THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT
singapore KAMAL MAHTANI
The Sales & Marketing Director at beyerdynamic Asia discusses growth.
THE WAREHOUSE HOTEL A discreet sound solution from K-array for this stunning hotel.
ELECTRONICS & ENGINEERING More than 65 years old and the company is still going strong.
TG 500 FLEXIBLE COMPANION FOR A GREAT PERFORMANCE â€“ PROFESSIONAL WIRELESS SYSTEM
GREAT R E M R O F R E P With its five sets, the wireless system TG 500 is an all-rounder. Whether for performances on smaller stages, theater productions or speeches, the various sets always ensure perfect performance.
www.beyerdynamic.com/tg500 ADV_TG500_17-01_EN_297x210_Product.indd 1
3 CO N TEN TS
Contents 4 IN DETAIL - SINGAPORE
Interview 6 JENS POEHLKER Robe Asia Pacific 18 RONALD GOH Electronics & Engineering 32 KAMAL MAHTANI beyerdynamic Asia 38 ROSALIND NG Globe International Events Consultancy 46 SOREN STORM GLP Asia Pacific
Install 8 THE WAREHOUSE HOTEL Robertson Quay
ISSUE 3 Singapore is always a place I have visited alone, so I was excited about having Laura in tow for our trip in January to share my insight to the market. When I say alone, I’m never actually alone in Singapore, it’s the one thing I’ve discovered about the place after many visits - it’s the people that make me want to go back. Its population is made up largely of Chinese, but Indians and Malays also have significant communities and not forgetting the expats, too. Singapore is the hub of South East Asia, so much so, that every time I return something has changed - a new venue has opened, a new distribution deal has been put in place, or a company is celebrating a landmark achievement. It’s most definitely a bustling city for business, in my opinion - and you only have to read through the pages of this supplement to see it. Looking forward to seeing you again soon, Singapore!
14 FOC Singapore River 20 BRIX Newton 28 BALIZA Downtown Singapore 36 JOYDEN HALL Rochor 40 ZOUK Singapore River
In Profile 12 SENNHEISER ASIA Singapore 24 TOTAL SOLUTION Kallang
RACHAEL ROGERSON-THORLEY EDITOR
34 HARMAN PROFESSIONAL SOLUTIONS Bukit Merah
EDITOR: Rachael Rogerson-Thorley: firstname.lastname@example.org ASSISTANT EDITOR: Sam Hughes: email@example.com SENIOR ACCOUNT MANAGER: Jamie Dixon: firstname.lastname@example.org ACCOUNT MANAGER: Laura Iles: email@example.com PRODUCTION: Mel Robinson, Dan Seaton CEO: Justin Gawne: firstname.lastname@example.org FINANCE DIRECTOR: Amanda Giles: email@example.com CREDIT CONTROL: firstname.lastname@example.org GROUP CHAIRMAN: Damian Walsh MONDIALE PUBLISHING, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK Tel: +44 161 476 8340 Fax: +44 161 429 7214 ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request. Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom. Subscription records are maintained at Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom
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4 FAC TS & FI GUR ES
In Detail - Singapore MAIN TRADING PARTNERS
China, Hong Kong, Malaysia, Indonesia, EU, USA
National Day of Singapore 9 August
(real growth rate)
2% GMT + 8 hours www.mo ndo dr.co m
5 FAC TS & FI GUR ES
Country code: Ethnic Groups
Currency: Singapore Dollars
Total land area 719.1 sq km
(official exchange rate)
$296.6 billion (2016 est.)
Other 2% Tamil 3% Malay 11% LANGUAGE
Chinese Dialects 12%
Mandarin 35% www.mo ndo dr.co m
6 I N TERVI EW
Jens Poehlker Managing Director for Robe Asia Pacific Youâ€™ve been in the lighting industry for many years, but what was it about Robe Asia Pacific that attracted you to the position? For me, it was about time to see the other end of the DMX cable and look into those aspects of a show. Robe, together with its sister brand Anolis, has a great portfolio of fixtures suitable for all kinds of lighting requirements. I think both brands have a substantial potential in the region and therefore to be challenged with developing that potential was simply a task too hard to resist. I am seriously looking forward to picking up the good work that has been done so far and bring the whole company to a new level in terms of service and support. What do you think you will bring to your role as Managing Director for the region? Managing Director is first of all only a title. I donâ€™t see myself as a Managing Director but more as a part of the team and Robe family on the bigger picture. Each one of us has certain duties and special capabilities or experiences that make us predestined for the role in the team. Achieving our goals as a team will definitely be easier and my role will be to mediate between all parties. But, at the end of the day, if there is still work to be done, we all have to chip in, regardless of role. What have been your major duties over the first few months? The main duty for the first few months, the next few months and the months after will be to introduce both brands into the market. Together with the team we have now in Singapore, we are well positioned to fully assist customers with their requirements. We all together will be sitting down and bring both brands closer to the market. How does the Singapore market sit within the Robe portfolio? For Robe, the Singapore market fulfills the function of a lighthouse customer. Undeniably, some of our biggest customers sit here and thatâ€™s why we have to be in Asia - and Singapore in particular - in the first place. Being close to the market helps us to understand the customers better and to provide feedback to the headquarters. Can you describe your distribution setup in Singapore? We have been working with the same partners for a long time, but we
have recently reacted to the feedback from our distribution partners that they require more help. Robe and Anolis are bringing more and more products to the market, covering more and more applications. We are also well positioned to cater to customer specific requests as we have the whole production line in house. This appears, to some of our partners, overwhelming, especially in the light of developing new market segments away from club installations or rental companies. The feedback has been that our distribution partners want to focus on specific market segments while they acknowledge the need to adapt to market changes as well. To help them with these changes we have decided to fill gaps evolving out of this and to cover certain areas in the market ourselves allowing them to focus on their core business. This help has been much appreciated as it shows our good and longstanding relationship with our distribution partners and the open discussions we have. We are here to help. How does the relationship between the regional office and the distributor work in Singapore? Robe AP is here to backup all our distribution partners and customers if and when they need us. Simple as that. Easy. What future plans are in the pipeline for Robe in both Singapore and the wider Asia Pacific region? Robe AP will have to take on a larger role - meaning responsibilities - within the Robe group. We will focus on service and support with immediate effect as we have more and more shows/tours on international level which require immediate help, if need be. Our focus is to provide exactly that and therefore make lives for our customers easier. Mid-term and with increased headcount, Robe AP will sign also responsible for more pre-sales support and marketing activities. Do you have any personal goals you would like to achieve within your role? First of all, my personal goal is to achieve the company goals in terms of service and support for our customers. This includes not only the Robe brand but also the Anolis brand. To form a team and achieve that goal together as a team is ultimately my wish.
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The Warehouse Hotel Singapore River The Warehouse Hotel has one hell of a history. Built in 1895 along the Singapore River as part of the Straits of Malacca trade route. At that time, the area was a hotbed of secret societies, underground activity, and liquor distilleries. The hotel takes it names from being a warehouse where all the goods were offloaded from the river and stored. Over the years, the building has been reincarnated many times in a number of different guises, from a nightclub to an events space - and even an arts space. However, when The Lo & Behold Group, the hospitality company that creates, owns and operates a series of timeless, thought-provoking concepts, took over the building, it did what it does best and created a unique story and a distinct perspective on the cultural-culinary landscape. And the result was The Warehouse Hotel. It has been designed by homegrown agency, Asylum. Head designer and founder of Asylum, Chris Lee, has developed a stylish and enigmatic space reminiscent of the building’s original life as a ‘godown’ during the height of Singapore’s spice trade. The décor and furnishings marry a bygone era with modern day www.mo ndo dr.co m
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Left: The beautiful lobby equipped with K-array loudspeakers. Right: The various guest rooms available at the hotel.
