Page 1

10 MINUTES WITH... LD Luke Bonner talks lighting education p30 KITTED OUT Discrete but powerful sound at Whisky Mist p34 BUYER’S GUIDE The latest and greatest in software solutions p38

FIGHTING FOR RIGHTS PRS for Music is on a quest to promote creative royalties in the Gulf

SUSTAINABILITY DRIVE How locally-based firms are stepping up to the green challenge

Who took home top honours at this year’s Middle East Event Awards?


WINNER IS… Vol: 5 Issue: 7 July 2011

An ITP Business Publication


July 2011 Volume 5, Issue 7 04 News round-up 12 COVER STORY: Middle East Event Show Post-show coverage including expo highlights and pictures.

14 And the winner is... On the stage (and backstage) at the 2011 Middle East Event Awards.

20 Fighting for the rights PRS for Music is set to overhaul music royalty payments in the Gulf.

26 Sustainability drive Local firms on why going green doesn’t have to be at the expense of creativity.

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30 10 minutes with... Protec LD Luke Bonner talks lighting education in the Middle East and abroad.

34 Kitted out Discrete sound and custom lighting control at Whisky Mist in Beirut.

38 Buyer’s guide: Software The latest and greatest software tools.

41 The guide 44 Web.Log

‡ Capacity Capaac 250 kkg - 12000 kg ‡ ClimbingClim mb Or Stan nda Hoist Standard ‡ Overload Overrlo Protection P withh Patented Fricttio Clutch Friction ‡ Direct Direect Control Or Con nta Contactor Control ‡ Light Ligh And A Compact D i Design ‡ Precise Chain Guide ‡ Textil Chain Bag ‡ Several Models On Stock

46 The hitlist 48 Backstage


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Content wars Some of the most popular content on this magazine’s website – digitalproductionme. com – is the concert videos that usually depict some kind of mayhem; whether it be an artist falling off stage, a promoter pleading for crowd calm, or a gear malfunction. These often grainy and very shaky clips are generally courtesy of enthusiastic iPhone (and other smart phone) users filming the show and posting the footage on sites like YouTube, and consequently, entering it into the public domain. But this kind of content is under threat, thanks to a patent quietly filed by Apple 18 months ago for technology that blocks the camera function on iPhones. Now, I should stress that it’s still in the development stage, and that Apple hasn’t (yet) announced launch plans for the function, which uses infra-red sensors installed at venues to instruct iPhones to shut off the camera when held upright, but allow all other phone functions to be used as normal. It’s a bold move, and one that could have a significant impact on the promotion and production of live events, particularly from a copyright perspective. Not surprisingly, venue owners, live event broadcasters and non-recording event attendees have applauded the technology’s development, but the iPhone masses are not

pleased, arguing that a ticket fee should include the right to record event proceedings. This, of course, is the prime irritation for broadcasters and promoters who have purchased exclusive rights to film, stream and sell recordings of live events, which are often then superseded by free amateur clips online. Venue owners and some attendees have also been upset at the sea of glowing iPhones held aloft that block the view of the stage and send thousands of intermittent flashes throughout the performance. Some artists – Kaiser Chiefs frontman Ricky Wilson included – agree, saying that the crowd should focus on the music and the show, rather than their devices. Whether the technology is eventually released and implemented or not, it has certainly sparked a passionate debate and has undoubtedly left many nostalgic, reminiscing about the days when there wasn’t an iPhone in sight, and the lighter flame, held high and swayed side-to-side, was King of the concert crowd.

Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 444 3000, Fax: 00 971 4 444 3030 Web: 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 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 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 Annie Chinoy ITP Digital 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

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Bosch updates EMEA audio team STAFFING Bosch Communications Systems has announced the reassignment of responsibilities at the company, which came into effect last month. To date, as sales director pro audio export, Klaus Seitz has been responsible for the pro sound segment (Electro-Voice, DYNACORD) in Europe, the Middle East and Africa (EMEA), whilst Kamil Swobodzinski has been responsible for the marketing of broadcast and intercom equipment (RTS, TELEX) in the same three regions. Henceforth, responsibility for both the brands and the sales regions will be differently assigned between the two. The duties of the existing export sales managers, however, will remain unchanged. From June 1, 2011, Seitz, sales director MEA, became responsible for the marketing of both pro sound (Dynacord,

Klaus Seitz. Electro-Voice) and CCS (RTS, TELEX) products in the Middle East, Africa and Turkey. To be closer to customers, Seitz will relocate

from Straubing to the Robert Bosch subsidiary in Dubai. “The Middle East and Africa are important growth regions for pro sound and CCS products,” explained Robert Hesse, VP sales communication EMEA, Bosch Security Systems and managing director, EVI Audio. “That’s why, in accordance with our strategy ‘local for local’, we want to strengthen our presence on the ground with a sales director who is very experienced and professional”. Of Kamil Swobodzinski, who will be appointed the position of sales director Europe (Eastern and Western Europe) for both the Pro Sound and CCS market segments, Hesse commented: “Kamil has in the last few years demonstrated his outstanding sales and management capabilities. We are delighted that he has accepted this new position. We wish both Klaus and Kamil success in their new roles.”



Melody House, distributors of HK Audio speaker systems, has recently supplied Dubai-based rental firm Abacus Rentals with a ConTour Array system from HK Audio. The rental firm decided on the purchase after a comprehensive demonstration that highlighted the power, flexibility and clarity of the system from the German company, according to a Melody House rep. The ConTour Array bridges the gap between conventional PA systems and large touring line arrays. Previously, deploying line array rigs for smaller

Qatar Vision has purchased the Encore system from ClearCom’s UAE distributor Nicolas Kyvernitis Electronics Enterprises (NMK). Distributors in the Gulf for the live sound market, NMK has supplied the rental firm the new two-wire partyline intercom system in addition to other equipment. The deal includes a master station, belt stations and a number of CC-95 headsets. The Clear-Com Encore Party-line Systems offer two-wire, group communication capabilities and includes an intuitive plug-and-play design, superior audio clarity with the embedded ‘Clear-Com’ sound and reliable communication technology for the most demanding applications. Trusted by

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applications was not a costeffective proposition however today this new system is the first of its kind to put this technology to efficient use for many sound reinforcement scenarios. “Abacus Rentals are a growing rental firm and this latest purchase will take them to new heights,” said Dino Drimakis, business development manager at Melody House. “With this second ConTour Array system in the UAE, HK Audio is gradually building a strong reputation in the live sound market.”

audio experts, Clear-Com Encore analogue party-line systems are the communication backbone small to mid-size live productions world-wide. “For live performance markets, ClearCom is not just a brand. It is the default term used,” said Richie Hiranandani, marketing manager, NMK. “Qatar Vision has recently invested in upgrading their inventory across the board and communications was no exception.”


Ampco the sound of WOMAD in Abu Dhabi PROJECT Ampco returned to the simmering heat of Abu Dhabi this spring for the third WOMAD (World of Music and Dance) event to be staged in the UAE capital, supplying audio control and crew for the festival’s three main stages. Staged by the Abu Dhabi Authority for Culture and Heritage (ADACH) and WOMAD, the multi-cultural festival is unusual among international events in being staged in two separate locations. Three stages grace the Abu Dhabi Corniche beach’s white sands, while the historic Al Jahili Fort in the desert town of Al Ain provides a picturesque setting for two further stages. In all the festival attracted 22,000 people a day, a total of 80,000 over the weekend. Artists included Paloma Faith (United Kingdom), Baaba Maal (Senegal), Toumani Diabaté (Mali), Tarab Al Emarat (United Arab Emirates), Hindi Zahra (France/Morocco), El Tanbura (Egypt), Jimmy Cliff (Jamaica), Afro Celt Sound System (United Kingdom) and Sain Zahoor (Pakistan). Many performers also led workshop sessions every night at the festival, where audiences could learn more about the artist, their culture, musical inspirations and the stories behind the music. Other attractions included children’s workshops and ‘Taste the World’, a popular WOMAD feature that sees artists from Europe, Africa, India and UK cook and share traditional dishes. WOMAD directors Chris Smith and Claire Wrightson brought in Judgeday to head the technical production, with David Taraskevics assisted by Becky Parson. Ampco, which has worked with WOMAD for over two decades worldwide, supplied FOH and monitor control systems with 10 crew for the North and South beach stages, as well as the main stage at Al Jahili Fort in Al Ain, under Ampco production manager Dieter van Denzel. Backline production manager Natasja Geerdink was

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Ampco was responsible for the audio control at the event’s main stage in Al Ain as well as stages on the beach in Abu Dhabi.

assisted by three technicians, Jarno Linsen, Klaartje van Engelen and Frits Ton. Van Denzel said: “We used our special festival infrastructure for quick changeovers, The beach location didn’t provide any new challenges, as we have worked on beach festivals for over 30 years, including many that WOMAD have done. The only difference was the very high temperatures, so we had to arrange extra cooling fans for some equipment.” Ampco’s control equipment on the North stage, with FOH engineer Peter Velthuijzen, included a 48 channel Midas Heritage 2000 and an effects rack comprising Lexicon, TC Electronic and Yamaha effects units, and insert racks with Klark Teknik DN 3600 digital EQ, XTA GQ 600 2x30 graphic EQ, Avalon and dbx comp/ lim’s and Drawmer noise gates. Intercom was an ASL PS 278/279 dual channel series with Beyer DT109 headsets. Ampco’s new self-contained Lake drive racks controlled the overall equalisation of each loudspeaker system, providing engineers with an 8x8 matrix drive rack to handle various speaker systems and sound zones. Monitors were mixed by Koen Benschop on a 48 channel Midas Heritage 3000,

with a Klark Teknik DN3600, dbx comp/ lim and Drawmer noise gates. Effects units were Lexicon and TC Electronic. Stage technician Matthew Buttle was in charge of Ampco’s festival stage infrastructure and a microphone package that included more that 60 microphones, featuring a mixture of Shure, Sennheiser, AKG, Neumann, ASL and various ‘specials’ for ethnic acoustical instruments. Wireless systems were Shure UR4D R9 wireless microphone systems with various mics and accessories, while inear systems were Shure PSM700s. The South stage and featured a broadly similar package, with a Midas Heritage 2000 at FOH, mixed by Jan Willem Stekelenburg, and a Midas XL3 on monitors, in the hands of Richard Procee with stage technician Erik Mertens. This was also the first year that Ampco had provided a monitor system for the Al Ain main stage, with Nico Raatgever on monitors and Petra Randwijk on stage patch. “It was another wonderful WOMAD Abu Dhabi,” said van Denzel. “The atmosphere at both the beach and the fort was magical and we heard a lot of great music, and as ever the WOMAD team were great to work with.”

