ETA MAR 2018 03

MARCH 2018

For The Technical And Production Professionals

Alibaba's Star - Studded Gala Broadcast Features Stunning Visuals disguise At The Fore

INTERVIEW

GLP Asia Sees Its Fortune Soaring

ON THE JOB: Jono Pratt Swears By Arista's IP Flash Caster KNOWLEDGE HUB: What does “Constant Voltage” Mean?

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

IN THIS ISSUE

51

VOL 19 ISSUE 3 MARCH 2018

04

FIRST WORDS

50

LET'S TALK BIZ

Tips To Avoiding Burnout

06

NEWS

51-54 51 52

20

VIDEO FILES

22

ENNOVATIONS

LIVE

Adamson Delivers One-of-a-Kind Experience At Mr. Future Festival Alibaba's Star-Studded Gala Broadcast Features Stunning Visuals With Help From disguise HARMAN At The Helm Of Bic Runga 20th Anniversary Celebrations

54

56

THE LAST PAGE

The Story Behind The Sound

36

INTERVIEW

GLP Asia Sees Its Fortune Soaring

38

57

ON THE JOB

Jono Pratt Swears By Arista's IP Flash Caster

40 - 49

KNOWLEDGE HUB

40 What Does “Constant Voltage” Mean?

42 All About Wireless: Antenna Types And Characteristics 44 Understanding Content Templates 46 Building Your Audio System ‒ Picking The Right Microphones 48 Slinging Matters; An Insert Is Not A Basket!

49 The Use Of Wireless Microphones

38 ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

EVENTS CALENDAR

FIRST WORDS

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I recently had the privilege of attending the LIVE ENTERTAINMENT EXPO 2018, held in Chiba, Japan. Although not as big as bigger exhibitions like Prolight+Sound, it was a great opportunity nonetheless for local production companies to meet and interact with manufacturers and distributors both from Japan as well as other countries.

Thomas Richard Prakasam Editorial Director / Publisher thomas@spinworkz.com

Ram Bhavanashi Highlights from the show included Audio Visual Communications (AVC), which together with Kinesys just about brought a full-blown concert to the Makuhari Messe show floor, stunning the crowd with larger-than-life visuals and sound.

One sentiment shared by many foreign exhibitors such as Stageline was that they were hopeful to break into the local market ‒ Germany's Riedel Communications also expressed their interest in introducing their MediorNet line to Japanese consumers.

It's a little stereotypical, but it's also a fact that Japanese companies never fail to impress with their ideas and technologies ‒ one such exhibitor that certainly caught my attention was KOA Corp, which used wind-sensor technology to produce “windgraphy”, an interactive experience that made use of the wind to produce a lovely demonstration of how natural elements can be harnessed to work with technology. It remains to be seen exactly how this can be incorporated into other applications, but I imagine we can expect great things.

We will publish the full post-event review in our next issue ‒ I look forward to sharing it with you!

Editor, India And Middle East ram@spinworkz.com

Julie Tan Admin & Circulation admin@spinworkz.com

Daniel Ngiam MEDIA Rep for Spinworkz Pte Ltd Tel: +65 84410258 first_dm@hotmail.com

Shankar Venugopal ART / LAYOUT shankar@creativecult.in

CREATIVE

CULT

Natalie Chew Writer natalie@spinworkz.com

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

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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

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

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Clear-Com Honoured With NAMM Milestone Award For 50 Years Of Service In The Music Products Industry “The dramatic development of live music production values in recent years, including cutting edge lighting, video, choreography, robotics, and other special effects is only possible with sophisticated and reliable communications. Our company is honoured to be part of this development and to be recognized by NAMM with this prestigious award.”

USA: Clear-Com of Alameda was honoured at the 2018 NAMM Show with the National Association of Music Merchants (NAMM) Milestone Award for 50 years of service in the music products industry. Presented annually by NAMM President and CEO Joe Lamond, the Milestone Award recognizes music businesses that have flourished through changing business environments to reach a noteworthy anniversary.

“Back in 1968, Bob Cohen and Charlie Button founded ClearCom and created the very first production intercom - known as the RS-100 distributed amplifier analog beltpack system - which was used for production communication by legendary San Francisco rock bands and artists such as Jefferson Airplane, Janis Joplin, and the Grateful Dead. While we have diversified over the past 50 years into myriad markets, Live Production represents our roots and remains a significant and special sector for our company,” said Bob Boster, President, Clear-Com.

Clear-Com, an HME company, is a trusted global provider of professional real-time communications solutions and services.

Its legacy of technological advancements and innovations has delivered significant improvements to the way people collaborate in professional settings where real-time communications matters. Around the globe and across markets, Clear-Com's innovations and solutions have received numerous awards and recognitions for ingenuity and impact to customers.

“NAMM is honoured to recognize Clear-Com for their 50 years in business and in service to both the music products industry and to their community,” noted Lamond. “Clear-Com has demonstrated the perseverance and passion to stand the test of time, inspire countless others and create a more musical world for the benefit of all.”

The Milestone Awards are presented annually to industry leaders celebrating notable anniversaries during The NAMM Show, held during the month of January in Anaheim, California.

The NAMM Show brings together over 100,000 industry professionals to preview the latest gear, attend educational sessions, and network with peers from more than 129 countries and regions. www.clearcom.com

A3E To Launch “Future of Audio + Music Technology” Educational Conference At Musikmesse And Prolight + Sound GERMANY: For the first time, A3E (Advanced Audio + Application Exchange) is organising an exciting professionaldevelopment programme during Musikmesse and Prolight + Sound.

The “Future of Audio + Music Technology” conference will be held in Room “Entende” on Level 4c of Hall 4 on Friday, 13 April 2018 and illuminate subjects that are impacting decisively on the global music industry. A3E is a leading industry resource dedicated to the future of advanced audio applications and new music technologies. The conference will be held in English ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

and admission is free of charge for all Musikmesse and Prolight + Sound visitors.

Key topics to be covered by the conference include: Ÿ

The global musician ‒ next generation cloud DAWs for worldwide collaboration

Ÿ

Wearable technology for musicians

Ÿ

Designing products for the wireless musician

Ÿ

Virtual & augmented reality for studio production and live performance

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Ÿ

Touchscreen apps and controllers for the studio and stage

Ÿ

App integration for traditional instruments

Ÿ

Artificial Intelligence & machine learning

“As a future-oriented platform, we are committed to promoting the transfer of information in the industry. We are delighted to team up with A3E, an organisation that enjoys a first-class reputation among professionals in the audio segment, to implement a high-grade educational conference.

“The Future of Audio + Music” programme is aimed at developers of audio solutions and at musicians, producers and sound engineers. Thus, it represents a perfect addition to our trade-fair duo”, says Michael Biwer, Group Show Director in the 'Entertainment, Media & Creative Industries' Business Unit of Messe Frankfurt Exhibition GmbH. “A3E is both proud and honoured to now be part of the worldclass trade fair duo that is Musikmessse and Prolight + Sound, and to be working with a world-class organizer such as Messe Frankfurt. Europe has always been a major force in the advent of new music technologies, and provides all the key resources

and communities that are essential in driving next generation audio development. Musikmesse and Prolight + Sound will provide an amazing base for A3E to help bring thought leadership together to further advance the Future of Audio + Music Technology”, says Paul Sitar, A3E LLC President and A3E Show Director. pls.messefrankfurt.com/frankfurt www.a3exchange.com

Meyer Sound Appoints Chris D'bais To Business Development For Oceania And Southeast Asia OCEANIA / S.E. ASIA: Meyer Sound has announced appointment of Chris D'bais to the newly created position of Business Development, Oceania and Southeast Asia. D'bais will be based in Brisbane, Australia and will serve as a direct factory representative for Meyer Sound across Oceania (Australia, New Zealand and the Pacific Islands) mainland and maritime Southeast Asia, as well as in Taiwan and Hong Kong.

In his new capacity, D'bais will represent Meyer Sound by building direct relationships with architects, consultants, sound designers, AV integrators and end-users across the full range of professional and commercial sound applications.

“In creating this position, we are putting a 'boots-on-theground' factory representative in this critical region,” says John Monitto, director of business development for Meyer Sound.

“And we couldn't have found a better person to fill the boots than Chris D'bais. He comes fully prepared with an in-depth knowledge of the technologies, the Meyer Sound product line, the markets and the key players in the region. From day one, he is ready to work with customers to develop comprehensive solutions across the full range of audio applications, no matter how large or challenging the project.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Chris brings to his new position more than 16 years of experience in audio production and technical management, most recently as sales and business development manager for Meyer Sound's former distributor for Australia. Prior to that post, D'bais served in technical and venue operations management positions at events, arts and cultural centres in Australia and the UK, including venue operations manager for the Arts Centre Gold Coast. His extensive training encompasses technical production, lighting and rigging, and also includes certification as a Meyer Sound SIM and CueStation operator.

“I'm humbled and excited at this new opportunity,” says D'bais.

“I've always admired Meyer Sound as an extraordinary, solutions-based company. The people here know how to listen to customers, to understand all the issues, and then to forge comprehensive solutions that are often well beyond the capacity of other loudspeaker makers. It's not about pushing boxes out the door; it's about doing the best for every customer and constantly pushing the envelope of audio technology.”

D'bais plans to contribute to what he sees as a time of significant growth potential for Meyer Sound across the region.

“The installation market offers tremendous promise for the expanding line of IntelligentDC products,” he says. “Customers in this region are looking for higher quality sound in all public spaces ‒ from restaurants and art galleries to showrooms and

NEWS

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cinemas. I also expect to see many more Constellation [active acoustics] installations, not just in performance halls but also in educational, corporate and hospitality projects. I'll be working to bring more of the LEO Family large format systems into the touring market, where there is also great potential in the region.”

Chris D'bais may be contacted by telephone at +61 4 501 550 59 or by email at chrisd@meyersound.com. meyersound.com

EAW Adaptive Takes The Gold At PyeongChang 2018 Olympic Winter Games housed in scaffolding towers erected further left and right of the stage. Two columns of five Anya modules were hung in each scaffold. Front fill was provided by eight Anna modules, hung in left-right columns of four, located behind scrim above the stage video screens.

EAW Anya column arrays hung to the left and right of the stage blanket the audience in clean, high-quality sound.

SOUTH KOREA: The Medals Plaza stage within the PyeongChang Olympic Plaza is home to cultural performances and video displays of the competition during the day and Olympic medal ceremonies in the evening. The experience is reinforced by an Eastern Acoustic Works (EAW) Adaptive System provided by Seoul-based RHiNO Sound Systems.

The one-floor Medal Plaza ‒ 1,267 square meters in size ‒ features a large, wide, domed stage and an audience area wider than it is deep. The challenge was to blanket the outdoor area with clean, high-quality sound while keeping it contained to the audience area, which butted up against stores and other public spaces. In addition, the stage hosted many different forms of entertainment which required a system flexible enough to accommodate those needs.

A combination of twelve Otto subwoofers ‒ ground stacked 2 x 3 ‒ located under each Anya array provide the low end the program demands. Stage fill was handled by left and right stacks of three KF730 enclosures and two SB1002Z subwoofers.

A total of 16 MicroWedge stage monitors were on hand ‒ eight MW12 and eight MW8 ‒ for the performers. Four EAW UX8800 processors were used for system optimization.

“The temperatures were also a concern,” explains Gwon Seung Cheoul. “We worked in sub-zero temperatures, 0 to -15 degrees every day, throughout the games. Once we had the system up and running, I never turned it off ‒ for close to 30 days ‒ and I never had any issues. It was rock solid.”

T.J. Smith, president and general manager of EAW, concludes.

“It is an incredible honor to have our products in such a prestigious location in the Olympic Plaza. When our distributor Dasan SR told us that RHiNO Sound would utilize Adaptive to reinforce the Medals Plaza stage, we were delighted. The control the system offers made it an easy choice. We are very, very pleased that EAW was able to play such a prominent role in the 2018 winter games. Gwon and the RHiNO Sound team did an amazing job.” www.eaw.com

“I was very pleased with the sound and coverage when we tuned the system,” adds RHiNO Sound Systems' Manager and Audio Engineer Gwon Seung Cheoul. “Resolution is easy to use and quite accurate ‒ this was no exception. One of the reasons the IOC and PyeongChang Association chose RHiNO to reinforce the stage was because of the coverage and control our Adaptive system offers. Everyone was very happy with the end result.”

Gwon Seung Cheoul utilized EAW Resolution 2 software to design the system and ensure even coverage of the audience area. The main PA ‒ made up of 20 Anya modules ‒ was

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

NEWS

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ADB Supports Halogen Lamp Use In The Stage Lighting Industry This is with regards to the much-discussed tungsten ban that comes from environmental concerns over energy inefficiency.

