ETA SEP 2018

For The Technical And Production Professionals

Robe Spiiders Shine at Mercedes-Benz Fashion Week

LIVE

Yamaha at Popular Jazz Festival KNOWLEDGE HUG: NEWS :

Intermodulation Disruption

RGBLink Holds Its First-ever Certification Programme

w w w.e -techasia.com

S E P T. 2 0 1 8

THE NEW REFERENCE POINT

w w w . r o b e . c z

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CONTENTS SEP. 2018

46

50

IN THIS ISSUE

VOL 19 ISSUE 9 SEPTEMBER 2018

04 FIRST WORDS 06 NEWS 20 VIDEO FILES 22 ENNOVATIONS 28 EVENTS CALENDAR KNOWLEDGE HUB 30 Manners, Mannerism and the Use of Swear Words in Pro Audio 32 Building your Audio System – Improving the Mix 34 Intermodulation Distortion 36 What are the Differences Between Analog and Digital Interfaces LIVE 42 AUSTRALIA: Bassist Sam Anning Reaps the Benefits of DPA’s New CORE 44 CHINA: BlackTrax Helps Introduce New Audi Model to the Chinese Market

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

45 JAPAN: disguise on Tour with J-Pop Band AAA 46 DUBAI: Protec Delivers Another Successful UNITE with Tomorrowland 48 INDIA: d&b audiotechnik GSL System & Reynolds Rock Bangalore 50 INDONESIA: Argo Visual Delivers Mesmerizing Projection Mapping Show 52 JAPAN: Martin Audio Intensifies Coverage of Rock in Japan 53 AUSTRALIA: Robe Spiiders Shine at Mercedes-Benz Fashion Week 54 INDONESIA: Yamaha Indonesia Sponsors Popular Bali Jazz Festival 28 MARKET PLACE

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FIRST WORDS SEP. 2018

The buzz in the industry is about RCF Group’s acquisition of EAW. The synergy was already present as since their early days, the two companies have been very close with RCF supplying professional drivers to EAW. According to the press release EAW will operate as a totally independent company but being part of the RCF group, EAW will be provided with the necessary investments and focus for a fast and solid growth.

The acquisition follows on the heels of the recent management buyout of Martin Audio. Is there more acquisitions to be expected before the year ends?

Prolight + Sound Middle East will be taking place this month. The industry’s premier regional trade fair will feature more than 40 exhibitors showcasing 100plus brands when doors open for the 3rd time from 23-25 September 2018 at the Dubai International Convention and Exhibition Centre.

With the world expo taking place in Dubai, UAE in 2020 there is a buzz in the industry in terms of potential business. SES Global, participating at the exhibition is a British manufacturer of power distribution products and ancillary items for the entertainment industry and is excited about the potential.

“With 2020 in mind and the massive amount of products that will be required to host what will be a very impressive World Expo, getting our product range and infrastructure in place by 2019 is key,” said Gordon Cooper, SES Global’s Group Director.

Ahmed Pauwels, CEO of organiser Messe Frankfurt Middle East, said: “Prolight + Sound Middle East provides a unique platform for innovation, education and discovery by bringing together leading exhibitors and visitors in AV technology, specialist speakers and experts from across the industry”.

Ram Bhavanashi

Editor, India And Middle East ram@spinworkz.com

Julie Tan Admin & Circulation admin@spinworkz.com

Natalie Chew Writer natalie@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

Enjoy the exhibition.

Thomas Richard Prakasam Publisher / Editorial Director

thomas@spinworkz.com

To subscribe to Entertainment Technology Asia click here: https://www.e-techasia.com/subscribe/ PUBLISHED BY

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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NEWS SEP. 2018

INDIA

Dynatech Brings Power and Clarity to Sikkim with Mohit Chauhan The event audio equipment was facilitated by Perfect Sound, a sound rental company with a reputation for providing world-class reinforcement for a plethora of gigs. Many artists have claimed that they prefer to work with them mainly due to the high level of onstage monitoring services, thanks to the rental company deploying a pristine stage monitoring solution comprising the versatile and efficient Dynatech CX-15 loudspeakers, driven by the ever dependable V-5000 and V-7000 power amplifiers.

Great efforts were made towards showcasing Sikkim’s organic culture, green lifestyle and rich biodiversity as India’s first and only fullyorganic state. Sikkim Organic Day and Red Panda Winter Fest 2018 were celebrated in grand style with singer Mohit Chauhan enticing everyone with his performance. Aiding Mohit Chauhan, now the Green Ambassador of Sikkim, was market leader Dynatech with its CX-15 loudspeakers and V-Series amplifiers.

Mr. Atanu Mal – director of Perfect Sound, comments “The Dynatech CX-15 has an incredible frequency response and the tonality that it delivers is absolutely amazing. The CX-15 speakers have always lived up to our expectation and it gives us tremendous pleasure to have played our part as facilitator. Plus when you have a world-class amplification solution like the V-5000 and V-7000 from Dynatech to power these amazing stage monitors, the result is nothing short of magnificent.

Clear output is what artists always desire, and that’s exactly what they get with the combination of the Dynatech CX-15 and V-Series!”

www.sonotone.in

GLOBAL

Airstar Launches NEO – Next Generation Neon for Event Professionals structure, NEO is easy to handle and set up, and can be either installed on the ground or mounted. Its imposing size makes it a unique product, offering a powerful brightness of 8,500 lumens, making it an ideal public lighting solution at events and music festivals, or as an integral part of a creative set.

The idea came from Airstar’s light design workshops, and in particular from Jean-Pierre David, an industrial designer at Airstar. David began with concept of self-supporting inflatable structures and was inspired by everyday life: “It may sound odd, but the NEO concept could be described as a genesis of the Jedi lightsaber and my grandmother’s kitchen neon” he reflects. “Although relatively simple, it is truly unique in the marketplace: it creates extravagant and creative lighting effects.

Event professionals can let their imaginations run free with the help of this fun and easy to use solution.”

Airstar has announced the launch of NEO, the latest addition to the French manufacturer’s inflatable lighting range dedicated to event staging.

Measuring five meters long by 20cm wide, NEO is inspired directly by neon tubes which have a timeless aesthetic. As an inflatable lighting

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

NEO was successfully trialed at this year’s Solidays festival, a major music event in Parisian summer calendar which welcomes more than 200,000 punters over three days. In order to mark the 20th anniversary of the festival, the Solidarité Sida association once again called upon Airstar for its lighting needs.

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NEWS SEP. 2018

Fifteen NEO were installed in the heart of the Solidays Club, a wooded light, while its elongated and linear shape provides an impression of area welcoming more than 2,000 people a day, located near the main lightness, which lent itself perfectly to the space that we wanted to stage “Paris”, the biggest festival stage in Europe this year. By deploying highlight. Finally, the ease and speed with which it can be installed NEO, it was possible to overcome the sense of limited space due to the makes NEO an illuminating solution with great potential for live events low height of the trees, while providing efficient, aestheticallybut also integration into a set. pleasing and glare-free lighting.

“The According to Martin Viennot, production manager for Solidays Club As a Solidaire partner of Solidays for the past ten years, Solidarité Sida, “The Solidays Club was undoubtedly was undoubtedly Airstar works in close collaboration with the festival’s one of the most beautiful in the history of the festival: one of the most technical director, Raymond Lopez, who allowed the the opinions were unanimous both internally and from beautiful in the festival-goers, and Airstar has no doubt contributed to French manufacturer to use the festival again this history of the year as a field test site for its latest inflatable lighting this success. NEO is perfect for events and festivals; we festival” solution. Martin Leblon, the Paris based Airstar European are happy to have been the first to use it. “ Network (AEN) business event manager, presented the NEO concept to Lopez who then submitted the idea to Pleine Face’s The NEO range is already available via Airstar distributors and the founder and lighting designer Lorian Chauché, in charge of the Solidays Airstar network.

Club lighting set.

www.airstar-light.com/en

“We were very impressed by NEO on several counts,” comments Chauché. “First of all, the product offers a powerful yet evenly spread

GLOBAL

LIFTKET Acquires all Shares in ChainMaster

LIFTKET Hoffmann GmbH has acquired all shares in ChainMaster Bühnentechnik GmbH effective on 1 August 2018. LIFTKET, a leading manufacturer of electric chain hoists, has been supplying ChainMaster for over 20 years. This event and stage technology specialist develops automated hoist systems including control, software, and operator interfaces.

ChainMaster will continue operations as a separate company with its established ChainMaster brand and its facility in Eilenburg near Leipzig.

Company founders Susanne Hartung and Frank-Rainer Hartung remain managing directors. LIFTKET CEO Jürgen Dlugi plans to grow the stage segment, benefiting customers and employees of both companies. Both ChainMaster and LIFTKET supply international markets and work with qualified local partners for customer service and sales. The companies enforce a rigorous quality and safety management.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

At ChainMaster as well as at LIFTKET, product development and services are closely guided by customer requirements. The two companies will continue to develop and manufacture hoists for precise and safe positioning of lighting and sound equipment and other loads. Both LIFTKET in Wurzen and ChainMaster in Eilenburg are located near the city of Leipzig, in the dynamic industrial region of Saxony. The excellent situation of the labor market for qualified professionals as well as good infrastructure provide optimal conditions for further growth.

www.liftket.de

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NEWS SEP. 2018

SOUTH KOREA

Martin Audio Appoints Sama Sound as Korean Distributor As has Sama’s own marketing strategy. They are planning a series of marketing activities to promote the brand, focused on ‘Experiencing Martin Audio’. This will begin with a launch event on August 21st in which the core message will be ‘Experience’. This will focus on Martin Audio’s history, technology, philosophy supported by staff from Martin Audio and an MLA demo. Different music genres will be played for audiences including live traditional music to show how the system will deliver authentic Korean music.

“Since there have not been many opportunities for people in the region to listen to music via MLA so far, we strongly believe it is going to surprise a lot of people,” says Mr. Inn. Training and further product demonstration will follow in the aftermath.

Sama Sound has been appointed as Martin Audio’s new Korean distributor. Established in 1969, Sama Sound has long been one of the leading companies in the pro-audio industry and represents many major brands in the region.

This latest appointment came at a time when both parties were seeking new opportunities to expand their business with different partners. “From our perspective, developing a premium speaker portfolio was part of a strategic plan we had in place for a while, and we agreed to begin this exciting new journey, recognising that Martin Audio is a premium brand in the market, with a reputation built up over many decades,” stated Sama Sound president, Jason Inn. He emphasises that their first priority will be an educational one, apprising customers of Martin

In conclusion, he said, “Having looked carefully for opportunities to expand our product portfolio, we believe that with the acquisition Martin Audio we can now comprehensively service the market and grow together, increasing market share by developing synergy with our current partners. We are extremely excited about the new journey.”

“MLA is obviously the system that the majority of people know, but, Martin Audio has an excellent all round product range, from Blackline X upwards.”

Wavefront Precision series has strong potential in some vertical markets.”

Rental, Theatre and HoW markets will be the main targets for line array products, they believe. “But really there is no limitation in other vertical markets we can penetrate, since Martin Audio’s product range has been well planned and thought out.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

has enjoyed great success over many years in the Korean market, both in Rental/Touring and the wider installation market. With Martin Audio’s proactive product strategy generating above industry growth in APAC both in 2017 and year-to-date, we felt the time was right for a change in

vertical markets.

order to generate brand loyalty. “MLA is obviously the system all round product range, from Blackline X upwards. We also believe

Andy Duffield responded, “Sama Sound

our distribution to ensure success across all

Audio’s technical philosophy and eminent history in that the majority of people know, but, Martin Audio has an excellent

Martin Audio’s APAC Account Manager,

“In looking for a new partner we were impressed by the professionalism, attention to detail and commitment to the brand shown by the team at Sama Sound. This, plus their highly proactive and connected approach to the market, made the choice easy for us. We are thrilled at the prospects of working with Sama Sound in the years ahead.”

martin-audio.com www.samasound.co.kr

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NEWS SEP. 2018

AUSTRALIA

Chameleon Touring Systems Finally Embraces Marketing

It will never happen they said.

