Sound & Stage ME - Sept 2010 by ITP Business Publishing

Vol: 4 Issue: 9 September 2010

An ITP Business Publication 1 Licensed by Dubai Media City

www.jcjoel.com

A BLEND OF THE AGES AV technologies shine a new light on the Edfu Temple p30 AUDIO MONITORING Are in-ears or stage monitors the best choice? p34 TOP 10 A look at the worldâ&#x20AC;&#x2122;s best concert venues p38

CASHING IN ON KSA Saudi Arabia is fast-becoming a hub for corporate events

THE END OF WIRELESS? Concerns over the scrapping of the 800MHz frequency in the UK

THE RESURGENCE OF THE

RAMADAN TENT Last year saw declining demand for tents during the holy month, but how has 2010 fared?

Vol: 4 Issue: 9 September 2010

An ITP Business Publication 1 Licensed by Dubai Media City

CONTENTS 10

September 2010 Volume 4, Issue 09 04 News round-up Harman, Meyer Sound and Media Pro.

10 COVER STORY: Ramadan resurgence Has 2010 seen declining demand for tents during the holy month like last year?

16 Cashing in on KSA The Kingdom is shaping up to be the leader in corporate events in the Gulf.

21 The guide This month’s hottest product releases.

26 The end of wireless? Why UK government radio frequency plans could spell the end for live-events.

30 A modern ancient Egypt AV technologies shine a new light on the 2000-year old Edfu temple.

34 Buyers guide Audio monitoring: In-ears versus stage wedges.

38 Top 10 concert venues A picture special of the world’s best.

42 PLASA must-do’s Our guide to this year’s PLASA show.

46 The hitlist 48 Backstage

SEPTEMBER 2010 SAS

EDITOR’S COMMENT

In good health Summer traditionally sees a mass exodus of expats – and locals – from the Middle East and this year has been no different. Keen to escape scorching temperatures and draining humidity, a sizeable chunk of the population head off on holidays, resulting in emails and phones going unanswered in offices across the region. For some, though, this is the busiest time of the year. An increased demand for Ramadan tents – a 30 per cent jump, according to Mumtaz Tents general manager Shakil Ahmed - has left the warehouses of temporary structure suppliers near-empty. And this is also good news for kit-rental firms who have also seen an increase in business after what was a lean 2009 holy month. And what a way to showcase the aesthetically impressive and luxurious fit-outs that the Arab world is famous for. From Emirates Palace to the Jumeirah Beach Hotel to the Atlantis, Ramadan tents this year are awash with lavish flooring, ornate chandeliers – sometimes custom designed for the occasion, high-end AV and even porta-loos that rival their permanent counterparts in their host resorts. For a closer look, see this month’s cover story on page 10. But it’s not just iftar and suhour venues that are shining a light on event production at the moment. At the time of going to press, Flash

was on the cusp of announcing its winter entertainment schedule, including the Abu Dhabi Formula 1 – arguably the biggest commercial event on the Middle East calendar. When we met with operations director Lee Charteris in July, he said the company was in the final stages of assessing tender submissions by rental, creative and production companies and that contracts that are sure to keep many very busy were close to being awarded. In anticipation, kit companies have been stocking up on new technologies and additional gear, which has undoubtedly contributed to manufacturers like Harman forecasting a 40 per cent jump in sales in the Middle East for the period July 2010 to June 2011. The company says it expects revenue from all of the Group’s companies to total US$200 million, in part due to expanding markets in Qatar, Bahrain and Saudi Arabia. For a closer look at the event production industry in the Kingdom, including the challenges faced in the notoriously conservative nation, check out page 16 Until next month, Ramadan Kareem.

Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 210 8000, Fax: 00 971 4 210 8080 Web: www.itp.com Offices in Dubai & London ITP Business Publishing CEO Walid Akawi Managing Director Neil Davies Managing Director ITP Business Karam Awad Deputy Managing Director Matthew Southwell Editorial Director David Ingham VP Sales Wayne Lowery Editorial Senior Group Editor Robeel Haq Editor Brooke Sever Tel: +971 4 210 8665 email: brooke.sever@itp.com Advertising Commercial Director Fareed Dubery Tel: +971 4 210 8381 email: fareed.dubery@itp.com Sales Manager Nitesh Patel Tel: +971 4 210 8744 email: nitesh.patel@itp.com Japan Representative Mikio Tsuchiya Tel: + 81 354 568230 email: ua9m-tcy@asahi-net.or.jp Studio Group Art Editor Daniel Prescott Art Editor Nadia Puma Photography Director of Photography: Sevag Davidian Senior Photographers: Efraim Evidor, Jovana Obradovic Staff Photographers: Isidora Bojovic, George Dipin, Murrindie Frew, Lyubov Galushko, Shruti Jagdesh, Mosh Lafuente, Ruel Pableo, Rajesh Raghav Production & Distribution Group Production & Distribution Director Kyle Smith Deputy Production Manager Matthew Grant Production Coordinator Nelly Pereira Managing Picture Editor Patrick Littlejohn Image Retoucher Emmalyn Robles Distribution Manager Karima Ashwell Distribution Executive Nada Al Alami Circulation Head of Circulation and Database Gaurav Gulati Marketing Head of Marketing Daniel Fewtrell Marketing Manager Annie Chinoy ITP Digital Director Peter Conmy ITP Group

Brooke Sever Editor brooke.sever@itp.com

Chairman Andrew Neil Managing Director Robert Serafin Finance Director Toby Jay Spencer-Davies Board of Directors K.M. Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafin Circulation Customer Service Tel: +971 4 286 8559 Certain images in this issue are available for purchase. Please contact itpimages@itp.com for further details or visit www.itpimages.com. Printed by Color Lines Press Subscribe online at www.itp.net/subscriptions

The online home of:

ITP Business Publishing also produces the following related publications:

02 SAS SEPTEMBER 2010

The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the reader’s particular circumstances. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing. An exemption is hereby granted for extracts used for the purpose of fair review.

Is your sound getting the squeeze? Some speakers can sound just ﬁne when you’re right in front of them. But move over toward the edge of their coverage pattern and the sound changes… radically. What happened to the all-important midrange? You know, the frequencies that contain things like speech, vocals and solo instruments. To your audience on the edges of the sound ﬁeld, it’s a completely different show. Mid High

Mid & High Frequencies

High

Frequencies

Conventional Coverage Pattern

K Series with DMT™ (Directivity Matched Transition)

A loudspeaker should give everyone in the audience the same experience. That’s why K Series features DMT™. Each K Series waveguide is precisely matched to the natural coverage angle of the woofer at the crossover point, preventing the narrowing of the midrange content that’s so prevalent with conventional speakers. Your whole audience hears what you want them to hear, not what your speaker allows them to hear. Visit our website to ﬁnd out which K Series loudspeaker is right for you.

qscaudio.com

K10

KSub

K12 shown as monitor

Passionate About Sound

A.V.L. Technologies L.L.C., P.O.Box 117610, Dubai, UAE. Tel: +971 4 2684286, Fax: +971 4 2662052, Mob: +971 50 3838298, e-mail: avltech@avltechnology.com Tel: 971 4 2684286, Fax: 971 4 2662052, Mob: 971 50 3838298, e mail: avltech@avltechnology.com

THE BRIEFING Middle East market buoyant: exhibition organiser CLIMATE Trade show and exhibition organiser Epoc Messe Frankfurt GmbH has expressed confidence in the Middle East market, after a highly successful exhibition season that saw strong results for all three of their trade exhibitions. The three exhibitions, which took place during the spring-summer season in Dubai, together featured 2,036 exhibitors and welcomed close to 40,000 visitors. Automechanika Middle East, the largest international trade fair for the automotive aftermarket in the wider Middle East, Beautyworld Middle East, a trade event for the beauty and wellness industry and Hardware + Tools Middle East all recorded commendable growth signifying upbeat market sentiment in the region. “The continued success of these events is a result of ongoing market research and the regular adaptation of our events to suit the needs of businesses in the region. As business sentiment consolidates, we are looking forward to further developing these events to keep pace with this exciting market place,” said Ahmed Pauwels, chief executive officer of Epoc Messe Frankfurt. This year’s edition of Hardware+Tools Middle East reported an increase of 20 per cent in size over that of last year with exhibitors also noting an increase in the number of business enquiries from across the region. Hani Arwani, general manager, Arwani Trading commented: “There is momentum from buyers and the market has been moving up in the last few months. The qual-

The Middle East exhibition industry took a tumble last year as bookings declined following the global economic crisis. ity of the visitors has been good with some serious buyers and we will be here again next year. We have had some serious discussions with both distributors and potential customers.” The confidence is echoed in recent figures released by the Dubai World Trade Centre (DWTC), which show a 15 per cent rise in visitor figures in the first six months of 2010, bolstered by new shows and increased footfall at existing events. DWTC, the city’s largest exhibition space, said 639,170 visitors attended events at its venues in the six months to June 2010, up from 551,938 in the yearearlier period. Total traffic in 2009 reached 1.2 million visitors; a figure DWTC claimed it is “well positioned to exceed… by year-end, despite continuing pressure in global markets.”

In a statement, the state-backed venue said it hosted 59 exhibitions and conferences in the first six months of the year, attracting 22,000 companies from more than 85 countries. “One of our key priorities as DWTC has been to steadily increase the event industry’s contribution to Dubai’s GDP and to [stimulate] regional investment,” said Helal Saeed Almarri, CEO, Dubai World Trade Centre. The venue’s robust first half results are “evidence of the ‘real’ value that [firms] derive from participating at tradeshows in Dubai,” he said. Going forward, the venue will host eight new global congresses in 2011 and 2012 secured by Dubai. These include the World Diabetes Congress, the World Cardiology Congress and the International Bar Association Congress.

THIS MONTH IN NUMBERS...

PEOPLE INJURED AT THE SONISPHERE FESTIVAL IN FINLAND AFTER A FREAK STORM

THE AGE OF A WOMAN INVOLVED IN A BRAWL AT AN ELTON JOHN CONCERT

SONG PLAYED BY THE VERVE AT SPLENDOUR IN THE GRASS BEFORE JOHN ASHCROFT STORMED OFF STAGE

04 SAS SEPTEMBER 2010

ADVT PDF !-

BUILDING

BIG IDEAS )N ASSOCIATION WITH 3ERIOUS 3TAGES 5+ !TLANTIC %NTERPRISES ,TD

4EL &AX %MAIL EVENTS ALSCAFF COM WWW ALLAITH COM

THE BRIEFING

Harman acquires Newsweek EXPANSION Harman has acquired US magazine Newsweek from The Washington Post Company, MMR magazine has reported. The audio giant made the winning bid at auction last month but financial terms were not disclosed. “The resulting gain or loss at closing is not expected to be material to the financial position of The Washington Post Company,” stated an official announcement. Sidney Harman, owner of Harman, commented: “Newsweek is a national treasure. I am enormously pleased to be succeeding The Washington Post Company and the Graham family and look forward to this journalistic, business

Sidney Harman, chairman, Harman. and technological challenge.” MMR, a US trade publication for the music equipment industry calls Newsweek an

“ailing publication” and notes that that the magazine could have made a loss approaching US$70 million this year, according to reports. In other Harman news, the company’s loudspeaker arm – comprising JBL and Selenium - has announced that Mark Ureda will lead the group as vice president and general manager. He takes over the role from John Carpanini, who formerly led JBL and has now been promoted to a new position within Harman’s automotive division. A technical consultant for JBL since 1999, Ureda has developed software to predict the sound fields of

loudspeaker arrays and has authored technical papers on the topic. The new GM started his career developing constant directivity horns with the Altec Lansing Corporation, and more recently worked for defence company Northrop Grumman Corporation as vice president, corporate strategy. “Mark’s close relationship with Harman and JBL Professional for more than a decade provides him a unique perspective on the markets we serve and the products we offer. His ability to leverage his management and technology skills is a crucial asset,” said Harman Pro CEO Blake Augsburger.

