May / June 2016 R38.00

AV SyStem IntegrAtIon | InStAllAtIonS | lIVe eVentS | StudIo Pro AudIo

Prolight + Sound PoSt Show rePort

digico interview

the voice SA

genelec & MArtin Mh6 reviewed

TheaTre FeaTure

Cover Story

1

Viva afrika – hybrid+

EDITOR CONTENTS

elaine Strauss | A journalist and photographer, with experience in writing articles featuring a broad range of subjects, Elaine also has a honours degree in Visual Studies, and is making her mark in the audio and AV industries. With a keen interest in lighting design and film studies, she is a peoples-person with a fascination for all things new and shiny. With experience in journalism, videography and marketing, she brings to her writing a passion for and understanding of various fields.

NeWS Lighting up Adele’s world tour .......................3Crestron appoints Training Manager EMEA ..4Exterity scores at Euros ....................................4Transformation the key debate at Live Events Technical and Production Conference ..........................6DAC hears passionate events industry..........8SACIA meeting offers feedback of Prolight + Sound, LETPC and more ................8Inspiring young mentors ..................................9Successful ISE 2016 for RGBlink .......................9Gearhouse South Africa go wireless with LumenRadio .......................10CTICC backs down on levy decision ..........10Meeting up with Josh Groban’s audio engineers in South Africa ..............................11

PrOLIGhT + SOuND ShOW rePOrT Prolight + Sound 2016 sets new exhibitor and visitor records ..........................12Shaping the future of audio .........................14Shure KSM8 honoured with PIPA 2016 Award ....................................14Audio-Technica introduces ATM350a Microphone Systems ......................................15Alcons Audio launches LR18 ........................16Funktion One debuts Vero at Prolight + Sound ........................................16EAW showcases Adaptive Systems ..............17Electro-Voice X-Line Advance wins 2016 PIPA press award at Prolight + Sound .............................................17Barco showscases versatility .........................18Christie highlights new solutions at Prolight+Sound 2016 ......................................18PR launches powerful XR 440 beam ...........20Clay Paky shines at ProLight+Sound 2016 ...20Ayrton in major product launch at Prolight + Sound 2016 ...............................21ETC celebrates major anniversary at Prolight + Sound 2016 ...............................22

New additions for Martin by HARMAN family .........................................23Allen & Heath debuts Qu-SB.........................24DiGiCo reveals Quantum 7 at ProLight+Sound 2016 .................................24

TheaTre FeaTure New horizons for theatre sector ...................26Singin’ In The Rain a remarkable feat of production design .............................28Splitbeam turns technology into art for I See You ......................................32Artscape upgrades with ETC ........................34Charcoalblue sky theatre design ................36Naledi Theatre Awards boasts four new categories, six new judges ...................42

INTerVIeWDiGiCo – the ultimate console surfers .........44

LIVe eVeNTS Everyone gets together for the KKNK ..........46AV Systems revs it up for VW .........................50Rigging and such: Rotating a truss…. from square to diamond?.............................52The Voice makes South Africa proud .........54Burn the Floor returns to South Africa ..........56

PrODuCT reVIeW RUSH MH6 Wash – good things, small packages ..............................................58

eXPerT OPINIONOLED: Flattering flat panels ..........................60

STuDIO PrO auDIO Genelec innovates in audio-over-IP ............62

SOCIaL Christie Digital Launch ...................................63Naledi Awards ................................................64

Cover photo by Dustin Nelson

Jimmy Den-Ouden | An entertainment technician based in Sydney, Australia. His qualifications and experience span a broad range of subjects and technologies. He writes and reviews equipment most of the week, and works freelance on various shows and installations on a weekly basis. Jimmy can be seen on most GEARBOX video reviews, available on YouTube.

CONTRIbuTORS

in thiS iSSue

Publisher| Simon Robinson | simon@sun-circle.co.za editor | James Sey | james@sun-circle.co.za Managing editor & advertising sales | Claire Badenhorst | sales@pro-systems.co.za In-house JournalIst | Elaine Strauss | news@pro-systems.co.za sub-edItor | Tina Heron design | Trevor Ou Tim | design@sun-circle.co.za subscriPtions | Albertina Tserere | data@sun-circle.co.za accounts | Helen Loots | accounts@sun-circle.co.zasun circle Publishers (Pty) ltd | Tel: +27 11 025-3180 | Epsom Downs Office Park, 13 Sloane Street, Bryanston, Johannesburg | PO Box 559 Fourways North 2086, South Africa

www. pro-systems.co.za

editorial DisclaimerThe views, opinions, positions or strategies expressed by the authors and those providing comments are theirs alone, and do not necessarily reflect the views, opinions, positions or strategies of Pro-Systems Africa News or any employee thereof. Sun Circle Publishers makes no representations as to accuracy, completeness, correctness, suitability, or validity of any information and will not be liable for any errors, omissions, or delays in this information or any losses, injuries, or damages arising from its display or use.

Sun Circle Publishers reserves the right to delete, edit, or alter in any manner it sees fit comments that it, in its sole discretion, deems to be obscene, offensive, defamatory, threatening, in violation of trademark, copyright or other laws, or is otherwise unacceptable.

All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publisher.

Hello everyone, and welcome to the latest edition of ProSystems Africa News. Winter approaches here in South Africa, but far from causing everyone to stay at home by the fire, there is no let-up in the

live event and technical production sector. We feature extensive live coverage in this issue, but also cover some major initiatives impacting on the sector here.

The transformation and upliftment of the live event and technical production sector is the major news of the moment. The South African Roadies Association, led by the passionate and outspoken Freddie Nyathela, hosted its second annual sector conference in Johannesburg recently. As was discussed at a recent Department of Arts and Culture White Paper feedback session, internal transformation in the sector is becoming more urgent, and will be legislated for in new policy changes in the near future. This was discussed as a theme at the conference, along with the education and training needs that continue to exist in the sector. Nyathela’s major initiative is the creation of a local Backstage Academy to assist in the training and accredited qualification process for young people coming into the live event sector. We can expect industry change in the offing.

Our cover feature in this issue is on the theatre sector. The audio visual expertise required in the sector is demanding and rigorous. We highlight local and international case studies, and focus on how AV technology is adapting to the ways in which the definition of theatre space is becoming more flexible and adaptive.

The recent Prolight + Sound expo in Frankfurt also warrants extensive feedback in this issue. This year saw some changes to the AV sector’s largest global trade show. It now runs over four working-week days, and only overlaps with the MusikMesse MI fair for two of those days, instead of running concurrently. The show also moved into the eastern section of the famous Frankfurt Messe. Feedback on the changes was generally positive, and the show racked up record visitor and exhibitor numbers. Our coverage highlights some of the many new product launches at the show.

Among our other regular features in this issue is an interview with prominent UK console manufacturer DiGiCo. They have recently moved distributors in SA to DWR Distribution, the first time DWR have stepped out of their specialisation in professional lighting equipment into the sound arena.

Don’t forget that we’re here for you – as your resource for key industry information, trends and product news. If you want to talk about any of that, have suggestions, or comments on anything you read here and in our regularly updated website and newsletter, don’t hesitate to let me know. I’m on james@sun-circle.co.za.

Enjoy the read!James Sey

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The lighting design was realised by Patrick

Wodroffe with Adam Bassett as associate LD

and Roland Greil, interviewed in the previous

issue of Prosystems News, working as

programmer and lighting director on the

road. For lighting control the tour is using 2 x

grandMA2 full-size, 1 x grandMA2 light and 5

x MA NPU (Network Processing Unit). Neg

Earth supplied the lighting equipment for

Europe, while Upstaging covered the US.

“The stage design consists of a series of

gauzes and projection surfaces that are

constantly changing in position and purpose

throughout the show. Sometime Adele’s face

is seen on a rear screen, sometimes it

appears in a much more abstract way on

the front gauze and sometimes she is simply

glimpsed through a video or lighting effect,”

Woodroffe said of his lighting design.

“The lighting supports this concept, not just in

the way that it sets the mood and the focus

for each song, but also in how it reveals or

hides Adele and her fellow musicians with

shadow and texture. The custom lightbox

that surrounds the angled proscenium is also

an important part of the stage composition

as it focuses attention on the performers and

gives the design a contemporary aesthetic.

At other times the structure is deliberately

broken up as the projected images of IMAG

and other video content spill over from the

screen to mock the conventional idea of a

picture frame.”

“Adele was very much involved in the

creation of the show, from the initial design

concepts into the detail of the rehearsal

process,” continued Woodroffe. “She was

very comfortable and collaborative with the

creative process, and ironically I think her

lack of experience in this sort of large scale

production brought a freshness and an

originality to the way that we all worked that

was unexpected and invaluable.”

Lighting up Adele’s world tour

To describe adele Laurie Blue adkins, known worldwide as adele, simply as ‘successful’ would be a radical understatement. her third studio album “25” became 2015’s best-selling album and broke first week sales records in both the uK and uS. Now the artist is touring the globe with her 'Live 2016' – World Tour.

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Crestron, the world’s leading manufacturer

of advanced control and automation

systems, has recently announced it has

appointed Neil Walton as Training Manager

EMEA, effective immediately.

Walton has worked in training and

development within the AV industry for over

10 years. He began his career within

technical support for Armour Homes

Electronics, moving on to Technical Service

and Training Manager soon after. His most

recent position was as Senior International

Technical and Training Manager at

CYP Europe.

This new role will be based in Cobham,

Surrey and Neil will be heading up a team

of 13 trainers across Europe, Middle East

and Africa.

Steven Dullaert, Technical Training

Director, adds: “It is fantastic to have Neil on

board in what is a very important role for

Crestron. Training is a key business focus and

we are consistently developing and

monitoring our training strategy to ensure we

provide our technical team with the

knowledge and expertise to support

our customers.”

