Sound & Stage - March 2013

BUYER’S GUIDEThe latest additions to sound control ››P35

THE BRIEFING The MusicHall officially opens its doors to Dubai ››P4

THE HITLISTA preview of this month’s videos and apps ››P48

Vol: 7 Issue: 3 March 2013An ITP Business Publication

SENNHEISER AND DAS AUDIO PUT ON A SHOWKSA’s Okaz Public Theatre is equipped with a new sound system

FIND OUT HOW FLASH

BROUGHT SNOW TO THE

DESERT FOR KANYE WEST’S

ABU DHABI SHOW

SWINGLE SINGERSS&S sits down with The Fridge to discuss the highs and lows of an

a cappella concert

dmg::events’ Ashley Roberts

discusses the UAE events industry

10M I N U T E S W I T H . . .

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01March 2013 S&S

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C O N T E N T S

C O V E R S T O R Y Buyer’s GuideThe latest additions to sound control ››P35

The BriefinG The MusicHall officially opens its doors to Dubai ››P4 The hiTlisTA preview of this month’s videos and apps ››P48

Vol: 7 Issue: 3 March 2013An ITP Business Publication

SennheiSer and daS audio Put on a ShowKSA’s Okaz Public Theatre is equipped with a new sound system

Swingle SingerSS&S sits down with The Fridge to discuss the highs and lows of an a cappella concert

dmg::events’ Ashley Roberts discusses the UAE events industry

10m i n u t e s w i t h . . .

EntErtainmEnt tEchnology and production08

16

the Middle East and how the industry compares to the one in the UK and Europe.

35 Buyer’s GuideThe hottest products in sound control.

39 The Guide

48 Hit List

as part of The Score’s line up. We go behind the scenes to discover what is required to create a concert that consists primarily of voices.

24 10 Minutes WithAshley Roberts, event direc-tor at dmg :: events Middle East and Asia discusses his experiences so far here in

Kanye West played his second concert at the du Arena in Abu Dhabi. Susan Muir-head of FLASH Entertainment walks S&S through the process of creating such a chilling event.

THERE’S NO BUSINESS, LIkE SNOW BUSINESS

02 Editor’s Comment

04 News round-up

8 Cover Story

16 SWINGLE SINGERSStraight from the UK, the Swingle Singers took to the stage at the Madinat Theatre

Volume 7 Issue 3 | March 2013

02S&S March 2013

www.digitalproductionme.com

Published by and © 2013ITP Business Publishing, a division of the ITP Publishing Group Ltd. Registered in the B.V.I. under Company Number 1402846

In the past month, the East Coast of America has experienced some seriously intense weather. Winter storm Nemo dumped 40 inches of snow on Connecti-cut. New York City saw just under a foot in

one evening. Boston experienced up to 76mph wind gusts. But it wasn’t just the US that experienced out-landish weather. The UAE’s own Abu Dhabi also ex-perienced an arctic chill, with snow, wind and ice. Yes, you read that last line correctly. The du Arena and FLASH Entertain-ment, hosting Kanye “Yeezy” West for the second time, saw its very own “arctic storm,” with snow machines, LED screens displaying an “icy” back-ground and a 3D visual effect that made it seem as though Mr. West was floating on ice throughout the eve-ning.

And while Abu Dhabi was not the tour’s first or last stop, they were still toying with the set and constantly looking to improve it from previous performances. According to Susan Muirhead from FLASH, potentially the most difficult aspect of the Arctic theme was ensuring widespread and even coverage of the arena audience across four different ticket categories and several platforms.

And in typical FLASH style, Muirhead and her crew were constantly reflecting on what they had experienced during West’s performance. Mention-ing that the du Arena was close to its 5th birthday, Muirhead explains that the ease with which her team were able to present shows like this is testa-ment to the fact that the careful planning and im-plementation process over a prolonged period is essential.

We also were able to catch up with Ashley Rob-erts, events manager for dmg::events Middle East and Africa. As Roberts is relatively new to the re-

gion, we were able to discuss his thoughts on the events industry here in the UAE and how it matched up with the likes of the UK. It came as a pleasant surprise when he revealed that, in his professional opinion, while there is always room for growth, the regional industry is very well established. He also spoke of the venues, both in Dubai and Abu Dhabi, receiving large sums of money, not only to improve and build on the already well established physical

infrastructure, but add and develop the IT infrastructures.

Finally, S&S was excited at the op-portunity to go behind the scenes for The Scores’ Swingle Singers perfor-mance at the Madinat Theatre, Souk Madinat Jumeirah. Sitting down with Hugh Walker, sound engineer for the Swingle Singers, we discussed how the group’s performance setup, specifically sound related, is quite prescribed and needs to be pre-programmed--so much so that the group travels with their own equip-

ment (even coming from the UK). When asked how a purely vocal performance (a cappella) differs in terms of sound requirements, he reveals that, de-spite looking fairly straight forward--what with eight vocal mics--it’s actually quite tricky to balance out all eight singers throughout a performance. While the group members try to self balance, when at the top or bottom of their range, it’s not always possible--and this is where Walker takes over.

ITP Business Publishingalso produces the followingrelated publications:

The online home of:

E d I t o r ’ s C o m m E n t Ashley Lane

Ashley [email protected]+971 4 444 3643

Let the cold air come in... Registered at Dubai Media CityPO Box 500024, Dubai, UAETel: 00 971 4 444 3000, Fax: 00 971 4 444 3030 Web: www.itp.comOffices in Dubai & London ITP Business Publishing

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The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the reader’s particular circumstances. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing. An exemption is hereby granted for extracts used for the purpose of fair review.

04SAS March 2013

www.digitalproductionme.comT h e b r i e f i n g

On the 24 Jan 2013 the MusicHall officially opened its doors in Dubai. The live music show from Beirut saw a grand opening earlier in January to an enthralling crowd.

Dubai’s permanent quarters will be in the theatre of Jumeirah Zabeel Saray, located next to the main entrance of the palatial hotel, and can accommodate up to 1000 people. Throughout the night, an international DJ mix-ing world music provides an interlude between acts, offering a refreshing alternative to the UAE’s nightlife and music scene. The venue will be open year-round on Thursdays and Fridays between 9pm until 3am.

MusicHall’s Dubai location is based on the music venue that was pioneered by the Elefteriades brothers in Beirut, Lebanon in the early 2000s. The show became, what they call an, “overnight success,” with its modern and innovative take on the ‘din-ner & dance cultural entertainment’ concept.

From rock, reggae and jazz, to Arabic, gypsy and Latino, music from every corner of the globe will be showcased with a distinctive blend

of more than ten live acts per night, combining a unique lively atmosphere with entertainment and food.

Lebanese co-founder of MusicHall, Michel Elefteriades is thrilled about the new venue for his pet project. He stated, “Before we opened the MusicHall in Beirut, my advisors thought that such a project was unfeasible due to the high costs of bringing in several artists every night. They thought we did not need that many

performances in one night. But I persisted in my idea. The success of MusicHall has proved them wrong. Now,

it is one of the hottest nightlife destinations in Beirut at-tracting music lovers from across the globe. With its diverse

range of cultures and nationalities, Dubai is the perfect location for our second venue.”

Musichall opens iTs doors To dubaiMusicHall opens at Jumeirah Zabeel Saray in Dubai

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06SAS March 2013

t H E b R I E F I N G

Dubai World Trade Centre (DWTC) and The Global Gumbo Group (G3) have marked Dubai’s 2013 calen-dar with an eclectic series of events targeting avid music fans in the Middle East and North Africa (MENA).

Combining DWTC’s exper-tise in event services man-agement with G3’s mission to provide opportunities for western and Middle Eastern artists in MENA, the venture will result in the launch of Dubai Music Week (DMW), the region’s first music industry tradeshow and fes-

tival, in addition to several music festivals throughout the year.

Contributing to Dubai’s pioneering position as a regional media hub, DMW is the first music industry tradeshow in MENA which brings together all the major music labels, artists and merchants to exhibit their products and launch initia-tives to key industry stake-holders and consumers.

Laila Suhail, CEO for Dubai Events and Promotions Establishment (DEPE) said, “The entertainment sector

is one of the most versatile industries in the world, affecting both consumers and corporations simulta-neously. One of our main goals is to build a platform that brings together the best talent in entertainment to Dubai. DEPE, through the Dubai Calendar, is commit-ted to supporting initiatives that keep the residents and tourists of Dubai enter-tained all year long with events and concerts. We look forward to welcoming international and regional artists in true Dubai spirit.”

A RockING tImE At DWtc

I N Q U o t E S

DWTC and Global Gumbo Group partner to launch a series of music events in Dubai in 2013

“One of our main goals is to build a platform that brings together the best talent in entertainment to Dubai,”

“The JW Marriott Marquis launch is a tremendously exciting project and will be the perfect platform for us to showcase how we can deliver phenom-enal results through our integrated events, PR and digital approach,”

Following customers’ demands for higher convergence, LG Electronics is working closely with global companies to increase its smart products platform within its entertainment and smart appli-ances business.

LG Electronics believes that more smart convergent devices will shape and inte-grate the technology community in 2013.

LG has invested significant amounts of time and money into R&D efforts centered around convergence.