DPA MICROPHONES APPOINTS UAE DISTRIBUTOR

LIVE STREAMING - THE FUTURE OF GLOBAL EVENTS?

DPA Microphones has appointed Melody House Musical Instruments as its new distributor in Dubai. The appointment is part of a rebranding process that will see Melody House move more into the pro audio sector to complement its MI roots. Greg Cargopoulos from Melody House, is familiar with DPA microphones from his own experience of working with them. “The thing I like about these microphones is how the frequency response is so neutral. The design is

Video communications agency, World Television, has launched its new live streaming service to mobile devices, allowing the broadcast of events in realtime on an iPhone, iPad, Blackberry, either directly through the web or by means of an application. The technology was used by the Swedish Public Relations Association (SPRA) to webcast its World Public Relations Forum, held in Stockholm in June. “It’s not always possible for every country to send a representative to an event, travel and distance can often

06 SAS SEPTEMBER 2010

always to be as neutral as possible, rather than have a coloured frequency response. This, coupled with a flat-response loudspeaker system, is the way to get maximum gain-before-feedback, as it gives the engineer maximum control,” he said.

be a significant barrier,” said CEO of SPRA, Sylvia Nylin. “Our aim for this year’s conference was to make it as accessible as possible for all our key stakeholders, regardless of location.”

www.digitalproductionme.com

Virtual electronic stage key to outdoor success TECHNOLOGY For performing artists, openair concerts present a rare opportunity to reach out to their fans. But for the musicians, performing outdoors often becomes a compromise, as without the acoustic support of a stage shell, properly hearing each other can be a challenge. The Berlin Philharmonic Orchestra recently took to the stage supported by Meyer Sound’s Constellation acoustic system, a first for an outdoor concert. The system uses a virtual electronic stage shell to give artists ideal acoustic conditions, while providing clearsightlines for TV broadcasts. Installed at live performance venues like the Laboral University Auditorium in Spain and Zellerbach Hall in California, Constellation is an integrated acoustic solution that comprises proprietary processing algorithms, microphones, and loudspeakers to give venues the flexibility

With Meyer Sound’s Constellation system, there is no need for a physical stage shell.

to host events with different acoustical requirements. In applications like the Star Wars:In Concert world tour, Constellation’s Ensemble feature has equipped the 85-piece Royal Philharmonic Concert Orchestra with an electronic version of the traditional orchestra shell to allow the musicians to hear themselves in a familiar ensemble environment, without the need for any physical construction. “Open-air shows with none or only a very distant orchestra

shell require an enormous musician concentration so that they can follow the conductor,” stated Til Schwartz, co-founder of IT Audio, audio consultant for the Berlin Philharmonic Orchestra. “With Constellation, musicians have told us that the stage shell made performing much more relaxing, since they were now able to hear the other musicians as if they were in a controlled indoor situation.” Working closely with Meyer Sound’s Constellation team and

the Berlin Philharmonic’s sound department, IT Audio specified a camera-friendly configuration that surrounded the orchestra area. The system consisted of 16 M1D line array loudspeakers overhead, six UPA-1P loudspeakers targeting towards the orchestra from behind, another four M1D line array loudspeakers on the floor and five UPJ1P VariO loudspeakers on each side as lateral speakers. The backbone of the Constellation system comprised a single MSConstellation processor and three MS-VRAS processors. The entire system was set up and tuned in three days. “At any stage of the production, we can always fulfil the needs of the musicians by simply tweaking the Constellation’s system setup, giving us a high level of flexibility to satisfy the crew and musicians,” explained IT Audio’s co-founder Ivo König.

BAHRAIN PLANS $1 BILLION ‘EXHIBITION CITY’

MEDIAPRO ADDS ANOTHER DIMENSION

Banks and foreign investors have been urged to pump money into a world-class US$1.1 billion ‘exhibitions city’ in Bahrain. Details of the massive project - to be built next to Bahrain International Circuit in Sakhir - were revealed last month, Trade Arabia reports. A joint venture between Bahrain Exhibitions and Conferences Authority, Mumtalakat and the private sector,

Technological specialists MediaPro has added another string to its bow in the form of 3D projections. Aimed at the corporate and commercial events sectors, stereographic 3D projection technology is designed to allow 3D images to be projected using HD18K, 20K, 16K and 8.5K Highpower 3 Chip DLP projectors. And there’s no limit on size of the projections, according to MediaPro manager Jinesh Nair, who has been using

represented by Bahrain Chamber of Commerce and Industry (BCCI), phase one of the project is expected to cost $350 million and will include a four-star hotel.

Christie projectors as his projector-of-choice. The company is currently demonstrating the technology in its Dubai office and is confident in solid interest from the industry in the lead up to the peak Winter events season.

SEPTEMBER 2010 SAS

www.digitalproductionme.com

WEB LOG DPme.com

JULY’S TOP STORIES

MOST READ NEWS STORIES OVERALL

1 Abu Dhabi TV bags English Premier League rights

2 IN PICTURES: Top 10

Touchscreen to replace decks? A video of a Chilean DJ performing on a multitouch screen has taken the internet by storm. The man, known only as Rodrigo, uses Emulator, a multi-touch MIDI controller designed by DJ Pablo Martin. Rodrigo’s video shows him using digital DJ software, Traktor Pro, to mix tracks on a rear projection set-up he calls Töken. Emulator software is designed to work with tablet PCs, stand-alone multi-touch LCDs and

rear projection screens. The first public stable (beta) version was released on July 24. The multitouch MIDI controller software works with Windows 7 and, in addition to its existing compatibility with Traktor Pro, will soon support numerous other DJing software. Various tech blogs and websites are hailing the concept as the “future of DJing”. This seems a little ambitious but Rodrigo’s concept is certainly futuristic.

concert venues

3 IN PICTURES: Festival disasters MOST READ SOUND & STAGE NEWS STORIES

1 IN PICTURES: Top 10 concert venues

2 IN PICTURES: Festival disasters

3 Storm hits Finnish music festival - 40 injured

EDITOR’S CHOICES NEWS

NEWS

CONCERT TICKET SCAM UNCOVERED IN DUBAI

STORM HITS FINNISH MUSIC FESTIVAL - 40 INJURED

An Indian man has been accused of cheating many job seekers by making them sell fake tickets for a concert in Dubai. The job seekers were asked to sell more than 150 tickets worth AED45 each for a musical event that didn’t exist, in order to prove their worthiness for the job.

A severe thunderstorm hit the Sonisphere music festival in Finland last month, injuring dozens and damaging the equipment of several bands including Motley Crue. Strong freak wind-gusts damaged the stages, knocked down tents and fences, and left two people critically injured.

SPOT POLL

WHAT ACT WILL GRACE THE YAS CONCERT ARENA STAGE DURING THE ABU DHABI GRAND PRIX THIS YEAR?

31.6%

5.3%

AC/DC

LADY GAGA

08 SAS SEPTEMBER 2010

42%

RED HOT CHILLI PEPPERS

10.6%

10.5%

ROLF HARRIS

WHO CARES?

COVER STORY

While the onset of the holy month means a halt to traditional liveentertainment such as concerts and corporate launches, the custom of iftar and suhour gives temporary structure companies a chance to shine with elaborate and luxurious tents that appear anything but transitory.

THE RESURGENCE OF

THE RAMADAN TENT

Main picture: Asateer, The Atlantisâ&#x20AC;&#x2122;s Ramadan tent, has an apex of eight metres.

10 SAS SEPTEMBER 2010

www.digitalproductionme.com

his time last year, the fall-out from the recession was evident everywhere you looked – even in Ramadan festivities. At the time, Mumtaz Tents general manager, Shakhil Ahmed, told local media that demand for iftar tents had fallen by around 30,000 sq metres compared to 2008. “[In 2008] four major companies created about 80,000 sq metres of Ramadan tent in the UAE and everybody was busy before Ramadan,” he said. “This season many big companies have backed out of sponsoring tents.” Traditionally the greatest demand comes from hotels, which set up tents to boost sales through iftar and suhour offerings. “This month some hotels are not spending so much on outdoor tents. Some are setting up tents within their premises to save money on additional interior decoration, air-conditioning and other facilities,” Ahmed continued. So is 2010 proving to be a more successful year for Ramadan tents? In a word, yes. “I’d say demand has increased by about 30 per cent this year,” Ahmed says. He explains that while Mumtaz Tents has seen interest from hotels that opted out of a tent last year go for one this year, the main increase has been in the size of tents built. One example of this is Asateer, the Atlantis’ elaborate offering on the Palm Jumeirah.

SEPTEMBER 2010 SAS

COVER STORY

A SAFE BET A fire in a wedding tent in Kuwait that killed 57 people has sparked a crackdown on safety by authorities this Ramadan. While the fire was an arson attack by a disgruntled first-wife, people were trapped due to a lack of fire exits and safety measures. Consequently, public health and safety regulations for Ramadan tents are being strictly enforced this year in an effort to prevent tragedies like this, civic officials say. The regulations were introduced only last year. Dubai Municipality officers are inspecting tents during the Muslim holy month to ensure there are no violations, with offending tent companies facing fines of up to Dh50,000 for major violations, which include setting up a tent without proper permits and allowing unlicensed activities. “We will apply stringent regulations for Ramadan tents to ensure that visitors are safe and there are no hazards,” says Dawood al Hajri, the head of the municipality’s planning department. “Our regulations have been in place and this year municipal inspectors will work round the clock to check on these structures in various parts of the city.” Smoking cigarettes and shisha is banned inside small private tents, while hotels setting up larger and more luxu-rious tents have sought special permis-sion for serving shisha, al Hajri says. Cooking is not be permitted in any kind of tent. Safety guidelines also state that tents must not interfere with public utility lines, nor should they block roads, pathways or parking areas. The temporary tents must also be built on transportable foundations. Authorities also encourage tent builders to steer clear of flammable fabrics to enclose the tent as lamps catching drapes and fabric walls alight is the biggest cause of tent fires. Alistair McDonald, managing director of Wicked Tents, which has

12 SAS SEPTEMBER 2010

built an elaborate 2,500 sq metre tent at the Jumeirah Beach Hotel, says tent safety is the company’s number one priority. “We have always taken health and safety very seriously as a company. In fact, last year we recruited a site manager based on his background in this area. In addition to his day to day site management responsibilities he also ensures that all of our equipment is up to speed and that all of our site team members are fully versed in proper health and safety panning,” he says. He adds that the Municipality has been “actively involved” in the project and that while the tent was given final go-ahead approval following a full assessment prior to opening, government departments also carry out regular inspections through-out the month. This on-going safety focus is a responsibility that is shouldered by both the tent company and the client, according to McDonald. “We do a hand over to at the beginning of Ramadan, but still carry At least 50 people we gutted this trade-show re killed in a fire that AFP/Getty Images. tent in India in 2006.

out regular inspections to ensure that structurally, everything is fine. The client also has dedicated health and safety experts who monitor the structure and its contents on a regular basis to ensure compliance.”