Walton says: “I am proud to have been

given the opportunity to join Crestron, the

global leader in home automation. I truly

believe training is the single most important

investment a company can make and I look

forward to working with the team.”

Exterity, with a local presence in South Africa,

are a specialised provider of enterprise IP

video technologies for the secure distribution

of live, on-demand and recorded video

over IP.

The company has announced that it has

deployed its IP video solutions in four

stadiums hosting the upcoming UEFA Euro

Championships 2016 throughout France,

enabling 1.1 million football fans and 2.5

million visitors in total to appreciate every

detail on the pitch during this most

anticipated European football tournament.

Three of these stadiums, including the

Stade Vélodrome in Marseille, underwent

refurbishment and installed an updated

video system to provide better quality

around the venue. The fourth, Stade

Pierre-Mauroy in Lille, is a new build, which

required a brand new system to enable it to

compete with bigger institutions in the sports

industry. Exterity is the only IP video solution

provider to be deployed in more than one

venue hosting the UEFA Euro 2016.

Explains Colin Farquhar, CEO at Exterity:

“We are proud that our IP video solution has

been selected to transform the match day

experience for over 1 million fans and that

we will play such a fundamental role in this

new era of video-enhanced live sports.”

The Exterity systems have been deployed

for use at over 20 games during the

tournament. The end-to-end solution

facilitates the distribution of high quality

content to TV displays in the hospitality/VIP

suites and the pressrooms. In addition to the

live footage shot during the games, the

Exterity system features built-in content

protection capabilities to enable the venues

to offer encrypted football-related content

from various TV channels.

Commenting on the reasons why the

venue chose to work with Exterity, a Stade

Pierre-Mauroy representative says: “Stade

Pierre-Mauroy is a brand new stadium, and

as such, we wanted to ensure that we

provided state-of-the-art experiences. To

achieve this, we produce and deliver

tailored content to close to 400 screens

around the stadium, and we wanted a

system that would help us to offer the best

experience to all our visitors. By combining

high quality with centralised management,

the Exterity system enables us to easily

distribute the right content to the right

audience, and even facilitate the delivery of

multiple live event feeds during busy times.”

Crestron appoints Training Manager EMEA

Exterity scores at Euros

Neil Walton

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With the support of the Department of Arts

and Culture, The South African Roadies

Association (SARA) recently announced that

the country’s only live events technical and

production conference has been given the

green light for LETPC 2016 and for the next

three years.

The second annual Live Event Technical

and Production Conference (LETPC) 2016

took place from 12 to 14 May 2016 at the

Sunnyside Park Hotel in Parktown,

Johannesburg. This two-and-a-half-day

conference was a SARA initiative.

The main purpose of the LETPC was to

bring transformation to the live events

technical and production sector, focusing on

the need for a critical upgrade of skills

development, sector training and skills

interventions in the field. Currently, the

sector’s skills qualification is only at

matriculation level (NQF4), and

urgently needs to increase to at least

NQF 5 and beyond in order to match

international standards.

Last year SARA gathered relevant

stakeholders, professionals, practitioners and

international market leaders in the events,

technical, production and education sectors

to debate, discuss and share knowledge

regarding the way forward and to

brainstorm as how to transform the sector at

the LETPC 2015.

“The main aim is for us to move forward on

the outlined LETPC 2015 outcomes, to

follow-through with implementation on the

first SA Backstage Academy, focus on

increasing the skills qualification level to

NQF5, to set-up the skills need analysis and to

bring transformation to this sector,” SARA

President Freddie Nyathela says, regarding

this year’s conference.

This year, the LETPC 2016 welcomed back

international and local speakers John

Botham from Semperior LTD (UK), Dr. Adrian

Brooks from Backstage Academy (UK) and

local entrepreneur Kagiso Moima from

Blackmotion (SA). There was also much

excitement to welcome new international

and local guest speakers Falco Zanini from

VPLT (Germany), Julius Grafton from CX

Network (Australia), Jim Digby from Event

Safety Alliance (USA), Tony Kgoroge from

CCIFSA (SA) and Quintus Myburgh from

Gearhouse (SA).

The first session of the conference

emphasised the importance of teaching

employable skills to young people and the

benefits of having a South African institution

resembling the Backstage Academy of

the UK.

John Botham (OBE) from Semperior LTD in

Transformation the key debate at Live Events Technical and Production Conference

LeTPC 2016 was recently held in Johannesburg, to discuss the importance of transformation and skills development in the industry…

Collen hlatshwayo, DaC and Freddie Nyathela, Sara

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the UK, spoke of the potential of South Africa

to become the events destination of the

world, since the country has so much to offer

in terms of the warmth of the people and

the weather.

“You have got a vibrant events industry

and though it’s not as coherent as it could

be, that will happen,” he said.

He also emphasised the importance of

skills development in young people entering

the industry.

“My experience in travelling the world and

working in government is that you can

always do something about a situation if

people work together,” he said.

“Government’s role is painting the bigger

picture, making sure that the vibrant

industries that work in South Africa have a

forum to show their skills.”

Dr Adrian Brooks, from the Backstage

Academy in the UK, identified the benefits of

the academy and what a similar institution in

South Africa can mean for the country.

According to Brooks, the Backstage

Academy is primarily industry based and as

a privately funded organisation, they bridge

the gap between industry and education,

working closely with leading professionals to

respond quickly to current skills shortages

and write training programmes in line with

specific demands. They provide relevant,

up-to-date training so that degree students

get a real taste for what life is like in the

backstage entertainment industry, with a

focus on employability.

With roughly 120 new students yearly, the

academy offers a 12 module course

certificate, over two years, with the option of

obtaining a full BA degree after a third year

of specialising in a specific area.

“We have industry and educational

partners, though everything is funded from

our own resources and aim to bridge the

gap between what the industry needs and

what our academy delivers,” he said.

According to Brooks, the Backstage

Academy also has a 90% employability rate,

with several of its students working paid jobs

while still busy with their studies.

He would also like to place more emphasis

on teaching entrepreneurial skills earlier on in

the academy’s course.

“Where we do that at the moment is after

the foundation course, during the

specialisation course,” he said. “But it is

vitally important.”

According to Brooks, a similar institution to

the Backstage Academy, in South Africa can

benefit the local industry vastly.

Jacob Maphutha kicked off the second

session, speaking about The Department of

Trade and Industry’s role in creating a

conducive environment for businesses to

thrive, urging the public and private sectors

to work together.

“We are still struggling, as a country, to

create opportunities especially for young

people. We need to work together,” he said.

“Because people still use the tick box

approach to this issue, not fully embracing it,

we have criminalised fronting. What

people do not understand is that

transformation is good for businesses,

allowing the economy to grow.”

His biggest concern remained the lack of

entrepreneurship in the country and he

emphasised the need to target the youth, to

teach skills and induce entrepreneurship at

an early age.

Quintus Myburgh, from Gearhouse, also

spoke about the need for transformation,

discussing key problems and solutions for

the problem.

According to him, key problems in the

industry include the large resources required

to achieve transformation, the growing

external pressure to transform, obtaining

acceptance by key stakeholders of

requirements for these implementations,

data collection for reporting purposes, the

slow pace of transformation and the

insufficient number of black, female

stakeholders to name a few.

He also named a few solutions for

transformation, including skills development

being the single key aspect of the economy

moving forward, proactive involvement of

different departments, the creation of a

central source where supplier information is

readily available, collective involvement of

stakeholders in the industry, drafting a sector

code and annual monitoring and reporting

to the charter council.

John Botham

Dr adrian Brooks

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Over the next couple of weeks SACIA and

their various special interest groups will be

hosting a number of events in Johannesburg

to keep members up-to-date with their

activities, as well as providing feedback on

international events that have drawn

delegates from southern Africa.

Their first event, specifically aimed at TPSA

members active within the technical

production and live events sector, took place

on 16 May. SACIA provided feedback on a

number of projects being developed by the

TPSA Council, including feedback on a

best-practice rigging guide being

developed with industry input. Executive

Director of SACIA Kevan Jones also provided

feedback from SARA’s LETPC event that took

place from 12 to 14 May.

During the event, Jones offered a

summary of the issues discussed at the LETPC

event, before discussing TPSA’s own

commitment to transformation.

“SACIA’s long-term vision remains to

create and recognise professional standards

in the industry, while also promoting ethical

business practices,” he said.

With this, He was also excited to note that

the recently elected SACIA ProAV Council,

comprising Bruce Genricks (Chair), Elaine

Shellard, Paul Fraser, Tumi Dumasi and

Wynand Langenhoven, featured

two women.

“I am very excited that we have two

women on a board of five people, especially

during this time that we are so focussed on

transformation in the industry,” he said.

SACIA Board elections will be held next

week and according to Jones, there are 15

nominations for the five open positions.

During the course of the event, Jones also

expressed his concern with the lack of

feedback he received from the Department

of Arts and Culture.

“I have been met with arrogance and I

have not had any conversation with them

regarding the various suggestions we have

discussed for the industry and the DAC’s

involvement,” Jones said.

attendance suggested that the lack of

structured accreditation for the

identification of industry professionals, was

mainly due to a lack of focus and efforts

from the DAC.

The need for transformation and

empowerment in the industry was

discussed passionately by both the

attendees and the panel.

It was pointed out by Prof. Oliphant that

the Tshwane University of Technology does

offer a BTech qualification in sound and

lighting, but several attendees suggested a

similar institution like the Backstage Academy

in the UK, to allow for training and skills

development in the live events sector

specifically. A similar Backstage Academy

institution is now being planned by the SA

Roadies Association. The head of SARA,

Freddy Nyathela, has been arguing

passionately for a local versio of this

institution, and again put his case to the DAC

at the hearing.

