom lens is being used, set the start value to the lowest (or highest) value in the zoom range.

Finally, fine tune property values. A�er se�ng the ini�al lens value, try not to edit the posi�on proper�es. Instead, start adjus�ng the rota�on parameters if needed, in par�cular the x and y rota�ons. Aim to establish parallel lines mapping onto the video screen globally rather than focusing only on one part of the screen. Go back and fine tune the values of the look at posi�on to centre the output to the physical video screen. Remember to establish parallel lines.

Adjust the throw ra�o to zoom in/out of the content on the video screen. Assuming that the 3D mesh is accurate to the physical video screen, the mapping should gradually fall into place.

To aid in ge�ng the manual calibra�on process correct, custom line up pa�erns are o�en used. See our previous ar�cle about content templates HERE

Only once your projector or projectors are all aligned, you can then begin to apply so� edge blend masks to the outputs. Most media servers have both manual and automa�c op�ons available for this func�onality too.

Conclusion

The manual calibra�on process takes a significant amount of �me to get right and its impera�ve that prior planning is done to ensure it is a success. This includes making line up pa�erns specific to the projectors & content template, having an accurate 3D model in your media server and clear communica�on between the projector technicians and the media server programmer to ensure everybody knows how the projectors are to be configured.

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3D�Projector�Simulation

https://issuu.com/spinworkz/docs/eta_mar_2018/44

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FOURTH�INSTALLMENT:

Antenna�Positioning�and�Best�Practice�by�Hayden�Leiper

ALL�ABOUT�WIRELESS�BROUGHT�TO�YOU�BY�

Welcome to the fourth installment of All About Wireless, brought to you by SHURE. In this issue, we will focus on antenna posi�oning. We will also examine dynamic range in RF systems, which provides the founda�on knowledge for understanding why the antenna posi�oning recommenda�ons provided are considered best prac�ce.

Most audio engineers are aware that it is best prac�ce to maintain a clear line of sight between transmit and receive antennas whenever possible; however, there is some�mes confusion regarding what a clear line of sight actually is. A clear line of sight does not just mean the antennas are visible. The electromagne�c wave should be able to propagate from transmit to receive antenna without interference from obstacles. Transparent materials such as glass, Perspex and water should be considered obstacles, as should seemingly transparent structures such as chain link fences and cages.

In terms of loca�on, receive antennas should not be posi�oned closer than one wavelength to any reflec�ng surface. The RF signal detected by the receive antenna is a complex mix of direct and reflected waves, the nature of which is constantly varying as the transmi�er moves. Posi�oning antennas less than one wavelength from reflec�ve surfaces can increase the risk of a drop-out due to reflec�on induced mul�-path phase cancella�on. Some�mes environmental circumstances dictate antenna posi�oning and recommenda�ons such as this cannot be adhered to. In these cases, it usually only takes a minor adjustment to antenna loca�on to completely change the system response, so experiment with posi�oning to achieve best results.

Where possible, antennas should be posi�oned at least 2 meters above the ground. This recommenda�on is primarily aimed at avoiding absorp�on of RF signals by non-reflec�ve obstacles, especially people. This recommenda�on is not easily met if connec�ng ½ wave antennas directly to a rack mounted receiver, so it is especially important to maintain a clear line of sight between transmit and receive antennas in this case.

Whilst it is generally a good idea to keep the physical distance between transmit and receive antennas to a minimum, posi�oning receive antennas too close to transmi�ers is a common mistake. For a system consis�ng of a transmi�er opera�ng at 10mW and passive omnidirec�onal receive antenna, a general rule of thumb is to maintain at least 3m of separa�on between antennas so as not to overload the input stage of the receiver. If direc�onal receive antennas or RF amplifiers are used, or if transmi�er power levels are higher than 10mW, more than 3m separa�on may be required. For example, if using a UA874 ac�ve direc�onal receive antenna with a UHF-R transmi�er opera�ng at 10mW, se�ng the integrated RF amplifier on the UA874 to +12dB may mean as much as 15m of separa�on is required. This is an important point to remember,

because in extreme cases, overloading the receiver front end can cause drop outs.

Signal strength at the receiver will be greatest when the polariza�on of the receive antenna and the electromagne�c wave transmi�ed by the microphone are equal. If polariza�on is not matched, signal strength at the receiver will be a�enuated, the amount of which depends on the offset angle. A 90° offset is the worst case, theore�cally resul�ng in up to 20dB a�enua�on.

Loss caused by polariza�on mismatch between a mobile transmi�er and ver�cal receive antennas

Polariza�on losses are in addi�on to the environmental and propaga�on losses discussed in the February issue! The cumula�ve effect of these losses is o�en referred to as 'Fade'.

Fade in wireless microphone systems is easily measured. The following plot, recorded in SHURE Wireless Workbench, depicts the Fade experienced by a ULX-D system during an indoor walk test around a 9m x 8m room, with both AB receive antennas posi�oned ver�cally.

ULX-D indoor walk test RF history plot – receive antennas posi�oned ver�cally

The result is approximately 40dB of Handheld and 50dB of Lapel RF dynamic range. Considering all RF systems require a minimum SNR to operate, the exact specifica�on of which is system dependent, it's easy to see that Fade can quickly impact signal stability.



Because the physical orienta�on of wireless microphones in use is en�rely unpredictable, SHURE recommend adop�ng a V shape between AB receive antennas. Posi�oning the two receive antennas at 315° and 45° to create a 90° angle between the two is a good compromise when dealing with mobile transmi�ers. If we ignore propaga�on losses, the maximum theore�cal polariza�on loss with receive antennas oriented this way is limited to approximately 3dB.