Mr. D.Y Kim, President of LG Electronics Gulf FZE stated, “In economically turbu-lent times, the convergence of smart tech-nologies can save resources and money.” Kim added, “LG will keep working hard in order to provide new solutions and create new products that will allow us to establish the new lead in the market.”

back to reality

LG augments reality with its convergence solutions for 2013

LaiLa SuhaiL,CEO for Dubai Events and Promotions Establishment (DEPE)

Lucy d’abo,managing partner of DABO & CO


07March 2013 SAS

T H E B R I E F I N G

DABO & CO organises launch of JW Marriott Marquis

Following a multi-agency competitive pitch, DABO & CO was assigned the responsibility to organise the much antici-pated launch of the JW Marriott Marquis Hotel in February. The massive project showcased the agency’s integrated abil-ity with event management and digital activations.

This is an addition to Marriott Inter-national’s JW Marriott hotel brand. At a height of 355m, the 1,608-room hotel is currently the tallest hotel building in the world and provides more than 8,000 sq m of indoor and outdoor event space.

The DABO & CO’s managing partner, Lucy d’Abo, commented, “Our agency is defined by both its creativity and its com-mitment to unparalleled levels of client servicing, and recent wins such as the JW Marriott Marquis project are indicative of the fact that clients recognise and value the fact we consistently deliver impactful campaigns.”

JW Marriott Dubai appoints Dubai-based events agency

MediaCast, the Dubai based media technology distributor has announced the addition of Solid State Logic (SSL) to its brand portfolio.

Under the new agreement, MediaCast will distribute SSL in the UAE and the broader Middle East region.

Solid State Logic a manufac-turer of analogue and digital consoles and provider of creative tools for film, audio, video and broadcast profes-sionals. Founded in 1969, SSL is based in Oxfordshire, Eng-land, and its client list includes such prestigious organisations such as BBC UK, Fox USA, NBC USA, Swedish Television, RAI Italy, CBS USA, NDR Germany and NOB Netherlands.

“I’m delighted to appoint MediaCast as our WPP distribu-tor for the Middle East region,” says Damien Egan, EMEA distribution manager for SSL.

“MediCast has a successful track record and a great team whose knowledge of product, training and marketing is highly respected by their customers.”

Peyman Dadpanah, business director of MediaCast (pictured above) said, “We are delighted about this new association with Solid State Logic. SSL is an excellent addition to our

portfolio, with its prestigious line-up of products blending well with the products and solutions we already offer.

MediaCast has been provid-ing technology solutions in the Middle East to a breadth of markets including music studios, educational institu-tions, web-streaming solution providers and live-production facilities.”

MediaCast expands its brand portfolio with SSL

I N p I C T u R E S

MediaCast an-nounces ad-dition of Solid State Logic to its brand portfolio

Kanye West brought the Arctic to the des-ert with his second show in Abu Dhabi.

Music TiMe: The MusicHall officially opened its doors to Dubai.

08SAS March 2013

www.digitalproductionme.comE v E n t P r o d u c t i o n

Kanye West brought the

Artic to the desert for his sec-

ond Abu Dhabi performance.

S&S chats with Susan Muir-

head from FLASH Entertain-

ment to discuss the creation

of such a chilling show.

09March 2013 SAS

www.digitalproductionme.com E v E n t P r o d u c t i o n

of Abu Dhabi? Of course, stranger things have happened--though not many.

Susan Muirhead, FLASH Entertain-ment’s operations manager (for this event), begins by explaining, “Attempting to create an Arctic blizzard in the mid-dle of the desert was always going to be tricky and Stage FX worked hard to en-sure the stunning visual of cold weather landscapes created on stage were felt as widely as possible throughout the arena.”

She continues, “Ultimately, despite using everything we could locally, a sig-nificant number of machines were still

F ollowing Kanye West’s 2010 F1 performance, here at Sound & Stage, we were intrigued to see what ‘Yeezy’ had in store

for his fans this year. The theme, seem-ingly taken directly from the weather many North Americans had been experi-encing throughout most of January, was the Arctic. As if listening to West perform some of his best known tracks wasn’t enough, he decided to bring the Arctic to the desert. We were certainly interested to know more. How was FLASH going to pull off creating a blizzard in the middle

“Clear and uninter-rupted communication

within the special effects team was key.”

imported from the States.” According to Muirhead, potentially the

most difficult aspect of the Arctic theme was ensuring widespread and even cover-age of the arena audience across four differ-ent ticket categories and several platforms.

“We needed to ensure placement of structures, in order to support the projec-tion and special effects without compro-mising site-line or footprint within the audi-ence,” she explains. “In addition, clear and uninterrupted communication within the special effects team to ensure synchronised co-ordination of the machines was key.”

10S&S March 2013


To create such a spectacle, the Kanye West Tour provided 14 overhead snow machines imported from the US and mounted in the roof of the arena stage. “These used liquid to produce foam snow,” explains Muirhead.

STAGEFX was responsible for covering the rest of the arena with snow, using several techniques to achieve the effect, including 10 powerful electric FAN machines, which were installed on three levels of the VIP grand-stand using paper snow. In addition, four powerful electric FAN overhead machines were installed on three projection towers us-ing paper snow and six state of the art SNOW BOY machines were installed on three pro-jection towers using special foam liquid. Fur-thermore, StageFX used over 100Kg paper biodegradable snow and over 60L of special snow liquid to achieve this effect.

Maintaining a seemingly real arctic bliz-zard in the middle of the desert was never going to be an easy task for Muirhead and her crew. But if that was the case for the show alone, we wondered what the initial setup process of the show looked like.

“Following a number of initial conference calls to fine-tune the rider and establish the expec-tation of tour in full, our first step was in contracting the

Amount of years FLASH Entertainment has been heading the entertainment surrounding the Abu Dhabi F1

4y E a r s

Number of power-ful electric MAN machines in order to create paper snow on all three levels of the VIP grandstand

10Fa n M a c h i n E s

Amount of biode-gradable paper snow

used by StageFX

100k i l o g r a M s

12S&S March 2013


local suppliers we knew would best help us deliver this event,” Muirhead explains.

“It was clear from the outset that special effects were key and we started work on this early,” she continues. “The focus then turned to staging and how to best replicate the stage set required by the artist and cater for the multiple projection and special effects plat-forms needed, both on stage and throughout the arena.”

Muirhead adds, “On discussion and clari-fication of these two key elements, we were able to schedule the time we needed on site to build and prepare the event site.”

As with any large scale event, with or with-out the need to create an arctic landscape, obstacles are inevitable. Muirhead explains that there were indeed obstacles encoun-tered, both during the setup process and the event itself.

“The concept of this particular show is still very new and Abu Dhabi was actually only its second outing,” Muirhead reveals. “Because of this, the Kanye West Tour was still working on perfecting the design and were keen to in-volve us in what would work best. Discussion on stage set, for example, took place well into the eleventh hour.

“Placement of equipment within the are-

The Kanye West Tour provided a total of 14 overhead snow ma-chines, all imported from the US

14m a c h i n E s

Believe it or not, du Arena is quickly approaching its 5th

birthday

5Y E a r s

na also had to be carefully considered. The design of structures, which could accom-modate such quantities of both special effect and projection equipment at no expense to the audience within any of the four ticket cat-egories took time.”

She adds, “In the end six structures played a part in housing both the visual and physical effects of the show and we were happy that their footprint complimented the layout and flow of the arena well. “

It was no surprise that, when asked which piece of equipment truly “made” the show and left the audience saying “wow,” Muir-head felt it was the 3D visual effect that made it seem as though Mr. West was floating on ice throughout the evening.

“The use of seven giant projection screens to fully encompass the artist on stage, cre-ating a 3D visual effect in which he walked on floating ice and performed amid rolling waves and Arctic snow scapes was undeni-ably impressive,” Muirhead admits. “It was a definite first for both the arena and Abu Dhabi and you could feel the excitement of the audience as they realised the set up in full and anticipated the show to come.”

Lee Charteris, FLASH Entertainment’s operations director, mentioned in an earlier

S&S article that “you have to keep moving forward and getting better all the time.” As FLASH’s main venue is the duArena, it was interesting to know that the crew did utilise lessons learned from previous events, both during the setup and the performance.

Muirhead explains, “The Arena is ap-proaching its 5th birthday and the ease in which we as a team are able to present shows like this is testament to the fact that the care-ful planning and implementation process over a prolonged period has paid dividends.”

She continues, “Significant time and effort have tailored the venue in such a way as to achieve maximum flexibility for the types of performances that can be accommodated. Add to this, a number of key suppliers and contractors who have helped us nurture the venue from day one and it is this com-bination that ensures events always run as smoothly as possible.”

Finally, we wondered what Muirhead and her crew took away from this performance that she felt useful to apply to future events.

“Every event offers opportunity to learn and improve,” she admits. “Whether enter-taining five people or a whole arena full, our event debriefs are key to ensuring we are able to continually build on and share as a team our knowledge of the industry, the art-ist, the venue and the people we work with. “

Muirhead adds, “Thinking outside the box should be embraced: It may be too warm for a coat in the desert, but last weekend Kanye West battled the cold weather elements, while snow fell.”

www.efm-worldwide.com

THE MIDDLE EAST EVENTS &

ENTERTAINMENT LOGISTICS SPECIALISTS

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EFM offices are located in UAE, Qatar, UK, USA, Germany and Australia, in addition to an extensive international agency network.