“Because that is a big omission in the

White Paper of 1996, we fully acknowledge it

and we are determined to make that right.

We would like you all to know that – we have

heard you over the years,” Prof. Oliphant

said. “We are ready to address this matter.”

However, exactly where this institution

would be most beneficial, especially to those

in rural parts of the country, could not be

finalised by either party.

Another issue discussed during the course

of the meeting was the need for a network of

community centres, roadshows and other

education opportunities for young people

throughout the country, where children can

learn about event sound and lighting

first hand.

SACIA meeting offers feedback of Prolight + Sound, LETPC and more

The Department of Arts and Culture (DAC)

held an industry discussion session on 6 May

at the South African State Theatre. It aimed

to introduce the Arts and Culture White

Paper Reference Panel and to allow industry

individual to express their concerns and

suggestions for the White Paper review, with

specific reference to the technical

production and live events sub-sector.

The Reference Panel consisted of Professor

Andries Oliphant, Professor Muxe Nkando,

Avril Joffe and Lebo Mahsile, while members

from SACIA, SARA and several other

organisations and companies attended.

The bulk of the discussion focussed on

transformation in the industry, as well as

community development, government

funding and the provision of opportunities for

South African youth to enter the market.

One of the industry members in

DAC hears passionate events industry

DaC discussion

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RGBlink exhibited

strongly at this year’s

Integrated Systems

Europe, using the

exhibition to increase

their presence and as a

platform to release a

number of new products.

As an exhibition

sponsor, the RGBlink

featured prominently

around the exhibition

introducing many

people to RGBlink and

bringing many people to

the stand. In addition,

spots on ISETV and other

media platforms brought visitors to RGBlink.

Says RGBlink Marketing Director Justin Knox:

“Our aim was to be more than just another

exhibitor – we really wanted to increase our

exposure and have the opportunity to show

the RGBlink and the products to as many

people in the integration industry as possible.

ISE is certainly important to us and to the

industry, and we were overwhelmed with

visitors literally from the moment the doors

opened. And the feedback we received

from visitors as well as existing customers

was brilliant.”

RGBlink introduced three new Venus X

Series products at ISE.

The first, X1pro, is a 4K scaler and seamless

switcher – both 4K in and out, with a range of

modular options for additional inputs, and

also to extend X1pro output with a further

DisplayPort and two further DVI ports.

Perhaps the most exciting – at least to look

at – is X3 Live. More that vision mixing, X3 Live

integrates a control console with advancing

scaling and presentation switching

capabilities. All control can be undertaken

from the console and previewed and

monitored from the built in LCD monitors.

Connectivity is as you might expect – fully

modular – with a wide range input and

output options and other options such as

Tally. Dedicated preview and monitoring

outputs are available, and Genlock is

standard too.

Says Sales Director Ben Hu: “We could

really see a great opportunity to bring

presentation switching and vision mixing

together – not just for live entertainment

applications but many integration

applications, like control rooms, can be

simplified with an X3 Live solution.”

Venus X7 was the third of the products

introduced by RGBlink – a large universal

routing and scaling processor, X7 features

32x32 inputs and outputs – all fully modular.

Build an X7 system to suit any requirement.

And X7 is 4K ready, 12G-SDI ready, supports

3D signals both encoding and decoding, is

ArtNet ready, and a whole lot more.

“The feedback from visitors was great for

us, really validates the work of the

development team, and we are sure these

new products will be very successful,”

says Ben.

Inspired Stages hosted their first Inspired

Mentors programme from 21 to 24 March at

the GrandWest Casino. Ninety-two

youngsters between the ages of 17 and 25

and who had previously been involved in

Inspired Stages workshops, were trained up

as mentors.

“Young adults from within the community

with a passion and talent for music, dance,

singing and performing were carefully

sourced and identified through schools,

colleges, community centres, youth groups

and churches,” explains Karen Burt, founder

and facilitator of Inspired Stages. “They were

nominated by teachers and peers as

individuals who showed potential as both a

performer and role model and who would

be best suited to the mentorship

opportunity.”

“The programme was intensive,” says Burt.

“We went further than natural talent and

passion. We trained the mentors in a fully

comprehensive programme including all the

business aspects of the industry. The intention

was to empower young people with the skills

to develop their own sustainable business in

the performing arts. It was also to take all

they had learnt back to their communities to

help other young people there.” The top

students at the workshop were also selected

to work on like-minded community projects.”

Besides daily workshops, life coaching and

leadership challenges, the group were split

up into four teams. Each team had to put up

their own themed 'show' to be hosted on the

last evening at the GrandWest Roxy Theatre.

Each team was also responsible to sell tickets

and raise money for their nominated charity.

With this highly motivated group of

youngsters, the Roxy Theatre was sold out for

this anticipated performance.

Letters of thanks from students who

attended have poured in. Karen Burt, Gavin

Taylor and the rest of the Inspired Stages

team will continue with workshops and

mentor programmes throughout the year.

For more information visit their facebook

page https://www.facebook.com/

groups/1482806801945249/.

According to DWR Distribution, they are

delighted to play a small part in the regular

workshops hosted by Inspired Stages

throughout the year, by sponsoring each

delegate with a T-shirt or cap.

Successful ISE 2016 for RGBlink

Inspiring young mentors

rGBlink stand at ISe

Mentors programme

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Gearhouse South Africa has made the

largest LumenRadio investment in Africa to

be used for The Forever Living Products 2016

Global Rally at the Ticketpro Dome in North

Riding Johannesburg.

“I was impressed when seeing the

LumenRadio system at the roadshow DWR

hosted at the UJ theatre a few of years ago,”

says Stuart Andrews, Lighting Operations

Manager at Gearhouse Johannesburg.

“The LumenRadio guys had really done their

research and development and could

answer any query I had so thoroughly

that I had no doubts that it would deliver.

It’s such a vital link in the chain that to

go with a system that doesn’t offer

complete peace of mind simply

wouldn’t be acceptable.”

Gearhouse Cape Town was the first to

purchase a LumenRadio system. “We used

this wireless system before in Johannesburg

with great success,” he says.

The new gear was installed and set up at

the Dome for the Rally. “So far all is good

and stable,” Andrews said, prior to kick off.

The new LumenRadio gear includes 4

In-RTX2 CRMX Nova RDM Dual Transmitters,

10 In-RRX1 CRMX Nova RDM Receivers, 3

In-DRX1 CRMX Nova DMX Receivers, 3

In-RFX1 CRMX Nova Flex FX and 4

LumenRadio Black ¼ “ cases.

“I like the build quality and the versatility

of the system,” says Andrews. “We will be

able to use it for big and small events and

will help massively with some of the big

special projects we work on.”

Nick Britz from DWR says that

LumenRadio is a exceptionally stable

product. “In time, I am convinced that

more technical suppliers will see the

benefits of going wireless,”

says Britz.

It was widely reported in the industry that the

Cape Town International Convention Centre

(CTICC), host to many events at which SACIA

and TPSA members provide services, was

intending to introduce a compulsory 10% of

the cost of contract levy on non-contracted

service providers. Such as the outside

contractors that generally provide various

AV services to the venue. Over the last few

weeks there was an ongoing conversation

between TPSA members relating to the levy

being introduced by the CTICC on non-

contracted service providers working on

their premises.

Clearly the possibility of a levy was seen as

punitive by many service providers to the

venue, and was also seen as unjustifiable in

the circumstances. After an initial period of

dialogue with the industries potentially

affected, the CTICC took up a position that

all service providers sign a contract with

them – and start paying the levy with

immediate effect.

The CTICC is owned primarily by the City

of Cape Town (50,2%) and the Provincial

Government of the Western Cape (25.1%).

After a period of extensive lobbying at

provincial government and city level both by

individual members of our industry and by

industry organisations like SACIA and TPSA,

the CTICC has backed down on its decision

to impose the levy – for now.

No official public reasons have been

given for the reversal of the decision, but

dialogue is ongoing to find a mutually

agreeable solution.

Gearhouse South Africa go wireless with LumenRadio

CTICC backs down on levy decision

Gearhouse's Stuart andrews and Nick Britz from DWr

11

newS

11

Beck and Hoff recently came to South Africa

for the Stages tour where they worked on

two DiGiCo SD10 consoles with waves and

two 2SD Racks. The Stages Tour was held

recently in Johannesburg (Ticketpro Dome),

Durban (ICC Durban Arena) and in Cape

Town (Grand Arena, GrandWest) with the

full technical supplied by Gearhouse

South Africa.

Beck and Hoff commented: “The main

reason we have chosen DiGiCo consoles for

the Josh Groban Stages tour was its

scalability with a cohesive UI throughout the

model range. There is no typical Josh

Groban configuration. A show may be just

Josh with piano or a trio which adds a guitar.

There have been shows where Josh has sung

with an orchestra or orchestra and full

electric band. We needed a console line

that would allow us to move our work up or

down in input list size without having to start

from scratch every time.

"The DiGiCo platform helps us achieve our

goal with it’s straight-forward UI, ease of use,

sonic quality, and scalability of input racks.

We love the stage rack sharing ability as it

helps us meet our daily production/rehearsal

schedule by allowing us to line check

onstage while FOH is tuning and we know

that if we have the input on stage, FOH will

certainly have it as well. Our first real dive into

DiGiCo was August 2015 starting with Josh’s

PBS special recording. We both use Waves

MultiRack with our DiGiCo consoles as well as

a pair of Bricasti M7 reverb units at both

console locations. MultiRack is on the

console using the DiGiCo/Waves IO with

Waves Extreme Servers and we send to and

receive from our Bricasti units via the local

AES IO on the surface.”