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IBS Solutions announces new partnership with Company NA DISTRIBUTION Following the recent announcement of the IBS Group’s partnership with theatre equipment designer, manufacturer and installer JR Clancy Inc, the Group’s IBS Solutions division has announced that it is partnering with Company NA, a Latvian lighting and control equipment producer. As the official GCC distributor for Company NA branded products, IBS Solutions will offer the full range of LED fixtures, fluorescent floodlights, strobes, splitters and dimmers through its office in Dubai Investments Park to the region. Founded in 1994 by Aldis Janevics and Normund Blasans, Company NA started

rector at Company NA. “We as a rental company and focus on durability as well as over the years has been making the products suitable involved in high profor touring. We also underfile events such as stand the importance of havthe Eurovision song ing fully functioning products contest. Only in more and this is why we have esrecent times has it detablished a service centre to veloped into a designer and manufacturer of lighting Company NA’s QuatroStar M3. provide highly qualified technical support and after sales services.” equipment. Gavin Coxon, general manager at IBS “One of the advantages we have over Solutions added: “With this new partnerother designers and manufacturers of lightship we hope to bring some new highly ing products is that we actually get to test competitive products in to the GCC market our own equipment. Since our main busiwithout compromising on quality. We very ness is still the rental side, it means we are in a better position to understand the needs much look forward to the new markets this will open up for us.” of our clients,” said Ritvars Sakals, sales di-

GE LIGHTING APPOINTS LUMINAIRE SOLUTIONS LEADERSHIP FOR MENA GE Lighting has appointed Diederik de Stoppelaar as director of the company’s new commercial organisation - Luminaire Solutions. Diederik Simon Fisher. will lead a team of lighting design and specification assistance team across a number of key market seg-

ments: indoor commercial LED luminaires, indoor core luminaires and outdoor lighting. Simon Fisher will lead indoor commercial LED luminaires as general manager for the EMEA region. He will head both project and indoor product and lighting design teams working across EMEA to drive innovation in LED solutions across industrial and commercial interiors. As channel manager, Luminaires Solutions for the Middle East and Africa region, Selcuk Mert will drive all the sales for

luminaires working closely with the local teams in the region. Phil Marshall, president and CEO, GE Lighting EMEA, said, “With the current focus on infrastructure development, the Middle East region is a perfect fit for strengthening our LED business. This new commercial organisation... will allow us to leverage the wonderful technology heritage and LED capabilities that exist within GE to further develop and expand our Luminaire footprint.”

ECLIPSE PROJECTS FOR AL JAZIRA FC Eclipse Staging Services was engaged by Flash Entertainment last month for the celebrations hosted to commemorate Al Jazira FC’s recent premier league win. Show-called by Richard Scott, the event was hosted at the futuristic Mohammad Bin Zayed Stadium and included a laser, light and fireworks finale. Eclipse’s GM Darren Hodge project managed the technical aspects of the show and bought in Mark Cuniffe to

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design and operate the lighting rig. The company’s new 1500 watt wash, spot and beam lights were on show, as were two of the world’s largest video projectors - 35K HD projectors, which projected a range of content onto the pitch. Five 532nm lasers featuring a 30Watt Diode Nd. Yag were operated by Eclipse’s own laser supremo Ross Marshall, while two MDG outdoor smoke generators, fireworks and confetti cannons designed and provided by Pains

fireworks, audio in the form of an L’Acoustics sound system from Delta Sound and Sky Falcon Searchlights from A&O completed the gear list.


Al Laith unveils TSG HeavyDeck STRUCTURES Al Laith Event Services, based in Dubai, Abu Dhabi and Muscat, Oman, has launched TSG HeavyDeck, a new, solid and extremely stabile decking structure to the Middle East events industry. With unsurpassed load bearing capacity of up to 10kn/sq metres, the TSG HeavyDeck can meet the need for multi-level decking systems head on, according to the firm. TSG HeavyDeck can up-to quadruple useable space with the same footprint and is ideal for multi-level hospitality and VIP areas, mezzanine floors and balconies. TSG can provide a number of flooring and elevated deck solutions that are pre-

The TSG HeavyDeck. engineered to meet specific loading requirements prior to installation. The leg and deck system, as standard, can support up to 10kn and can be enhanced to reach 15kn if required. This means that even access vehicles can be driven onto the deck. “This is the fastest to build, strongest and most versa-

tile system I have worked with, and with five metre centers between support columns, the lower deck between floor spaces is highly usable. The whole system is based on a grid designed to compliment standard tented structure columns, so almost any A Frame structure can be added to the top deck,” said Jo Marshall, director of Al Laith Event Services. Standard wall, glass panels air door panels can be fitted to the intermediate floors. The system also includes a self leveling leg that can accommodate up to 20 degrees of ground slope, and can also be built into grandstands minimising any wasted space on site by incorporating hospitality and catering suites into a seating structure.

INTRODUCING... LIVECULTURE EXPO2012 Wembley Stadium is preparing to stage a unique convention of the world’s event production industry - over three days in Spring 2012. Between April 29 and May 1, the iconic venue will host the new liveculture expo2012, which promises an unrivalled technology showcase and business networking opportunity for today’s live event producers, technicians, technology providers, designers and scenographers. Now fully operational for events, Wembley Stadium has 9,400 sq metres of exhibition space including high quality break-out rooms for seminars, 50 luxurious VIP boxes for meetings and demos, and numerous catering areas to give exhibitors a ‘real world’ environment, with 21st century facilities in which to showcase their services - including fully-rigged sound stages and a choice of hotels, easy transportation access and parking for 4,000 vehicles. The driving force behind the liveculture media brand - which also incorporates the liveculture awards2012 gala dinner - is former Total Production In-

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Mark Cunningham at Wembley Stadium. ternational (TPi) editor-in-chief and cofounder Mark Cunningham, who left his long-running position in May. Taking up the role of CEO with the new company, he promises to roll out a portfolio of fresh initiatives - in tandem with colleagues Clive Morton, John Hill and Jay Green designed to give technology manufacturers and service companies within the live event production sector improved and expanded promotional opportunities.

“It is a privilege to be promoting a genuinely game-changing trade expo which for the first time presents a practical demonstration facility for new audio, lighting, video and scenic technologies - a pitch-side stage in the Stadium bowl itself,” he said. And the synergy between sport and music at the UK’s crucible of major events doesn’t stop there. In fact it reached a new peak this Spring when Festival Republic CEO, Melvin Benn was appointed chairman of Wembley Stadium. Among the package of unique communication tools for the event will be a customised App, giving real-time information of what’s on where at liveculture expo2012, including GPS location. In conclusion Mark Cunningham said, “The industry is ready for a fresh approach to real world systems presentations. Historically, demonstration environments available at most of the standard trade events have been so removed from the realities of what these products were designed for, that they are rendered virtually meaningless. The inaugural liveculture expo2012 will change all of this.”


SHOW REPORT: 2011 MIDDLE EAST EVENT SHOW Held last month in Dubai, The Middle East Event Show saw professionals from the full spectrum of the events industry – from the MICE sector to events and entertainment suppliers and buyers – come together to do business, network and update their expertise.


xhibitions, conferences and trade shows in the UAE attracted more than 3.8 million visitors in 2010, contributing millions of dollars to the local economy. It’s little wonder, then, that there is an expo designed specifically for this sector. The Middle East Event Show is organised by Informa Exhibitions, which includes Cityscape and Arab Health in its project portfolio and says its events have had a positive impact on the UAE economy to the tune of US$227 million. “The high visitor numbers are significant because event traffic positively impacts a number of industries which ultimately contributes considerably to the UAE’s GDP,” says Richard Brook, exhibition director of the Middle East Event Show. “And the business deals and networking opportunities that events foster have an enormous financial impact for the development of other businesses in the region, with the average ROI of exhibitions at approximately 300 per cent.” This year’s show included a ‘Knowledge Zone’ – a collection of seminars and workshops delivered by industry experts aimed at up skilling attendees on event marketing, meeting planning, the events landscape, and personal development in the events industry. The flagstone in this programme was an “intensive” training programme staged

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by Edinburgh Napier University Business School’s Institute for Festivals, Events and Tourism (EIFET).The three-day Executive Management Programme in Festival and Event Management was a big success, according to the Institute’s director Dr. Jane Ali-Knight. “The course went really well, we had a dynamic mix of events professionals from the public, private and freelance sector,” she says. Twenty-eight participants from Oman, UAE, RSA and Qatar took part in the course, which according to Ali-Knight, will also run at next year’s event. “Cities like Dubai and Abu Dhabi have recognised the power of festivals and events to increase brand awareness and put their destinations on the world stage,” said Ali-Knight. “Over 400 people have been through the programme in Edinburgh and we are also delivering in other growing events destinations such as Hong Kong.” “In 2012, the educational content of the seminars will be developed to drill down into the specifics of several key topics and will again be provided to the industry free of charge,” adds Brook. And although this Middle East Event Show covered just one hall, the was a solid amount of activity on the show floor - 1,500 estimated visitors, some interesting and innovative announcements from exhibitors and a well-received partnering Awards show.