Loss caused by polariza�on mismatch between a mobile transmi�er and receive antennas in oriented in a V configura�on

Loss is minimised because the transmit to receive antenna polariza�on is never offset by more than 45°. Performing the same ULX-D indoor walk test with AB antennas posi�oned in this V configura�on yields the following result:

ULX-D indoor walk test RF history plot – receive antennas in the V configura�on

We have now measured approximately 30dB and Handheld and 40dB of Lapel RF dynamic range – remember this test does include environmental and propaga�on losses. By simply adjus�ng the angle of the AB receive antennas, we have reduced Fade in this system by 10dB. This is significant, and in some cases, may be the difference between a successful show, or one plagued by seemingly random drop outs.

Another common point of confusion relates to the distance at which AB receive antennas should be placed apart. For effec�ve diversity performance, AB antennas should not be posi�oned less than ¼ wavelength apart, and ideally, they would be placed ½ to one full wavelength apart. Diversity systems work best if receive antennas are posi�oned close enough to exist in the same field of RF reflec�ons,

but far enough apart that a mul�path drop out condi�on at one antenna is unlikely to simultaneously exist at the other.

If receive antennas are posi�oned less than ¼ wavelength apart, the chances of a mul�-path drop out condi�on being present at both antennas at the same �me increases. If they are posi�oned significantly further than one wavelength apart, the two antennas will likely exist in different fields of RF reflec�ons. In this case, the likelihood of a mul�path drop out condi�on exis�ng at both receive antennas at the same �me is not necessarily increased; but rather, becomes random. In prac�ce, it is common for diversity receive antennas to be posi�oned much further apart that one wavelength so as to maximize opera�ng range across a large space. This approach can work well, but it is important to understand that this is no longer a true diversity system. Depending on the environment and configura�on, this approach typically results in performance more akin to a non-diversity system, albeit with increased range.

These are the key best prac�ces pertaining to antenna placement. There are also some considera�ons regarding antenna model selec�on depending on the environment, which will be covered in a later issue. Next month we will begin focusing on RF system connec�vity, detailing some best prac�ces regarding signal distribu�on, combining and amplifica�on.

Hayden Leiper is an Electroacous�c Engineer with 15 years' experience in the professional audio industry. Currently employed as a Technical Consultant with Shure Asia Limited, Hayden's current responsibili�es include wireless and audio systems Applica�ons engineering support; authoring, edi�ng, publishing, and presenta�on of educa�onal materials for the Shure Audio

Ins�tute; and support of training seminars, webinars and educa�onal programs conducted by Shure Asia's channel partners.

h�ps://www.shure.com/asia

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Building�your�Audio�System�‒�Choosing�Your�MixerHARMAN EDUCATIONAL SERIES: PART 3

Welcome back to Building your Audio System series. In our last column, we learnt about the different factors that goes into considera�on when choosing the right microphone. In this sec�on, let us discuss on the next most important piece for your PA system – the mixer.

Selec�ng a mixer can seem overwhelming, and there are many decisions to make. How many channels do you need? Do you want something portable? Should you go with an analog or digital board? In this series, we will demys�fy the op�ons so you can make an informed decision and select the right mixer for your performance needs.

Channel Counts

(A) The default signal flow from input channels to the master bus on a mixer. (B) Channels 1 and 2 are routed through a subgroup and then to the master.

When you are looking at a mixer's specifica�on, it is natural to focus on the number of inputs first, which is a crucial factor. To figure out how many inputs you need at minimum, you can start by coun�ng the number of inputs your act/events requires on average - including vocal and instrument mics, and DIs. If you plan to mic the drums, assume you will need at least four channels for that (kick, snare and two overheads) and probably more. Add all that up, with a buffer of some extra channels in case of any situa�on changes, and you'll have a good gauge on the number of inputs your mixer will require.

But inputs are only part of the story on a mixer. You will also want to know the number of subgroups that a mixer has. What's a subgroup? On most mixers, the output of the individual channels is sent by default to the Master Bus, where all the signals are combined and sent to the main output (or outputs). If a mixer has subgroups, you'll have controls that allow you to route the individual input channels to any one of them, rather than sending them straight to the Master.

Subgroups are useful in live mixing because you can use them to control selected combina�ons of inputs with a single fader. Without subgroups, if you wanted to turn all the vocals up, you would have to

raise each individual vocal fader. For example, on a mixer with subgroups, you can assign all your vocals to one subgroup fader, and then you only have to push it up to raise all the vocal channels simultaneously. If you're going to have someone running sound at your events, he or she will have a much easier �me with a board that has subgroups.

Aux-Sends

Another important specifica�on is the number of aux-sends (auxiliary send). Aux sends allow you to send a copy of the audio from an input channel to a separate “aux output” on the back of the mixer, where you can connect monitors or external effects devices. You can use the aux sends to create separate mixes to send to monitors and to feed mul�track recorders. If you are using them with outboard effects processors, the output of those devices connects back into the mixer by way of an “aux return” (aka “effects return”) input. The signal is then routed to the mixer's master out or a subgroup. Having more than two aux sends is handy.

Analog vs. Digital

The Soundcra� Signature 22 MTK is an affordable and fully featured analog mixer with Lexicon digital effects built in.

For simplicity and value, the analog mixer is a winner. They tend to be rugged and dependable. And as a rule, they're value for money, with lesser complica�on to learn to use than digital mixers. In fact, many analog mixers have a digital component, in that they come with a digital effects sec�on, which allows you to add reverb, delay and other effects. This is convenient, because otherwise, you will need to connect separate effects processors.

However, despite a larger learning curve and higher prices, digital mixers are far superior when it comes to features. The ability to save scenes/shows is especially useful, which enables you to recall the en�re state of the mixer at a later �me. You could create a preset for every venue you play, which could be recalled the next �me you are there. Or you could create presets for specific songs.

Digital mixers generally provide more precise EQ, a be�er selec�on of effects, built-in compressors on individual channels, automa�c



feedback suppression and more. Thanks to their DSP power, the higher price of digital mixers is offset somewhat, because you will not have to allocate money for external effects like you might, with an analog mixer.

The Soundcra� Ui24R is a rackmount digital mixer that's en�rely controlled from a tablet, and is part of the HARMAN Connected PA ecosystem.