Singapore, providing an industrial yet welcoming atmosphere. Chris said: “Our focus has been to protect the property’s legacy, while creating a fresh perspective on the term ‘industrial’. The environment is warm and sophisticated to prevent it from being too obviously grounded in what has been before.” The hotel boasts 37 elegant rooms across six categories designed in muted tones with many offering double-high ceilings. With its signature triple-pitched roof, and original masonry walls, the rooms were designed to compliment the building’s existing layout, making each one different. The lobby bar and reception are ideal for relaxation and soaking up the vibrant atmosphere. The bar showcases an in-house cocktail programme, featuring house-made alcohol infusions and essences. Paying homage to the three distinct eras of the hotel’s past, the eclectic beverage menu is a journey through each incarnation. Guests will enjoy a taste of the spice trade, drink up the underbelly of illegal
distilleries, and finally soak in the heady 80s when the building housed Singapore’s most renowned disco of the era. To create the perfect ambiance for sipping one of these sumptuous cocktails, this boutique hotel was in need of an audio solution that provided high quality sound but would not disturb the eclectic aesthetics. The Lo & Behold Group called Colin Quek of Loud Technologies Asia to take on the task. Having worked together previously on other outlets owned by the company, it didn’t take long to come up with a solution - and that was K-array. Colin said: “Because the ceiling is so high, the space is quite cavernous and there are so many reflective surfaces with all the glass in there, it essentially meant many products would just not have been suitable for this project. The owners wanted a low level sound but still wanted clarity, so by virtue of the line array, the nanominiaturised line array that the KK52 is, we were able to achieve the requirements www.mo ndo dr.co m
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for the entire lobby using just four KK52’s.” The four KK52’s are mounted in pairs at either side of the lobby. They are passive line array modules comprising eight two-inch neodymium magnet transducers. The eight closely spaced cone drivers provide true line array characteristics - phase coherence, low distortion and focussed listening. The KK52’s sit alongside two KU210 - also from K-array - passive subwoofer system comprised of 10-inch longexcursion woofer and 10-inch passive radiator. These help to extend the low frequency range of the system. It requires just a single K-array KA24 fourchannel amplifier to drive the system. This installation amplifier is perfectly suited to this project, thanks to its four fully independent and configurable
channels and the integrated DSP that offers EQ, matrix, levels, delays and limiter functions on every channel. A great choice of products by Colin means this project has really delivered. The Lo & Behold Group have created a truly unique place and indeed experience at The Warehouse Hotel, and travellers from near and far are sure to be wowed by what is on offer. Wee Teng Wen, Managing Partner of The Lo & Behold Group concluded: “Hotels are a natural extension of our strength as a group, both in concept, design and guest experience. We strive to provide a service that is spontaneous, intuitive and informal - we want to evoke memories and personalised experiences that are rooted in our culture.”
Technical Information INSTALLER: Loud Technologies Asia BRANDS: K-array WEBSITE: www.loudtechnologiesasia.com / www.k-array.com www.mo ndo dr.co m
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Sennheiser Asia Singapore
Innovation is a part of Sennheiser company’s DNA and history, with the vision always being to shape the future when it comes to audio. The motivation behind this vision is the constant pursuit of perfect sound, with Sennheiser constantly trying to innovate and improve solutions, so that it can offer the best sound experiences for its users. This has been demonstrated throughout the years, since the company’s invention of the world’s first open headphones in 1968 – the HD 414 - and the VM 1, which was the world’s first wireless mixer for outside broadcasts in 1989. Sennheiser Asia was established in 1992, making it one of the longest established and most experienced audio brand in the region. Operating from its Singapore office, Sennheiser currently cover around 19 markets in the region, including Southeast Asia and several Indian subcontinent markets. As a wholly-owned subsidiary of Sennheiser electronic GmbH & Co. KG, based in Hanover, Germany, Sennheiser Asia offers a complete range of audio solutions - from professional and personal audio products to conference and assistive listening systems, as well as customised audio solutions for vertical segments, such as live venues,
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Left: Digital 6000 wireless microphone from Sennheiser Right: Vincent Tan, Vice President - System Solutions at Sennheiser Asia Below: Sennheiser’s AMBEO VR Mic
broadcast, studio recording, houses of worship, educational institutions and event rentals. Sennheiser Asia is spearheaded by Managing Director, Martin Low. Martin joined the organisation in 2006 as the Head of Marketing Services, before moving on to lead the Consumer Business division for another seven years. To date, he has had more than 10 years of experience within the company. Martin’s key responsibilities include strengthening Sennheiser’s premium positioning and steering business growth in all business segments and the 19 markets that Sennheiser Asia distributes and operates in. Steering the professional audio business at Sennheiser Asia is Vince Tan, Vice President - System Solutions. As a veteran with more than 24 years of practice in the professional audio industry, Vince has amassed an extensive background within the Sennheiser Group over the last 18 years. His professional audio work experience spans over various domains in regional and global capacities including sales, product management, artist relations, and market management. Vince is responsible for the company’s overall system solutions sales and business development within the region. Martin and Vince are supported by various sales, marketing, product and operations support teams who work together with their
distributors and partners in each market. Vince discussed some of the reasons behind Sennheiser Asia’s success, as well as some of the new technology being introduced: “In Sennheiser’s 72 years of business, we have been engaging in R&D and production of all things audio. While our renowned broadcast and theatre audio solutions remain to be a top choice with many broadcasters and performing arts venues in this region, we have pioneered new solutions and are expanding our product portfolio for various audio applications. “Moving forward in the new age of audio enables us to continue trailblazing the audio world. The technology we are working on at the moment is focussed on 3D immersive audio, which is the future of audio technology. This technology, known as AMBEO, offers a completely new listening experience: perfect illusion to be totally immersed in sound. As virtual reality continues to take centre stage today, it has become apparent that great virtual reality experiences also require fully immersive sound. “Other products that embody Sennheiser’s excellence in audio include the Digital 9000 wireless microphone system - which has been used on major tours by top musicians like Ed Sheeran, Beyoncé, Adele - and, most recently, the TeamConnect Wireless, a multiaward-winning wireless conference system
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for online meetings,” added Vince. The continued development has seen Sennheiser Asia support a whole host of exciting projects throughout the region, such as the Digital 9000 system being used in Singapore at MediaCorp Studios, Resort World Sentosa and the Singapore Repertory Theatre. Elsewhere, in Malaysia, Sennheiser Asia closed a major deal with the KL Sports City, with Sennheiser and L-Acoustics equipment becoming the Official Audio Partner of the venue. Also, at the Istana Budaya performing arts centre, a collection of Sennheiser 2000 and 5000 series wireless microphone systems are being used to great effect. There are plenty of other examples, too, highlighting just how impressive the work at Sennheiser Asia has been - and continues to be. What is the reason behind the success for Sennheiser Asia? Vince provided the insight: “We keep our ears close to ground, where our customers and users are, which helps us stay in tune with our target audiences. “We believe in co-creating with our customers, sharing prototypes and gaining insights from them to improve our products and their applications. We strive to offer new and helpful audio solutions for our users, riding on current trends.”
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FOC Sentosa Sentosa
Following the success of the award-winning FOC restaurant on Hongkong Steet, the decision was made to expand the brand even further with an all-new restaurant and lounge bar inspired by Barcelona’s beach culture - FOC Sentosa. Based on Sentosa Island, the restaurant fits perfectly in line with the area’s upbeat, cheery atmosphere. The venue has been designed in such a way to allow for flexibility in terms of atmosphere, with FOC Sentosa transforming from a relaxing morning hangout to an idyllic Mediterranean lunch spot and, come the evening, a vibrant gastronomic getaway. Located at the east end of the tranquil Palawan Beach, FOC Sentosa combines tapas, paellas, large-format grilled meats and seafood, summery drinks and a sophisticated, but laid-back atmosphere. Situated next to Tanjong Beach Walk’s taxi stand, the two-winged structure was conceived to blend into Sentosa’s verdant foliage. Designed by Barcelona-based design firm, Lagranja, FOC Sentosa integrates the outdoors and indoors, with its use of airy floor-to-ceiling windows and light structure, while also offering panoramic views of the Dolphin Lagoon from the second floor space. The vibrant colour pallete, which uses liberal doses of bright turquoise, oranges and yellows,
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mimics the restaurant’s natural environment of sea, sun, sand and tropical trees. The two-storey FOC Sentosa structure also holds a spacious events hall that is separated into two wings catering to drinks and food. Located above the main restaurant and bar, the dedicated space has uninterrupted wall-to-wall views of the South China Sea. With its own separate bar and kitchen, the versatile space, which can be reconfigured to suit a variety of events, provides the perfect backdrop for private parties, corporate events and intimate beach weddings. With such a prominent location and plenty to offer guests, the team behind FOC Sentosa wanted to ensure that the high standards continued when it came to the audio install at the restaurant. So, with that in mind, they enlisted the help of Shin Taiyou, which acted as the project’s main contractor and M&E team. It had also previously helped with the first FOC establishment. Chip Chong, who works for the professional division at Shin Taiyou, takes up the story: “FOC Group had been more than happy with the work we completed at their first outlet - FOC Hongkong Street - where we used a range
of D.A.S. Audio loudspeakers. So, with that project being a success, Shin Taiyou and D.A.S. Audio - in charge of system design and product supplying - were given a chance to propose a design for a new system at FOC Sentosa. “The audio system design had a few requirements, which were based around a highquality sound, overall performance and easy, flexible control,” he added. Also, the flexibility of FOC Sentosa is another issue that had to be taken into consideration by Chip and the rest of the team. With four separate areas within the venue - indoor dining, outdoor dining, first floor and second floor - FOC Sentosa has the ability to hold four different functions at the same time, as well as combining all four for a single event. This meant that the audio system in place had to be able to adapt with ease, depending on the events planned. “We proposed a design with D.A.S. Audio loudspeakers which are proven products in installs at beachside venues. Also, since FOC Sentosa is a Spanish-themed restaurant, it’s fitting that their audio system is made in Spain, too,” said Juan Luis Garcia of D.A.S. Audio. With the FOC team requesting that the
Technical Information INSTALLER: Shin Taiyou BRANDS: D.A.S. Audio, Biamp, QSC WEBSITE: www.shintaiyou.com / www.dasaudio.com / www.biamp.com / www.qsc.com www.mo ndo dr.co m
Left: The exterior of FOC Sentosa Above: The bar area, complete with D.A.S. Audio loudspeakers
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Above: The pool deck, exterior seating area and indoor restaurant
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loudspeakers had to be small in size, but also able to produce high-quality sound and a high SPL when in use for functions, the team opted for D.A.S. Audio Arco 24TW loudspeakers and Arco 12 Sub subwoofers in the restaurant and bar areas. While, in the event space, the Artec 500 Series from D.A.S Audio was utilised, with Artec 508 and Artec 506 loudspeakers installed throughout. “The D.A.S. Audio Artec 500 Series perfectly suit the task for the function spaces,” he continued. “The flexible zoning audio system allows external production to feed into the audio system, so the audio system is scalable and ready for huge events held at FOC Sentosa. Subwoofers were also added to enhance the low frequency, especially every evening when the whole bar and restaurant is full of people.” Control of the system is provided by Biamp, with a NEXIA CS DSP and a RED-1 wall panel simplifying the operation of the system, while the power is provided by QSC GX5 and GX3 amplifiers. Overall, the D.A.S. Audio install has been a huge success at FOC Sentosa, with Shin Taiyou delivering the perfect balance of impressive sound and flexibility. Now, a third FOC restaurant has opened - Pim Pam - that offers a similar Spanish-inspired atmosphere that has, once again, been enhanced by an expert audio installation by the same team.