Contact us for tour planning, advice or a [email protected]:+971 (0) 44 477 685

14S&S March 2013


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Control Panel

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›› GVG1MEUB GVG Digital HD/SD 1ME Unit

Box

›› PPUSPM *PPU Fostex / Canford

›› SPM PPUWL *PPU Work Lamps

›› PPURBDA *Surrey / Sonifex Red Box 6

Way

›› ADA VDA6 Snell & Wilcox 6 way Comp

VDA

›› PPUHPS *PPU Headphones RPRC *Re

mote Router Panel

›› VTRSND Audio kit (VTR Rack)

›› GVG1MEMM GVG Digital HD/SD 1ME

›› LCD Multiviewer 10 CH

›› MTVRMT *LCD Multiviewer Remote (HD/

SDI) Panasonic

›› GVG1MEEN GVG Digital HD/SD 1ME

Engineering / CCU Rack

›› SOUND (DAL)

›› ACW325 RTS BP325 & Beyer DT108/109

›› PSU15 RTS PS15 Wired Comms PSU

›› AUNSPLIT Audio Splitter Boxes

›› Camera channels –

›› VIDEO

›› CBPAK Bradley Engineering HD Cam Ball

Package

›› BKIT4 IDX Battery Kit c/w 4 Batteries

›› IDXQC IDX Quad Charger

›› BEDPS Bradley Engineering Data/Power

Splitter

›› IDXL9 IDX E-HL9S Batteries

›› REMCC MFC Camera Remote Control

›› HPXEFP HPX371 1/3” P2 Full Size Cam

era Channel

›› HPX371 Panasonic HPX371 1/3” P2 full

sized camcorder

›› VBTLH910 Panasonic 9” LCD Monitor

›› P264 64GB P2 Memory Card

›› AGCA300 Panasonic Studio Camera

Adaptor AG-CA300G

›› VAGBS300 Panasonic Base Station

(CCU)

›› VAGEC4G Panasonic Remote control unit

(RCP)

›› PBMSDIFL PAN SDI-Fibre converter

›› VMAIN V Lock Mains Adaptor

›› PANCAB 50M Panasonic Camera

System cable

P o w E r›› 63A3P10 63a - 63a Mains 3ph (10m)

›› MDU633 MDU 63a 3ph to 3 x 63a 1ph

Mains Converter box

›› 63A1P-25 63a - 63a Mains 1ph (25m)

›› MDU63213 MDU63a1phto2x32a1ph

›› 2x13amp 3

›› MDU63232 MDU 63a 1ph to 2 x 32a

RCBO (CTDB)

›› 32A-25 32a - 32a Mains 1ph (25m)

›› 32A313 32A1phto3x13A1ph&132A

(CTDB)

›› 32A-5 32a - 32a Mains 1ph (5m)

›› MDU631 Mains Distro Kit 63a 1ph

›› 16A-5 16a - 16a Mains 1ph (5m)

›› 16A-10 16a - 16a Mains 1ph (15m)

›› 16A-2W 16a - 13a 2 Way Socket (1m)

›› 16A4W 16a -13a4WayBox

›› 13A-4W10 13a - 13a 4way (10m)

›› 16A-50 16a - 16a Mains 1ph (50m)

›› 16A-20 16a - 16a Mains 1ph (25m)

›› XLR15M XLR to XLR 15m

›› XLR25M XLR to XLR 25m

›› SECC SECCEC Venus 4 Camera Tripod

›› SP2M2T 2 Tonne Spansets 2m (LED)

›› VLS-HR40 Hauling Rope - 40m

›› VLSBP Barton S6 Pulley

›› GCNCTND 5 x Traps and 1 x Plastic

sheet

›› COMP5 Composite 5m COMP3 Com

posite 3m

›› 1/2C Aliscaff Half Coupler with M10 c/s

hole

›› GCNCTND Samll Aliscaff Coupler

›› SITEBAG CT Site Bag

›› GCNCTDE Panasonic Tally Camera

Cable

a n n o u n c E M E n t P a›› 1 x Kelsey 8 Way Multicore - 110m

›› 1 x Kelsey 8 Way Multicore - 150m

›› 1 x Soundcraft EMP6 6/2 mixer

›› 1 x Handheld Media Player

›› 6 x Mackie SRM450 powered speaker

›› 1 x Shure SM58 Switchable Microphone

›› Power, shout and comms

16SAS March 2013


Straight from the UK, the Swingle Singers took to the stage at the Madinat Theatre as part of The Score’s line up. We go behind the scenes to discover what is required to create a concert that primarily consists of voices.

17March 2013 SAS

www.digitalproductionme.com E v E n t P r o d u c t i o n

A s part of The Score’s 2013 line up, UK-based Swingle Singers took to the stage at the Mad

nat Jumeirah theatre earlier in February. Hugh Walker, sound engineer for Swingle Singers, sat down with S&S to discuss the setup process of a Swingle show.

“We work with eight mics and AKG equip, WMS4500 system, C5900 cap-sules, and then there’s an AKG IVM4 and an LS9 and RME Gear, and other bits and bobs to interface with my computer,” he begins. “But we tour with the radio mics, a full compact control package that we can get on the plane with. And then we

“In regards to the setup, it’s all fairly self con-tained, sound wise.”

18S&S March 2013


Amount of years FLASH Entertainment has been heading the entertainment surrounding the Abu Dhabi F1

4y E a r s

During each perfor-mance, each group member has his or her own mic for the duration of the show.

8M i c s

The balance of the group

tends to develop from

one performance to the

next

8b a l a n c E s

work with the sound systems people pro-vide, which can range from what’s currently going on behind us here (setup for flash mob, which took place later that day) to a more conventional situation.”

Walker reveals that the group works a fairly pre-programmed show. “We have a total of eight balances, and everyone has their own balance for each song, which again takes a bit of time. But they tend to develop throughout the year so we start the next show where we left off with the previous one.”

He continues, “And yeah, setup wise it’s all fairly self contained on my end. I work this way because it allows us to branch out to events like a flash mob. We can’t get a sound check today and in fact it’s impractical to get a sound check for something like this. It’s not perfect, but it means we can work in a variety staging situations, such as this one, where I can basically switch on and we are pretty much ready to go. Because we work from enormous concert halls with fantastic sound systems to schools and arenas I need a system that’s versatile enough to match all these venues.”

The Swingle Singers were playing as one of the many groups in The Score’s line up-all of whom fell into the Classical category. Sound wise, we wondered how far Walker would go to say that the group could be considered Classical as opposed to Rock or Pop? “We’re really not a classical group from the sound point of view,” he admits. “While it’s very much a cross over group, with a lot of classical repertoire, from technology point of view it needs a Rock or Pop concert sound system. We still need a good sub base and a good full range sound system.”

Despite a cappella literally consist-ing of just voices, Walker reveals that the technical setup for an a cappella show is ac-tually is quite tricky. “On the outset it looks easy: eight vocal mics, how difficult is that go-ing to be? But because of what they’re doing, working to the extremes of their voices, they don’t tend to self balance their voice. They try, but the reality is, if they’re at the top or bottom of their range, they can only get out by screaming and there’s a huge variation from that point of view.”

and

SoundStage210x280+5mm.indd 1SoundStage210x280+5mm.indd 1 20.2.2013 10:51:3020.2.2013 10:51:30

20S&S March 2013


Total capacity of Madinat Jumeirah

Theatre

1t h o u s a n d

Living up toexpectations

With all the venues the group have visited, S&S was curious to find out how the Ma-dinat Jumeirah compared. Group member, Sara Brimer, explains, “This venue seems quite new and with top of the line equip-ment. Most of the venues in the UK we have performed in have been schools, concert halls or cathedrals. Not so much an actually show theatres. The quality re-ally is amazing here. That’s not to say the quality in the UK isn’t good, I just think the standards are quite different.”

Walker continues, “The sound is not in any way fixed. I can’t set a balance that works for a song. I know all the scores/pieces, which obviously works for me, but I can’t get some-one else to do it, because unless they know all of the music and they know exactly how people sing, it’s quite difficult. And then in terms of the vocal sound on stage, we have Kev and Ed who are the drum and bass sec-tion and for the vocal there are three girls and two guys, though we do tend to change up from time to time.”

He adds, “Overall there’s a huge amount of movement with the voices and because of this, we aren’t able to do what we’re do-ing on an analogue desk, not without a huge amount of automation.”

Toma Hirstov, sound engineer for The Fridge, explains that, in regards to obstacles

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22S&S March 2013


Total number of MAC 700 spots used during the Swingle Singers’ performance4

faced throughout the setup process, there was nothing unusual, just the normal prob-lems the team typically face. “We were try-ing to find the power here and we couldn’t, but we’ve managed to do that,” He admits, “It’s not that easy every time, but because we know this venue so well, it really doesn’t present us with any issues. We really have the full support from the Madinat Theatre. “

For Walker, the biggest obstacle for the group is the variation in the type of acous-tics they work in during a performance. “So again we often work in classical halls and for some of our repertoire it is fantastic while some of it can make it quite difficult.”

Walker continues, “And then the other extreme is working in theatres where ev-erything is quite padded, which means the

obstacle for me is it’s a necessity to pre-pro-gramme the entire show. The difficult behind that is the more you have automation the more difficult it is when you want to make a change.”

He adds, “The other obstacle is working with sound systems in venues, which are inflexible. In places where you have great equipment but it’s been installed in a way where you’re not allowed to tamper with it or adjust it. And that can sometimes be frustrat-ing, when you have this great equipment and you’re not allowed to work around with it.”