ADB says it would like to give a concrete signal of the attention the company pays to the needs of the professional market, which is going through a period of uncertainty about the future of this technology.

It also states that it has a clear picture of the future of professional theatrical lighting and will continue to supply lights with halogen lamps and their accessories for as long as possible, without giving up on the development of new units based on LED technology or other light sources.

GLOBAL: ADB Stagelight has decided to include halogen lamps in its lighting units at no extra charge, starting from February.

www.adbstagelight.com

Riedel Invests In simply-X And Cooperates To Offer Cashless Payment And Access Control GLOBAL: Through this new partnership, Riedel is expanding its range of technical and logistical services in the event sector by adding solutions from simply-X, a German provider of access control systems, cash and contactless payment solutions, and fan engagement. The close cooperation allows simply-X to expand its presence in international markets. simply-X products will be offered via Riedel's rental organization, providing customers with numerous synergies in the technical, economic, and logistics areas. Through the cooperation, both companies will remain autonomous, continuing to offer their products independently of each other in the market.

"Whether it's Wacken or the Berlin Olympic Stadium, one key to success in modern event production is the ability to align all processes and services comprehensively to provide guests with a seamless and pleasurable experience," said Thomas Riedel, founder and CEO of Riedel Communications. "In collaborating with simply-X, we gain a partner who is a champion of innovation with a high level of expertise in terms of security and digitization."

The collaboration provides customers with tremendous value, enabling seamless integration of cashless payment systems into events worldwide thanks to a unified infrastructure.

"I associate strength, vision, and growth with the Riedel brand.

This partnership provides us with new impetus and optimal ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Matthias Bode, CEO of simply-X, and Thomas Riedel, Founder and CEO of Riedel Communications

conditions for further growth by allowing us to offer innovative IT solutions to a broader, international customer base," said Matthias Bode, CEO of simply-X. Numerous customers throughout Europe rely on the comprehensive services offered by simply-X, including the Copenhagen Royal Arena, the Wacken Open Air Festival, Bundesliga club Eintracht Frankfurt, and the Sachsenring. https://www.riedel.net/

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India's Sun Infonet To Distribute Meyer Sound For Pro And Commercial Markets INDIA: Sun Infonet Pvt. Ltd. of New Delhi has been named exclusive distributor of Meyer Sound products for the professional and commercial sound market verticals in India, including the sound hire, commercial installation and live entertainment business sectors.

Sun Infonet was selected on the basis of the company's broad marketing experience, proven technical expertise and extensive connections to the Indian pro audio community.

Established in 1999, the company has been the exclusive distributor of Shure microphones in India since 2003.

“Sun Infonet has a fantastic team,” says Sandeep Braganza, Meyer Sound Sales Manager for India. “They are known for their integrity and for their dedication to the brands that they represent. Also, with multiple offices spread across India, they will provide Meyer Sound customers with timely post-sale service and support.”

Headed by Director Neeraj Chandra, Sun Infonet Pvt. Ltd. was first established to distribute and service state-of-the-art radio and data communications equipment. Following appointment as the Shure distributor, the company further expanded its portfolio to include Allen & Heath mixing consoles and DIS conferencing systems, among other product lines.

“Over the past nearly fifteen years, working with Shure and other brands, we have developed close and constructive relationships with consultants and system integrators throughout India,” comments Neeraj Chandra. “This groundwork will enable us to work quickly and effectively in bringing more Meyer Sound solutions into the high-end market for auditoriums and large venues. We have earned the trust of our collaborators with our proven record of technical expertise and prompt customer support.”

http://suninfonet.net/

Penn Elcom Invests In Salvagnini P4 difference. It is one of Salvagnini's most popular solutions, and one of the most flexible and versatile manufacturing systems (FMS) on the market right now.

Penn Elcom Chairman Roger Willems explained the decision to invest in this fabulous piece of kit as a “direct response” to the expansion of Penn Elcom's core 19 inch racking business worldwide in the last two years.

“We wanted absolute consistency, the coherence, accuracy and precision in the manufacturing process that's guaranteed by the P4, together with the additional adaptability and further efficiency it brings to our operation”.

UNITED KINGDOM: Penn Elcom has invested in a new Salvagnini P4 panel bending system which has been installed in its Hastings UK manufacturing facility.

The P4 is an absolute Rolls Royce in the world of panel bending. Powerful, stylish, fast ‒ offering a fully automatic solution for manufacturing steel into components for the 19 Inch rack market, which is extremely buoyant worldwide for Penn.

The P4 - part of a total investment of around £700K, complete with associated infrastructure, is already running and making a

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The P4 is a truly multi-functional machine. It uses electronic technology to assess the gauge and Tensile Strength of the metal to ensure angular accuracy, regardless of Material variations. The P4 uses one universal tool for bending metal between 11 and 27 gauge. (0.4-3.2mm Mild Steel) It is around 7 times faster than standard metal bending machines, and enables quality one offs to be made quickly and effortlessly.

“The P4 gives us the complete flexibility to change programmes in just 60 seconds,” stated Roger. “We are committed to manufacturing rack components in Europe ‒

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irrespective of Brexit ‒ and also in China, all for global distribution throughout our worldwide network. In the process we are underlining our commitment to creating good and stable jobs in the associated local economies”.

Penn Elcom's Hastings, UK workforce all received comprehensive P4 training from Salvagnini UK which was “exceptionally well managed” stated Roger, ensuring that they are fully comfortable with handling and running the machine.

Roger hints that this Salvagnini P4 … is not going to be the last one they purchase!

2017 has been a big year for Penn Elcom. The Hastings plant has received over 1.7 million in investment, which has

included replacement of all the previous Trumpf punch presses with the latest technology from Trumpf Germany.

Internationally, a large Penn Elcom China distribution centre has been opened near Beijing; a new Indian facility has come on-line in the buzzing hub of Mumbai and strategic restructuring of Penn's operations in Colombia and Peru is designed to take advantage of sustained growth throughout Latin America.

This new machinery gives Penn an important advantage and will assist in the making of the strong range of products due in 2018. www.pennelcomonline.com

Sydney Opera House Banks On Lawo For JST Refit AUSTRALIA: Professional Audio & Television (PAT) announced that they have delivered, configured and commissioned a Lawo Nova73 and a Lawo Crystal console including compact engine for the Joan Sutherland Theatre in the Sydney Opera House via lead integrator The Downer Group.

The Lawo Nova73 Core has been configured as an mc² Mix Engine. Used as the Central Audio Router for the Joan Sutherland Theatre, the Nova73 is combining MADI, RAVENNA and Dante signals, along with traditional analogue and AES by way of a Lawo DALLIS I/O Frame. Lawo's powerful mxGUI is used as the primary control interface for the router, allowing users to load snapshots for different room configurations, while also offering user manual adjustments of signal flows and parameters. The system is completed with a VistoolMK2equipped Lawo crystal console, to provide a simplified tactile, or customisable on-screen, mixing surface. This allows for basic use of the JST for situations such as rehearsals or simple presentations. The Crystal engine communicates with the Nova73 via RAVENNA. Lawo's CEO ‒ Philipp Lawo visited the facility and commented: “I am delighted to see our technology plays an integral part in making the Joan Sutherland Theatre an even better venue for

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

hundreds of events per year. Over the years we have been able to grow the Lawo footprint in Australia significantly and we have some amazing reference sites here in Australia, but to now also be able to list the Sydney Opera House is something very special. We are honoured to have been chosen for this upgrade and thank the Opera House for their trust in Lawo technology.”

The Sydney Opera House's Renewal Technology Manager David Dalton seemed pleased: “The Lawo Nova core has been solid since its install in January and has already seen significant use. We are very satisfied with the Lawo technology and the service their Australian distributor PAT provided to us via The Downer Group.”

The Joan Sutherland Theatre is the first theatre to undergo a 'renewal', next on the agenda will be the refit of the main concert hall planned to begin in 2019. www.lawo.com

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Almoe AV LLC Now A disguise Certified Solution Provider Bollywood Parks, Dubai, are now using disguise at the heart of many of their other projects.

Rajmahal Theatre in Dubai where disguise is being used

DUBAI: disguise have announced that Almoe AV Systems LLC are the latest partner to join their Certified Solution Providers (CSP) programme.

The disguise integrated workflow solution is used at the heart of the world's most exciting cultural experiences, improving all stages of production, from pre-visualisation to project delivery.

The disguise CSP programme expands their knowledge and support in providing clients with their full system integration solution. Almoe, based in Dubai have years of experience as an established Systems Integrator and are a market leader in emerging technology. The team, who've used disguise as part of their technical solution package for the Rajmahal Theatre in

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Rajmahal Theatre is a must see attraction within the world's first ever Bollywood theme park. Almoe were asked to provide a complete technical solution package. John Cassidy, Divisional Head at Almoe comments, “the brief was to create a landmark structure that has all the grandeur and poise of ancient Indian cinema complete with new-age technology. Our team called upon the disguise solution for feeding content to each of the screens. We used the disguise technology, as it allows the content to run efficiently with zero worries on reliability.”

Almoe's project division also pulled in support from its sister company, Almoe Rentals and Productions Division, with qualified trained resources in Dubai. disguise Technical Solutions Manager, Peter Kirkup, states; “We're delighted to have Almoe AV Systems on board as a Solution provider. They've built a reputation of being one of the most established Systems Integrators within the UAE region so we're very excited that they're now able to pass down their knowledge with disguise at the heart of their projects.” www.almoeavsystems.com www.disguise.one

VIDEO FILES

ETA - March, 2018

Yamaha RIVAGE: How V2.0 can help you!

20 Shure Off the Beaten Track - The Mobile Recording Contest

Watch as Andy Cooper ‒ Yamaha's manager for pro audio application engineering ‒ goes through the latest additions and enhancements for version 2 of the Yamaha RIVAGE PM10. New developments include mirror mode and dual console mode.

Got what it takes to make it to Hollywood? Shure's giving musicians from 14 countries all over the world a chance to try their luck with this mobile recording competition, where grand prize winners will receive a trip to Los Angeles and a professional recording session at Capital Studios in Hollywood.

Rogue R3 Spot by CHAUVET Professional

ADJ Lightshow - NAMM 2018

This feature-packed moving spot has a bright 300 W LED light engine that produces an even field of light, as well as rotating and static gobos, an 8 position and split-colour enabled colour wheel, and three facet prism to create stunning looks.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ADJ's programmed lightshow from the NAMM Show ‒ gear used includes Design Series Video Panels, Vizi CMY300, Vizi BSW 300, COB Cannon Wash, Encore Burst 200, Par Z100 3K, , UB-12 (Ultra Bars), Focus Spot Three Z, Focus Spot Two, Focus Spot One, Inno Pocket Z4, Pocket Pro & Entourage Fazer.

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Claypaky's Axcor Profile 900: The Apex Of LED Spot Performance

The Claypaky Axcor Profile 900 is the most advanced LED profile spot on the market. It utilises the very finest components throughout, from its colour system to its pinsharp optics and the high precision micro-mechanics of its beam-shaping system. Its powerful and highly efficient 880W white LED light engine achieves 46,000 lumen (24,000 lumen output) with a 6,500 K colour temperature, while an optional high-CRI (>90) light engine produces 34,000 lumen (17,500 lumen output) and a 5,600 K colour temperature.

Thanks to meticulous design and development work, Claypaky has been able to produce a high performance LED fixture with a light emission comparable to a previous generation 1500W fixture (the most powerful available) but with a power consumption of around 1 kW. The beam produced by the Axcor Profile 900 is dense and evenly distributed for the entire length of the beam, at any beam angle in its zoom range of 7-40 degrees, and its CMY colour mixing system uses gradual-insertion dichroic wheels, supported by a linear CTO correction device, to produce perfectly smooth transitions between colours. In addition, a separate colour wheel carries six carefully selected professional colour filters, including a custom-designed CRI enhancement filter.

The Spot-Profile device produces a perfect projection and achieves the highest quality light beam currently obtainable.

The patented framing system works on four different focal planes and can generate sharp shapes of different sizes and proportions. The system is not affected by any shaping

distortions even at wide beam angles, where significant distortions normally occur.

The Axcor Profile 900 also provides lighting designers with a perfect projection and an extremely versatile effects package.

Features include 6 interchangeable high-definition rotating gobos, an animation wheel, a four-facet rotating prism, two variable frost options and an iris with multiple built-in macros.