In your dreams they said.

Not in my life time they said.

“I don’t like all that online media stuff and I hate Facebook,” said Tony.

“However, after a good solid knock to the head, I’ve realized it’s a necessity.”

At last the lizard has shed its’ skin revealing a new website and considering the old one lists a MAC 250 as their hot new light, it’s certainly time.

The new website features a comprehensive inventory list … without giving too much away to competitors, yes you know who you are … as well as a news section and stunning gallery.

There is even … wait for it … a Facebook page! Shocking. Rumour has it, there may even be an Instagram page soon.

This is a website that won’t herald old news, or fake news come to that, as it will be constantly updated by the incredibly talented Cat Strom, the mastermind behind this whole venture. Some say she must have something on Tony, but no he’s just fed up with her nagging.

To be fair, Managing Director Tony Davies has concentrated his efforts on building a hugely successful company and he never had time for that marketing malarkey. In fact 2018 marks Chameleon’s 30th Year in the business and they are still Australia’s No1 lighting company.

So check out the website, like their Facebook page and keep an eye out for 30th Anniversary celebrations!

www.chameleon-touring.com.au

SINGAPORE

SCM Production Creates Immersive Lighting Experiences with HARMAN Professional Solutions SCM Production Pte. Ltd. recently upgraded their inventory with Martin

by HARMAN lighting solutions.

A premier event production company based in Singapore, SCM Production delivers professional audio and lighting services for corporate events, product launches, trade shows, celebrations and

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

more. With the goal of better serving their clientèle and ensuring premium lighting for a wide range of live events, SCM Production made the decision to expand its lighting inventory with an array of stateof-the-art Martin lighting solutions, including the new MAC Encore Performance, MAC Quantum Wash and Rush MH 7 fixtures. p14

power to scale.

We created the pro range with one thing in mind: to play huge video content across massive canvases, in the toughest of live environments. disguise.one/en/products/pro/

The Weeknd ‘Starboy Tour’ The disguise pro range was used to projection map and track a giant origami triangle suspended over the audience and two giant LED screens with IMAG and dynamic video and graphics.

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NEWS SEP. 2018

incredible visual effects and unparalleled performance by combining cutting-edge cold LED technology with an innovative light engine that generates natural, full-spectrum light and ultra high color rendition. All motorized operations on the Encore Performance are engineered to be quiet, allowing them to be utilized in modern performing arts scenarios where low noise levels are necessary.

“We chose Martin fixtures because we wanted to provide our clients with the most versatile and powerful lighting solutions,” said Ng Boon Kok, Director of SCM Production. “For audio, we’ve been using JBL sound reinforcement systems in Singapore’s most prestigious venues for years. Our new Martin inventory enables us to push the boundaries of event lighting and create immersive visual experiences for shows and events of any size. We recently used the new Martin fixtures for the first time and it was a great success. We love that the Martin lighting fixtures are equally effective for both large arenas and small intimate spaces,” added Ng Boon Keong, Director of SCM Production.

The recently launched Martin MAC Encore Performance plays a big role in SCM’s new lighting inventory. The MAC Encore Performance offers

SCM selected the MAC Quantum Wash for its tight beams, beautiful washes and market-leading color palette. They also chose the Martin Rush MH 7, an all-in-one moving head fixture, for beam, spot and wash applications. The Rush MH 7’s maximum flexibility enables SCM to provide dynamic lighting that is equally effective on the dance floor and in the performing arts space.

“It’s a privilege to see Singapore’s SCM Production extend their relationship with us by investing in Martin lighting solutions,” said Ramesh Jayaraman, VP & GM, HARMAN Professional Solutions, APAC. “We thank SCM Production for demonstrating their trust in HARMAN by adding our latest Martin MAC Encore Performance fixtures.

SCM Production’s new Martin inventory helps them create brilliant atmospheres at events and enhance performances to the satisfaction of their esteemed clients.”

www.harman.com

AUSTRALIA

The P.A. People Delivers at the Sun-Herald City2Surf As in previous years, The P.A. People handled a mix of crowd control announcement systems, spectator entertainment PAs and a site-wide emergency radio paging system. The company provided PA for all start positions as well as a VIP viewing area, and worked closely with event producers and suppliers, delivering a production package to support an enjoyable event for the competitors, sponsors, broadcasters and other stakeholders.

This included provision of five integrated PA systems for the start-line portion of the event as well as interfacing between broadcast elements and other contractors to deliver audio and some vision/image elements to all parts of the start area in Hyde Park and Macquarie St. The Finish line included nine PA systems spread over the event ‘village’ and finish line area at Bondi Beach. The PAs delivered race commentary, announcements and entertainment throughout the site.

Moving 80,000 runners and spectators in and out of Sydney’s CBD and the iconic Bondi Beach tourist location, The Sun-Herald City2Surf presented by Westpac was presented with its own set of logistical issues again this year. Known as the world’s largest fun run, the event had its share of interesting challenges, and was happy to have The P.A. People as a small but integral part of the exercise.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The P.A. People also provided two bespoke communications systems; one each at the event start & finish lines and a comms link between ‘show callers’ at both locations to enable constant contact.

www.papeople.com.au

Photo: Paul Gärtner

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NEWS SEP. 2018

SINGAPORE

RGBLink Holds Its First-ever Certification Programme

RGBLink held its first-ever certification programme in Singapore recently with its distribution partner Prism Dynamics. The one day event was held on 28th August at The Star Loft, The Star Performing Arts Centre.

The event saw 35 participants from rental houses, systems integrators and freelance video operators. Some of the participants were at the event to better understand the solutions offered by RGBLink. Others attended the event to get certified by RGBLink. The Certification part delved deeper into proper set-up, proper operational procedures, tips and tricks so as to empower the participants with the proper knowledge relating to RGBLink solutions.

The Certification programme was divided into two parts. In the first session participants were trained on RGBLink’s M3 Integrated Vision Mixer, X1pro Matrix Switcher, VSP628pro all-in-one video scaler, scan converter, switcher and transcoder solutions. The second session touched on the T-One Live Production Console for X Series Processors

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

and Venus X7 Universal Video Processor as well as on the XPOSE Software Operations.

Participants who attended the first session, second session or both sessions were certified by the trainer in a special certification booklet produced by RGBLink. The trainer certifies the participants in the “RGBLINK product training passport” highlighting the equipment that the participant has been trained on.

This RGBLink passport will be universally accepted. 18 participants attended both sessions.

RGBLink’s Rod Sommerich comments, “This is the first time RGBLink has conducted a certification programme. It is an important first step as it enables us to reach out to the users on how to operate our systems effectively. Many are freelancers and if they have knowledge of our system, it helps our cause.” p18

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NEWS SEP. 2018

“We are pleased with the turnout as this is the first time such a certification programme has been held by RGBLink. We believe that relationships with brands can be as interesting and as influential as relationship with people and it is important that brands continue to engage the industry,” said Benson Low Marketing Director of Prism Dynamics Pte Ltd.

www.rgblink.com www.prismdynamics.sg

INDIA

Overwhelming Response for Adamson’s Applied Certification and S10 Demo Shootout

The Adamson Applied Certification training programme held in late August kicked off with exceptional response with over 50 people registering and attending the event. Attendees received hands-on training on system design fundamentals and deployment of Adamson systems. David Dohrmann, Adamson’s director for Asia Pacific along with Ayumi Hanano, Adamson’s education and support coordinator for APAC conducted the intensive two-day session.

Attendees really appreciated the clear and easy to digest format in which the information was presented. They learnt to design, deploy and control an Adamson loudspeaker system using the Blueprint AV simulation software and Lake controller. The class also received hands on experience of deploying and tuning an Adamson S-Series system.

Training concluded with David and Ayumi awarding the attendees their

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

well-earned Adamson Applied Certificates.

The public demo shootout of the Adamson S-10 system was held the following day with 150 guests arriving at the St. Andrews Auditorium to hear the high performance line array. Guests enjoyed listening to some of the Adamson S-Series and M-Series products in action. With a set-up including the S10, S119 in ground stack mode, the S10 flown with the E219 in addition with M212A, M15P & M12P monitors, guests were able to fully experience the S10 2-way dual 10” line array.

Sonotone was the co-organiser of the event.

www.adamson.com www.sonotone.in

• • • • •

•

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#EVLOVE

20

VIDEO FILES SEP. 2018

Elation Professional - Antari HZ1000

Cameo HYDRABEAM 1000 RGBW

Elation’s Antari HZ-1000 is most powerful, oil based, true compressor pro-tour hazer effect machine yet! Features include double the haze output of the Antari HZ-500 hazer at 6,000 cu.ft/min, two selectable compressor modes (single and twin) for adjustable haze output volume, full colour LCD touch control panel with easy to navigate manual setting menus, variable speed squirrel cage fan for superior haze distribution, 3-position directional wind diverter, and a large 8-litre haze oil liquid reservoir that supports extended operation times without frequent refills.

The Cameo Hydrabeam 1000 RGBW is a compact moving head with ultra-fast 540° pan and 270° tilt. It is equipped with a powerful 32 W quad LED by Cree for brilliant, for brilliant colours and projects razor sharp beams with an extremely focused 2.5° spread. Other features include 5 modes of DMX control, a built-in microphone for sound activation and fully automated operating modes. It includes standalone, master and slave capability along with smooth dimming and high-speed strobe functions.

SGM Light 2018 Stage Demo

Counting Crows on Tour with STRIKE

Check out SGM Light’s 2018 stage demo – meant to showcase the company’s range of lighting solutions, the light show is a great example of what can be achieved with just a little creativity, featuring flashing lights, thumping music, and – naturally – a really good time.Design and concept by Christian Byriel / Special Projects, Programming by Theis Wermuth / Create This, and Music Mix by Rasmus Skøtt.

In this behind the scenes interview, Lighting Designer Mike Zielinski discusses how he uses CHAUVET Professional STRIKE 1 units to help create a versatile and intense design for the Counting Crows’ 25 Years and Counting Tour. In the interview, he talks about the various challenges that come from a changing setlist and how he overcomes them.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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22

ENNOVATIONS SEP. 2018

New wysiwyg Release 41 adds Exciting Features, Improves Workflow Among the new features are:

CAST Software has announced the release 41 of wysiwyg lighting design and previsualisation software. The new version brings a broad range of new features and functionality that will reinforce wysiwyg’s position as the tool of choice for lighting professionals.

“Clients are continually pushing our wysiwyg users to deliver even more original, more compelling, more fantastic lighting designs, and it’s important that we help them respond to those needs,” said Dino Mazza, Product Manager.

“This latest release does just that with not only new capabilities, but also features that improve user’s workflow. Many of these additions include features our users have requested resulting from constant input and feedback from wysiwyg users.

“And,” added Mazza “we’re currently working on future wysiwyg enhancements that include support for 64-bit architecture, a new cloud licensing option, and the provision of student licenses.”

•

Scaling Objects: users are now able to easily scale up, down or stretch any 3D object within wysiwyg. The Scale tool can be applied to a primitive shape, an object from wysiwyg’s library (except truss and fixtures) or objects imported from other applications.

•

Selection Sets: these are designed to save time by reducing the need for repetitive selection tasks. Selection Sets will save the selection information such as which objects are selected and in what order, a one-click selection shortcut can be re-used.

•

Support for NDITM protocol: wysiwyg now accepts NDITM video streaming across a network. It offers a simple method to import multiple video feeds into a wysiwyg design.