Those killed in last year’s deadly Kuwati tent fire were mostly crushed. to death due to a lack of fire exits AFP/Getty Images

www.digitalproductionme.com

The luxurious-feel of the tent is achieved through the inclusion of 312 custom-designed lights among other features.

While the Atlantis Hotel offered iftar and suhour in a Ramadan tent last year, their 2010 project is on a much larger scale. Managed by the in-house development team, headed by Ian Connelly, a senior vice president at the hotel, Asateer, a grand tent situated near the Nasimi beach site adjacent to the hotel, can hold up to 600 guests and has sweeping views over the waters of the Palm and the Dubai Marina skyline, thanks to floor-to ceiling windows that span an entire length of the tent. “The idea behind the brief we were given was for something flexible – the idea is from here we can hold weddings, for new years eve we’re planning to double the size of the tent,” he says, alluding to the tent’s life beyond Ramadan festivities. Because of this life-span, and the hotel’s ‘entertainment venue’ vision, a permanent ‘entertainment deck’ has been built on the beach, which acts as the structure’s foundation.

“It was a beach at the middle of June so we filled in a section of the beach, built a stone revetment to hold the deck and so we’ve now got an event’s deck here that’s 150 metres long and nearly 50 metres wide,” Connelly explains. “We can then erect this tent, or any other tent or stage that we require into the foreseeable future,” he says. And this could include large-scale concerts and corporate events, according to Ashley McBain, vice president, public relations, The Atlantis. “We’ve always considered ourselves an entertainment destination so whether it be a concert or a television programme going live I think something like that is on the cards,” she says. Asateer encompasses two smaller tents that make up an entrance and corridor to the main tent. Connelly admits that the project was a large build, taking 300 workers well over a month to build, but says that coordinating the different contractors used on the project was key to

SEPTEMBER 2010 SAS

www.digitalproductionme.com

COVER STORY entrance Marble flooring was used in the main tent. the to ing lead idor corr and y lobb

ensuring it was delivered on time for its maiden event, a corporate fashion show on August 7. “We employed four main contractors for this project – we had a tent contractor, we used our FM team to do all the electrical, plumbing and mechanical works and then we had a general building for the bathrooms – and a stone contractor,” he says. The stone contractor was used to lay marble flooring in the entrance and corridor tents that greet guests at what is usually a car-park. “The idea is at the end of the event we can probably salvage 80 per cent of that stone and use it for somewhere else,” adds Connelly. Another equally-luxurious element of the tent is the 312 chandelier-style lights that are hung throughout the main section. “They are a custom design. We had an interior designer for the tent, WA, and they did the concept and with the assistance of certain senior members of the hotel, we tweaked the design,” he explains. Although spectacular, the lights threw up the biggest issue in the build due to timing. Custom-made in China, they had an eight-week delivery time. Given the temporary nature of a tent, facilities like bathrooms are also required. In this case, the Atlantis’ development

14 SAS SEPTEMBER 2010

team converted d former f labour-camp port-a-cabins. “They’re a little bit different than your normal port-a-cabin loo,” says Connelly, explaining that they now reflect the high-end fit-out of Asateer. “Three years ago it was the workers on the hotel project that were using them so you had a very basic finish, we’ve added marble sinks, vanity units, high-end finishes for the partitions.” Another consideration with a temporary structure is power. Connelly explains that Asateer uses a combination of three sources – permanent and temporary. “We take 400 amps from Nasimi, we’ve got another 400 amps from the old development offices and we have two 500KVA generators out the back that do most of the AC. So the kitchen is on permanent, all the lighting is on permanent power and eight of the 12 chillers are on generators,” he explains, adding that the portable chillers are a mix of the hotel’s own and those hired by the tent’s supplier, Al Baddad. Al Baddad, a multi-national firm that specialises in temporary as well as prefabricated structures, has also completed Ramadan tents on the JBR’s The Walk in

Dubai as well as at the Mina Al Salam hotel. Asateer is one of their standard tents, albeit from the larger end of their product scale. A grand space – the main tent is a 60 by 40 metre clear span tent with an apex of eight metres – a key element m of the brief was ensuro iing it had an “intimate” ffeel for guests attendiing Iftar and Suhour with friends and famw ilily, achieved through the design and strategic th placement of furniture. p Also key to the fit-out is an audio-visual system, supplied by kit-specialsu ists Gearhouse. Over 60 JBL Control 23T speakers were distributed across four zones in the distributed-line sound system, chosen for its ‘even coverage’ effect. “And we have TV’s linked to the hotel’s in-house channel as well as Playstations throughout,” explains Connelly. Hosting two sittings a night, one for iftar and another for suhour, Asateer sees a lot of traffic and consequently, wear and tear is inevitable. “The reason we went for carpet tiles [for the main tent] is purely because we recognise you’re going to get some damage and so every day we come through and replace the tiles that get damaged,” says Connelly. Beyond maintaining the look of the tent, Connelly says the main priority for The Atlantis is safety and that Dubai World’s safety arm EHS and Trakhees have also given to venue their tick of approval. “We’ve met all the requirements in terms of extract, all the materials are fire retardant, fabrics, everything. We’ve got all the necessary fire exits, we added two high deck lines on the outside and we did that all more or less independently from EHS because we just don’t want anything to go wrong,” he says.

SAUDI ARABIA COUNTRY PROFILE

CASHING IN ON THE

KINGDOM

Events in Saudi Arabia have traditionally been solely of the corporate variety, but is the staging of entertainment events a potential progression? With a population of over 27 million, the opportunity for the event production industry to capitalise this market is surely a viable one. But within the borders of the notoriously private and religiously-strict country lie many obstacles.

hen word spread that Brazil was going to be the guest of honour at the Riyadh International Book Fair in 2006, a Saudi official had to reassure the public that the Brazilians wouldnâ&#x20AC;&#x2122;t be dancing the Samba at the 11-day event. Abdul Aziz Al-Subeil, a senior information ministry official, was bombarded with questions at a press conference at the time that reflected the wariness with which cultural events are viewed by many in the Kingdom. For conservatives, book fairs, theatre productions and festivals are a cause for concern because they allow for the mixing of the sexes, the playing of music and the introduction of material that that they believe violate religious and moral values. Still, despite reports of regular interruptions of cultural activities by men claiming to belong to the religious police, there has been a marked increase in such events in the past few years. In 2005, a concert held by the German Embassy at a government-run cultural centre was considered ground-breaking as it broke many taboos in a country where public music is banned, public concerts are almost never heard of and the sexes are segregated even in lines at fast food outlets. In 2006, the first Saudi Film Festival was held, and was attended by officials from the information ministry in a sign that such events could potentially become commonplace. This hope was dashed however, at last yearâ&#x20AC;&#x2122;s Film Festival. As directors, writers and cinema buffs arrived in Jeddah for what had been billed as a week-long festival of films from Saudi Arabia and neighbouring states, the event was cancelled at the last-minute. Festival organisers were told by the Jeddah municipality an hour before midnight on Friday that the event, due to start the next day, would not go ahead. The only official explanation was that it had not been sufficiently prepared, but it is widely believed the ban is the latest victory for religious conservatives, who regard cinema as a form of Western moral pollution.

16 SAS SEPTEMBER 2010

www.digitalproductionme.com

In a similar turn of events, at the book fair in 2006, women were given greater access to the event where previously their attendance had been restricted to two half-days. Many hoped this move would correspond with less interference by the religious police to stop what they view as excessive mixing of the sexes. Reports of religious police stationing security guards, policemen and religious police agents between those queuing to have books signed and the authors left many thinking things hadn’t changed. NO FUNNY BUSINESS Last month a week-long comedy festival was held in the Kingdom, the first of its kind in the nation. The event – which was organised by Rawad Media Production – included a women-only theatre evening, a line-up of children’s entertainment and a platform for young aspiring comics. While the event went ahead, the separation of men and

women at performances – as well as single-gender casts – was all too familiar to those wanting to push traditional cultural boundaries. So where does this leave the opportunities for event production in Saudi Arabia? Predominantly, business comes in the form of corporate trade shows and exhibitions and large – sometimes royal – weddings. Exhibitions in Jeddah and Riyadh number almost a hundred every year and while some of the organisers and suppliers of kit are based locally, importing skills and equipment from the UAE and the UK is common. When questioned about their interest in doing business in the Kingdom, UAE firms in particular are divided between those that lump such opportunities into the ‘too hard basket’ and those willing to work around the restrictions. “We generally get involved in Saudi if it’s a big royal wedding, where they need more kit than is even available in

Saudi, a big building launch or when the oil industry does something,” says John Shanlian from Dubai-based Protec. “We just finished a huge royal wedding in Saudi – four truckloads of stuff,” he says. He admits the logistics can be challenging but says the key to a successful project is in the planning. “If you have your ducks in a row, it shouldn’t be a problem; it should go as smooth as possible. Our kit always gets stopped at the border and it’s therefore about two days or so but we know that, we anticipate that, that’s why we send it out early,” Shanlian explains. He says paperwork is vital and that an in-house PRO can take care of this. LAND OF OPPORTUNITY? The Informa Group, the world’s largest publicly-owned organiser of conferences and courses, also see’s Saudi potential, forming a partnership with the National Exhibition Company in the Kingdom in

See you at IBC Amsterdam, Booth 10.A41

ROCKNET PERFORMANCE AUDIO NETWORKS

5,+> ; *9(-

:6<5 9 .6,: , :;<+ 25,; 96*

www.riedel.net

SEPTEMBER 2010 SAS

SAUDI ARABIA COUNTRY PROFILE February and opening a Jeddah office the following month. Peter Rigby, chief executive officer of Informa says the Group has aggressive expansion plans over the next three years. “Saudi Arabia is an incredibly important market for Informa’s global growth strategy and we are currently working on a number of ventures aimed at bringing more world class events to the Kingdom. “The Saudi government has made commendable strides in the area of foreign investment and business activity and the timing is right for Informa to establish itself in this burgeoning market,” he explains. Rohan Marwaha, managing director of Informa Saudi Arabia, agrees and says now is the time to capitalise on the market potential. “Saudi Arabia has always been an important market for many companies in the region and with public and private sectors increasingly following a diversified growth strategy, there is no better time to support this growth through the organisation of world-class business events in different high growth industries. “With the resolute support and partnership from the National Exhibitions Company, we