When asked how Walker felt the use of a looping station fell into the genre of a cap-pella (the literal definition being “without instrumental sound”) his response was an honest one.

“On the outset it looks easy: eight vocal mics, how difficult is that going to be? But because of what they’re doing, working to the extremes of their voic-es, they don’t tend to self balance their voices”


23March 2013 S&S

E v E n t P r o d u c t i o n

Total number of MAC 700 spots used during the Swingle Singers’ performance

S&S also had the chance to sit down with group member, Edward Randell, who gave his own professional view of how live performance has changed over the past five to ten years. “In the specific world of vocal music, people are integrating new technology into their acts more and more, like live looping, which is something we’ve seen quite a lot.”

He continues, “This is also something we’ve begun to incorporate into our shows as well. It allows us to realise these big ideas, arrangement wise. But with that, it’s also about finding ways to integrate this new technology without it becoming too much of a distraction dur-ing the performance, which is an obvious challenge. All in all, live performance is changing, while not changing at all.” He adds, “We’re also seeing more cross plat-form approaches to live performances, like live streaming, for example. We’ve had a few gigs in the previous years where

Kit Listm i c s a n d w i r E L E s s s y s t E m›› 8 x AKG WMS4500 + C5900 capsules

›› 8 x AKG IVM4 +AKG IP2 headphones

F o H›› 1 x Yamaha LS9-16 + ADAT expansion

card

›› 1x RME Fireface 800

›› 1 x AKG DSR700 +

›› 2 x handheld transmitters D7 casules

›› 1 x EAW KF695/SB600

L i g H t i n g›› 4 x mac 700 spots ›› 3 x robe 1200

›› 8 x mac 300 led kryptons

›› 2 x 1.2kw follow spots

›› 12x etc source

›› 8 x Robe spot 1200

›› 14 x T10-Sunstrips Active

›› 4 x ACL Bars

›› 1 x GrandMA Fullsize

where do we go from here...

our fans around the world have been able to tune in live and watch. It’s really quite exciting for as it builds our international presence while allowing our fans to feel connected to us.”

And being a bit of an a cappella groupie, S&S wondered, with the popularity of Glee and groups like Pentatonix (PTX), where the a cappella scene is currently headed. “With groups like PTX and movies like Pitch Perfect, a cappella is more in the mainstream awareness now than it ever was. Whether or not it will then translate into mainstream music within itself is actually a discussion we had at London A Cappella Festival: What will happen to a cappella? And the conclusion was we can’t consider ourselves too special if we want to see the scene to flourish. It can be very impressive with just voices, but ultimately, you need to focus on just making good music. That is what most people look for rather than virtuosity or tech excellence.”

Walker admits, “We’re not necessarily pure voice anyway. One of the songs in the show isn’t a cappella and contains pre recorded material. But in terms of looping and a cap-pella, you have people who have this whole a cappella purist kind of thing. Then again, you could make the same argument for more of the pop a cappella groups where the bass guy who is using an auto shift (that’s a synth re-ally). Where do you draw the line? In the end end though, I’m more into the idea of making music rather than a cappella.”

“We’re really not a classi-cal group from the sound point of view. We need a Rock or Pop concert sound system. We still need a good sub base and full range sound system.”

24SAS March 2013

P r o f i l e

Ashley roberts1 0 m i n u t e s w i t h

Events director of dmg::events Middle East and Africa, Ashley Roberts, sat down with S&S to discuss progression of the events industry in the MENA region, why we should focus on Abu Dhabi and how the regional industry compares to the UK and mainland Europe

25March 2013 SAS

P r o f i l eHow did you come to dmg :: events MiddleEast and Asia ?I met with the team directors of dmg about a year and a half ago about a separate op-portunity. At that point, I felt it wasn’t the right place for where I was career wise, to move out to the Middle East. At that point I was working on a consultancy basis, on a 6 month contract, with a particular company.

When that came to an end, a separate op-portunity came up whereby dmg were look-ing to launch back into the consumer events market, where I spent six or seven years of my career at that time. I could see that being a very strong opportunity, and that’s when I jumped at it. The other thing that continues to develop my career and builds up certain aspects of my CV is the international experi-ence, because this particular role, within itself, obviously very much presents me with that opportunity.

What are your thoughts on the currentstate of the events industry here in theMENA region?On the whole it’s a very well established market and I’m not just talking exhibitions here; whether it’s cultural, festivals, etc., it is very well established. That said, I do believe there is a lot of room for growth and obvi-ously Abu Dhabi is one of the prime areas where there is potential growth in that. On the consumer side, I also do feel, in Dubai for example and Abu Dhabi again, there is growth within the consumer events. In terms of B2B there are already well estab-lished shows across the UAE as a whole really.

Seeing as you came from London, howdoes the MENA events industry compare?The thing with the London events industry is that it’s obviously a very mature market. I also think that, by reputation, because of the geographical setup of the UK, it is very different to the UAE. The UK is bigger in terms of the size of the country, but also the size of the populous as well. It is that much greater. The difference with the UAE is also that, if you have a show in a particular loca-tion, it can serve the whole country. This is also a direct contrast to the UK in the sense that, if you were to hold a show in London, it would be difficult to attract attendees from Scotland, for example.

The other thing is that, obviously a lot of the event organisers in the MENA region are international-they’ve come from the UK or mainland Europe. They have a lot of inter-national experience and they have learned from the mistakes of other event organisers or from their own experiences as well. A lot

26S&S March 2013

www.digitalproductionme.comP r o f i l e

of stuff that’s happening in the MENA region is tried and tested.

In light of what happened at the nightclub in Brazil, how would you personallydescribe the state of the H&S regulationsin the MENA region?I’d say that they are indeed comparable with the H&S regulations I’ve encountered both in the UK and mainland Europe, as well. It is of a very high standards. That includes both from the venue, suppliers and event organisers, in their own way. I really have no concerns that they are done to a very high standard.

Where do you see the MENA eventsindustry in the next 5 years?I do see that there is a lot of room for

growth, especially within the consumer area. Abu Dhabi will play a very important part in that. If you look at transport, and the infrastructure that’s going into that area, such as the trainline between Dubai and Abu Dhabi, that would obviously make it much easier for people to commute between the two emirates as well.

In terms of venues, there is a lot of invest-ment going into the venues whether its DWTC or ADNEC in Abu Dhabi, they’re very well established at this point in time. How-ever, they are continuing to pour a great deal of money into those infrastructures. So whether that’s the bricks and mortar or the IT infrastructure, what that will do is attract a lot more international shows.

The Middle East, as a whole, is quite a stable market. And if you compare that to,

say, North America or Europe as a whole, the Middle East offers a much healthier market to launch shows and invest in ven-ues as well as a greater mix of suppliers. In addition, it offers a lot more traditional venues within the Middle East region as well.

What can we expect to see from dmg :events MEA in the coming year?We have now analysed ADIPEC, which will be taking place every November at ADNEC, Abu Dhabi. A new launch in 2013 is Abili-ties, aimed at those involved in the care of people with disabilities. This shall be taking place at ADNEC in December. Outside the UAE we are launching another show under the Big 5 brand and later this year we’ll have the first show in Mumbai.

27March 2013 SAS

P r o f i l e

AUDIO + VIDEOLIGHTS

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Tel : +9714 8852971Fax: +9714 8852972

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THAT’S THE NUMBER OF YEARS 3db has BEEN OPERATING IN THE UAE. we’re an event production company that delivers high-end corporate events, gala dinners, conferences and more. we have everything you need under one roof - lights, video, staging, set department and a large audio department that boasts a complete, cutting-edge concert system.11

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29March 2013 SAS

www.digitalproductionme.com C A S E S t u d y

Sennheiser and DAS Audio Solutions deliver audio solution for Souk Okaz Public Theatre in Saudi Arabia

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Introducing

AcousticPerformance™

The New Line of High-Output Installation Loudspeakers

AP SAS 0313 indd 1 2/11/13 10:58 AM

31March 2013 SAS

www.digitalproductionme.com C A S E S t u d y

Vertical Array Systems

www.dynacord.com

Vertical Array SystemsThe TS400 system provides a smooth coverage over a very wide bandwidth in a 2.5 way design by using high-quality spaced and filtered woofers as array elements.

Many high performance Plug & Play sys-tem combinations can be easily created using the PSD215 and PSD 218 powered

subwoofers, the non powered extension subs PSE215 and PSE 218 and the TS 400 array cabinets. The DYNACORD Vertical Array Systems meet the requirements for a large number of mobile applications and fixed installations delivering high sound pressure levels, outstanding audio quality, wide coverage and exemplary intelligibility.

va_180x110_quer.indd 1 2/5/13 4:36 PM

the historic Souk Okaz was estab-lished 12 centuries ago and has been revived as a tourist resort in Taif, Saudi Arabia. Now, celebrating its

sixth anniversary year, Souk Okaz, which was re-established by Makkah Gov. Prince Khaled Al-Faisal, is an annual event fea-turing a variety of cultural events in-cluding seminars, poetic evenings and folk performances.

For the last six years, Souk Okaz in Taif has been an annual meeting point for Arab poets, philosophers and liter-ary scholars, as it provided them a suit-able venue to exchange their views and thoughts and creative ideas. On the initia-tive of Prince Khaled, a number of prizes with cash awards have been introduced to honour outstanding poets, craftsmen, folk artists, photographers, calligraphists, and painting and sculpture artists.