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JUDGE FOUR STAGES INTERNATIONAL BRANDS
NEW PRODUCTS THE PRO ARENA
26 – 28 JULY 2017 MARINA BAY SANDS EXPO & CONVENTION
REGISTER YOUR VISIT
EXPERIENCE: SMART HOSPITALITY
EXPERIENCE: SMART CORPORATION
A live walk-through showcase of the integrated solutions that create a seamless and interesting guest experience, from check-in to check-out.
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21/4/17 7:13 PM
18 I N TERVI EW
Chairman of Electronics & Engineering
Electronics & Engineering has been established for more than 65 years, what is the secret behind such a successful business? It is about leadership and the commitment and dedication of all its team players to fulfil our mission statement - ‘To offer our best services and expertise in our line of work by providing the best working solutions possible to our customers and getting it right the first time to their complete satisfaction’. We continue to raise the bar and add value to our customer’s needs and requirements, from our vast experience and expertise. How have you seen the Singapore market change from when you started out to the present day? Today, our customers are more knowledgeable and IT savvy and therefore more demanding, which is understandable. Being a specialist in this field, it is our responsibility to keep ourselves abreast of the technology. We like to be at the forefront so that we can be a consultant to our customers and make sure that our designs and proposals are relevant to their requirements, and more importantly, value for money and future-proof. Technology has changed so much and has been phenomenal over the last 65 years. From radio sets in the ‘50s to single speaker cinema sound in the ‘60s; Dolby Stereo in the ‘70s, which has constantly improved over the years to the current state-of-the-art Dolby Atmos multichannel cinema sound systems. When we installed the sound system for the former National Stadium 45 years ago, the most powerful amplifier was only 200W, the high frequency driver was 50W and the low frequency speaker was 150W. Today, we have 10,000W power amplifiers alongside with 800W / 1000W coaxial mid/high frequency drivers and 2,000W bass speakers. No more 6ftt horns or 8ft high bass speakers for efficiency. Our most powerful speaker today measures less than a metre cube - 710mm x
710mm x 605mm to be exact. These are the speakers that we installed at the Sports Hub, which was built at the same site of the former National Stadium 45 years later. The visual market technology change is just as phenomenal. From 35mm slide projectors to digital projectors with pixel matching and 4K resolution - the 35mm film projectors finally gave way to DLP digital projectors. But the biggest challenge and change is to keep up and be abreast of the digital technology and IT software that runs and configures all these audiovisual devices. Because IT is the backbone of all audiovisual systems, we have a dedicated IT division and team to take care of all our design, installation and services. Engineering is still very much in our mind and the challenge remains to hang or suspend our speakers without the need to see unsightly metalwork or hardware. That has been our forte from day one. Electronics & Engineering is a family run business, how important is that and what advantages does it bring? When my Dad handed over the business to me, we had an annual turnover of $3 million. We hit $10 million and then $20 million and when we hit $30 million, it can no longer be a one man-show or a family business. Fortunately my son Gary, who graduated from RMIT, joined us in the year 2000 and together with Joe Fong are both Deputy Managing Directors. They head a management and executive team that sit on the board and support the heads of divisions who run the projects and daily business. The family business module in the beginning was an advantage in the sense that we can set the goal and standard of the company without third party interference. Still to this day, we have our E&E legacy set out - the values and the high standard and quality of our services to our customers.
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19 I N TERVI EW
What does your role at Electronics & Engineering involve on a dayto-day basis? When we celebrated our 60th anniversary six years ago, I did make an announcement that I will retire from day-to-day operations of the company and allow Gary and Joe to run the company with the executive board and management. I still remain as Chairman of the company and play the role of QC (Quality Control) especially in engineering matters. I still continue to serve our loyal customers, who request for my involvement in their projects. You opened a new Warehouse & Logistics Centre last year, how has that helped the company? We had three warehouses in Tan Boon Liat Building totalling more than 12,000 sq ft and they kept telling me that they are running out of space. We have grown by leaps and bounds over the years. This lack of space was going to slow down our growth and that was where we saw the need for new warehousing facilities. So in 2016, we successfully tendered for a piece of land from JTC in Tuas South St 10 and built our own two-tier eight-metre high warehousing and logistics centre with a multipurpose space, loading bays for four container trucks and a metalwork workshop. With this new warehousing and facilities, it increased our warehousing space / volume by six times. All our cartons are properly palletised when they are unloaded from the containers. With our new fork lifts, pallet handling equipment and stackers, the cartons are untouched by hand when they are stored or stacked onto the racks to minimise any carton or component damage. With updated SAP logistics software we are able to track and respond to customer’s needs within a shorter period to serve our customers better. Over the years, you have received a number of recognition awards, which one is a highlight and why? There are two awards, one personal and the other a corporate award that is of great significance to me. In 2004, I received a Fellowship Award from the Audio Engineering
Society based in New York for my contributions to professional sound system engineering. I accepted this award at the AES Convention in Berlin on 8 May 8 2004. It is a testament and international recognition to my commitment and passion in the field of professional sound system engineering. In 2015, when Singapore celebrated its 50th Anniversary, E&E was selected by Singapore SME1000 as one of the 50 companies that built our nation to where it is today. It is truly a humbling experience to be recognised for our contributions over the years for the country and I am proud to lead a team that has been responsible for installing audiovisual and professional sound systems at some of Singapore’s most iconic infrastructure developments. In addition to the above in conjunction with Singapore’s 50th Anniversary celebration, The Business Times selected 50 CEOs of companies who grew and contributed to ‘The Economic Miracles’ of Singapore. I am glad and honoured to have been selected as one of the above 50 CEOs. If you could pass on a single piece of advice to the next generation of Electronics & Engineering, what would it be? Uphold the E&E legacy, and maintain the professionalism, high quality and standard of work to the customer’s complete satisfaction.
Left: Ronald Goh and his son Gary; the opening of the new Warehouse & Logistics Centre in early 2016; the E&E team at the Pro AVL Asia tradeshow with mondo*dr Editor, Rachael Rogerson-Thorley. Below: The Economic Miracles of Singapore, the top 50 company CEOs, which Ronald is a part of.