The Riyadh Motor Show is one of largest exhibitions in the Kingdom the .

expect to couple our industry expertise with this unrivalled local knowledge,” he adds. Abdullah Marie Bin Mahfouz, board member of the Jeddah Chamber of Commerce and head d IIndustry d t (JCCI) and dh d of its Centre for Forums and Events, welcomes the agreement, saying it is in line with the instruction of Makkah Gov. Prince Khaled Al-Faisal to make Jeddah a centre for international forums, conventions and exhibitions. He says the JCCI is striving to increase the numbers of exhibitions that take place at the Jeddah International Exhibition and Convention Centre annually from 16 exhibitions to 30. VENUE PROFILE Dhahran International Exhibitions Company (DIEC) is one of the largest exhibition companies in Saudi Arabia. Founded in 1985, DIEC owns and operates a 300,000 sq metre exhibition venue as well as acting as an

eventt organiser i for over 16 exhibitions annually. The exhibition space comprises two interconnected exhibition halls of 7,200 sq meters, a 1,200 sq meter banquet hall, a business centre, VIP hall, mosque, design centre, warehouse and parking to accommodate 5,000 vehicles. Currently in development is an additional 5,000 sq metre hall. Marketing manager Ramzi Ghusn says the expansion is due to the company’s confidence in the growth of the industry. “The exhibition business in Saudi Arabia continues to rise and has experienced an increase in gross turnover in the last few years,” he says.”We ex-

THE LOW-DOWN ON LOGISTICS With a rapidly expanding market for imports in Saudi Arabia - including the import of kit associated with events in the Kingdom - the Ministry of Commerce and Industry has committed to ensuring it is clear and concise in its communications about processes and regulations. While media reports of days-long queues at border crossings are still common, they are becoming less so, according to those in the logistics business. Ovee Mohammed, sales manager, GAC Saudi Arabia, offers some of his tips to ensure a smooth ride into the country. “Any shipment imported into Saudi Arabia by road, sea and air, needs to be accompanied by a trader who

18 SAS SEPTEMBER 2010

has trade licence issued by Ministry of Industry,” he says. “The trader should also be a member of Chamber of Commerce. For general cargo, Customs needs an original, Chamber-attested commercial invoice and certificate of origin plus a packing list. If the shipment is connected with electronics, an SASO certificate or conformity certificate is required. “Customs will impose a duty for all shipments, starting from 5 to 15 per cent, depending on items. Duties are in two types, one refundable as a deposit and the other non-refundable. If the shipment is for a temporary basis, then the actual receiver should obtain a special permission from the Customs

director prior to the arrival of the shipment, then the duty can be paid to Customs as a deposit and claimed for refund once it is re-exported,” he explains. Mohammed does point to alternatives – by importing under a venue name, such as the Riyadh Exhibition Centre, for example - but warns they can be costly. “If you do this, then there are lot of exemptions are available. There is no need for a trader or sponsor, no need for duty, no need for a special permit to clear the goods under deposit basis,” he says. Check out www.iccp.com for more information.

www.digitalproductionme.com

pect this rise to be more intense in the coming years.” He explains while DIEC’s venue location is not in the major cities of Jeddah and Riyadh, its central position in the wealthy Eastern province - between Dammam and Khobar - and accessibility to airports ensures it remains an attractive option for exhibitors and visitors. “It is a thirteen minutes drive from King Fahd International Airport, seven minutes drive from the city centre of Khobar and Dammam, just thirty minutes drive from Bahrain and four hours from Kuwait and Qatar.” Ghusn says an in-house team provide technicalities such as AV and lighting required for events but concedes help from external parties is sometimes sought. To them, he offers this advice: “Saudi Arabia has its own traditions that should be followed. Like in any other country there are regulations for customs clearances, and if exhibits are brought to the Kingdom other than the carried exhibits it is better to have a freight forwarding agency.”

A WIN FOR EMERGING TECHNOLOGIES Saudi Arabian 3D mapping, while not a new technology, has only video production recently been introduced company Techin the Middle East. noMedia, produced a show for the Effat University Graduation ceremony in Jeddah recently. In a first for the region, advanced 3D mapping was used in conjunction with two stacked Christie HD Christie HD 8K projectors. “The effect was sensational and the two projectors collectively provided 16,000 ANSI lumens for the entire stage,” says CEO, Hadi Al Bahra. It was the third event TechnoMedia were involved in at

the university’s 700-capacity auditorium and Bahra says they, like many clients in the Kingdom, are excited to embrace emerging technology as part of corporate productions.

See you at IBC Amsterdam, Booth 10.A41

ACROBAT DIGITAL WIRELESS INTERCOM

www.riedel.net

SEPTEMBER 2010 SAS

www.digitalproductionme.com

THE

THE GUIDE

GUIDE

This month’s hottest product releases including a truss-friendly mic cable and a high-end projector. SHURE KSM44A AND KSM42 Shure’s KSM range of microphones has recently been joined by two new models, the KSM42 and the KSM44A. Both of the newcomers are large-diaphragm, side-address mics designed for both vocal and instrument recording. The KSM42 employs a Braunmühl-Weber (dual-diaphragm) capsule to achieve its fixed cardioid polar pattern, the active diaphragm being a 24-carat gold, 2.5micron, one-inch Mylar type. The passive (rear-facing) diaphragm exists to combat the proximity effect and it does so as a result of the way that it reacts to nearby, low-frequency sounds. The KSM44A, a switchable-pattern mic that offers omni, cardioid and fig-8 settings. This model also benefits from Shure’s Prethos technology, though in contrast to the KSM42, the frequency response extends down to 20Hz.

MITSUBISHI XD8100U AND WD8200U Mitsubishi has launched two installation projectors, the XD8100U (XGA) and widescreen WD8200U (WXGA). The dual-lamp projectors are aimed at the highend installation offerings, featuring a new design and performance designed for large venue applications such as auditoriums, large conference venues or in highambient light environments. Delivering 7000 Lumens and 6500 Lumens respectively, both models feature a patented image-processing algorithm that analyses the input signal and extrapolates high-definition data missing from the original image in real time. Mitsubishi’s Natural Colour Matrix (NCM) allows intermediate colours – yellow, cyan and magenta – to be controlled independently of red, green and blue. XD8100U and WD8200U also feature built-in edge blending technology and advanced colour matching. XD8100U offers a PIP facility, while the WD8200U allows a split screen showing two different inputs for maximum versatility.

CHROMATEQ LED PLAYER 512 / 1024 DMX CONTROLLER A recent arrival on the architectural and entertainment market, Chromateq has developed an entry-level priced DMX control software package that operates with both Windows and MAC systems. The software includes a complete and user-friendly profile editor (library) and an original live mode (live board). In a matter of seconds, LED player automatically generate colour and matrix effects combined with pan and tilt movement, and thanks to its graphic 2D rendering of RGB and dimmer effects, it has numerous applications. The software is downloadable, all updates are free and when you buy the USB/DMX electronic interface, you’ll be able to communicate with your DMX fixtures.

SAS SEPTEMBER 2010

www.digitalproductionme.com

THE GUIDE

SOMMER CABLE CLUB SERIES TEMPOFLEX HIGHTEMP MICROPHONE CABLE Many stage techs let mics dangle from trusses, much to the dismay of cable manufacturers. But Sommer Cable has taken this as a challenge and has developed a rugged microphone cable, tailor-made for use on stages and ideal for theatre boards, musical backdrops and big live events. The company says they take a pair of conductors with thin 0.34 sq millimetre copper litz wires, braid around them several Kevlar strain relief elements and jacket the whole thing with a special TPE SP moulded sheath – and voila! The Club Series Tempoflex Hightemp Mic Cable. The screen - made

of aluminised fleece and tinned copper mesh – has been braided in a motion-optimised angle so that the sturdy cable reels easily on a cable drum and in addition to permanent installations may also be used for mobile applications. The cable can withstand temperatures of between –20 and 110 degrees Celsius.

ELATION ELED TRI PAR 64 POLISHED Early users have raved about the Tri Par 64’s colours, marvelling at how vibrant they are. One online reviewer says he’s never seen as good a yellow without an RGBA fixture. It has 35 macros you can manually select and six different programmes you can run with speed control, which includes a colour fade programme but unfortunately more specific adjustments – red to 200, blue to 150, for example – have to be done through a DMX controller. The fixture has a 25 degree beam angle and electronic dimming. Plus, the polished casing looks pretty flash.

22 SAS SEPTEMBER 2010

VOID ACOUSTICS INFINITE QX Void has launched a new range of 4-channel amplifiers – the Infinite QX – in response to what they say is a gap in the market for greater power in smaller, lighter weight equipment. Based on the Infinite X architecture, the Infinite QX amplifiers are designed to provide significantly enhanced performance, deploying a newly developed advanced MOSFET output stage for the highest fidelity and maximum reliability. Each channel also features a fully adjustable crossover filter, enhancing the QX series’ flexibility. Each 24dB/oct L-R crossover can be configured as either Hi-Pass or LoPass at any frequency between 70Hz to 5kHz, providing exceptional control. The three-model range comprises the Infinite QX4 (4 x 600W at 4ohms), the Infinite QX5 (4 x 1000W at 4ohms), and the Infinite QX6 (4 x 1200W at 4 ohms).

THE GUIDE

22 SAS SEPTEMBER 2010

www.digitalproductionme.com

MARTIN 1500 W MAC 2000 BEAM XB Martin Professional has announced a new product offering that easily converts two of its wash lights into a powerful beam fixture.The Martin MAC 2000 Wash XB and MAC 2000 Wash can be transformed using the inexpensive conversion kit that installs in minutes, making it an ideal solution for large scale events where both beam and wash effects are required, such as stadium and arena shows, according to Martin.The conversion kit is designed to optimise existing lighting gear, eliminating the need to invest in a completely new fixture. Once installed, the resulting 1500 W MAC 2000 Beam XB delivers a fat, tight and bright hard edge beam, perfect for big beam effects and long throws.

CUELEX SOFTWARE Visual Productions’ Cuelux software lighting control is now available for the Ubuntu Linux operating system. Ubuntu is the most popular distribution of open-source Linux OS. It’s free-of-charge and renowned for its stability. Cuelux is a cost-effective DMX512 lighting controller for intelligent, conventional and LED lighting. It offers a darkened and touch screen optimised graphical user interface, industrystandardized cuelist system, iPhone remote control and can be used in 10 different languages. Cuelux has plug and play support for MIDI control surfaces that include fader wings, motorised faders and button stations.

A world of technical solutions As a supplier of rigging and technical solutions to the entertainment, exhibition, architectural, event, TV and film industries in the Middle East, we move things, suspend them and lift them. Whether it’s a permanent installation, a temporary suspension or something that requires repetitive motion, our expertise is second to none.

T. +971 (0) 4 885 9009 info@unusualrigging.com www.unusualrigging.com Regional sales and service partner for Doughty Engineering & Wybron

SAS SEPTEMBER 2010

XXXXXXXX XXXXXXXX

Caption box for all three pics on this page page.