At the heart of Souk Okaz is the public theatre, which boasts a seating capacity for over 3000 people. The modern day auditorium is built in the historic market-place and is the venue for the poetry and storytelling competitions --a highlight of the deeply cultural event.

Eager to ensure the very best listening experience for the visitors to the fair, but

limited by minimal experience in the field of audio engineering, Ascon Co. Ltd., the contractor for the project, turned to Mod-ern Lifestyles, a Jeddah based distributor specialising in audio and entertainment solutions. The Souk Okaz theatre is a semi-permanent tent structure and Mod-

ern Lifestyles was tasked with designing a solution that would account for unique echo and reverb issues in such a setting.

Also, given the nature of the structure, the systems would have to operate effec-tively under a wide range of weather and site conditions.

32SAS March 2013

www.digitalproductionme.comC A S E S t u d y

“The solution had to be customised to handle speech and poetry with the ut-most clarity. ”

Modern Lifestyles proposed a solution by Sennheiser Middle East, given the vendor’s consistent performance as a top market brand, that included a DAS Audio AERO 8-A Line-Array system and Sennheiser G3 wireless systems with an-tenna distribution.

Commenting on the factors behind the selection, Majd Al Khattib, technical di-rector at Modern Lifestyles reveals, “With the poetry and storytelling competitions taking centre place at the fair, Saudi Diyar and Ascon had set extremely high expec-tations of the audio systems. The solution had to be customised to handle speech and poetry with the utmost clarity. These requirements coupled with the complex-ity raised by the tent-like structure meant that we need to select a vendor with both the best product and the most profession-al support services.”

Al Khattib adds, “We carried out exten-sive market analysis and we were extreme-

ly impressed with the professionalism dis-played by the Sennheiser team throughout the stringent selection process. They were the most thorough and unlike any of the other vendors, they carried out exten-sive acoustic analysis, with the direct support from DAS Audio, to present us with simulations that ensured optimal performance.”

Sennheiser ME worked closely with Modern Lifestyles through each phase of the project including programming and commissioning of the system.

Maximum capacity of Souk

Okaz

3t h o u S A n d

33March 2013 SAS

www.digitalproductionme.com C A S E S t u d yThere were aspects of the project that

raised unique challenges for the design team. For one, the auditorium is situated atop a 1900 meter mountain plateau and a part of this mountain is contained within the theatre to create a rustic feel.

Ryan Burr, technical sales manager for Sennheiser, explains, “There were cer-tain complexities that required for us to be flexible in our design approach. To ensure that we got the project realised in a concise and efficient manner, we took the decision to get Dave Wooster, Sennheiser UK’s Sound Reinforcement Specialist, involved with the commis-sioning.”

Dave Wooster elaborates on the imple-mentation process, “The project pre-sented a few challenges when it came to some of the changes that had to be made when we got to site, in particular the relocation of the hanging points for the arrays meant we had to conduct a secondary simulation to ensure we got the aiming and coverage correct. We were able to take swift action and we in-structed the installation team on these changes, thus ensuring that we achieved the best possible coverage.”

Modern Lifestyle’s system integration

team completed the installation within just four days after which the team from Sennheiser ME began extensive test-ing of the system. This involved sound pressure testing and comparison of the system’s actual performance to that dur-ing simulation. The results met and ex-ceeded the performance metrics on all criteria.

The theatre now boasts an audio solu-tion that not only has been implemented well within budget, but also provides an unmatched level of flexibility. The use of Sennheiser’s wireless products allows for changes to be made rapidly as the DAS speakers can be easily repositioned to meet dynamic requirements.

The meticulous planning, simulation, solution implementation and testing and use of what is suggested as the “highest quality products” have helped deliver a future-proof solution that will entertain

audiences for years to come.Al Khattib concludes, “We are excited

about launching this theatre in 2013. We are sure that the experience will be dif-ferent now that the sound system and all other ancillary components are ready. We thank both Sennheiser ME and DAS Audiofor their support, patience and pro-fessionalism in carrying out this project with us.

Kit ListA u d I O›› DAS Audio Array speakers x 25 pcs

›› DAS Audio subwoofers x 6 pcs

›› DAS Audio stage monitors x 4 pcs

›› DAS Audio DSPs x 2 pcs

›› Apart Audio Media Player x 1 pc

›› Sennheiser Vocal Sets x 6 pcs

›› Sennheiser Presentation Sets x 6 pcs

›› Sennheiser Antennas x 4 pcs

›› Yamaha Mixer, LS9-16 x 1 pc

still...

for the live events industryBlackberry Z10 Launch 2013

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extending the experience

lighting video audio lasers powerdistribution

LEDscreens interactive and more

“There were complexities that required for us to be flexible in our design approach.”

audio video lighting staging special effects & automation riggingconference systems backline roof systems set design & build

New Equipment in Stock

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40 NOS. CHRISTIE ROADSTER HD 20K-J

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Strong, Compact & Light Modular Display

35March 2013 SAS

www.digitalproductionme.com b u y e r’s g u i d e

Behringer’s latest addition to the X32 Digital Mixer now allows a band to mix their own monitors using any iPhone, iPod Touch or iPad by simply downloading the XiQ app from the Apple App store. Designed to run on any device supporting iOS 5.1 or later the XiQ app is available free of charge.

The XiQ app allows perform-ers and musicians to control

their own monitor mix with full access to all 32 input chan-nels individually or through Behringer’s exclusive MCA (Mix Control Association). This powerhouse function allows each band member to group any inputs into four groups for immediate and focused control over their mix. When “more me” just isn’t enough, MCAs deliver the kind of control that

novice users appreci-ate and professionals demand.

While XiQ allows personal monitor mix-ing using an iPhone/iPod Touch, Behringer continues to offer the P16 Personal Monitor System for applications where it best serves the need. Linking digitally to the X32 over Ultra-net, the P16 system can support

up to 64 personal monitor

mixes, without using a single X32 mix bus. Both systems can be used simultaneously, result-ing in what Behringer calls, “the industry’s most compre-hensive approach to monitor mixing and control available.”

behringer XiQ

Allen & Heath added a range of iPad apps with the new GLD digital mixing system controller, GLD Remote, providing a comprehensive suite of mixing controls for remote wireless applications using either the iPad or the iPad Mini.

GLD Remote connects to the GLD-80 mixer on a wire-less network and gives the user instant access to any of the mixers channel faders and mutes, DCA faders and mutes, image controls, aux sends and assignments as

well as channel input and output processing, mic-pre control and full metering. Whereas most other apps on the market offer limited control over the channel processing, GLD Remote gives control of high pass filters, gates, parametric and graphic EQ, compressors and input/output delays.

Other unique features for system setup include a real time analyser (RTA) to ring out monitors and EQ the PA, the facility to name and co-lour channel strips, custom

layers with drag ‘n drop strip setup to suit any applica-tion, and a mix view where monitor engineers can keep both master levels and con-tributions under control in a

single screen. Additionally, GLD Remote provides chan-nel PFL control to enable the engineer to remotely listen to feeds using a wireless monitor system.

Allen & heath gLd remote

Sound & Stage Middle East takes a look at the indus-try’s hottest additions to sound controls...

soundcontroLs

Sound control is everything at a live event. Whether it be to create an atmosphere for club goers, enhance the level of an actor’s voice on stage or “raise the roof” at a concert, this element of a production is about as important as any. And with-out sound, unless intentional, there is no performance. So we here at S&S have handpicked what we believe to be the best of the newest sound control and mixers currently available on the market.

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Mackie recently released a new control app to accompany the Mackie DL1608 and new DL806 Digital Live Sound Mixers – My Fader. Based on the user interface and workflow of the Master Fader iPad control app, My Fader provides the perfect set of features for on-stage performers controlling their own monitor mix. My Fader is also great for the FOH engineer who needs a handy tool that allows pocketable wireless control from anywhere in the venue.

My Fader allows control of DL Series mix-ers via Wi-Fi from a modern iPhone or iPod touch. Version 1.0 (available soon) features touch-friendly control over multiple input channels at once and an output selector

for quick access to any mix. The addition of channel muting, detailed channel ID and metering and the inclusion of a master fader provide unmatched control for an iPhone mixer application. Plus, an access control feature can limit users to only control their assigned aux, keeping them away from other outputs. This is great for simple on-stage control of monitor mixes. Also unique is the ability to recall from any snapshots from the current show on the DL mixer. This is great for bands controlling the whole mix from the stage. With My Fader, DL mixer users benefit from the full power of a digital mixer with an easy-to-use application that fits right in their hand.

Harman’s Soundcraft launched the Soundcraft Si Expression digital console range, tagged as “the most advanced digital console in this low price category.”

Available in three frame sizes, Si Expression 1, 2 and 3 offering 16, 24 and 32 fader and mic inputs respectively, all three are capable of up to a staggering 66 inputs to mix by connecting any Soundcraft stagebox including the two new Mini Stagebox 16 and 32 (16 x 8 and 32 x 16) models also launched today at the show (separate release) or by con-necting additional inputs over MADI or AES/EBU. All external inputs are additional to the connections on

the desk itself. In true Soundcraft style,

the mixer is loaded with industry standard process-ing from Harman siblings BSS, dbx, Lexicon and Studer and many features like a colour touchscreen, iPad ViSi Remote control and Soundcraft FaderGlow, adopted from Soundcraft’s Vi Series large format flag-ship consoles. FaderGlow is a patented technology that automatically illuminates specific faders in varying

colours according to their assignment enabling you to focus on the mix, not where signals might be.

