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THE BRIEFING World-first projections in Doha for Arab Games p10 10 MINUTES WITH... Sven Peeters from Showtex Middle East p24 BUYER’S GUIDE Tony Sawyer on installed sound considerations p34

A RARE FEAT Triangle reveals the technology behind two major Dubai nightclub installs

SEEN ON SCREEN The content/technology debate Action Impact wades into the discussion

4OTH CELEBRATIONS A look behind the scenes of UAE 40th National Day festivites

Vol: 6 Issue: 1 January 2012

An ITP Business Publication


January 2012 Volume 6, Issue 1 05 News round-up 12 COVER STORY: UAE 40th National Day S&S takes a look at the technology behind some of the EmiratesÊ biggest celebrations.

18 A Rare feat Triangle Entertainment Services gives us a tour of two of its recent Dubai club installations.

24 10 minutes with... Sven Peeters from Showtex talks about the creative possibilities of laser cutting.

28 Seen on screen Like the chicken and the egg conundrum, the content/screen debate is alive and well.

34 Buyer’s guide Tony Sawyer on what to think about when making installed sound decisions.

39 The guide This monthÊs hottest new products from Pioneer, SmithsonMartin and more.

44 Webpage 46 The hitlist 48 Backstage


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A record month... If there is one thing that rings true in this part of the world, it’s that the quest for the biggest, the longest, the tallest, the most expensive is still alive and well. Even post2008 bust, the drive to be in the global spotlight is as strong as ever. Qatar saw a number of world-firsts in December. The Opening Ceremony for the 12th Arab Games in Doha featured 86 projectors that video mapped 126,000 cubic meters of space – setting a world record for the largest stadium projection surface attempted in history. Also for the first time in stadium entertainment, the 40,000-strong audience was integrated into the display surface to form a giant LED ‘screen’ made up of 85,000 individual pixels. This extended the display surface by 41,500 square meters to encompass the entire stadium bowl, adding the audience to the vast canvas of visual content. And the technical innovation didn’t stop there. Artist Cai Guo-Qiang lit up the Doha sky-line last month with a dazzling fireworks display as part of an event for the Arab Museum of Modern Art. This in itself doesn’t seem particularly news-worthy, but take into consideration that the show took place during the day, and you start to get a little more impressed! Rainbow-coloured gunpowder was shot

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into the sky in a series of explosions calculated to ‘paint’ a collection of pictures. One set of explosions created black smoke clouds that looked like “drops of ink splattered across the sky,” according to the artist, while another saw 8,300 shells explode in a pyramid shape over the desert. The display was controlled using microchips and was so extensive – the largest show of its kind in the world, in fact – that just the launching mortars for the ceremony took up a 400-metre footprint. Last month also marked 40 years since the inception of the UAE as a nation, and fittingly, celebrations abounded. In Abu Dhabi, Al Ain, Dubai and across the Eastern region, fireworks, parades, laser and light shows awash with red, green, white and black reigned supreme. It certainly made me proud to call this country home and I’m sure many of you felt the same – especially those who were behind the events themselves. For our coverage on the celebrations, check out page 12. Until next month, take care,

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 Publishing Director Fareed Dubery Editorial Senior Group Editor Robeel Haq Editor Brooke Sever Tel: +971 4 444 3665 email: Advertising Publishing Director Fareed Dubery Tel: +971 4 444 3381 email: Sales Manager Nitesh Patel Tel: +971 4 444 3744 email: Japan Representative Mikio Tsuchiya Tel: + 81 354 568230 email: Studio Group Art Editor Daniel Prescott Art Editor Nadia Puma Designed in conjunction with Quadrum Solutions Photography Chief Photographer: Jovana Obradovic Senior Photographers: Isidora Bojovic, Efraim Evidor Staff Photographers: Lester Ali, George Dipin, Juliet Dunne, Murrindie Frew, Lyubov Galushko, Verko Ignjatovic, Shruti Jagdesh, Stanislav Kuzmin, 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 Michelle Meyrick ITP Digital

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Director Peter Conmy ITP Group 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 Certain images in this issue are available for purchase. Please contact for further details or visit Printed by Atlas Printing Press

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THE BRIEFING The largest stadium projection surface to ever be attempted saw 86 projectors video map 126,000 cubic meters on the field of play.

World-first projections at 12th Arab Games Opening Ceremony David Atkins Enterprises (DAE) delivered the Opening Ceremony of the 12th Arab Games in Doha last month, which welcomed the 6,000 athletes and officials+ from 21 participating Arab nations and carried a message of peace and freedom conveyed through the unity of sport and the celebration of Arabic culture. “In close collaboration with the Arab Games Organising Committee, DAE created a story inspired and informed by the stories and images of pre-Islamic and Islamic history,” said David Atkins, CEO, David Atkins Enterprises. “The Ceremony was created to acknowledge the importance of these times, a time when the very pages of Arabic history are being re-written.” Journey to Light is an allegorical tale of the Arab world that represents the coming together of countries from around the region to deliver a message of peace. The story celebrates the desert as a land of prophecy and light, where disparate tribes learnt to live together in peace and harmony through the shining light of knowledge. “The Ceremony was a celebration of the rich cultural heritage of our Arab lands, and the ties of history, lineage and language that bind us together,” said Abdulla Al Mulla,


director of ceremonies and Media for the Organising Committee of the 12th Arab Games, Doha 2011. “It sent a message of peace and unity, and is something we know Arabs will be proud of for years to come.” The Ceremony featured some of the brightest stars of the Arab World, including Ehab Taufiq, Fahad Al Kubaisi, Asala Nasri, Nadim Sawalha and Abir Issa. Together with a cast of over 3,250 dancers, musicians, athletes, horsemen and falconers, the show was a pageant of performance, costumes, scenic elements and props, set against an unprecedented display surface that turned both the stadium floor and entire audience bowl into the world’s largest ‘screen’. Technical innovation in the Opening Ceremony played a major role and marked two ‘world firsts.’ With 86 projectors video

mapping 126,000 cubic meters on the field of play, the show set a world record with the largest stadium projection surface attempted in history. Also for the first time in stadium entertainment, the 40,000-strong audience was integrated into the display surface to form a giant LED ‘screen’ made up of 85,000 individual pixels. This extended the display surface by 41,500 square meters to encompass the entire stadium bowl, adding the audience to the vast canvas of visual content. The Opening Ceremony of the 12th Arab Games, Doha 2011 took place in Khalifa Stadium on Friday, December 9, 2011. Earlier this year, DAE set a Guinness World Record in Moscow when it delivered the largest 3D video-mapping show ever attempted for the 2011 Moscow City Day Celebrations. DAE has staged some of the largest and most complex live productions on earth, including the Opening Ceremonies of the 2011 Rugby World Cup in New Zealand and Shanghai 2010 World Expo, the Ceremonies of the Vancouver 2010 Olympic Winter Games, Doha 2006 Asian Games and the Sydney 2000 Olympic Games, and the Handover Ceremony of the Melbourne 2006 Commonwealth Games.

SmartView Duo is the perfect compact SDI rack monitoring system for post production, broadcast or live events. It features two beautiful 8” LCD screens which can be remotely adjusted via ethernet. It even includes tally. What’s more, it easily handles SD, HD and 3 Gb/s SDI video formats. SDI monitoring everywhere you need it SmartView Duo lets you build your own master control room to monitor all cameras for live production. Use it in editing desks to display all your video sources. Incredibly compact, it’s also great for broadcast vans. You can even install SmartView Duo into portable monitor racks to build lightweight flyaway kits. Intelligent Ethernet control Forget about using little screwdrivers in an attempt to match all your monitors. Now you can conveniently adjust and match every monitor remotely from your laptop or desktop. Simply connect SmartView Duo to your ethernet network and use the included Mac or PC software.

Greater SDI compatibility You can rely on SmartView Duo to support multiple SDI video standards, including SD, HD and 3 Gb/s SDI formats. It was designed to meet the needs of both broadcast and post production professionals. On top of this, it supports advanced video formats like 1080p HD and 2K SDI. Mount it anywhere in racks SmartView Duo can be mounted anywhere in equipment racks, even in the extreme top. That’s because SmartView Duo rotates completely upside down for optimum viewing angle. It will instantly sense the screen rotation and automatically flip the images without any need for adjustment.

SmartView Duo



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IN BRIEF INFOCOMM MEMBERSHIP ELECTS 2012 BOARD MEMBERS InfoComm International, the trade association representing the commercial audiovisual and information commmunication industries is pleased to announce election results for the 2012 InfoComm International Board of Directors. Johanne Belanger of AVW-TELAV has been elected Secretary-Treasurer, and Andrew Milne, Ph.D. of Tidebreak, Inc. and Jan Sandri of FSR, Inc. will serve two-year terms on the InfoComm Board of Directors. In addition, Matt Emerson, CTS, of CEAVCO Audio Visual and Thierry Ollivier of projectiondesign have been appointed to serve twoyear terms on the Board of Directors by the Leadership Development Committee. InfoComm thanks the outgoing Chairman of the Leadership Development Committee Tom Stimson, CTS, of the Stimson Group, Aseem Gupta of Visionaire and L William Nattress III, CTS-D, CTS-I of Shen Milson & Wilke, Inc. for several years of dedicated service to the InfoComm Board of Directors. “Tom has been a wonderful visionary, helping chart the course of our organisation as we deal with 21st Century challenges for the audiovisual and information communications industries,” said Randal A. Lemke, Ph.D., Executive Director and CEO, InfoComm International. “I also want to thank Aseem Gupta and Bill Nattress for lending their time and talent to the InfoComm Board. We are richer for their involvement.”