“We’re excited about the positive buzz we’ve created around the events industry and look forward to developing the show and award ceremony over the coming months and years,” says Brook. “The Middle East Event Awards were yet again extremely successful and well received. The gala dinner was attended by more than 600 guests and next year, in response to feedback, some of the categories will be slightly amended in order to appealing to events with lower budgets.” Eclipse co-exhibited with Wicked Tents and Catertainment in what was arguably one of the most eye-catching and prominent stands at the show. A ‘pride of place location’ at the entrance to the exhibition ensured a steady stream of traffic to the huge Zen Dome over which a circular truss was hung, equipped with an array of Eclipse’s available lighting products. Gobo’s were projected across the floor of the stand, while a showcase of the firm’s pixel mapping capabilities on the exterior of the dome, using two Christie 18K HD projectors, created added visual interest. Inside the Dome, two of Eclipse’s interactive custom multi touch kiosks displayed custom software developed by the company to promote the three coexhibitors, while a section of award-winning Christie MicroTiles in a column and square array was also on display. “The introduction of a dedicated event based exhibition to run

)UHVK « alongside the already hugely popular Middle East Event Awards was a huge success. As an exhibitor we found the quality of visitors to be outstanding and have already picked up business as a result of exhibiting,” says Wicked’s MD Alistair McDonald. Harlequin, the Gulf’s market leader in designing and delivering turn-key solutions for temporary structures and interiors, used the show as a platform to launch its new brand. A new look has been created to represent what the firm says is a “new and improved” Harlequin, which has now been streamlined into four specialist divisions focusing on particular markets and technical requirements: structures, furniture, interior design and cooling. Since Harlequin announced its joint venture agreement with leading UK-based structures specialist, Arena Structures, in 2008, Harlequin has gone from strength to strength; increasing its staff by 60 per cent and achieving record profits in 2009 and 2010. In 2011 Harlequin is opening its first Arena Group office in Asia, continuing the company’s expansion into new regions. “This is a really exciting time for Harlequin. The development of our four new specialist divisions will enable us to best meet the needs of our clients as we continue to grow, ensuring the same consistent high standards are delivered as we continue to work on key events across the Gulf region

and Asia,” says Harlequin CEO and Arena International CEO Paul Berger. Harlequin and the Arena Group are now responsible for the temporary infrastructure behind some of the Middle East and Europe’s most prestigious major sporting events including the PGA Abu Dhabi Golf Tournament, Al Ain Air Show and the Abu Dhabi Triathlon, The Ryder Cup, Wimbledon, AegonTennis at Queen’s and Wentworth Golf. Harlequin have also just been awarded a 3 year contract to provide all the structures, interior fit out and furniture for the Ballantine’s Golf Championships in Korea. ShowGizmo, a mobile app that its develops say will “transform the way events, exhibitions, and conferences are operated” was unveiled to the local market at the show, and was its ‘official mobile app’. Designed in Wellington, New Zealand, ShowGizmo is a secure platform offering authorised access to registered event participants via web and smart-phones. The app enables registered attendees or exhibitors to exchange information and brochures, make connections, plan their time, and receive real-time news in the run up to the event as well as on-site and in the weeks to follow. Making events ‘greener’, more efficient and interactive, the new technology could be the shape of things to come in the events industry. For more information, check out page 38.





The 2011 Middle East Event Awards celebrated the highlights of what was a huge year for the local events industry. Almost outshining the caliber of nominees and winners though, was a spectacular display of creative staging by Giochi Di Luce, which devised and implemented a solution that showcased its own unique LED panel product.




roducing an event for an audience of event professionals is arguably one that comes with extra pressure, but according to Guido Sperzaga, UAE general manager of Giochi Di Luce, the Middle East Event Awards show was all in a day’s work. “There was no extra pressure but of course we wanted to present something that was interesting and different from a technical aspect,” he says. “We tried to come up with a solution that was different and that these people from this industry would appreciate and enjoy. At the end of the day, it’s an event awards show and a bit of a party so we wanted everyone to enjoy themselves too!” And the result was anything but standard. The production firm, which devised the staging concept and implemented it using its own technical stock and expertise,

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showcased its unique LED panel product in an impressive three-dimensional display at the industry’s night of nights. “This application was very particular and a bit different because the configuration wasn’t standard,” explains Sperzaga. “It was designed specifically for this event – we developed different technical aspects until we were happy. Going into the roof adds another dimension and offers not just a straight solution but a solution that embraces the audience as

well w and makes them feel a part of the show. The modular panels were developed by Giochi Di Luce to fill what it saw as a gap in the market for LED products that could combine lighting and video effects and can be configured, as they were at this event, using a combination of 1 x 1 and 1 x 0.5 versions and are can be controlled individually much like a traditional lighting fixture. On top of that they can also be used as a front projection screens. “Different patterns of light can be used to completely change the mood and set up for different situations. It’s not static, it’s very dynamic and you can completely change the look and feel of the stage instantly,” says Sperzaga. “If you have a speech you can have something more formal and quiet and if you have an award

IURP 9HJDV announcement you can have a bit of fun and play with the elements to create something more lively.” A total of 170 LED panels were used for the event, supported by an array of Clay Paky Alpha Profile 1500’s and Beam 700’s as well as 24 Martin MAC301’s; in addition to conventional par cans. To top this off, a projection display added extra visual impact. “We projected onto the panels, with projection mapping and Christie 18k HD projectors, as well as using them as lighting. The projection covered both the panels and the screens on both sides of the stage,” says Sperzaga. Giochi Di Luce also created content for the show, a factor which he explains fit with the company’s strategy of providing a complete range of solutions to clients. “For us, it’s ideal to work like this, to take care of all aspects and to offer a onestop-shop package to the client to cover all the solutions, which means they just have one point of contact,” he says. Being able to develop content with the projection format in mind is also key to the overall success, Sperzaga adds. “We also created all the video content ourselves, from everything that was involved in the presentation of the awards to the atmosphere and creative content - that way we can create the content specifically for that configuration and that type of projection.”

Video content was controlled by three Analog Way D-EventiX with the Orchestra remote controllers – two for the main screens and one for the LED panels – and managed by a Watchout system. Sperzaga says the feedback from the event was overwhelmingly positive, a fact that he says his team respects even more so given the audience. “Everybody was really impressed. We got great feedback from our competitors and other people that were there. And that’s really something, it makes us feel proud to have professional people in the industry that know technology and production so well comment on how impressive it was,” he says.








he Middle East Event Awards recognised the best in the region at a glittering ceremony attended by more than 600 exhibition, conference and event management professionals. Sam Katiela, managing partner of Dubai-based Mamemo Productions was honoured for his outstanding contribu-

tion to the events industry, recognising his leadership, creativity and commitment to the environment, while Greta Nardeschi from DABO & Co took home the Young Achiever of the Year award for what the judges described as her “passion, integrity and exceptional work ethic”. Hosted by Saudi born, Korean Vietnamese stand up comic Wonho

Chung, the gala dinner at the Dubai International Exhibition Centre was a celebration of the innovative events witnessed in the region in the past 12 months. A shortlist of 200 nominations from around the region across 19 categories were judged by an independent panel of experts hailing from both local and international event markets.

ld Trade Best Consumer Exhibition: Dubai Worw. Sho t Boa l iona Centre, Dubai Internat

Best Trade Exhibition: dmg, Big 5 Saudi Arabia.

Best Meeting or Conference: IIR Middle East, International Yemen Oil & Gas & Minerals Conferencest, e..

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Young Achiever of the Year: Greta Nardeschi, DABO & Co.

Best Event Design: Lighth Productions, Burdah 2011ouse Awards.

Best Meeting or Event Facility in a Hotel: Hilton Jeddah.

Best Music Event: Flash Entertainment, Prince.


Best Arts & Cultural Event: AvanteGarde, Oman National Day 2010.


Best Sporting Event: Blink Events, Red Bull Air Race.


Best Event Production: Filmmaster Even Ferrari World Abu Dhabi Grand Ope ts, ning.

Outstanding Event Using a Temporary Structure: WRG77 Qatar, Celebrating Qatar’s achievement of reachingity. million tonnes per annum of LNG production capac





Best Marketing Campaign for an Event: HME Event s, F1 Abu Dhabi Grand Prix.

Best Innovative Entertainment: Filmmaster Events, Ferrari World Abu Dhabi Grand Opening. Best Corporate Product or Service LaunchVibe: Jume irah Zabeel Saray launch.

Best Exhibition Stand Design Action

Impact: du at GITEX.

Best Purpose Built Venue: Dubai World Trade Centre.

Outstanding Contribution to Sustainability (Venue): Abu Dhabi National Exhibition Centre.

Outstanding Contribution to Sustainability (Event): Mamemo Productions: Khalifa Fund Annual Event.

18 SAS JULY 2011

Outstanding Contribution to the Middle East Event Industry: Sam Katiela, Mamemo Productions.



The absence of a music rights body in the Middle East means the creative teams that pen the music played live in the region are left short-changed, receiving zero royalties. This may soon change, though, if rights operator PRS for Music has its way.


n most parts of the world, a royalty transaction is simple. Create a set of music or lyrics and when they are used in the public domain, a fee is paid, ensuring songwriters can earn a living from their craft. In the Gulf though, such a transaction isn’t quite as simple. Although nations like the UAE have signed international music

20 SAS JULY 2011

rights treaties, effectively pledging to pay these royalties, the lack of society to administer this means the transactions do not occur. Effectively, zero royalties for music publically performed, broadcast or even played in a shopping mall, are generated in the Gulf. In the UK, the Performing Rights Society (PRS for Music) is such an entity. “We

represent the interests of composers and authors and publishers of music,” explains Iain Kemplay, the society’s head of international licensing. “We collect royalty fees and then pass them onto the people responsible for the creation of the music. The situation in the Gulf is that, although the law sets out protection for copyright owners, there is no one to administer this.”