24 SAS SEPTEMBER 2010 10

www.digitalproductionme.com

SEPTEMBER 2010 SAS

RADIO FREQUENCIES IN DEPTH

THE END OF

WIRELESS? L ast year, Ofcom, the media regulator in the UK, advised users of the 800MHz spectrum– including the widely used channel 69 - that it would be cleared, to be auctioned off to the highest bidder which would likely be telcos looking to use the bandwidth for next-generation mobile

26 SAS SEPTEMBER 2010

broadband services. The plan matches similar initiatives across Europe. As part of the move, a compensation package has been initiated to financially assist users to buy new equipment that works on alternate frequencies. It sounds simple, and despite the inconvenience of getting new equipment, us-

ers shouldn’t face too many issues – right? Wrong, says a vocal majority in the live event industry. Everyone from musical legend Andrew Lloyd Webber to small business seem to have a problem with the plan, and to fight it, a group called Save Our Sound (SOS) has been formed. SOS says live music, news gathering, concerts,

www.digitalproductionme.com

Wireless microphones have become an integral part of the way liveevents are staged. Everything from a theatre musical, corporate exhibition to large-scale concert or sporting event such as the Olympics utilises the technology developed over 50 years ago. But a recent announcement by the UK government to clear radio frequencies used by the events sector is threatening the status quo.

musical theatre, sports events and film making are just some of the industries that will be affected when the changeover happens. “The winners are the spectrum-greedy behemoth corporations and the Government. The losers are the little guys,” a spokesperson says. Almost all wireless microphone systems use wideband FM modulation, requiring approximately 200 kHz of bandwidth. Because of the relatively large bandwidth requirements, wireless microphone use is effectively restricted to VHF and above. Most modern wireless microphone products operate in the UHF television band - in the UK, this band extends from 470 MHz to 854 MHz. The most commonly used frequency is known as channel 69, which will be cleared as part of the move. Ofcom says it will provide a replacement spectrum and maintain access to channel 69 during the changeover period in addition to funding for eligible users affected by the clearance. The replacement channel – channel 38 – is said to offer longer battery life and extended range because of the lower frequency it runs off. Some equipment that currently oper-

ates in channel 69 can be modified to work in channel 38. Additionally, some equipment can be re-tuned, without modification, to a spectrum called channel 70 that is shared with other users at no cost and without the need for a licence. This could be suitable for nonprofessional users, such as churches, pubs and community organisations. However, most equipment will need to be replaced. Ofcom says those affected will receive roughly 55 per cent of the cost of replacing their equipment but SOS says the package is inadequate and the Minister for the Digital Economy, Ed Vaizey admits that thanks to the fine print, the compensation only encompasses 6 per cent of the radio frequencies that will be cleared. Save Our Sound claims the Government has exploited technicalities to avoid paying out to those high-end users that tune to channels 31-37 and 61-68, which are also being cleared. The group says these additional channels are needed to produce largescale events like the Olympics. A spokesperson for SOS UK said the Government’s actions amounted to an “injustice” and adds: “This shows that the Minister simply does not understand how the Programme Making and Special Events (PMSE) sector works.

“We can’t go back to the cabled microphones of the Fifties and Sixties: it would be like asking audiences to go back to a version of the musical Stone Age” – Andrew Lloyd Webber

SAS SEPTEMBER 2010

www.digitalproductionme.com

RADIO FREQUENCIES IN DEPTH “To call this package ‘generous’ is an abuse of the English language. The decision will devastate the small and medium-sized businesses that support the UK’s live events industry. Where are they going to find the extra money to continue to do their job? Without them, the large-scale events sector could collapse like a house of cards.” Andrew Lloyd Webber agrees. He says that plan could silence West End musicals forever. Lord Lloyd Webber first introduced the revolutionary radio technology to the theatre in 1971 in his hit show, Jesus Christ Superstar. Like many, he says that small operators in particular would not have the money to compete against the likes of the

mobile phone networks to buy the spectrum. “We can’t go back to the cabled microphones of the Fifties and Sixties: it would be like asking audiences to go back to a version of the musical Stone Age,” he claims. But are Save Our Sound and Lloyd Webber just being melodramatic? They say not – claiming that the government has failed to provide any precise alternatives to the spectrum. “How can you buy replacement equipment when you don’t know what frequencies it can operate on?,” the SOS website asks. If current proposals are implemented, SOS paints a pretty dire picture, saying

ON THE HOME FRONT The UK and Europe are adopting similar radio frequency stances when it comes to the staging of live events, but what about the Middle East? In the UAE, the Telecommunication Regulator Authority (TRA) have been busy with more than announcing plans to ban Blackberry services. While there is not a designated channel for liveevents, users have to acquire a license and large-scale events are monitored vigorously when it comes to who uses which frequencies. But a change could be on the cards. “We have currently invited tenders for consultancy into the total industry,” says a TRA spokesperson. “We are currently in an evaluation stage and once we have made our decision we will appoint a consultancy in three or four months.” Lee Charteris, operations director for Flash, has been impressed with the TRA’s standpoint on the issue. “The TRA have become lot more proactive here in the last year. Part of our process now is to make contact with the TRA quite early and we ask the bands whether they’re bringing radio or radio mics and their frequencies and we then have to go and

28 SAS SEPTEMBER 2010

potentially short-term license that,” he says. But doesn’t the lack of a dedicated spectrum solely for live-event use invite potential issues, namely with interference? “That was brought to a head last year dramatically during the Formula One because all of a sudden there’s 800 people standing around with some kind of radio unit and if someone is not actually mapping that entire frequency range, then you’re in trouble,” he concedes. “The TRA did a great job with that and they were very vigilant on the island. There were people driving around, monitoring people’s use. And I think this year it will be a lot better and easier because of that, they’ve got a precedent and they know the demands of an event on that scale. You’ve got to really plan ahead for that type of event. “I know that we’re just about to go into talks with the TRA again [for this year’s Formula One] and this is all part of growing the industry, figuring out stuff like frequencies for live events. A lot of my time is spent educating bodies like the TRA on the way all the departments and stakeholders can work together to make a business for everybody,” he explains.

The UK government will phase out Channel 69, among others, over the next year.

“The winners are the spectrum-greedy behemoth corporations and the Government. The losers are the little guys” – Save Our Sound that all productions and businesses that depend on wireless radio technologies will be under threat, from the freelance sound engineer to the Olympics, because of the way that the UK’s pool of equipment is held and supplied. “Live music, newsgathering, musical theatre and other events are likely to become impossible to stage. Companies will go bust, individuals will go bankrupt and employees will be made redundant. The UK’s balance of payments will be severely affected, charitable and community organisations will have to divert funds from core services,” says the group’s spokesperson. Equiniti Limited, appointed by Ofcom to administer the compensation package, are now accepting registration from those wishing to take advantage of the scheme. Users can either give up their equipment or request financial assistance to replace it but have to do so before December 2010, from which time the claims will be processed. So for now, it seems, there’s nothing for the programme-making and special events industry in the UK to do except take stock of their equipment and start tuning into a new band.

200+ Exhibitors | 800+ Brands | 70+ Countries

The Middle East’s Leading Pro Audio, Lighting, Music, AV, Systems Integration and Entertainment Technologies Exhibition

Meet 6000+ visitors from the Middle East Who will visit PALME Middle East?

26 – 28 April 2011 Dubai International Convention and Exhibition Centre

www.palme-middleeast.com Conﬁrm Your Participation Today! Featuring:

t Architects t AV Consultants t Bars t Clubs t Concert Producers t Contractors t Dealers t DJs t Distributors t Engineers t Facilities Managers t Government Departments t High Net Worth Individuals t Hotels & Resorts t Installers t Interior Designers t IT Networking Companies t Rental Event Management t Retail Outlets t Shopping Malls t Stadia t System Integrators t Theatres t Venue Owners Featuring exciting new live demos, practical workshops, certiﬁed courses from our supporting associations & new national pavilion groups.

+971 (0) 4 3365161

+971 (0) 4 336 4006

Platinum Sponsor:

palme@iirme.com

Organised by:

AV TECHNOLOGIES IN DEPTH

MODERNISING

ANCIENT

EGYPT In a combination of wonders from era’s thousands of years apart, a spectacular sound and light show is showcasing Egypt’s Edfu Temple in a whole new way. The ancient monument is now an even more popular stop on the country’s tourist-trail, thanks to some hardy equipment installed in an extremely delicate manner.

hen visitors arrive at the Edfu Temple, a 2,200-year-old landmark located in the desert 500 miles south of Cairo, they are greeted with an imposing sound and light show that brings the mysterious world of ancient Egypt to life. It’s an intriguing juxtaposition of state-of-the-art technology and Ptolemaic history - sonic clarity from weather-protected Meyer Sound systems and large-scale projection from four Christie Roadster S+20K 3-chip DLP devices elevates the storytelling, and helps provide travellers with a new way to experience the ancient monument and Egyptian mythology. The Edfu Temple - also known as the Temple of Horus - is the second largest surviving ancient Egyptian temple (after Karnak) and one of the best preserved. The 50-minute sound and light show is part of a US$6 million project completed in 18 months and managed by Misr Company for Sound, Light and Cinema. “We added a sound and light show in Edfu for three main reasons,” explains the company’s chairman and managing director Essam Abdel-Hady. As well

30 SAS SEPTEMBER 2010

as taking advantage of the preserved state of the site, he says economic reasons were a drive behind the project. “Passengers on a Nile cruise docked overnight in Edfu previously had very few evening sightseeing options. This project is also a way to develop the economy of Edfu, which is not a wealthy town,” says Abdel-Hady. “Our goal was to create a show that would set a new benchmark for permanent sound and light shows at historic monuments,” says Sabine Weissinger of Germanybased Casa Magica, designer for the Edfu show. “The Meyer Sound loudspeakers are able to deliver a full orchestra sound as well as delicate solo instruments, choir and reciting voices.” Phil Lord, Christie’s sales consultant, Africa was on-site during the planning phases to demonstrate the potential of the company’s projectors in the show. “We are able to use just two 20Ks stacked, with the lamps run at 60 per cent of their power. This way we are not only energy efficient but we have full

(Left) The temple during the day and (above) during the show. redundancy in the event of any faults,” he says. These are mounted on pylons 70 feet from the ground, and encased in two temperature-controlled cabinets to protect them from dust, sand and heat. Egyptian technology company Horizon won a closely fought contract to produce the show - the company was also part of the team responsible for the successful production at another ancient tem-

www.digitalproductionme.com

ple on Philae Island, where Meyer Sound systems installed in 2004 have prevailed despite the heavy rainfalls and hot temperatures. “After the success that we had with the audio at Philae sound and light show, it was a simple decision to stick with Meyer Sound for the Edfu Temple,” says Wael Gouda of Horizon. “We had to specify a product that would perform under extreme weather conditions and Meyer Sound proved its quality and durability in the Philae project.”

Four Christie Roadster S+20K 3-chip projectors add visual impact to the show.

SAS SEPTEMBER 2010

www.digitalproductionme.com

AV TECHNOLOGIES IN DEPTH t - the Historical preservation was a key-challenge to the projec ent was to equipm that ated mand ities Antiqu an Egypti of ry Minist steer clear of the ancient temple walls or columns.