Some modern digital mixers can also be controlled from an app on an iPad or Android tablet. This allows you to adjust the mixer while walking around the venue. During soundcheck and the gig itself (especially if you have somebody running sound), tablet control is a useful feature.

Final Thoughts

You need to balance a lot of different priori�es when buying a mixer. Budget, channel count requirements, effects needs, compa�bility with any gear you already own, portability, your willingness to deal with the complexity of digital mixers, and more. Our advice is to try to get a mixer that exceeds your needs by some degree, so you have room to grow.

Stay tuned for the next installment of this series, where we'll look at understanding and choosing the right signal processor. And if you have any ques�ons about choosing the right mixer for your PA system, drop us an email at or fix an [email protected], appointment to visit us at our HARMAN Professional Solu�ons APAC Experience Centre in Singapore.

Visit us at h�p://pro.harman.com for more informa�on. HARMAN Professional Solu�ons APAC Experience Centre108 Pasir Panjang Road, Level 2, Golden Agri Plaza, Singapore 118535


http://pro.harman.com/

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LIVE ETA - April, 201852


AUSTRALIALawo�V_remote4�Debut�at�Australia�Day�celebrationsHeld�at�Sydney�Harbour,�the�recent�Australia�Day�celebrations�was�a�success�with�Lawo�V_remote4

Sydney's The P.A. People, in conjunc�on with Barre� Evolu�on, extended their extensive networking capability to include HD-SDI video and MADI over IP in support of the Australia Day 2018 celebra�ons on Sydney Harbour.

The P.A. People provided HD-SDI and MADI audio transport using four Lawo V__remote4 IP video processors and an extensive 10G Brocade IP network to distribute pictures and audio between Event Vision control, the Broadcast facility at the Sydney Opera House, and the many cameras and LED screens around Circular Quay.

The Lawo_V__remote4.

For the first �me in a live produc�on applica�on, The P.A. People u�lized Lawo's V_remote4 IP-based interfaces to transport broadcast video cameras and LED screen feeds in real �me over a dedicated 10G network. Singers on a floa�ng barge some 120m from the shore performed to music generated by an on-stage orchestra, and then pictures were relayed back to the shore for broadcast. The only link to the barge was a dedicated weighted fiber cable which carried the video and audio signals between the broadcast van near the Sydney Opera House, the IMAG switching loca�on and the barge.

The Lawo product was connected to a temporary 10G network backbone based on The P.A. People inventory of Ruckus (formerly

Brocade) network switches, dedicated single and mul�mode fiber and a number of wireless links. “The network and the Lawo product performed flawlessly” commented Paul Barre�, principal of Barre� Evolu�on and Technical Director for the project. “Being IP based, the system provided by The P.A. People was able to allow crea�ve freedom that would not have been possible with any other system. Both the Broadcast and the IMAG directors were very pleased with the result.”

Australia Day was celebrated by Sydney Harbour

Chris Dodds, Managing Director of The P.A. People mused “we have a long term and unique rela�onship with a number of our key suppliers including ClearCom and Motorola. We are excited to add Lawo to our roster of trusted suppliers and to be able to extend our commitment to IP as the transport of choice for all our Communica�ons Systems with the V_remote4 product.”

Images Courtesy of Australia Day Council of NSW.

www.papeople.com.auwww.lawo.com

http://www.papeople.com.au/

https://www.lawo.com/home.html



CHINADiGiCo�Chosen�for�Wang�Feng�The�Times�TourAt�the�heart�of�the�audio�system�for�this�ever-growing�production�lies�a�DiGiCo�SD7�at�FOH�and�an�SD5�at�monitors

Wang Feng, one of China's most prolific and influen�al rock stars, set out on yet another mammoth na�onal tour in September 2017, kicking off at the Bird's Nest Stadium in Beijing. The Times Tour, and accompanying new album 29, Guoling Lane, have seen Wang Feng enjoy heightened levels of success within China, with the tour taking in 30 ci�es over the course of 2017 and 2018. Shaogang Jin, Wang Feng's chief FOH engineer and sound designer, is no stranger to such produc�ons. He is one of China's foremost sound engineers and has been involved with events such as the Beijing Olympics opening ceremony and The Voice of China. He has been working with Wang Feng for many years and asserts that only DiGiCo consoles are suitable for such a tour. Shaogang Jin and Guobang Lu made good use of the SD7 at FOH, with monitor engineers Yong Shao and Longfei Ai u�lising the SD5. Shaogang Lin comments that the choice of mixing consoles is based on their incredible sound quality and powerful processing.

The SD7 has a total of 72 inputs and 24 outputs, with monitors again using 72

inputs, but double the outputs. Whist neither console is maxxed out, having the ability to easily increase the input and output channel count has proved

incredibly useful

“We have found the Waves Integra�on, DigiTube and Dynamic EQ on the consoles par�cularly useful,” says Guobang Lu. “We have full access to Waves plug-ins and can adjust the plug-in parameters directly with the 'touch and turn' encoder on the console work surface. It's very powerful, really useful and makes mixing way more convenient.” Adding authen�c analogue style warmth to the show, DiGiCo's DiGiTube technology has been of par�cular importance to Wang Feng's produc�on, bringing a much needed classic rock sound to the show. With the tour's hec�c schedule, having a system that is easy and intui�ve to use is essen�al. “As the signal processing is inside the console, it doesn't need a DSP rack and means we just need to connect the fibre cables to the SD-RACK and the system is ready to go. It really couldn't be easier,” concludes Guobang Lu. “And that has the added advantage that we just need just two flight cases worth of equipment, which is a great saving on truck space.” The Wang Feng tour con�nues with his next stop being in Hagzhou at the end of May, followed by Huizhou later in the year.

www.digico.biz

http://www.digico.biz/



HONG�KONGHong�Kong�Lights�up�for�Lumieres�with�Support�from�disguiseKey�disguise�features�come�to�the�fore�to�ensure�a�memorable�celebration�

Lumieres Hong Kong marked the 20th anniversary of the establishment of the Hong Kong SAR (Special Administra�ve Region) with a three-night celebra�on of the city's heritage and architecture. During the three night event, landmark sites and buildings of Soho, Central and Tsim Sha Tsui became the hosts of light installa�ons, video projec�ons and art pieces by renowned local and interna�onal light ar�sts. disguise (formerly known as d3 Technologies) was the video projec�on-mapping partner for Lumieres' debut, which lit up the city's landmarks, including City Hall, Clock Tower and General Post Office buildings.