Robe hosts UAE roadshow Robe lighting has completed what it has described as a “very successful” 10-day roadshow in the United Arab Emirates (UAE), which was co-ordinated by their Middle East regional Sales manager, Elie Battah, and visited by more than 15 major lighting industry players and companies in the region. Elie Battah presented the roadshow with Elie Ghanem, technical support for the Middle East, and Robe’s sales director Harry von den Stemmen joined the event team for some of the time. The Roadshow showcased Robe’s latest products including the new ROBIN MMX Spot, the ROBIN 600 and 300 LEDWashes, the ROBIN 600 Series Wash and Spot fixtures and the CitySkape 48. It was the MMX – Robe’s next generation of 1200 fixtures – that attracted the most interest by far – together with the LEDWash series, especially with installers in particular becoming ever more conscious as to the benefits of using greener technology – both for the planet and their budgets. Features impressing all about the MMX Spot were sophisticated creative features

Robe’s latest products including the ROBIN MMX Spot were on display for visitors to interact with.

like the dual animation wheel, its brightness, power saving capabilities, small size and light weight,which is significantly less than the generation of moving lights that it’s replacing. On one day of the tour, the Robe team visited a similar event at the Fairmont Hotel in Dubai organised by lighting design practice Lighthouse, which besides working on major high-profile projects across the region, also carry a large stock of Robe fixtures. Lighthouse’s Steve and Terry Miranda demonstrated Robe products to visitors, which Jands Europe’s Neil Vann showcased the latest Jands Vista products. Said Elie Battah: “The Roadshow was a great success and definitely enabled us to get really close to some of our clients and potential new customers, offering them a chance to see the technology close up and in depth in a relaxed environment.” He added that in these circumstances, it’s a lot easier to explain and show firsthand how fundamentals like the brightness of a fixture are dependent on a number of elements and not just related to Wattage of the lamp, and alluded to similar events to be hosted by the manufacturer in 2012.


Cimatech represents DIS at Elecomp For the third time this year, Iranian integrator Cimatech has presented products from Scandinavian conference specialist Danish Interpretation Systems (DIS) at the ELECOMP trade show in Tehran. As part of its presence at the event, Cimatech focused on displaying portable as well as flush-mount units of the fully digital DCS 6000 System, according to the firm. “The highlight on the booth was the GM 6620 shotgun microphone on the FC 6020 and FD 6120 conference units and the Farsi language font available for DC 6990P touch screen units,” said Cimatech managing director Amir Kord. “We also really appreciated the personal support of DIS area sales manager Christoph Hellmuth, who came to Iran personally to assist us as the country’s exclusive DIS distributor on site.” In other DIS news, system integrator Q recently installed 135 customised microphone units from the manufacturer at Qatar University. The silver CM/DM 6580F units feature three buttons for voting, chip card

Christoph Hellmuth from DIS, with the Cimatech team in Tehran.

reader, channel selector, 3.5 millimetre headphone socket, loudspeaker, the brand new boundary microphone BM 6620 plus the printed logo of Techno Q. The two distributed language channels at this location can be monitored through DH 6023 stethoscope headphones and the output box AO 6008 allows using up to eight channels for recording purposes. A substantial SW 6000 Software Package opens


access to additional features like delegate identification and guarantees comfortable handling of the system. In addition to the customised DCS 6000 system in the auditorium, the University’s press room includes a small scale CDS 4000 system with one chairman and five delegate units. “Time for this job has been very limited but all equipment could be delivered and installed in time,” said Hellmuth.


Dino Drimakis with Kunal Jaiswal from Sharp Eye Productions and the DPA 4099s.

Freddy Sicko from Shure and Shajahan K K from NMK.

Melody House has supplied a range of the 4099 instrument microphones to Sharp Eye Productions. The relatively new rental firm decided to invest in the 4099 microphones from DPA as they offered complete flexibility for their variety of shows, which include small-to-medium concerts to corporate events. “The 4099 are clearly the industry standard microphones


for violins, sax, trumpet and other wind instruments,” said Dino Drimakis, business development manager, Melody House. “With the use of several kind of mounting clips, Sharp Eye will be able to use the microphone on almost every event. Plus with the microdot connector technology, they can use the microphone wirelessly with pretty much every kind of wireless transmitter out there.”

Nicolas Kyvernitis Electronics Enterprises has supplied Showtech Rentals, based in Dubai, with 12 channels of the new PSM 1000 inear Monitoring system from Shure. The deal includes six units of the brand new P10T and 12 units of the brand new P10R together with the SE535-CL in-ear earphone. The full-rack, dual-channel, networkable transmitter is ideally suited for the demands of professional touring and installation applications, and the diversity

bodypack receiver delivers pristine RF signal and audio quality. “Shure has made great improvements in the in-ear product segment, including the PSM 1000 that give users 40 compatible frequencies per band in tour-ready build quality,” said Shajahan K K, Shure product manager. “The diversity receiver also makes sure that the artist will never experience any kind of audio drops or interference, which is especially crucial in large budget shows.”







Anolis’ architectural lighting first Protea Court, a newly opened extension to South Africa’s Sandton City in Johannesburg, features the first ground-breaking architectural lighting installation of its kind in the country, designed by Paul Pamboukian and senior lighting designer Joao Viegas of Paul Pamboukian Lighting Design (PPLD). Included are 115 Anolis ArcPad 48 and 12 ArcSource 96 fixtures used to highlight the spectacular 34 metre high, 42 metre diameter, 11 degree sloping roof structure and its ETFE inflatable skin, supplied by Anolis’ South African distributor DWR, who also undertook the installation and commissioning of the lighting system. DWR’s team of three installation technicians all completed full Rope Access and Working at Height safety courses before starting on site, with approximately 70 per cent of the Anolis fixtures needing to be rigged externally on the roof structure. Protea Court was inspired by the shape of South Africa’s national flower, the Protea and the architects behind the unique design

The fixtures are optimised to wash the entire roof area complete with its elegant air filled undulations and features.

specified ‘green’ lighting technology to match the energy efficient ethos behind the ethylene tetrafluoroethylene (ETFE) roof, a fluorine-based product with high corrosion resistance and strength over a wide temperature range and to

ensure that the long-term operational and running costs of the lighting scheme were efficient and budget friendly and to shading the roof differently for special events and occasions. In addition to this, they were convinced that the texture, look and feel of high quality modern LED fixtures was ideal for the application. The fixtures used are optimised to wash the entire roof area complete with its elegant air filled undulations and features. Three very subtle mixed-colour looks are currently programmed as default states, adding finesse and complimenting the huge architectural statement made by the roof itself. “Using Anolis fixtures and DWR for the installation were definitely the right moves,� confirmed Pamboukian, “It all works exactly as I envisioned.� Dan Riley said: “We are extremely proud to be involved with a project of this stature with such amazing results, and glad to see the equipment specified for all the right reasons.�





010 SAS JANUARY 2012

The Official Ceremony

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40 YEARS OF CELEBRATIONS IN THE EMIRATES December 2 saw festivities-galore in the UAE – we take a look at some of the most spectacular celebrations and the technical details behind them.

GRAND MOSQUE, ABU DHABI The Sheikh Zayed Grand Mosque in Abu Dhabi was illuminated in a stunning montage of imagery and colours in light of the 40th anniversary of the UAE. The nineminute show – the first time the house ofworship has even been illuminated in projection - featured 12 scenes illustrating the vision of Sheikh Zayed and highlighted the unique artistic and architectural elements


of the mosque. Barry Threw explains: “I worked on this project on the interactive software development team at Obscura Digital and it’s our largest and most complex mapping project to date. “The entire front facade of the building, the four 170 metre high minarets and the three main domes of the interior structure. There were a total of 49 projectors used, making the logistical setup alone daunting. “This building was a joy to augment on both a technical level and artistically. The

Derivative’s Touch Designer software was used for all of the show control.




mosque is made of extremely rare natural materials; marble, crystal, semi-precious gem stones and gold. It contains the largest carpet in the world, and one of the largest chandeliers in the world made of millions of crystals. The design of all of the building is inspired by nature and was completed by artists from around the world, reflecting the multinational nature of Islam. “Clearly, when attempting to augment such and impressive and holy piece of architecture with video great consideration is required. Our media was similarly inspired by the architectural details already present, using floral patterns, lunar motifs, and subtle lighting effects to accentuate the pre-existing patterns. The results have been stunning, and tastefully honour the spirit of Sheikh Zayed, the UAE, and the mosque. “As with many of our projects, Derivative’s Touch Designer software was used for all of the show control, video playback, geometry correction and calibration on this job. We’ve been avid Touch users for quite some time at Obscura, and with

the recent gold release of the software package, it is a perfect time for anyone interested in 3d video manipulation to get their feet wet with this impressive tool.� Supplying the projectors for the project was Eclipse Staging Services, at the request of US-based Obscura Digital’s Matty Dowlen. Provided for the project were 20 18K HD Christie projectors as well as all the power distribution for the 44 projectors used in total for the project. “It was great to finally be involved with projection onto this unique structure,� explains Mark Brown, chairman, Eclipse. “We were pleased to assist Obscura Digital in making this happen, it was a fantastic production and the use of custom designed proprietary software and 3D laser imaging of the structure to get a precise picture of where the projectors need to be placed was remarkable.� The project was managed locally by Simon Ransom, on behalf of Obscura Digital.