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BRIX @ Grand Hyatt Newton Located in the basement of the Grand Hyatt Singapore hotel, BRIX is recognised as one of the most popular nightspots in Singapore, with the venue earning a strong reputation for its highquality live music and exciting themed parties. BRIX was redesigned by renowned Japanese design firm, Super Potato, which applied its design philosophy, and saw it extensively use natural and salvaged building materials, such as metal, wood, stone and glass. A go-to venue for locals and tourists alike, BRIX is a trendy, fashionable bar that offers something different for everyone, with guests able to revel in the full entertainment experience on offer. There are three separate sections within BRIX, all with their own theme - right down to the music played and drinks served. Firstly, there is the Wine Bar, which gives guests the opportunity to sit back and relax, while enjoying one of the exquisite range of wines on offer. Similar in terms of atmosphere is BRIXâ€™s Whisky Bar, which serves a wide range of single malt scotch, cognacs and liqueurs. Finally, for guests who simply want to dance the night away, there is the Music Bar. Complete with a stage and www.mo ndo dr.co m
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Left and right: The seperate areas of BRIX at the Grand Hyatt Singapore hotel, with LD Systems technology in place.
dancefloor, regular international guest bands play jazz funk, R&B, soul and disco tunes, creating an upbeat, high-energy venue for a real party atmosphere. Along with incredible live music, there is a huge range of drinks on offer, from world-class beers to elaborate cocktails. With music playing a huge role at the venue, the audio system was of vital importance - particularly as the lobby for the Grand Hyatt Singapore hotel is located directly above it, too. This led Sha Hussain, Founder of Executive Productions - who manages the venue - to seek a solution that would significantly reduce the sound spilling upstairs during the live performances. Sha enlisted the help of Medusa LVS, a installation and rental company, to handle the audio installation at BRIX. Ceril de Silva, Project Manager at Medusa LVS, who oversaw the whole project, takes up the story: “I was approached by BRIX as they were having trouble with the sound fills for the outlet. The outlet has a low ceiling,
with many pillars and corners. The front of house could only effectively cover around four metres from the front of the stage due to these issues. “The design process was simple in that we had to decide how to get maximum coverage in the areas that needed fills, without having to install large amount of speakers.” With the Meyer Sound UPQ-2P loudspeakers and HP600 subwoofers already providing high octane SPLs for the dancefloor, Ceril set about upgrading the delays and fills throughout the Music Bar in a bid to provide a more even coverage without it causing an issue to the hotel lobby upstairs. Having used them with success in recent projects, Ceril decided to opt for an LD Systems audio setup for BRIX. The Medusa LVS team installed six VA4 dual fourinch loudspeakers onto the ceiling, with two LDV212B dual 12-inch bass reflex subwoofers. “The VA4 line arrays are installed closer www.mo ndo dr.co m
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to the front of house speakers to achieve a much more seamless sound experience,” added Ceril. “The units have a wide horizontal coverage and narrow vertical coverage, which is ideal for low ceiling venues. Also, being vertical arrays, the sound was more evenly distributed in the listening area. “Basically, it is a combination of compact line arrays and point source loudspeakers acting as the fills, without the need to install loys of speakers to get enough coverage.” In the seated area away from the overhead lobby, Medusa LVS provided a higher SPL system, with three passive Stinger 12 G2 cabinets suspended from the ceiling. In both the Wine and Whisky Bar, two discreet Curv 500 S2 satellites and 10-inch subwoofers have been specified to enhance the intimate,
relaxed atmosphere of the bars. Two Deep2 2400 X dual channel amplifiers from LD Systems power the Stinger G2s, while the SP 1K8, SP 4K and SP 2K4 deliver the power for the line array rigs, with two LDP260 processors in place to manage the DSP. “LD Systems loudspeakers are easy to setup, provide sound great and are very cost effective,” explained Ceril. “The compact arrays and Curv 500 work very well in this low ceiling environment, distributing audio evenly without the need for numerous fill speakers.” The final result has seen the atmosphere at BRIX enhanced significantly, with each area now able to deliver the perfect sound quality for guests, thanks to the LD Systems setup installed by Medusa LVS.
Technical Information INSTALLER: Medusa LVS BRANDS: LD Systems WEBSITE: www.ld-systems.com www.mo ndo dr.co m
artec 300 series
InstallatIon systems for qualIty sound In any type of venue
The new D.A.S. Audio Artec 300 series loudspeakers are designed for use in a wide range of fixed sound reinforcement applications. They are presently available in 8 passive models comprising 6”, 8”, 10”, 12” and 15” two-ways, a double 6” two-way, a double 10” line array and a passive double 12” subwoofer. Offering an elegant design and exceptional performance, the new Artec 300 series is a great choice for everything from elegant nightclub installations to educational facilities.
www.dasaudio.com email@example.com D.A.S. Audio, S.A. C/ Islas Baleares, 24 46988 Fuente del Jarro Valencia - Spain Tel. +34 961 340 860
D.A.S. Audio of America, Inc. 6900 NW 52nd Street Miami, FL 33166 - U.S.A. Toll Free: 1 888 DAS 4 USA
D.A.S. Audio Asia PTE. LTD. 3 Temasek Avenue, Centennial Tower #34-36 Singapore 039190 Tel. +65 6549 7760
Shin Taiyou Technology Pte Ltd 31 Woodlands Close #03-36, Woodlands Horizon, Singapore 737855 Telephone: +65 6397 5948 Email: firstname.lastname@example.org www.shintaiyou.com
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Total Solution Kallang It is immediately obvious that Managing Director of Total Solution, Glenn Wong is both driven and passionate about our industry. Having worked in the business for more than 20 years, Glenn didn’t have the best of starts when he was made redundant from his job at a lighting manufacturer based in USA on the third day of Chinese New Year in 1998. Of course, it wasn’t an unusual occurrence, due to the Asian financial crisis around that time. Glenn took some time, until 1 May 1998, Labour Day, to be precise and made a decision to set up on his own and on that day he opened Total Solution Marketing Services as a sole proprietorship. Initially, Glenn sold consumables and accessories, a smart business move given the state of market. But it wasn’t long before he got his break in technology, although his first brand perhaps isn’t what you’d expect - as it wasn’t lighting. Having a friend in Malaysia distributing a loudspeaker brand, Glenn took on KIND, an amplifier manufacturer from Italy and they complemented one another. As word spread, Glenn received call after call and began to build his product portfolio, another significant one from the early days being
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Left: An MA Lighting seminar, including some of the Total Solution team Right: Managing Director Glenn Wong
XTA Electronics from the UK and Denon Professional from Japan. There were a lot of audio brands in the beginning, but Glenn’s opportunity to move back into the lighting world where his heart really was - came in the year 2000, when UK console manufacturer, Avolites appointed Glenn as the distributor for the brand in Singapore and Malaysia. Three years down from 1998 and Glenn was operating in a 2,000 sq ft facility, half an office space, half as a warehouse. In 2003, Glenn took another leap, into the rental LED screen business, but when he reflects on it today, he realises it was the wrong choice. Wrong because the market was too competitive once LED screens were being produced en masse in China, and the technology was advancing too quickly, so screens became obsolete in a very short space of time. But, of course, we learn by our mistakes and Glenn put his focus back onto distributing lighting equipment. Glenn also highlighted his support services at this time, and it’s something that remains at the forefront of the business to this day. “My emphasis is on service support and we deliver a standard that people expect, especially locally - our response time is usually within a few hours. We respond as quickly as possible, not only respond but we also try to supply parts and assist in any way we can,” said Glenn. “In the company we only have about six administrative staff out of 20 members of staff, the rest are maintenance, work in the warehouse, or are support personnel. Anyone can get sales in, but it’s the customer service, which keeps the customers coming back time and time again.” Glenn has also expanded the business over the years by taking on more brands, today his portfolio includes MA Lighting, Ayrton, High End Systems, JB Lighting, Lumen www.mo ndo dr.co m
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Above: Product demonstrations Right: Stock in the warehouse Below: A training session organised by the company
Radio, Philips Entertainment Lighting, State Automation, Robert Juliat, Vari-Lite, Global Truss, Chainmaster, Eilon Engineering, Kupo, Phase 3, ASL, VMB, Le Maitre, Christie Pandoras Box etc. Glenn likes to work with reliable partners in neighbouring countries such as Malaysia, Indonesia and Thailand so that the Total Solution mission statement and service is upheld for each and every project that he supplies equipment for. Although Total Solution doesn’t complete the installations directly, the company has still clocked up an impressive list of venues it is associated with, including The Star Performing Arts Centre, The Esplanade, Marina Bay Sands, Yale-NUS College, as well as many other houses of worship and educational institutions. Glenn considers himself a fair man in business, and helps his customers wherever possible. He said: “When customers call for immediate assistance should they run in problems with their equipment, I will always solve their problems and talk later as the show must goes on. I have demo or spare units in the showroom or spare parts to support them. We also should sell responsibly. Customers can always seek support from me should a requirement arise for a second console, media server, or more fixtures on the odd ocassion. Then once their business has increased and ready, they will come back to buy the second or third unit. I am very easy going and negotiable kind of guy. If anyone asks for assistance, I will accommodate them as much as I can, as I don’t like to turn them down.” www.mo ndo dr.co m
Monitoring your investment
Asymmetric 100Â° by 30Â° horn with adjustable orientation
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Baliza Downtown Singapore Brought to Singapore by entrepreneur, Mikey M.S. - co-founder of Attica - Baliza was onto a winning streak from the offset. With an experienced nightlife operator at the helm and the reputation of the Attica brand globally, was there really any doubt that this new venue in Singapore would quickly become a hotspot? Open Wednesday through to Saturday, Baliza is located on Raffles Boulevard and spans across 8,000 sq ft. It features an experiential design and state-of-theart technology in the two distinct spaces the main room and the VIP suite, which play EDM and hip-hop, respectively. When it came to equipping the space with technology, Baliza turned to Lighting & Sound Distribution (LSD) to meet its requirements. A company with more than 15-years experience, the project was taken on by LSD Owner, Brenda Keung, who set to work on the lighting design, together with her lighting team. Brenda selected Robe’s miniPointe, a tiny agile air cutter specifically designed to produce sharp beam and aerial effects, as the main focal point of the design. As a venue with a limited ceiling height, the miniPointe was the ideal choice due to its compact design. “The miniPointes can be used as a wash or beam, and also features a number of effects, making it very versatile,” explained Richard Keung, who also works www.mo ndo dr.co m
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Left: The EDM room. Right: The bar area; the DJ booth; and the entrance.