"One of the biggest challenges was that we didn't have 3D models or CAD plans for these historic buildings," says Tom A�enborough, Execu�ve Technical Director for Lumieres Hong Kong. He and his team from Imagine Believe managed the technical produc�on and public events licensing across the 15 sites involved in the light fes�val. "Since disguise is one of the best in terms of 3D mapping and building works for projec�on, it was the perfect choice for this job." he adds.

The three sites using disguise all had extensive technical requirements. City Hall needed five disguise 4x4pros (one master, three backups and one understudy) for video mapping with twelve 4K and four 2K, 30,000 lumen projectors. The General Post Office (GPO) had one 2x4pro and one gx 2 system for six HD projectors, and

the Clock Tower required two gx 1 servers and a 2x4pro backup for its six HD projectors.

Ligh�ng Designer and Visual Ar�st, Yves Moreaux, was selected for the Hong Kong's 'Symbolic' City Hall. "The story was about a journey through �me, to evoke the evolu�on of Hong Kong, by showing how the richness of the present partly comes from the past and makes it possible to progress towards the future."

disguise was considered suitable for the job and was able to handle the extensive technical requirements



Yves explains, "To create a sufficient contrast for the luminous urban landscape, which was created using giant LED screens, we needed to reach a minimum illumina�on level of 265 lux, so we worked with 16 projectors of 30,000 lumens each. Logis�cally the projectors were par�cularly heavy, so they couldn't easily be moved around but we needed to figure out their best posi�on, so they didn't block spectators views. disguise was able to calculate the projec�on format for each different point by integra�ng data of the building. This was the first �me I'd used disguise, so I was very impressed when all the projectors were able to light up the façade of the building and worked together to provide coverage of each point."

Kevin Li, Technical Sales Manager for the APAC region notes that disguise's frame replacement feature was also an important feature used at City Hall. "Yves decided he wanted to replace part of the content, using disguise's frame replacement feature. He only had to render the content he wanted to change, not the en�re video allowing him to quickly make the change, put it in the system and load it up." Kevin adds the disguise Quickcal feature also saved the project �me; "Tradi�onally, it would take a long �me to do the lineup for 16 projectors at City Hall, however with QuickCal and the 3D model of the building, we finished the calibra�on in several hours."

The adorable Les Anooki characters made an appearance during Lumieres Hong Kong

Moetu Batlle and David Passegand, Founders of crea�ve studio Inook, and produc�on company Aglagla, provided the content for the GPO. It featured the duo's Les Anooki characters, lovable li�le characters who have been traveling around the world and landed on the facade of the building to illuminate the night.

Moetu and David had previously used disguise for the Night Fes�val in Singapore so they knew it could supply the high-resolu�on output they required for Lumieres Hong Kong. They add: "The good thing about disguise is that it reflects the crea�ve process from the beginning to the end. As ar�sts, we don't want the content to be compressed. disguise can fulfil our need to play our Anooki

anima�on in a high-resolu�on output, which is a good way to respect our ar�sts and our work."

Benjamin Pe�t, Founder of LTBL, based in France, and an interac�ve designer and light ar�st, created 'Long Striker' for the Clock Tower with Vendredi 4. They reprised the fun fair game called 'High Striker' in a digital version inspired by Chinese culture.

He explains, "our concept was based on the game where you strike an anvil with a hammer as hard as you can to ring the bell at the top of the column. On the Clock Tower the strike summons 'Long', the sacred dragon, who flies through LED hexagons to get the jade stone that'll give light back to the city." Benjamin had not used disguise prior to the project, so "to ease the crea�ve process and all the technical work before the fes�val I decided to take a one-week disguise training course in London. I learned enough to be able to build the whole project from France, with connec�vity to our sensor system to get the strike force and the DMX LED bars that composed the dragon's body. On site it was mainly about calibra�ng the projectors - the rest of the show was already encoded." Benjamin liked that disguise "could handle everything altogether: video, Art-Net, DMX lights, audio. But the main advantage was ge�ng a really good simula�on of the project without the need for extra work or offline 3D simula�on. We especially enjoyed the beta VR feature, being immersed in the scene really helped with figuring out propor�ons."

Photo credit to Lumieres Hong Kong.

www.disguise.one/en

https://www.disguise.one/en/



SOUTH�KOREAThe�P.A.�People�Keeps�Clear-Com�Intercom�Systems�Running�During�2018�PyeongChang�OlympicsA�mix�of�comms�approaches�was�deployed�at�the�15�locations

Proper communica�ons during Olympics venue opera�ons are of paramount importance to everyone involved. At the 2018 PyeongChang Olympics, this task fell to the team at The P.A. People and OneUp Solu�ons to ensure that the Clear-Com systems in use were keeping a large por�on of key venue personnel in touch before, during, and a�er events.

Dominic Jones, Sco� Davidson, and Chris Dodds of The P.A. People were on hand at the Olympic suppor�ng venue intercom opera�ons

“The Clear-Com system is used for the sports A/V presenta�on in the venue. Timing and results and that all link back to OBS and into the actual sport federa�on itself,” said Sco� Davidson, senior systems engineer, event communica�ons, The P.A. People. “We also have three venues here that are fiber-trunked together, and that provides some real good flexibility to join the three systems together while also giving autonomy.”

Chris Dodds, managing director, The P.A. People, notes that every system has three major components: the matrix, the partyline, and the FreeSpeak devices. “To our knowledge,” he added, “this is the first �me that serious quan��es of full-duplex comms have been used for an Olympics.”