•

Enhancements to Rigging Points: continuing from the last release, R41 adds numerous enhancements to Rigging Point objects, and delivers new options and parameters for display on Rigging plots.

•

New Smoke Options: the new Smoke Turbulence, enables more dynamic, natural flow and atmospheric smoke effects. The new Ground Smoke introduces ground fog/dry ice simulation.

•

Light Scatter: this feature makes the Shaded View more realistic by simulating the dispersal of photons through the imperfect atmospheric medium. Its most noticeable effect is that of beams which point towards the camera appearing brighter than when they point away from it (using the same intensity).

wysiwyg R41 is available immediately and can be downloaded here

cast-soft.com

Dino Mazza, Product Manager

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

23

ENNOVATIONS SEP. 2018

Lightact Deepens Integration with Unreal Engine Mitja Prelovšek, CEO of Lightact, said: “We are extremely thrilled to be able to release v3.0.5 as it further strengthens Unreal Engine workflow as well as expands Lightact’s core media server functionalities.”

Lightact is an integrated suite combining standard media server functionalities such as projection mapping, multi-screen video output and DMX lighting control with unique real-time rendering capabilities and reliability features aimed at permanent installations.

The suite includes Lightact Cloud installation monitoring solution and Lightact WebUIs client user interfaces. Lightact also includes a real-time 3D rendering engine and Unreal Engine integration.

Lightact, a Slovenian media server manufacturer, now features a 2-way sharing of textures and variables between Lightact and Unreal Engine. v3.0.5 also introducesLightNet and LightSync which enable multi-server syncing.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Lightact v3.0.5 is available on Lightact’s webshop.

lightact-systems.com

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ENNOVATIONS SEP. 2018

ADJ Releases myDMX-RM It is also perfect for use in venues such as lounge clubs where a lighting operator will arrive part way through the day’s operating hours. The venue manager can easily select a pre-programmed ‘warm-up’ Scene, using one of the myDMX-RM’s trigger buttons, when the venue opens.

Later, when it’s time to transition from a bar atmosphere to full-on dancing, the lighting operator can hook up their laptop to the interface and seamlessly assume full control of the rig.

Likewise, the unit is ideal for small clubs that can’t justify the expense of a designated lighting operator. The myDMX-RM can be preprogrammed with a variety of different looks and effects which can then easily be triggered by the DJ to complement their musical mix.

ADJ has announced the release of its new myDMX-RM lighting control interface that not only acts as a hardware dongle for the myDMX 3.0 software but also offers internal storage with 16 programmable trigger buttons. This makes the unit ideal for use in a wide variety of situations where simple, standalone lighting control is required. myDMX is ADJ’s extremely popular multi-platform DMX control software / hardware system (Windows and Mac OSX compatible) that offers an easy-to-use interface, powerful features and an affordable price tag. Featuring a large library of fixture profiles – as well as a custom Profile Editor – it is easy to setup myDMX to control any DMXcompatible lighting or effects equipment. An intuitive interface and powerful features (including a drag-and-drop effects generator) then make programming and controlling complex shows a breeze, while the latest version of the software – 3.0 – also includes additional useful features such as Blind Editing (the ability to change scenes without outputting DMX) and the option to playback multiple scenes at a time.

The myDMX-RM is a robust 19” rack mountable interface that connects a computer running the myDMX 3.0 software, via USB, to a DMXcontrollable lighting rig through a standard XLR connection. Out of the box, the unit allows use of myDMX 3.0 Express Mode, which includes all of the standard features needed to setup, program and control a lightshow. It is then possible to upgrade the software to unlock advanced features such as a 3D Visualizer, MIDI control and ‘Easy Remote’ smartphone/tablet control app).

Through the software it is also possible to assign lighting programs to each of the myDMX-RM’s 16 trigger buttons. These programs are then stored on the device itself and can be recalled, simply by pushing the button, even if the computer running myDMX 3.0 has been disconnected. This makes the unit ideal for use in situations where it isn’t possible to have a lighting operator constantly on hand, for example in a bar, school or event venue.

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Finally, the myDMX-RM can also be used by lighting designers and operators to provide a level of backup against a computer crash. When controlling a rig from myDMX through themyDMX-RM important scenes can be stored on the unit’s internal memory so that if the computer running the software crashes, or stop functioning for any reason, changes to the lightshow can still be made using the RM’s trigger buttons while the computer issue is resolved.

The myDMX-RM’s 16 trigger buttons are all backlit, to provide a simple visual indication of which stored program is currently running. On its back panel, the unit also features both 3-pin and 5-pin XLR sockets meaning that it can easily be connected to any DMX-compatible lighting fixture. The unit allows control of a full DMX universe (512 control channels) in both its Live and Standalone modes, while multiple interfaces can be ‘stacked’ to allow control of two or three universes of DMX channels from a single myDMX program.

Its combination of a tough rack-mountable case, powerful internal memory and flexible trigger buttons make the myDMX-RM the ultimate myDMX 3.0 dongle. It is sure to not only appeal to existing users of the software but also open it up to many new users who have a need for a standalone DMX interface that offers the flexibility of a fully-featured software control solution.

www.adj.com

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ENNOVATIONS SEP. 2018

High End Systems Launches SolaFrame 3000 The SolaFrame 3000 isthe new flagship luminaire in the Sola Series range.

The SolaFrame 3000 combines unprecedented light output from its 1000 watt Ultra-Brite White LED engine with a limitless palette of effects and colour possibilities. Boasting more than 37,000 lumen output, the SolaFrame 3000 is the first automated LED luminaire to rival and even exceed the output of the most powerful arc lamp fixtures. The fixture is also available in a High-Fidelity version with incredibly accurate color rendering.

With all the features designers have come to expect from High End Systems, SolaFrame 3000 includes a CMY/CTO linear color mixing system, seven position replaceable Color Wheel, Framing system for total control of beam shaping, seven position plus open interchangeable Gobo Wheel, seven position plus open Rotating Gobo Wheel, a Continuously Variable Animation Wheel, as well as Iris, Light Frost, Prism and 7°-55° Zoom. Other features include HES’ Patented Lens Defogger and a TM30 Filter, which boosts the SolaFrame 3000’s Ultra-Brite engine to 85+ CRI. High End Systems will be launching the SolaSpot 3000 later this year.

www.highend.com/sola3000

Axcor LED Family Essential State-of-the-Art LED Technology for Everyday use

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MALAYSIA SINGAPORE THAILAND INDONESIA

+603 8075 8990 +65 642 30682 +662 769 8199 +62 21 8082 1480

26

ENNOVATIONS SEP. 2018

Acme Introduces THUNDERSTRUCK Acme THUNDERSTRUCK is a powerful strobe effects fixture. Featuring 0.5W(RGBW) x 2304 light source the fixtures is divided into 12 blocks where each block can be controlled independently. The lux levels range from 5325Lx for a 2 metre range to 475Lx for a 8 metre range.

THUNDERSTRUCK offers a beam angle of upto113 degrees.

The fixture offers an IP65 rating with a power consumption of 1100W. Control mode is via DMX512/RDM. Small size and light weight (13.8kg), the fixture offers smooth dimming from 0 to 100 percent.

www.acme.com

Obsidian Control Systems Launches ONYX includes an online help system as well as a user forum so that users can always find the help they need. Users can also stay connected via a dedicated Obsidian Control Systems Facebook page. The Elation website at www.elationlighting.com offers additional support and product information.

ONYX is a powerful yet easy-to-learn lighting control platform designed for both hardware consoles and PC systems. Designed and maintained by real-user professionals with over 25 years of experience in lighting control systems, ONYX provides a stable and efficient programming platform that is fast to program and fun to operate.

Elation Professional is announcing the next chapter in the evolution of Obsidian Control Systems with release of ONYX, an innovative yet uncomplicated lighting control platform that is backwards compatible with all M-Series lighting control products.

ONYX is a rebranding of the well-established M-Series control platform and is designed for use with all M-Series hardware (M-DMX, M-Touch, M-Play, M2PC, M2GO, M2GO HD, M1, M1 HD and M6). The first software release, ONYX 4.0, includes improvements and library updates and marks a foundation for new features and functions to be available in the near future.

ONYX software is available from a newly launched website for Obsidian Control Systems, where lighting pros can learn more about Obsidian lighting control products and the ONYX platform while staying up to date on the latest news and developments. The website also

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At every stage of development, ONYX has endeavored to present the user with a simple and clean control environment, one in which you don’t need to be an IT expert to succeed. Envisioned for creative professionals and new beginners alike, ONYX scales from the smallest shows to the largest touring productions with easy-to-use tools and optimized graphical work environments that can adapt to any task and complexity.

With control of up to 128 Universes of DMX, Art-Net or sACN from a single system, ONYX is designed to grow with the user and their shows, offering smart options and affordable solutions along the way. Obsidian Control Systems products are exclusively distributed by Elation Professional worldwide and are available in various sizes to accommodate any scale and budget.

www.elationlighting.com

.

unbelievable Start believing on

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ENNOVATIONS SEP. 2018

Claypaky Adds Axcor Profile 600 and 400 to AXCOR LED Series After the launch of the powerful and successful AXCOR Profile 900 LED spot profile, with AXCOR PROFILE 600 and AXCOR PROFILE 400, Claypaky is now presenting two more luminaires featuring the exclusive, award-winning and patented Claypaky beam framing system – one of the most appreciated and required device for professional use. Both these models are available in two versions: with 6500K colour temperature and high light output, or - alternatively - with 5600K colour temperature and a CRI of around 90.

In the crowded world of medium-high power lights, the AXCOR PROFILE 600 stands out for its excellent combination of high performance, exceptional light quality, and versatility of use. The luminous efficiency is among the highest in this power category, and - if necessary - it can be further increased by about 25% thanks to “boost mode” making AXCOR PROFILE 600 a perfect tool for tours and large events.

A wide zoom range from 5° to 45° (1:9 ratio) means the light can be used in a variety of situations, including those for which a narrow angle is best.

The completeness of its colour section, its great wealth of visual effects, its framing system implemented with technological devices that enhance its precision and versatility, the possibility of using it as a wash light, make the Axcor Profile 600 an essential benchmark for all modern entertainment uses.

With the AXCOR PROFILE 400, Claypaky has revolutionized the medium power market, by offering a light which is able to pack all the most advanced lighting, mechanical and electronic features into an extraordinarily compact body: less than 65 cm high!

Among the exceptional features this compact LED light offers are a framing system that works on four focal planes, an effects section with an animation wheel, a complete color system with linear CTO, and a high precision mechanical iris. The Axcor Profile 400 is extremely quiet, and has three operating modes, which can be chosen according to needs: Silent, Standard and Auto.