for Lighting & Sound Distribution and was in charge of the installation. The fixture’s static gobo wheel patterns can be multiplied by the innovative Dynamic Flower Effect (DFE), to produce various different shapes of flower beams dynamically changing in the air. The Robe miniPointes are truss mounted using Fenix SD-22 parallel truss lengths in black to match the dark décor of the venue. Further effects to add to the overall ambience are also hung on the truss, these include two Magic:FX CO2 jet machines combined with an Antari F-4 fazer machine. The CO2 jet from Magic:FX was chosen for its compact size and it reliability due to the high quality design valve inside. While the Antari F-4 fazer has a heat-up time of just
one and half minutes, making it an easy choice for efficiency. Baliza also makes use of a OXO Fun Strip and Power Shot from Magic:FX. The final effect in Baliza’s arsenal is a Cittadini Piccolo 3.4 W RGB laser. To take control of the lighting fixtures and special effects, Lighting & Sound Distribution supplied a Nicolaudie Sunlite Suite2-BC, a lighting controller than comes with the Sunlite Suite 2 software and offers 512 DMX out and 512 DMX in channels. Richard continued: “We got our programmer from LSD in to do some programming, setting up some presets to suit the client’s requirements - some for the hip hop room and more for the EDM room.” Of the installation, Richard said: “It was quite a rush and we didn’t have much time
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Technical Information INSTALLER: Lighting & Sound Distribution BRANDS: Robe, Fenix Stage, Antari, Nicolaudie, Magic:FX, EAW, Powersoft, Ashly, Mackie, OXO, Cittadini WEBSITE: www.lsd-asia.com / www. robe.cz / www.fenixstage.com / www. antari.com / www.nicolaudie.com / www.magicfx.eu / www.eaw.com / www. powersoft-audio.com / ashly.com / mackie.com / www.oxolight.com / www. cittadinilaser.com
to complete the project. Luckily we had the Robe fixtures in stock at our warehouse, and with Baliza being a new place, the space was empty, which made it an easy installation environment, with very few obstacles.” The PA at Baliza is EAW, which was installed by Electronics & Engineering. Some of the kit that had sat in the venue prior to Baliza inhabiting the space was reinstalled, as well as some new additions. The audio set-up in the EDM Room comprises two EAW KF650z three-way trapezoidal loudspeakers and four EAW 180zP 18-inch subwoofers, for the main system, as well as six EAW VFR109i loudspeakers for fill and two Mackie DLM12’s for DJ monitors. The system is powered by a combination of Ashly (KLR-4000 and www.mo ndo dr.co m
NE4250) and Powersoft (K3) amplifiers and a DSP loudspeaker management system, Protea 4.8SP, also from Ashly. In the hip hop room, EAW’s MK5396i accompanied by two SB528zP subwoofers make up the main PA, more VFR109i loudspeakers for fills and another set of Mackie DLM12’s for DJ monitors. Further Powersoft K3’s is used to drive this system, along with an Ashly KLR-3200 and a Protea 3.6SP processor. Located in Downtown in Singapore, Baliza is perfectly placed to be an after-work hangout or a weekend party destination. With two different music genres and the club welcoming world-renowned acts, Baliza really does have plenty to offer.
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Director of Sales and Marketing for beyerdynamic Asia Why did you choose beyerdynamic? My first love is microphones. Headphones too of course, with me being an avid music lover and once a producer owning my own recording studio. For me it is all about products that can help with making any kind of recording or production better. When I was first approached by beyerdynamic, I knew that I could make a difference. From the outside looking in and from my past experience on how distribution works in Asia, I knew that with a couple of my tricks I would be able to improve and grow the business pretty quickly, and that’s been the case. I knew that what beyerdynamic needed was someone with fresh ideas and a different contact base, to come in and grow the business. beyerdynamic Asia has been in operation for five years. How was the APAC business managed prior to that? Prior to setting up our own operations here, the distributors were managed from HQ. With the European and American markets fairly established, the next logical step was to look at APAC. The idea being that having a same day response time would move business quickly, so the decision was made to operate from Singapore.
How does the set-up between the local office here and the local distributors work? We have taken back a number of product sectors from different distributors in the region. It is a huge portfolio so I wanted to ensure the right companies are representing the right portfolio. Some distributors have the full portfolio, others just have pro-audio, headphones, conferencing systems or a combination. We also deal direct with some markets for certain portfolios. Is that because the market segments are so different? Exactly, the market segments are very different. Just because the distributor does really well with wireless microphones that doesn’t necessarily mean they will have the database to sell conferencing systems or the consumer headphones. For me personally, I have been working a whole lot closer to the consumer industries and it has been a really interesting ride. I’m working with a number of vertical markets including shopping boutiques, festivals and even hipster coffee shops to try and get these outlets to incorporate the beyerdynamic consumer products - and it’s working.
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Can you describe the latest product releases from beyerdynamic? We are pretty excited about a couple of products, the first one being the DT1990 PRO headphones. We have had the DT990 for a long time, but it is only as of late that we have reinvented the headphones, which are a standard for most engineers and broadcasters. The updated version is doing really well, it is priced right and a lot of engineers are pretty excited about it. Also new for this year, is the TG500 wireless microphone, which is awesome because that is a continuation of the TG1000 that we launched about three or four years back. The TG500 is a mid-range wireless system and it has got a whole host of features. In terms of the price point, it is right where our competitors are and that is brilliant. We are very excited and very proud of it. The global launch was at NAMM, and from there we did launches throughout the rest of the APAC markets. We have five different versions of it as well. It is going to be a really interesting year ahead as these products hit the market. It sounds as though beyerdynamic is a company that really looks after its distributors? We have to, we are on a path to growth. With last year hitting numbers that we have never hit before historically, everyone is in the correct
mind set to go and do more. Was that global growth or Asia growth? Global, but Asia brought a decent contribution too and our numbers grew last year, definitely a contributor. Do you do training or workshops? Yes, we do. For new products and new markets or whenever we appoint a new distributor we will conduct training, but it depends on the timing as to whether we will host in a particular market or at our office. We have a couple of events per year and that is normally when we conduct training sessions. Last year we had our 4th Asia Sales Summit, and it really brought our Asian distributors together. The summit was a combination of workshops and team building sessions, and everyone who attended are now in a WhatsApp group and they are all helping each other out. This is amazing because it has never happened before, but it is my goal to bring them close together. Any final thoughts? Iâ€™m looking forward to working in the different vertical markets and the growth of both the consumer and professional sides of the business.
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HARMAN Professional Solutions Bukit Merah HARMAN Professional Solutions is one of the leading names in the world of audio and visual technology, with a rich history of innovation and creativity at its heart. HARMAN design and engineer products and solutions for automakers, consumers and enterprises across the world, including the aforementioned audio and visual products, as well as enterprise automation solutions and connected services. For generations, HARMAN products have been called upon to deliver the best in sound - whether it’s for the stage, studio, at home or on the move. The impressive portfolio at HARMAN includes audio brands, such as AKG, Harman Kardon, Infinity, JBL, Lexicon, Mark Levinson and Revel. Offering great performance, each of the brands is used extensively in a whole range of venues. Ramesh Jayaraman, VP & GM, APAC, HARMAN Professional Solutions, www.mo ndo dr.co m
expands on one of the main reasons for the company’s success - the culture: “HARMAN as a whole has a very high energy - a very positive momentum in terms of where things are heading. Before joining, there were three big points for me; one was about management and where they are heading. “Second, for me, is being with a company that was looking to move from being a products provider to a solutions provider - and I really feel that, in five months, we have already started turning around the business in a that way. “Thirdly, is the perspective in terms of where the business wants to go. This is not a short-term project - we want the solutions to be long term.” HARMAN is seizing the opportunities of the global markets, with a workforce of approximately 29,000 people across the Americas, Europe and Asia - and it is in the latter where there have been some exciting developments for HARMAN. The company has chosen Singapore
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as the base for its APAC headquarters, with the new HARMAN Customer Experience Centre opening on the second level of Golden Agri Plaza in October 2016. Spanning 18,000 sq ft, the new premises plays host to a new engagement initiative that is aimed at forging deeper connections with enterprise and entertainment industry customers worldwide. The HARMAN Customer Experience Centre allows visitors to explore the latest innovations and learn how HARMAN technologies are being connected in new and exciting ways. The Singapore location will continually develop the theme of “Engineering a Connected Enterprise” through allowing customers to learn how the world’s venues, theatres, recording studios, commercial facilities and hospitality spaces use HARMAN products and solutions. With interactive touch panels, live demonstrations and special events, guests can experience the latest in networked audiovisual, broadcast
4K video and other audio, video and lighting technologies. Customers are able to explore a wide variety of solutions, test proof of concepts, consult with specialists and experience HARMAN technology in realworld scenarios. Ramesh said: “The intent for the Customer Experience Centre is very clear, it is basically to start showcasing solutions, like a mini tradeshow every day. Most conversations happen when you can see the products in action, it is a deeper, broader and more enriching conversation, and one which often opens up opportunities. “I think it lines up very well with our longterm plan of sharing a close relationships with our customers. When we meet our end users, channel partners, the integrators, the dealers, the distributors, as well as consulting the influencing community, we want to provide a one-stop shop where people can come together and discuss solutions.”