A mix of Clear-Com intercom systems was deployed at each of the 15 loca�ons, including the Eclipse HX matrix system as a central system, FOR-22 module cards for two-way–radio interfacing, LQ-R4W8 IP interface for eight rings of audio interface to HelixNet, HelixNet digital partyline Main Sta�ons, and a FreeSpeak II Base Sta�on or E-QUE card.

Field equipment used by the operators included 400 FreeSpeak II wireless intercom beltpacks and headsets (for mobile users), 115 FreeSpeak II transceivers and 30 spli�ers, 180 V-Series Lever keypanels, 440 HelixNet digital beltpacks, 100 CC110 lightweight headsets, 100 CC200 lightweight headsets, 500 CC300 headsets, and 300 CC400 headsets.

According to Dodds, Sydney-based The P.A. People has the world's largest Clear-Com rental inventory and worked with Korea-based OneUp Solu�ons on the project. “We try to work with the local distributors and leave a legacy,” he said. “We started working with OneUp Solu�ons three years ago on this project, which includes 14 venues and the Medal Plaza.”

The systems were not cookie-cu�er and required different quan��es of certain elements (par�cularly at the endpoints), and Davidson said the flexibility of the system and the HelixNet beltpacks had been good for all involved.

Added Dodds, “All of the endpoints are IP-capable, so we can deploy the system using network switches for all elements. HelixNet adds to that versa�lity because we can put every channel of the partyline system on one cable and select the required channels at the beltpack. You can't do that with any other system.”

This ar�cle has been re-published with the permission of SVG.

www.papeople.com.auwww.clearcom.com

http://www.papeople.com.au/

http://www.clearcom.com/



INDIADiGiCo�SD10�Pumps�up�Bollywood�Music�Project�2018Delhi�felt�its�heart�beat�as�everyone�grooved�to�the�sound�when�the�Bollywood�Music�Project�came�to�town

Held at Jawaharlal Nehru Stadium, Delhi on 27th-28th Jan and hosted by Event Capital & Talent Management, the second season of Bollywood Music Project (BMP) featured two stages, over 200 musicians and more than 50 ar�sts performing for its high adrenaline audience. DiGiCo SD10 consoles, supplied by audio rental company Mega Sound, were at the very centre of the ac�on. For two days, the city saw some of India's biggest names head to BMP, including Farhan Akhtar, Papon, Vishal Bhardwaj, Euphoria, Nooran Sisters, Richa Sharma, Benny Dayal, Adi� Singh Sharma, Anusha Mani, Shilpa Rao, Shru� Pathak, Ra�aar, Amitabh Bha�acharya, Kutle Khan, as well as other eclec�c ar�sts from the world of Bollywood music.

Known as one of Asia's largest music fes�vals, the Bollywood Music Fes�val drew big names to the lineup

Udaipur-based Mega Sound is one of India's cu�ng edge AV rental companies and has an impressive inventory of first class equipment. It provided the complete sound produc�on for BMP, with the SD10s, purchased through the Bri�sh manufacturer's Indian distributor, Hi-Tech Audio Pvt. Ltd, deployed at its Front of House posi�ons. “It was a stellar show from an audio and visual standpoint and the SD system gives us a very cool way of handling a situa�on with mul�ple stages,' says Siddharth Chauhan, director of Mega Sound. “Moreover, the DiGiCo technical support team at Hi-Tech Audio Systems handled everything related to SD10 and the sound engineers enjoyed working on the console. It all went very smoothly. DiGiCo's technical support and service is absolutely world class and you can always count on team Hi-Tech Audio.” “As we were using SD10s at FOH for both stages, we programmed the sessions for each ar�st four days before the show. This made managing the show so much easier, even for engineers who worked on the SD10 for the first �me,” says Vanshaj, technical engineer from HiTech Audio Systems. “There is always an amount of personal preference when it comes to choosing a console for any given job,” adds Nirdosh Aggarwal, director sales, HiTech Audio Systems. “But for the BMP audio produc�on team, what it comes down to is whether a console delivers the best possible sound for show. Vikram Mishra, Tanay Gajjar, Nikjil Mulay and some of India's leading audio engineers were behind the consoles at Bollywood Music Project. They appreciated what DiGiCo consoles offer to make their job easy while working with various ar�sts on this mul�-genre show.” 'DiGiCo is renowned for its support and the stability of its consoles,” says eminent Bollywood sound engineer Tanay Gajjar, who was overseeing Stage 1's live mix. “I like the workflow and flexibility the consoles give me. They make my work so easy and effortless during the show.” “I was using SD10 for Stage 2 FOH,” recalls Tosief Shaikh, mixing and mastering engineer. “The en�re system was simple to set up and it all worked perfectly. During the event, there were no stability issues, and the Gain Sharing at the SD Rack gave us a lot of headroom.” 'It's always a privilege for us to be associated with Bollywood Music Project and a very good learning experience for the en�re team,” concludes Rajan Gupta, managing director, Hi-Tech Audio Systems Pvt.Ltd. “With a top-notch brand like DiGiCo, and working with India's ace sound engineers, we can be assured that the show will go on without any hitches.” www.megasound.inwww.hitechaudiosystems.com

http://www.megasound.in/

http://www.hitechaudiosystems.com/



MALAYSIAAnalog�Way�Ascender�16�-�4K�Supports�VJs�at�Heineken's�“Live�Your�Music”�Regional�TourThe�music�event�featured�artists�including�Tiësto�and�88rising

World-famous brewer Heineken con�nued its “Live Your Music” regional tour in Malaysia last November and December with a series of curated music events at the KL Life Centre in Kuala Lumpur. Event organizers Future Sound Asia used Analog Way's Ascender 16 - 4K as a 4K scaler and switcher to seamlessly switch between resident and visi�ng VJs during the shows.

Especkerman, Produc�on Manager and Set Designer for Future Sound Asia, said: “We decided to break away from the usual straight rigid lines and come up with something fluid, thus the S-curved le� and right wings flanking the center screens. We wanted people on the dance floor to feel immersed in the set with the top and balcony LED, which we've filled with custom-designed content supplied by KBK Visuals from Holland.”