The AXCOR SERIES stands now as one of the most complete moving head range on the market using a white LED engine, featuring 9 models from 110W to nearly 900W with excellent versatility of use, extremely high manufacturing quality and outstanding performance in every power range.

www.claypaky.it/en/products/axcor-profile-600 www.claypaky.it/en/products/axcor-profile-400

EVENTS CALENDAR 2018 & 2019 Sep 16 – 18 Plasa 2018 Venue: London Olympia, National Hall Sep 18 – 20 InfoComm India 2018 Venue: Bombay Exhibition Centre, India Sep 19 – 21 LED China Venue: Shanghai New International Expo Centre Sep 23 – 25 Prolight + Sound Middle East Venue: Dubai World Trade Centre Oct 10 – 13 Prolight + Sound Shanghai Venue: Shanghai New International Expo 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

2019 Jan 24 - 27 NAMM Show 2019 Venue: Anaheim Convention Centre, Anaheim, USA

VISIT SITE

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Oct 25 – 27 Broadcast India 2018 Venue: Bombay Exhibition Centre, India VISIT SITE

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VISIT SITE

Nov 14 - 16 Inter BEE 2018 Venue: Makuhari Messe, Chiba City, Japan Nov 15 – 17 Pro Wave Expo Venue: Adlux International Convention & Exhibition Centre, Kerala, India

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VISIT SITE

Feb 05 – 08 Integrated Systems Europe 2019 Venue: Amsterdam Rai, Amsterdam, Netherlands

VISIT SITE

Feb 24 - 27 Prolight + Sound Guangzhou 2019 Venue: Area A, China Import & Export Fair Complex, Guangzhou, China

VISIT SITE

Feb 27 – Mar 01 Live Entertainment Expo Tokyo Venue: Makuhari Messe, Tokyo, Japan

VISIT SITE

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KNOWLEDGE HUB SEP. 2018

THE ALEX SCHLOESSER COLUMN

Manners, Mannerism and the Use of Swear Words in Pro Audio Allow me a break from writing about tech gear all the time please. I know we are all gearheads and we enjoy this throughout our careers, but I want to spend this column today on something that I have found rather important besides all the love for technical gadgets, that we get to enjoy working with. This is about teamwork and how we interact with each other.

I fear that by the headline that I choose, the editors in charge will be looking for the swearwords in the column, but they won’t find any, because I am bleeping them all out. Don’t get me wrong, I love a good swearing and I think it helps too, but there are places to swear and there are places to not swear at all. People, that have known me, have always warned me, that when going to consult on a Church project, that I should please not drop the F-bomb all the time and I am proud to say, that I don’t think I ever did (more than i should). The reason is rather simple, if you have some sense of situational awareness, then swearing around church leaders and people of faith does simply not occur, because it feels out of place.

On the other side if you have ever had a chance to do real rock & roll touring, then the amount of swearing starts when you open your eyes on the bus and it will almost not stop when you go to sleep again late at night. This is healthy and good because the hours are long and working environment is always challenging and hence swearing comes easy. This is healthy and it does vent a lot of the pressure, that each one is going through and therefore it is acceptable.

One of the blessings of a good team is how people stand up for each other and how helping each other is never a question at all. Such teams will radiate this vibe to the customer and to the artist and the audience and this makes a huge difference. In this regard, I find that when I must choose between pushing my own agenda through all the time or playing as a team player, I will always choose the latter. You might even end up getting more and better results, because if people recognize you as a team player, then they might want and enjoy going the extra mile for you, when it comes to your requirements.

My reason for having a company with a team of employees was that I found, that alone you can only do so much, but with the right team the sky is the limit and I got to enjoy mixing all of my large-scale gigs only because of a fantastic team behind me. If they had not supported

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me and the gig all the time, then none of the gigs could have been completed successfully.

The best way to build this is to have an open and constant flow of communication with each other. People who always protect what they know and who keep to themselves all the time, are not good team players and people who never bring in their team on the important stuff, are not good leaders. I have seen and I still do see this each day and I would love to remind us all that only together will it be possible to do things that are much greater than each individual. You will get all the credit for your work eventually and the right people will recognize what you are doing. Being the lonely wolf (I would have much rather used another word, but…), does usually not help and it also does not motivate people to help you.

In this spirit, let me offer you a hand, whenever needed and by the way, FU2

“If people recognize you as a team player, then they might want and enjoy going the extra mile for you, when it comes to your requirements.”

RoboTrax Presenter Tracking System

RCF E24 Mixing Console with Superior Effects & EQs

Fast-Fold NXT Stronger, Faster & Simpler with Foldable 4K Optics

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+603 8075 8990 +65 642 30682 +662 769 8199 +62 21 8082 1480

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KNOWLEDGE HUB SEP. 2018

HARMAN EDUCATIONAL SERIES PART 7

Building your Audio System – Improving the Mix Welcome back to Building your Audio System series. In the past 7 months, we’ve learnt the importance of having a good PA, the factors to consider when deciding on the requirements, and how to configure and set up the monitor systems. It’s been a journey, as we inch towards doing “the show”. This month, we will study some of the key processes for improving our monitor mix, so the performer can hear more accurately and give a better performance. Veteran sound engineers can easily fill an entire book with helpful tips to improve clarity, reduce feedback and ultimately make the musicians happy. In this article here, we will however share five tips and tools every live sound engineer can apply to improve their monitor mixes.

Gates A noise gate is a dynamics effect that cuts or attenuates a channel when the signal is below a variable threshold. You can use gates on the kick, snare and tom channels so the signal only comes through when the drum is struck and then closes to ensure that their sympathetic vibrations don’t muddy up the monitor mix—or even worse, slowly take off into a humming feedback. Set the attack time to be fast with a slow release time, and reduce the depth so that the signal is attenuated but the opening and closing of the gate can’t be audibly heard

The dbx 1074 Quad Gate is a four-channel gate unit.

Two EQs, One Mic Often you will find that a vocal EQ that sounds good in the FOH system will sound muddy in the monitor mix or vice versa. One method of working around this is “multing” the vocals. Use a microphone splitter or digital console patching to feed two separate channel inputs with the same vocal microphone. One of these channels will be for your front of house mix only, and one will be for the monitor mix only. You can EQ the monitor channel of the vocal to reduce feedback and use a different EQ on the main channel of the vocal to ensure it cuts through in the main mix. This process will take up an extra channel on the board for each input you want to “mult”, so keep this in mind when configuring the channel count for your board.

Reverbs and Delays “Can I get some reverb in my monitor?” is a common question live sound engineers hear. Singers are known to be self-conscious about their voice. Reverb softens the edges of a vocal and can make a singer feel better about their voice, which can create a more inspired and passionate performance. Send the FX return channel to the monitor bus to give them the reverb they ask for. Be careful though—too much

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verb will obscure their ability to discern pitch and can cause more feedback problems.

High Pass Filters If you’re having difficulty taming the low end of a mix, you can use a high pass filter (or HPF) to remove unwanted low frequencies from each instrument and microphone channel. This process is also common when mixing FOH, but becomes even more crucial when trying to minimize the danger of low frequency feedback from the monitors on stage. The general rule of thumb is to sweep the filter from low to high and dial back when you audibly hear the tone begin to suffer. With a few exceptions, 80Hz – 100Hz is a good place to start for vocals and most other instruments. For kick drum, tom and bass channels, search around 40Hz – 50Hz. Don’t be afraid to explore higher cutoffs, but keep in mind that this setting will affect your FOH mix as well.

Soft Compression Vocals are often the most dynamic element to work with in live sound.

Gently compressing the lead vocal channel will help the vocal remain at a comfortable level in the monitor mix without jumping out of pocket and crossing the threshold of feedback. Set a low ratio (< 2:1), quick attack time and medium release time; then adjust the threshold until the gain reduction meter is reading between -3dB and -6dB. Use a soft knee if your compressor has the capability. Take note that if you compress too heavily, you will squash the vocal and increase the likelihood of feedback.

The dbx 1046 Quad Compressor/Limiter is known for “Over Easy” soft knee compression.

Wrapping Up These are just a few of the different processes you can use to stay in control of the monitor mix. In the world of live sound, the end result is what matters most. Not every method is necessary for every application. Try experimenting with processing and see the difference it can make to the musicians on stage. Do you have a specific process you follow to stay in control of the monitor mix? Let us know by dropping us a note at HPro.APAC@harman.com. If you would like to visit us at our HARMAN Professional Solutions APAC Experience Centre in Singapore, drop us an email to fix up an appointment.

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

HARMAN Professional Solutions APAC Experience Centre 108 Pasir Panjang Road, Level 2, Golden Agri Plaza, Singapore 118535

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KNOWLEDGE HUB SEP. 2018

ALL ABOUT WIRELESS BROUGHT TO YOU BY

EIGHTH INSTALMENT

Intermodulation Distortion by Hayden Leiper Welcome to the ninth instalment of All About Wireless, brought to you

by SHURE. In this issue, we will focus on the generation and impact of Intermodulation products.

Non-linear circuits, included in both the output stages of transmitters and the input stages of receivers, are essential to the design of RF components. If multiple frequencies enter the non-linear circuity at the transmitter output or receiver input stage, or if RF amplifiers are overdriven into non-linear operation, additional products of the input frequencies are generated. These additional frequencies are called Intermodulation (IM) products. The interference they caused is referred to as Intermodulation Distortion (IMD).

order, which contain more power than 4th order, and so on.

Of the twenty IM products listed in the table above, only the four shown in red fall close enough to the carrier frequencies to potentially cause IMD. All other IM products fall outside the bandwidth in which additional wireless microphone or IEM systems are likely to be used, so they can be ignored. Additional orders of IM products are generated beyond the 5th order, but the power levels of such products are typically low enough so as not to cause IMD, even if they do fall inband, so they too are usually ignored.

Intermodulation can occur between closely spaced transmitters, whereby the signal radiated from one transmitter generates IM products in the output stage of other nearby transmitters. The IM products are then transmitted along with the tuned carrier frequencies of the affected transmitters. If there are receivers in the system tuned to the same frequencies as the IM products, those receivers may experience IMD. Intermodulation can also occur if receive antennas are positioned too close to transmitters, whereby the IM products are generated at the receiver input stage.

2nd Order

3rd Order

4th Order

5th Order

2 x f1

3 x f1

(3 x f1) + f2

(3 x f1) + (2 x f2)

2 x f2

3 x f2

(3 x f1) - f2

(3 x f1) - (2 x f2)

f1 + f2

(2 x f1) + f2

(3 x f2) + f1

(3 x f2) + (2 x f1)

f1 - f2

(2 x f1) - f2

(3 x f2) - f1

(3 x f2) - (2 x f1)

(2 x f2) + f1

(2 x f2) + (2 x f2)

(2 x f2) - f1

(2 x f2) - (2 x f2)

2nd - 5th order IM products in a two-carrier system

In-band 3rd order IM products in a two-carrier system The graphic above depicts the most common case of Intermodulation.

The 2 carrier frequencies may generate 3rd order IM products at (2 x f1) – f2 and (2 x f2) – f1. In this example, for carrier frequencies of 590MHz and 595MHz, IM products may be generated at 585MHz and 600MHz. If another wireless microphone or IEM system was set to operate at 585MHz or 600MHz, it would be at risk of experiencing IMD.

The frequencies at which IM products are generated is mathematically related to the original carrier frequencies. The table above indicates the frequencies of all 2nd to 5th order IM products that may be generated in a two-carrier system. The order of the IM product refers to its relative power level. There are two important points to remember regarding IM power levels. Firstly, the power of an IM product is proportional to the square of the carrier power and inversely proportional to the square of the physical distance between transmitters. In other words, transmitters operating at high power placed closely together will generate stronger IM products than transmitters operating at lower power spaced further apart. Secondly, the power of an IM product decreases as the order number rises. In other words, 2nd order IM products contain more power than 3rd ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

In-band 3rd and 5th order IM products in a three-carrier system

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The IM landscape grows exponentially as more transmitters are included in the system The graphic above depicts the second most common case of Intermodulation. Three transmitters used simultaneously may generate six in-band 3rd order and three in-band 5th order IM products. In this case, 9 frequencies surrounding the original 3 carrier frequencies may be occupied by IM products. To avoid potential IMD problems, most manufacturers recommend a minimum margin of 250kHz between any 3rd order IM product and any tuned carrier frequency.

Unfortunately, the Intermodulation landscape grows exponentially as more transmitters are included in the system. A spectrum scan of a 9-channel VHF wireless microphone system is presented below. The carrier frequencies of the nine wireless microphones are shown in red. The extra peaks shown in grey are IM products. This is a fully compatible frequency set, so there is no risk of IMD on any of the nine carrier frequencies. However, adding a 10th wireless microphone within this range would prove problematic. The generation of IM products can, therefore, severely limit both channel density and stability in wireless microphone and IEM systems.