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Joyden Hall Rochor Offering endless possibilities for a wide range of performances and entertainment shows, as well as weddings, conferences, corporate events and exhibitions, Joyden Hall is a very creative space. The contemporary multi-functional hall is situated on the top floor of Bugis+. Already in operation but wanting to upgrade the lighting inventory, Operations Manager at Joyden Hall, Alex turned to Lighting & Sound Distribution (LSD) of Singapore, a company he had worked with previously. With the event space being a blackbox, it was essential that any new fixtures could thrive in that style of setup. “So we sat down and discussed what would be best, but we all knew it needed to be LED,” said Alex. “As I work in operations, I have little product knowledge so I relied on Lighting & Sound Distribution’s Richard Keung to guide my decision.” Before the upgrade Alex was reliant on studio style lighting, which required a rigger’s attention every time a new client came in to use the space, therefore it wasn’t time or cost effective. Richard carried out an onsite demonstration, to ensure Alex was happy with the chosen luminaires before purchasing. The fixture of choice was Robe’s VIVA.
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Technical Information INSTALLER: Lighting & Sound Distribution BRANDS: Robe WEBSITE: www.lsd-asia.com / www.robe.cz
This would keep Joyden Hall up-to-date with the latest technology trends and would help to future proof the venue through the use of LED. “The VIVAs were selected for their low power consumption, longer life span and low maintenance requirements,” said Richard, who supplied and installed the Robe fixtures. The LSD team did face an obstacle during the installation process though, which was the giant wire mesh attached to the ceiling. If the VIVA were installed behind the wire mesh, it may affect their performance and could cause shadows, but installing below the mesh brings load weights and safety measures into play. It was fortunate for us, after inviting in an engineer, the wire mesh ceiling was deemed strong enough to hang the fixtures on. And because the VIVAs had to be mounted on the wire mesh ceiling,
custom-made installation brackets were also required for this project. The new fixtures have helped Joyden Hall to meet the requirements of small events, however, when larger concerts are performed at the venue, additional kit is rented to enhance the lighting design, but they usually still make use of the VIVAs too. Alex concluded: “My boss is very happy with LSD. He told me to buy from them in the future if I need more lighting fixtures. The service is fast and reliable, if something does go wrong, Richard is always on hand to help. He even tries to help out when it’s not the LSD products that are causing the problems, and that is definitely great customer service!”
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Rosalind Ng Managing Director at Pro AVL Asia You’ve been working in the industry for a number of years, but how did you first get into it? I have been in the events business since 1989 and particularly involved in the professional audio and lighting industry since the mid-1990s. Looking back, it seems like a long time - and I have seen the industry evolve and change over the past 20 years. From the mid-1990s to early 2000s, international manufacturers expanded their footprint to the South East Asia market through trade fairs like PALA - later known as PALME - which was the leading event at the time. In China, it was Palm Expo that took the lead to develop the Chinese market, which has flourished with new brands and distribution networks. There have been other tradeshows in Singapore before but what makes Pro AVL Asia different? As a tradeshow showcasing the technologies behind the wide array of entertainment experiences in Asia and, other than providing a focussed Asian perspective of how these products and technologies are applied in the Asian market, Pro AVL Asia takes on the advancement of technologies and an experiential perspective of presenting the products - combining software and hardware, while addressing the end-user’s needs by showcasing complete solutions. What we are doing differently is that we are taking on the task of encouraging international brands to collaborate, integrate and offer fantastic solutions together - through the Pro Arena demonstrating the experiential display for buyers to distinguish and differentiate products. The event also manages to bring together the region’s audio, visual, lighting professionals in one place - Singapore. Networking and learning is essential during trade events, especially in Asia, and Pro AVL Asia provides ample opportunities for people to make potential business connections via business matching programmes, hosted buyer programmes, as well as networking events and educational updates during the exhibition. The connection with Systems Expo & Tourism Technology Asia also offers a different perspective into other projects for the professional audio, visual and lighting industry as it includes systems integration and various applications of products outside the realm of entertainment. What changes have you implemented for this year’s show? We have launched the Pro Arena, which I mentioned earlier. This allows visitors to see various products in action, with four stages showcasing 15-minute displays of audio, lighting, visual projections, screens, visual displays, controls and special effects. It’s a great opportunity for professionals and end users to see the full potential of products – and we have 30 brands displaying their products.
How have you seen tradeshows in Singapore evolve over the years and what made you launch Pro AVL Asia last year? Did you feel there was a gap in the market? Tradeshows in Singapore have gone through various peaks and troughs - but they’re unique in their ability to build connections within Singapore and across the region. Now, the industry is ready to carry its own weight - opportunities in the Asian market are growing and the professionals are educated, skilled and curious enough for organisers to create an event like Pro AVL Asia. Pro AVL Asia was conceived as a result of a survey from the industry that felt it was time to have a trade platform for the region, allowing buyers and sellers to congregate, learn and be updated on latest technologies available. Where do you see the Singapore market on a global industry scale? It has great potential, as there is a fantastic technological infrastructure, support from the government, as well as a demand for top-quality foreign products. Globally, Singapore is a top economy, enabling trade across borders and it is also second only to New Zealand on ease of doing business rankings from the World Bank. Singapore is also at the heart of the South East Asian region, making it easy for regional visitors to travel. As a market, the ASEAN region has a population of around 626 million people and, at the start of 2017, it is the sixth largest economy in the world. The region is also growing at 5% every year, plus with the implementation of the ASEAN Economic Community (AEC), ASEAN will become a genuine single market that will be very interesting to businesses globally. Therefore, with the favourable culture, infrastructure, transparency and business regulations, it is an ideal location. What do you foresee in the future for both industry and the Singapore market in general? The industry will need to grow with the advancement of other technologies and work together with different types of hardware and software outside of the professional audio and lighting industry. This innovation and creation of new solutions that collaborate with various types of modern technology would perhaps carve a new influx of demand for theprofessional audio and lighting products that are currently available, as it would expand on the variety of experiences that professional audio and lighting products can provide to meet new consumer demands. For the Singapore market, I think our country continues to advance and use enhanced technologies and solutions to create exceptional experiences. Big concerts, festivals and events continue to be staged in Singapore, such as Britney Spears and Coldplay concerts, Ultra Music Festival, Cirque Du Soleil, F1 events and so on. Singapore will continue to be the base for brands looking to expand their presence in Asia, with quality, good reliability and efficient services.