A powerful DSP engine provides four-band para-metric EQ, delays, gates and compressors on every input, parametric and 30-band graphic EQ, compressors and delays on all outputs, as well as four Lexicon stereo effects devices, all capable of being utilised at the same time. Soundcraft ViSi Re-mote allows remote control of the console from an iPad.

Freely assignable fader lay-ers allow you to place inputs and outputs anywhere on

any layer, opti-mising your mix control for the most

important channels.

Mackie My Fader

Harman soundcraft si expression

Allen & HeAtH Me PersonAl Mixing systeM Allen & Heath launched the new ME Personal Mixing System, a next generation personal monitoring solution, universally compatible with Allen & Heath and other pro digital mix-ers. Central to the ME system is the small, easy to use and fully-customisable ME-1 personal mixer, powered and connected via CAT5 and capable of managing up to 42 sources. The accompanying ME-U hub enables star connec-tion of multiple ME-1 mixers and interconnec-tion to other professional digital mixers.

ME-1 receives 40 sources via CAT5 (either mono or linked as stereo), and has a built-in ambient mic and local stereo aux input. The mixer’s flexible grouping function enables any combination of sources to be mixed and laid out on the surface from a simple 2 button ‘Me and Everything else’ set up to a full mix of 16 buttons, allowing the user to control the whole mix with just 16 or fewer keys. The configuration and up to 16 presets can also be stored, recalled and transferred via USB key for quick set ups or archiving.

ME-1’s layout incorporates backlit keys, soft rotary control, separate mic and mix levels, and an OLED display for custom channel naming (it is possible for names to automati-cally load when the mixer is connected to an A&H digital console). The ME-1 also comes with a standard input card to interface with GLD, iLive ACE or Aviom A-Net, which can be replaced with a MADI, Dante or EtherSound card to take a digital feed of up to 40 sources from third party systems.

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PreSonus recently in-troduced the StudioLive 32.4.2AI 32-channel per-formance. This new mixer features next-generation Active Integration technol-ogy, including a dual-core computing engine that packs over 64 times the process-ing power and an incredible 10,000 times more RAM than the previous top-of-the-line StudioLive 24.4.2. Its sophis-ticated, integral communica-tions also makes possible wireless control of the mixer without requiring an the use of an external computer.

Featuring 32 Class A XMAX mic preamps with individu-ally switched phantom power (plus an XMAX preamp for the Talkback input with always-on phantom), 32 line inputs, 14 aux mixes, 4 sub-

groups with variable output delay, Fat Channel dynamics processing and parametric EQ, a 48x34 FireWire S800 audio interface, and much more, StudioLive 32.4.2AI takes what PreSonus calls “affordable digital mixing” to a new level of sophistication.

StudioLive 32.4.2AI incor-porates the same Fat Chan-nel features as the award-winning StudioLive 24.4.2, including routing, panning, a high-pass filter and polarity reverse on every channel, and a full-feature gate, full-

featured compressor, limiter, and 4-band fully parametric EQ on every channel, aux, subgroup, and effects bus. Taking advantage of the Active Integration engine’s massive processing power, the new mixer allows users to create two complete sets of EQ and dynamics settings for a channel and then make quick A/B comparisons with the Alt EQ/Dyn button.

Also new in this model are six mute groups with All On/All Off switches and six user-assignable Quick Scene Recall buttons that let you load specified, saved mixer scenes.

In addition, the StudioLive 32.4.2AI also sports four internal effects buses: two with reverb and two with delay effects.

Yamaha recently released the 01V96i digital mixer, a console that offers one-cable connec-tion to computers and is perfect for studio, live recording and installation set-ups. Slated for introduction at Winter NAMM 2012, the new model builds on the proven configuration of its predecessors by offering USB 2.0 connectiv-ity, new multi-track recording features and improved sound quality.

With demand growing for multi-track record-ing in live sound applications, the 01V96i is up to the task and features easy multi-track live recording at precise 96kHz with 16 in/16 out USB audio streaming. The 01V96i includes sophisticated, single-cable Digital Audio Work-station integration and comes with Cubase AI6 built-in to make live recording even easier and it is completely compatible with ProTools, Logic, Performer and Studio One.

In addition to high-performance head amps with 24-bit/96kHz sampling rate and 110dB of dynamic range, the updated 01V96i incorpo-rates a full suite of the latest pre-installed Vir-tual Circuit Modeling (VCM) and REV-X reverbs for a full spectrum of tonal colours, bringing the richness of analogue sound to the digital realm. VCM plug-ins model the actual circuitry of the original analogue effects units, down to the last resistor and capacitator.

With 24 analogue and digital inputs available right out of the box, extensive expansion op-tions up to 40 + 20 BUSES configuration are available with mini-YGDAI (Yamaha General Digital Audio Interface) cards.

AdT-Audio ToolMod

Presonus studioLive 32.42Ai

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The new adt-audio analogue ToolMod Mixing Console fills the gap between the ToolMod Pro Audio Module System with its range of pre-amplifi-ers, processing, and master-ing devices and the ToolMix analogue summing boxes with an affordable modular console system for all applica-tions around a DAW.

The ToolMod analogue mix-ing consoles offers 16 Audio Groups for recording and/or sub grouping, 8 auxiliaries ( 6 x mono + 1 stereo), 1 stereo main master and 4 vca groups

with fader versions that are automation ready.

A range of modules, frames, and accessories let you configure an analogue mixing console that fits exactly to your needs. Like the ToolMod pro audio modules, this con-sole can start with only a few modules at low cost. Users can upgrade and reconfigure at any time and end up with a fully fledged, large format, automated and analogue mix-ing console.

Mono, inline and stereo input modules can be com-

bined in any way. Special con-figurations for DAW analogue mixing, recording and also for stem mixing are possible just by putting together an appro-priate assortment of standard modules.

Of course, the ToolMod ana-logue mixing console system offers superior sound per-formance like the other adt-audio Tool devices, together with the massive headroom of + 30 dBu throughout the entire system and more than 120 dBRMS line input/output dynamic range.

yAMAhA 01v96i o f f e r s P r e - A M P L i f i e r s , P r o c e s s i n g , A n d M A s T e r i n g d e v i c e s

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Guitar amplification provider, Peavey Electronics, announced the next generation ValveKing series tube guitar amplifiers. The ValveKing line was designed to feature all of the tonal qualities and attention-to-detail cir-cuitry of a boutique amplifier, but with a price point real working guitarists could afford.

In addition to all the boutique qualities and hot-rodded tones that guitarists have come

to expect from the ValveKing series, the next generation line incorporates brand new fea-tures for recording and performing musicians.

For the recording musician, the ValveK-ing features a USB direct recording output, which pipes the mic’ed amp vibe directly into a computer. On the rear panel, the built-in Peavey MSDI (Microphone Simulated Direct Interface) XLR direct interface eliminates the need for miking by allowing users to send the amp’s signal directly to a recording device or mixing console.

With versatile tone for rock, jazz, or metal, the new generation ValveKings have the capa-bilities to create almost any sound imaginable. ValveKing’s proprietary Texture knob enables guitarists to adjust the ValveKing’s “class” characteristics, allowing for complete power amp type versatility.

ValveKing offers other features like variable power control, so you can tailor your output to your performance situation without compromising tone. With triple 12AX7s, two independent foot-switchable channels each with its own EQ, and the Vari-Class variable Class A/AB simulation control.

Shift LLC recently revealed that Street By 50 Cent DJ Headphones, the latest headphone series from SMS Audio, are now available. The Street By 50 Cent DJ headphones from SMS Audio comes in Black and City Gray options, which appeal to a broad range of end users, from studio engineers, to artists, fans, whether in the studio, at a show or on the go.

The DJ Pro Performance headphones utilise professionally tuned drivers and gold-plated connectors to deliver the highest quality of studio sound on the go with enhanced bass. For added durability and ease of use, the cord is reinforced and features a flat design to eliminate twisting, tangling and knotting. They come with two detachable cords - one

for making phone calls, and a coiled DJ cord for extra length and durability. The Street by 50 Cent DJ Headphone is coupled with easy folding hinges and ultra plush memory foam leather rotating ear cups.

In his comments, Mazen Khanafer, Manag-ing Director of Shift LLC, said: “The Street by 50 Cent DJ headphone is here – encompass-ing the style, emotion and heart for audienc-es, live or on record. One can be assured of peak performance for those with passion for music and a unique eye for design and style.”

He added, “50 Cent, CEO of SMS Audio has for ultimate goal to provide listeners with a first-class audio experience. The Street DJ series fulfills that goal.”

This month’s hottest new products from Extron, Peavey, SMS Audio, and more

What’s neW

Projectiondesign F35Peavey electronics ValveKingProjectiondesign recently released the F35 panorama projector. The F35 pan-orama projector is the world’s first pan-oramic projector, which produces 35% larger viewing desktop than Full HD at the same screen height. Other features include 2560 x 1080 pixel resolution and warranted 24/7 operation.

Anders Løkke, marketing director at projectiondesign explained, “The F35 panorama projector is ideal for viewing in wide-screen using just one projector thanks to its Picture-by-Picture imaging capabilities on a 21 : 9 format display. In addition, the F35 panorama removes the need for blending images.”

sMs audio street by 50 Cent dJ

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Extron Electronics recently announced that the new FOXBOX SR HDMI and Pow-erCage FOX SR HDMI, high performance fibre optic-to-HDMI scaling receivers are now shipping.