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ZAYED SPORTS STADIUM, ABU DHABI The official ceremony for the UAE 40th National Day saw Zayed Sports Stadium full to capacity as thousands turned out to celebrate the achievements of the nation and honour the leadership of the UAE’s past and present. The Spirit of the Union came to life as young and old, men and women, Emirati and expats alike were patriotically dresses in the nation’s colours creating a sea of red, white, black and green across the stadium. Following a military parade, which concluded with a military flyover, a spectacular arena show commenced, showcasing not only the country’s achievements in a visual format, but also the skills of the productions companies involved. As darkness fell across the stadium the crowd used free LCD lights, which were part of a goody bag distributed to those who attended the event, to create a breathtaking twinkling scene ahead of the projection show that followed. Vibrant scenes from the past showcas-


ing the journey from the desert terrain through to the shores of the gulf were the backdrop to the hundreds of acrobats and dancers who recreate a stunning underwater spectacle, before a ‘sandstorm’ swept through the stadium. This larger than life arena production, which had more than 112 international specialist aerialists, skaters and acrobats from 25 countries, was a true tribute to the inspirational leaders past and present who have transformed the United Arab Emirates into the thriving economic nation of today. Says Michael Hilgemann, general manager of Matrix Laser, which supplied lasers for the event: “An event of this calibre has rarely been seen in the UAE, and as a UAE-based company it has been an absolute honour to be associated with it. The success was a result of an impressive synchrony within the production team. It was an unforgettable evening for everybody present, especially to be witness to the awe inspiring level of patriotism from the Emirati population and expatriates alike.”

The events spectacular fireworks display was the work of Pains Fireworks, which was commissioned by Swiss Atlantic productions to provide a “unique pyrotechnic spectacular”. The choreographed show was fired from the stadium rooftop and within the arena and comprised 4,200 US and European pyrotechnic products, fired in two minutes using 1,400 cues, eight control panels and 4,900 metres of XLR cable. Falling 85 feet in three seconds to replicate the UAE flag was 1,200 red, white and green dropping comets , rigged on the four portals and a streamer finale provided a final explosion of red, white, green and black streamers fired over the audience by 64 Stadium Shots positioned around the entire stadium. “We were delighted to be involved in the official 40th Anniversary celebrations of the UAE,” says Pains’ Guy Deeker. “We had a crew of 14 working on site for 11 days to load two tonnes of firing equipment onto the roof of the stadium.”

IN NUMBERS STAR DECK: 8-point star shape made of 2 units of 76m x 76m squares 106m from tip to tip-1.5m off ground level 6,800sqm footprint Scaffolding - 11,098 sqm Scaffold boards - 4,870 sqm 2,800 sheets of plywood 1,500 litres of paint to cover star deck 4 units of 5m wide x 10m deep scenery and performer ramp for stage access


LIGHTING: 1,696 x lighting fixtures 19 x follow spots 20km cable 125 control universes 6 x control consoles 1.5km LED X-flex on central tower 300 tonnes of Lighting equipment and cable 2,500amps – 3 phases of power

LASERS: 12 x 40 watt laser system “Matrix Pure green� 4 x 30 watt laser system “Matrix Pure white “ 16 x DSP laser show computer DSP superior

10.5m off ground level, 65 m wide with 8 sloping decks 2,800 sqm of sloping deck SOUND: Pyramid slope - 4 sides 32m wide x 18m long – 4 205 x speakers sides 23m wide x 13m long 219,600 Watts of amplification Pyramid trap doors - 80 units of 1.5m x 1.5m manually 3km fibre optic cable operated bi -folding doors 15km speaker and signal cable Pyramid doors - 4 units 4.5m wide x 4m tall bi parting 150 wired and wireless comms electrically driven doors 7 x computers controlling the system Pyramid lifts - 4 units of 5 x 5m electronically driven lifts 24 x radio microphones Palm tree trap doors: 24 units of 1m x 1m manually 120 x in-ear monitors operated bi -folding doors 13 tonnes of speakers in the air Pyramid steps: 96 steps per slope-384 steps total 100 tonnes of sound equipment and cable



27m tall x 18m wide. Tower top is 36m above ground level Number of containers for steel structure - 96 Total weight of tower plus 4 portals - 963,800 kg Tower weight: 449,408 kg Total number of pins - 4,544 Contra weight used in tower - 149,600 kg Portals - 33m tall x 40m wide with 29m span between towers that are 2.2m x 2.2m wide Portal base - 10m deep x 6m wide 1,500 sqm of cladding panels 24 tonnes weight of cladding 18 sea containers required to ship cladding 8 weeks to fabricate cladding with over 25 men 3 weeks to erect cladding with 15 men 1 portal weight -128,598 kg Contra weight used for 1 portal 62,350 kg

80 projectors covering approx. 4,400 sqm of projection area Greater than 200 lux brightness 12 x high definition playback channels from latest Apple Mac computer towers 12 x Apple Mac computers for content production 100+ terabytes of storage for content production and playback 1,700kg projectors

PERFORMERS: Performance, stage management and costume teams represent 24 different countries 112 x professional performers 24 x stage managers 69 x show crew 1,200 x volunteer performers





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Forty pontoons and three barges were used as a platform for the one kilometre long fireworks display.

ABU DHABI CORNICHE French fireworks specialist Groupe F wowed crowds in the UAE’s capital on National Day with a 10 minute fireworks show that spanned a kilometre across the Abu Dhabi corniche. “It was very different to last year, and the first time there has been fireworks in that part of the city before,” explains the firm’s founding partner Francois Montel. “The show had been discussed for over a year, so there was a lot of planning involved but it was a really spectacular result,” he adds. A line of 40 pontoons on the water off the coast of the Corniche provided the launch pad for much of the firework material used. Almost 30,000 shots were fired in total, which featured two minutes of red,


white and green fireworks as a salute to the UAE’s official colours. “I wish we could have had black too, but obviously black fireworks are practically impossible!” says Montel. “I worked with some of my favourite colours – blue, gold and a mixture of red and white, with the finale, like all of my finales, in just white.” Groupe F used 18 of their French-based specialists as part of their project, who flew over to join a further 15 UAE-based labourers and technicians. “We started set up on November 27, including loading the pontoons with all the material while they were in dry-dock, before they were launched into the water the day before the event,” says Montel. He adds that for the first time in the UAE, the firm used a Wi-Fi detonations system. “It’s a system we’ve used many

times over the past year internationally, so we were very confident and it worked very well. It meant having no cables at all in the water, which was a much safer option,” he explains. “It was such a proud moment for us, to be involved in such a prestigious event. And it was unique to work in such a location as well. It’s rare to work on the water where it is so flat. Because the Corniche is in such a protected spot, it’s very easy to work there.” And according to Montel, the show may prove an inspiration for an even bigger version in the same location at a future National Day celebration. “It would be great to offer a bigger show to the public – a huge idea would be to do a show across 5 kilometres – perhaps for the 50th anniversary!”

The light show included five projections of 18,000 lumens each.

&RQQHFW $9% ,QWHUFRPJRHV 5HDO7LPH,,3 5HDO7LPH,3 AL JAHILI FORT, AL AIN An elaborate light show at the historic Al Jahil Fort in Al Ain was also on the agenda for National Day celebrations. This show was designed to honour the the vision of the late Sheikh Zayed through its contemporary illustrations and light technology and illustrated the evolution of the Nation over the past 40 years. The six-minute show opened with a powerful symbol of pride and strength - the falcon - swooping across the vast dunes of the nation moving into a visual representation of the journey of the UAE through historical images. A spectacular montage of light reveals a lifelike underwater scene which seamlessly transitions into a night sky of the Arabian Gulf. The Fort projections were also the creative work of Barry Threw, who says: “In another effort with Obscura Digital, Fort Al Jahili in Al Ain, United Arab Emirates was illuminated with an artistic montage of country history for the 40th UAE National Day Celebration. In contrast to our other contribution to the festivities, the Sheikh Zayed Mosque illumination, this show delved deep into Emirati culture to bring the story of a unique monument to life on its facade. “This show was a smaller scale than the mosque projection, but added an important element to to festivities for a more intimate audience in a closer community. The project consisted of five projections of 18,000 lumens each, and was controlled and mapped with Derivative’s Touch Designer software toolkit, our go-to weapon for this kind of task.” Eclipse Staging Services also supplied five projectors for this project, which was locally produced by Simon Ransom on behalf of Obscura Digital.



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Dubai-based integrator Triangle Entertainment Services has recently completed two projects that are shaping up to be the hottest new clubs on the city’s party scene. S&S gives you a glimpse into the lighting and audio at Rare and Cirque du Soir.