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Nightclub Zouk has been a featured venue in mondo*dr since its inception in 1991. Founded in Singapore by Lincoln Cheng, the world-renowned entertainment venue was originally housed in the Jiak Kim Street building, which consisted of three warehouses that were built along the Singapore River in 1919. After opening a sister venue in 2004 in nearby Malaysia, named Zouk KL - which recently relocated to TREC, a purpose-built, urban F&B, lifestyle and commercial destination - the attention returns to Singapore, where the venue has also relocated to Clarke Quay. After Lincoln sold the club in September 2015, it is now owned and operated by Genting Hong Kong, an affiliate of the Genting Singapore. Executive Director - Chairman’s Office and Chief Information Officer of Genting Hong Kong, Hui Lim said: “The Zouk brand is an institution that is iconic to the local scene and is consistently recognised on the global clubbing stage as one of the best nightlife spots across its years of operation. With this relocation, we saw an opportunity to evolve with the culture of music, a chance to create a new atmosphere that will breathe new life to the brand with the promise of new experiences. This big move has been much anticipated by all and I couldn’t
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Photo credit: Colossal Photos
be happier with the result of a spectacular superclub that is the embodiment of progression with nods to the history that we all have come to love. Leading the relocation has been exciting, I’m truly honoured to be a part of it and I am confident that fans will love this refresh.” Housed within Clarke Quay’s Cannery Block and spanning two floors, the new Zouk complex includes signature dance stages Zouk and Phuture, which stretch across 631 sq metres and 267 sq metres, respectively. In an exciting twist, though, the new home allows the two to merge together to create one large superclub, which comes into play when the biggest events take place and the most popular artists perform. The walls separating the outlets are soundproof double walls that are easily removable when required. As well as Zouk and Phuture, the new complex houses the recently launched restaurant and bar, Red Tail, and a soonto-be-unveiled fourth concept. Despite the new ownership, a number of historic elements remain intact at Zouk Singapore. Firstly, interior and concept designer, Phillips Connor of Independent Concepts - who has been involved with redevelopments of Zouk since the late ‘90s - was back on board. The concept of the new spaces revolves around the idea of evolution in the music scene and club culture, initially demonstrated by the overarching neo-industrial and futuristic aesthetic, inspired by the underground rave clubs and refurbished warehouses in New York and Berlin. “Evolution is the theme and the overall concept of the design of this new space, so we wanted to play around with the idea of a space that is dynamic and versatile. While its predecessor is known for four distinct yet independent outlets, the relocation has provided us with the opportunity to break down the barriers of stand-alone spaces to inject flexibility and coherence to the signature outlets without losing the essence of both Zouk and Phuture,” said Phillips. The second historic fixture is the re-installation of the original sound system that was custom created by the renowned, late audio engineer, Gary Stewart. At the time it was installed in the original venue, Gary said: “This majestic, custom-built analogue sound system is the final answer to the club’s quest to own a system that all others will try to compare to and has been replicated from the era of legendary New York venues - Paradise Garage and Studio 54. We have fitted Zouk with a mixture of new and classic audio products, some of which have been custom built. From our console to our patch bay, then a trip to the signal processing, the signal flows to the final stop the amplifiers which are located in our speak stacks. All connections have been hand-built to maintain a level of perfection throughout.” Until his death in 2012, Gary recalibrated the GSA system on a yearly basis for up-to-date configuration and to ensure a warm and crisp quality sound. Today, after moving the sound system to Clarke Quay, the in-house sound team at Zouk take care of system operation and maintenance, which includes regular software upgrades and EQ monitoring. Technical Manager at Zouk Singapore, Rexx Lim explained how they went about the move: “The brief in the new venue was to make it simple, minimise the chain of processing and reduce audio latency for the GSA system. The design process started one year before the move to Clarke Quay. The process included looking into cable quality, cabling routing to optimise the performance, designing the signal processing, modelling of GSA loudspeaker placement from EASE by partnering with our appointed system integrator.” On the dancefloor at Zouk, four GSA stacks have been reinstalled. Each stack comprises twin 1,000W 18-inch www.mo ndo dr.co m
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subwoofers, a quad 3,600W 15-inch cabinet, and twin acoustic lens HF/UHF mid-range horn loaded with two coaxial neodymium compression drivers. Four GSA custom-built bullet tweeter arrays are also flown over the dancefloor. “Among all the equipment that makes up the system, the most important feature to retain - in order for these stacks to produce the right sound - was the GSA (RLA) electronic crossover,” continued Rexx. “This system works well for the venue because the stacks are fully customised for Zouk and it is a one-of-a-kind creation that is specifically equalised and built to suit all genres of dance music. The twin acoustic lens fin that was incorporated on top of the stack for the compression drivers helps eliminate nasty and piercing high frequency that will cause irritation when listened to for prolonged period of time. The system’s top-of-the-line bass horn from GSA, featuring the Bertha with a large horn extension for improved air coupling is one of the finest bass horns ever made, in my opinion, www.mo ndo dr.co m
and it can handle the largest of clubs with ease, while providing the finest bass reproduction.” With the move, the decision was made to upgrade the amplifiers to drive the stacks. Rexx and the team tested a number of different brands but selected Powersoft as the best for the job - nine X4 four-channel amplifiers. Rexx continued: The Powersoft X Series has a warm, open sound with enormous power, and complements the custom GSA speaker system perfectly. It has really helped amp it up, allowing the loudspeaker system to perform better than ever.” For live mixing capabilities, a DiGiCo SD11 has been installed. It was chosen for its excellent function to size ratio. It has all the features required to manage the live performances at Zouk and can be set-up quickly and easily as needed, yet is compact enough to store when it’s not in use. “We also have an iPad remote app that allows us to connect to the console through a wireless system, so we can tweak the settings from anywhere within the venue,” said Rexx.
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“We approached this project by constantly asking ourselves how can we create an icon for Zouk, how can we create a standout piece that will be representative of the club’s new home while retaining it’s identity,” said Rebeca Sanchez Pastor, Co-Founder and Director of LEDsCONTROL. “It was not an easy feat creating a centrepiece worthy of the unique identity that the club has amassed over the years. But when we did, the result was this out-of-this-world structure that I’m sure, has never been done before. I am extremely excited to showcase this explosion of light that the UFO and mothership-like structure was made for, to all Zouk fans.” Designed to be liken to a central mothership of lights, the structure is surrounded by eight perimeter pieces that are shaped like arrows that are intended to draw in the crowd. It features more than 120 light patterns across a 360º view, resulting in an infinite possibility of lighting combinations. “We liked the idea
of creating a multi-narrow-beam forest that would give the sensation that you are the inside of an illuminated effect, surrounded by sculptural pieces in which the light is embedded,” Rebeca continued. Miquel Clot, also Co-Founder and Director of LEDsCONTROL added: “The technology that is embedded in the sculptural pieces - the mothership and eight perimeter pieces - are based on digital LED strips and LED dots, so everything can run calmly and smoothly, if or when the moment requires. Along with the hardware, we have also developed a programme that caters to different moods and music styles - something that can tell different stories during the night and is able to portray a multifaceted functionality for different events. Of course, we also liked the idea of a design that looks beautiful even when not in function, hence the structural design of the mothership.” A total of 850 metres of digital LED strip RGBW - which has individual control across
Photo credit: Colossal Photos
To complete the audio line-up, Rexx equipped the DJ booth with six L-Acoustics KARA loudspeakers and four L-Acoustics SB18 subwoofers to extend the low frequency, as well as a Lake LM26 processor and industry standard Pioneer CDJ-2000 Nexus 2 multiplayers and a DJM-900 Nexus 2 DJ mixer. Mimicking the original venue, clubbers enter Zouk through a tunnel, the new one purposely lit and sculptured in a dramatic fashion to offer guests a glimpse of what lies ahead. The answer? The mothership (or UFO as it is also referred to) - a modular sculpture with a kinetic laser light system, based on a decagon configuration dressed with LED technology and narrow beam mini moving lights. The centrepiece is suspended above the dancefloor and was realised by Barcelona-based lighting design firm, LEDSCONTROL, with the idea of creating a sensational focal point that could bring about cosmic immersion of light and dance.