The 16-bit electronic dimmer enables smooth transitions, while its completely flicker-free performance and low-noise cooling system makes it ideal for television use, as well as for the highest level of live events and concert touring productions.

When exhibited at LDI 2017 in Las Vegas in November, the Axcor Profile 900 was awarded the Gold Star Product Award for 'Best New Hard Edge LED Spot' by US-based lighting and production magazine, PLSN. The Gold Star Awards aim to recognise a product's quality, innovation and ability to expand the technological boundaries of live event production. The PLSN Awards judges said the Axcor Profile 900 offered more options to the user than all the other luminaires submitted by other manufacturers, and was "the best in its class."

Claypaky CEO Pio Nahum says, "As our very first LED spot fixture the Axcor Profile 900 sets a new course for Claypaky, and we are proud to say it is the finest LED spot fixture on the market. This is an achievement which underlines our absolute commitment to enhancing the art of lighting and we look forward to seeing what our friends in the lighting design world can achieve with it!" https://www.claypaky.it/

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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Ashly Audio Introduces Ashly digiMIX18 Digital Mixer Ashly Audio has introduced the new digiMIX18 digital mixer - setting itself apart from other digital mixers that currently clutter the market, the new digiMIX18 from Ashly features intuitive real-time mixing functionality pros and beginners will appreciate ‒ with real buttons and knobs, intelligent fader and meter bridge, a seven-inch touchscreen interface, and has a free iPad app for remote control.

"At a MAP price of $899, our digiMIX18 packs in more flexibility and real-world tools than other mixers in this category at twice the price," said Anthony Errigo, director of marketing communications, at Ashly Audio. “Our digiMIX18 has everything an audio engineer will want, configured so that quick access is insanely practical,” said Errigo. “Non-experts will have an easy time navigating basic functions in 'EZ-Mode' when digiMIX18 is set up for, say, a meeting or a presentation.

It doesn't depend on Wi-Fi for anything, so it's completely selfsufficient. All around it's a powerful solution for any live performance or event.”

Additional features include eighteen inputs, twelve output busses, comprehensive equalization and dynamics processing, two effects engines, auto-mixing functionality, optional Dante digital connectivity, supplied rack-mounting hardware for a locking rack system.

The digiMIX18 will be shipping in Spring of 2018. ashly.com

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Yamaha Launches New RIVAGE PM7 Digital Mixing System And More At ISE 2018 The recent ISE Show saw Yamaha launching its new RIVAGE PM7, a digital mixing system that offers the Yamaha flagship RIVAGE PM10 user experience, with integrated portability and flexibility.

applications, Rupert Neve Designs Portico 5045 Primary Source Enhancer, the Dual Console function, DSP mirroring (RIVAGE PM10 only) and more.

The RIVAGE PM7 and CSD-R7

Yamaha also launched ProVisionaire Touch V2.0 and ProVisionaire Touch KIOSK V2.0 for iPad ‒ these apps take their cue from the enhanced functionality of the Version 3.2 firmware of Yamaha's MTX and MRX series matrix processors. The touchscreen The ProVisionaire Touch V2.0 interface of the ProVisionaire Touch V2.0 and ProVisionaire Touch KIOSK V2.0 is now able to control Yamaha CL, QL and TF series digital mixers. There are also ProVisionaire Control and ProVisionaire Control KIOSK, for Windows and Windows tablet apps.

Featuring 120 input channels, 60 mix buses, 24 matrices and a comprehensive selection of 48 top-quality plug-ins, RIVAGE PM7 provides a similar mixing capacity to RIVAGE PM10.

The central component of the RIVAGE PM7 system is the CSDR7 digital mixing console. The same size as RIVAGE PM10's control surface, the CSD-R7 has the DSP engine built in. This delivers enhanced portability and system flexibility, while maintaining high operability and the same flexible user experience.

Other features include: Ÿ

Dual Console function allowing the CSD-R7 to be connected to the RIVAGE PM10 system CS-R10 or CS-R10-S control surfaces

Ÿ

Usage of Yamaha's TWINLANe networking technology or Dante, or both

ProVisionaire Control

Ÿ

Newly updated R series Dante I/O racks ‒ Rio3224-D2 and Rio1608-D2 ‒ that make sure the RIVAGE PM7 can be fully integrated with the CL and QL series digital mixers

Other highlights included the updated R series Dante I/O racks, CL/QL Firmware version 4.5 which includes support for the new I/O racks and Audinate Dante Domain Manager.

The Rio3224-D2 In addition to the new components, Version 2.0 of the RIVAGE PM series firmware will include a number of new features such as 5.1 surround and mix minus capability for broadcast

Yamaha also displayed new products including the VXL1 range of column-type line arrays, the PGM1 PoE paging station, MCP1 remote panel, SWR2100P-5G and SWR2100P-10G L2 switches, DXS15mkII The STAGEPAS 600BT and 400BT and DXS12mkII powered subwoofers, STAGEPAS 400BT and 600BT portable PA systems, and the WXAD-10 MusicCast Wireless Streaming Adaptor. www.yamahaproaudio.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ENNOVATIONS

25

ETA - March, 2018

Claypaky's Axcor 300 Range Brings High Quality To Mid-Market With quality and consistency at the forefront of their design, the Axcor 300 fixtures utilise a white LED light engine, with the equivalent rated power of a 300 watt discharge lamp fixture.

As a result, each fixture complements the others in terms of light quality and advanced colour characteristics, while at the same time being meticulously engineered for its specific role.

Launched at the LDI exhibition in Las Vegas in November 2017, the brand new Axcor 300 LED fixtures from Claypaky bring the Italian manufacturer's renowned, no-compromise engineering and performance quality to a wider spectrum of shows and budgets than ever before.

Together, the three cost-effective, yet powerful and compact moving head LED fixtures in the range - the Axcor Spot 300, the Axcor Beam 300 and the Axcor Wash 300 - offer a complete, fully-featured toolkit to lighting designers working in the broad mid-market of stage and studio productions. At the same time, they present an attractive commercial opportunity for rental operators worldwide, as a finely engineered, versatile equipment choice which meets the requirements of the widest range of productions and applications.

In true Claypaky style, there is no compromise on the professional features offered by the fixtures, while Claypaky's colour technology accurately reproduces a broad spectrum of hues, giving designers all the advantages of choice and control, with the consistency and reliability required of professional lighting tools.

The Axcor 300 range's suitability to such a wide variety of applications is further aided by the fixtures' compact and lightweight designs, which make them an ideal choice for use in theatres, television studios or smaller venues where space is limited, or where weight restrictions may exist. In addition, their low heat emission means they can be used in tighter spaces, and in closer proximity to set pieces and other fixtures. www.claypaky.it

ENNOVATIONS

26

ETA - March, 2018

ADJ Introduces New Mega Hex Par

The Mega Hex Par spotlight

Featuring ADJ's patented 'sit-flat' design, the Mega Hex Par combines powerful 6-in-1 HEX colour LEDs with useful features ‒ including a bundled IR remote ‒ to create the ultimate portable par fixture.

The compact, low profile Mega Hex Par is designed for both up-lighting and stage lighting applications. It features 5 x 6Watt HEX (RGBAW+UV) LEDs that allow smooth colour mixing and a huge colour palette, which is much wider than those offered by tri and quad LED models. The inclusion of the UV element also means that the fixture can create a classic 'UV glow' effect when used alone as well as exciting UV-infused colours ‒ such as hot pinks, lime greens and electric blues ‒ when combined with the other LED elements. The Amber and White LED elements also mean that the fixture is capable of generating white light at varying colour temperatures, which makes it ideal for stage illumination.

Thanks to ADJ's patented 'sit-flat' design, the Mega Hex Par may be placed directly on the ground or inside a truss because its power and DMX input and output sockets are mounted on the sides of the fixture, not on the rear. These sockets are also grouped together, with the inputs on one side and the outputs on the other, to make cabling easier and neater. The included flexible two-part scissor yoke means that the unit can also easily hang from a truss or stand on the floor locked into place at any desired angle.

The Mega Hex Par has a beam angle of 25-degrees, making it ideal for architectural wall-washing as well as stage lighting applications. Its efficient LED light-source produces minimal heat, where traditional stage lighting produces a lot of excess heat, which allows the temperature on stage to be kept cooler for the comfort of performers. Another advantage of LEDs is their long lamp life. The Mega Hex Par's LEDs have a working life of 50,000 hours, which makes lamp replacement a thing of the past!

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

With five operational modes to choose from, the Mega Hex Par is suitable for all kinds of events and productions. Static colour mode allows quick and easy selection of any of the unit's 63 pre-programmed colour macros, while RGBAW+UV Dimmer Mode allows any combination of the six LED elements to be mixed directly from the LED display on the rear of the fixture.

To allow dynamic lighting effects to be created, the unit also features a variety of in-built chase patterns.

Auto Run Mode allows a choice of 16 colour Fade patterns, 16 colour Change patterns and a combined pattern to be selected to run at a set speed. Alternatively, Sound Active Mode allows 16 different chase patterns to be set to run triggered by the beat of the music detected by an internal microphone. Multiple fixtures can also be linked together using XLR cables for synchronized colour chases in a Master/Slave configuration.

For remote control, the Mega Hex Par is supplied with an ADJ UC IR wireless remote. This can be used to control Black Out, Full On, Strobe, Dimming, Sound Active and colour Change functions. The fixture is also supplied with an ADJ Airstream IR transmitter that can be used to control the same functions using the ADJ Airstream IR App running on an iPhone or iPad. Finally, for full remote control of all of its features, the unit can also be operated using the DMX-512 protocol with a choice of five channel options (6, 7, 8, 11 or 12).

Due to its low-profile design and lightweight ‒ yet robust ‒ housing, the Mega Hex Par is extremely easy to store, transport and setup. Weighing in at just 4 lbs. / 1.87 kg and with dimensions of 10.25” x 10.25” x 4.25” / 261 x 260 x 110mm (LxWxH) it is a compact fixture that is also extremely potent.

Mega Hex Par units are available individually, while the Mega Flat Hex Pak bundles together four of the fixtures with a collection of accessories to create a complete all-inclusive uplighting / stage washing package. This includes four 3ft. / 1M power cables, three 6 ft. / 2M DMX cables, a UC IR wireless remote and a padded carry case.

The Mega Hex Par and Mega Flat Hex Pak are available now from ADJ USA and will soon be available from ADJ subsidiaries and distributors worldwide.

The Mega Flat Hex Pak www.adj.com

ENNOVATIONS

28

ETA - March, 2018

EAW Debuts New Amplification And Processing Solution EAW has announced the debut of the UX Series, a complete amplification and processing solution for install and production applications utilizing EAW loudspeakers. The UX series ensures the best possible performance of an EAW sound reinforcement system in a fraction of the time required with other amplifiers through seamless integration of EAW's Greybox technology and Resolution software.

“We are excited to provide our customers with an amplifier solution that offers pristine audio quality in an incredibly durable and reliable package,” explains TJ Smith, general manager EAW. “Setup through Resolution software simplifies loading the appropriate Greybox settings and leverages the power of EAW core technologies such as DynO and Focusing while minimizing time spent tuning the system.”

The amplifier series consists of two four-channel amplifiers ‒ the UXA4406 and UXA4410 ‒ as well as the eight-channel UXA4810. These Class D amplifiers offer a unique combination of power and audio performance integrated with precise 48kHz digital signal processing. The four channel models

deliver up to 2,500 watts (5,000 watts bridged), while the UXA4810 delivers 1,250 watts per channel (2,500 watts bridged).

Incredibly versatile, each amplifier channel can be configured to deliver its maximum power into two, four or eight ohms, nominal loads as well as 25V, 70V & 100V constant Voltage (CV) lines. This offers designers and integrators unparalleled flexibility and cost effectiveness.

The final component of the UX Series is the UX48 processor, a high performance and easy-to-use signal processor that offers processing for four inputs and eight outputs. It takes advantage of the latest analog to digital conversion and DSP technologies to deliver impeccable audio. The full front panel user interface offers simple and intuitive operation.

The UX Series will be available for shipment the second quarter of 2018. eaw.com

High End Systems Releases Hog 4 v.3.8.0 High End Systems has released the Hog 4 v.3.8.0 software for the Hog 4 console range. This release includes several new features and big fixes, and Hog 4 OS v.3.8.0 adds external monitor / touchscreen capability to all HedgeHog 4 and HedgeHog 4N console models that have a VGA/DVI connection on the rear of the console.

In addition to this, a more theatre-friendly desktop colour scheme called 'stealth' has been added to user preferences.

Lastly, touchscreen updates include support added for Dell P2418HT Touch Monitors, and iiyama ProLite T2252MTS touchscreens now function properly in Hog 4 v.3.8.0.