The Ministry of Egyptian Antiquities mandated that the loudspeakers were to steer clear of the ancient temple walls or columns. The final system configuration was a collaborative effort of Bassem Fahmy, Modern Touch’s director of technical support, Casa Magica, and Horizon’s consultant Toon Thellier. “Most of the loudspeakers are strategically placed in locations that comply with the Ministry’s requests such as the top of walls, inside windows, and on poles,” says Fahmy. The team of creatives behind the project features lighting designers, sound composers and artistic directors. A total of 13 Meyer Sound UPM-1P loudspeakers provide effects and ambience before the show kicks off. Lighting and the wall-projected imagery are synchronized with audio tracks reproduced by three UPQ-1P loudspeakers on top of the enclosure walls and two 700-HP subwoofers on the ground. The action then shifts to the temple’s colonnade courtyard, reinforced by six UPQ-1P loudspeakers on poles and cornices and two 700-HP subwoofers for surround sound. Two additional

32 SAS SEPTEMBER 2010

UPQ-1P loudspeakers l d k are d dedid project presented a rare opportunity for cated to the voice of Horus, the main us to work at a prestigious ancient site. godly lord of the temple and protagoWe very much appreciate the confinist of the show. dence of our client MISR company, the Finally, for the third act, the audicooperation of the Supreme Council of ence is guided to the front of the temAntiquities, as well as the commitment ple to witness the celebrated rituals of to the project demonstrated by all of Edfu, Horus’s battle against Seth, and the parties involved.” the Festival of Behdet - the final 16 minutes show a giant The 50-minute show is bound to Christie projection onto the 40 increase the popularity of the Edfu Temple as a tourist destination. foot by 40 foot temple fascia. Nine UPQ-2P loudspeakers and two 700-HP subwoofers from Meyer complete the loudspeaker configuration. “The Edfu Temple was one of several temples built during the Ptolemaic period,” says Engineer Fawzi of MISR Company for Sound, Light, and Cinema. “The new spectacle with its sight and sound has turned the darkness surrounding the temple into an amazing site for visitors to experience its history. We are very pleased with the result.” Friedrich Foerster of Casa Magica adds: “The Edfu

The Middle East Region‘s Leading Trade Show and Conference for Urban, Architectural, Theatrical and Retail Lighting Solutions

Visit us! October 31 – November 2, 2010 Dubai International Convention and Exhibition Centre Dubai, United Arab Emirates

www.lightme.net

One of the world’s few

CARBON NEUTRAL exhibitions

Light Me 2010 AD-Sound & Stage indd 1

8/15/10 10:36 AM

AUDIO MONITORING BUYER’S GUIDE

BUYER’S GUIDE AUDIO MONITORING In-ear versus wedges? When it comes to audio monitoring, it seems the old-school days of stage wedges may be on the out, with most now favouring more high-tech in-ear systems. Have you ever been at a concert – either as a spectator or crew – and seen one of the performers rip out their in-ear monitor and – depending on their level of professionalism or rock-star credibility – either glare at the audio engineer or continue on as if nothing happened? The importance of audio monitoring cannot be underestimated and ly prefers her Jazz-singer Norah Jones’s apparent piano player, whether choosing oldstage monitors loud, but is a ‘soft’audio engineers. school style stage wedges which has proved a challenge for (or monitors, whatever you the performer. Depending on the sochoose to call them) or the phistication of the audio system, there more high-tech in-ear monitoring devices, may be any number of monitor speakers one thing is for sure – the right audio mix on the stage, and any number of differis vital to ensure the artist/s can give the ent mixes sent to the different monitors performance their all. for separate performers. A monitoring system provides a mix Ex-musician turned head of audio for of audio sources to a performer on stage Protec in the UAE, Ed Ross, says his preferand traditionally, monitors or loudspeakers were placed on stage directed toward ence between wedges and in-ear’s really

34 SAS SEPTEMBER 2010

depends, like many, on whether he’s ond stage or behind the scenes. s “It’s always great to have just lots and lots lo of sound on stage – if people can manage it. If you’ve got a good engineer m that can actually control what’s going on t and it’s not just a big mess, then yeah it’s great to just have monitors everywhere and sound coming out of where ever you want,” he explains of his musicianmindset. Ross also points out that the level of the band or artist can dictate their audio monitoring preference. “In this part of the world, a lot of people are doing one-off gigs and they’re not that well know so a), they might not have access to that type of equipment for a start and b), they want to stick with what they know and in the pubs and clubs they’re going to have wedge monitors and whatnot,” he says. The draw-backs of monitors, however, are plentiful and this means that for Ross, working in pro-audio, in-ear monitors often win-out.

www.digitalproductionme.com

“I like working with in-ears because it makes the stage a lot quieter which makes things easier – particularly with small stages. So I always try to persuade people to go with in-ears but at the end of the day I can understand if they don’t want to,” he says. Loud instruments, such as drums, require the floor monitors to be even louder than the other stage monitors to be heard and this competition can decrease the clarity of the audio and affect the performer’s ability to hear their mix. In addition, there are geographical constraints that mean the singer or musician must remain in front of their own monitor in order to hear their performance. “You can imagine if you’ve got a signer or guitarist that runs all over the stage, how can you make sure that you have coverage of what they need to hear everywhere? It’s just not possible with monitors,” says Ross. He admits the challenge of working with in-ears though, is hitting the right balance between too much noise and not enough. “They completely block out any other sounds so it can be quite clinical. As an engineer there are ways around that to make it feel more like a conventional monitor. For instance we use microphones just to pick up the audience and then feed that back into the areas so that they are hearing a true sound. “The balance between too much noise and it being too clinical is the biggest challenge. For the most part, monitors are fairly easy in my opinion but you’re going to have key issues all the time which is your lead vocalist because they require a lot of level and depending on the nature of the band, if you’re got a jazz trio then monitoring is very easy, just very natural. In rock and roll you need that more reinforced sound – it’s always a battle, particularly with the older technology of monitors, that the clarity is not as good as a big front house system; so it’s trying to get their vocals through while still giving them enough of the guitar that they need, enough of the kick drum they need, they absorb a lot of energy out of the monitor and you run it out of the room.

...as does Smokey Robinson

Robbie chooses in-ears.

So it’s a different way of mixing, to mixing a band for front of house – it’s a different process,” he explains. The technology used today on the latest in-ear monitoring systems means that almost all are wireless - “you can get wired in-ears – sometimes drummers wear them because they’re not moving, it’s a more reliable way of doing it,” says Ross – and unlike early versions, interference is minimal and audio quality is near-perfect. Despite this, problems can arise and to be on the safe side, many engineers opt to have side-fills of monitors switched on at low levels as a back-up in the event that in-ears fail. “Side-fills, which might be a flown PA system either side of the stage, do a general coverage thing and then you use monitors

which bring out spots,” he says, of the worst-case scenario. Such a scenario is unlikely, says Ross, by completing pre-show checks and anticipating any interference issues with the wireless signals that in-ears run on. “The way you set up your antennas to cover a stage has to be quite particular. You sometimes get one point where you have a dead spot and you have to move things around to clear that, he explains. At pop star Rhianna’s Abu Dhabi New Year’s Eve concert, such problems arose – “her stage set had a lot of big pieces of metal in it” – but these were ironed out prior to the gig at rehearsals.

The Who are from an era where stage monitors were the norm.

SAS SEPTEMBER 2010

www.digitalproductionme.com

AUDIO MONITORING BUYER’S GUIDE

A SHURE THING Shure’s range of in-ear monitoring systems is one of the industry’s standards, favoured by the likes of Smokey Robinson and Robbie Williams. Shajahan K.K, Shure’s product manager at UAE distributor NMK Electronics says this is because of the brand’s broad range of products, quality of audio and durability. “You can buy something from the range and in ten years time, you’ll still be getting the same sound,” he says. The latest version on the market, the PSM 900 was released earlier this year and unlike its predecessor, the

MONITOR MAGIC For those wanting the rock and roll experience of stage monitors, check out these.

PSM 700, is digital, rather than analogue, and at about AED6000, it’s cheaper too. Shajahan says the “frequency compatibilities and number of transmitters you can use at the same time,” is also greater on the PSM 900. He says the ability for a performer to control their own volume on the Shure’s belt packs means it’s a far more convenient option over stage monitors: “you don’t need the assistance of the people from the

12M can be angled at either 30 or 45 degrees from the floor in addition to being pole mounted.

Martin Audio LE series Peavey PV12M Rated at 500 watts programme and 1,000 watts peak power handling capability, the rugged, trapezoidal PV 12M is built to withstand the rigors of the road. The PV

The LE2100S, LE1500S and LE1200S stage monitors are capable of generating exceedingly high SPLs with a minimum of distortion. They are housed in contemporary styled, camera friendly cabinets of lightweight, yet exceedingly robust construction and are eminently suitable for any reference situation.

From left: Peavey’s PV12M and the Martin Audio LE series.

36 SAS SEPTEMBER 2010

mixing desk to make a slight volume adjustment.” Maintenance is convenient too - the cables are replaceable making it far more cost-effective than replacing the entire unit.

RCF NX 10-SMA, NX 12SMA Designed to offer optimised audio quality in a lightweight package, an integrated large-sized single neodymium ring magnet is included in RCF’s latest wedges to provide high flux density and BL factor. Both the new transducers are equipped with a new hyper-vented basket and magnetic assembly that provide a heat dissipation and lower power compression, which results in zero feedback.

The Middle East & North Africaâ&#x20AC;&#x2122;s ONLY monthly magazine for the broadcast and production industry

Official Title

FOR ADVERTISING CONTACT:

FOR EDITORIAL CONTACT:

TO SUBSCRIBE:

Fareed Dubery Tel: +971 4 2108 632 Email: fareed.dubery@itp.com

David Ingham Tel: +971 4 2108 312 Email: david.ingham@itp.com

Subscription is FREE for industry professionals. Simply visit: www.itp.com/subscriptions today.

TOP 10

TOP 10 GLOBAL

CONCERT VENUES A great concert can change someone’s life - but have you ever considered the location of the show to be a factor in the overall fan experience? Sure, the entertainer ultimately drives ticket-sales, but if you consider the sound quality, comfort level, and general vibe of some of the best gigs ever staged, they may all start to point back to a few specific locales. Read on to find out about the 10 most exciting, exhilarating, impressive concert venues in the world.

MADISON SQUARE GARDEN (New York, USA).

WEMBLEY STADIUM (London, England) For decades, Wembley Stadium has achieved a near-iconic status, declaring itself the ‘Venue of Legends’ and holding some of the most exciting musical events in modern history. When Michael Jackson performed here he made the Guinness Book of World Records and when Bob Geldof’s famous Live Aid benefit aired in 1985, it drew 1.4 billion viewers. After an ambitious remodel, the updated stadium opened in 1997 to hold 90,000 fans and featuring a 133 metre high steel arch, which replaces the former Twin Towers.