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every 8.5cm as a single pixel - is embedded in the central mothership structure that measures seven metres in diameter. While the eight perimeter pieces, each 4.5-metres by fivemetres features 3,500 RGB pixel dots. These are controlled via Madrix LUNA 4/8/16 Art-Net nodes and Madrix software packages with their accompanying keys. “The patch in the Madrix system was very complex as the perimeter pieces are all not configured in the same way. We had to select pixel by pixel to create the shape in Madrix. In total, we have more than 120 DMX universes created just for the LEDs.” Intelligent moving lights are also hidden in and around the mothership, these include: 32 ADJ Event Bar PROs - a four-head pinspot system distributed inside the structure and act as the main beams for the venue; as well as eight ADJ Asteroid 1200 spherical LED lights and 16 Robe miniPointes. Completing the line-up of moving lights are Clay Paky Alpha Beam 700’s, Clay Paky Alpha Spot 300’s, Elation ACL 360 Bars, Martin by Harman Rush MH8’s, and Robe DL4’s on the balcony perimeter. “Naturally, we take into consideration the most suitable technology on the market, but more than using branded hardware, it’s about the end product and what we want to achieve from it. Of course, we like to work with brands, which we know will deliver in performance, provide
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warranty and a good pre/after sales service,” continued Miquel. “For this project, we chose the brands, which are able to provide small and powerful moving lights. For example, we found that the ADJ Event Bar PRO was a good solution. It was also good fun playing around with the retro-style Asteroid 1200 disco lighting effect, also from ADJ. The Robe miniPointe is ideal for a nightclub setting because it has a good balance of features for its size, it helped us to achieve our idea of creating a multi-narrow-beam forest.” “Furthermore one Minuit Une Pyramid 10W RGB laser and five Minuit Une Carré 10W RGB laser are hidden in the structure and can be lowered when required, thanks to the LINAK LA37 linear actuators - a device that converts the rotational motion of a low voltage DC motor into linear motion (push and pull movements) - and six Wahlberg DC motor DMX controllers,” added Gabriel Scapusio, Project Manager at LEDsCONTROL. An MA Lighting grandMA2 Light console is in place to control the intelligent lighting fixtures. Rebeca explained the reason for the choice: “As one of the top clubs in the world, Zouk Singapore is very active in bringing in the big names from the dance music scene, so we recommended using a lighting console features regularly on international riders. Of course, we also took into consideration that it was a
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Technical Information INSTALLER: In-house team, LEDsCONTROL BRANDS: GSA, QSC, Powersoft, Pioneer, Lake, L-Acoustics, Pioneer, Robe, ADJ, Clay Paky, Martin by Harman, Chromlech, Minuit Une, EK-Lighting, Magic:FX, Smoke Factory, MA Lighting, ChamSys, Wahlberg, Madrix, Barco, Panasonic, Green Hippo, Akai WEBSITE: zoukclub.com / ledscontrol.com / www.qsc.com / www.powersoft-audio.com / www.pioneerdj.com / labgruppen. com / www.robe.cz / www.adj.com / www.claypaky.it / www. martin.com / www.chromlech.com / minuitune.com / www. eklights.com / www.magicfx.eu / www.smoke-factory.de / www. malighting.com / chamsys.co.uk / wahlberg.dk / www.madrix. com / www.barco.com / www.panasonic.com / www.greenhippo.com / www.akaipro.com
Photo credit: Zouk Singapore
console that could fulfil the needs of the venue.” A Chamsys MagicQ MQ100 Pro desk and a Chamsys MagicQ MQ60 console are also in place at Zouk. LEDsCONTROL was also responsible for the LED backdrop for the DJ booth. Crafted in organic fluid forms of concrete as a nod to Zouk’s heritage, the DJ console sits in the centre of the front stage and between three VIP seating pods, offering an overlooking view of the dancefloor. The central LED screen behind the DJ booth measures fourmetres by three-metres with a pitch of 3.91mm and is flanked by three strips - each measuring 0.25-metres by three-metres - which feature a halo effect to illuminate the brick wall that sits as the backdrop of the DJ console. There is a perimeter LED screen that runs around the venue below the balcony - on the second floor - and measures 50-metres by one-metre and a pitch of 10mm. And a further three LEDs screen located at three of the five bars throughout the Zouk venue. Rexx Lim furthered: “For the routing of the system, we used the Extron XTP Crosspoint system along with the Barco ImagePRO II video scaler that is installed into the system to support the requirements in today’s fast-moving visual technology landscape. For transmission and receiving of signals, we go through a twisted pair and fibre optic I/O boards to deliver end-toend capability for extending 4K video along with audio, control and Ethernet over a single cable.” The Akai APC40 VJ console utilises Resolume Arena 5 to control content. “We are also set up for live scene can be captured through a Panasonic HD PTZ HE130 camera and fed through all screens across the club,” continued Rexx. “Previewing of the scenes is carried out via the Datavideo TLM monitor that we have installed.” A Green Hippo Hippotizer Amba has also been installed at the venue to support the different needs required for various events and this is done by having a capture card ready built in to allow for a mix between live feed and visual displays. Additionally, 14 Martin by Harman Atomic 3000 LED strobes have been installed at the back of the DJ booth. Miquel commented: “We enjoyed the use of the Martin Atomic 3000 LEDs, which can be as powerful as the Atomic 3000 DMX, but the added RGB detail on the reflector make it very versatile and interesting in its display.” With a world-renowned reputation on the line, everyone involved was keen to make it a success, but such projects don’t come without their obstacles. Miquel said: “The main challenge we faced during the installation was time. We had a very short time to install all the equipment, but we were very lucky to have access to all the required facilities and the support of the Zouk team and all other vendors/contractors, allowing us to respectfully deliver on time without compromising on the quality of the finishing touches.” Nowadays, not so many nightclub brands have the heritage that Zouk has, with more then two decades in the business. It has survived in what some would describe as an overcrowded nightlife scene in Singapore and now in its new home, it is wowing both the dedicated original fans of Zouk, as well as the new generation of clubbers.
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46 I N TERVI EW
SĂ¸ren Storm GLP Sales Director for Asia Pacific Youâ€™ve been in the lighting industry for a long time, but what drew you to the position at GLP? I had three main reasons for joining GLP and they are all equally important. The first reason was the team. Many of the guys at GLP are old friends/colleagues, who I have a great respect for and I have always enjoyed their company - both professionally and privately. Another important factor in the decision was the positioning of the brand in the market. GLP is not the biggest company in the lighting industry, but it has a really good reputation for both innovation and quality - and the company is getting stronger and stronger in the touring market. Asia/Pacific was definitely not the strongest market for GLP, so I could also see a good challenge in making sure that GLP was represented well in the region so we were able to support all the international riders coming out of the USA and Europe. The final reason was the interesting new products it had in the pipeline. No brand is stronger than its upcoming products, GLP showed me some of its R&D work and its commitment to bringing it to fruition. How does GLP compare to other lighting manufacturers youâ€™ve worked for? GLP is smaller setup than where I have worked before, which offers a number of advantages, such as quick reaction time. I felt extremely welcome from the first day, and it is easier to understand the internal infrastructure faster in a smaller company. It is always more fun to work in a company which is experiencing a lot of success and this is exactly what GLP is. What is your role at GLP and what does it involve on a day-to-day basis? I am Sales Director for Asia and Pacific for the entire GLP product portfolio. This basically means that I support the existing distributors, build up the distribution network where we are not represented, make sure that our products are supported well and get them specified on bigger events. We have a regional office in Hong Kong, but I have chosen to keep my base in Singapore, as it gives us a better coverage of Asia/Pacific markets. How has the lighting market changed from when you first starting working in the industry to today? There have been many changes to the market, but the two main things that come to mind are China and LED. China has definitely changed the approach to the market for most of the European and American manufacturers. We all used to be involved in club installations when I started in the industry, but that is extremely rare now, unless you represent a Chinese brand. The pressure from the Chinese brands has forced us to be even more innovative and improve our speed to market. So, we have to make sure that we
release products with a higher frequency in order to be ahead of the Chinese manufacturers. The other big thing is the shift to LED, as the primary light source, which has given a lot of new options and features in terms of what is possible. The new technologies also made the border between lighting and visual technology get a lot closer to each other. How has the Singapore market changed over the years? Singapore has been an amazing city to live in and, at the same time, it has been great to watch its rapid transformation. Not only has the whole city developed, but the entertainment scene has also been going through some big changes over the years. There were basically only two real theatres in Singapore when I got here, and very few international gigs would come through the country. That has totally changed and Singapore has now multiple theatres and venues that can host any international show. They are now bringing in Broadway shows, ballets, musicals, artists and big festivals, which all contribute to a very vibrant metropolis. All the new venues have also been very good to the suppliers of the entertainment industry. Another thing, which also seems to have shifted over the years is the presence of direct representation by the manufacturer, either in the form of a subsidiary, own office or a regional sales manager based in Singapore. Singapore was always important for the manufacturers in regards to regional sales, but the direct footprint is much bigger now. What do you think the future holds for the lighting and visual technology sector? I believe that it will still develop rapidly and the borders between lighting and visual operators/designer will disappear. However, I do believe that there will still be borders between the lighting and the video manufacturers. Some will do both, but I think that most innovative products will still come from the ones who only focus on either lighting or video. What plans are in the pipeline for GLP in Singapore and in the wider APAC region? We will mainly focus on a strong distribution network, where our distributors have GLP as their main brand. There are still a few countries in the region where we are not represented locally, so we are looking for good distributors in those countries. Our increased focus in the region has already made an impact. We have changed a number of our distributors the last twelve-month and we have seen some really good results from that new focus and energy. We are now extremely happy with our current setup in all the bigger markets in the region and feel very confident that the growth we have seen in the last 12 months will continue.
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CATEGORIES Best Nightlife Venue Best House of Worship Best Sporting Venue Best Integrated Resort Best Performance Venue Two more categories to be added in 2018
ENTER Look out for the new website coming in Summer 2017 to submit your project for the 2018 Awards www.mondodrawards.com
SPONSORSHIP Want to sponsor the 2018 mondo*dr Awards? email@example.com
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This isn’t about new loudspeakers. It’s about bass lovers and partygoers, sports supporters, music fans and absolute clarity connecting congregations; it’s about dynamic daily programs and tireless listening for everyone, every time. It‘s not about the new 24S/24S-D point source loudspeakers and 21S-SUB taking the performance of the installation speciﬁc d&b xS-Series to empowering new levels, in cabinets designed for easier aesthetic integration. It‘s about solutions tailor made to task: d&b ampliﬁers, software, and accessories, all perfectly integrated for highly eﬃcient, versatile solutions. www.dbaudio.com
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