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HOT TOPIC And he admits that even those companies – from broadcasters to promoters – looking to do the right thing by taking out a license and paying the required royalties, may find it very difficult to do so. “There is definitely a lack of awareness on the matter in the region. From a user’s perspective, they often wouldn’t know where to go to get a license,” he explains. Not surprisingly however, the international reputation and perception of a ‘brand’, in particular, can mean that a license is taken out to cover the Gulf territory, although Kemplay concedes this is a rare occurrence. “Some companies will take out licenses on music that they are using in TV commercials or in feature films produced out here because there is a point of visibility and it might be that the advertisers - or the brand the advertisers are representing - are conscious of what they are doing in other territories, especially if that ad or film, for example, is going to be broadcast in other territories,” he says. In the case of live music, such international agreements often protect the actual performer, but rarely the songwriters, who more and more, are not the performers themselves. “Take Usher, for instance. I don’t know who writes his music but I’m assuming it’s not Usher himself and that he works with a number of contributors who aren’t necessarily in his band and performing with him,” says Kemplay. “Those creators would normally earn their livelihood through royalties from when the songs get played or performed in public. Clearly if they hadn’t written the music, then he’d have nothing to perform, so the value of him as an artist is based on the songs he has to perform. So when Usher performed in Dubai, it’s likely the people who wrote the music would have got nothing.” But he is quick to stand up for those who would usually be responsible for royalty payments in such instances. “In fairness to a number of these companies, the royalty treaty is quite new in the region, there hasn’t been that awareness, there hasn’t been a big investment by the music industry in terms of setting up an office here and

22 SAS JULY 2011

d Currently, songwriters whose creative works are playe ents. paym y royalt e receiv not live in the Gulf do Christian Bertrand /

“Our strategy has been to go about raising awareness, to get the message out to as many people as we can... but we’re really looking for one or two significant business to stand up and say, okay, we get it, we understand those legal requirements and we’re going to take that step forward and put a license in place.” because there is no society, if a company wanted to look into adhering to the law, there would be no obvious way to go.” Key to rectifying this is education and awareness, which is the primary Gulf regional mandate for PRS for Music, which has been travelling regularly to the region over the past few years trying to shine a spotlight on the current situation – and what needs to happen to ensure the Gulf meets international royalty standards. “In a way, the UAE, in relation to visibility, has been a victim of its own success,” remarks Kemplay. “There is a high use of international music – over the past few years there have been some huge names out here – Sting, Prince, Shakira, Beyonce, to name a few, as well as the likes of Womad – so there is a very developed industry. And there are various initiatives in place by the governments in the region to promote this place as an entertainment hub. So they need to catch up on licensing as well.”

He reveals that PRS is currently in discussion with a number of government entities, including the UAE Ministry of Economy, which covers intellectual property queries, to investigate the possibility of establishing a society. “And at the same time, because it’s a bit unclear how long that will take and in what form it will be, is to say to companies, ‘look the law is quite clear, a license is required, so let’s start putting some deals in place’,” he adds. At the time of going to press, a deal with a major creative name in the region was being finalised, and is expected to position the brand as the first in the region to stand up and publically show itssupport of royalties – by taking out licenses to make such payments. It’s a bold step and one PRS hopes will signal others to follow suit. “Broadly, our strategy has been to go about raising awareness, to get the message out to as many people as we can

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HOT TOPIC and to liaise with the governments, but we’re really looking for one or two significant business to stand up and say, okay, we get it, we understand those legal requirements and we’re going to take that step forward and put a license in place. And we want to use that as a means of publicity, to inform others that these significant businesses support the law and to give a signal of the way forward,” Kemplay explains. “And we recognise that if a company steps forward and does this, that license fee, which could be a significant amount of money, is a cost that wasn’t there previously – and it’s not a huge sum in relative terms but it’s still an amount of money that perhaps wasn’t budgeted for – is a fee that needs to be explained and could mean that that company is now no longer at a competitive edge – because others are not doing it,” he adds. Working with PRS is SACEM, its French equivalent that as a rights owner, represents Rotana, one of the biggest Arabic music groups. SACEM is also championing the formation of a formal rights society, and according to spokesperson Laurence Bony, is actively researching the local music sectors to see how best this can be done.

“All the governmental bodies are completely conscious of the legislation that exists and that has to be respected, but I think they perhaps have not yet concluded a clear picture of what the exact situation should be, what it should look like. So I think there is still research that needs to take place. It’s still a work in progress, that’s why our strategy is to be there to help and perhaps participate in a local society in the future,” she explains. The pair are keen to emphasise that setting up a society is not only about having businesses paying for licences but also what it means in a country socially and culturally. “It is also a means of promoting local content and creativity. It’s not just a question of having an agency taking money from businesses, but about a much wider remit for regional culture,” says Bony. twofour 54, for example, has a remit to support creativity and develop a struc-

ture that will allow Emirati’s to find careers in creative fields – whether that’s film production, animation or song writing. “The irony is that they can go through that process, but if you’re an Emirati song writer, just the same as anywhere else in the world, your main viable source of income is likely to be in the form of rights. If that’s not there, then they’d be perfectly within their rights to recognise that this isn’t going to happen in the Gulf States and move elsewhere, so the region loses its creative talents,” says Kemplay. It’s a catch 22 situation – no one really wants to be the first to start following the letter of the law and risk putting themselves at a competitive disadvantage, but the longer regional corporations keep the situation as it is, the more the region’s talent is likely to leave, disadvantaging everyone in the creative industries. The challenge for the likes of PRS and SACEM is to find a path through this that everyone can follow. Neighbours such as Lebanon, Tunisia and Algeria all have independently administered collection societies, and with a thriving economy such as the UAE’s, surely it makes sense to follow their lead?

WHO IS PRS FOR MUSIC? PRS for Music is home to the world’s best music writers, composers and publishers. Formed as The MCPS-PRS Alliance in 1997 with the PRS for Music brand adopted in 2009, the organisation brings together two royalty collection societies; MCPS and PRS. It exists to collect and pay royalties to its members when their music is exploited in one of a number of ways – when it is recorded onto any format and distributed to the public, performed or played in public, broadcast

24 SAS JULY 2011

or made publicly available online. PRS for Music is one of the world’s most efficient combined rights collecting operations. Offering its members more money, more often, at less cost and its customers the most efficient means by which they can use music. Where does the money come from? Money is due to PRS for Music for any public performance of music, whether live or recorded, and from radio and television broadcasts and online.

MCPS generates money through licence fees from the recording of our members’ music on many different formats, including CDs and DVDs. Where does the money go? PRS for Music and MCPS pay money collected from royalty fees to their writer, composer and music publisher members. Both organisations are ‘not for profit’ and only deduct a small administration or commission fee to cover operating costs.


AMD’s Charlie Boswell on how using the cloud can take the pain out of klm making

FUN AT THE FESTIVAL All the highlights from this year’s Gulf Film Festival

HOW WAS IT FOR YOU? The rundown on this year’s NAB in Las Vegas



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ISSUE IN FOCUS Being green can be a tough ask of those in the Middle East events market; with clients all too often more conscious of the bottom line than their carbon footprint. But according to these pioneering firms, environmental sustainability doesn’t have to be at the sacrifice of creativity or an events’ budget.

Mamemo’s environmental-award-winning Khalifa Fund annual event included a traditional Arabian souk.




or Sven Peeters, managing director of Showtex in the Middle East, being conscious of the environmental impact of his business is almost sub-conscious. “It’s high time something changes and that we look at reducing our carbon footprint, especially in the Middle East. It’s becoming more natural to do this in Europe and this region needs to catch up,” he says. “We all have to do our bit for the environment – if we all sit back and do nothing, there will be very serious consequences, so we have taken the initiative, we’ve stood up and said, we’ll do something about it.” Showtex, which develops, manufacturers, sells and installs fabrics, tracks and motion control systems for the entertainment industry, has formalised its commitment to being sustainable by having its products Okeo-Tex certified. Developed in the early Nineties, OekoTex Standard 100 or Öko-Tex Standard 100 is an international testing and certification system for textiles, limiting the use of certain chemicals. The criteria cata-

26 SAS JULY 2011

logue that forms the basis for the tests for harmful substances is based on the latest scientific findings and is continually updated; the human ecological safety of the textiles tested are more far-reaching every year. The test criteria and the related test methods are standardised on an international level and are widely included as guidance in terms and conditions of purchase and delivery right through to the retail sector. With a total of over 51,000 certificates issued for millions of different individual products, and over 6,500 companies involved worldwide, the Oeko-Tex Standard 100 has become the best known and most successful label for textiles tested for harmful substances.

According to Peeters, the certification was a complex and drawn-out process, but the end result is worth it. “We had to have individual fabrics tested against Okeo-Tex standards. This was mainly done through our head office and involved having sam-

Mamemo chose re-usable PVC floor coverings over disposable carpet for the Khalifa Fund annual event.

The use of projection cuts down the use of printed material, dramatically reducing carbon emissions. ples tested in a lab to ensure there were no harmful substances used in the manufacturing process,” he explains. “It ensures that we keep our position as a market leader and remain on par with international standards.” The firm is also trialling a tape recycling initiative, in a quest to cut down on the waste of the product used in the temporary installation of stage coverings. “The vinyl tape that’s used on the coverings is needed for only one or two shows and then it is thrown away. What we’re currently trialling in Europe is special bins that are placed in theatres into which the tape is thrown into after it’s been used, and then we pick up and empty the bins and recycle the waste into new tape. Because of the cloth content of the tape, it recycles well, unlike other types of tape,” he says. If the trial is successful, Showtex plans to roll out the system across its worldwide branches, including the Middle East. According to Peeters, the theatre industry is a ripe market for green initiatives. “In the theatre especially, it seems that the types of people involved tend to be conscious of the environment as well. Art and the environment go hand in hand in a way so the types of people that are involved in the arts have an environmental conscious also,” he explains. “This helps our cause and makes it easier for us to be ‘green’ in this sector.” He concedes, however, that the commercial value of offering sustainable products in this region is not necessarily apparent yet. “Out here, it’s maybe less of a

Showtex fabrics are Oeko-Tex Standard 100 certified, which gives them a ‘green’ thumbs-up.