38 SAS SEPTEMBER 2010

C Claiming the title of ‘The World’s Most Famous Arena’, Madison Square Garden had m three different addresses before settling in th its it current spot - on Seventh Avenue, between 31st Street and 33rd Street - in Febtw ruary of 1968. Many historic shows have r taken place here including John Lennon’s t last l live stage performance in 1974 (which had him paying a debt owed to Elton John) and the amazing Concert for New York benefit in October of 2001, to aid the victims of the 9/11 terrorist attacks. The Garden continues to host the biggest names in music; last month saw performances by Lady Gaga and Iron Maiden.

www.digitalproductionme.com

SYDNEY OPERA HOUSE (Sydney, Australia) In January of 1957, Danish architect Jorn Utzon won an international design competition to create a national opera house in Sydney. For years, Utzon worked to develop his dream, largely surpassing the allotted budget, and radically changed portions of his original vision when the engineering proved to be too challenging. As a result, he was removed from the project. A new team of architects was brought in and the Sydney Opera House finally opened in October of 1973. Today, aside from being a top-notch concert hall, the structure is recog-

3 nised worldwide for its beauty and individuality - and the Aussies have forgiven Utzon for his visions of grandeur. The iconic venue is set to receive a US $132 million revamp that will focus on improving crowd safety, particularly on its forecourt.

FESTHALLE (Frankfurt, Germany) Once considered the largest dome structure in Europe, the Festhalle has come a long way since it opened in May of 1909. The building, with its stunning glass roof, is recognised as a beautiful architectural landmark as well as an effective concert venue, hosting the likes of many modern musicians such as Rod Stewart and Destinyâ&#x20AC;&#x2122;s Child to an audience capacity of over 15,000.

SLANE CASTLE (County Meath, Ireland) Presently under the care of Lord Henry Mount Charles, Slane Castle has been affiliated with the Scottish Conyngham family since the 1700s. The structure, featuring gothic gates and a magnificent grand ballroom, is surrounded by lush, green hills and overlooks the River Boyne, making it an ideal outdoor performance area - itâ&#x20AC;&#x2122;s natural amphitheatre can hold 80,0000 people. Though a

!LTERNATIVELY CONTACT 0ROTEC OUR -IDDLE %AST DISTRIBUTOR FOR A QUOTE

4EL 1991 fire destroyed a large portion of the castle, it was restored over a 10-year period, and is again a function-

ing venue. A variety of artists including U2, Madonna and Bob Dylan have held concerts at the site.

SALES PRODUCTIONTEC COM WWW PRODUCTIONTEC COM

SAS SEPTEMBER 2010

www.digitalproductionme.com

TOP 10 RED ROCKS AMPHITHEATRE (Colorado, USA)

Once named as one of the Seven Wonders of the World, the Red Rocks Amphitheatre is made up of two three-hundred foot sandstone monoliths, set along the Rocky Mountain Foothills. The naturally formed venue got its official start in 1906 when visionary John Brisben Walker held the first concert. In 1927, the city of Denver purchased the land and its breathtaking open-air stage has been successful ever since. Red Rocks has been a popular venue for live recordings, particularly videos due to the visual uniqueness of the setting. During the 1970s and 1980s, local folk-rocker John Denver recorded several world-televised concerts at Red Rocks. U2’s 1983 concert video, Live at Red Rocks: Under a Blood Red Sky, became a best-selling concert video and several songs became popular music videos.

THE PALAIS OMNISPORTS DE PARIS BERCY (Paris, France)

With a capacity for 17,000 guests, the ‘Bercy’ was completed in 1983 to help revive the less-cosmopolitan eastern half of Paris. The plan worked and the site now thrives, bringing world-class talent through its doors each year. Its unique pyramid appearance also makes it visually aesthetic and sets it apart from other venues of its type.

ROYAL ALBERT HALL (London, England)

The Royal Albert Hall is one of the UK’s most treasured and distinctive buildings, recognisable the world over. Since its opening by Queen Victoria in 1871, the world’s leading artists from every kind of performance genre have appeared on its stage. Each year it hosts more than 350 performances including classical concerts, rock and pop, ballet and opera, tennis, award ceremonies, school and community events, charity performances and lavish banquets. The Beatles, The Rolling Stones, The Who, Elton John and Tina Turner are just some of the artists to have graced the stage at the Royal Albert.

40 SAS SEPTEMBER 2010

THE HOLLYWOOD BOWL (Los Angeles, USA)

The Hollywood Bowl is known for its band shell, a distinctive set of concentric arches that graced the site from 1929 through 2003, before being replaced with a somewhat larger one at the beginning in the 2004 season. The shell is set against the backdrop of the Hollywood Hills and the famous Hollywood sign to the Northeast.

TOKYO DOME (Tokyo, Japan) It’s the ‘Big Egg’ to locals, but the rest of the world calls it the Tokyo Dome. With a capacity of 55,000, this sstructure, with a speccial air-supported dome, holds the title of the h largest concert venue in la Japan. Since its openJa ing in March of 1988, it in has played host to many ha international superstars, in including Madonna and inc The Backstreet Boys. Th

Ideas, people, PLASA 2010. If you haven’t yet marked September 12-15 in your diary, now’s the time, because over 300 of the industry’s leading manufacturers and distributors will launch 100s of new products at PLASA 2010 – the world’s number one showcase for audio, video, lighting & staging technology. With more new products, more solutions and more opportunities to share knowledge, there’s no better place to be this September.

Over 500 NEW audio, video, lighting & staging products launched live at the show FREE four day Education & Learning Programme NEW PLASA International Rigging Conference (Monday 13 and Tuesday 14 September) NEW interactive Innovation Gallery (Earls Court 2 entrance with early opening) PLASA Awards for Innovation Ceremony (Monday 13 September) EN54 Focus understand how this affects you NEW Industry Skills & Qualifications Wednesday Look out for more PLASA 2010 initiatives being announced in the weeks ahead . . .

Book online now to save 50% off the ticket price (only £10 if you pre-register - so don’t delay!)

www.plasashow.com Re-investing in the industry

PLASA 2010

TOP 5 THINGS TO DO AT PLASA 2010 The leading international trade exhibition for the entertainment and installation technology industries is here. For those of you making to journey to London this year, S&S have done the hard yards to bring you the cream of things to do at PLASA 2010.

CHECK OUT THE NEW PRODUCT RELEASES ence and audio artefacts, and ensure reliable operation in hostile RF environments. Whereas analogue wireless systems’ audio may degrade with distance, Line 6 digital wireless technologies ensures this doesn’t happen. The XD-series feature full-quality audio specs (10 Hz – 20 kHz RF frequency response, up to >120 dB dynamic range, and 24-bit digital conversion) to the limits of their ranges. The 2.4GHz band also allows for licensefree use worldwide. STAND LOCATION: 1 – J12

PLASA is all about new products, new versions of products and new technologies that will be used in new products. Stand-outs to be launched this year include: PIXLED F-6 screen This mega-bright, lightweight surface is the first 6mm LED display that is curvable in all directions - setting new creative parameters in video display technology. Being able to curve a screen vertically as well as horizontally is a completely new concept, and for maximum dynamics and effect, the F-6 can be shaped into a combination of both directions on both planes via the integrated mechanics on each module itself. This can be achieved quickly and simply with no additional tools or rigging apparatus needed. STAND LOCATION: 2 - S27 Lighthouse DuoLED DuoLED is a lightweight mesh product that has all the advantages of transparency and ease of handling, but with an extra benefit - as the name suggests, it’s a dual-mode product. It can be used as a mesh screen but, with the simple flick of a switch, can also be used as a standard display panel. Available in 12mm and 18mm pixel pitch versions, DuoLED is

42 SAS SEPTEMBER 2010

Product launches at this year’s event are expected to include technical refinements to well known products as well as brand-new technologies.

ideal for large format indoor or outdoor displays, with a brightness of 5,000 nits, accurate reproduction of 281 trillion colours and IP65 ingress protection rating. STAND LOCATION: 1 - H8 Line 6 XD-Vs The XD-V30 and XD-V70 are digital wireless microphone systems utilise digital channel lock and proprietary data placement technologies to encoded digital transmissions, govern against AF interfer-

R.A.T Music Stands Radio Controlled Power Pack Following the launch earlier this year of its radio controlled LED lights, R.A.T. (Music Stands) is extending its suite of radio controlled accessories. The Radio Controlled Power Pack consists of a radio controlled socket and a rechargeable battery, enabling completely wireless control over any 24V appliance plugged into the socket. Other voltage outputs are available to order. The Radio DMX Bridge Receiver eliminates the need for DMX cables when controlling any DMX enabled device as the transmitter and receiver form a wireless bridge between any wired DMX outlet and the DMX input to the device. STAND LOCATION: 1 – G2

www.digitalproductionme.com

PARTICIPATE IN THE AV NETWORKS CONFERENCE This business and technology conference will run alongside the PLASA show on Wednesday, September 15. The one-day event will throw light on the burning issue of networking technologies and protocols, how to make the best use of today’s standards and what can be expected in the future. The conference is aimed at AV installers, sound engineers, technical officers, rental companies, executives and consultants plus anyone with an interest in the technology and the business of AV networking. Chaired by Roland Hemming, the highly respected AV industry consultant and commentator. AVNetworks 2010 will take a multifaceted ap-

proach to the subject – with contributions from manufacturers, consultants, installers and rental companies, according to organisers. Sessions include:

Control and integration – how to ensure that different equipment types can communicate with each other.

• Manufacturers’ panel – which networking standards have they adopted and how do they see the future developing? • Control and integration – how to ensure that different equipment types can communicate with each other. • Video networking – issues and challenges. •The future of integration with IT and building automation. •What do end users want from AV networks, and what are they actually getting?

SAS SEPTEMBER 2010

www.digitalproductionme.com

PLASA 2010

TAKE ADVANTAGE OF THE FREE EDUCATION OPPORTUNITIES This year’s free education and learning seminars are billed as the most comprehensive yet and will cover topics like sustainability, product development and AV integration. The programme will run over the four days of the PLASA show and highlights include: Gottelier masterclass – ‘Don’t just measure – listen.’ Presented by Alex Cooper of Midas / Klak Teknik, recipient of the Gottelier Award 2009. Sustainability – ‘Hydrogen – an alternative fuel source’ and ‘Sustainable touring – practical ways to green your tours.’ Presented by Arcola Energy, White Light and Julie’s Bicycles.

AV and systems integration – ‘Lighting for video in the large meeting environment’ and ‘Audio techniques for corporate AV events.’ Presented by Andre LeJeune, rental and staging staff instructor, infoComm International. Skills and qualifications – ‘Harnessing social media without fear.’ Presented by Claire Adams and Jonathan Ross from Social Fuel. Career development – ‘Women in Stage Entertainment – who we are, what do we do and why.’ Presented by Women in Stage Entertainment (WISE), established to address under representation of women in the entertainment technology sector.

NETWORK, NETWORK, NETWORK This type of event generally has a pretty strong social element. As well as the essential product and supplier reviews, there will be plenty of time to catch up with colleagues over a drink. On the more formal side of the scale is the newly-launched PLASA Connect, which will help develop new business opportunities for companies by providing a ‘shop window’ for these groups to introduce their services to a new audience of potential customers. Pre-booked meetings – held in a newly appointed meeting area at the show - can be arranged at PLASA 2010 via an online meeting and matching system – check out www.plasashow. com for more information.