The Hog 4 console

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.highend.com

ENNOVATIONS

30

ETA - March, 2018

D.A.S. Audio Expands Vantec Family Of Powered Systems music in high definition stereo and remotely monitor and control the system's functions. Power is supplied by a cuttingedge 1500 Wpeak Class D amplifier in a bi-amplified configuration driving a single D.A.S.12F4C loudspeaker and twin M-60 compression drivers.

Vantec-118A

Vantec-20A

D.A.S. Audio has launched two new products, the Vantec-20A and the Vantec-118A, which join the Vantec Series lineup of portable systems. The Vantec-20A is an active curved source line array that incorporates an arsenal of hi-tech solutions designed to provide the versatility today's sound hire professionals need. Whether stacked on the powered Vantec118A companion subwoofer, flown in a compact array, or used alone on a speaker stand, the Vantec-20A can be used effectively in a sizable number of applications that include corporate A/V, mid-size sound reinforcement, and permanent installation.

Designed for use in arrays of up to five units, the Vantec-20A is ideal for applications that donʼt require the power and longthrow characteristics of large line arrays. Fast and simple deployment are guaranteed thanks to the exclusive D.A.S. Click-Lock rigging hardware, which enables the system to be securely stacked on, or flown from, the Vantec-118A. Individual units can be mounted on tripods with precise aiming possible, thanks to the variable angle pole mount that allows for up to 13.5º of up or down tilt.

The Vantec-20A employs the DAScontrol interface, which offers a quick and hassle-free setup of the systems in arrays and easy alignment with the Vantec-18A and Vantec-118A active bass systems without the need of external processing. Presets for array size and HF compensation for throw distances can be selected by way of DAScontrol and the LCD screen on the back of the cabinet. The powerful digital signal processing of the Vantec-20A includes Finite Impulse Response (FIR) filters providing linear phase response and precise impulse response, which in terms of performance, results in added clarity, defined attack and overall, a more natural sound. When the Vantec-20A is used individually, the DASlink APP can be used to stream

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Vantec 118A The Vantec-118A is an active front-loaded bass system that has been designed specifically for use with the Vantec-20A curved source line array. Compact in size, the unit can be flown in arrays or linked together in ground stacks, thanks to the D.A.S. Click-LockTM rigging system, which is compatible with the Vantec-20A. The electronics package includes a 2000 Wpeak Class D amplifier and 24-bit high-end DSP for exceptional audio reproduction. A unique "Deep-Loud" EQ switch allows users to tailor the bass output to provide a low subwoofer type response using the "Deep" setting or a louder hard-hitting performance in the "Loud" setting. Controls on the rear panel manage gain, polarity, and a continually variable low-pass filter that ranges from 80 Hz to 125 Hz. The Vantec-118A is phase response coherent with the other Vantec Series active tops like the Vantec-20A̶delivering precise alignment without the need of an external DSP. As with all D.A.S. professional systems, the new Vantec products are manufactured using birch plywood and finished with the protective D.A.S. ISO-flex coating. Optional accessories include rigging bumpers, transport dollies, protective covers, and locking pole mount. www.dasaudio.com

ENNOVATIONS

32

ETA - March, 2018

Sennheiser Unveils New Evolution Wireless G4 With User-Inspired Upgrades And Enhancements The ew G4 500 series offers the added benefits of greater range, more spectrum flexibility and the control options offered by the Wireless Systems Manager software. Available systems include Vocal Sets with e 935, e 945 and e 965 capsules, an Instrument Set, a Lavalier Set with professional MKE 2 clip-on, as well as individual receiver and transmitter units.

Sennheiser's evolution G4, is the fourth generation of its most popular product family. Major upgrades to the G4 line-up are user-inspired features such as multichannel capabilities, single click scanning and set-up, frequency agility, as well as longer range, battery life and reliability. With four product series in the range- the 100, 300, 500, and IEM series- evolution G4 is ideally suited to meet the needs of the Live Performance, Broadcast and Film, as well as the Business and Education market segments.

In addition to the familiar 100, IEM, 300 and 500 sub-series, this latest iteration includes some important additions: There are brand-new professional sets for ENG and film work in the 500 series, three new Base Sets in the 300 series, as well as upgraded Vocal Sets and a new Combo Set in the 100 series.

The evolution wireless G4's 100, 500 and IEM Series offer flexibility, versatility and easy setup, making them the ideal solution for live stage, house of worship and theatre applications.

The 100 series comprises Vocal Sets that include the acclaimed capsules of the evolution e 835, e 845, e 865, e 935, and e 945 microphones. Also available are an Instrument Set, a Headmic Set and two Lavalier Sets with either the ME 2-II (omni) or ME 4 (cardioid).

The IEM series has had its RF output power increased to 50 mW, and its bodypacks now come with ever better protection from humidity and moisture. Individual units are available, as are a single and a Twin IEM Set. Sennheiser has designed its 100P Series around the needs of mobile journalism, ENG and documentary film makers while introducing the 500P series for professional film.

Targeting users in corporate, hospitality and education settings, the ew G4 300 series comprises a Vocal Set with an e 865 microphone head, a Lavalier Set with the ME 2-II clip-on, and a new Headmic Set which includes the SL HEADMIC 1, for speeches and lectures. Also new in the series are the Base Sets, which provide a cost-efficient way to update or expand existing evolution wireless systems.

Sennheiser has coincided the launch of the ew G4 with the announcement of a new version of Sennheiser Control Cockpit.

This software enables users to centrally and remotely control their wireless systems in real-time via a web browser on their smartphones, tablets or laptops. Sennheiser Cockpit Control will not only work with SpeechLine Digital Wireless and the new G4 systems but also with Digital 6000. www.sennheiser.com

DiGiCo Releases S-Series Offline Editor sessions. It comes with a familiar, high-resolution console screen interface and on screen help facility. Parameter control is via a mouse wheel and a new Control Strip, along with a quick navigation facility, which can be accessed using keyboard shortcuts. Template sessions are also provided for common DMI card / Rack setups.

“The S Series Offline Editor gives S-Series users the same ability to work on session files offline as they currently have with the SD Series,” says Roger Wood DiGiCo's Head of Software Development. “This means that a whole show file can be written away from site and simply transferred to the console.”

The S-Series Offline Editor is compatible with both Windows and Mac OS and can be used for both S21 and S31 console ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The Offline S-Series editors are now directly available on the Offline Software page on www.digico.biz

ENNOVATIONS

34

ETA - March, 2018

TARM Introduces Lasergrid The Lasergrid consists of a number of single laser units with one single-coloured laser source, one or more power supply unit(s) and accessories (Remote box, LAPP patch connection cables etc.).

The single laser units are flexibly applicable. It is possible to install them on the ceiling, on the wall or on truss and to daisy chain them in a horizontal and/or vertical line.

Ÿ

Antireflex coated laser output window

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Waterproof as well as reverse polarity protected connectors to connect the modules among each other

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Dimensions with yoke: 149 mm x 144 mm (W x H)

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Weight: Approx. 1 kg

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Material: Aluminum black anodized → other colors on request

The power supply provides the necessary supply voltage for all connected modules in one chain as well as the DMX interface for DMX control. Additionally it implements the central e-stop (Interlock) in connection with the Remote box. The connection of daisy chained emergency stop systems is possible.

Approximately 10 laser modules with connecting cables of 3 to 5 meters length can be connected to one power supply unit.

Each laser module generates a linear beam and all modules together form an impressive laser grid with their parallel laser beams.

Each laser unit can be individually controlled by DMX (dimming).

Number and design of the single components can be individually customized.

The Lasergrid unit is equipped with: Ÿ

Dust and waterproof housing, protection type: IP 65

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Fine-thread screws for precise alignment (Tilt/Pan) of the laser beam

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Stable yoke for comfortable attachment (can be screwed off) www.tarm.de

dBTechnologies Grows Their Top-Range Line Array Family With VIO L208 dBTechnologies has released the newest member of the VIO family, the VIO L208. Offering lighter and faster rigging elements, unique acoustic design and a combination of long throw and detailed audio performance, the VIO L208 is both a powerful and compact stand-alone line array system as well as a fully compatible down-fill for VIO L210 and VIO L208 hybrid systems, completed by VIO S Active subwoofers.

VIO L208 is a 2-way active line array system equipped with 2X8” neodymium woofers and 1X1.4” neodymium compression driver (2.5” voice coil). The transducers are positioned behind an all-inone panel which acts as a phase-plug and a HF horn. The waveguide behind this panel contributes to the creation of a cylindrical wavefront, much to the advantage of hi-frequency throw distance.

wooden enclosure comes with a built-in rigging system made for simplicity and speed: a back central rigging strand allows users to set the relative splay angles directly in the dedicated transport cart DT-VIOL208, which is able to house four modules plus one flying bar. While lifting up the array, the rigging strand will automatically block the systems at the preset angles with no need of heavy lifting.

The dedicated 3-point flying frame DRK 208 allows users to set a precise inclination of the array and is prepared to carry an optional inclinometer laser pointer. When not in use, the flybar can be easily stored in the transport cart.

Each module of VIO L208 is driven by a Class-D Digipro G3 900W amp module with auto-range PSU. Thanks to the advanced sound processing of FIR filters, VIO L208 performs clearly and perfectly. The pre-amp module is also equipped with a digital optical isolation, guaranteeing interference-free input signal.

VIO L208 features on-board presets allowing users to process the system manually. Any preset can be easily changed remotely with the new state-of-the-art Aurora Net control software from dBTechnologies.

Just like the larger VIO L210 system, VIO 208's lightweight

www.dbtechnologies.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

INTERVIEW

36

ETA - March, 2018

GLP Asia Sees Its Fortune Soaring The ability to respond rapidly to changing market conditions has also been a factor, as Søren Storm explains. “Our current product range is strongest in rental, theatre, TV studios and high-end installations,and with our expanding product range we expect to be able to diversify into other segments in the near future.”

Quickest to embrace this have been Japan, Australia, Hong Kong and Macau. “These have been the outstanding performers, but all the countries in which we have an exclusive distributor are doing very well.”

(L-R): Søren Storm and Michael Münz

GLP Asia is currently riding the crest of a wave ̶ but it has not always been the case. It endured a relatively slow start to sales after setting up in 2010 ̶ but recently their fortunes have begun to soar.

Michael Münz, Manager of the Asian office, attributes the upturn to some drastic changes in their distributor network throughout the whole region. “This showed tremendous results,” he said. “By 2015 we could already see massive improvements in sales, and we then managed to double that in 2016 and then go on to triple our performance last year.”

Another contributing factor in increasing GLP's outreach in the region was the arrival of Sales Director, Søren Storm. He confirms that as of today GLP is represented by distributors in Korea, Japan, China, Thailand, Singapore, New Zealand and Australia, while both Hong Kong and Macau sales are handled direct by GLP's Asian HQ (located in Hong Kong). Søren predicts that the company will seek out additional distributors with the right professional profile during the course of this year.

But how does he account for the dramatic rise in sales over the past 36 months? The answer is simple. “Nearly all our distributors were changed around two years ago and with great results. We are mainly looking for distributors who are ready to represent GLP as their main brand and have a strong profile and leading position in the professional market.

Although we have nearly tripled turnover in the past two years we have no intention of resting on our laurels.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

And once again there is a logical reason for this. Over the past two years distributors have been equipped with some compelling tools, which were already being seen regularly on international tour riders. According to Søren these include the impression X4 Bar 10 and 20, GT-1, impression X4, impression X4 L and the JDC1 hybrid strobe. And it shows no sign of letting up. “We have also just released our latest product, an LED profile light called the S-350, and the feedback has been amazing. So we have high expectations for this as well.”

GLP Asia is therefore perfectly equipped to meet both the challenges and their own objectives in 2018. With regard to the former, the task they face is speed to market. “We have plenty of great ideas for new products, but we need to get them developed and tested, so we can meet customer demands as quickly as possible,” says Søren.

And their objective, of course, will be to maintain the same level of growth as the past few years. And a good barometer of that is the feedback they have been receiving from distributors. “The existing distributors are very confident about the future but the appointment of new distributors will also give GLP even more territorial presence and market share.”

“We are focused on releasing innovative products and keeping a very high service level … to be present in the market and stay close to both specifiers and end users.” https://www.glp.de/en/

ON THE JOB

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ETA - March, 2018

Jono Pratt Swears By Arista's IP Flash Caster “Using the ARD-3001, we were able to run a single cable connecting into our 10G switches at both control and stage end,” Pratt added. “From these, we were able to run our screen in 4K and the three foldback TVs in HD from that one cable.