Analog Way's French headquarters rush-shipped the Ascender from France to arrive at Suara Cahaya Services, the event's visual hardware vendor in Kuala Lumpur, in just four days.

“The brief from client Heineken Malaysia Berhad was to transform the live venue into an 'Immersive Super Club' with the use of a custom set design to fit the venue,” says RusselEspeckerman was challenged by the low ceiling clearance of the

venue. “We had a li�le over 5 meters to work with on stage which didn't give us much room to be crea�ve,” he notes.

“We came to the conclusion that for this to work we'd need to maximize the rigging heights and build wide instead of tall in regard to the structure. We also faced some on-site revisions to the pixel map due to some rigging challenges.”

www.analogway.com/en

Analog Way's Ascender 16 – 4K allowed event organisers to switch between resident and visi�ng VJs with zero fuss

http://www.analogway.com/en/



AUSTRALIAStaging�Connections�Kicks�off�Brisbane�Broncos�30-year�Celebrations�and�Season�LaunchAmong�the�720�in�attendance�were�state�and�local�government�representatives,�esteemed�sponsors,�Broncos�players�past�and�present,�and�club�members

The Brisbane Broncos 30-year celebra�on and season launch event was awash with maroon and gold on Friday night as the NRL team announced their team line-up for 2018.

Staging Connec�ons were entrusted with the launch for a third year, with just two weeks for the Sydney and Brisbane project teams to design and produce the set and bring all the custom event elements together.

The main event was the highly an�cipated reveal of the 2018 Brisbane Broncos player line-up, with each welcomed to the stage through a stadium-like tunnel hidden by their silhoue�e and unveiled en route to the 'grandstand', amid dynamic ballyhoo ligh�ng in Broncos team colours.

The custom-designed set displayed a video showcase of the Broncos' history

Evening formali�es were overseen by MC and Fox Sports presenter, Yvonne Samson, and included an address from Minister for Sport, The Honourable Mick de Brenni, and Broncos CEO, Paul White. Guests were also privy to a sneak peek of the club's pre-season prepara�ons ahead of this week's season opener against the Dragons.

Broncos legends, guests and players, were overwhelmed by the touching video showcase of the Broncos' legendary 30-year history, beginning in the 1988 season, drawing together decades of club history and spectacular performances.

To elevate the special celebra�ons, the Staging Connec�ons team custom-designed the set to include a large format custom aspect 'blend' screen with mul�ple surfaces for content to be displayed throughout the night. This was set around a projec�on-mapped Bronco head and a large '30' produced by Ikonix which took centre-stage in the stunning venue.

An impressive 40-foot screen above the stage displayed the vision from cameras live-streaming a close-up of each player as they were announced to the stage, as well as showcasing the evening's entertainment to the admiring crowd. Throughout the evening, video content was played on two sixteen-foot rear-projec�on screens, lit by high-quality projectors.

Staging Connec�ons Na�onal Sales Director, Michael Magafa, commented on the team's superb ability to create a memorable event within such a �ght �meline.

“Having a team of event professionals with a vast array of technical and crea�ve specialists in the AV industry gives Staging Connec�ons the ability to deliver premium events such as the Broncos season launch with superior quality.”

Brisbane Broncos Events Manager, Ka�e Croll, thanked the Staging team: “Thank you to the team for all of your efforts in execu�ng the launch on Friday night, we've had fantas�c feedback and we really appreciate the team's investment in the success of the event.”

www.stagingconnec�ons.com

http://www.stagingconnections.com/

DUBAIProtec�Helps�Elrow�Deliver�Opening�Night�to�Remember�at�SOHO�Beach�ClubRecently-opened�SOHO�Beach�Club�opened�with�Elrow�to�a�sold-out�crowd�in�Dubai

Featuring top world-class DJ 'Luciano' performing a special birthday set, the scene at SOHO Beach Club was set to be an absolute banger of a night.

Protec were happy to provide a full audio and ligh�ng install as well as an SMD ground support for the opening event. Renowned for their colourful, over the top décor and special effects, as expected they had confe� canons working over�me, firing 6 �mes over the course of the night leaving the 5,000 revellers wading through heavy showers of colourful confe� and streamers along with a sea of whacky inflatables!

The new Meydan super-club boasts a club area 50 meters deep and 30 meters wide, with a large dance floor surrounded by raised VIP Decks as well as a pool area.

Dan Dignan, Protec's Senior Audio Engineer, described how he maximised the poten�al of the space: “This was handled by 16 L-Acous�c's K2 Loudspeakers, flown le� and right in hangs of 8 on Protec's Ground Support in an asymmetric 90 degree throw to contain the sound within the venue. It covered the en�re area with a smooth and consistent coverage front to back and was supported by a pair of Arc Wide to fill the front of the dance floor, hung high in the centre of the ground support. Eight SB28 Subwoofers took care of the low end delivering a strong Sub to the house and techno style



music that elrow is famous for. A large raised bridge overlooking the dance floor was covered effec�vely by 8 L-Acous�c 5xt loudspeakers.”

“Although small and discreet, they did a great job of filling the top end clarity to the deck. The front of house system took care of the rest, but was trimmed to shoot below to not affect the other venues in close proximity.”

SOHO Beach Club's brand new pool area to the rear of the venue opened in the a�ernoon to entertain sun-seeking early arrivals. Protec's L-Acous�cs Syva system was placed to the le� and right of the area and was supported by a pair of L-Acous�c X8's hung from the bridge to fill in the front of the pool. The slick appearance of the Syva, fi�ed in well with the high end Dubai vibe of the venue.

When asked about any challenges that were overcome Dan explained: “The two large VIP Decks le� and right of the pool were a challenge. They both linked to the adjacent clubs "Soho Garden" and "Drai's". We were asked to effec�vely cover the area but minimize spill into the other venues. For this Protec hung its L-Acous�cs Kara Loudspeakers on 9m towers and trimmed them in such a way as to reduce sound at a chosen crossover point between the other venues. This proved to be effec�ve as all three clubs operated simultaneously with minimum disturbance between them.”