In terms of managing Intermodulation in a practical sense, the most important thing is to understand that the tuned carrier frequencies may not be the only frequency generated in the system. It’s not possible to mentally calculate the frequencies at which IM products may occur in systems consisting of more than two or three transmitters. There are, however, a few easy ways in which a compatible frequency set may be coordinated.

The group channel matrix included in all Shure wireless systems is intended to deliver a pre-configured compatible frequency set, taking all potential in-band 3rd and 5th IM products into account. If coordinating a system using this approach, it is important to remember

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

that the group channel matrix assumes clean spectrum. For this reason, Shure receivers are also capable of performing spectrum scans to identify existing RF signals that may interfere with certain frequencies in the group channel matrix. Matrix frequencies identified as being at risk of experiencing interference are automatically avoided.

The group channel matrix approach is suitable for coordinating low channel counts in entry and mid-level systems. For professional systems with high channel counts, use of a software tool like the Shure Wireless Workbench 6 is a more effective approach. Frequency coordination, spectrum management and system monitoring in Wireless Workbench 6 will be the subject of an article later.

Next month, we will examine some key differences between analogue and digital wireless microphone systems. We will compare bandwidth requirements and the impact of noise in each system.

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.

www.shureasia.com

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FROM THE VAULTS OF SYNAUDCON

What are the Differences Between Analog and Digital Interfaces?

by Pat Brown

Are you new to digital audio? Are you confused by the landscape of formats that have emerged in the marketplace? Following is a short expose that may shine some light on this potentially confusing topic.

Inputs and Outputs It’s all about inputs and outputs (I/O). How do I get an audio signal from one to the other? The ongoing evolution of professional audio has produced a number of viable digital interfaces to complement legacy analog I/O practices. The choices may seem confusing at first, but when you break them down the strengths and weakness of each become apparent.

In this overview, I will start with analog since it is familiar to most readers and serves as a reference for the discussion of digital formats.

I will focus on professional interfaces only. While similar in many ways to consumer I/O, professional are more robust against electromagnetic interference (EMI) and allow much longer cables – both requisites for large sound systems.

Figure 1 – An analog interface is point-to-point, with no exact requirements with regard to cable type, connector type, and cable.

A professional analog interface is a point-to-point connection between an output and an input (Fig. 1). It is electrically balanced, which provides strong immunity to EMI. Cabling is shielded twisted-pair. The interface is impedance mis-matched, where a low output impedance (typically < 200 ohms, or Ω) drives a high input impedance (typically > 2000 Ω). The impedance mismatch simplifies the interface by (usually) eliminating the need to consider specific impedance values. For example, a 100 ohm output would produce the exact same signal level into any high impedance input (10kΩ, 20kΩ, 30kΩ, etc.). An “output” simply connects to an “input” – end of story. It is often permissible to passively split an analog output to drive several inputs. It is not permissible to “Y” multiple outputs together.

The signal is in the form of a time-varying analog voltage that can span a level range of over 100 dB. Signals are classified by the magnitude of this voltage (e.g. mic level, line level, loudspeaker level). The signal flows in one direction only – from output to input. Cable lengths are limited by cable capacitance, and can approach 300 m (1000 ft) in some applications.

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Analog connectors are classified by the number of electrical contacts.

The impedance of cables and connectors is not a consideration, since analog audio signals are low in frequency in terms of the electromagnetic spectrum (Fig. 2).

Figure 2 – Analog audio (sometimes called baseband audio) is below 100 kHz in terms of spectral content. This is “low” frequency in terms of the entire electromagnetic spectrum.

Pros: • Simple and mature.

• Easy to troubleshoot.

• Ultra-reliable.

• Does not require impedance-matching between output and input.

• Signal propagation through a device or down a cable is instantaneous, with no practical delay or “latency” that must be considered.

Cons: • The electrical properties of the cable can degrade the signal.

• Multiple audio connections, along with electrical “grounds” can produce ground loops, which may in turn cause hum and buzz problems.

• Multi-pair cables are heavy and expensive.

Digital I/O – Audio Industry-Specific Formats

Figure 3 – A digital audio interface has more exact requirements than an analog interface. This includes an (approximate) impedance match, and there are less connector options.

The professional audio industry has standardized several point-to-point digital audio formats. These are designed to largely insulate the user from the complex inner workings of the interface and the complexity of the data. The most common are AES3 (USA) and AES-EBU (Europe).

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I’ll use AESx to refer to both. They are mostly identical except for a few details.

Like analog, AESx is a one-way connection between an output and an input. AESx was designed to allow the use of balanced analog cabling and connectors, most often an XLR male output driving and XLR female input via a shielded twisted-pair cable. For short runs (< 30 m, or 100 ft), one may use the same cable as for a balanced analog interface.

Low-capacitance cable designed specifically for digital I/O can extend the cable length to 100 m (300 ft). As always with cabling, your mileage may vary depending on the specifics of your application. Other cabling options exist including coax (AES3id – essentially a video interface) and category cabling (e.g. CAT5e). AESx can also be deployed using space-saving DB25 connectors on multi-pair cable (up to 16 channels).

The exact implementation is product specific, and there are passive methods for converting between each. The manufacturer determines the specifics based on the target market for the product.

An important difference between analog and AESx is that an AESx connection carries two audio channels over a single twisted-pair. There is nothing special about the XLR connectors, and some products allow the user to select between analog and digital using the same input or output connector, saving space on the chassis (Fig. 4). The high compatibility with analog I/O cabling and connectors is a major strength of AESx.

lossless compression schemes. AESx signals are usually not compressed to reduce the data rate, since the minimum requirements for full resolution are easily met by the current technology.

Figure 5 – Sample rate and bit depth can be expressed as a data rate for the digital bit stream, a sort of conveyor belt for the one’s and zero’s that make up the digital signal. AESx digital audio consists of two channels, with a data rate of about 6 Mbps.

The bit stream contains the audio samples (or payload) along with metadata that carries information about the signal required for decoding. This “protocol” must be adhered to by both the output and input circuits, or no audio will flow.

Since the data rate approaches 10 MHz (a 1.5 MHz fundamental plus odd harmonics), the interface must be impedance-matched (110 Ω) to prevent degradation of the signal traveling down the cable by reflections and standing waves. Like all impedance-matched topologies, AESx is a one-to-one connection – one output drives one input.

Multi-channel versions include AES10 (MADI) and AES50 (HRMAI).

While based on AESx, the details regarding clocking are quite different.

These multi-channel interfaces are popular for connecting digital mixers to their respective stage boxes.

Figure 4 – The input connectors for a four-input AESx processor. Note that for XLRs are required for analog, but only two are required for four channels of AESx (two channels on each connector). There is a switch to select between analog and AES (courtesy Marani).

Digital Audio Quality The objective of digitization of the analog signal is lossless encoding.

This requires a sample rate greater than 2 times the analog signal bandwidth, along with a dynamic range that approaches 100 dB. So, the main attributes of the data are the bit depth and sample rate. Most devices default to “24/48” which means 24 bit words flowing at a 48 kHz sample rate. Greater sample rates are possible, and are sometimes used for special applications.

The sample rate, bit depth, and number of channels can be multiplied to yield the “data rate.” This gives us a simpler, one number way to describe the digital audio resolution. Figure 5 shows the minimum data rate for one channel of full-range audio. A strength of digital audio in general is that the data rate can be reduced using lossy or ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

It’s About Time All digital signals require a clock signal to keep multiple components in synchronization. AESx has the clock signal embedded in the data stream, so a dedicate word clock connection is often not needed for simple systems. AESx components often have word clock I/O for more complex systems.

The output of a digital component is always latent relative to the input. There is an unavoidable delay. Latency is cumulative, and system designers have a “latency budget” that must be observed to avoid timing issues.

Pros: • “Analog-like” regarding I/O. • Two channels on one cable.

• High immunity to electro-magnetic interference and ground loops.

• 24/48 resolution is lossless with regard to analog I/O. Cons: • Potential clocking issues.

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• • •

Requires special instrumentation to troubleshoot.

Due to the high frequency nature of the signal, an impedance match is required between and output and an input.

Output is always latent – the only variable is “how much?”

Digital I/O – Data Networks Once the analog audio signal is digitized, it’s data. Technology has provided some very efficient means of data transport between computers, the most widespread of which is the Ethernet network.

Audio-over-Ethernet (AoE) exploits the low cost and ubiquity of data networks to transport audio data. While AESx and its siblings are audio industry-specific, AoE utilizes technology from the Information Technology (IT) industry as a means of audio transport.

Due to the simple wiring, quantity of channels, and low-cost network hardware, AoE has become a very popular digital audio transport. A major difference between AoE and AESx (and its siblings) is that AESx, like analog, is point-to-point, requiring a direct connection between the output and input. AoE is a network, so signals can be routed between any network devices, regardless of where they are connected to the network. This provides extreme versatility regarding signal routing for larger venues, campuses, studios, etc.

The audio practitioner must learn the specifics of the AoE “flavor” that they are using. This includes running a control application on a PC to route audio signals, and configuring network switches for the required QoS. Which AoE “Flavor?”

There are competing AoE formats. As of this writing, Audinate’s Dante enjoys the most widespread use. This can (and probably will) change with time, and competing formats such as Audio Video Bridging (AVB) (now referred to as Time Sensitive Networking (TSN)), will emerge as alternatives. AES67 is an initiative to produce inter-operability between the various AoE formats, so it may eventually be possible intermix AoE formats.

Figure 6 – AoE requires the connection of each component to a network switch. The I/O connections are made using a configuration program (e.g. Dante Controller or Cobranet Disco).

The analog waveform is first sampled, and then “packet-ized.” A packet consists of a few audio samples and some additional “meta” data necessary to traverse the data network. The AoE protocol (e.g.

Cobranet, Dante, Q-Sys, Ravenna – there are others) assures that the data gets “on” and “off” of the network to produce a contiguous waveform at the receiving end. High speed networks (e.g. 1000BaseT or “Gigabit”) can transport hundreds of channels. Unlike the “one-way street” AESx formats, a single cable can carry signals in both directions.

It is important to point out that AoE is just a transport. The quality of the digital audio is determined by the sample rate and bit depth. As such, all AoE formats should sound the same.

Pros: • 24/48 digital audio.

• Hundreds of channels on a single CATx cable.

• Ubiquitous cabling and connectors.

• Low-cost hardware infrastructure.

It’s Not Audio. It’s Data!

Regarding I/O, it’s a data network and the rules are rigid and established by the IT industry. The user is largely insulated from the complex inner workings of the network, and deployment in smaller systems is relatively plug-and-play.

Cons: • Data networks can get complicated.

• Problems can be difficult to troubleshoot.

• Converged networks require cooperation with the IT department.

• No intuitive relationship to analog audio.

• QoS issues.

• Multiple AoE protocols exist, and no manufacturer supports all of them.

• IT is a different skill set, and requires specialized training.

Audio practitioners must acquire IT skills to deploy large AoE networks.

Ideally, an audio-only data network is established using dedicated network switches. Increasingly, AoE may reside on the venue’s backbone with other data traffic such as email, web browsing, point-ofsale, etc. – the so-called converged network. On a converged network, the audio packets must have higher priority than other data traffic.

This is called Quality of Service (QoS). A chunk of a large network can be reserved for audio data through use of a Virtual Local Area Network (VLAN). A VLAN requires a more sophisticated “managed” switch than a simple, dedicated network.