Both engineers say that working with

Groban has many highlights. “Josh is a

tremendous vocalist. His power and

technique is in a class far beyond a typical

pop vocalist. He cares about his craft and

works very hard to constantly refine his

abilities. This translates to a quality vocal for

us to work with. We have great gear and

great musicians. We hide nothing.”

Finally, they had a word about South

Africa. “It’s not a typical destination for most

American artists. We feel very privileged to

be able to travel to distant lands and put on

our shows. We had great audiences, great

local musicians, great weather and great

gear to work with thanks to DWR Distribution

and Gearhouse.”

Jakobus de Wit from Gearhouse South

Africa was involved in the project. “The

crew from Josh Groban are of the best

around the world. That should say

something about the equipment they

choose to use. This was a show of high

standard and we all feel proud that we

played a part in it.”

Kyle Robson from DWR also toured with

the team. “I made sure their DiGiCo system

was set up at each venue and I was there

for support. That said, the system was solid

and ran without a hitch.”

Meeting up with Josh Groban’s audio engineers in South Africa

audio engineers Mickey Beck has been with Josh Groban for 12 years and Chris 'cookie' hoff has been with Josh for three years.

Chris 'cookie' hoff and Mickey Beck

12

Prolight + Sound ShOw REPORT

Prolight + Sound continues to grow in line with the pro-aV sector: 940 exhibitors from 47 countries, and about 45 000 visitors from 121 countries made their way to Frankfurt am Main for this year’s show, which set new exhibitor and visitor records.

Prolight + Sound 2016 sets new exhibitor and visitor records

By ???

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1313

ShOw REPORT Prolight + Sound

“This year’s Prolight + Sound demonstrated the creative and economic

potential of event technology and was able to exploit the positive

business climate in the sector in full,” said Detlef Braun, Member of the

Board of Management of Messe Frankfurt GmbH.

The significance of the fair is also underscored by its high degree of

internationality: more than half of all visitors and around 62 percent of

exhibitors came from outside Germany. The top 10 visitor nations in 2016

were Germany, the Netherlands, Italy, France, Belgium, the United

Kingdom, Switzerland, Austria, China and Sweden. Together with

Musikmesse (7 to 10 April 2016), Prolight + Sound once again turned

Frankfurt Fair and Exhibition Centre into the pivotal point of the worldwide

music and event business.

For the first time this year, Prolight + Sound was held in the eastern

section of Frankfurt Fair and Exhibition Centre, which offers optimum

presentation facilities for the event industry and, following many years of

growth, has the room needed to expand the spectrum of products and

themes in terms of breadth and depth. The sequence of days was also

new and, in response to great demand from the sector, the fair was held

over four working days. By changing to Tuesday to Friday, the organisers

also opened up the way for an expansion of the conference programme

to all four days. On the Thursday and Friday (7 and 8 April), Prolight +

Sound took place concurrently with Musikmesse thus safeguarding the

valuable synergies generated by the two fairs. The new concept was

generally met with approval.

“For us, the new concept of Prolight + Sound is spot on. We had

significantly more visitors than last year and were very successful in

attracting new customers and making valuable contacts to retailers from

Europe, North and South America, the Middle East and Africa”, said Jörg

Zimmermann, Sales & Purchasing Manager, JB-Lighting. Martin Fournier,

Sales Director South & Central Europe, Martin Professional ApS, said, “We

enjoyed a very successful fair. We liked the new Hall 4.0 and our exhibition

stand was full of visitors throughout the fair. Moreover, thanks to the new

sequence of days, very many of them were professionals. For us, Prolight +

Sound is the world’s leading trade fair for the sector.”

After years of growth, the turnover of the event-technology sector is

approaching the € 4 billion mark. According to a new GfK study

commissioned jointly by the VPLT and Messe Frankfurt, 47 percent of the

market participants interviewed anticipate slight to considerable

increases in turnover – only six percent predict a decline. The positive

business climate in the sector is the result of an unbroken, high level of

demand for creative, professional, safe and innovative events, as

well as technical progress accompanied by numerous factors

promoting growth.

The innovative capacity of the sector was also clearly visible at this

year’s Prolight + Sound. In six exhibition halls, visitors were able to see what

turns an event into a spectacular occasion. For example, the fair

presented developments in the field of laser technology that not only

make projections sharper and more brilliant but also extend the colour

spectrum. Such equipment is becoming more sophisticated and user

friendly – and is used not only on show stages but also in museums,

planetariums and fun-fair rides. Some manufacturers are getting into

position for the major sporting events of the year with mobile

video screens.

LED technology is becoming increasingly flexible and is also fitted, for

example, to innovative furnishings, such as multi-media lamps, bar tables

with built-in screens and video dance floors. Another highlight at Prolight

+ Sound was camera drones offering aerial photos in full HD quality

transmitted live on a screen. The field of 3D mapping has also developed

into a driving force for sales.

Generally, the upward trajectory of Prolight + Sound as a trade fair in

the sector mirrors the growth curve of the industry as a whole. Pro-AV

technologies are ever more widely applicable in many different spheres

of social, cultural and business life.

14

Prolight + Sound ShOw REPORT

Microphones

Making the future of audio technology tangible – that was audio

specialist Sennheiser’s aim at this year’s expo. At a joint stand together

with Neumann.Berlin, a sound experience room invited visitors to

enjoy the world’s best headphones – the Sennheiser HE 1 – and the

AMBEO 3D Audio immersive sound experience through a reference

set-up with Neumann loudspeakers. The stand also provided the

opportunity to try out the Venue Modelling software, which takes 3D

audio into the DJ world, and to catch a glimpse of Sennheiser’s

upcoming virtual reality microphone.

The centrepiece of the Sennheiser and Neumann.Berlin stand,

however, was the sound experience room, which offers listening

sessions with the Sennheiser HE 1 headphones, Sennheiser AMBEO 3D

audio, and stereo and surround-sound demonstrations with

Neumann loudspeakers. As part of the AMBEO

demonstrations, original 9.1 recordings and upmix

stereo material generated via a Sennheiser-

proprietary algorithm was played to show the full

potential of the reproduction format. The reference

loudspeaker set-up consists of Neumann KH 310 at

all front positions, KH 120 for the four rear speakers

and a KH 870 as subwoofer.

Musicians could find a wide-ranging portfolio of

wired and wireless microphones from the evolution

to the 2000 series on show, while DJs encountered

not only professional headphones like the HD 25, but

also demo versions of the Venue Modeling

software. This VST plug-in from the 'AMBEO 3D audio'

programme from Sennheiser features the room

characteristics of various clubs – such as Mighty in

San Francisco, the Rex Club in Paris or Berghain in

Berlin – thus enabling DJs, even at the planning phase, to experience

their sets as if they were in the clubs themselves. The sound can be

tailored to the room atmosphere, and a growing venue database

ensures that the set can be ideally prepared every time. The VST

plug-in will be available from December 2016.

Whether it is for a home studio or a major recording studio, visitors

were also able to experience the entire bandwidth of recording

solutions – from the classic Neumann U 87 studio microphone to a

Sennheiser product innovation for home studios. On the stand was a

special focus on Neumann products for home studios. The monitoring

loudspeakers from the studio specialist could also be tested in the

sound experience room.

Shaping the future of audio

The Prolight + Sound International Press Award

(pipa) is one of the most recognised accolades in

the professional audio industry. The award is

presented annually by a panel consisting of over

100 dedicated special interest magazines from all

over the world.

This year, the Shure KSM8 Dualdyne Vocal

Microphone introduced this January was awarded the pipa in the

category “Live Microphone / IEM”. The ceremony took place during

the 2016 Prolight + Sound / Musikmesse in Frankfurt on April 7.

The KSM8 Dualdyne is the first-ever dual-diaphragm dynamic

handheld microphone especially suited for high-end vocal

reproduction and sound-reinforcement control. The patented*

Dualdyne cartridge significantly reduces the proximity effect, masters

off-axis rejection and provides signal clarity and feedback control.

Ron Hautzinger, Product Manager Pro & Retail at Shure Europe

says: “With the KSM8, Shure set out to develop a microphone that

turns the world of dynamic microphones upside down. Offering a

brand-new patented cartridge design with two diaphragms, the

KSM8 has virtually no proximity effect and a flat off-axis attenuation

for superior rejection of unwanted sound sources. We are honoured to

receive the pipa and would like to thank all voters.”

Distributed by www.wildandmarr.co.za.

Shure KSM8 honoured with PIPA 2016 Award

15

For more information, please contact us

Telephone+27 (0)11 840 0860

Email sales@peripheralvision.co.za

Tap intoPlug into simplicity.

amazing

Share your big ideas, and watch them grow

www.barco.com/clickshare

ClickShare

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clickshare_roll-up_ogilvy_def.indd 1 06/01/16 15:09

1515

Audio-Technica, a leading innovator in transducer technology for

over 50 years, unveiled its new ATM350a Microphone Systems at the

Prolight + Sound show in Frankfurt, Germany.

Offering crisp, clear, well-balanced response even in very high SPL

applications, the ATM350a Cardioid Condenser Instrument

Microphone comes in six, specially designed systems that provide

discreet, rock-solid mounting solutions for a host of instruments,

including woodwinds, strings, brass, percussion, drums and piano.

Following in the footsteps of the popular ATM350, the ATM350a is

capable of handling 159 dB max SPL, a 10 dB increase over its

predecessor. This allows the mic to cope with an even greater range

of extremely powerful, dynamic sound sources. Like the ATM350, the

new mic features a cardioid polar pattern that reduces side and rear

pickup and protects against feedback. The mic’s in-line power

module incorporates a switchable 80 Hz hi-pass filter to help control

undesired ambient noise.