18 SAS MARCH 2009


lounge, to a more contemporary dance eciding on a ‘rare’ name area, which proved a challenge audiofor a new nightclub wise, according to Elian. in Dubai was proving He says initial reservations by the time-consuming, until owner about cost were alleviated its owners decided on when they understood the need for simply: Rare. Lebanese-born owner quality. “When the owners approached Naz Hafez, who has also developed us, they had a limited budget for venues in North America, turned the sound, which we were happy to Dubai-based integrator Triangle to work with under our tradition of Entertainment Services and its owner supplying the best the money allocated Zahid Elian to assist in the supply of a can buy - until they were finally sound system and lighting at the club. Triangle, the distributor of KV2 2 Audio products in the Middle East and North Africa regions, has been behind many major club installs in the UAE as well as events including live-clubbing experiences and DJ-concerts, supporting rental companies and event management companies alike. Rare, or ‘the place’ as it is marketed as, is located within the Media Rotana Hotel in Dubai’s TECOM district and aims to offer patrons a unique experience on each of the nights it is opens – thanks to 14 different DJs. To this extent, the lighting scheme changes on a nightly basis via easy to control software that is not reliant on a professionals input. The club comprises four different ent sections, each of Rare is split into separate or and ambience. dec ent ‘rooms’, each with a different which has a dif fer style, from a bar, to a chilled outt JANUARY 2012 SAS



convinced to go for Triangle’s highest norms, which the company has built its reputation on. This meant creating the ultimate clubbing experience with the best audio and with that in mind, KV2 Audio was the answer,” he explains. And Owner Hafez admits he was happy to take on Elian’s advice. “He’s the expert!” he says, with a smile. “We wanted sound that is not background noise and not necessarily a pumping

KIT LIST Audio 10 x KV2 AUDIO EX26 active two-way double 6”speakers 4 x KV2 EX2.2 double 12”subwoofers 2 x KV2 EX12 12” two-way powered 12”speakers used as DJ monitors to guarantee an optimal listening experience 1 x Whirlwind MIX5S Zoner 1 x VHD Line Driver 1 x Citronic AP231 Mixer 1 x Pioneer DJM2000 2 x Pioneer CDJ2000 Lighting 4 x Taglite moving head spots 4 x Taglite LED wash RGB colour changers 1 x DTS Master Controller II software


club sound but something in between, and we feel confident in the end result – it’s warm but crispy, allows dancing but still enables patrons to talk to each other.” Hafez says as the owner of Rare - which although is situated in the Media Rotana Hotel, runs completely independently - it was essential to get the audio right not only to make sure the club is a popular hotspot (and is commercially successful) but also so it doesn’t disturb the other functions of the hotel. “Unlike places like Canada, for instance, where I have other clubs, here hotels are built and then a space is allocated for a nightclub, rather than incorporating the requirements of a nightclub into the hotel design initially,” he explains. “What happens then is that sound proofing has to be retro-fitted, hotels rooms are sometimes directly above or below the club and then noise complaints happen. A bit of preplanning by hotel developers out here would mean a much better club business.”

ers Rare’s audio is callibrated to ensure punt are able to dance the night away - but still hold a conversation.

SHOWTEX CUSTOM LASER CUT STAGE FABRICS /.,9 !4 3(/74%8 -)$$,% %!34 #/.6%249/52 #!$ 6%#4/2 $2!7).'3 !.$ /4(%2 $)')4!, $%3)'.3 ).4/ #534/- 02%#)3)/. #54 &!"2)#7)4( /52 /.3)4% ,!3%2 #544).' $%0!24-%.4





A KV2 Audio sound sys was configured at the ventem ue.

nufacturer of Pioneer was the ma DJ booth. choice for the club’s


Another Triangle club install A recently completed in Dubai re is the highly-anticipated Cirque du Soir, which C developer the Pragma d group (also responsible g for the Cavalli Club and the planned ‘Billionaire’s Square on the site of the Palladium venue) is pitching as on par with something out of Las Vegas or Montreal’s La-Ronde as a “new dimension in clubbing”. Opened officially on November 15, the club is located at the Fairmont Hotel on Sheikh Zayed road, but boasts its own external entrance, which is covered in a circusstyle tent – giving visitors their first taste of what awaits inside.

With live performing acrobats, a glass-covered dancer’s vitrina (or ( window), a pop-corn machine and a a clown, Cirque certainly sets itself apart from its clubbing s competitors. Royal Red velvet c drapes and coverings and d lavishly-upholstered furniture l adds to the retro circus-chic style a of o the venue which is spilt across two levels joined by an LEDt illuminated staircase. i A moving head fixture at the entrance of the club (on the e upper level) - a DTS XR4 spot u carries an animated GOBO that c delivers the message: “If you d don’t know, don’t worry”, which d as a well as being Cirque du Soir’s motto, ties in with a ‘teaser’ m marketing campaign used by the m management in the launch phase m of o the venue. Also in the entrance are two KV2 Audio EX6 active speakers K that gives punters a peak at the t sound quality they can expect once they descend the staircase into the main space. According to Triangle owner Zahid Elian, the lighting was key in continuing the somewhat mystical theme of the club. “For the lighting, DTS XR4 spot moving heads were used and were halfconcealed within the ceiling, along with Taglite LED fixtures in large quantities.” Audio-wise, Triangle again opted for KV2 Audio, exclusively. “It has proven to be best answer to having the unparalleled sound needed for clubbing and has used all over the major clubs around in the region,” explains Elian. He admits though, that while he is confident with the end result, there were challenges at the design and installation phase of the project. “There were challenges indeed! The lower than standard ceiling heights except in the main entrance – and tables or listening positions often within less than a foot of each other, meant the main concern was around have a high SPL without ‘disturbing’ or creating any ear-

fatigue for the customers,” he explains. The solution? “Within the long corridor shaped area, we used KV2 Audio ESD12 12 inch two-way with its rotated tweeter horn installed horizontally,” he says. “The quantities were increased due to the low ceiling and to balance the dispersion with same SPL all along wherever you walk, stand or dance.” A total of eight ESD12 speakers were used, backed by a KV2 VHD4000 four channel VHD Amplifier, four ES1.8 18 inch subwoofers, two ES2.5 double-15 inch subwoofers driven by two amplifiers VHD3200, all processed by the KV2 Audio SAC2 controller. Within the bar area and surroundings, there is a total of five KV2 Audio EX12 speakers installed vertically with a specific angle and three EX2.5 double-15 inch subs. An additional four units of EX6 cover a specific VIP corner. “Even the DJ is covered by two units of KV2 Audio powerful EX10 speakers,” says Elian.

KIT LIST 8 x KV2 Audio ESD12 two-way 12” speakers with original KV2 brackets 6 x KV2 Audio EX6 active two-way 6” speakerr 5 x KV2 Audio EX12 active 12” two- way speaker aker 3 x KV2 Audio EX2.5 double 15” subwoofers 4 x KV2 Audio ES1.8 18” active-driven subwoofer ofer 2 x KV2 Audio ES2.5 double 15” active-driven subs 1 x KV2 Audio VHD 4000 power amplifier 2 x KV2 Audio VHD 3200 power amplifier 2 x KV2 Audio EX10 10” two-way powered 10” 0” speakers used as DJ monitors to guarantee an optimal listening experience 10 x VHD Line Driver LD4 2 x Whirlwind DA2 Balanced Signal distributorr 2 x RANE GEQ60L 1 x TAG 42U rack Large quantities of Triangle professional speaker cables and interconnects 1 x Pioneer DJM2000 2 x Pioneer CDJ2000




10 MINUTES WITH… Sven Peeters, managing director, Showtex Middle East, who says the recent purchase of a lasercutting machine will mean creativity like never before in event textiles. S&S: Tell us about Showtex in the Middle East. Peeters: We started here six years ago, just me and my wife in an office in a villa because at the time, we had no power here in our current space in Sharjah Airport Free Zone. It was quite a challenging time because we had started the business from nothing, essentially.

So is it a franchise arrangement? We are a subsidiary of Showtex’s HQ in Belgium, but I’m a partner here too. It was a tough start – we had to literally cut screens here at this site in the dark because of the lack of power, and sometimes we’d even pull the car up and shine the headlights in so we could see what we were doing! Once we got power, we started off with a small warehouse but quickly realised it was going to be too small. So before we’d even officially launched, we had to expand the warehouse. We now have about 45 staff and we do everything on site from digital printing, the bending and welding of projection screens, all the technics, to frame-making. We purchased a laser-cutter machine for fabrics about two months ago, which is very clever and is one of the biggest the manufacturer has


ever produced - its five metres wide and 15 metres long. It can cut fabric into any shape at all, there are no limitations. We can cut a shape out of the fabric and put it on a gauze, so that if you back-light it, you can see the silhouette of the cut out, for instance. We recently used it for Evolutions project at the Dubai international Film Fes-

tival – there were lots of cut-out butterflies to tie in with the opening film, which was a 3D animation about butterflies.

So previously you would have done that by hand? No we wouldn’t have been able to – the shapes that the machine can cut are impossible to do by hand, there has been no alternative previously so the creative possibilities have really been opened up.