We had a short amount of time to relocate control from the corporate event during the day to the awards dinner that evening. Being able to deal with only one cable for vision was a tremendous help. I have been able to trust the Arista IP Flash Caster with uncompressed 4K signals from our media server at control to the 4K Projector ̶taking 4K 60Hz without the slightest hiccup. The image is clean and crisp. Further, the client wanted the foldbacks swapped around for different presenter wanting notes, timer, and main presentation in different layouts. With the Arista system, I can do all of this from control using the supplied software.”

For large scale corporate and similar live events, efficient production is essential. Time is of the essence, the equipment must work flawlessly, and both sound and visuals must be firstrate. To help ensure clear, captivating visuals that engage and inspire the audience, AV Events relies on the rich feature set and proven performance of the IP Flash Caster (ARD-3001) AV Over IP signal distribution system from Arista Corporation of Fremont, CA USA. Jono Pratt is the Head of Video at AV Events, a live events production company with offices in Auckland, Tauranga, and Wellington, New Zealand. Pratt's responsibilities include managing the company's video equipment and creating the various system designs that best facilitate signal flow from the control center to the various displays̶be it LED walls, projectors, or TV screens. The ability to create and manage a set-up that delivers the visual presentation today's sophisticated clients expect is no small task, and this is precisely why Arista's IP Flash Caster is such an integral part of the company's equipment arsenal. Pratt discussed his reasons for selecting the Arista equipment.

“At a recent event for Lion, one of New Zealand's largest food and beverage companies, our IP Flash Caster was crucial to the success of the project,” Pratt explained. “This was a large corporate event and awards dinner that took place at Skycity Auckland, a premiere entertainment destination in the heart of Auckland's CBD. We used Arista's ARD-3001 to get uncompressed 4K video signals from the control hub to the screens at the front of the audience. For projects of this nature, we typically have multiple screens up the front: for example, an LED screen, two foldback LCD TVs, and a computer send from stage to control.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

When asked to summarize the single most important benefit of Arista's IP Flash Caster system, Pratt offered the following thoughts. “Using Arista, I could take an uncompressed signal from control to the screen at 4K resolution with no noticeable delay. Due to the IP nature of Arista's system, I can put multiple streams down a single cable̶saving valuable time in the process.”

When the show must go on and there is absolutely no room for excuses, the ability to get capable, responsive technical support is crucial should questions arise. Here too, Pratt rates Arista best-in-class. “Arista's technical support is the best we have used in the industry,” Pratt reports. “Upon encountering some issues integrating the IP Flash Caster with our 10G network routers, their support team worked with the supplier of the routers we bought and came up with a solution very quickly. We then received a document̶showing step by step̶the exact settings to make the two brands work seamlessly together. With Arista manufacturing both the software and hardware for the IP Flash Caster, we trust that the system is robust, and updates are well-tested.”

Before shifting his attention back to the business of the day, Pratt offered these final thoughts regarding his experience with Arista's IP Flash Caster, “Having done multiple events with the Arista ARD-3001, we find that clients are loving the ability to switch content on foldback TVs on the fly, along with having no delays or artifacts to the main hero screen. Arista's solution for HDMI over IP in HDMI 2.0 is the best I have used.

We now have a production rack full of Arista HDMI over IP equipment and will continue to deploy them on high profile and critical events.” https://www.avevents.co.nz/ https://www.goarista.com/

KNOWLEDGE HUB

40

ETA - March, 2018

FROM THE VAULTS OF SYNAUDCON

What does “Constant Voltage” Mean? by Pat Brown Constant voltage is one of the more confusing terms used in the audio industry. Pat Brown brings clarification to this term.

makes the specific source and load impedance values irrelevant with regard to signal transfer.

Those new to the audio field are often dismayed by the subjective nature of many audio terms, which may mean different things in different contexts. Here are some examples:

In contrast, in an impedance-matched interface the source voltage is heavily influenced by the presence of the load, dropping to one-half of its open circuit value when the load is connected.

“Bridge” - a power amplifier operating mode, where two channels are essentially placed in series to achieve more voltage swing.

“Let's run the amplifier bridged to get more output voltage.”

- the connection of a high impedance load in parallel across a component output. “Bridge your voltmeter across the loudspeaker line to check the voltage.”

An Everyday Example An example of a CV interface is utility power distribution, e.g. a household electrical circuit. You can connect as many devices as allowed by the circuit breaker current rating, but the voltage is unaffected. It's not CV because the voltage is always 120 VAC, it's CV because the 120 VAC does not drop as additional appliances are added to the circuit.

- a computer network data switch. “We need a new network bridge in the office.”

“Terminate” - to solder or crimp a connector onto a cable. “The wiring is pulled, but it still needs to be terminated.”

- to impedance match a source to a load. “That old passive EQ needs to be terminated to function properly.”

- to end a computer program or routine. “Terminate the program and let's try a reboot.”

“Constant Voltage” One of the more confusing terms is “constant voltage” or CV. What it does not mean is what the name implies, that the voltage, whatever its value, is unchanged over time. So much for a literal interpretation.

The Electrical Engineering Definition The electrical engineering definition of constant voltage is with regard to how a power source drives a load. If the load has a very high impedance relative to the source impedance, the voltage developed across the load is independent of the load impedance value. For example, if my 100 ohm output mixer is driving a 10 kΩ load, the interface is optimized for voltage transfer, and practically all of the source voltage is delivered to the load. This is the objective of any analog audio interface. If the load impedance were increased to 20 kΩ or 30 kΩ, there would be no change in the signal level (the voltage) at the input. If the source impedance were decreased to 50 ohms or increased to 200 ohms, there would be no change in the signal level to the load. A large impedance mismatch between source and load creates a voltage-optimized signal transfer, that

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Fig. 1 - Household utility power wiring uses a CV interface.

To generalize, outputs are low impedance and inputs are high impedance, and when this is true the voltage across the load is the same, no matter what the actual impedance values are, hence “constant” voltage. This convention greatly simplifies the analog audio interfaces. In most cases, you just connect an output to an input with the appropriate cable and get on with your life.

I always like to add that this is a low frequency practice (<20 kHz). In high frequency interfaces (video, digital, RF) impedance matching (termination) must be used to maintain the integrity of the signal.

Fig. 2 – A constant voltage interface connects and audio output to an input. Additional loads could be “bridged” across the output to receive the same signal, so long as the total impedance doesn't excessively load the line (cause the signal voltage to drop).

KNOWLEDGE HUB

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The Audio Industry Definition The typical audio industry meaning of constant voltage is with regard to an amplifier driving a loudspeaker or loudspeakers through step-down transformers. The amplifier is operated at its full voltage swing, and a transformer “steps down” this voltage before applying it to the loudspeaker. The amplifier's output voltage can be anything, but it is usually fixed at a standard value, such as 25 V, 70.7 V, or 100 V. These are RMS voltage for a reference sine wave from the amplifier. Of course the actual VRMS varies wildly depending on the program material, and in most applications it is not like the sine wave that is used to rate the system. This is an effective way to drive multiple loudspeakers from a single amplifier, such as in a meeting room. Someone at some time decided to call this a “constant voltage” distribution system and unfortunately the name stuck.

loudspeaker's impedance curve. Since the impedance is fixed, and current is drawn, the voltage is the only signal parameter that we can directly change by adjusting a control or applying a filter.

Yes, we are in the “voltage” business, even though the voltage is often hidden inside of a power rating. In conclusion, just remember that in a “constant voltage” system the voltage is anything but constant. More correctly, it is unaffected by changes in the load impedance. www.prosoundtraining.com

Fig. 3 – A “constant voltage” distribution system utilizing stepdown transformers. The output voltage of the step-up transformer is typically 25, 70.7, or 100 Vrms (sine wave rated).

To add to the confusion, a “constant voltage” audio distribution system is “constant voltage” with regard to the amplifier-toload voltage (the electrical engineering definition given above).

In other words, the voltage on the line is independent of the total load impedance. Otherwise the sound level from each loudspeaker would change when others are “bridged” across the line.

At SynAudCon we prefer to call this as a “transformerdistributed loudspeaker system” rather than a constant voltage system, but the latter term will most certainly live on and continue to cause confusion.

Voltage, Not Power…

In both the electrical engineering and the audio industry definitions, the voltage is the parameter of interest. The interface is designed so that the signal voltage driving the amplifier's input predictably influences the loudspeaker's frequency response magnitude at the listener. It is the signal voltage that we sculpt with our signal processors. The CV interface is necessary so that audio filters (analog or digital) placed ahead of the power amplifier have a predictable affect on the sound pressure level at the listener. If this were a poweroptimized interface (impedance-matched) then this would not be the case, since the voltage to the load (and resultant loudspeaker frequency response) would be influenced by the ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

What Did You Miss?

In our ETA January issue: The Difference Between A Sound System Operator And Designer Link to article: https://issuu.com/spinworkz/docs/eta_ja n_2018_01/30 In our ETA February issue: Power Rating Use and Abuse Link to article: https://issuu.com/spinworkz/docs/eta_fe b_2018_02/42

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ALL ABOUT WIRELESS BROUGHT TO YOU BY THIRD INSTALLMENT:

Antenna Types and Characteristics by Hayden Leiper Welcome to the third instalment of All About Wireless, brought to you by SHURE. In this issue, we will focus on antennas, covering the design and performance characteristics of those most commonly utilized in the professional audio industry.

An antenna is a transducer designed to convert the alternating voltage and associated current output by a transmitter into radiated Electromagnetic waves. Passive antennas are reciprocal devices, which means they are equally capable acting as both transmitting and receiving transducers. In a receiving antenna, the passing of Electromagnetic waves through the antenna elements induces an alternating current and associated voltage at the antenna terminals. Due to the relatively low power of signals detected by wireless microphone and IEM receivers, many different antenna designs exist with elements arranged in such a way as to optimise transduction for a given application, compensating somewhat for the high losses that occur during wave propagation. Size and weight are also important design considerations. The antenna types most commonly utilized in professional audio applications are the Monopole, Dipole, Log Periodic and Helical.

The Monopole is an unbalanced antenna consisting of a single quarter wavelength element. Reflection from a ground plane, which is usually provided by either the receiver chassis or the PC board to which the antenna is connected, provides a virtual second quarter wavelength element. The reflected image is inphase with the physical element, so the two combine to produce a composite half wavelength response. Monopole antennas are often supplied with bodypack transmitters and entry level receivers. The directivity of the Monopole is omnidirectional in the ground plane, but exhibits a strong null at the top of the physical element.

The Dipole antenna consists of two physical elements, each of which is a quarter wavelength.

Directivity is equal to that of the Monopole, but the use of two physical quarter wavelength elements, instead of one with assistance from a ground plane reflection, results in a theoretical gain of up to 3dB over the Monopole in some configurations.

Depending on the particular antenna design, a ground plane may still be required for correct Dipole performance. In this case, the absence of a ground plane may cause directivity to become asymmetrical, and changes in the input impedance may result in the generation of standing waves within the transmission line. Operational bandwidth may be expanded by increasing the diameter of the antenna elements, or by using conical elements rather than cylindrical wire. Reflectors spaced one sixteenth to one quarter wavelength away from the Dipole may also be used to increase gain in a particular direction.

The Log Periodic antenna consists of an array of Dipoles, the length and spacing of which varies.

Bandwidth is determined by the frequencies at which the shortest and longest Dipoles in the array are a half wavelength. The length and spacing between elements Shure UA860V varies in a logarithmic Ground-Referenced VHF Dipole progression so that at any given frequency one or more Dipoles are active, while the others function as either reflecting or directing elements depending on their size and location relative to the active Dipole. A longer the antenna with more elements will exhibit wider bandwidth and narrower beamwidth. Log Periodic antennas typically exhibit 6-8dB of forward gain and a beamwidth of approximately 120 degrees.

Shure UA874 Active Wideband Log Periodic – an array of ve tuned dipoles Shure UA700-V VHF IEM Monopole

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Some antennas are designed for circular polarisation. An

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Electromagnetic wave is said to be circularly polarised when equal electrical fields exist in the vertical and horizontal planes, 90 degrees out of phase. These two electric fields rotate as they are propagated, either clockwise or counter clockwise depending on the antenna design, by a full 360 degrees per wavelength of the carrier frequency. Circularly polarized Electromagnetic waves may be equally detected by both vertically and horizontally polarized receive antennas. Circularly polarised antennas are therefore a popular choice for IEM applications in particular. This is because they eliminate the risk of suffering up to 20dB signal attenuation caused by varying degrees of polarization mismatch between a statically polarised transmit antenna and IEM receive antenna, the polarisation of which changes as the bodypack moves.