Spectral Content and the Need for “Exactness” One way to frame the differences between the formats is in regard to the requirement for “exactness” of the interface variables. This, in turn, is based on where the signal spectrum falls in the overall electromagnetic spectrum. As with most things audio, it is a gradient, with no clear “right” or “wrong” answer. Since audio by definition is low in frequency, analog audio interfaces are fairly permissive with regard to the interface details. One can sort of “get away with murder” and still get audio. Many wire and connector types will “work” but it is good practice to use twisted-pair cabling, ideally with a shield. Cable testing

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The unique PA sound is achieved by incorporating eight high-efficiency 2.8“ neodymium mid-frequency drivers and 7 pieces of 1“ direct radiation dome tweeters into each unit.

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KNOWLEDGE HUB SEP. 2018

is basically a simple continuity test. The signal pair can be “bridged” with a butt set to detect the signal (Figure 7).

Figure 7 – A simple “butt set” is all that is required for analog troubleshooting.

Digital I/O moves further up the spectrum. The interface details become more black and white. For example, analog audio simply requires a low impedance output be connected to a high impedance input. All digital I/O formats require an impedance match, but AESx is more permissive than AoE. This explains why we don’t need “special” XLR connectors for AESx signals. It’s also why Euroblock and DB25 connectors can work. Even analog cabling can work at short distances.

Cable testing is often performed by the audio gear itself, and whether the AESx input can “lock” to the AESx output. Special testers are available that allow the lock signal to be detected, and the audio decoded and listened to (Fig. 8).

sophisticated. Along with cable testing there is a need to verify the system bandwidth, component addressing, Power-over-Ethernet (PoE) requirements, and more. Instrumentation for troubleshooting can be PC-based or stand-alone (Fig. 9).

Figure 10 – The requirement for precision in interfacing depends on the spectral content of the signal. The higher the data rate, the more the details matter.

The Inevitable Metaphor If you read my stuff then you knew this was coming. Here’s a way to describe the various interface methods to the lay person.

Analog is like driving a jeep on a one-way dirt road. In spite of the bumps, the vehicle can weave all over the place and still get to its destination intact. AESx is like a Formula One car on an oval track. The higher speed requires a smoother surface and some boundaries. AoE is like a bullet train. There is an exact path and the margin for error is razor thin. At those speeds, any small discontinuity can have disastrous consequences.

This also explains why there are so many poorly performing analog systems in use. Impaired analog interfaces can still pass audio and no one may even realize they are impaired unless there is a direct comparison to a more ideal interface. So, as we move up in the spectrum from analog, to AESx digital, to AoE the interfacing details become more exact and there is less room to bend the rules. What we get in exchange for increased complexity are more channels and greater versatility – valuable benefits for many system types.

Figure 8 – A specialty tester for AESx interfaces (courtesy Whirlwind).

At the highest frequencies (AoE on a gigabit network) the interface details are so stringent that they can’t be left to chance.

The interface, cables, and connectors have an exact specification and no decisions are left to the end user. While continuity testers can work at the most basic level, the testing can (and should) be much more Figure 9 – A stand-alone tester for network troubleshooting (courtesy Fluke).

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Digital audio has not obsolesced analog, and AoE has not obsolesced AESx and its siblings. All have their place. Analog still remains the standard by which to judge the fidelity of a digital system. Sometimes the simplest approach is the best, and sometimes it isn’t.

www.prosoundtraining.com

LIVE EVENTS & VENUES

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LIVE SEP. 2018

AUSTRALIA

Australian Bassist Sam Anning Reaps the Benefits of DPA’s New CORE by DPA Amplifier Technology The internationally acclaimed musician has switched to a d:vote CORE 4099B Instrument Microphone and is using it at Australian Jazz festivals After replacing his d:vote 4099B Instrument Microphone for one with the new CORE by DPA technology, internationally acclaimed bassist Sam Anning says he is hugely impressed with the sound he is now achieving.

“I came across DPA mics a few years ago while touring around festivals in Europe and my first encounter with the d:vote 4099B was one of the those eureka moments,” he says. “It’s very vindicating, as a performer, when someone comes up with a well thought out and brilliantly designed answer to honestly capturing and transmitting the sound that you spend years in the practice room finessing. DPA’s d:vote 4099B does just that – and now, with the new CORE by DPA technology, it is even better.

“I tried my new d:vote CORE on my double bass for an Australian live to air national radio show with Maceo Parker, Gretchen Parlato, Terri Lyne Carrington and Barney McAll and it sounded incredibly natural and isolated (in a good way) from the other instruments. I’m now looking forward to seeing how my old Martin guitar sounds when I use it with the d:vote CORE 4099B on my songwriting projects.”

Originally from Australia, Anning became an indispensable fixture on the Western Australian jazz scene while studying for a Bachelor of Jazz (Performing) degree at WAAPA. He went on to release Sam Anning Quintet: Re-Turning Point, his debut album as a band leader, which featured Graeme Lyall AM and cello quartet Wood. Anning later spent time in the USA completing a Masters of Music programme at the Manhattan School of Music, and then performed extensively at prestigious international jazz festivals such as Montreal, Vancouver, Detroit, Jazz a Vienne, Copenhagen, Port au Prince and Panama, as well as festivals in Melbourne and Perth. During his career he has won numerous awards and played with many international jazz greats including Joe Lovano, Kenny Werner, Ari Hoenig, George Garzone, Gilad Hekselman, Greg Osby, and Charlie Haden.

Anning’s new d:vote CORE microphone now has a permanent place in his microphone arsenal and is attracting plenty of praise from other musicians and engineers.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“Recently, at the Melbourne Recital Centre where my band was supporting one of the international headliners, the engineers at the soundcheck were really impressed at how open and natural it sounded, while still delivering excellent separation from the drums,” he says. “Many of the concert goers and critics said we outshone the main act, which proved the point. The microphone also works well through foldback monitors and doesn’t feed back in the way that other microphones do – and the new removable cable at the end of the gooseneck stem makes life a lot easier, too.”

As well as being a DPA customer, Anning recently extended his involvement with the company by taking part in DPA’s World Tour event in Melbourne, which was held in conjunction with Australian distributor Amber Technology. During the event he played demo sessions with Chris Pickering on drums so that local musicians and recording professionals had a chance to hear various DPA products in action and learn more about microphone placement.

“We tried different microphone positions on the bass to get different tonal colours and even tried putting the IMK inside the body of the instrument,” he says. “Listening back, it was incredible hearing how much detail these microphones captured, despite drums taking up so much acoustic space. I was sold. It was a great experience for me and not only would I do it again, but next time I’ll be bringing my students and bass player friends because we can learn so much from working together.”

Sam Anning is currently touring Australian Jazz festivals with his band and promoting his new album Across A Field As Vast As One.

www.dpamicrophones.com

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LIVE SEP. 2018

CHINA

BlackTrax Helps Introduce New Audi Model to the Chinese Market Unique motion tracking system delivers wow factor to launch event

When prestige car maker Audi introduced its revolutionary A8L luxury saloon to the Chinese market, technical service company Redline turned to the BlackTrax real-time motion tracking system to help deliver the “Wow!” factor to the launch show.

Gordon, Director of Business Development. “BlackTrax is unique in its ability to automate the tracking of moving objects by projectors, spotlights and so on – which is why it’s being used increasingly in major product launches worldwide.”

Each of the cars featured in the show was fitted with ‘BTBeacons’ which transmitted the exact position of the vehicles as they moved around the stage to ‘BTCams’, which then relayed the information to the lighting console so that any lighting look could be designed while automatically following the cars on the stage, regardless of speed or direction, with an accuracy that would not have been possible to achieve manually.

“For this show, BlackTrax was invaluable because we did not have the opportunity to have a rehearsal with the cars,” said Jack Sun, CEO at Redline. “But with BlackTrax, we really didn’t need one – we just set it up, and got precisely the effect we were looking for.”

Another big part of the reveal, was the futuristic graphics projected on the floor and not only accented the beautiful car, it also helped explain some of the A8L’s new built in technology and features. The mapped projection interacted with the car as it drove around the stage. As well as the BlackTrax system, the Audi A8L launch show featured no fewer than 30 Panasonic PT-SRZ31KC projectors, 72 Acme lighting features – being used by Redline for the first time – two gx 2 and four 4x4pro media servers from disguise and motion graphics from Notch.

Andrew Gordon, Director of Business Development

“The cars were the stars of the show – so it was vital that they were accurately highlighted by the supporting audiovisual technology,” said Andrew

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“We’d also like to thank William McDaniel from BlackTrax for his excellent support during the project design,” added Sun, “which contributed greatly to an amazing event.”

Watch a video of the reveal here.

blacktrax.cast-soft.com

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LIVE SEP. 2018

JAPAN

disguise on Tour with J-Pop Band AAA

The team used direct and parallel mapping to create various environments for AAA’s arena tour

Japanese pop band AAA embarked on their ‘Way of Glory’ arena tour with disguise providing support for content mapping for a show packed with LED displays.

The design of ‘Way of Glory’ featured moving LED screens powered by three 4x4pros. Screen automation was controlled by Kinesys, which input positional information into disguise.

“Some of the things we did in disguise included integrating IMAG/live camera into the content,” says Roy Chung, from Los Angeles-based content creator POSSIBLE. “For example, we created screen content that we’d deliver with a matte or transparent zones as well as additional reflection/lighting passes that could be layered on top. The live camera could then be integrated in between those layers as elements built into the environment, instead of just being dropped on top of the content.”

Roy’s team also “used a combination of direct and parallel mapping so certain content could stick to the moving screens as they moved through a larger, parallel-mapped environment. We created a futuristic neon club environment for the song ‘S.O.L.,’ so the side screens had colourful shelves of liquor that slid through the club environment as the screens moved across the stage.”

He says disguise offered a number of advantages to the production.

“Being able to unify automation data and preview it in the visualiser, along with the different blend modes and the ability to mix mappings were invaluable in allowing us to create unique experiences through the screen content,” notes Roy. During pre-pro, the screen automation was programmed and recorded into disguise so Roy’s team was able to play back and test screen content in the visualiser without having to wait until load-in to see how it it would look, he adds.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Toyokazu Fujisawa, the disguise operator from Hibino, explains that the disguise solution was key for the integration of Kinesys for screens automation and perspective mapping. “We took the screens’ positions data from the Kinesys system in real time and synchronised the screen movements and content. Perspective mapping made the look unique.”

He says disguise “managed the content really clearly and smoothly, and that made my job easy as an engineer. disguise was also flexible with multiple key framing on the timeline and a variety of mapping options.

Those functions made it possible to add new looks on the stage.

Roy reports that, “we received a lot of support for ‘Way of Glory’ from disguise, including the company’s UK staff speaking with the Japanese team to sort out the technical challenges of integrating disguise and Kinesys. Kevin Li from disguise APAC’s office also came to rehearsals to consult on some mapping issues and ensure that all of our concerns were addressed ahead of the first show.”

The director of “Way of Glory” was Hiroaki Ijitsu of Show Design, the video director Tatsuro Ogawa of Orange Collar and the Kinesys operator Satoru Yamada. Servers provided by Hibino and Orange Collar.

https://www.disguise.one/en/

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DUBAI

Protec Delivers Another Successful UNITE with Tomorrowland Abu Dhabi partnered up with Envie Events to deliver a spectacular show with UNITE With Tomorrowland

Dazzling special effects in du Forum were synchronised with the show in Belgium to create an exciting atmosphere which highlighted the unique global connection. Party-goers got the opportunity to dance in real time to the tunes of renowned international DJ’s including Afrojack, Armin van Buuren, Dmitri Vegas and Like Mike via the live satellite connection. This also involved remote control of lighting to ensure each of the 7 venues shared an almost identical visual as well as audio experience.