What is your favourite project you’ve worked on? The third anniversary of DIFC – we wrapped two buildings completely with projection material for 170 metre wide and 20 metre high projections and with a big kabuki drop in the middle. We wrapped the buildings because they are almost entirely glass, and so too reflective for projections. The best part was that when people arrived, the projected images were of the buildings themselves – so it just looked like there was nothing out of the ordinary – there were some lights on in the offices and that type of thing. Once the show started though, the projections changed and made it appear as if the buildings were moving apart – it really shocked everyone! Because I ran the project myself, completely from A to Z, it was really memorable. Now, these days we have project

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RAPID FIRE INTERVIEW managers so I’m less involved with the actual end result of installations.

That sounds like a high point, but have there been low points? No, no, not at all. Every project in the UAE is a challenge because of deadlines. They are killing the industry I think, in a way. Things are left to the last week, often until it’s too late, but we still manage to bring things together and make them work. It causes a lot of instability for businesses, because you have to try to catch up at the last possible moment and try to deliver on time, which costs more energy-wise that if you had enough notice. It’s just a day or two, sometimes, that we have as lead time. We just recently had an order for five kilometres of drapes – 51 drapes of about 40 metres high and six metres wide – and we had three days to make them and send them off to the client.

So you obviously have plenty of stock at the ready for in-


“For events, I think there is more creativity here in the Middle East than in Europe, for instance, at the moment, because the budgets are bigger and the actually events are bigger and more frequent.” stances like this? We have a huge stock here that we get from our manufacturing plants all over the world. We create fabrics specifically for our industry – we won’t just use something that will come close to fitting the bill. All our fabrics are specifically engineered for projection and for other production and theatrical techniques.

What does 2012 have in store for Showtex? For me, the company has reached a point where I’m conscious of not over-expanding. I want to keep it as we have it now, so that we can effectively manage and deliver on our projects. We are investing in new machines to make things easier and even better, but I don’t want to grow too much more – I want to keep control and I’m afraid we’ll lose our ability to act swiftly if

we get too big. We’re feeling pretty confident of the year ahead so far. We have work booked that will takeus through past February, which is unusual – we have never really dealt that far into the future before. We used to have an order book for the two to three weeks ahead but nothing long term and that is slowly changing, which is great as it’s easier to plan business – we can’t complain.

Does being a supplier to suppliers create additional challenges when delivering on a project? It does. I sometimes regret that we get information second or third-hand, often after the client has decided what they’re going to do and what they’re going to use, when we may have picked a different solution, to better suit the project or budget.

So what is the alternative – is it making sure the main suppliers know of your capabilities and what you can offer? We are seeing that more – we’ve now got a nice meeting space and we’re seeing more and more people coming here to discuss the project before a proposal is submitted. And they are seeing that this way of doing things works best because the end result is better – because we’ve been able to offer the best of what we can do.

What are your geographical markets? We work all over the GCC – obviously Qatar is really on the increase at the moment, but I think Saudi is even more exciting, opportunity-wise, than Qatar. Qatar has already opened up but Saudi is on up for sure, although I think people are a bit intimidated by doing work there as things can take time.

How much of your business is in temporary projects as opposed to more permanent in-

stallations such as in theatres and auditoriums? Most of the time, what we deliver is a specific sales item – it goes to the client in custom format and sometimes, is never used again. More and more though, we remake fabrics used at the DIFC anniversary, for instance, for use on other projects. We try as much as possible to be environmentally friendly in this regard, but it’s difficult in the live event sector.

How closely do you follow what your European counterparts are doing? We discuss new trends, new fabrics and new products on a regular basis. We feel events over here are more challenging than in Europe, so we get more creative ideas and share them with others in different parts of the world. For events, I think there is more creativity here in the Middle East than in Europe, for instance, at the moment, because the budgets are bigger and the actually events are bigger and more frequent.

Sven Peeters, managing director, Showtex Middle East.

What is the biggest trend or hottest product that you are working with at the moment? What’s really going well at the moment are our print frames, in cube boxes or spheres that can be made on a very large scale, covered in digitally printed fabric and internally lit. As its fabric, it’s non-reflective, which is nice. We can supply the lights but we don’t profess to be a light fixture expert – we don’t want to be in competition with our clients.





or many of those in event production, the primary concerns about a screen at an event centre around pixels, size and weight loading. At the forefront of event organisers’ mind, however, is the content to be screened. Traditionally, a distinct disconnect between the two has often occurred, resulting in screens not suitable for the content, or vice versa. Fortunately, this has changed, with a greater partnership than ever before between all links in the event chain, resulting in the appropriate correlation between content and screens more often than not. “What used to happen, predominantly prior to 2008, is that there would be


an event or something, and the organiser would say ‘we’re going to put 12 screens here, it’s going to be great!’, but no-one thought about the content, and I think that’s starting to change. Today’s it’s more of a case of coming up with the idea and then, if it’s the best way to make it work, putting up 12 screens,” explains Martin Lindros, film and digital director at Action Impact. “You don’t put a screen up – you want to show content and that necessitates a screen,” adds Matt McLean, VP, client and creative services at the firm. Established in 2005, Dubai-based Action Impact is a brand experience agency whose film and digital division has developed content for some of the region’s most iconic names and biggest events.

Content to fit the technology? Or technology to fit the content? It’s been an often-asked question over the years, with content creators agreeing that only in the recent future has the appropriate thought been put into what is shown on screens at events across the region. “We do animation, sound, design, full production, editing, writing – pretty much everything from A to Z, inhouse,” says Lindros. “We’re all about creating brand experiences. Ultimately, what we try to do is to engage with end users and within the video department especially, that’s such an emotional connection. We find with both the Arabic and English speaking worlds out here, a digital medium allows us to get very close with those end users,” explains McLean of the firm’s approach to creating content for its clients. Media Pro AV, which as well as offering event organisation and kit solutions, also has a flourishing creative studio inhouse, says the language and cultural diversity that exists locally can mean challenges too. “Content created to suit locals and ex-

ISSUE IN FOCUS pats seated in the same room with different perspectives can prove challenging,” explains the firm’s operations manager A George Mathew. He adds: “Time as a factor is also least considered by clients when content changes are expected at last minute.” According to Lindros and McLean at Action Impact, there are a number of considerations when developing on-screen content. “Some of the suppliers might not want to hear this, but we have a lot of clients who say, ‘we want that screen, or that kit’ and we say, ‘well do you really? Is it actually going to achieve what you want it to achieve, is it the best way to deliver a message to your end users?’” says McLean. “We look at it from a different angle – coming up with the content and then finding the right kit and medium – from projection to an LED screen - to show that off to its best potential, rather than the other way around.” Adds Lindros: “We’ve done a lot of work where the content is looped on a screen in the background – almost like a live painting. Most of the time that’s something that is played for five hours or more, so that gives us a challenge it almost has to be something that is silent and you have to think about how do it so that

you don’t bore people, but so the content is not too busy so that it distracts them from the main event. You have to think about the pace but also about how to incorporate elements that draw your eye to it.” McLean is quick to point out however, that the technology used to display the content is still an integral part of the development process. “It’s not just about being creative, we need to have a knowledge base about the technology side of things too. We have different skills sets across the organisation – yes, we do rely on suppliers, but we do have people in house and within our consulting network, who are specialists in the type of technology and products that is around,” he says. Mathew from Media Pro AV agrees. “Our content creation capabilities came as a result of a major investment in the high end Christie16K to 35K projectors. It was imperative to have a support division in-house to ensure we could achieve best results with creative content,” he says. “Our expertise includes 3D-screen events, architectural 3D mapping and wide-screen projection for indoor or outdoor events which requires customised high resolutions – we need to know the technology but also have the creativity to make it work.” According to James Thomson, post production manager, Action Impact, even something as simple as screen orientation impacts content production decisions, and is something that is only now being comprehended in this region. “You have examples of a screen designed to fit an exhibition stand, for example, where the content won’t necessarily fit the screen in terms of shape or size. I think, in the past, there hasn’t been that thought process of, if you want to show a man standing upright

Some of the suppliers might not want to hear this, but we have a lot of clients who say, ‘we want that screen, or that kit’ and we say, ‘well do you really? Is it actually going to achieve what you want it to achieve? 30 SAS JANUARY 2012