Professional Wireless HA-8089 Helical

The Helical is the most commonly encountered antenna designed for circular polarisation. The driven element of a Helical antenna is typically constructed from a wire or ribbon wrapped in a helix, positioned above ground plane. It may have a wide bandwidth with up to 12 dB of forward gain but with very narrow beamwidth of approximately 60 degrees.

Whilst the Monopole, Dipole, Log-Periodic and Helical antenna types are the ones most commonly encountered in professional audio applications, there are many, many more designs in production, some of which are quite well suited to wireless microphone and IEM use in the right situation. Once such example is the Patch antenna. The primary advantage of the Patch antenna is that it is very low profile and may be mounted on a ceiling or wall. It is usually constructed from a half wavelength microstrip mounted on a substrate above a ground plane. Patch antennas are typically characterised by low gain and a narrow bandwidth, although wideband models are in production. Many different Patch antenna designs exist, they are commonly utilized in cell phones for example, with various qualities and polarization options. In professional audio applications, Patch antennas are often used with wireless microphone systems operating in the DECT and 2.4GHz bands.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The Helical is the most commonly encountered antenna designed for circular polarisation. The driven element of a Helical antenna is typically constructed from a wire or ribbon wrapped in a helix, positioned above ground plane. It may have a wide bandwidth with up to 12 dB of forward gain but with very narrow beamwidth of approximately 60 degrees.

Whilst the Monopole, Dipole, Log-Periodic and Helical antenna types are the ones most commonly encountered in professional audio applications, there are many, many more designs in production, some of which are quite well suited to wireless microphone and IEM use in the right situation. Once such example is the Patch antenna. The primary advantage of the Patch antenna is that it is very low profile and may be mounted on a ceiling or wall. It is usually constructed from a half wavelength microstrip mounted on a substrate above a ground plane. Patch antennas are typically characterised by low gain and a narrow bandwidth, although wideband models are in production. Many different Patch antenna designs exist, they are commonly utilized in cell phones for example, with various qualities and polarization options. In professional audio applications, Patch antennas are often used with wireless microphone systems operating in the DECT and 2.4GHz bands.

That covers the main antenna designs commonly encountered in the professional audio industry. Remember though, there are countless variation of each design, plus many more that we have not covered here. Log Periodic antennas, for example, are all based on the basic design principles discussed, but every model from each manufacturer will look slightly different. The important thing is to have an understanding of the general characteristics of each antenna type to facilitate informed decisions regarding model selection and utilization for each specific application.

Hayden Leiper is an Electroacoustic Engineer with 15 years' experience in the professional audio industry. Currently employed as a Technical Consultant with Shure Asia Limited, Hayden's current responsibilities include wireless and audio systems Applications engineering support; authoring, editing, publishing, and presentation of educational materials for the Shure Audio Institute; and support of training seminars, webinars and educational programs conducted by Shure Asia's channel partners. https://www.shure.com/asia

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UNDERSTANDING CONTENT TEMPLATES BROUGHT TO YOU BY Digital technology continues to influence the film, television and gaming industries. This short paper examines a tool engineered by the media industry: content templates.

What is a content template?

A content template is a 2D representation of a 3D object either rendered from a UV map or from an image editor, e.g.

Photoshop. Normally content templates are generated in the pre-production phase.

disguise

The template's resolution of 2344x1080 pixels was calculated by: 4. Estimating 1080 pixels will apply to the projection surface vertically (Y resolution). (Figure 2) Figure 2

Why is a content template helpful?

A content template provides an animator with a canvas to draw, colour and fill from a video editor, e.g. After Effects.

Normally video content is encoded and formatted to be played back from a media server.

How is a content template created?

First a summary of modelling and texturing is required. In an object editor, e.g. Blender, generate a 3D object and UV map. A UV map comprises vertices, edges and faces in UVW space, and every selection correlates to a 3D object in XYZ space.

5. 1080 pixels / 2 metres (the projection surface's height) = 512 pixels (pixel density). (Figure 3) Figure 3

A 3D object is unwrapped to generate a UV map. For example, a dome may be unwrapped to form a hemisphere, or a cuboid may be unwrapped to form a net. (Figure 1)

6. 512 pixels x 4.34 metres (the projection surface's length) = 2344 pixels (X resolution). (Figure 4) Figure 4

Figure 1. A cuboid unwrapped to form a net in Blender A UV map is rendered to a content template. A key principle to consider is the relationship between a UV map and content template. A UV map is constructed from vectors and a content template is constructed from pixels. Vector space is normalised 0-1 and pixel space is variable.

How is the resolution for a content template calculated?

For a projection surface a content template's resolution is calculated by: 1. Estimating the number of pixels to be projected on the projection surface, on X or Y. 2. Dividing this value by the projection surface's dimension on the selected axis.

3. Multiplying the pixel density by the dimension of the remaining axis.

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For an LED screen, in this case MiSTRIPs, a content template's resolution is calculated by: 1. Identifying the number of pixels per MiSTRIP, on X and Y. 2. Multiplying this value by the total number of MiSTRIPs, on X and Y.

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The template' resolution of 10x112 pixels was calculated by: 3. 1 MiSTRIP = 1x112 pixels.

4. 1 pixel x 10 MiSTRIPs = 10 pixels (X resolution).

112 pixels x 1 MiSTRIP = 112 pixels (Y resolution).

Blender enables the transfer of video content between 3D objects with internal plugins, e.g. Animate Bake. For example, a 3D object is generated from a laser scan and includes a bitmap texture. The mesh is unsuitable because the vertex count is high and the face topology is triangular. Another mesh comprising less vertices and quadrangular faces is modelled.

The bitmap texture is projected from the scan object (Figure 8) and mapped to the proxy object (Figure 9). The transfer is done by baking the bitmap texture to the UV map. The animator re-renders the bitmap in Blender without re-creating the texture from a content template in After Effects.

Figure 5. The UV map for the MiSTRIP array in Blender. The UV map is normalized 0-1

Figure 6. The content template for the MiSTRIP array. The total resolution is 10x112 pixels

Figure 8. The bitmap texture applied to the scan object in UV space

How to design a content template?

In section 4 we examined the UV map as the content template.

For projection the UV map is curvilinear and for LED the UV map is rectilinear. The content template is limited to the hardware output prompting the question: what other content workflows are available to animators?

After Effects enables the transfer of video content between compositions with external plugins, e.g. Youveelizer. For example, in section 4 the MiSTRIPs are linearly arrayed in the content template, but the MiSTRIPs are rotationally arrayed in the real world. Another content template including rotations enables the animator to reference the MiSTRIPs more easily.

(Figure 7) The content templates are linked by a UV render generated from Blender. Normally the UV render is saved as an EXR file to After Effects. The animator traces the rotated template and the video content is transferred to the linear template.

Figure 9. The bitmap texture applied to the proxy object in UV space Conclusion More tips and tricks are available when creating a content template. For example, render the template to TIF format to negate compression artefacts, render the template to SVG format to enable vector workflows, label the template for the animator, and save the template's resolution in the file name.

The key principle to consider is how to integrate a template into a workflow to enable an animator to generate content for a production? This short paper only begins to answer the question.

Figure 7. The content template for the MiSTRIP array including rotations ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.disguise.one

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HARMAN EDUCATIONAL SERIES: PART 2

Building Your Audio System ‒ Picking The Right Microphones Welcome back to Building your Audio System series. In our last column, we learnt about the ecosystem of a PA audio system for use by an event company. This month, let us switch gears and go in depth on each of the component that forms the ecosystem. We will spend some time dwelling on the different microphones available and the purpose they serve.

Microphones form an important component as they are the conduit between the sound and our PA System. Say, if the microphone does not do a good job reproducing our vocals or instruments, it does not matter how good the rest of our system is. The system can and will only sound as good as what the microphone can reproduce.

There are several factors to consider when choosing microphones for your PA. This includes ‒ polar patterns, frequency response, durability, what kind of instrument you will be using it on, and more. Let's dive in and explore, so you can get the right microphones for your unique PA setup.

The AKG P5i is a dynamic vocal mic with a supercardioid pattern that's part of the HARMAN Connected PA.

Polar Patterns back to the speakers, and is then picked up by the mic again.

As you've probably experienced yourself, the sound of feedback is unpleasant̶even painful̶and can distract the audience and performers.

One of the best defenses against onstage feedback is using a unidirectional mic. Typical stage mics have a cardioid pattern, which picks up more from the front and less from the rear and sides. If your mics are behind the main speakers (as they always should be), and pointing away from the monitors, the rear rejection of a cardioid will help reduce the potential for feedback.

Two other variations of cardioid are hypercardioid and supercardioid. These patterns reject even more of the sound coming from the sides than a cardioid mic, making them more directional.

So, what is polar patterns exactly? To put it simply, it refers to a mic's directionality or pickup pattern ‒ the three-dimensional space surrounding the capsule where it is most sensitive to sound. There are six main polar patterns: omnidirectional, cardioid, supercardioid, hypercardioid, ultra directional and figure of 8. Most microphones are designed with a specific pattern and are therefore best-suited for specific applications.

There are also other microphones which offer selectable polar patterns. For example, the AKG C414, a reference multipattern condenser mic for use during live performances or studio.

Perhaps the biggest problem you can face with a PA system is keeping feedback at bay. A feedback loop is created when sound from the speakers is being picked up by the mic, sent

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More directionality reduces the chances of feedback if correctly placed, because the mic picks up less sound coming from the speakers. It also means less pick up of “off-axis” sounds (captured from the less sensitive parts of the pattern, such as the rear on a cardioid mic), which have lower fidelity than sounds picked up directly into the mic.

Inhibit the Wind Unlike instrument mics, vocal mics feature built-in windscreens. Vocal mics usually have a round protrusion around the capsule to accommodate the built-in windscreen.

Internal windscreens not only reduce pickup of wind noise at

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outdoor venues, they also reduce breath noise from the singer.

If you try singing into an instrument mic that has no internal windscreen, you'll notice that not only will it pick up more breath noise, but also more “plosives”̶those popped consonant sounds (especially “p” and “b”), which are definitely not desirable. Try to avoid miking a singer with an instrument mic.

Make the Right Choice When you're buying mics for your PA system, it's not a time to hunt for bargains as it affects the overall quality of your Sound.

Quality mics are better built, and will last longer through the use and abuse that stage mics are prone to.

You want to get the right mics for the right applications. Here are some suggestions for the mic types to get for common livesound applications:

Durability

Small diaphragm condensers like the AKG P170 make great drum overheads.

A live sound environment is not as controlled as a recording studio. As a result, stage microphones tend to get banged around, especially handheld vocal mics. They also get exposed to the elements when used in outdoor performances. For these reasons, stage mics need to be heavy duty.

The great majority of vocal mics are dynamic mics, which are less fragile than condenser mics. Most dynamic mics have the added benefit of handling higher SPL (sound pressure levels, i.e., volume) before distorting than condensers. This is especially important on instrument mics. They also tend to cause less feedback. Finally, dynamic mics don't require phantom power from the mixer, like condenser mics do.

That being said, some PA owners love using condenser mics.

For example, a small-diaphragm condenser like the AKG C451B, or the more economical AKG P170, are excellent choices as drum overheads.

And if you're willing to spend extra for a vocal mic, there are good handheld condensers available that are designed to be more durable than studio condenser. Because of their superior reproduction of highs and transients (the initial attack of a sound), they can offer better quality for some singers. A good example is the AKG C7, which is a supercardioid condenser vocal mic.

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Ÿ

Vocals: handheld dynamic with unidirectional pattern such as the AKG P5i.

Ÿ

Kick drum and floor tom: large-diaphragm dynamic such as the AKG D112MkII.

Ÿ

Snare drum: dynamic instrument mic such as the AKG D40 or P4

Ÿ

Drum overhead: small diaphragm condenser: AKG C451B or P170

Ÿ

Toms: dynamic instrument mic or dedicated clip-on tom mic such as the AKG C518M, which is a condenser

Ÿ

Guitar cabinet: dynamic instrument mic such as the AKG D40 or P4

The markets are flooded with plenty of options, We have outlined basic principles to guide you in your search for the right mic for your PA Systems and facilitate you to enjoy and elevate your performance to the satisfaction of your customers.

Stay tuned for the next installment of this series, where we'll look at choosing the right mixer. And if you have any questions about choosing mics for your PA system, drop us an email at HPro.APAC@harman.com.

Visit us at http://pro.harman.com for more information.