Abu Dhabi, in partnership with Dubai-based producer, organiser and promoter, Envie Events, connected more than 400,000 music lovers on Saturday July 28th, as revellers in du Forum, Yas Island were linked up via a live satellite connection to Belgium and beyond when the muchanticipated global EDM festival UNITE With Tomorrowland returned to the UAE. Six other locations across the globe were also connected to the Tomorrowland main stage in Belgium, with Italy, Malta, Spain, Taiwan, Mexico and Lebanon also enjoying the world-renowned dance extravaganza.

Envie Events filled up the du Forum on Yas Island with thousands of revellers from 2pm – 2am, as the event was linked up live via satellite to the Tomorrowland mainstage in Belgium as well as to the other venues across the world.

The Abu Dhabi event featured live local and international DJs including the duo Lucas & Steve, SmokinGroove, Marcus Santoro, Regi, Barry Fore, Omar Basaad, D.O.D and Ummet Ozcan.

Headlining this year’s line-up in the capital, ‘Lucas and Steve’ performed their hit club collaborations ‘Summer on You’ and ‘These Heights’, which have received millions of views online to date.

For these travelling artists, the crowds in UAE were fantastic. “We noticed immediately the huge energy that everybody was giving during the show,” says Lucas de Wert.

“We heard a lot of stories about the Middle East and it’s really growing music-wise,” Steven Jansen added, “EDM is becoming the next big thing and that’s what we saw.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Protec were called on by Envie Events to deliver audio, lighting, video, scenic, staging and rigging solutions for what can only be described as probably the most elaborate festival on earth. Having successfully delivered the technical production for the festival held in Dubai in 2017, Protec’s project manager Pieter Smuts said, “the show in Abu Dhabi was almost a breeze – which was fantastic because the heat of the UAE summer can really put a lot of pressure on the crew as temperatures hover in the high 40s. As the theme for Abu Dhabi was the same as the one in Dubai, it made it a lot easier for us as we already knew the challenges we could have potentially faced.”

Abigail Bates, heading up Protec’s lighting crew, said: “The major difference for lighting was that the venue was smaller than last year.

This meant that we didn’t need to implement a large amount of audience lighting, as we did last year, because the audience area was not as spacious. Not having to install a large amount of audience lighting also made the install slightly easier, as it meant that we could concentrate all our efforts on rigging the fixtures into the stage set, which is the most complex and time consuming part of the lighting rig.”

When asked about the challenges she faced, Bates explained, “The main challenge for lighting on Tomorrowland, in both years that we have done it, has been the physical rigging of the fixtures. For every fixture, and there are around 80 fixtures attached to the stage façade, firstly the exact position of the fixture needs to be determined. It is important to be as precise as possible when determining this because the lighting/stage design has to look the same as the other UNITE events, and a fixture or group of fixtures rigged in the wrong place would be very noticeable when the live stream footage is playing from the other countries. Once the position for the fixture has been determined, a hole has to be made in the set, a pipe put through this hole, and then a rigging structure installed on the back of the set to hold this pipe in place. This whole process means that for every fixture, at least 4 lighting crew and 1 staging technician is needed.”

The lighting spec was outlined by the main Tomorrowland show designers in Belgium and Protec’s broad inventory had all the required fixtures. These included Robe Pointe, K10 Wash, Scenius Profile, VL3500 Wash, Stormy CC Strobe, SGM P5, and Molefay 4 light/Par 36.

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LIVE SEP. 2018

maintain a strong and continuous wireless connection with clear audio across an expansive area making them an ideal system for this event.

According to Leigh Snyman of Protec’s scenic and staging department, this year’s Tomorrowland scenic set had a few changes and alterations from last year. Firstly, the entire set was scaled down to a total height of 15.8 metres and a width of 22.8 metres. The reason for this was to fit the set into the new venue in du Forum, where Snyman and his team were limited by the height and width of the venue.

When asked about the challenges faced Snyman explained: “The towers were the most challenging part of the new restrictions as we had to cut them down by a total of 2.4meters. This meant we had to remove a large section of each tower without compromising the structural integrity and the overall appearance of the towers.”

“It’s important that we used fixtures as specified in their lighting rider so that all the Tomorrowland UNITE shows around the world have the same visual aesthetic. In addition, we used SGM P2 and some more Pointe to light the VIP deck, and a combination of SGM P2 and LED Parcans to add some colour and atmosphere to the catering/bar area outside,” Bates explained.

From a video standpoint, Smuts listed Protec’s Mambo 9mm LED 16x10 panel Screen - 1280x800 pixel resolution with 2x VX4S Controllers for Main/Backup and automatic failover switch - Roland V-800HD switcher to switch Resolume, Satellite Camera Feed and Playback Pro to screen.

He added, “Last year the switcher was analog way saphyr and we had 2 IMAG screens for camera feed. This year required only 1 main screen and a less complicated control. We supplied a duplicated output signal from satellite to an activation stand with an LED wall so people there could see other countries on the advertisement screen.”

The video team overcame any challenges that could have potentially arisen with the live stream due to their experience from last year.

Foreseeing any potential obstacles, the show went smoothly and the audience in Abu Dhabi were transported to Boom in Belgium for a couple of hours.

Ed Ross, Protec’s HOD described the audio setup, “It was all relatively simple this time with no challenges at all. We used our L-acoustics K2 with K1-SB flown above and SB28 subs on the ground. It differed from last year as we had a lot more weight loading capacity this time round so we were able to fly a very large array for the main hang and then a small kara array for delays for the VIP deck.”

The hangs Protec used were L-Acoustics 4 x K1-SB and 18 K2 per side ensuring depth, richness and clarity of sound identical to each UNITE venue worldwide. The delays were 6 x L-Acoustics Kara and 2 x SB18 per side. Ross chose 24 x SB28 for subs. For communications Protec used 3 x Clearcom Helixnet master stations networked together and 10 x Clearcom Freespeak II wireless comms. These have the ability to

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Other changes to the set were simpler to make. Cogs had to be shifted slightly to allow for the changes made to the towers. New graphics and prints also had to be altered, which were a simple fix for an experienced team.

Getting the set and entire visual effect to be uniform across all the venues involved working closely with the lighting team.

“We also had to work hand in hand with the other departments, especially with lighting. Because of the changes made, lights were shifted slightly and we had to cut new access holes into the set panels for them,” Snyman added, “Those were the only major changes and challenges we had on site. Before we started the build, we sat down and worked on a realistic and practical timeline to make sure the build was carried out without any delays. We made a day by day schedule on the entire sequence of events, including Abigail and the lighting department. We also planned a worst case scenario schedule for this gig to ensure we were prepared for any pitfalls or external factors along the way. In short, we were extremely well prepared for the gig from the very beginning right through.”

Protec project manager, Pieter Smuts paid tribute to the excellence of his crew for the weeks of planning, preparation and successful delivery, turning an ambitious and ground-breaking concept into a reality. “The show itself was amazing to be a part of – it looked great and sounded great,” he said. “There were no issues and I could not be happier. We look forward to partnering with Envie events again very soon.”

Director of Envie Events, Barry Pavic, reflected on another successful Unite with Tomorrowland leaving us with these final words: “Our goal is to bring people from all walks of life, countries, backgrounds and unite them as one with the power of music. That is exactly what UNITE with Tomorrowland did once again and we are very happy with the feedback. It is with the help of strong partners like Protec, and many others, that have made this concept such a huge success in the UAE.”

www.productiontec.com

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INDIA

New d&b audiotechnik GSL System & Reynolds Sound & Lighting System Rock Bangalore Open Air 2018 Known as India’s Largest Metal Festival, the Bangalore Open Air draws diehard metal fans from India and other neighboring countries

The Bangalore Open Air (BOA) ran its seventh edition this year, at Aadya Farms & Leisure on the outskirts of Bangalore. The BOA was conceptualized and promoted by Infinite Dreams.

efficient crew and great gear to go with it.” - Nikhil V. Pai (Technical Director, BOA) on Reynolds Sound and Lighting Services and the d&b products.

A change this year was the drafting of Reynolds Sound and Lighting Services from Bangalore who are amongst the premier sound and lighting vendors from India. They were entrusted with sound, lights & roof trussing for this year’s edition of the BOA.

Reynolds employed 20 GSL line array elements for this year’s edition supplemented by 20 GSL Subwoofers in a cardioid delayed arc pattern.

Systems were designed and aligned by Sohel Alexander Dantes from Reynolds.

A d&b audiotechnik GSL rig was used for the first time at the Bangalore Open Air, keeping in line with the massive d&b audiotechnik J series rig that’s used at the parent festival Wacken Open Air and keeping with the ethos of the international edition where technical production is always given top priority, Nikhil V. Pai, the technical director of the festival entrusted the responsibilities of the technical production to Reynolds, Bangalore.

“I needed a system that had enough headroom with even coverage while still being loud and clear to cover the full outdoor venue and Reynolds did a fantastic job of the system design”, says Nikhil about the sound system design and alignment.

“I have always been impressed with d&b products and have used them regularly with artists that I mix for and opted to use the services of Reynolds for this edition of the festival as they have an extremely ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Some of the other speakers deployed belonged to the Meyer family with elements being used for front fills and side fills. Monitoring was via Meyer Sound MJF series stage monitors.

“I must say it was a very pleasant experience, not only on a personal level but professionally as well... the d&b audiotechnik system

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performed really well, plenty of clear SPL and a ton of subs. The band was very happy with the stage sound too! No issues whatsoever!!

Good job by everyone!!” – Andy Garcia, FoH, Overkill.

“From the sound of it, seems like the d&b system was undoubtedly the preferred and best choice. Made this year’s edition of Bangalore Open Air a roaring success!” – Salman U. Syed, festival owner.

Harman India came on board this year, providing a Soundcraft Vi-3000 that handled all the mixing duties for FoH and Monitors. A Vi Stagebox was on stage for the patching of all inputs and outputs. “I have always been an ardent believer in the amazing capability of the Vi series mixers and they are my go-to mixers for all the acts that I personally mix. I love the clarity, transparency and ease of operations with this mixer” says Nikhil, who also mixed FoH for one of the bands that played this year’s edition of the festival. The FoH engineers of the visiting acts reiterated this, expressing that the Vi Series was their first choice in audio mixing consoles.

An equally impressive lighting rig consisted of 26 x Par 64’s, 16 x Clay Paky Mythos 2, 16 x Clay Paky 700 HPE Spot, 16 x Atomic Strobes, 16 x LBT LED Washes, Martin Smoke & Haze Machines and 06 x 4 Lite Molefays, all controlled from a Grand MA 2 Lite.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The 2018 artist lineup comprised of Overkill, a legendary thrash metal band from America; Immolation, another eminent death metal band from America; Alcest from France; Nervecell from Dubai; and Kryptos and Eccentric Pendulum from Bangalore.

“I am extremely delighted with how the technical production was carried out by the crew this year and so are the bands and visiting engineers. I have personally been inundated with emails and messages on how good the system sounded and how flawlessly the changeovers were managed” - Nikhil V. Pai. Also helping tirelessly with the changeovers and stage management were interns from Audio Academy, an audio engineering college based out of Bangalore. “I cannot be happier with the team I had this year and it is naturally a no-brainer for me to continue with the same alliances for the future editions of the Bangalore Open Air”, says Nikhil.

www.reynoldonline.com www.sl-series.com/global/en/ www.dbaudio.com www.meyersound.com www.soundcraft.com www.harman.in www.audioacademy.in

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INDONESIA

Argo Visual Delivers Mesmerizing Projection Mapping Show on Indonesia’s National Monument with Christie Visual Solutions With the help of Christie visual solutions, Central Jakarta’s National Monument recently came to life for the Asian Games

Eye-catching visuals projected on the façade of the National Monument during the projection mapping show The National Monument (Monas) in Central Jakarta came alive with vivid projections on its façade to promote the Indonesian capital and welcome athletes to the city for the upcoming Asian Games.