The six ATM350a Microphone Systems combine the instrument

microphone with unique UniMount® components, giving sound

engineers and musicians plenty of dependable mounting options

when working on stage or in the studio. Options include a rugged

drum mount, all-new magnetic piano mount, upgraded universal

clip-on mount, expandable woodwind mount, and two strong,

flexible goosenecks (5” and 9”) that can be attached to any of

the mounts.

The Audio-Technica ATM350a Microphone Systems will be

available in July 2016.

Distributed by www.prosound.co.za.

Audio-Technica introduces ATM350a Microphone Systems

16

Prolight + Sound ShOw REPORT

Speakers

The Prolight+Sound show in Frankfurt saw the official debut of the

Alcons LR18 pro-ribbon line-array; The 3-way, compact-mid-size

format line-source sound system, combines the highest sound quality

possible with very high SPL capabilities and throw.

By implementing Alcons’ multiple-patented pro-ribbon technology

for mid and high frequencies, a super-fast impulse response with

up-to-90% less distortion is achieved. This enables the LR18 to offer a

fully intuitive linear response, with very high intelligibility and non-

compressed identical tonal balance at any SPL.

The all-natural cylindrical wavefront of the purpose-designed

RBN702rs 7” pro-ribbon transducer and the acoustically and

electronically symmetrical component configuration bring a

remarkable pattern control in both the vertical as well as the

horizontal plane, without any distortion-inducing horn constructions.

The pro-ribbon’s power handling of 1500W and RMS-to-peak ratio

of 1:15, caters for a very high intelligibility and throw with maximum

dynamic headroom reserve.

The MF-section features a high-efficiency 6.5” midrange

transducer with Neodymium motor-structure co-axially mounted

behind the RBN702rsr pro-ribbon driver.

The LF section consist of 2 extended-excursion, reflex-loaded 8”

woofers with oversized 3” voice-coil Neodymium motor-structure; Due

to the extraordinary design, this 8” surpasses the output of even larger

drivers in higher-category line-array systems, while maintaining the

unobtrusive face print of a compact system.

The LR18 is driven by two channels of the Sentinel amplified

loudspeaker controller, optimising the system’s response by LR18-

specific drive processing and feedback for each array configuration,

including presets for phase-matched low-frequency extensions.

The Signal Integrity Sensing™ pre-wiring ensures dynamic cable/

connector compensation between the LR18 and ALC, without any

preset requirement; This offers a 1:1, undistorted natural sound

reproduction, regardless of cable length and amplifier impedance

load (system damping factor at the speaker terminals of 10.000).

The rigging system enables angle-setting on the cabinets without

lifting the array, resulting in safer and faster set-up with minimal

handling and a WLL of 24 cabinets under 10:1 safety (LB18 32 units).

Array configurations can be simulated in the new release of

Alcons Ribbon Calculator (ARC3), Alcons’ high-resolution 3D

simulation programme.

Tom Back, Alcons’ managing director: “This is one of the most

important product releases for Alcons Audio to date: Not only for the

market volume in both the install and rental market, but also to

complete the LR28 large-format touring system package.” Tom

continues: “When we started development of the LR18, we knew we

had to pull out all stops to make this a benchmark system; Not only in

the projection control, but also in the 1:1 sound reproduction in any

type of application, from classical up to rock ‘n roll. The result is: What

You Mix Is What You Get!”

Distributed by www.matrixsound.co.za.

Alcons Audio launches LR18

Following six years of development, British

loudspeaker manufacturer, Funktion-One,

chose Prolight + Sound Frankfurt for the

launch of Vero – its new, large format

touring sound system. The company also debuted the Evo 7T Touring

loudspeaker and F132 bass enclosure at the show.

The company sees Vero as a response to the declining standard of

audio quality in the live environment, coupled with an understanding

that the industry’s ergonomic expectations demand a system that

can be flown quickly and easily, and with minimal crew. In answer to

this, Tony Andrews, John Newsham and the Funktion-One team

designed a system that is conveniently arrayable and boasts a new

level of performance characteristics relating to sound quality,

efficiency and directivity.

Vero is a complete system, with each element specified or

designed for the highest possible performance. The system includes

speakers, amplifiers, cabling, rigging, transport dollies, weatherproof

covers and software.

The Vero speaker range

features six highly efficient, low

distortion horn-loaded

loudspeakers – the V60 mid-high,

V90 mid-high and V315 mid-bass

with a choice of V221, V124 or

V132 bass. The V60s, V90s and

V315s all have identical

dimensions, enabling them to be

flown in the same vertical array.

The ground stacked V221, V124 or

V132 bass enclosures offer a

choice of size and low frequency

extension.

Vero is powered by Lab.gruppen PLM 20K44 amplifiers, featuring

bulletproof reliability, tremendous power from a compact package,

onboard processing and the sonically superior Dante networking for

signal distribution. Three PLM 20K44 amplifiers and mains distro are

fully shock mounted in an innovative, compact rack, complete with

sliding doors that conveniently stow in the roof of the rack.

Vero’s patented Lambda flying system is designed for speed, safety

and ease of use. It allows Vero arrays to be deployed accurately and

efficiently. All rigging settings can be calculated using Vero’s

Projection software. Unlike most other flown arrays,

Vero’s inter-cabinet splay angles can be adjusted with the system

in suspension.

Distributed by www.funktion-one.com.

Funktion One debuts Vero at Prolight + Sound

1717

ShOw REPORT Prolight + Sound

Eastern Acoustic Works showcased two of

their range of Adaptive Systems ata Prolight +

Sound 2016, namely Anna and Otto.

Adaptive systems have the ability to assess and

then perfectly match the three dimensional

performance requirements of any venue.

These comprehensively integrated systems

utilise a high resolution array of discretely

powered and processed acoustical devices in

concert with powerful EAW Resolution software to

create optimised results at show speed without

the need for physical reconfiguration. Adaptive

systems can autonomously determine their array configuration,

continuously analyse every system element and even heal the system

coverage in the unlikely event of a fault. These systems aspire to be

the gold standard for the world of sound reinforcement.

Anna™ is the newest introduction to the flagship line, providing all

the benefits of Adaptive performance in a high-output mid-sized

enclosure. Weighing just 61 kg, the extraordinary output-to-weight

ratio makes Anna exceptionally versatile, with applications ranging

from small clubs and houses of worship to large arenas and touring

productions. Anna’s 100° horizontal dispersion further extends the

capabilities of Adaptive Systems; columns of Anna can be flown as

mains or mixed with columns of Anya™ within the same array for even

greater coverage possibilities. Like all Adaptive Systems, Anna is

controlled via Resolution™ 2 software over the Dante™ network and

utilises the same standardised power and data infrastructure.

Anna modules hang straight, without any vertical splay, and

Resolution™ 2 software adapts total system performance to produce

custom-tailored coverage that delivers coherent, full-frequency

range response across the entire coverage area as defined by

the user.

The module’s horizontal symmetry

ensures coherent summation without

anomalies through the crossover regions

that result from physically offset acoustic

sources. This provides consistent, HF

dispersion and broadband pattern

control in the horizontal plane.

Otto was the other Adaptive System

product on show at Prolight + Sound. It is

the world’s first Adaptive™ subwoofer.

Utilising two Offset Aperture-loaded

woofers paired with independent

on-board amplification, processing and

networking, Otto extends Adaptive

Performance™ to the lowest octaves of

the audible spectrum. Otto will perfectly

balance low-frequency coverage with

cancellation to suit the user’s

requirements; omni, cardioid, hyper-cardioid or anywhere in

between from just a single module. Combined in arrays, Otto

provides users with nearly endless possibilities in low-frequency

pattern control.

Each Otto module includes two high-power 18” cones featuring

Offset Aperture™ loading to generate four optimally- spaced

acoustical sources; one in each corner. In addition to perfect source

spacing for the loudspeaker’s operating range, this loading also

provides exceptional efficiency and minimises harmonic distortion,

even when the system is driven to maximum levels. The transducer,

port and enclosure design allow Otto to achieve high output levels,

while providing impact and low-frequency extension typical of much

larger enclosures.

The module’s rotational symmetry provides enormous flexibility in

designing systems for optimal coverage; arrays can be constructed

with all modules in the same orientation, or with woofer orientation

staggered to provide maximum 3D coverage capabilities.

Resolution software determines the best configuration for a

given application.

Distributed by www.surgesound.co.za.

Every spring, Frankfurt becomes the centre of the professional audio

and musical instrument industries for almost a week. This year the

Prolight + Sound and Musikmesse trade shows together attracted

almost 110 000 visitors from around 130 countries.

One of the highlights for the attending companies is the annual

Prolight + Sound International Press Awards (PIPA), an event that has

established itself as the Grammys of the pro audio and musical

instrument industries.

More than 100 dedicated special interest magazines from all over

the world voted for the best pro audio equipment and musical

instruments of 2015/2016 in 38 categories. The official awards

ceremony took place on 7 April at the Prolight + Sound show. This

year, Electro-Voice received a PIPA award for the second time in a

row: the X-Line Advance compact vertical line array loudspeaker

system convinced the jury in the concert sound category. Introduced

in spring 2015, X-Line Advance is gaining industry notice for providing

a uniquely satisfying combination of precise, linear output, a

best-in-class performance-to-size ratio and a user-friendly rigging

system. Last year, EKX series loudspeakers from Electro-Voice

prevailed over the competition in the portable sound category.

Guillermo Wabi, Product Manager for Concert Sound Systems with

Electro-Voice, proudly accepted the award: “I’m thrilled that the

X-Line Advance is honoured with this prestigious award. With the

X-Line Advance we channelled our concert sound expertise and R&D

resources towards a product that has pushed the art and science of

sound forward, rather than following the pack.”

Distributed by www.prosoundco.za.