The system was controlled by a Digico SD11, with a D-rack at the stage end to distribute signal effec�vely over the venue. An Avalon SP747 tube compressor was inserted over the master to control the sound whilst adding the famous character the unit is renowned for. A total of 15 L-Acous�cs LA8's and 3 L-Acous�cs LA4X amplified controllers were used to power the speakers, all talking to an L-Acous�cs network manager to control the EQ and �me alignment. Communica�ons were taken care of by Protec's Freespeak ii, allowing the 10 crew on comms to wirelessly communicate effec�vely over the en�re venue. Produc�on requested 42 radios and Protec supplied their extensive range of DP2400's to cater for this.

It took the crew one and a half days to set up all the rigged fixtures and atmospheric effects

"In all, the venue sounded great, all sound seemed to resonate from the stage and propagate throughout the venue seamlessly. A large amount of �me was spent liaising with the venue and working on Soundvision, to develop an effec�ve system for the new super club. I was extremely happy with the results and look forward to working with the venue again in the future." Dan Dignan - Senior Sound Engineer at Protec.

Elrow's travelling roadshow has the reputa�on of being sensory and visual and Protec's ligh�ng department produced a colourful, punchy, totally immersive experience to compliment the costumed dancers, confe� and CO2 canons. Designed by chief ligh�ng designer at Protec, Aaron Russ, and operated by Daniel Ivanovski the show got rave reviews from the client, DJs and guests.

It was a one and a half day set up for all rigged fixtures and atmospheric effects. Equipment used included 36 x Robe Pointe, 20 x Robe Spikie, 6 x Clay Paky mythos, 6 x Clay Paky k10 b-eye, 12 x Clay Paky show ba�en 100, 8 x SGM Q7, 2 x SGM p2, 2 GrandMA 2 full size, 2 x Luminex network switch, 2 x GrandMA 2 8 port node, 1 x Wysiwyg rack, 2 x FQ100 smoke machine, 2 x ATMe haze generator and 8 x American DJ UV Cob canons. In the DJ booth Protec supplied 4 x source 4 mini and 6 x SGM p5.

According to Daniel, “The design worked rather well and the robe pointes being the work horse of the show had more than enough

punch to produce a very visible and powerful beam with good colours in a venue this size.”

Luckily, at this �me of year the weather isn't too hot, but protec�ng the ligh�ng control gear from an ever moving sun was nonetheless a minor challenge for the ligh�ng team par�cularly whilst trying to program the show. A standard challenge with outdoor events in Dubai, this was nothing new for Protec's experienced crew.

Project Manager Robert Handley recalled comments such as 'amazing', 'incredible', 'insane' and 'stunning' from the audience and both the promoter 'elrow' and the client, SOHO Beach Club were delighted with the energy, the fun, the music and the whole atmosphere of this epic party.

Overall, the show went super smoothly and there were lots of fist bumps and smiling faces from the produc�on team as guests wandered out laden down with inflatables and props in very high spirits. “It was an incredibly fun show to do and everybody is already looking forward to the next instalment in Dubai and of course, working with the promoter 'elrow' and the client SOHO Beach Club again,” Handley concluded.

Photo credits to Dubai Night

www.produc�ontec.com

http://www.productiontec.com/

HACK MY WORK ETA - April, 201862


We would like to thank CSP Produc�ons Pte Ltd, Singapore, for this Hack My Work idea. We would like to reiterate that we do understand that there might be regula�ons in some parts of the world that will not allow for this sugges�on. So please use your discre�on and follow your own country laws.

The�Mystery�Flightcase!Most of the ligh�ng equipment purchased came to CSP in fully enclosed flight cases. The flight cases are of course important for transpor�ng equipment to events. The issue was the �me spent by staff on opening each flight case to check that all the fixtures are in the case. So CSP came up with an idea to improve their produc�vity. They customised the flight cases with a clear window that would allow staff to visibly check the equipment within the case, without needing to open and close the cases. According to CSP it has saved �me and ensured be�er produc�vity.

You can use a simple Polycarbonate clear window which gives strength and proper viewing for staff. Of course you would need a decent sized window or you may create a number of smaller windows. The flight case itself needs to be properly labelled and there should be a checklist that will allow staff to know if the systems have been checked and maintained before being put into the flight case. This way the quick visual check is all that would be needed for packing.

THE LAST PAGE

"Everyone loves a good laugh - so do we! Having traversed into the deepest, dankest recesses of the internet, we bring you memes both tasty and funny. Now this is the quality content we signed up for!

10 PET PEEVES

1. LIGHTING GUYS2. 5 MINUTE SET CHANGES3. 105 VOLTS4. ELEVATORS OR STAIRS LOAD-INS5. 14 ETHNIC ACTS IN 12 HOURS6. VOLUNTEER OR UNPAID STAGE HANDS7. PEOPLE WHO SIT RIGHT IN FRONT OF THE PA AND COMPLAIN THAT IT'S TOO LOUD8. MIXING MONITORS FROM FRONT OF HOUSE9. MIX POSITIONS IN STUPID LOCATIONS10 BAND GEAR

STUPID SAYINGS FROM THE AUDIENCE!!