selling factor, or a consideration for clients, but I think in Dubai especially, things move very fast so as soon as there are regulations or guidelines introduced that impact environmental sustainability, things will change quickly and we’ll already be ahead of the game,” says Peeters, who adds that the move towards more sustainable business practices and products need not be a dramatic shift. “The little things add up – in Europe for example, at festivals, all the plastic cups are recycled, and here, we get a bit lazy and nothing is done. I few simple changes can make all the difference.” Another advocate for going green, and probably the local events industry’s most visible supporter of the matter, is mamemo productions managing and creative director Sam Katiela. The events and content specialist has long championed the benefits of making green choices when designing and implementing an event concept, evidenced not only in the company’s HQ, which is rich in natural light and potted plants that act as natural air filters, but also in its day-to-day business – events. “In all of our statements to clients, we offer a sustainable option, where they can choose an option where we’ll minimise an event’s carbon footprint as much as possible,” he says. And like Sven Peeters, Katiela says this strategy comes naturally to the firm. “Being sustainable is so intrinsically linked to our strategy, and our core ethos, that we

do it, we make the green choices, without even thinking about it,” he explains. For mamemo, this approach was born following its work on the Masdar Exhibition for the 2008 World Future Energy Summit. Like mamemo, Masdar’s values are formed around sustainable practices, and have proved an inspiration for the events firm. “It was a massive job – we developed the creative content as well – and while we were working with them, we saw their commitment to being sustainable and thought, we should do that too, we should adapt our practices and try to be more sustainable across all areas of our business. We’ve evolved with them, in a way,” says Katiela. The firm has also bee awared the recipient of the 2009 Middle East Business Achievement Awards for Environmental Contribution of the Year and the 2011 Swiss Business Council-UAE Green Event Management Prize. And while not all clients will choose greener event options, there is rising demand for such an outlook, he says. “Not all clients appreciate it, because at the end of the day, there is sometimes a premium for ‘going green’ and for eco-friendly materials, but we try to promote our sustainable agenda as much as we can and there are certainly clients that do get it, and do appreciate it,” he explains. “Especially in Abu Dhabi right now, there is a big push by a lot of companies in the Emirate to include elements of sustainability in their business practices.” JULY 2011 SAS



Custom flight cases and fabric covers (see below right) for event furniture cuts down on the use of plastic wrap. Katiela cautions against merely opting to offset carbon emissions created in the creation of an event by purchasing carbon credits, labelling it the “easy” way out and warning that such schemes may not be all that they seem. “What many companies do is to choose the quick and easy way out – by paying a third party for carbon credits to offset the carbon footprint of an event. But we don’t do that. It’s impossible for us to do a carbon neutral event without doing that, but we choose not to because we don’t feel confident that this way of doing things is the right way to go, that the economics of it make sense,” he says. “We’d rather do things ourselves, and have complete control over reducing the carbon footprint to begin with – by choosing eco-friendly materials, by recycling elements of projects.” Katiela says mamemo aims to look at small, simple measures that can amount to a huge impact on an events sustainability – like choosing projection over printed material on an exhibition; using acrylic and

forex panels, which can be reused, rather than printed materials that are used just once; and instead of using flowers on projects, utilising the firm’s stock of mature potted plants to add greenery but can be reused rather than disposed of. Reusable options also extend to the loadin and load-out process at events. “A couple of years ago we looked out how much industrial plastic wrap and bubble wrap we were using to protect furniture and other elements in the load-in and load-out stages of a project and thought, there has to be a better, more sustainable way to do this,” he says. “We ended up investing in flight cases, all our coffee tables, for example, and fabric covers for our chairs.” Another option Katiela suggests to those looking to make more sustainable choices is consulting with various suppliers to see if they stock greener alternatives. “One option we discovered is soy-based inks, which are more sustainable than oil-based dyes. And that’s all done locally – if you actually take the time to research and ask suppliers

PVC floor covering can be re-used, unlike traditional carpet coverings, which generally have a very limited life-span.

28 SAS JULY 2011

whether they have alternative options, like soy-based dyes, they usually do.” He is quick to emphasise though, that these alternatives must not come at the expense of creativity. “One thing that we stress is that creativity mustn’t be sacrificed for sustainability; the clients mustn’t feel that they’re being short changed for the sake of going green,” says Katiela, emphatically. A shining example of this is mamemo’s work on last year’s Khalifa Fund annual event, hosted at ADNEC in Abu Dhabi, in celebration of the cultivation of the UAE small and medium enterprise sector. Centred on the theme of ‘heritage’, the event, which hosted a large number of high-profile dignitaries, incorporated a 350-seat show arena as well as a large exhibition area that took on the look and feel of a traditional Arabian souk. It was a huge success – applauded from not only a creative aspect by those in attendance but also from a green standpoint, winning the recent 2011 Middle East Event Award for

an ‘Outstanding Contribution to Sustainability’. The event’s figures speak for themselves. “The bottom line is, from what could have been an event with a carbon footprint equivalent to 136 metric tonnes, we reduced it to just 52 metric tonnes. That’s a saving of 84 metric tonnes, which to put it into perspective, is the equivalent of keeping 16 cars off the road for a year,” Katiela says, proudly. “There is sometimes a premium for eco-friendly options, and we understand that budgets are tight, but it’s not always a lot more to go green. For this project, for example, the cost of doing this was comparable to if we had not chosen more sustainable options,” he adds. Those sustainable options included choosing PVC, rather than carpet flooring. “It sounds like an odd choice for a floor, but it’s actually more sustainable than carpet. The problem with exhibition carpet is that it’s only meant for a short period of use and then it’s pretty much thrown away. If you’re lucky, you might get a couple of uses out of it, but the reality is that it’s very expensive to clean, so it ends up getting thrown out. PVC can be more flexible crea-

tively too. For this project, it looked like real sandstone tiles,” he explains. The use of lighting and projection over printed materials was also a way to offer maximum creativity with minimal ecological impact. “As much as possible, we use light to play with the mood and the look of things, rather than printed materials, because lights can be reused, obviously. There is definitely no creativity scarified there. And as for the stage in the arena, we tried to keep things sleek, we don’t do excessive stage sets with lots of props, we do projected images instead.” But Katiela maintains that one thing comes before anything else in the production of an event. “The bottom line for us is that the client is happy, but if we can also promote sustainability and be a part of changing the way the industry looks at the environmental impact of their choices, then that’s a great thing too. We should not forget that we all carry the responsibility for how the next generation will live. Being sustainable is easy, all you need to do is pause and think about the impact of what you are doing,” he concludes. JULY 2011 SAS



10 MINUTES WITH… Luke Bonner, lighting designer at Dubai-based Protec, has just completed a Masters of Lighting remotely through the Queensland University of Technology, and says the formal qualification will allow him to better understand and implement the principles of lighting design. S&S: Why did you decide to complete additional education in lighting? Luke Bonner: I have always been interested in the lighting design of structures and buildings and interested in the direction of installation work. I like doing events and will continue to do them but the installation market is really growing and it’s a really interesting side of lighting design. A course like this really opens up my abilities. Fortunately, Protec saw the value in me doing it and have been really supportive in giving me the time off I needed to finish it.

S&S: Tell us about the course. LB: The Masters is geared towards the architectural lighting sector – so the students are either architects engineers, lighting designers or event lighting designers who want to learn about how light works. The initial appeal to me was to formalise the basics of lighting and gain an understanding of the installation-side works – such as how to light a department store or a museum, horizontal and vertical illumination, how contrast works, colour temperature, colours on materials and lighting standards and regulations. The course covers some aspects of stage and event lighting but it’s really a lot broader than that, even including road-lighting and luminaire design; it’s more about lighting design techniques than ‘how to hang a moving head’. At the Queensland University of Technology, a portion of the Masters is done remotely and a portion is done on-site, so it involved going to Queensland twice a year for two weeks at a time.

S&S: Why did you choose the Queensland University of Technology? LB: I knew what kind of study I wanted

30 SAS JULY 2011

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RAPID FIRE INTERVIEW to do and for me, knowing that eventually I’m likely to settle in Australia, it made sense to complete it at a university over there. Sydney University offered a similar course but unfortunately didn’t offer an option to do it remotely so Queensland Uni proved a lot more convenient as it meant I could continue living and working in Dubai. I found there wasn’t anything offered locally that was substantial enough to give me the qualification and the knowledge I was looking for.

S&S: Do you think formal qualifications are more important than the hands-on experience that is more common in this type of industry? LB: This industry is very hands-on, and most people learn lighting that way, often with a mentor. There isn’t a focus on lighting education here in this region, but I think that might change. You can’t discount the value of education just because you haven’t done it. Learning hands-on through a mentor is great but it only covers the tip of the iceberg in what there is to know, which I found out. The best way, I think, is a combination of hands-on learning and formal

Creative lighting installation – or architainment, as it is often referred to – is a booming market in the Middle East, with developers keen to optimise the aesthetics of their buildings. It’s no surprise then, that it’s becoming a more popular area of study and focus for lighting designers in the region. education – across any industry. You can’t go and do a course like this in lighting and expect to know everything and will get a great job straight away. You still need to put in the time of doing work experience, casual work, knocking on doors and networking, to make sure you’re employable. Technology changes but the fundamentals of lighting design stay the same – I think training and education just gives you more

THE FACTS... The Queensland University of Technology’s Master of Lighting (PH82) offering is designed primarily for people working in all areas of the lighting industry and engineers or architects whose work includes some aspects of lighting. It give graduates of the Graduate Certificate in Lighting (PH62) and the Graduate Diploma in Lighting (PH72) the opportunity to undertake a Masters in the form of a project with some coursework. Entry requirements: • Bachelor-level degree in an appropriate field, or • successful completion of the Graduate Certificate or Graduate Diploma in Lighting or equivalent.

32 SAS JULY 2011

Course design: Masters students will undertake a 24 credit point research project, which may be based within their place of employment and two units (24 credit points) of coursework which may be reading topics associated with their project or other electives taken from any relevant units within the University, on approval of the course coordinator. Course duration (full-time): Three semesters (1.5 years) (Internal only) Course duration (part-time): Six semesters (Three years) (Internal and External) Next intake: July 2011, July 2012.

ideas of how to use the technologies and better understand the fundamentals.

S&S: Lighting design is a very creative field, and creativity is not necessarily something that can be taught, do you think this discounts formal qualifications? LB: Lighting is basically just a branch of science. And I think knowing the science behind lighting better allows you to be creative. It’s a bit like a language, the better you know it, the better able you are to speak and understand it. You might look at a concert-scene, or an illuminated building and think, I like it, or I don’t like it, but understanding the science behind it lets you understand why you like it or don’t. And then you can apply the understanding of the observation to your own work. In live events, there is more flexibility; more of a chance to change things last minute to make sure it’s looking the way you want it to look. With installation, you’ve got a lot of planning, you’ve got to comply with building standards and regulations, you have to work with engineers, consider the switching and the possible integration of daylight, which is very important; so having formal education is not only a lot more important and a lot more useful, it is a requirement.