Electro-Voice X-Line Advance wins 2016 PIPA press award at Prolight + Sound

EAW showcases Adaptive Systems

18

Prolight + Sound ShOw REPORT

Projectors

Barco showcased venue projectors, switchers, media servers and

immersive sound technology at Prolight + Sound this year.

‘Be bright, choose right’ was the overall motto of Barco’s Prolight +

Sound booth. Intended to attract rental firms, show designers and

event organisers, The company demonstrated its range of projectors

and LED displays, as well as media servers, image processing solutions

and show controllers to meet event technology needs.

Eye-catchers at the booth included the HDX-4K20 and F90

projectors, which feature the latest 4K and laser phosphor

technologies. In addition, the new addition to Barco’s Event Master

squad of screen management systems was on show, the full-sized

EC-200 hardware controller. Visitors also got a sneak preview of its

new LED solution, to be launched in the near future.

In 2014, Barco acquired immersive sound expert IOSONO, which

specialises in object-based sound rendering. At this year’s Prolight +

Sound, the IOSONO immersive sound solution, featuring the IOSONO

CORE processor, was on display.

One of Barco’s headline projectors on show this year, the HDX-4K20

FLEX projector won the Prolight + Sound International Press Award

(PIPA). The 3-chip DLP projector features the latest 4K technology,

guaranteeing image quality. Thanks to its flexible brightness and

resolution features, this projector can be easily adjusted for specific

applications. Journalists from over 100 special interest magazines

were clearly impressed by the HDX-4K20, voting it the best projector

at the PIPA award ceremony at the show.

Distributed by www.peripheralvision.co.za.

Visitors to the Christie stand booth at Prolight+Sound experienced

several new solutions for entertainment, integrated systems and

content creation from the leader in visual display technology.

Christie continues to supply long-lasting projectors with its HS Series,

which tests at 12 500 centre lumens. The 1DLP Christie HS Series –

prominently displayed at the fair – is compact and delivers a wide

selection of features and connectivity. With more than 12 000 lumens

in HD and WUXGA resolution, these 1DLP projectors belong to the

world’s brightest available products in their class.

Christie also demonstrated the versatility of the multi award-

winning and multi-directional Boxer,, which has set an industry

benchmark. The expanded family now includes the new Boxer 2K20,

2K25, and 2K30 all of which are upgradeable to true 4K at 120Hz. At

Frankfurt, Christie demonstrated for the first time just how whisper-

quiet the Boxer 4K30 is. On the stand the projector was mounted at

head height so visitors could hear for themsleves how Christie has

hugely reduced the Boxer Series’ noise levels.

Christie also showcased its versatile Velvet LED series, which are

perfect for a variety of indoor applications including architectural,

entertainment and critical viewing environments. Christie Velvet is

certified at the system-level and offers 24/7 operation and 100 000

hours of service-life.

Lastly, the new Pandoras Box 5.9 managed and controlled the

content on the stand. Pandoras Box Version 5.9 now encodes files up

to four times faster, delivers additional codec information through the

file inspector, and includes a completely redesigned Patch-Tab and

new templates that deliver faster workflow for remote control from a

lighting desk. Users can create their own profiles, as well as export and

import patch templates with exceptional ease. A Cues Tab has also

been introduced for an overview of all cues, which can be used to

navigate through the timeline and leave individual notes per cue. The

new Kiosk Mode can act as a simple standalone playback device

that can be set up and operated without special training by anyone

and without ‘digging deep’ into the menu.

Distributed by www.christiedigital.com.

Barco showcases versatility

Christie highlights new solutions at Prolight+Sound 2016

Viva Afrika Sound and Light (Pty) Ltd45 Lake Road, Longmeadow

Longmeadow North Business ParkPO Box 4709, Rivonia, 2128, South Africa

Tel: 011 250-3280, Fax: 011 608-4109orders@hybrid.co.za, www.vivaafrika.co.za

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K-LA28 DSP Dual 8” 3 Way Active Line Array

Frequency Response (+/- 6dB anechoic chamber): 60 – 20 000Hz

Drivers: Beyma customised drivers

Signal Input/Output Connector: Female XRL Input, Male XLR Output

Power Input/Output Connector: Powercon NAC3MPA / NAC3MPB

Power Rating (AES): 1600W

Amplifi er: Class D

Weight: 24Kg

Dimensions mm: 590(W) x 236(H) x 436(D)

K-LA 218 DSP Dual 18” Active Bass Bin

Frequency Response (+/- 6dB anechoic chamber): 32 – 300Hz

Drivers: Customised Audiocenter drivers, Ferrite, 4” voice coil

Signal Input/Output Connector: Female XRL Input, Male XLR Output

Power Input/Output Connector: Powercon NAC3MPA / NAC3MPB

Power Rating (AES): 2800W

Amplifi er: Class D

Weight: 95Kg

Dimensions mm: 984(W) x 650(H) x 760(D)

K-LA Series – powerfully ACTIVE

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for the right price , this is KLA Series

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Weight: 24Kg

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K-LA 218 DSP Active Bass Bin

Frequency Response (+/- 6dB anechoic chamber):

Drivers:

Signal Input/Output Connector:

Power Input/Output Connector:

Power Rating (AES):

Amplifi er:

Weight:

Dimensions mm:

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2 x K-LA 218 DSP

K-LA 28 DSP Frame

4 x K-LA 28 DSP

Demos available

20

Prolight + Sound ShOw REPORT

Lights

PR Lighting’s new XR 440 Beam houses the new

advanced Osram Sirius HRI 440W discharge

lamp, outputting 22 000 lumens. As such it is a

powerful powerful beam light, with a superbly

designed optical path, excellent colour and

comprehensive and number of effects.

The CMY linear colour mixing system, with

macro, offers a colour wheel with 11 colours

and CTO plus open, with bi-directional

rainbow effect at variable speeds and step/

linear

colour change.

The fixed gobo wheel contains 18 fixed

gobos plus open, bi-directionally scrolling at

variable speeds – with shake effect at variable

speeds.

The rotating wheel contains seven rotating

gobos plus open, bi-directionally scrolling at

variable speeds, with shake effect at variable

speeds. Either glass or metal gobos can

be affixed.

Manipulating the image are two 8-facet

rotating prisms, with optional 3-facet and

16-facet prisms, and a frost filter.

Other features include mechanical dimmer

(0-100%) and strobe (0.3-25fps); motorised

linear focus and zoom, and head movement

of 540° (pan) and 270° (tilt), with auto

position correction.

The XR 400s modular construction has been

designed for ease of maintenance while it is also

set up for wireless control.

Visit www.pr-lighting.com, or contact

Jerry Gilbert, JGP Public Relations,

on +44 (0)1707 258525.

Distributed by www.prosound.co.za.

PR launches powerful XR 440 beam

Clay Paky kicked off the celebrations for its first 40 years of

history at ProLight+Sound this year. The Italian company was

founded on 28 August 1976. Its fascinating history is dotted

with many successes, in which genuine passion for show

lighting and entertainment has always been its guiding light.

The anniversary celebration was held in Frankfurt and

consisted of an open party at the Clay Paky booth at the

end of the first day of the fair. Pio Nahum, Clay Paky CEO, told the story of the company with pride and emotion,

stressing that “Clay Paky must always look to the future. It

must innovate continuously on the basis of its business

know-how and wealth of experience to ensure a bright

success for years to come.”

The company launched three new products for the first

time internationally at ProLight+Sound 2016, all of which

aroused considerable interest among industry

professionals. The products were the stars of a demo/

multimedia light show which accompanied the

performances of some musicians and cover bands.

The Scenius Profile is the new beam shaper at the top of

the Clay Paky moving head range. The Hepikos is a 700W

washlight that combines low power consumption with

colour quality, without compromise. The SharBar is an

advanced moving LED bar with features that transform it

into a brand new multi-beam effect light. It fits six 30W

powerful new OSRAM Ostar RGBW LEDs.

urban space transformed

Enhancement of the urban landscape

(otherwise known as “city beautification”) is a

global phenomenon which also involves

lighting professionals. In its 40th anniversary

year, Clay Paky has enriched its range with a

line of units for architectural lighting, and it

intends to widen the choice progressively in the

future. This line includes all of Clay Paky’s diverse

and many-sided guises: an effects light for

architainment (Spherilight), a portable

battery-powered colour changer for temporary

installations (GlowUp), and the new Odeon line.

This is a range of 'pure' architectural fixtures,

which are designed for architects on the basis

of their requirements and their needs. They

come in a range of more than thirty models.

Two main versions are available – flood and

graze – with 15°, 25° and 45° optical units and

RGBW, Tunable White and Total White

configurations. They may be further customised

in terms of size and finish.

At the show, Clay Paky also debuted its latest

product concept, the Larpy, the first searchlight

which uses laser technology through the new

PHASER module made by Osram. New

developments are expected in the

coming months.

Distributed by www.dwrdistribution.co.za.

Clay Paky shines at ProLight+Sound 2016

2121

ShOw REPORT Prolight + Sound

Robe brought impact and style to their stand for Prolight+Sound 2016,

taking three times the space to accommodate hundreds of guests in

a recreation of a Tuscan Renaissance theatre environment as a

showcase for the total of ten new products the company launched at

the show.

Among these, two key new products – the DL7S Profile and the

DL7F Wash – are specifically aimed at the theatre and television

markets.

The eye-catching stand featured a separate space where the

hugely successful “One Man One Light” devised and first staged in

South Africa at Mediatech 2015, played daily, every hour on the

half-hour. The show is designed to illustrate the power and versatility of

Robe’s BMFL Blade profile fixture built for stage and performance

applications.