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RIGGING AND SUCH, A SERIES OF BLOGS BY RINUS “RHINO” BAKKER

Slinging Matters; An Insert is not a basket!

Although slinging is a hot topic, using inserts in your bridle chain is not a very common issue. However, lately I have seen a couple of examples of the below type of slinging and it bothers me enough to make me want to write about it. So here we go!

In essence the reliability of these corrections now depends upon the friction of the endless sling within the eyes of the steels.

Friction can cause heat, so please do not use this method with regular (fibre) spansets.

Apart from this, the D/d ratio will seriously limit the capacity of the spanset or soft steel used. All-in-all may be a handy way of adjusting your bridle point, but surely not a safe or controlled one.

The above pictures show 3 types of a two-legged bridle, all more or less the same. But it's proven again here, the devil is in the details.

Around the beams you can find basket hitches.

A Basket Hitch can be defined as: Slinging Method, where the flexible body of the sling goes around an object, with each of the ends of the sling meeting in one and the same component, from where the lifting force is transferred into the lifting structure, or direct into the lifting machinery.

Figure 3 shows the endless round sling applied in the 'endless insert' slinging method. The round sling is used completely open, with single stands on all parts of the connection. Not conventional at all, and a lot weaker in its application.

Applied like this, the sling is not used as a 'doubled' package, but the sling sides are opened up from the normal parallel sides in a straight pull version. Adding a direction of pull, introduces an angle between both sides of the sling, thus reducing the capacity.

The flatter the angle gets, the higher the internal forces will be, even if the load itself does not increase.

As you might be aware, in slinging methodology we distinguish 4 basic methods: Ÿ

Direct (single vertical)

Ÿ

Choke

Ÿ

Basket

Ÿ

Bridle

Apart from these, there are also some less common methods, of which the “endless insert” I see sometimes used in our industry. Let me explain this a bit more…

Figure 1 shows a classic bridle. The shackle in the apex connects the two bridle legs and allows the chain hook to connect to the two bridle legs.

Figure 2 shows a classic bridle in combination with an endless round sling (spanset or soft steel). This round sling is positioned through the eyes of the bridle steels, in this way the round sling is set up as a basket. A shackle taking each end of the sling and connecting these to the lifting machinery.

This type of “insert” is used so it's possible to make small adjustments with regard to the bridle position, without having to change the complete bridle.

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Another example of an “insert” bridle on a cantilever So, using the “insert” method may look like a good and quick solution to position your points, however, there are enough reasons to stay clear of this method.

Please make sure to familiarize yourself with the data given by the round sling manufacturer.

More reading: You can find some useful stuff here: http://www.spanset.com/uploads/uk/Safe%20Lifting%20Chart %2087034.pdf http://www.spanset.com/uploads/uk/Technical%20Informatio n%20-%20Slings.pdf

www.prolyte.com

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THE ALEX SCHLOESSER COLUMN

The Use Of Wireless Microphones This is a never ending topic. Luckily for the younger generation in our industry, the gear has improved dramatically over the last thirty years. On the other hand, TV, Radio and Telecom's have made it an ever-tighter environment within the given frequency constraints.

I remember a time when the single line about Wireless was: “Wireless makes you clueless”.

This meant that so many things can go wrong and since Murphy's law is widely accepted in our industry, this also implies that things will go wrong. I do think that this is a good approach. If you don't have to use Wireless, then don't. There is, until recently, no good sonic reason to use a wireless microphone or transmission system over a wired one. Again, some manufacturers have even addressed this and it makes sense too.

Of course, a lead artist on stage does not want to be tied down by a wired microphone and those headset and lavalier microphones sure look good. Working with wireless fits into our industry very well, as it means constantly evolving and developing your know how. Systems have gotten more stable from their electronics and transmission side, but then the environment has gotten ten times more crowded and also hostile for us in Pro Audio. So what are the key elements for success with Wireless microphones?

1. Plan your frequencies in advance. Better be prepared than sorry. Coordinate the frequency that you want to use and communicate this with the venue in their environment.

Make sure that your gear allows enough spare and back up frequencies for situations where you might have to switch frequency on site.

2. You want to know about everybody, who wants to use a wireless system on your gig or on your stage. This includes the guitar player, the pyro remote controller and also the guy who will operate the drone camera. Everybody plays by the rule or they won't play. This is imperative and mission critical. One wrong thing can topple over a dozen others.

3. Listen first, then broadcast. Some people believe that they go into a venue and then switch on their gear (transmitters) first to “block” channels. Other users will then find other channels and frequencies which in turn might cause interference with your system that is broadcasting.

Switching your receivers on and “listen” if there is problems ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

with the predetermined frequency and then finding the culprit is a smarter approach.

4. Choose and place your antennas well. Yeah, those little lambda quarter wavelength sticks on the wireless receivers are cute, but they won't be sufficient most of the times.

You also don't put your speakers just anywhere, but you choose and aim them properly. There is a huge selection of solutions available, so make good use. Groundplane Antennas and cardiod pattern antennas make a lot of sense in different environments and they are mostly interchangeable when not active (with booster).

5. Make sure your batteries or rechargeable batteries are fresh and fully charged and keep a number of fresh ones on hand for emergency situations. And of course you will test and measure the new battery before using it on your systems. A simple battery tester costs less than five dollars and it assures there is capacity in there.

Those are just five basic rules, but keeping them in mind will keep you away from a lot of trouble.

You are very welcome to keep this interactive and to share what you want to hear about and which topics you want to see addressed.

Please send your queries to: alex@asaudio.de

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Tips To Avoiding Burnout

Employee burnout is one of the biggest challenges facing business professionals today. Employees that feel like they are overworked or under-appreciated quickly become disengaged, unmotivated, and unproductive. If this goes unchecked, it can lead to costly turnovers. Take a look below for five tips to turn burnout around.

1. Discuss what they like about their job and why. The first step to keeping your team engaged and motivated is to determine their strengths and the aspects of the job that resonate with them. Tailor their position to incorporate tasks they are strong at and enjoy doing.

2. Assign a positive colleague as a mentor. Pairing a team member up with a positive role model can be a very effective technique. Be sure to choose someone with plenty of experience that can relate to issues your team may be facing.

With virtual workplaces becoming increasingly common, it doesn't even need to be someone in the same physical location.

3. Create personal vision, mission statements, and goals.

Ensure that your employees have established their own set of ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

goals. It's important to have a vision for the organization as a whole, but employees need to have individual visions and goals to work toward as well.

4. Empower them to make decisions. Employees that are powerless to control their environment are the most likely to burnout. Members of your team must have a say in decisions involving them. Allow them to take ownership and responsibility once a decision has been made.

5. Celebrate efforts not just results. Your team's efforts may not always be successful, but it's important to recognize them nonetheless. Getting things right can be a trial and error process. As such, it's important to recognize hard work and learn from your team's efforts in order to get things right in the future. This will keep employees motivated to learn from mistakes and continue to improve.

We thank Dale Carnegie for allowing us to re-publish this article. www.dalecarnegie.com

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CHINA

Adamson Delivers One-of-a-Kind Experience At Mr. Future Festival The over 100 Adamson loudspeakers were supplied and distributed by Real Music

Adamson E-Series & S-Series loudspeaker system on main stage at Mr. Future Music Festival

The Mr. Future Music Festival brought nearly 40,000 fans to Wuhan, China, to enjoy an impressive line-up of hip-hop and electronic artists in front of a truly spectacular and futuristic interactive set design. Sharing the massive stage with acts like MC Hotdog, known as the “godfather” of Chinese hip-hop, Dutch DJ R3hab, and Canadian EDM duo DVBBS was a complement of over 100 Adamson loudspeakers supplied and supported by the company's exclusive Chinese distributor, Real Music.

Tickets for Mr. Future, which took place from Nov. 18-19, 2017 at Wuhan's Tunkou Stadium, sold out almost immediately, meaning the stakes were high in delivering a memorable experience for the hyped-up crowd that filled the venue to capacity.

“Mr. Future is a very unique and innovative event that brings people from all kinds of different circles together,” begins Real Music owner Zhen “Richie” Wang. “Of course, music is the central component, and Club Muse, the organizer, chose an Adamson system to ensure every single ticket holder had a powerful and exciting experience that exceeded their expectations.”

The substantial system included main reinforcement from arrays of 15 Adamson E15 three-way, true line source enclosures per side. Because the unique stage design didn't include hanging Adamson E15 & E219 arrays points, two speaker on main stage at Mr. Future Music Festival ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

towers were custom-designed to suspend the arrays.

Adamson's compact S10 two-way, full range cabinets were deployed as both side fills, in arrays of 12 enclosures per side, and front fills, lining the lip of the stage.

For low end, 16 Adamson E219 subwoofers per side were flown behind the main arrays with an additional 18 E219s and 12 T21s ground-stacked for additional support.

“The system sounded absolutely explosive,” enthuses Mr. ShaoHua, the lead sound engineer for the Mr. Future festival.

“Hip-hop and EDM is very bass-heavy, and the Adamson system delivers clear, powerful low-end like no other. We used Adamson's Blueprint AV software for the precise calculations of coverage, directivity, and SPL distribution across the stadium.

We just loaded the presets and settings into the amplifiers and the sound throughout the stadium was consistent from the front to the back of the crowd, meaning every single person had the same high-impact experience.”

Founded in 2009, Real Music Acoustic & Lighting Technology Co. Ltd. has established offices in Beijing, Guangzhou, Shanghai and Xian City. The company is Adamson's exclusive distributor for China, Hong Kong, and Macau and represents an impressive catalogue of other pro audio, lighting, and music brands.

“We're very proud of the way Adamson has grown in the Chinese market,” concludes Wang. “Its use at major events like Mr. Future has only generated more confidence and interest in the brand from our pro audio community, and we look forward to supplying and supporting an expanding number of clients in 2018 and beyond.”

EDITOR'S NOTE Adamson's Blueprint AV software came to the fore for the precise calculations of coverage, directivity, and SPL distribution across the stadium. Real Music just loaded the presets and settings into the amplifiers and the sound throughout the stadium was consistent from the front to the back of the crowd.

www.adamsonsystems.com

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CHINA

Alibaba's Star-Studded Gala Broadcast Features Stunning Visuals disguise supports the visual execution for e-commerce giant, Alibaba an unforgettable visual experience. disguise worked well with Notch, to render high res generative content that responded quickly to its environment, thanks to its powerful GPU workstation. It was an ideal video mapping solution for the integration of multi-dimensional projection, real-time motion tracking, lighting, audio and AR.” A number of firsts The cat-face projection surface and other inserts used two 4x4pros (one master, one backup) and eight Barco UDX-4K32 projectors while the LED stage floor deployed a master gx 1 and backup gx 2 system. Eighteen BlackTrax cameras were rigged around the stage to track props, cameras and performers.

China's e-commerce giant, Alibaba, broadcast its third annual 'Tmall Double 11 Global Shopping Festival gala' to kick off its mammoth 24-hour online shopping event, with over 300 million viewers and 140,000 different brands involved.

Held in Shanghai's Mercedes-Benz Arena, the star-studded show was viewed on Youku, the Tmall (shopping website owned by Alibaba) and Taobao mobile apps, YouTube and on Zhejiang TV, Beijing TV and Shenzhen TV across China. The show used disguise (formerly d3 Technologies) gx 2, gx 1 and 4x4pro media servers to handle complex projection mapping, real-time motion tracking and Notch visual effects.

The gala featured appearances and performances by Nicole Kidman, Pharrell Williams, Maria Sharapova and Jessie J, among others. Its set consisted of a 19 x 10-metre portal in the shape of a cat's head, which served as a projection surface. Inside the portal, two sliding doors, made of LED panels, travelled on rails to allow big props to be wheeled onto the stage. The stage floor was a 17 x 38.5-meter all-black LED screen with a 4mm pixel pitch and a black acrylic diffuser top layer. The huge floor space concealed five individual lifts for surprise pop-ups to expand the stage in height.

“A large number of screens were deployed on the stage, including the LED floor, the cat-head screen and two side PGM screens,” says Michael Jia, Technical Director of the stage design. “The show included the world's most advanced entertainment technology ‒ the integration of AR, motion tracking, projection, lighting and audio ‒ to give the audience

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Redline Project Director, Shen Lei notes; “There was a number of firsts with this project, it was the first time we employed the gx range with the integration of BlackTrax and Notch. It was the first application in China using disguise to complete motion tracking and the interaction with AR. And it was the first time we executed and pre-visualised the real-time tracking of the camera positions in disguise's stage visualiser.”