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An offshoot of London’s Whisky Mist nightclub has just opened in Beirut and features a lavish Dynacord sound system installation managed by Beirut-based Hi Fi Services, as well a specialist LED and lighting effects set-up courtesy of the A.C. Special Projects team.


he Whisky Mist in London enjoys a legendary reputation - the nightclub in the heart of the British metropolis boasts an elite clientele that includes Prince William, Madonna, George Clooney and Christina Aguilera. Now, with the opening of a Whisky Mist in Beirut, the club’s British operators have begun exporting the formula, in which highclass interior design, ambience and worldclass sound feature prominently. Located in the five-star Hotel Intercontinental Phoenicia, the exclusive new haunt for night owls boasts space for 350 guests as

34 SAS JULY 2011

well as two VIP lounges screened off from the main area in the interests of privacy. Intent on offering its demanding clientele sound of the highest possible quality, the club’s operators engaged the services of the Beirutbased sound specialists Hi Fi Service. The team, led by managing director Oussama Mansour Abou Faraj, has the experience of a large number of high-calibre in-

stallations to draw on, but the Whisky Mist represented a particularly high hurdle, primarily due to the elaborate interior architecture of the club with its numerous pillars. Since high sound pressure levels were also required, there was, in the view of Abou Faraj, only one brand of sound system worth considering. “We’ve long been fans of Dynacord products,” he says. “They are reliable, robust and highly efficient.” For this latest jewel in Beirut’s crown, a lavish array of speakers from Dynacord’s VariLine series was selected, including 17 VL262s, six VL122s and two VL62s. “VL-series loudspeakers are compact and deliver better sound and higher sound pressure levels than comparable products from other manufacturers,” explains Abou Faraj. On the dance floor, four Dynacord Sub28 subwoofers are employed to reinforce the bass, the same task being performed in the VIP and bar areas by two Dynacord Sub15 and four ElectroVoice TX1181 cabinets respectively. The system is driven by four Dynacord DSA multi-channel amps, in addition to the eight EV P3000 already in place at the club. Thanks to their Variable Load Drive (VLD) technology, these exhibit unique flexibility. Each channel, for example, can be configured individually. When combined with the RCM-810 module, the amplifiers can be programmed (using IRIS-Net software) to deliver any out-

put power from 100 W to 500 W or 1000 W (depending upon the model) in onewatt increments into any load from 2 to 10 ohms. The control and supervision are performed using a Dynacord P64 digital audio matrix manager. Abou Faraj is particularly taken with the latter: “The VL loudspeakers offer outstanding sound quality and the subwoofers, too, are excellent – but my absolute favourite is without question the P64. It simplifies our job enormously! Instead of running backwards and forwards between the loudspeakers and amplifiers, with the P64 we can configure and supervise the entire system digitally using IRISNet software. And, when they heard the sheer quality of the sound, our customers were equally enthusiastic. The owners of the club love this system and have sworn when they open their next club to rely on our expertise once again – and, naturally, on Dynacord as well.” “Encouraged by the overwhelming success of the Whisky Mist in London, we began looking around for a second location,” explains Marc Burton, one of the Whisky Mist’s owners. “We picked Lebanon because the people are cultured and educated. Beirut is flourishing,” he adds. Equally as impressive is the venue’s custom lighting system, which is the result of a joint effort between A.C Special Projects (ACSP), part of the A.C Group that in-

cludes A.C Entertainment, UK-based Light Tecnica and Intramuro Interior Contracting in Beirut. ACSP was contacted by Light Technica and asked to consult on products that would realise their concepts, and assisted in developing a complete, flexible, easy to operate and manageable control solution. The final specification was then provided to Intramuro, which completed the fit out and installation on-site. The project included the delivery of over 100 sq metres of Chroma-Q Color Web 250 LED panels, Chroma-Q LED strobes, 165 linear metres of RGB LED strip and 90 linear metres of warm white LED strip, plus the control solution and full technical support throughout . In keeping with the “premium” vibe and ambience of the club, the same levels of expertise, imagination, service and attention to detail were expected of all involved in the creative design, technical supply and management process. “That alone made it a great honour to be involved in,” explains ACSP’s Lance Bromhead. “Overall it was a great collaboration. We shared a fabulous synergy with Light Tecnica and the end results absolutely speak for themselves.”

KIT LIST The sound system in the Whisky Mist, Beirut, includes the following components: 1 x Dynacord P64 1 x Dynacord Ai-1 3 x Dynacord Ao-1 1 x Dynacord DSP 1 4 x Dynacord DSA 8410 4 x Dynacord RCM 810 17 x Dynacord VL 262 2 x Dynacord VL 62 19 x Dynacord WMK 10 6 x Dynacord VL 122 4 x Dynacord Sub 28 2 x Dynacord Sub 115 4 x Electro-Voice TX1181 8 x Electro-Voice P3000




From the outset, lighting was seen as an absolutely vital component in building atmosphere and mood in Whisky Mist Beirut’s quest to become a leading global nightspot. ACSP’s role included comprehensive technical support and a substantial amount of advanced planning, including the supply of detailed drawings, renderings and schematics that were constantly updated, to ensure that Intramuro were kept informed. ACSP’s technical manager Dave Cowan, traveled to Beirut for the final stages of the installation, programming and commissioning process, to ensure the handover was seamless and on time. The clients also wanted a strobing effect, so ACSP suggested 40 Chroma-Q LED strobes, an item available by special order through the company. Running these alongside the Color Web 250 brings a unique LED continuity and feel to the room, also providing a low energy aspect to the installation, which everyone favoured. To subtly illuminate the back of the fixed seating areas, ACSP supplied RGB LED strip, which is easily mountable and emits high quality light. It is ensconced behind frosted glass and creates a classy, diffused glow effect that can change colour. As a counterbalance, about 90 metres of the same LED strip

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in warm white was also supplied and is fitted beneath the steps linking the different level of the club, and around the bottom sections of the banquette seating - offering a delicate luminosity. In the VIP Area, reserved for extra special Whisky Mist guests wanting additional discretion and privacy, ACSP supplied GLP Volkslicht 60 Zoom LED moving lights. These are fixed at low levels and wash up the walls and onto the ceiling, giving a rich selection of colour from an almost concealed source, greatly enhancing the intimacy of the space. Control for these lighting effects had to be flexible and integrated - involving the Color Web, the linear LED sources, strobes and Volkslichts - from one central point, from which the club also re-

quested there be provision for additional control of some other light sources. ACSP therefore specified a Martin LightJockey 2 system for the strobes, linear LED and Volkslichts, primarily for its flexibility and excellent sound to light features. The Color Web is run from a Madrix media control system, which allows video clips and other graphic formats to be played through it, creating a myriad of different moods from vivid WOW factors to very subtle mood enhancing ‘liquid wallpaper’ - bubbles, stars, shapes, etc. ACSP interfaced both the LightJockey and the Madrix controllers together. A Pulsar 1-10V universal interface was also supplied to control all the white light sources around the building including the bar and entrance-ways, allowing them to control the light levels in the different areas as they wish. ACSP also recommended the two lasers that are installed in the club, which run through the LightJockey 2 system. Already Whisky Mist Beirut is a major success, making its mark as an international cool destination for jet and trend setters worldwide, as well as an accessible and welcoming local hub for those wanting to celebrate special occasions or simply relax in a fabulously fashionable atmosphere. Lance concludes, “It is very pleasing to see the potential of lighting aesthetics taken so seriously in creating a great environment. We are very proud to have been involved and to have assisted Light Tecnica in delivering a truly spectacular lighting scheme.”

WHO IS HI FI SERVICES? Hi Fi Services is a Lebanon-based system integrator that deals in the professional audio, video, automation, CCTV, access control and special effects lighting sectors. From home theatre, cinemas, conference rooms, boardrooms, ballrooms, hotels, discotheques, bars, restaurants, to places of worship, stadiums, sports clubs

and shopping malls, the firm delivers turnkey solutions. Right from design, to supply, installation, operation and maintenance, the company deals in premium products such as Dynacord, Electro Voice and Lab Gruppen and is backed by years of experience and an extensive reference list in the Middle East.



GUIDE More and more event production professionals are trading hardware for software for everything from lighting control to exhibition management. Sound & Stage looks at the latest and greatest tools on the market.

SOFTWARE SOLUTIONS SHOWGIZMO Launched locally at the Middle East Event Show last month, ShowGizmo combines web and smartphone technology to allow event organisers, sponsors/exhibitors and visitors to access and manage information for trade shows, conferences, exhibitions and other events and better connect with each other using the wide range of functions to achieve better results and improve their return on investment. As people use ShowGizmo, a wealth of statistical information is captured about interactions between users that feeds into detailed performance reports about the show - what’s hot and what’s not and how people engaged. For producers this provides ammunition for improved attrac-

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use them over and over again. Producers who use ShowGizmo across their events portfolio can cross-promote and benchmark different events and year-on-year.

tion and retention of exhibitors and sponsors and attendees. The web engine allows all participants to benefit before, during and after events by setting up online profiles. In addition, native applications for iPhone and Blackberry handheld devices put the show in the palm of the hand. Attendees and exhibitors can store their profiles and reuse them at the next event they attend that is powered by ShowGizmo. Once they’ve downloaded the smartphone apps, they can

COST? Event producers/organisers pay for an annual licence to use ShowGizmo, which can be as low as $5,000. This can be for one event or many – prices are calculated on registered attendee numbers. According to the developers: “We know how tight the budgets are for most events, so ShowGizmo incorporates a number of revenue generating options. The great thing about our system is that is has maximum flexibility that allows you to choose how you offset costs and build in new revenue streams.” Check out for more info.