1. “WHAT WOULD HAPPEN IF I DID THIS?” (WITH SIMULATION OF TWISTING KNOBS ON CONSOLE)2. “THAT WOULD SOUND GREAT IN MY LIVING ROOM”3. “DO YOU KNOW WHAT ALL THOSE KNOBS DO?”4. “ARE YOU THE DJ?”5. “WHERE IS THE TALENT KNOB?”6. “CAN I KEEP MY COAT BACK THERE?”7. “I CAN'T HEAR THE VOCALS!!!” (FROM THE STAR'S GIRLFRIEND, DURING THE FIRST 5 SECONDS OF THE FIRST SONG)8. “DO YOU GET TO MEET THE BAND?”9. “CAN'T YOU COUNT ANY HIGHER THAN TWO?”10. “IT'S TOO LOUD!!!” (WHILE THE ARE SITTING RIGHT IN FRONT OF THE STACKS)

FAMOUS LAST WORDS

1. “OH, THAT'S THE WRONG STAGE PLOT / INPUT LIST”2. “SURE THERE WILL BE PLENTY OF STAGE HANDS”3. “OH SURE, YOU'LL GET A T-SHIRT AT THE END OF THE GIG”4. “GIVE ME YOUR ADDRESS AND I'LL SEND YOU A T-SHIRT”5. “OOPS, THE MERCHANDISE GUY ALREADY PUT THE T-SHIRTS ON THE BUS”6. “I'LL FIT BE BEFORE THE NEXT GIG”

A LIVE SOUND ENGINEER'S HATE LIST

DOES THE DARNTHING WORK?

DON’T MESSWITH IT

DID YOU MESS WITH IT?

DOES ANYONEKNOW?

YOUMORON!

HIDE IT

YOU POORS(L)OB

CAN YOU BLAMESOMEONE ELSE?

! NO PROBLEM !

WILL YOU GET BURNED FOR IT?

TRASH IT

Engineer’s Troubleshooting Flow Chart

NOYES

YES NO

YES NO

YES

NO

YES

NO

CALENDAR ETA - April, 2018

EVENTS2018

63

Apr�09�‒�12��|�NAB�Show�2018Venue:�Las�Vegas�Convention�Center,�NV,�USAVisit�Site

Apr�10�‒�13�|�Prolight�+�Sound�Frankfurt�2018Venue:�Frankfurt�am�MainVisit�Site

Apr�11�‒�13��|�InfoComm�China�(IFC)�2018Venue:�China�National�Convention�Center�(CNCC)Visit�Site

Apr�24�‒�26�|�SLV�SymposiumVenue:�Quill�City�Mall,�Kuala�Lumpur,�MalaysiaVisit�Site

Apr�25�‒�27�|�SecutechAsiaVenue:�Taipei�Nangang�Exhibition�Centre,�Taipei,�TaiwanVisit�Site

May�08�‒�11�Guangzhou�Entertainment�Technology�(GET)�Show�2018Venue:�Poly�World�Trade�Centre�Expo,�Guangzhou,�ChinaVisit�Site

May�10�-�13�|�Prolight�+�Sound�Guangzhou�2018Venue:�Area�A,�China�Import�&�Export�Fair�Complex,�Guangzhou,�ChinaVisit�Site

May�10�‒�12�|�LED�Expo�ThailandVenue:�IMPACT�Exhibition�and�Convention�Center,�Bangkok,�ThailandVisit�Site

May�31�‒�2�June�|�PALM�Expo�India�2018Venue:�Bombay�Exhibition�Center,�Goregaon�East,�Mumbai,�IndiaVisit�Site

Jun�06�‒�08�|�Conference�Programme�starts�on�Jun�02InfoComm�International�2018Venue:�Las�Vegas,�USAVisit�Site

Jun�06�‒�08�|�Conference�Programme�starts�on�Jun�05IAAPA�Asian�Attractions�Expo�2018Venue:�Hong�Kong�Convention�and�Exhibition�Centre,�Hong�KongVisit�Site

Jun�09�‒�12��|�Guangzhou�International�Lighting�Exhibition�2018Venue:�China�Import�and�Export�Fair�Complex,�Guangzhou,�ChinaVisit�Site

June�26�‒�28��|�ConnectechAsia�(BroadcastAsia�2018)Venue:�Suntec,�SingaporeVisit�Site

June�26�‒�28�|�ConnectechAsia�(CommunicAsia�2018)Venue:�Marina�Bay�Sands,�SingaporeVisit�Site

Jun�28�‒�30�|�Summer�NAMM�2018Venue:�Nashville,�TNVisit�Site

Aug�22�‒�24�|�IntegrateVenue:�ICC�Sydney,�Darling�HarbourVisit�Site

August�23�-�25�|�PALMEXPO�ChinaVenue:�China��National�Conference�Centre,�Beijing,�ChinaVisit�Site

Sep�05�-07�|�InfoComm�China�ChengduVenue:�Western�China�International�Expo�CenterVisit�Site

Sep�18�‒�20��|�InfoComm�India�2018Venue:�Bombay�Exhibition�Centre,�IndiaVisit�Site

Sep�23�‒�25��|��Prolight�+�Sound�Middle�EastVenue:�Dubai�World�Trade�CentreVisit�Site

Oct�19�‒�21��|��Conference�and�training�programmes�start�on�Oct�15�Live�Design�International�(LDI)Venue:�Las�Vegas�Convention�Centre,�USAVisit�Site

http://www.nabshow.com/

https://pls.messefrankfurt.com/frankfurt/en.html

http://www.infocomm-china.com/en/

http://www.slvsymposium.com

http://secutech.tw.messefrankfurt.com/taipei/en/visitors/welcome.html

http://www.getshow.com.cn/

http://prolight-sound-guangzhou.hk.messefrankfurt.com/guangzhou/en/visitors/welcome.html

http://www.ledexpothailand.com

http://www.palmexpo.in/

http://www.infocommshow.org/

http://www.iaapa.org/expos/asian-attractions-expo/home

http://guangzhou-international-lighting-exhibition.hk.messefrankfurt.com/guangzhou/en/for-visitors/welcome.html

http://www.broadcast-asia.com/

http://www.communicasia.com/

http://www.namm.org/summer/

http://integrate-expo.com/

http://www.palmexpo.com

http://chengdu.infocomm-china.com/en/

http://www.infocomm-india.com/

https://www.prolightsoundme.com/frankfurt/51/for-exhibitors/welcome.aspx

https://www.ldishow.com/ldi18/Public/Enter.aspx

"Live Your Music" Regional Tour Analog Way at Heineken's "Live Your Music"

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