They accept a fibre optic signal with audio, RS-232 control, and HDCP-compliant HDMI, DVI, VGA, or HD component video,

scaling the video to the optimal output resolution for the display. Also, the scaling receivers support resolutions up to 1920x1200, including HDTV 1080p/60.

Available in multimode and singlemode models, they also provide many integra-tor-friendly features such as Key Minder for continuous authentication of HDCP compliance, audio de-em-bedding, Auto Input Memory,

and internal test patterns. As part of the larger,

comprehensive FOX Series of fibre optic products from Extron, the FOXBOX SR HDMI and PowerCage FOX SR HDMI are compatible with the FOX Series HDMI, DVI Plus, DVI, VGA, and VGA/YUV transmitters.

In addition, the scaling re-ceivers can be used in combi-nation with Extron fibre optic matrix switchers and the compact, low profile FOXBOX SR HDMI and PowerCage FOX SR HDMI modular board designed for PoweCage 1600 enclosure deliver content at the right resolution.

ETC’s Paradigm Responsive Controls is the newest addi-tion to the Unison Paradigm family of architectural control.

Paradigm Occupancy/Vacancy Sensors use passive infrared sensors (PIR) to detect vacancy, automati-cally shutting lights off when a space is unoccupied. They can also be configured to turn on when someone enters a room.

ETC’s architectural market manager, Joe Bokelman said, “The Occupancy/Vacancy Sensors save energy because you’re not paying to light an empty room.”

The sensors are available with masks to prevent trips or false triggers. Instead of hav-ing to dismantle the product to install the masks, the Para-digm Occupancy/Vacancy Sensors let users depress the microlens dome and slide the mask into place on the out-side of the sensor. That means hassle-free installation.

Paradigm Light Sensors also reduce electrical use by tapping into Paradigm’s advanced daylight-harvesting capabilities and reducing the output of lighting fixtures based on the amount of

natural light in an area. Explains Bokelman: “If there’s sunlight streaming in through a skylight or shining through a window, it doesn’t make sense to have the lights on full. The Paradigm Light Sensors take advantage of the sunlight and adjust the lights accordingly.

In addition, large atriums with high ceilings can benefit from Paradigm’s daylight harvesting, because the Light Sensors feature a RemoLux head that can be installed up to 300m from the main controller station.

RCF dXt 9000

extron electronics FibreFOXBOX SR hdMi and PowerCage

RCF announced the launch of the DXT 9000, a digital voice-alarm system with the brains of network technology and the soul of professional audio. The DXT 9000 voice-evacuation system is completely scalable. The first fully digital PA/VA system to be designed from the ground up by RCF engi-neers, the DXT 9000 is sufficiently versatile to be used in almost any kind of application, from the smallest school or hotel to huge campuses that include multiple buildings.

The DXT 9000 is a distributed system in which every component, including the loud-speakers, has its own physical address, can be monitored according to the latest EN 54 standards, and can be configured after installation where necessary.

While paging and voice-evacuation are the primary uses for the DXT 9000, it can also be used to interface pro-audio active speak-ers through RCF’s RD-NET control and monitoring system. Active loudspeakers can be combined together with 70V/100V line amplifiers on the same dedicated network, and all system amplification is Class D+ – unique to RCF, and promising industrial-grade reliability along with high efficiency and audio quality and a small installation footprint.

For maximum flexibility, the DXT 9000 boasts a double-ring topology. The first, simple ring is designed for small and medium-sized systems, while the second ring is for larger projects. Whatever the size of the system, all components are designed to be plug-and-play and setup is easily configurable.

All digital amplifiers and active compo-nents are connected using RCF’s unique Flexicomm bus technology. For ease of installation, the majority of connections use twin-pair or four-pair J-Type fire-rated cable, while fibre-optics can also be used for longer distances.

In addition, in the event of a failure in the input stage of the digital network, a ‘Fall Back’ feature automatically allows the DXT 9000 to receive a signal from a dedicated fire base-station microphone.

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Extron Electronics announced the im-mediate availability of the DFX 100 Fibre Optic Extender, a transmitter and receiver set for long haul transmission of DVI video signals over one fibre optic cable. This extender delivers single link DVI-D signals over multimode fibre optic cable at lengths up to 300 meters (984 feet). Engineered for reliability and exceptional image performance, it uses all digital technology to deliver perfect pixel-for-pixel transmission of video images up to 1920x1200, including HDTV 1080p/60.

Its integrator-friendly features and compact size make the DFX 100 ideal for applications that require long distance transmission of high resolution video content with the highest quality.

The DFX 100 can be used for simple point-to-point applications or in combi-nation with DMS Series Modular Matrix Switchers that include the new DMS Fibre Matrix Boards. DMS Series ma-trix switchers can be populated with

any combination of DMS DVI and DMS Fibre matrix boards to support local and remote devices. To simplify integration, ultra-flexible DVI cables are attached to the transmitter and the receiver to allow direct connection to source and destina-tion devices. Pre-terminated multimode fibre optic cable assemblies from Extron are available in various lengths from one meter (3.3 feet) to 60 meters (197 feet).

RCF released the new AX 8042 and ZX 8060 digital matrix mixers, two highly versatile devices, designed on a powerful DSP platform using advanced electronics, which are dedicated for install sound and commercial audio applications.

Features of the AX 8042 include eight universal Mic/Line inputs with selectable 48V phantom power and six outputs, where four are balanced and included in the audio matrix, while the two remaining can be separately processed and combined to any of the previous four.

The processing power available enables many audio parameters to be set, such as parametric equalisers, gates, compres-sors, limiters, delays, ducking, priorities, Automatic Level and Gain Control levels and much more.

AX 8042 is able to receive ten logic inputs and send six logic outputs, all of them programmable. There is also the possibil-ity to link two AX 8042 devices and create a 16-input /12 output matrix.

In addition, the AX 8042 can be config-ured from a PC, linked through its frontal USB port, or through a pluggable RD-Net system control interface module.

RCF AX 8042 and ZX 8060

Newly released, the new Christie WeatherAll Series of LCD outdoor flat panels have been called “rugged and versatile,” and are the first of the WeatherAll Se-ries is the 55-inch Christie FHD551-W and a profes-sional grade Full HD (1920 x 1080 resolution) solution designed to perform in a wide range of applications, including outdoor sport-ing venues, outdoor live events, architectural ap-plications, entertainment parks, public displays, the hospitality and resort in-dustry, transportation ser-vices, and numerous other outdoor environments not typically applicable with standard LCD panels.

The Christie FHD551-W features optically bonded glass for increased protec-tion against harsh impacts and scratches in public display environments while enhancing picture in out-door venues by reducing reflection. It is designed to provide high contrast ratio, rich vibrant colours, and superior brightness

to overcome high ambient light.

The ability to use the Christie FHD551-W in land-scape or portrait mode is ideal for rental staging ap-plications, resorts, hotels and restaurants, to provide impactful content in public areas, while being rugged and durable to withstand rain, sleet, snow, and hu-man interaction.

The Christie FHD551-W’s integrated speakers and sleek design makes this a visually appealing solution compared to traditional LCD products that would require enclosures when used in outdoor environ-

ments.For superior dependabil-

ity in the most challenging outdoor environments, the DACS cooling & filtra-tion system provides a thermostatically-controlled active system that protects sensitive electronics from temperature extremes, moisture, and dust.

In addition, the FHD551-W features a weather rating of IP56/NEMA4, providing protection against solid foreign objects such as fall-ing dirt or windblown dust in addition to rain, sleet, snow, ice and splashing or hosed water.

Christie WeatherAll series

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Martin Professional recently released its new M6 lighting console that functions as a highly advanced visual control surface. Designed to control everything from con-ventional and moving lights to the most advanced media server, the M6 has been de-signed for today’s demand-ing multimedia shows and tomorrow’s challenges.

Incorporating the latest available technologies with an industrial multi-core pro-cessor, solid-state drives and custom-designed high-brightness touch screens, the M6 is capable of deliv-ering up to 64 DMX universes directly from the console’s network ports without using costly external processors.

With advanced features

like a LiveBlender T-Bar, FastDial rotary encoders, Paired Playback buttons and BriteTouch display, the M6 is Martin’s most advanced console design ever. It offers a total of 44 playbacks, including dual Main Go sections, 10 motorized faders and 12 additional faders, as well as a total of 17 encoders for param-eter

access.Based on the mature

and well-proven M-Series software platform, the M6 provides users the ultimate control surface for fast programming and extensive playback control all from

one console.

Electro-Voice and DYNA-CORD presented the LML-1 module for the supervision of Hi-Z loudspeaker lines. The LML-1 (Loudspeaker Measuring Load) allows the real-time monitoring of loud-speaker lines in Hi-Z sound reinforcement systems. With the LML-1 module, it is now possible, even in large installations – such as those in stadiums or shopping centres – for smaller 100-volt loudspeakers, in entrance ar-eas, lobbies or passageways,

to be driven by multichannel amplifiers from Electro-Voice or DYNACORD and super-vised using IRIS-Net soft-ware. This combination now offers basic supervision of loudspeaker lines in 100-volt direct drive operation within an overall project featuring both pro sound and com-mercial sound components.