ALLEN & HEATH ILIVE APP Allen & Heath’s iLive digital mixing system now has an app version. The iLive MixPad connects to an iLive MixRack on a wireless network and provides the essential controls for live mixing, including channel faders and mutes, DCA faders and mutes, image controls, aux sends, channel processing, mic-pre control and full metering. And channel processing encompasses high-pass filters, gates, parametric and graphic EQs, compressors, limiters / de-essers and delays. iLive MixPad also offers several tools for system set-up, including channel assignment to mixes, a real time analyser and the facility to name and colour channel strips. “As soon as we saw the iPad we were excited by the prospect of giving our iLive customers portable, intuitive control for mixing a show. In certain situations this app could even replace the console

altogether, especially when supported by a PC or Mac for accessing setup features using iLive Editor software,” says the firm’s MD Glen Rogers. “Whether its operating standalone or complementing an iLive control surface, I can see front-of-house and AV engineers enjoying the ability to discreetly mix from anywhere in the venue, whilst monitor engineers will appreciate being able to balance monitors from the stage.” The new app is the latest addition to a family of control options for the iLive system which also includes control surfaces, software, PL series remote controllers and the iLive Tweak iPhone app.

COST? $99.99 from the Apple iPad Store.




AVID PRO TOOLS A favourite in the DAW market, Pro Tools was developed with an engineer in mind and the simple two-window configuration has helped many of them make the move to digital audio. The quality of converters, which in essence is the vital link in the digital audio chain, has always been given priority by its developer Avid, which attributes the stability of the software to the firm’s staff

– who themselves are engineers and producers, and are thus the hardest critics. The latest release of Pro Tools 9 software – Version 9 - broke new ground with more creative, flexible options for music and sound production. It offers users the unprecedented choice to work with Avid audio interfaces, third-party audio interfaces, or no hardware at all when using the built-in audio capabilities of a Mac or PC. Also, the support for the Avid EUCON open Ethernet protocol allows expanded control surface options to include Avid’s Artist Series and Pro Series audio consoles and controllers (formerly known as Euphonix consoles and controllers). Favourite features of Version 9 include: • Use Pro Tools with your favorite Avid audio interface or a third-party interface or completely standalone for easy onthe-go creation.

• Develop larger, more complex projects, with up to 96 or 192 simultaneous audio tracks, 128 instrument tracks, 512 MIDI tracks, 256 internal busses, and 160 aux tracks. • Work efficiently and get the best sonic results with Automatic Delay Compensation, multitrack Beat Detective, full Import Session Data dialogue, DigiBase Pro, and other separately priced add-ons - now standard. Available as an add-on is the Complete Production Toolkit, which provides additional features and plug-ins for music creation and post production. Also available are the RTAS/AudioSuite Plug-ins for Pro Tools Systems and Optional Professional-grade effects processors, utilities and more.

COST? Available to download for $599.

VECTORWORKS SPOTLIGHT Released last year, the 2011 version of Vectorworks Spotlight takes it from a lighting, scenery, set, corporate event, theatrical production, or exhibit design tool to a whole new level. New features like better focus support means visualising models is more intuitive and more accurate than ever, new seating layout options make plans more complete and new Lightwright enhancements make sharing paperwork a breeze. And that’s not all. “Taking a page out of the MCAD world, Vectorworks now supports drafting on arbitrary working planes and interactive modelling based on the drafted entities,” explains Dr. Biplab Sarkar, chief technology officer, Nemetschek Vectorworks. The 2011 version is also now, more than ever, a true 3D modelling environment. 2D planar objects can be created and edited within a planar context, where they display with all their attributes. Users

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can work in top/plan view as usual, or switch to a 3D view and continue working in the same way, with the same tools and operations. Intelligent 2D and 3D lighting instruments also provide flexibility - create shutter cuts, attach light instruments, use multicircuit instruments, lay out focus points and draw 2D and 3D light beams. Parametric straight and curved truss objects allow you to design any style of trussing with custom attributes. Available as an add-on, the 2011 version of Renderworks also includes some upgrades that are bound to become favourite features. The developers teamed up with

the award-winning CINEMA 4D render engine to provide dramatic speed and quality gains that are integrated right into your application, so you won’t waste time importing or exporting the model as the design changes. Deft control of texture mapping and more intuitive shader options allow the creation of photorealistic or artistic renderings live never before. It’s quicker too – from five to seven times faster for global illumination renders!

COST? $1995.00 for Spotlight and $2445.00 with Renderworks included, available from GraphEast, the Middle East distributors for VectorWorks, based in Jordan.




This month’s hottest new product releases from Harman, Native Instruments, PR Lighting and more... HARMAN – PCM NATIVE EFFECTS PLUG-IN Harman Lexicon has announced it is now shipping its PCM Native Effects Plug-In Bundle. Bringing the sounds of its PCM96 Stereo Reverb/Effects Processor to more users than ever before, the software package makes all the effects processing of Lexicon’s acclaimed PCM96 available as a plug-in that adds a wealth of effects to a user’s DAW that are not available anywhere else. The PC- and Macintosh-compatible PCM Native Effects Plug-In Bundle is designed to work with popular DAWs like Pro Tools and Logic, as well as with any other VST, Audio Unit or RTAS-compatible host. The PCM Native Effects Plug-In Bundle incorporates all the capabilities of the PCM96 hardware unit including dual delay, random delay, chorus/flange, resonant chords, pitch shift and multivoice pitch shift. The PCM Native Effects Plug-In Bundle adds to these effects an all-new Stringbox


algorithm, which provides the user with 88 virtual strings resonating according to the audio in. Several tuning and panning options are available, along with a virtual keyboard and randomiser, giving users the ability to create never-before-heard chords, melodies and room sounds. For PCM Native Reverb users, there is an upgrade path available for a discounted rate. The Lexicon PCM Native Effects Plug-In Bundle is Native only, and requires iLok2 authorisation and is available for digital download at and at participating Lexicon dealers.

LIFT TURN MOVE - ROUND SLINGS LTM has launched a new range of round slings that are available with ID tags showing a company name, making them easier to keep track of. The slings have a two tonne lifting capacity as standard and come in various lengths and circumference all with a black cover. Additionally, LTM’s Soft Steels are available in circumferences of up to six

metres (three metres working length), and all have a capacity of two tonnes. The soft steels available have the advantage of a steel wire rope load bearing interior. They are fire resistant and are suitable for use within a range of temperatures between -40 and +250 degrees Celsius.

Wharfedale Pro has unveiled a new passive loudspeaker range targeted at the touring and fixed installation sector. The Delta Series contains a comprehensive line-up of passive full range enclosures, subwoofers and stage monitors in a variety of configurations. Adding to the road-worthy status of the series, IAG has developed a new composite finish for the Delta Series, Rhino Rock, which it says is tough enough for demanding touring applications yet provides the pleasing aesthetics of a painted finish. “We started off with a brief to create a robust touring loudspeaker that punches above its weight in terms of sound quality and durability. Advanced computer assisted techniques have been used to tune the enclosure, creating an end product with tight bass, a sparkling top end and accurate transient reproduction. The Delta Series 2-way models include rigging points for use in flown applications for demanding fixed installations and larger venue touring applications,” explains Mike Mayne, Wharfedale Pro product manager.



THE GUIDE PR LIGHTING – XS 1200 SPOT PIXELRANGE - QPAR Following in the footsteps of the ubiquitous PixelRange PixelPar – which has become a favourite among LD’s – PixelRange has announced the launch of QPar, a fully-programmable, plug and play, high powered colour-mixing LED wash fixture. QPar takes the integrity of PixelPar to a new level of power and performance, according to its developers. QPar features 12 high-intensity, QUAD colour, RGBW CREE LED’s ensuring exceptional colour as well as colourwashing capabilities with a completely homogenised light source. Accessing a vast colour spectrum, QPar creates pretty pastels or deep saturated hues. The unit offers outstanding longevity (Lumen maintenance: 50,000 hours L70 at 50 degrees Celsius (full output)) with very low consumption (8W at standby, 112W at full intensity). QPar features a 10 degree beam angle as standard via a toughened glass front lens though further light-shaping diffusing lenses are available to provide variation. A choice of dimming curves include tungsten, television and fine – all controlled via DMX. External control requires DMX512 digital signal via five-pin XLR. IP20-rated, QPar can be floor or truss mounted using dual yokes – making it ideal for lighting stages, backdrops, sets, cycloramas, structures and corporate events.

PR Lighting has released the new XS 1200 Spot — marketed as a versatile, bright moving head with rapid beam movement. According to the developer, its power is due to the use of a 1200W short arc discharge lamp, which is optimised by the super-efficient optical system. The XS 1200 is fully featured, with smooth CYM colour mixing system with macro function, six dichroic colour filters (plus white) and linear CTO, as well as five indexable rotating gobos and seven fixed gobos plus white (all easily interchangeable). There is a motorised 12 to 22 degree linear zoom, extended to fixed 26 degrees (16-bit adjustment). Other features include DMX controlled, linearly adjustable focus (8- or 16-bit); zero to 100 per cent linearly adjustable dimmer and five to 100 per cent adjustable iris; one linear lens, two frosts and one prism (bi-directionally, rotatable, indexable); effect wheel with one CTC, one CTO, one bi-colour filter, one ultra-violet; double strobe/shutter blades, 0.3-25 fps; auto pan (540 degree) and tilt (270 degree) position correction, speed adjustable, with lock mechanism; ultra-quiet and smooth operation with advanced control technology; energy saving design and cooling system; fault diagnosis system by sensors; user-friendly LCD menu; isolating protection when ground is not connected; fast and easy installation and maintenance. The optical system boasts a cold mirror coated reflector for multifacet and infrared saturation and high quality multi-coated lenses. Housed in a composite plastic (IP20) chassis the XS 1200 Spot weighs 52 kilograms.

RCF COMMERCIAL AUDIO – PLF 30 RCF’s new PLF 30 is a very compact ceiling speaker suitable for applications were a speaker is needed that delivers a quality sound with limited installation space and visual impact. The PLF 30 is a flush-mount ceiling threeinch loudspeaker with an internal transformer that allows direct connection to 100V and 70V constant voltage lines. The false-ceiling installation is simply made through two spring clips, without using tools and other ad-

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ditional attachment components. The PLF 30 is marketed as a perfect solution for the installations where the speaker has to be a part of a decoration or has to match the architectural design. The front of the PFL 30 is fully paintable, allowing exact colour matching with interior decor. Due to its extra-wide dispersion, which is over 160 degrees, a large area can be covered with few speakers, offering high acoustic comfort.