ISSUE IN FOCUS or a very tall building, a really wide screen isn’t going to be appropriate for that,” he explains. “Taking existing content and dropping it into a pre-formed medium – like a landscape screen, can be difficult – it’s best to consider the orientation from the very start of production,” adds Lindros. So what are the trends in content creation – is 3D taking over the event video production as it is the cinema? “Techniques like 3D are tricky, in that we need to find a purpose for that technology, rather than it just being a gimmick,” says Lindros. McLean agrees. “The business world is learning to only do things in 3D if there is relevance. From a consumer’s point of you, I can tell you I’m sick to death of going to see 3D films at the cinema! There has been a bit of a trend towards going back to 2D, because 3D can be viewed upon with suspicion – and the glasses are a bit of a pain.” According to Thomson, this backlash has a positive spin, namely a focus on creative skill. “I think 3D is a good analogy of the whole advance of technology compared with making a clients money work more effectively debate. I think 3D was a great buzz word to throw around, like HD used to be, but it’s truly about the emotional connection above anything else,” he explains. “People originally though that’s what 3D would really deliver, because it was all about creating a more realistic digital world. That hasn’t happened though, very successfully, so people who develop content have had to go back to relying on their talent and their skills and creativity rather than the technology.” What is an undoubted trend, however, is augmented reality - a live, direct or indirect, view of a physical, real-world environment whose elements are augmented by computer-generated sensory input such as sound, video, graphics or GPS data. “There is definitely a stronger connection now between the digital world and the real world, so clients want to


be able to drive their end users to do something – to feel, to touch, to buy. So augmented reality and other similar digital experience lets you take someone from the real world into the digital world – to a movie, to a website. It’s that trigger,” explains McLean. But Lindros warns that like 3D, augmented reality can easily fall into ‘gimmick’ territory. “Like a flashmob, which the first few times is really cool but soon loses its impact, we have to continually come up with ways to make augmented reality content clever as well as functional, so that it doesn’t lose its impact. I think the 3D projections that are happening around the world are a good example of that. The first time we saw a 3D projection it was cool and kind of scary, but now, even though they happen all the time, because they are always slightly different, it’s still something that people will go out of their way to see,” he says. And while it may have taken a while to catch up, it seems the Gulf is now mere steps behind the international content-creation community. “We take pretty strong cues from what they’re doing in Europe. The market is pretty condensed over here, there are a lot of things happening all the time, and the market here is maturing too. More and more, clients don’t just want the biggest, the tallest, the quickest – they want something that’s going to be relevant too,” says Lindros. “We’re definitely finding that people in this region want to do something that’s different, that’s new, that’s exciting, that’s never been seen before,” adds McLean.

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BUYER’S GUIDE: INSTALLED SOUND What is the most important thing to consider when choosing an installed sound-system? The mostly under estimated part of the most venues is the sound system - a bad sound system it is very noticeable. Why? Because we have a physical reaction to bad sound - your hearing hurts, your ears ring and you complain it’s too loud and distorted, yet in this region, it’s the last thing that is put in to a venue. A good sound system can make or break a venue and vice versa, a bad sound system may also deter clients. What is the point of having a top band or international DJ if the sound system they are using can’t handle the function. When having a system designed for a venue there are a few things that need to be looked at: Firstly, the functionality of the system. Designing the right sound system for the right function is the most important thing to start with - a sound system for back ground music, when the function is live, does not make sense. Additionally, coverage and deviation in the room will be the next thing to be looked at. Just placing speakers randomly in a room is not designing a system - looking at columns, service areas and in some venues, areas of relief all need to be considered. One biggest mistakes system designers make that I see a lot of is the lack of care or consideration in placement of the speakers - just putting speakers around a room facing this way and that way and then realising that you are hearing 10 sound sources at the same time - no wonder it is going to sound bad.


What have been the biggest developments in installed sound technology in recent years? The advent of digital signal processors in installations must be the biggest improvement as far as installations market or sound in general.

How is selecting products for installs different to live sound? Selecting products for the venue’s function is more important - you can use live sound systems for installations as long as they can handle the function. With regards to live, there fewer things to consider like rooms and room acoustics, reverberation etc. Live systems tend to be easier to handle - yes, you must consider things in a larger scale but a lot of rules can be still applied to each other. Productwise, amplifiers , DSP’s and some cabinets can be used for both, but a lot of factories tend to manufacture products for both segments and it’s worth noting that the installation products won’t have handles, rubber feet and speak-on connectors, while the live system will have all of these plus protection and tend to be more mechanically durable.

What is your current favourite product targeted at in the installed sound market? My current favourite product is a DSP called the N8000 from Electro-Voice. It eliminates the need for any external hardware in everything from theatres to night clubs and arenas. If you are mixing a band and DJ in a club, to routing a festival - this single DSP can do it all. Plus, having IRISnet to create a controllable graphic user inter-face makes life easier for the user. You

Tony Sawyer, technical support manager for Bosch and Dynacord, reveals the key considerations when considering installing a sound system and we look at some of the hottest products around. can create 64 layers of control and for example, if you have a DJ and band in the same venue, you can mix, EQ, limit and control each individually and at the same time, protect the owner from unwanted engineers.

What is missing from the products currently on offer? At the moment the installation market is in a lucky position, the current product profile has a lot of offer a client, from if he wants his speakers to be green and yellow to co-ordinate with his colour scheme in the venue, to 5.7” full-colour touch panels for zone and remote control. Being able to offer this is important to a client, but it is a shame that not every factory offers this.

Is a PA or line-array system the more appropriate choice for an installation? Why? Let’s make this very clear - line arrays are not the solution to every sound problem, even though some sales people would disagree. Line-arrays’ advantage is the increased deviation back to front where the normal point source speaker or direct radiating speaker has the inverse square law to apply. If the venue has a short throw and a wide dispersion requirement, a line-array is probably not the right solution for you, but on the other hand if you have a long throw and narrow width then maybe a line-array is needed. Linearrays are fashionable at the moment along with their flying subs or bass, but look at the venue first look at the dispersion needed and then decide which one suits you best.

ELECTRO-VOICE – ZX SERIES Electro-Voice’s ultimate in portable sound, also ideal for installations, is the ZX loudspeaker family, which includes the ZXA1 – the selfpowered version of the best-selling ZX1 compact two-way loudspeaker. The speaker is powered by an 800 watt amplifier module derived from EV’s

world-tour-class Tour Grade series – amplifiers with audio quality and reliability proven at the very highest levels. ZXA1’s lightweight, super-durable moulded polypropylene enclosure ensures it looks as good as it sounds – a stylishyet-solid choice for a wide range of applications including N G I S live sound, mobile IED DE BIAMPLIFANSDUCER DJ, stage monitoring and permanent WITH TR CTION PROTE installation. ZXA1’s professionalgrade 8” woofer and 1” titanium compression driver complete the equation, providing a level of sonic performance previously unheard in a compact twoway loudspeaker. Also included is a DH2005 1” exit true compression driver, rotatable horn design, selectable high-pass filter for use with subwoofers, line and microphone inputs – and an integrated handle for easy manoeuvring.

EV - NETMAX N800 This flexible audio control processor is suitable for a wide range of applications. Presented in a compact 2RU configuration, the N8000 can be configured a number of ways to fit the need at hand. The N8000 matrix can be configured in the field to one

of six matrix layouts. The N8000 can be configured and controlled with IRIS-Net. In addition, the N8000 can talk through its integrated CAN bus with any compatible IRISNet hardware, such as the Electro-Voice remote control amplifier series. SAS JANUARY 2012



APART AUDIO - CMAR8-W, CMAR6-W AND CMAR5-W MARINE SPEAKERS IDEAL Apart’s marine loudspeakers have been designed especially to offer quality sound even in the most difficult, humid and hot conditions – ideal for many application in this region in articular! High-quality components combine with rigorous engineering specifications. Resulting in durable and clear sound solutions in yachts, cruise ships, beach-side bars and even saunas. CMAR is available in 5 ¼ inch, 6 ½ inch and 8 inch versions, offer up to 100 Watts program power at 8 Ohm, can be used in temperatures up to 95 degrees Celsius and all models include a sealing ring for

watertight mounting on flat surfaces. Unveilled to the local market at the recent InfoComm event in Dubai, the CMAR range from the Belgian manufacturer is low-impedance and is ideal for installs in the most audio-unfriendly environments. “Unlike normal speakers, that use rubber speaker surrounds, the marine speakers use silicone. Things like chlorine in pool water wreaks havoc on rubber, but not on silicon,” explains Kris Vermuyten, sales and marketing director. “In addition, the speaker grill is made of stainless steel, so it won’t rust as a result of things like salt water.


RCF - VSA 2050 The VSA 2050 is a multi-amplified vertical steerable array that represents one of the latest RCF applications in terms of digital audio technology and is the ideal speaker for indoor installations where the critical acoustic environment is an issue and where moderate visual impact is required. Thanks to the use of the latest DSP technology, the VSA 2050 processes the audio signal sent to each speaker for controlling its vertical acoustic dispersion to address the audio signal exactly to the listening area, avoiding to send the acoustic energy to ceilings and empty floors, thus not introducing bad reflections that



would affect speech intelligibility, mainly in critical environments with high reverberation time. State of the art transducers have been developed for the VSA, in order to offer the highest possible intelligibility and wider frequency response, according to RCF philosophy. The powerful DSP circuit is directly connected in digital domain to the twenty 50 W each Class-D technology power amplifiers, which are able to drive the 20 transducers with the optimal headroom. The amplification circuits include several protection systems and controls to ensure safe operation of the speaker. The column has a maximum SPL of 96db (A-weighted at 30m), a 130 degree horizontal coverage angle and a vertical coverage angle selectable

between 10 and 30 degrees. Thanks to the column power, the accurate speaker design and the high efficiency of the digital technology the VSA 2050 is able to obtain a very long coverage, up to 30 meters preserving a smooth uniform horizontal coverage as well. Through the remote control’s (which in seconds allows you to virtually tilt down and shape the acoustic beam while the column speaker is physically installed in a vertical position) user friendly touch screen interface it is possible to select among three different groups of presets that offer a remarkable easiness in the VSA 2050 configuration process. Furthermore you can also control the VSA 2050 thru the software GUI.