The LML-1 is connected to the end of the loudspeaker line and powered using an inaudible pilot tone to provide a stable load condi-

tion. This load can then be reliably measured using the existing load supervision functions of the Electro-Voice CPS and DYNACORD DSA series amplifiers. The LML-1 is supplied in quantities of four pieces.

Martin M6 Lighting Console

eLeCtro-VoiCe and dYna-Cord LML-1ModuLe

Crestron64X64 digitalMediaCrestron recently launched the new 64X64 DigitalMedia switcher, the latest addition to its revolutionary digital AV network plat-form, at ISE in Amsterdam. Crestron Digi-talMedia is the world’s only complete, engi-neered digital AV distribution solution and the most powerful AV networking platform ever developed. The 64X64 DigitalMedia switcher (DM-MD64X64) is built to meet high-definition and analog AV distribution requirements for large commercial facilities such as stadiums, arenas, universities, and corporate enterprises. DM-MD64X64 is scheduled to ship on February 23rd.

The largest capacity DM switcher to date accepts, manages and distributes 64 AV sources of virtually any signal type across long and short distances over a Cat5e wire or fiber - all on a single platform. New Auto Locking technology delivers even faster switching times, so any noticeable switch-ing gap is virtually eliminated. In addition to increased capacity, the 64X64 DM switcher delivers valuable new system features including an innovative modular blade I/O expansion system and a built-in 15” color touch screen.

A built-in 15” color touch screen enables complete setup and operation with button-touch simplicity. As a result, integrators and installers no longer need to setup and connect their PC to the switcher to perform configuration and troubleshooting. DM-MD64X64 also includes an onboard Web server, enabling full operation and monitor-ing through any web browser without the need for custom software.


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Christie interactive Kit

Christie announced that the Christie Interactivity Kit is now shipping. Powered by Baanto ShadowSense, the Christie Interactivity Kit is a distinctive solution for adding multi-touch interactivity to any digital display.

Designed in pieces that fits around Chris-tie MicroTiles, the Christie Interactivity Kit can be configured into 84 different sizes. They can accommodate practically any large format display up to 21.4 feet wide and 6 feet high, or a Christie MicroTiles array measuring up to 16-units wide by 6-units tall.

The field-installable kits simply attach around the display wall perimeter and plug into a computer USB port without the need for drivers. Windows 7 recognises the Chris-tie Interactivity Kit as a multi-touch device automatically and no manual calibration of sensors or cameras is required.

LED screen manufacturer Lighthouse Technologies has announced the launch of X3, the latest product in its indoor portfolio of large-scale LED video displays.

Boasting a stunning 3.9mm pix-el pitch, X3 is Lighthouse’s highest resolution LED screen to date and opens up a new world of creative possibilities for the indoor rental and staging market. X3 addresses the needs of a variety of disci-plines including set and stage designers, concert touring and television shows producers and

shows design specialists and is destined to become the preferred choice for the market.

Developed in conjunction with XL Video, a player in the AV rental and staging business, X3 combines Lighthouse’s superior processing and a sophisticated mechanical design developed by XL Video, resulting in a curable and flexible joint structure that allows the screen to be shaped in different ways to become concave or convex both horizontally and vertically.

The use of 3 in 1 Surface

Mounted Device (SMD) LEDs al-lows X3 to deliver 140° horizontal and vertical viewing angles.16-bit processing and Lighthouse’s M4 colour processing technology deliver exceptionally true colours with an ultra-high contrast ratio and 2,000 nits of brightness,

which all ensure optimum image quality in most indoor situations.

At less than 10kg per panel, and with a panel size of 500 x 500mm, X3 is lightweight. Servic-ing is also quick and simple, with just the loosening of two clips to open the back cover.

LighthouseteChnoLogies X3

PR Lighting produced a fully-featured, compact and lightweight LED moving Spot to add to its current XLED range. The new PR XLED 250 Spot has been designed for venues such as club and bar use.

The fixture houses a Luminus PhlatLight CBT-90-W Big Chip white LED source — designed for de-manding applica-tions that require maximum lumen density, efficiency and reliability. With a 6500K colour system, power consumption is just 120W at 220V.

Features include a colour wheel com-prising eight colours (plus white) and a gobo wheel (with 11 gobos plus white). The head movement

offers adjustable speed 540° (pan) and 190° (tilt), with pan, tilt, swap and in-

vert function, auto position correction and magnetic sensor positioning.

Other features include 0-100% linearly adjustable dimmer, electronic strobe

(with 0.3-20fps) and standard beam angle of 20°. Control is via DMX512 (11 channels

in standard mode, 7 channels in short mode), with Master/Slave, Stand-alone and Built-in mode control alternatives.

In addition, other useful functions include fixture usage time display

and software version display.

Furthermore, the PR XLED 250 is housed in high-temperature engineered plastic (with IP20 rating), the XLED 250 Spot weighs just 4.5kg.

PR Lighting PR XLed 250

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Adamson PointAdamson recently revealed a new product line named The Point Concentric Series. The new series brings a powerful range of passive, co-axial, loudspeakers designed for both installation and rental markets to the Adamson tool box. The multipurpose cabinets are available in a double 5” (PC5), single 6” (PC6), single 8” (PC8), single 10” (PC10) and a single 12” (PC12) version.

This discreet range of cabinets, come coated with water borne acrylic paint, while all metalwork is finished with a Sandtex Powder Coating. Keeping form with the acclaimed Point Series, all cabinets can be color matched to the RAL library.

In addition, the PC5 and PC6 are the smallest cabinets in the Point Concentric Series, and provide a 70-degree conical pat-tern in a very compact package. Both cabi-nets ship with standard M10 fly points in 4 locations and additional rear Omnimount points. Threaded Pole mount hardware (for mic stand) or barrier strips can be installed, at no charge, on either cabinet by request.

DPA Microphones recently in-troduced its new d:facto II Vocal Microphone. Ideally suited to live music broadcasting, this latest addition to the d:facto line offers an extraordinarily natural sound, high separation and extreme SPL handling, giving users unlimited possibilities for their perfor-mances. In addition to use with the new wired DPA handle, the d:facto II provides singers and en-gineers with the added benefit of a state-of-the-art adapter system that allows for seamless integra-tion with many professional wireless systems.

The new d:facto II guaran-tees users exceptional DPA sound with popular existing wireless systems such as Sony, Lectrosonics, Shure, Wisycom and Sennheiser. The d:facto II provides improved audio perfor-mance as it is superbly linear in frequency and phase, both on- and off-axis, while its impressive definition and accuracy repro-

duces a singer’s voice effortlessly. The flexibility of its inventive

adapter system gives the user easy and very affordable possi-bilities of choosing either a wired DPA handle or the professional wireless system of their choosing, with no loss in the sound quality. Its simple plug-and-play features allow it to reproduce an extraor-dinary natural sound, which

reaches the extreme sound level handling of 160 dB. As with all DPA mics, the d:facto II provides superior gain before feedback, and a robust three-stage pop protection grid built into the microphone to remove unwanted noise. It also boasts exceptional isolation from handling noise as well as the ability to accommo-date extreme sound levels.

LG Electronics (LG) recently unveiled its newest energy efficient IPS panels, WX50MF IPS. Unlike conventional TVs, outdoor digital signage must be viewable in all types of lighting, in all types of weather conditions. At a bright 2,000 nits, LG’s model WX50MF IPS signage is the perfect solution for eye-catching outdoor advertise-

ments. Whereas competing 1,500 nit displays black out at just 85°C, the WX50MF outdoor display stays bright up to a searing 110°C.

Other hallmarks of this technology include a notice-ably wider viewing angle, zero distortion with perfect color consistency and contrast. Additionally, LG’s IPS based digital signage products

reduce the total cost of ownership with up to 30 percent improvement in en-ergy efficiency compared to competing products. Local dimming and Smart Energy Saving functions optimally adjust the LED backlight to match the brightness of the content, offering a more comfortable viewing experi-ence while using less energy.

Lg electronics WX50MF iPS

dPA d:FActo

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JW Marriott Marquis Hotel Dubai Wednesday March 27, 2013

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48S&S March 2013

February’s top stories


40.0% Not really. I’m a plumber

33.3%excIted may be aN over-statemeNt, but I’ll defINIte-ly be there.

26.7%absolutely. It’s aN es-seNtIal eveNt, aNd It gets better every year.

1 soNy opeNs 4K tv post facIlIty

2 New Jvc cameras wIN ebu approval

3 INtervIew: aKshay Kumar oN specIal chabbIs

4 lIberty global acquIres vIrgIN medIa for $23.3bN

5 IlIve gets a laugh

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cabsat is the leading event of its kind in the middle east. It is an annual show-case for the latest developments in the electronic media and communications Industry. It is also the only event in the middle east that is strongly supported and endorsed by international industry associations, arab states broadcasting union (asbu), asia pacific broadcasting union (abu), International associations of broadcasting manufacturers (Iabm) and global satellite forum (gvf).

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H T T P : // www. C a B S aT. C O M

12-14March2013

for the second time, Kanye ‘yeezy’ west performed at the du arena, bringing with him the snow and ice of the arctic. flash entertain-ment teamed up with stage fx to create a chilling perfor-mance. Ice, windy and snow, the Kanye west tour spared no expense to do the unthinkable: freeze out the desert.

Kanye abu dhabi 2013 opening act

CaBSaT MENa 2013dubai World trade centre, dubai, uae

Sound & Stage - March 2013

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