NATIVE INSTRUMENTS – VINTAGE COMPRESSOR Native Instruments has introduced a set of classic dynamic processors for use in its Guitar Rig 4 and the free Guitar Rig player. The collection of Vintage Compressors are “faithfully modelled” on the originals, are produced in collaboration with DSP experts Softube and comprises three of the most distinctive and revered highend studio compressors, and can be used to creatively treat a comprehensive range of instruments and sounds

ARKAOS – A30 MEDIA SERVER Leading live visual performance technology specialist ArKaos has announces its new hardware A30 Media Server. Built for the MediaMaster software, the A30 delivers what the developer says is “outstanding performance, stability and durability” and is the result of the latest research made by ArKaos in terms of raw performance but also structural strength, vibration protection and heat tolerance. The case has been designed to allow a very efficient air flow. Several fans,

with the highest level of sonic fidelity and profound vintage charm. The Vintage Compressors are the first release in a new range of professional studio effects based on the Guitar Rig effects framework. Developed in collaboration with acclaimed Swedish DSP developers Softube, the collection comprises three different models designated as the VC 76, VC 2A and VC 160. While the VC 76 excels at drums and vocals, the VC 2A is popular for vocals, bass and guitar, with the VC 160

being a common choice for string instruments and individual drum sounds as well. All three offer the full feature set of their analogue hardware counterparts, with their sonic characteristics and intricacies authentically replicated through advanced analogue component modelling.

protected by a dust filter, are located at the front of the case and can be easily serviced without opening the rest of the case. This is done through a special door that gives access to both the fans and the filter without exposing any cables or electrical connections. Every aspect of the server has been carefully studied. Neutrik connectors are used exclusively on the back of the case to provide sturdy connections. Similarly for the audio, the server provides balanced audio on XLR connectors for both input and output. This incredibly powerful system is deliv-

ered with a vast library of high quality digital media from the world’s best visual content providers. It is pre-configured to work directly with all market-leading DMX lighting desks. Everything has been designed so you just have to plug and play. The ArKaos A30 guarantees smooth playback of nine simultaneous HD layers or six Full HD layers on up to six outputs.

plastics, cuts the weight of a typical equivalent sprung floor by 50 per cent and eases transport of panels in and out of venues. AeroDeck panels dispense entirely with wood to produce a panel that is unaffected by moisture and suitable for use on outdoor productions. At the core of each panel is a patented structure sealed with a bonded GRP surface that provides inherent strength while being very light. Edged by a framework manufactured from recycled polyurethane the tongue and grooved detail allows pan-

els to interlock and be locked together using the patented Harlequin latching system. Standard panels are supplied in 2 x 1 metre or 1 x 1 metre sizes and incorporate a series of circular dual density pads to provide the spring. Once assembled to form the dance area, the top surface can then be quickly finished using a dance surface from Harlequin’s vinyl range selected to be most appropriate to the dance styles performed. The new product is available from Harlequin’s local distributor, IBS Solutions.

HARLEQUIN – AERODECK Harlequin’s new AeroDeck sprung floor is set to lighten the load for touring dance companies. The lightweight modular panels, constructed from advanced engineering grade




twofour54 acquires SAE Institute Media training academy twofour54 tadreeb has acquired the Dubai business of the SAE Institute, the world’s largest network of media training academies. As part of the deal, twofour54 tadreeb has also entered into a long term co-operation agreement, which will enable it to access the Institute’s internationally accredited Diploma and Bachelor Degree programmes. This acquisition investment adds significant flexibility to twofour54 tadreeb’s existing structure of training programmes, which is provided by twofour54’s international partners including BBC, Thomson Reuters, Apple, Thomson Foundation, RFI, INA, Adobe and Cartoon Network. Importantly, the new portfolio of courses will allow twofour54 tadreeb to fast track UAE Nationals into the job market by equipping them with the knowledge and skills they require to build a career in the region’s growing media industry.

“The investment and long term co-operation with the SAE Institute gives us access to over 30 years’ experience of providing educational services to students and professionals in creative media and workforce education,” commented Wayne Borg, deputy CEO and chief operating officer at twofour54. “This, coupled with the partnerships we already have with many of the world’s leading media training organisations, will bring tremendous benefits to the region’s media industry and significantly to young UAE Nationals and Arabs who are interested in building a career in the media industry.” “twofour54 tadreeb will now be able offer an even wider range of academic and vocational courses; supporting our ongoing aim of strengthening the Arabic talent pool across the region, which is vital for sustainable growth as the region’s media industry evolves and becomes increasingly competitive.”



1 The Frame film funding 2 Fireman Sam to the test 3 Ben 10 hits new heights 4 Philips hosts lighting event 5 Ben 10 Ultimate Alien in Arabic on Cartoon Network MOST READ SOUND & STAGE NEWS STORIES

1 Philips hosts lighting event 2 twofour54 acquires SAE 3 Usher troubled by Gaddafi concert link

4 Avid debuts iPad app 5 Radio 1’s Sennheiser first





Clay Paky’s Sharpy spotlights took centre-stage at the 2011 NME awards, appearing in front of some of the bestknown names of the indie rock scene. The event was held at London’s Brixton Academy, where lighting designer Tim Routledge created the looks for a show.

Activists from Morocco’s pro-reform February 20 movement, have lobbied for the cancellation of the annual Mawazine world music festival, describing it as a symptom of the country’s corruption and cronyism. In the past, religious conservatives have criticised the eight-day extravaganza for being decadent.











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MUST ATTEND EVENT... Phill Danze /

Entech Intech 2011 Sydney Exhibition Centre, Australia, July 19 to 22, 2011

Jam packed with the latest pro audio, lighting and audio visual equipment, Entec attracts thousands of visitors checking out the latest in technology and innovation. Supported by industry associations such as ALIA, CEDIA and PLASA, the show also boasts a ‘not to be missed’ educational program featuring several international and local keynote speakers. The show is known for its networking opportunities; and has a tradition of being the show that understands how the industry does business!

YOUTUBE CLIP OF THE MONTH Martin Professional Headquarters Media Facade Martin Professional’s headquarter building in Aarhus, Denmark, has taken on a life of its own thanks to a new media facade made up of Martin LED display panels with graphical content from Danish design office Kollision. The 180 sq metre facade, mounted on the inside front of the building, is made up of Martin Professional LC Plus Series LED display panels and presents a wide variety of dynamic graphical content that reacts to visitor interaction in the form of activities and movement in and outside the building. Definitely worth a look. YouTube search term: Martin Professional Headquarters Media Facade

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App of the month Alesis iO Dock Pro Audio Dock

Okay, so it’s not really an app but as an iPad add-on that could literally change the way you use the tablet, we couldn’t pass up including the iO Dock as this month’s ‘App of the month’. The iO Dock (patent pending) is the first device that enables anyone with an iPad to create, produce and perform music with virtually any pro audio gear or instruments. The iO Dock is a universal docking station specifically designed for the iPad, to give musicians, recording engineers, and music producers the connectivity they need to create and perform. Connect all your pro audio gear - mic’s, instruments, professional speaker and PA systems, MIDI controllers, sound modules, video projectors - to virtually any app in the App Store with the iO Dock. The iO Dock provides mic and instrument users with two combination XLR and 1/4-inch inputs, each with its own gain control and switchable phantom power for condenser mic’s. Bands can connect outputs from their mixer and easily record their performances and rehearsals or use the iO Dock as a metronome or loopplayback device and producers can use the iO Dock’s MIDI jacks to sequence external keyboards, samplers, drum machines and synth’s.


The 6th Annual Comms MEA Awards set out to celebrate and pay tribute to the telecoms industry professionals and operators that have shown outstanding performance and results in key market segments.

For advertising enquiries please contact: Natasha Pendleton +971 4 444 3193 For nomination enquiries please contact: Roger Field +971 4 444 3419 For table booking enquiries please contact: Annie Chinoy +971 4 444 3353

For more information please



Off the record: Summer special “I’ve got about 25 stages and managers and bookers for each of the stages. I can’t control every single one of them but I do get cross about that kind of thing.”

Liam Gallagher. Robert Marquardt/Getty Images

Glastonbury founder Michael Eavis to the BBC on the inclusion of children’s group The Wombles in the 2011 line stival. up of the festival.

“Gone was the fragile, volatile and unpredictable Amy. She wasn’t knocking g back vodka on stage – and she definitely hadn’t stopped by att the off-licence on herr way to the gig.” An anonymous source comments on Amy my Winehouse’s apparent sobriety to British tabloid The he Sun, after seeing the singer perform in an intimate te show in London, the first since she checked out of rehab earlier in June. As proven below though, thisis didn’t last long..

“The worst in the history of Belgrade.” Serbian newspaper the Blic Daily slams Winehouse’s concert in the city, where she stumbled onto the stage, mumbled through her songs and wandered off just days after her surprisingly sober private gig in London. In what sounds reminiscent of her concert in Dubai earlier this year, Winehouse dropped her microphone and occasionally disappeared, leaving her band to play instead. The crowd at Belgrade’s fortress could hardly tell which song Winehouse was singing, according to local media reports, and responded angrily with many leaving in disappointment just a few songs into her set.

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Amy Winehouse. Carlos Alvarez/Getty Images

“We’re not the Waltons, you know what I mean, we have our days and we have good days, you know what I mean, like we did in Oasis, but, you know, this is what we’re here to do, is make music, and that’s what we shall do.” Liam Gallagher admits his new band, Beady Eye, has some similarities to the notoriously volatile Oasis.

“It’s not really enjoying the moment is it? Personally I wouldn’t even take a phone to a gig, g because I’d want to t throw myself around too t much. You can’t really crowd surf with r an a iPad.” K Kaiser Chiefs front-man, Ricky Wilson has said although he ddoesn’t mind fans filming the band’s gigs, he’d rather they spent time ‘enjoying’ them instead. The comments come after it was revealed that Apple has sought a patent on software that can be used to block the filming of live events so from an iPhone, effectively stemming the flow of concert clips on sites like YouTube.

A see of iPhone’s at the finale of the Oprah Winfrey Show. AP Photo/Charles Rex Arbogast

Sound & Stage - July 2011  

Sound & Stage - June 2011 - Volume 5 - Issue 7 "52 Pages" ITP Technology Publishing, Dubai, UAE