DYNACORD - CORUS EVOLUTION SERIES Released just over a year ago, the Corus Evolution family is a range of compact loudspeakers with high power-handling and strong acoustic performance at a comparatively cost-effective price-point. German pro-audio enterprise Dynacord has years of expertise in the development and manufacture of loudspeaker systems with wooden enclosures and Corus is regarded as representative of this knowledge. Made up of six professional models, the series is ideal for the install market, although the manufacturer claims it also offers a strong solution for live music. Equally well suited to the reproduction of live music and to p fixed installation. The three full-range systems (C 12.2, C 15.2, C 25.2) in the line include the Corus


Evolution C 12.2, a compact trapezoidal twelve-inch / two-way full-range box with a power handling capacity of 500W (2000W peak); the Corus Evolution C 15.2, which bears similar characteristics but is 15-ich and includes a DH3 compression driver in a 90 by 50 degree constant directivity horn is responsible for the frequencies above 1550 Hz; as well as the Corus Evolution C 25.2, which offers extremely high sound pressure levels in an astonishingly compact format, thanks to the doublefifteen-inch / two-way full-range box with a power handling capacity of 1000W (4000W peak) capable of delivering sound pressure levels of up to 139 dB. The subwoofers of the Corus Evolution family include the Corus Evolution Sub 1.15/Sub 1.18 and the Corus Evolution Sub 2.18. The subwoofers Sub 1.15 (one fifteen-inch

EVS-15S woofer) and Sub 1.18 (one eighteen-inch EVS-18S woofer) make ideal partners for the Corus C 12.2 and C 15.2 full-range boxes where extended bass reproduction is desired. Thanks to their integrated low-pass filters, they can easily, if necessary, be operated parallel in single-amp mode. The Sub 2.18 is a double-eighteeninch high-performance subwoofer capable of delivering very high sound pressure levels and boasting sensitivity and max SPL figures of 102 dB 1W/1m and 138 dB respectively. Its power handling capacity is 1000W continuous and 4000W peak. The Sub 2.18 is universally suitable for the creation of active two-way or three-way systems. It is above all, however, the ideal companion to the C 25.2 for the creation of an active two-way system.





This month’s hottest new products from JBL, Pioneer, SmithsonMartin and more... SMITHSONMARTIN - KS-1974 SmithsonMartin has again used its expertise in multi-touch technology to deliver the world’s first touch screen DJ controller, the Kontrol Surface 1974 (KS-1974). “The KS1974 represents the most advanced multitouch technology in the world,” says Pablo Martin, SmithsonMartin CTO and creator of Emulator. “Until now, the hardware available was not accurate enough for professional use and the iPad is simply too small and underpowered for DJ needs. The KS-1974 uses a 22” surface with 4 simultaneous touch points that are pin-point accurate. With Emulator software, users now have the fantastic ability to merge and convert any software interfaces to multi-touch.”

The KS-1974 comes with all the necessary cables (USB, power and VGA) and they are all permanently connected to prevent them from coming loose or getting lost. The KS-1974 also comes with a custom carrying back from UDG, a mini-display to VGA mac

adapter and a screen cleaning kit. The price for the KS-1974 is $2,499, including Emulator software with lifetime free upgrades. The launch of the KS-1974 also coincides with the official launch of the newest Emulator software, Modular. Modular allows users to make fully customizable, multi-touch layouts for any MIDI-based software. “Essentially, Emulator Modular makes any midi software multi-touch with the user deciding where to put every button” said SmithsonMartin CEO, Alan Smithson. “You can even use photos and midi map them to be your buttons. The creative mind of our users is the only limitation to Emulator Modular.”

STARDRAW - DESIGN 7 Software provider has announced the launch of Stardraw Design 7, which is available to download now from its website. The move follows the initial unveiling of the software at InfoComm 2011 in June, which marked the debut of a public beta phase. The application is’s seventh-generation software solution for systems integrators. Drawing on nearly two decades of market experience, and exploiting the latest in software technologies, Stardraw Design 7 offers audio and video system designers/installers unparalleled speed, ease of use and task-orientated functionality in a modular package which will enable integrators to custom configure the software to suit their particular require-

ments and budget. Users also have access to the industry’s largest, highest quality library of manufacturers’ products. Using an entirely new codebase, Stardraw Design 7 generates a project- and productcentric database which is accessible via tried and trusted task-oriented drawing environments such as ‘Block Schematics’ and ‘Rack Layouts’ as well as a new, grid-based Products overview and integrated Reporting interface. A key advantage of this approach is that each ‘view’ is a representation of the central project database, and a change in one view ripples through to all of the others. A multi-tab interface means that all drawings are accessible at the same time, with each drawing on its own tab, while the Project Dashboard gives you a master view of

the whole project for quick and easy access to everything. The new Symbols Palette feature shows you the products in your project that are not being used in the current drawing, which helps you keep track of your project and ensures that you haven’t overlooked anything when building your racks or documenting system interconnections.




SOMMER CABLES HICON HI-J63M AND HI-J63S JACK PLUG CONNECTORS A radical slimming cure is what HICON’s new 6.3mm jack connector went through, according to developer Sommer Cables. This jack plug is designed for professional applications in the studio, the music business, in the fields of broadcasting and event technology is now even smaller in diameter and will therefore swipe hardly any space on the patch panel or your musical instrument when plugged in. To easily keep track of, the HICON jack plug has been fitted with a transparent code ring which allows you to slide a sticker or paper strip underneath quite easily. Thus you can label all of your cables individually – also at a later date. The HICON jack plug has an anti-twist solid pin with a hard gold-plated contact tip, a robust and massive metal housing with a scratch-proof velvet chrome coating plus an extremely reliable collet strain relief which does not damage the cable or its internal construction. The maximum cable diameter is 7.8mm. The plug is available in a mono and a stereo version. HICON offers a five-year warranty on the connector.


HARMAN - JBL HIQNET PERFORMANCE MANAGER Harman Professional has announced that its JBL HiQnet Performance Manager sound reinforcement system design software is now available to users as a public beta version. JBL HiQnet Performance Manager had been previously available to a closed group of 60 worldwide beta testers. JBL HiQnet Performance Manager is a highly refined user interface that facilitates the design of touring and live performance venue sound reinforcement systems. Created especially for touring and theatrical sound engineering, Performance Manager is an application-specific iteration of the categoryleading Harman HiQnet System Architect configuration and control software application for professional-grade audio system integration. “JBL HiQnet Performance Manager is a powerful tool that makes the design, setup and tuning of a JBL VERTEC loudspeaker system a lot faster and more efficient,” says Adam Holladay, market manager, HARMAN System Development and Integration Group. “The response from our beta testers has been extremely positive,” continued Holladay. “In venue after venue, JBL VERTEC system engineers have been

able to achieve consistently higher levels of performance than before. They note that they are also able to set up a system more quickly, saving time and money. Now that we are making it available in a public beta version, many more users will have the opportunity to take advantage of the benefits of Performance Manager as a free download.” The public beta version of Performance Manager is available at http:// The beta version is functional except that users will need to apply for a license key in order to go online and access the online operate modes of certain system devices. The full version of JBL HiQnet Performance Manager will be available in early 2012 at a suggested retail price of $399.

PIONEER – CDJ-850-K Pioneer’s industry-leading CDJ multi-player range is now available in new colour versions of the CDJ-850 and CDJ-350. The new solid black CDJ-850-K and the metallic silver CDJ-350-S match any interior and offer the operability and stylish design of Pioneer’s high-end models, but at a more accessible price. Both multi-players function as sound cards and support various media and music formats including CD, MP3, AAC, WAV and AIFF, making them incredibly versatile. The CDJ-850-K and CDJ-350-S come bundled

with Pioneer’s rekordbox music management software. rekordbox analyses the BPM and beat position of songs from your computer, allowing DJs to categorise music by genre and create playlists before a gig. DJs can easily transfer songs and playlists to the multi-player via USB. For maximum flexibility DJs can edit playlists on both the CDJ-850-K and the CDJ-350-S – a feature exclusive to players in this price bracket. The new colour models are now available at a recommended retail price of $1,200 for the CDJ850-K and $870 for the CDJ-350-S.