SIZE-UP THE GOTTELIER AWARD NOMINEES – AND WINNER In its fourth year, the Gottelier Award recognises those who have made a significant and sustained contribution to the development of entertainment technology. Named in memory of the former designer, developer and commentator Tony Gottelier who died in 2006, the award is decided by PLASA and ESTA member as well as all visitors and exhibitors pre-registered for the PLASA show. The winner will be announced on Monday, September 13, 2010 at the show. This year’s nominees are: Richard Cuthbert Richard is director of engineering for Global Design Solutions (GDS) who has introduced several industry firsts including Blues System, a maintenance free working light system; and wireless DMX Uplighters that charge in the flight case via mains or a solar panel.

44 SAS SEPTEMBER 2010

Fred Foster Fred is chief executive officer of ETC (Electronic Theatre Controls), which he started in 1975. Since then he has developed a wide range of products including Mega-Cue, the first console to utilise digital multiplexed data over two conductors between the desk and dimmers; as well as contributing to the design of the Eos, Congo and Ion desks. Stephen Court Stephen has been the driving force behind Court Acoustics and his Black Box and Ramjet loudspeaker systems are known industrywide. SCareer highlights include creating the first off-stage mix in 1972; introducing the world’s first stereo graphic equaliser and portable spectrum analyser in 1973; and inventing Sound Check, the world’s best-selling test CD. Wayne Howell Nominated for the fourth consecutive year, Wayne’s innovative products span the enter-

tainment and architectural markets. He helped develop ESTA standards DMX512 and RDM, created Art-Net - the royalty free control protocol - and initiated the Zero Carbon Project. Udo Kuenzler Udo Kuenzler founded GLP – whose debut featured the Patend Light that combines the mechanics of a moving head and a moving mirror – in 1994. New innovations include incorporating LEDs into fresnel optics and the world’s first high-powered RGB LED spot fixture. Glenn Rogers Glenn Rogers started at Allen & Heath as a design engineer in 1983, becoming managing director in 1992. Standout achievements include growing sales to £25 million, pioneering dual-functionality in the 1990s and introducing professional sound and build quality to the DJ market.

LightCube N

GEN

the professional showlasersystems extremely robust outstanding quality shock absorbing technology superb Lifetime maintenance free plug and play Diode / DPSS < 1 mrad SSV VFDQQHU $SROOR ,QÂżQLW\ Active Scanner - Safety > 10.000 hours Lifetime made in Germany awarded technology

Club S

eries

up to 80 W RGB & RYGB made in Germany 3,5 W RGB R 640nm G 532nm B 445nm PD[ : VSHFLÂżHG :

6.990,- â&#x201A;Ź

SA PLA ial c Spe

export Price + VAT

8 W RGB R 640nm G 532nm B 445nm PD[ : VSHFLÂżHG :

9.990,- â&#x201A;Ź

SA PLA ial c Spe

export Price + VAT

Distributors & Dealers are welcome HB-Laserkomponenten GmbH

References:

Heldenbergstr. He elde elde ld de enbe enbe ergs er rrg gs str st tr. r. 26

- Olympic Parc Beijing

73529 SchwĂ¤bisch GmĂźnd

- Mercedes Benz IAA 2009

Germany

- Costa Cruises: 5 cruise ships

Fon: +49 [0] 7171-104692-0

- Holy Defence Museum Tehran

Fax: +49 [0] 7171-104692-200

and many more

sales@hb-laser.com

www.hb-laser.com

www.digitalproductionme.com

THIS MONTH’S...

Hitlist

The

Academy of Production Technology electrical training seminar Nashville, US September 1 to 3, 2010 The Entertainment Electrician and Technician Training Seminar is an ETCP Recognised course taught by ETCP Recognised Trainer Richard Cadena. The three-day event covers the concepts of electrical theory, power distribution, and controls. This seminar is an excellent review for the practicing entertainment electrician as well as a primer for the aspiring electrician. It has enough detail and information to challenge the experienced among us but presented in such a way as to convey useful concepts to the less experienced with a minimum amount of math and complexity.

IF YOU GO TO ONE EVENT THIS YEAR, MAKE SURE IT’S THIS... PLASA 2010 London, UK September 12 to 15, 2010

From live concerts and tours to theatres, nightclubs, corporate events, permanent installations and leisure attractions, PLASA 2010 is the only place to see the latest pro audio, lighting, stage engineering, AV and systems integration technology.

iPad app of the month YOUTUBE VIDEO GUIDE

Luminar i-console

The future of DJing?

A wireless, multi-touch DMX lighting console, Luminair for iPad is like a dream come true for lighting designers and anyone else who works with creative lighting. Using Art-Net protocol, the app is compatible lots of existing equipment on the market. Use it to control colourmixable LED fixtures; dimmers, studio lighting, moving lights, media servers, and any other DMX enabled equipment. It can be used as the ultimate remote focus tool, for advanced architectural lighting, or simply as the centrepiece of your DMX lighting rig. The iPad version adds to the previous iPhone version with features like fully editable cues, project-based draggable colour swatches, pop-up contextual controls, external keyboard support, a user-configurable UI, plus a user interface and performance enhancements that make it the first software-based multi-touch lighting console truly capable of live performance. Luminair for iPad can be purchased and downloaded directly from the iTunes App Store for free.

A video of a Chilean DJ performing on a multi-touch screen has taken the internet by storm. The man, known only as Rodrigo, uses Emulator, a multi-touch MIDI controller designed by DJ Pablo Martin. Rodrigo’s video shows him using digital DJ software, Traktor Pro, to mix tracks on a rear projection set-up he calls Töken. The multi-touch MIDI controller software works with Windows 7 and, in addition to its existing compatibility ty with Traktorr Pro, will soon support numerous other DJing software. Search terms: Emulator DJing

46 SAS SEPTEMBER 2010

With rapid advancement in digital technology and the Middle Eastâ&#x20AC;&#x2122;s media industry growing each year, DIGITAL BROADCAST Middle East will serve to provide the latest industry news, features and analysis to this booming market.

Official Title

Aimed at those responsible for the delivery and management of media content for television, cinema, radio, mobile and online distribution, DIGITAL BROADCAST Middle East is the ultimate information resource for industry professionals.

THE BUSINESS OF DIGITAL CONTENT DELIVERY

COMMERCIAL BREAKS Maximising revenues from interactive advertising apps

An ITP Business Publication

AFTER THE STORM Broadcasters to pursue postdownturn plans at CABSAT

TRAPPED IN HD Will 3D TV be a missed opportunity for Middle East broadcasters? Licensed by Dubai Media City

VOLUME 3 ISSUE 2 FEBRUARY 2010

FOR ADVERTISING CONTACT:

FOR EDITORIAL CONTACT:

TO SUBSCRIBE:

Fareed Dubery Tel: +971 4 2108 632 Email: fareed.dubery@itp.com

David Ingham Tel: +971 4 2108 312 Email: david.ingham@itp.com

Subscription is FREE for industry professionals. Simply visit: www.itp.com/subscriptions today.

Van Halen.

BACK STAGE

Diva demands Van Halen cemented themselves in pop culture history when they famously included an item about M&M’s in the rider for their 1982 tour. There were to be no brown M&M’s whatsoever apparently, leading most to label them as petulant diva’s when in fact, they had made the inclusion to make sure producers thoroughly read their highly technical brief all the way through. One source tells Is Ian S&S however, that Anderson of Van Halen are wrongly Jethro Tull the original claimed as the band band-rider that ushered backstage prankster? riders into the weird and unusual. While we’ve been unable to substantiate it, rumour has is that Jethro Tull’s Ian Anderson started the trend in the late 60s. The story goes that, excited by the American’s willingness to please big stars by supplying them whatever they wanted, Anderson decided to see how far he could push their hospitality and requested a puppy. Sure enough, when he and the band arrived at a gig where they were performing with King Crimson, there was a puppy. But puppies and non-brown M&Ms are a far cry from some of the most bizarre requests to have found themselves onto a rider.

AC/DC.

most importantly, a jar of Grey Poupon mustard (because they’re clearly very classy gentlemen).

AC/DC No spring chickens, AC/DC require a little extra something to keep them going through a concert these days - the rider of their 2008 tour included three oxygen tanks and three masks.

JENNIFER LOPEZ Jenny from the block has far more champagne tastes than her roots suggest, if her rider is anything to go by. Along with stern orders for no tomato, apple or grape juices, Jennifer also requests “yellow roses with red trim” – do they even exist?

NINE INCH NAILS Two boxes of corn starch was the requirement of Nine Inch Nail’s Trent Reznor. No reason was given for the request – certainly no other baking ingredients were included – but the directive was that the corn starch was ‘very important’. Right then.

IGGY POP AND THE STOOGES One of the more bizarre concert riders ever committed to paper, Iggy Pop and the Stooges’ is 18 pages of mad ramblings. Highlights include: a copy of USA Today that features a story about morbidly obese people, seven dwarfs dressed up as the characters in Snow White and the Seven Dwarfs - though the rider then states that taller people are acceptable stipulating that, “it’s attitude, more than height, that’s important here”.

MÖTLEY CRÜE S&S has to admit we expected nothing short of kooky and questionable when it came to Mötley Crüe’s rider. Included on the list: a jar of creamy peanut butter, a schedule for local Alcoholics Anonymous meetings, a sub-machine gun, a 12-foot-long boa constrictor, and,

MARIAH CAREY Impressive singer yet terrible actress Mariah Carey’s rider goes from semiDiva: 16 oz bottles of Evian are the only acceptable water option; through to fullblown-Diva: air purifiers, “bendy” straws and “no busy patterns - black, dark grey, cream, dark pink are all fine”.

OFF THE RECORD “A typical day in the life of a heavy metal musician consists of a round of golf and an AA meeting.” Billy Joel is clearly referring to the antics of Mötley Crüe.

“The most important thing is to be visual, 48 SAS SEPTEMBER 2010

and for the cats watching us to have fun. That’s all we want. We get very upset if people get bored when we’re only half way through smashing the second set.” Roger Waters of Pink Floyd knows how to bring in the punters.

“Most rock journalism is people who can’t write, interviewing people who can’t talk, for people who can’t read.” Thanks, Frank Zappa, we’ll try not to take that personally.

Visit ETC at

Stand # 1-G39

More colour in, better light out Our unique blend of seven LED colours produces brighter, bolder colour than any other LED ﬁxture. We call it the x7 Color System. Lighting designers call it brilliant. Ask Oasis Enterprises for a demonstration.

Winner of PLASA 2009 Product Innovation Award Winner of “Best Intelligent Lighting Fixture of the Year” at PALME Awards 2010

P.O. Box 93, Dubai, U.A.E Tel: +971 4 2821337, Fax: +971 4 2822617 P.O. Box 35807, Abu Dhabi, U.A.E Tel: +971 2 6217043, Fax: +971 2 6217042 E-mail: info@oasisppd.com, Web site: www.oasisppd.com