Standing at 433 feet (132 meters) high, the obelisk monument was built in 1961 to commemorate the struggle for Indonesian independence, and is one of the most prominent landmarks in the country. This made Monas an ideal location for the 25-minute show, which was staged every Friday to Sunday night until September 2. It featured a slew of eye-catching visual animations, thematic music and narration to recount the 1962 Asian Games held in Jakarta, tourist attractions in the city, and the 2018 Asian Games.

The impressive spectacle was made possible by Christie’s Indonesian partner Argo Visual (PT. Argo Omega Prima) using 14 Christie Roadster HD20K-J 3DLP projectors, with contents produced by local design house Tabia.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“We’re honored to be involved in this projection mapping show to highlight Indonesia’s rich culture, the vibrancy of our country’s capital and how we had successfully hosted the fourth edition of the Asian Games in 1962, which brought about immense national pride,” said Ignatius Alvin Antono, managing director, Argo Visual. “For a project of such significance, we decided that Christie’s J Series projectors are most ideal for deployment as they are reliable, can be installed in portrait position, easy to install, and able to deliver bright and high resolution images for an outstanding visual presentation.”

To deliver the optimal visual effects on the tall, narrow tapering monument, all 14 projectors were housed in a customized intermodal container to protect them from inclement weather conditions. Eight HD20K-Js were installed in portrait mode, while the remaining six units were deployed in landscape mode to cover the entire structure’s height and width. According to Antono, the challenge was the very short time

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The Christie Roadster projectors are housed in a customized intermodal container to protect them from inclement weather conditions

given to complete both installation and alignment of the projectors, which the team managed to accomplish in two nights.

overall results, despite the challenges of doing a projection mapping on Monas because of its unusual candle-like structure.”

“It was a very rushed job due to the organizer’s last minute decision to commence the show five days in advance. As a result, we had to push forward our planning and execution schedule quite substantially,” Antono explained. “During the alignment process, we also encountered challenges in balancing the brightness of the projected visuals on the ‘cup’ of the Monas (that houses the Hall of Independence) with images projected on the tower’s surface because of a very low gain of the wall. Thankfully, with the experience and knowledge that we have accumulated through previous projects, we are able to overcome the challenges to successfully deliver the show on time.”

Michael Bosworth, Executive Director for APAC, Enterprise, Christie, commented, “Christie visual solutions have enabled and empowered rental stagers to express their creativity and deliver captivating visuals and shared experiences. We congratulate Antono and his team at Argo Visual who have done a great job in deploying our J Series projectors to present an eye-catching projection mapping show at one of Indonesia’s most famous landmarks to welcome visitors to Jakarta for the Asian Games.”

The projection mapping show made its official debut in the evening of August 13 to much publicity and fanfare. All guests were enthralled by the visual spectacle, with Jakarta governor Anies Baswedan praising it as “spectacular”, and suggested that video projection shows like this be conducted on a regular basis so that more Indonesians can enjoy them.

The endorsement has brought much joy and relief to the Argo Visual team, who had worked hard to bring this show to fruition. Antono noted, “The Christie J Series projectors blended impeccably in terms of color matching and brightness to improve the overall experience of the show. We’re very pleased with the projectors’ performance and the

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

With a brightness of 20,000 center lumens, HD resolution, a dustsealed engine, embedded Christie Twist and an Intelligent Lens System, the Christie Roadster HD20K-J high-brightness 3DLP projectors are ideally suited for large screen applications and the most demanding outdoor installations. With a unique optics design and superior image processing, it delivers crisp, clean images with perfect color saturation and spectacular video.

Photo credits: Argo Visual.

www.christiedigital.com

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JAPAN

Martin Audio Intensifies Coverage of Rock in Japan MLA on four main stages, with WPM, DD12 and XE500

Martin Audio Japan has been featuring the premier MLA loudspeaker array at Rock in Japan for eight years, and it has now become an essential item on the four principal stages.

For the 19th edition of the Festival, which took place in Hitachinaka Seaside Park over two consecutive weekends in August, MLA was again seen on the largest Grass Stage, the second Lake Stage, Park Stage, and Sound of Forest.

From new, cutting edge performers to veterans, more than 200 artists appeared on these stages over the four days, enhancing the Japanese music scene, with tickets once again sold out in a matter of minutes.

“It was back in 2011 when we first introduced MLA on the Lake Stage,” reports Shuzo Fujii, president of MSI Japan. “This is now the eighth year that the system has been adopted, and its high degree of control has become essential for the festival.

“Grass Stage has more than 200m depth, and without the need to use many delay towers, MLA can easily achieve the area coverage. At the same time, we can mitigate the noise pollution offsite — few systems can do that.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

MSI mostly adopted the successful formula of previous years, merely changing the subwoofer location for some of the stages.

“This year, every speaker facing the audience was Martin Audio,” continued Mr. Fujii. “Previously, infills or lip fills would be other brands — but not this year!”

For the outfills on the Lake Stage, MAJ adopted Martin Audio’s optimised Wavefront Precision Mini (WPM) line array, with its unique scalable resolution, supported by the popular DD12 infill speakers, with W8LM providing lip fills. Martin Audio’s high performance XE500 reference monitors were again provided on the Grass Stage following their success last year.

In all, the festival welcomed 240,000 visitors over the four days — making it another major success, both for the promoters and Martin Audio’s advanced reinforcement systems.

martin-audio.com

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AUSTRALIA

Robe Spiiders Shine at Mercedes-Benz Fashion Week

Lighting Designer Paul Collison had to be extra creative with a show floor that was constantly changing during the fashion week

The latest instalment of the Mercedes-Benz Fashion Week Australia was recently held at Sydney’s Carriageworks entertainment precinct.

Bringing together the biggest names in Australian and international fashion designers, models and media, it is a must attend event for those on the cutting edge of fashion and design.

Being the show of shows in Australia, designers’ creations aren’t limited to the clothes on show; set design, theming and other theatrics are incorporated into runway performances. From synth-pop 80’s inspired fun, to break dancing, to a delicate Japanese cherry blossom garden complete with falling snow petals, artistic flare and inspiration came from far and wide.

Tasked with the lighting design for all the Carriageworks spaces, Paul Collison had quite a job at hand with the main venue being flipped multiple times during the week. The show floor would need to evolve to a rock venue from a theatre set with a complete different look and feel for shows only hours apart.

“Due to the varied use of the space, I had to design a multipurpose system that would cope with the drastic changes in the runway paths” outlined Paul. “I selected the Robe Spiider for my main wash fittings,

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

they cover everything needed in their colour range, from big saturated primaries to pastels, and even tungsten feels for key light features.

Their zoom, pixel effects and unique flower/beam element adds to the palette of effects”.

The extravagant Camilla performance featured Japanese drummers, a tea ceremony and dance among the models flaunting the latest designs.

“For the Camilla performance we used a lot of subtle pastel pinks and blues, as well as snapping to really deep blues to create background during spot lit performances”. Other performances featured super clean white light looks such as Bianca Spender, while others such as I.AM. GIA used the whole box of tricks with big rock looks, low fog, animating pixels and saturated reds. “That one was a lot of fun as we had the freedom to use more of the toys on offer. For a wash lamp the Spiiders certainly have plenty to play with”.

Production Technologies technically managed all production for Mercedes-Benz Fashion Week 2018 and all lighting was provided by Chameleon Touring Systems.

www.jands.com.au

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INDONESIA

Yamaha Indonesia Sponsors Popular Bali Jazz Festival RIVAGE PM7 and DZR loudspeakers play prominent role at the festival

For the past six years, the Balinese town of Ubud has attracted an increasing following of global jazz fans, thanks to the annual Ubud Village Jazz Festival. Held in early August, Yamaha Indonesia has been a Platinum sponsor of the event since its second year. This year Yamaha provided a RIVAGE PM7 digital mixing system and DZR series powered loudspeakers - used for the first time at the festival since their launch earlier in 2018 - as well as technical support.

Ubud has been a centre of the creative arts for many years. Coming to international attention in the 1930s, the town is still a centre of artistic excellence in Indonesia. First taking place in 2010, The Ubud Village Jazz Festival (UVJF) was founded by Balinese musician/composer Yuri Mahatma and promoter/recording studio owner Anom Darsana. It has quickly grown to attract high quality jazz performers from around the world.

UVJF operates very much as a community event, with the involvement and support of local artistic organisations, a mission to educate and cross-promote with other Balinese festivals. This year the festival took

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

place on 10th-11th August and featured performances by 24 jazz artists across three stages, including the winners of the Ubud International Jazz Day Youth Band competition, which took place in April. â&#x20AC;&#x153;Our aim is to put a smile on the faces of 5,000 people, irrespective of age, ability, creed or wealth,â&#x20AC;? says Yuri.

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Yamaha Commercial Audio systems featured on all three of the festival’s stages. On the main (Giri) stage, the RIVAGE PM7 system with Rio3224-D2 I/O racks supplied by Yamaha Indonesia was used alongside a CL3 digital console for monitors, provided by Soundworks Jakarta, with three DBR12, two DSR112 and two DZR12 powered loudspeakers for artist monitoring.

Front of house Pongky Prasetyo and monitor engineer Rio Felani were very impressed, saying “RIVAGE PM7 is an excellent digital mixing system. It has great sound and the awesome features really spoil sound engineers who use it!”

On the second (Padi) stage, local rental company Doctor Sound provided a CL5 digital console and a Rio3224-D2 I/O rack to take care of mixing both FoH and monitors, while on the third (Subak) stage, UVJF co-founder Anom Darsana’s company Antida Music Production provided a QL5 digital console and two Rio1608-D2 I/O racks to mix FoH and monitors. Here, the FoH PA system comprising two DZR315 three-way powered loudspeakers and four DXS18 powered subwoofers in cardioid mode, plus four DSR112 active monitors.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“The DZR range has an unbelievably crisp and accurate sound. The detail and the power of the loudspeakers is unbelievable,” says Anom.

“Yamaha Indonesia is one of important components of this festival the support and products that the company provides, and the results they produce, are always excellent,” adds Astrid Sulaiman, a composer, music teacher and director of UVJF. “Many engineers and rental companies visited the festival from throughout Indonesia, including Jakarta, and were very impressed with how the high quality Yamaha systems complemented the excellent jazz musicianship on show.”

After a very successful two days, the sound of music faded from the festival site for another year, but the goodwill will last much longer.

“UVJF is a very special, unique festival and we are very happy to support it and the wider artistic community throughout Bali,” says Chihaya ‘Chick’ Hirai of Yamaha Indonesia.

music.yamaha.com

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MARKET PLACE SEP. 2018

Enquire

FOR ENQUIRIES OR TO LIST YOUR USED EQUIPMENT CONTACT 10K USED GEAR ASIA CONTACT BASED IN SINGAPORE:

MANOJ CHAMANLAL

manoj.chamanlal@10kused.com

L-Acoustics LA-RAK (LA8)

Meyer – Galileo 616

€11,500.00

€3,150.00

LA8 Rack with 3 x LA8 with AES in very good condition

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Galileo 616 for sale.

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Strand – Cantata PC Lighting Fixture

Martin Audio – MLA/MLX

€55.00

€51,455.00

Used Strand Cantata PC fixtures available.

€7,400.00

Great condition RPU from early 2017

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Chauvet – Rogue RH1 Hybrid Moving Head

€1,610.00

MLA speakers and MLX subs for sale.

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grandMA2 replay unit – RPU

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Rogue RH1 Hybrid by Chauvet Professional available in excellent condition.

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Avolites – Titan One ***New***

Thomas Supermega Truss Package

Brand new. Original box. Factory warranty.

We have for sale a used Thomas Supermega Truss Package, this is all in very good condition and the price shown is for the complete package. This truss is immensely strong.

€200.00

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

€133,040.00