Michael Al-Far, Content Designer with Malfmedia, gives praise to many of the disguise features: “The set designers had a clear vision of how the proscenium should look and had commissioned custom content,” he says. “But due to logistical issues the content couldn't arrive in time so Hans Cromheecke, System Integrator and Video Designer from AV Wizard, and I created some content on the spot. Thanks to disguise's clever

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eyes are on the result. Redline spared no resources to ensure the best possible outcome. There were 62 acts in this show, all of which had a very different creative team with their own content designers, producers and directors. With over 300 million viewers at any time during the five-hour broadcast, the pressure was huge not to make a mistake. The whole Redline team performed outstandingly and with the help of Hans and both Michaels to overview the operation, we performed the task at hand perfectly.”

Credit At Redline Jack Sun was the Project Coordinator; Hank Liu was the main disguise operator and BlackTrax designer; and Michael Jia was the Technical Director of the stage design.

William McDaniel was the Product Specialist from BlackTrax.

Michael Al-Far, was a content creator and Hans Cromheecke, was System Integrator and Video Designer. versioning system and the real-time update feature, it was very easy to create the perfect look in no time. We used MIDI in/out to mix the virtual lighting, and provide a matching canvas of lighting and content for each section. The initial idea was to hand control over to the lighting team and have it be controlled from the grandMA desk with Art-net, but time restrictions made that impossible. So for five hours we mixed light and colour balance by hand and disguise performed outstandingly.”

Michael Al-Far adds that “QuickCal was very handy for the nonconventional projection alignment on the cat-head surface.” In addition, using “Telnet to control a Notch camera in a virtual environment, in combination with BlackTrax on four cameras on stage, made for some dynamic content and perspective mapping with some very interesting results.” He also praises the systems' pre-visualisation capabilities allowing for quick results for the many producers on the show, all of whom wanted to have their content integrated in the timeline at the same time. Both Hans and Hank Liu could program sections of the timeline simultaneously on multiple timelines, which turned out to be a huge timesaver for this complex logistical endeavour.”

Despite the complexity of the show, disguise proved to be very intuitive so even the producers could trigger clips by themselves. Support from disguise was “as always, above and beyond,” says Hans. “Running in full show mode, you should always keep your hands on the throttle so to speak. There were moments where we were running at the maximum capacity CPU load and half-frequency speed, but the system never stopped or crashed, which is nothing less than what we expected.”

Redline's CEO, Jack Sun, points out that the gala “is one of the highlights of the year in the Chinese market, therefore a lot of

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Check out Jessie J's performance at the event. Pay attention to the floor LED's as well:

EDITOR'S NOTE It was the first time in China that the disguise gx range was integrated with BlackTrax and Notch. disguise proved its immense capabilities in an event that required topnotch quality, ability to deal with challenges and ability to work with the other solutions seamlessly.

www.disguise.one

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NEW ZEALAND

Bic Runga Celebrates 20th Anniversary Of Iconic Debut Album “Drive” With HARMAN Professional Solutions JANDS NZ supplies FOH engineer Kevin Bennett with a complete JBL VTX A12 audio system on the Drive 20th Anniversary Tour coverage, both on- and offaxis. The A12 sounds so great right out of the box, it didn't require much tweaking to optimize the system's performance in the theater.”

Bic Runga also took note of her fans' reaction to the exceptional sound quality provided by the JBL VTX system.

Veteran FOH engineer Kevin Bennett recently mixed Bic Runga's Drive 20th Anniversary Tour on a complete JBL by HARMAN VTX A12 sound system, provided by distributor JANDS NZ. Released in August 1997, Bic Runga's debut release “Drive” is regarded as one of the most iconic albums in New Zealand music history. In addition to winning “Album Of The Year” at the 1998 New Zealand Music Awards, “Drive” sold more than 70,000 copies and catapulted Bic Runga to international success in Australia, Ireland, the United Kingdom and more. To celebrate the 20th anniversary of the album's landmark release, Bic Runga recently embarked on a series of concerts in which she performed “Drive” in its entirety, along with a selection of greatest hits from her subsequent multi-platinum albums.

To ensure exceptional live sound for performances of an album that won an award for its audio engineering, JANDS NZ provided FOH engineer Kevin Bennett with a complete JBL by HARMAN VTX A12 sound reinforcement system for the Auckland stop of the tour at the Civic Performance Art Theatre.

Featuring a revolutionary dual 12-inch line array speaker purpose-built for mid- to large-size touring applications and high-end fixed installations, the A12 was perfectly suited for a concert at the Civic Performance Art Theatre.

“When I was given the opportunity to mix with the VTX A12, it was a no-brainer,” said Bennett. “I've never received as many compliments from an audience as I did after this performance.

Sonically, the A12 is incredibly smooth and provides excellent

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“The audience's response to this show was even greater than I expected,” said Bic Runga. “Kevin Bennett's experienced mixing combined with the sound system to give the show an extra clarity and presence that translated to a special listening experience for the audience. A lot of fans commented that they were particularly moved by the excellent sound quality of the music.”

The array was comprised of four ground-stacked VTX A12 speakers per side to cover the floor area, six flown A12 speakers per side to cover the balcony, and four VTX G28 dual 18-inch subwoofers deployed on the ground to supply deep and punchy bottom end. VTX-M Series monitors provided clear and

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accurate monitoring for the musicians onstage, and Bennett relied on a Soundcraft Vi2000 digital console for mixing.

“We're thankful for the opportunity to help Bic Runga bring her classic album “Drive” to life with a world-class JBL VTX sound system,” said Tim Robertson, Tour Sound Manager, JANDS NZ. “We've seen a tremendous amount of interest in the VTX A12 since the concert, and our goal is to have it requested on more technical riders in the New Zealand market.”

our partners JANDS NZ for their expertise and loyalty, and we look forward to working together to facilitate more incredible live music experiences in New Zealand's touring community.”

VTX A12 features a completely redesigned rigging system that allowed the College Hill Productions team to deploy the entire rig with unprecedented speed and efficiency, while the Soundcraft Vi2000 digital console enabled Bennett to craft a spectacular live mix that delivered all the sonic nuances of the expertly engineered album.

“The system was amazingly quick to deploy̶when I arrived to set up the console, the PA was nearly flown and ready to sound check before I was,” said Bennett. “I've worked previously with Soundcraft Vi consoles, and their straightforward, analog-like workflow provides an intuitive and enjoyable mixing experience. The Vi2000 is now my go-to console, thanks to its superior sound quality and tour-grade reliability. And I love that it features the BSS DPR901ii Dynamic EQ.” “It is a privilege to see JBL and Soundcraft products supporting a truly special performance by Bic Runga,” said Ramesh Jayaraman, VP & GM, HARMAN Professional Solutions, APAC. “For decades, we've worked with artists and touring personnel to better understand their challenges and provide best-in-class solutions. We thank ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

EDITOR'S NOTE FOH engineer Kevin Bennett is a fan of the JBL VTX A12. According to him, the A12 is incredibly smooth and provides excellent coverage, both on- and offaxis. “The A12 sounds so great right out of the box, it didn't require much tweaking to optimize the system's performance in the theater.”

http://www.harman.com/

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The Story Behind The Sound

In this issue, we share the news about Shure's latest endeavour: the “Shure Signal Path” podcast series.

Paul Crognale, Manager of Global Marketing, Musician and Consumer Audio at Shure Incorporated.

Did Prince once nearly ruin his legendary live show? How do you convert a VW bus into a mobile recording studio for buskers? And what's it like working with creative powerhouse Björk? Shure aims to share all this and more with the Shure Signal Path podcast.

“The goal of the podcast is not to dive too deep into the technology behind music̶although there certainly will be episodes where we get into the nitty gritty̶but to bring to life the amazingly rich universe those involved in the music industry experience every day.”

In this bi-weekly podcast series, Shure will host members of the music industry ̶ranging from engineers who work behind the scenes to musicians we know and love ̶to share their stories and shed light on the occasional studio secret that makes live music so magical.

In addition to the first episode with Lianne Le Havas, Shure will host an array of amazing music industry talent, including legendary live sound engineer Roger Lindsay, Bryan Grone and William Garrett at Spotify Studios, multi-award winning mastering engineer Matt Colton, Chicago-based act “Poster Children,” Chris Jojo at Codemaster Games, and others.

The inaugural episode (which is now available for download) featured an interview with UK artist Lianne Le Havas, discussing everything from food to songwriting, jamming and what a typical day off might look like for an artist.

“Shure is consistently in contact with so many fascinating people across the world of music and audio, ranging from artists to producers, sound engineers, and studio owners, it seemed a shame not to share their stories with the world,” said

To listen to the first episode, and subscribe to the Shure Signal Path podcast, listeners can head to their favourite podcast sources, including iTunes, Stitcher, and Google Play. The podcast will be updated every other Tuesday at 8 a.m. CST. All episodes of Signal Path are recorded with Shure MOTIV mics and the Shure iOS MOTIV mobile recording app. www.shureasia.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

EVENTS

CALENDAR

2018

Mar 21 ‒ 22 | IoT Asia Venue: Singapore Expo, Singapore Visit Site Apr 09 ‒ 12 | NAB Show 2018 Venue: Las Vegas Convention Center, NV, USA Visit Site Apr 10 ‒ 13 | Prolight + Sound Frankfurt 2018 Venue: Frankfurt am Main Visit Site Apr 11 ‒ 13 | InfoComm China (IFC) 2018 Venue: China National Convention Center (CNCC) Visit Site Apr 24 ‒ 26 | SLV Symposium Venue: Quill City Mall, Kuala Lumpur, Malaysia Visit Site Apr 25 ‒ 27 | SecutechAsia Venue: Taipei Nangang Exhibition Centre, Taipei, Taiwan Visit Site May 08 ‒ 11 Guangzhou Entertainment Technology (GET) Show 2018 Venue: Poly World Trade Centre Expo, Guangzhou, China Visit Site May 10 - 13 | Prolight + Sound Guangzhou 2018 Venue: Area A, China Import & Export Fair Complex, Guangzhou, China Visit Site May 10 ‒ 12 | LED Expo Thailand Venue: IMPACT Exhibition and Convention Center, Bangkok, Thailand Visit Site May 31 ‒ 2 June | PALM Expo India 2018 Venue: Bombay Exhibition Center, Goregaon East, Mumbai, India Visit Site Jun 06 ‒ 08 | Conference Programme starts on Jun 02 InfoComm International 2018 Venue: Las Vegas, USA Visit Site Jun 06 ‒ 08 | Conference Programme starts on Jun 05 IAAPA Asian Attractions Expo 2018 Venue: Hong Kong Convention and Exhibition Centre, Hong Kong Visit Site Jun 09 ‒ 12 | Guangzhou International Lighting Exhibition 2018 Venue: China Import and Export Fair Complex, Guangzhou, China Visit Site

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June 26 ‒ 28 | ConnectechAsia (BroadcastAsia 2018) Venue: Suntec, Singapore Visit Site June 26 ‒ 28 | ConnectechAsia (CommunicAsia 2018) Venue: Marina Bay Sands, Singapore Visit Site Jun 28 ‒ 30 | Summer NAMM 2018 Venue: Nashville, TN Visit Site Aug 22 ‒ 24 | Integrate Venue: ICC Sydney, Darling Harbour Visit Site August 23 - 25 | PALMEXPO China Venue: China National Conference Centre, Beijing, China Visit Site Sep 05 -07 | InfoComm China Chengdu Venue: Western China International Expo Center Visit Site Sep 18 ‒ 20 | InfoComm India 2018 Venue: Bombay Exhibition Centre, India Visit Site Sep 23 ‒ 25 | Prolight + Sound Middle East Venue: Dubai World Trade Centre Visit Site Oct 19 ‒ 21 | Conference and training programmes start on Oct 15 Live Design International (LDI) Venue: Las Vegas Convention Centre, USA Visit Site REGIONAL EVENTS March 12 | Symetrix Product And Software Seminar Venue: The Vault @289 Outram Road, Singapore Organised By: Electronics & Engineering Pte Ltd with Symetrix For details please email: marketing@enepl.com.sg March 14 ‒ 15 | Digital Pro Audio System Venue: Sunway Pyramid Convention Centre ‒ Pyramid 3, Malaysia Organised By: Acoustic and Lighting System with Sennheiser and RCF For details please email: daphne.lim@alhq.com.my March 14 | Shure Networked Audio Seminar Venue: KL Convention Centre, Malaysia Organised By: Concept Audio and Shure For details please email: chloee@conceptaudio.com.my March 21 | New Age Digital Emergency Response System Venue: One World Hotel, Malaysia Organised By: Acoustic and Lighting System with LDA Audio Tech For details please email: daphne.lim@alhq.com.my