A full lightshow optimised for stage / concert scenarios also played

through each day, every hour on the hour.

highlights of the new products

DL7F WashFeaturing a traditional fresnel front lens, the new Robin DL7F Wash is

an LED source offering a classic looking and conventionally

homogenised beam with high resolution smooth dimming. The

200mm diameter fresnel lens is easily interchangeable for an optional

PC lens.

Seven individually adjustable colours give unprecedented smooth,

stable and even colour mixing and a very high CRI of 90. Green can

be added or subtracted and the CTC can be regulated between

2700 to 8000K via dedicated control channels.

The DL7F Wash uses an internal barn door module – four individually

controllable blades – for creating different shapes, which is rotatable

by +/- 90°.

BMFL WashBeamThis benchmark fixture was seen for the first

time at a trade show after its worldwide

online launch in January. Extra bright output

and abundant amazing features – including

newly developed framing shutters, a super

wide front lens and animation wheel –

ensure the latest BMFL series fixture can

enhance any show with its impressively

large beam, produced through the wide

180mm front lens.

Utilising a custom light source designed for Robe, it produces an

astounding 300 000 lux at 5 metres!

The rotating gobo wheel has a carefully selected set of gobos that

give numerous combinations for aerial animations as well as fabulous

spot-like projections onto any surface.

SpikieSpikie is a new small, super-fast LED WashBeam,

which utilises a single 60W RGBW light source

with a specially designed 110mm wide front lens

producing a nice solid beam.

The fixture quickly zooms from a soft wide 28°

wash to a tight sharp-edged 4° beam … or one

of two new stunning air effects.

Strobe / StrobeLitePower is everything when it

comes to strobe technology,

and the Strobe from Robe is

among the brightest, best value,

strobe-blinder effects units on

the market.

The fixture is controllable and configurable in stacks of

multiple units, while the StrobeLite is a single hanging fixture with

reduced weight.

Super-fast bursts of high-powered pulses can be adjusted in

frequency, duration and intensity … optically harnessed from the 120

x high powered white LED chips. It’s simple to rig either individually or

in multiples and straightforward to program using either direct

segment control or the pre-defined macros.

The Strobe has splash proof housing for protecting against rain

when installed – temporarily – on front trusses or used as blinders /

floodlights along the lip of outdoor stages.

picklePaTTThe new – highly cute – picklePATT is the latest

edition to Robe’s ‘tungsten classic’ family and

the second developed in collaboration with

award winning international lighting designer,

Tim Routledge.

The fixture combines traditional aesthetics

with modern engineering and further meets

the current demand for well-placed tungsten onstage or in scenic

contexts – popular for live music, TV productions, films and general

prop lighting.

The vintage looks are combined with the latest 575W HPL softlight

lightsource.

The attractive body is made from 392mm sleek spun aluminium

with a fantastic profile, looking equally good onstage as the

performers it’s illuminating!

The picklePATT proves that lighting fixtures can be more than just a

practical necessity – the luminaires themselves can be a piece of art

and create mood and atmosphere.

Robe’s renowned PATT 2013 tungsten classic has been used on

numerous television broadcasts and concerts worldwide including

Jeff Lynne’s ELO, Gary Barlow, The Prodigy, Robbie Williams, Paul

McCartney, X Factor, Britain’s Got Talent and The Graham Norton

Show plus other talkshow sets.

robin CycBar 12Robin CycBar 12 is a lightweight static 1 000 mm linear strip for

indoor use, which utilises 12 equally spaced superbright RGBW

multichip LEDs.

The unit features smooth 18 bit colour mixing and linear dimming

without RGB ’breakup’ or grey shadows.

The fixed 7.5° beam angle can be reconfigured by the use of an

optional 35°x70° diffuser, which is included as standard. Other beam

angle diffusors are also available.

The on-board driver software provides the user with advanced

pixel control, a virtual colour wheel of pre-programmed colours, a set

of true whites with CTO Tungsten lamp emulation and more.

The highly readable screen displays a menu with practical

personality settings, DMX and RDM protocols.

Robe goes Renaissance at Prolight + Sound

22

Prolight + Sound ShOw REPORT

At the Prolight + Sound 2016 exhibition in Frankfurt, ETC marked the

40th anniversary of the company’s founding with a new booth

concept across four different stands.

One stand saw the company presenting its latest products,

including the Source Four LED system, the Eos and Cobalt console

families, the ColorSource range, and ETC’s latest line of stage

machinery, ETC Rigging. Another booth was reserved entirely for

presentations and workshops.

The first day of the event saw the inaugural Future Talents day, a

new Messe Frankfurt initiative for which ETC prepared its own student

session, an exciting information session specially designed for trainees,

pupils and students.

From a product point of view on ETC’s main stand, control consoles

from the Eos and Cobalt families were on show, including their

respective programming Wings. Also on the stand was the Source

Four LED system, with three different arrays-Lustr for colours, daylight

HD for cool daylight and tungsten HD for warm incandescent light.

The range is completed by a wide variety of attachments, including

fixed focus and zoom lens tubes and both fresnel and CYC adapters.

Making a debut for the company this year wase ETC’s new LED zoom

profile spotlight: Irideon FPZ from the Source Four Mini family.

The adjacent stand, E61, was reserved for the popular

ColorSource family. In addition to the ColorSource Spot and PAR

fixtures, the ColorSource Relay, and the ThruPower power control

system, ETC presented a number of new products in the

budget-friendly range.

ETC’s rigging stand saw another Frankfurt premiere: the latest

products from ETC Rigging, the over-stage machinery line introduced

last year in Europe. Visitors to the stand became acquainted with the

Vortek NXT theater hoist system, and found out more about the

safety and ease-of-use afforded by the QuickTouch and

Foundation controllers.

Lastly, for Prolight + Sound’s inaugural Future Talents day, the first

day of the show, ETC prepared its own Student Session aimed at

pupils, apprentices and vocational students. ETC managers, product

specialists and product developers provided the technicians and

engineers of tomorrow with insights into the corporate and product

philosophies of the company, and answered questions related to

modern lighting technology.

Distributed by www.prosound.co.za.

ETC celebrates major anniversary at Prolight + Sound 2016

23

Martin by HARMAN showcased several new fixtures and controllers

in Frankfurt. Among those on show were the following:

• The MaC axiom hybrid is a true

all-in-one beam and spot fixture. The

hybrid solution combines beam and

spot functionality into a compact unit

that also offers diffused wash and

remarkable intensity. The unit’s seamless

zoom and focus capability eliminates

the need for dedicated beam or spot

modes and allows for both instant as well as discrete transitions from

a high-intensity collimated beam to a flat field spot. The MAC Axiom

Hybrid’s precise optical system offers high contrast, both in mid-air

and projection, as well as a surprisingly flat field not often seen with

this short-arc lamp technology.

• Ideal for customers involved in the house

of worship and performance theatre

markets, the ruSh Mh 6 Wash CT is a

compact yet powerful bright LED wash

light head. Fast and agile, it features a

fully pre-mixed white colour system from

12W x 10W cold white/ warm white LEDs

with a spectacular 10°–60° zoom. It also

offers full electronic dimming, strobe effects and temperature-

controlled fan cooling for quiet operation.

• The versatile ruSh Mh 7 hybrid is the latest in a series of solutions that

give lighting designers the ability to evoke emotions in any

environment or venue. Combining the capabilities of Martin’s

high-quality 250W Beam, Spot and Wash moving heads in a single

fixture, the MH 7 Hybrid doesn’t compromise quality for flexibility. The

system’s flat, crisp, high-contrast optics and full feature set, including

zoom, meet the high standards that Martin customers have come

to expect.

• The M-Play is a playback

and control surface that

offers a wide range of

playback-specific tools.

Featuring a truly innovative

control surface with Force

Sensor Resistive (FSR) faders and velocity-controlled pads, users can

access playback and function keys of any sort. The M-Play offers a

dual bank system with two separate and independent playback

sections, each with their own bank of controls. The surface features

rugged aluminum construction for durability, 12 FSR faders, 48

direct-access playback and function keys, and a DMX port. The

M-Play comes with one DMX 512 universe for direct control of any

compatible DMX device.

• The P3-050 System Controller brings the power of P3 to a price point

unseen before. It packs the same features as the P3-150, but with an

output restricted to 100 000 pixels, allowing a significantly lower

price. An ideal companion to the Martin VDO Sceptron, it can drive

1 000 VDO Sceptron 10 fixtures.

• The P3-150 System Controller is a replacement for the P3-100 and

P3-200 controllers, which have led the industry for more than seven

years. But the P3-150 is not just a simple replacement. Many

improvements have been packed into the P3-150, including a more

compact one-unit rack housing, thru connections on DVI and DMX,

full HD DVI (1920x1080) input and active workspace, and more

robust construction.

Distributed by www.electrosonic.co.za.

23

New additions for Martin by HARMAN family

24

Prolight + Sound ShOw REPORT

Mixers & consoles

Shown for the first time at Prolight + Sound 2016, Allen & Heath

has expanded its acclaimed Qu compact digital range with

the new Qu-SB ultra-compact intelligent mixer / interface.

Qu-SB is designed as a Stage Box solution with all the features

offered in the Qu series but purely designed for tablet

control, freeing the user to mix from anywhere in the venue.

Qu-SB provides a smart, portable solution for bands, music

venues, project studios, schools and corporate events requiring

a pro live and/or recording mixer in a tiny footprint.

A freestanding or rackmount surface-less mixer, Qu-SB has 16 XLR

mic inputs, 2 line inputs and 14 outputs but thanks to the powerful

Qu-32 core inside, it can be expanded up to 32 mic input channels

and 24 outputs, enabling the mixer to connect over a single Cat5

digital snake to AB168, AR84 and AR2412 remote audio racks.

Eliminating the on deck user interface, all control parameters on

Qu-SB are provided via a fully-featured iOS tablet app. User

permissions can be set up to block the operator’s access to

critical settings.