ETC - TESSERA ETC’s versatile new touchscreen lightingcontrol Tessera – the Unison Mosaic Tessera Controller – is now shipping. A sleek new addition to ETC’s Unison line of architectural control, Tessera combines a 4.3� (10.9cm) touchscreen with a 512-channel DMX over Ethernet Mosaic controller. Complex lighting shows as well as devices like moving lights, colour-mixing LEDs, conventionals and dimmers can all be controlled by Tessera. It also handles impromptu show control, accessories, automation, waterworks

DYNACORD – DSP 260 V1.5.0 Dynacord has unveiled version 1.5.0 of its DSP 260 editor software, which the firm says offers a variety of improvements and enhancements to this robust and unique PCbased control and configuration software DSP 260 Editor Software V1.5.0 contains numerous performance enhancements that continue to provide an ever-improving user experience, according to Dynacord. A

and other non-lighting effects. ETC named its new product after the ancient word for ‘tile’. ETC’s Architectural market manager Joe Bokelman explains: “A tessera is a tile in a mosaic but also an object of beauty and utility itself. Our Tessera is both a part of a greater sophisticated networked system and a standalone full

controller, in a compact interface.� “Imagine colour-changing lights in a shopping centre or office block that can go through dynamic effects, seasonal looks or subtle lighting events – without requiring a massive control system that no one on site knows how to use. Tessera provides simple access, standalone touchscreen control, at your fingertips. Tessera is a complete controller, capable of mastering an entire installation – while also integrating with a larger Mosaic installation.�

component of the V1.5.0 release is the inclusion of device drivers for 64-bit versions of Windows XP, Windows Vista and Windows 7. These new drivers will allow users of these 64-bit operating systems to take full advantage of the advanced programming and configuration features provided by the DSP 260 Editor Software. It is currently available for download via the manufacturer’s website.


Gulf Show Power has provided power to professional artists TVDIBT 1SJODF +PF$PDLFS (VOT AO3PTFT 5JFTUP -JOLJO1BSL  #FZPODF (FPSHF.JDIBFM 5IF 3PMMJOH4UPOFT 6 #PO+PWJ  &MUPO+PIO 4UJOHBOENBOZ many more.



V.V & Sons Professional L.L.C, Behind Hyundai Show room, ST.11 B, BLD. NO.39, Diera,Dubai, U.A.E, P.O Box No. 105, T. + 971 4 2684575 F. + 971 4 2662052, E.proinfo�, W.


Online portal for local talent spotters

A new online portal has launched that its developers say will give users in the Middle East access to regional and international talent available for bookings. The website - www.talent- – is understood to be the first of its kind in the region and is the brainchild of Dubai-based branding consultant Suha Krimeed. Designed to be the ‘go to’ source for clients looking to secure high quality artistic talent, the website will also give entertainers a platform to promote their specialist talent to a wider audience. “The idea behind is a direct result of more than 10 years experience in organising and commissioning successful events across multiple industry sectors; with a desire to make world-class artistic talent accessible to the Middle East market through a single online portal,” said Krimeed.

“The unique service will streamline the often frustrating and time consuming task of sourcing and securing entertainment for a specific occasion or event; and it has been designed with the needs of event management companies and PR agencies – and their clients - in mind,” she added. The website provides artists for a wide range of occasions from theatre and dance productions to corporate events, festivals and weddings, as well as supplying talent for television commercials, radio campaigns, film shoots and music videos. Talentcode is continuously being updated with fresh new talents being uploaded every week.



1 The Frame announces UAE film funding

2 Sennheiser goes Gaga 3 Ben 10 in Arabic 4 ADFC announces funding 5 UAE films at Oz film fest MOST READ SOUND & STAGE NEWS STORIES

1 Sennheiser goes Gaga 2 Crew member killed in Italian stage collapse

3 Dubai Jazz at Festival City 4 SGM comes Home 5 Optocore at Juventus stadium





The BBC plans to produce an Arabic version of its popular Question Time show, in response to greater demand for audience participation after this year’s regional unrest, The National has reported. The TV show typically features a range of politicians who answer questions put to them by the audience.

Three films screened at the Abu Dhabi Film Festival in October were among the top prizewinners at this year’s European Film Awards, recently announced at a ceremony in Berlin. Joining them in the winners’ circle were two additional titles shown in ADFF’s Narrative Feature Competition a year earlier.

















MUST ATTEND EVENT... RAI Exhibition centre, Amsterdam, Netherlands December 3 to 6, 2011,

App of the month

Launched in 2004, ISE is Europe’s largest tradeshow for the professional AV and electronic systems industry. ISE 2011 is expected to draw over 750 exhibitors and more than 30,000 attendees from 100 countries to its Amsterdam RAI location.

Power Calculator

YOUTUBE CLIP OF THE MONTH Pioneer new CDJ-850-K Introduction Pioneer’s industry-leading CDJ multi-player range is about to become even more desirable, with the introduction of new colour ver-sion of the CDJ-850. The CDJ-850-K offer the operability and stylish design of Pioneer’s high-end models, but at a more accessible price, with function as sound cards and support various media and music formats including g CD, MP3, AAC, WAV and AIFF, making them incredibly versatile. The CDJ-850-K come bundled with Pioneer’s rekordbox music management software. rekordbox analyses the anagement software BPM and beat position of songs from your computer, allowing DJs to categorise music by genre and create playlists before a gig. DJs can easily transfer songs and playlists to the multi-player via USB. For maximum flexibility DJs can edit playlists on both the CDJ-850-K -- a feature exclusive to players in this price bracket. YouTube search term: Pioneer CDJ-850-K


The Power Calculator iPhone app converts kilowatts, kVA and horsepower with the touch of a finger. Want to know what kind of power you’re going to need in a backup generator? Choose from single phase or the less common three phase power, the correct power factor, the volts required and amperes, and you’re good to go. There’s also an entire section on lighting conversions. Never be confused by a lumens reading again with this easy watt converter function. Power Calculator is a comprehensive source of conversions and equations, with a healthy slew of practical application for contractors and technicians alike. Looking for more information? The app’s about section has a list of helpful links that can help you find information on diesel generators, business continuity, uninterruptible power systems and power protection.

8 t h







The most celebrated event for the Middle East broadcast and production industry

WEBSITE NOW LIVE For more information on the 8th Annual Digital Studio Awards, please visit:

For nomination enquiries please contact:


ne ion deadli

h t 5 1 y a d Sun y 2012 Ja n u a r

Chris Newbould Editor, Digital Studio Tel: +971 4 444 3596 Email: For sponsorship opportunities please contact: Fareed Dubery Publishing Director Tel: +971 4 444 3381 Email: For table bookings and further information please contact:

Associate sponsor

Michelle Meyrick Events Manager, ITP Business Tel: +971 4 444 3328 Email:

Exhibition Partner Category Sponsor Association Partner

Category Sponsor


Off the record... “I wanted to capture what it is like to experience the show from right in the middle of the crowd as well as showing and combining the visuals featured in the show with the footage we captured on this one night; to see how the music and visuals emo-

Vegas shows Those who attend Motley Crue’sormance. perf ” can expect an “interactive

tionally affect and connect with the audience.”

Adam Smith, who is the Chemical Brothers’ ‘long-term visuals collaborator’, will direct a feature length film documenting the group’s live show. Set to premiere in 20 cities across the world this month, the film – ‘Don’t Think’ - was filmed at Japan’s Fuji Rock festival on July 31 on 20 cameras.

Chemical Brothers’ are notoriously te performances chnical affairs.

They’re around it. It’s going to be really exciting.”

Motley Crue frontman Vince Neil speaks out about the band’s Las Vegas residency, scheduled for February 2012. The dozen shows will happen at The Joint in the Hard Rock Hotel and Ca-

Concert director and stage set designer Kuniyoshi Ichikawa, 61 says creating innovative, visually entertaining music concerts has been the top priority or his 40-year career, but is now equally as passionate about alternative power sources at events.


“All guests at all Adele shows will be asked for a minimum donation to charity of $20.00 per person, in cash, when they collect their tickets. There will be no exception to this rule. We will also expect that all guests of the promoter and/or venue to also make the same donation when collecting their tickets.”

“I think more and more people are wanting an experience, and we’re trying to bring that into this where people aren’t necessarily at the show, they’re in the show... Why not make it a full-on experience, really? We’re putting together moments of this show where the actual audience participates. They’re in it.

Solar ambitions

sino and will see the hair metal act indulging in “over the top craziness” according to Neil, who adds that the show will also be “interactive”. “It’s a stationary show. It doesn’t have to move around, so we can do all kinds of stuff we only really dreamed about.”

British singer Adele’s tour rider makes it clear that recipients of complimentary tickets - provided by Adele herself, concert promoters, or venue staff - do not have a choice to opt out of making a charity donation if they plan on attending a show. The cash collected is then donated to Sands, a UKbased charity dedicated to “supporting anyone affected by the death of a baby and promoting research to reduce the loss of babies’ lives.”

His latest creation is a solar power system that can provide part of the electricity required for concerts. The device with solar batteries is placed in the parking lot of a concert venue to charge stival wasthe day, and is feduring year’s Pukkelpop t the show will usedThatis night during the show. The concept bu , dy ge tra marred by . - the go Eco System Rising Sun solar-energy in 2012 on Live

charged modular battery road cases - won the ‘Best Debuting Staging/Rigging Product Award’ at LDI last year after a twoyear development phase, and while Ichikawa admits there are still some issues to iron out, he is confident the device will be seen at events in the near future.

Sounds good – and looks good too. The discussion units blend perfectly into the existing environment. Q Timeless design. Q Elegant black and clear lines. Q Harmonises with contemporary architectural environments. Q For stylish spatial concepts. Sennheiser Middle East OfďŹ ce # 345, Bldg. 6E/B Dubai Airport Free Zone P.O. Box 371004 Dubai, UAE

Sound & Stage - January 2012  

Sound & Stage - January 2012 - Volume 6 - Issue 1 "52 Pages" ITP Technology Publishing, Dubai, UAE