“These days, engineers and musicians are less dependent on

physical mixing surfaces. They are digital natives looking for ultra-

portable solutions and they want to operate with the familiar

interface of a touch tablet,” explains A&H product manager, Nicola

Beretta. “Qu-SB is the perfect answer to this demand, whilst still

maintaining the premium audio quality and performance Allen &

Heath mixers are known for.”

The built-in 18-channel Qu-Drive can record and playback

multitrack and stereo audio .wav files to a USB key or drive. This gives

the convenience of computer-free recording in live and field

applications. Qu-SB’s 32x32, Windows and Mac compliant USB

streaming interface also makes it the perfect recording solution for

tracking, monitoring and overdubbing in the studio.

In addition, Qu-SB offers two solutions for personal monitoring: via

the Qu-You iPhone app or using ME-1 personal mixers. Other standout

features include Automatic Mic Mixing, footswitch controls and the

acclaimed iLive FX suite.

Distributed by www.audiosure.co.za.

Following on from the proven success of Stealth Digital

Processing and the use of FPGAs for large-scale audio

processing applications, DiGiCo revealed its concept

design of the company’s next into-the-future

development of Quantum 7

processing at Prolight + Sound

this year.

Quantum 7 is developed with

seventh-generation FPGA devices

that further expand audio

processing power and ultimately

allows DiGiCo to provide its users

with an appreciable amount of

additional flexibility. To put this advancement into perspective, the

current Stealth Digital Processing is heavily based around third-

generation FPGA devices.

Although not scheduled for release until the end of the first quarter

of 2017, DiGiCo presented an SD7 installed with Quantum 7 at

ProLight+Sound 2016. Those attending the show saw some of the

unique ways this processing and flexibility are being implemented.

Some examples of these enhancements are the patent-pending

Nodal Processing and True Solo. Nodal Processing means that for the

first time processing can be applied to any node on the auxiliary

section of the console, allowing engineers to send unique processing

on each send from a single or multiple channels. This level of

creativity will allow engineers to tailor and deliver dedicated mixes

that were simply not possible before Quantum 7.

Coupled with Nodal Processing is the new True Solo system that

allows the operator’s monitoring

system to replicate almost any section

of the console, and how that source is

being processed and heard. This

saves time and speeds up the process

of managing the potentially daunting

number of channels and busses

available to the user.

Getting into the numbers, Quantum

7 expands an SD7 to over 600

channels of processing in 96kHz

operation that can be connected in

the outside world to approaching 3000

potential I/Os. New connectivity goes further, as the engine is also

equipped with eight newly assignable MADI connections and two

DMI (DiGiCo Multi-Channel Interface) slots for AoIP and other

connectivity options from the complete family of DMI card options.

Perhaps the best feature of Quantum 7 is its ability to be retrofitted

into any existing SD7, allowing owners to take advantage of these

developments and continue to make the return on investment

DiGiCo is known for.

“Even though I have worked with DiGiCo’s R&D team for 20 years, I

am still amazed at their creativity and how they continually strive to

add value to our products,” says DiGiCo Managing Director James

Gordon. “Last year they managed to take Stealth Digital Processing

to a new client base with S21, and now this year they present the

Quantum 7 concept. There’s never a dull day at DiGiCo.”

Distributed by www.dwrdistribution.co.za.

Allen & Heath debuts Qu-SB

DiGiCo reveals Quantum 7 at ProLight+Sound 2016

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integrAtion & inStAllAtion ThEaTRE FEaTuRE

While modern AV technology evolves to meet these challenges, it

often runs up against unexpected bumps in the road – some more

serious than others. Recent research from Shure UK, for example,

points out that the use of wireless digital sound equipment has

become ever more effective and widespread in the live event and

theatre sector. However, the frequency spectrum such equipment

uses is being eroded by the legislated allocation of additional

spectrum to mobile phone networks.

Another interesting challenge for AV in the theatre sector, and one

which is growing as a phenomenon in the local market, is the rise of

alternative spaces for theatrical performance. Pop-up theatres,

festivals and multi-use spaces are becoming more popular, and all

bring interesting challenges to live theatre event designers and

technicians. Apart from this, AV in traditional theatre spaces evolves

steadily, with sound and lighting equipment being designed that is

flexible enough to be installed in a theatre production one week and

used for an outdoor rock festival the next.

Our cover feature in this issue of Prosystems News looks at some of

the design, production and technical issues in this most venerable of

AV installation and live event environments. The technical demands

of a big-budget franchise musical are looked at alongside the

low-budget creative technology solution for a workshopped piece of

intense drama. The variety of architectural spaces in which

productions happen is reflected in the work of Charcoalblue

consultancy, which designs and installs theatres in everything from

refurbished warehouse buildings to lavish 18th century opera houses

– and employ professional acousticians as part of their design team.

The variety and innovation in AV technology in the sector has many

overlaps with the traditional concert environment, but also unique

attributes in using the technology to sustain and create mood in

sound and lighting. Ideally the AV in a theatrical production can act

as one of the creative forces in a production – as much part of it as

any character or piece of dialogue, and perhaps THE key element in

creating the atmosphere and identity of a theatrical work . In the

pages that follow we highlight many case studies which foreground

the place of AV in live theatre, in many different guises.

Live theatre aV technology has come a long way. While the staging of live theatre events has much in common with the aV requirements of other live shows, the traditional theatre environment also has unique characteristics and challenges. In most theatres, for example, space is at a premium for rigging and lighting. The architecture of many traditional theatres can also present acoustical challenges for sound dispersal and coverage – and not just for musicals. Sound can often play an integral dramatic role in a production. In big-budget musical productions, singing chorus lines and more than one actor voicing the same role also present mixing and legibility issues.

The lure of the footlights

Phot

o by

Sa

lly a

nn N

orm

an

Newcastle Theatre royal

2828

integrAtion & inStAllAtion ThEaTRE FEaTuRE

after more than a year on the road, Singin’ In The rain came to a close in March this year…

Singin’ In The Rain a remarkable feat of production design

By Elaine Strauss

The Pieter Toerien stage production of Singin’ In The Rain recently

came to a close after more than a year’s preparation and over 13

weeks on the South African stage. The show originally started in early

2015 in New Zealand (Wellington) then moved to Auckland, then to

Singapore, Manila (Philippines), Hong Kong, Cape Town and finished

in Johannesburg in 2016.

Lunchbox Productions (UK) contracted Prosound’s sound specialist

and veteran of musical sound design for 37 years, Mark Malherbe, to

revise the sound design for a new international tour of the musical,

which boasted a South African cast and director, in order to suit the

intended venues and tour schedule.

Malherbe, in turn, chose Orbital Sound as the hardware suppliers,

based on his designs.

According to Malherbe, though Singin’ In The Rain in itself was

beyond compare in more ways than one, the largest issue he had on

the technical side of the production, was the amount of water used in

the production, which precluded many of the normal setup methods

and hardware placement.

“Even mic’ing the tap dancers was a mission as no floor mics could

29

electrosonic – Martin Lighting

29

Singin’ In The Rain a remarkable feat of production design

3030

integrAtion & inStAllAtion ThEaTRE FEaTuRE

31

ThEaTRE FEaTuRE integrAtion & inStAllAtion

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be used,” he says. “In addition, waterproof capsules had to be utilised

for the rain scenes on the performers.”

But this was not the only challenge Malherbe faced in setting up

for the production.

“The show was starting in New Zealand after rehearsals in

Johannesburg and the time frames meant that I had to design and

specify before seeing rehearsals, as the gear had to leave the

supplier to ship to New Zealand before the start of rehearsals,”

Malherbe says.

The system design was based on script, score and rough video

copy of the UK version. The design was then sent to various bidders

around the world and in South Africa and in the end, the best solution

from a cost perspective was from Orbital Sound (UK).

“The system was prepped in the UK and took many hours of

conference calls from South Africa to the UK to ensure we had as far

as possible covered all bases,” Malherbe continues. “Added pressure

is that Wellington is far from being the technology capital of the world

and specialist audio hardware supply is limited and expensive. The

first time I saw the actual equipment was when we arrived for the

setup and opening season.”

As the set up time was going to be intense and limited, much of the

hardware Malherbe selected was equipment that he was extremely

familiar with.

“As the rehearsals were taking place at ArtScape, I selected the

Midas digital consoles as I could use the in-house hardware for

preliminary programming,” he says. “In essence the system was

based around Midas Consoles, Meyer Sound Speakers and

Processing and DPA Microphones.”

According to Malherbe, working on Singin’ In The Rain was a

career highlight.

“This was definitely a show that I am proud to have been

associated with. The opportunity to work side by side with top

internationally acclaimed creatives in our industry was unique.

Stressful, but unique!” he says. “The level the show was staged at was

exceptionally high on a creative, technical and performance level

and was critically well received. The show set new bench marks for

South Africa and all involved gained from the experience.”

3232

integrAtion & inStAllAtion ThEaTRE FEaTuRE

The use of clever technology for

I See You greatly enhanced the

viewing experience of the play and

emphasised the notion that technology

can be art in itself.

Splitbeam turns technology into art for I See You

By Elaine Strauss

33

ThEaTRE FEaTuRE integrAtion & inStAllAtion

The beauty of the I See You production, a collaboration between

local writer Mongiwekhaya (with his debut work), the Market

Theatre in Johannesburg and the Royal Court Theatre in London,

was its clever use of technology.

The play is based on a real encounter in the writer’s life and

was developed by him during the Royal Court’s new writing

project in South Africa, which began in 2013.

According to Helen Surgeson, Key Account Manager of

Gearhouse Splitbeam, due to budget constraints, much of the

equipment used for the production was older models. But this did

not affect the production in any negative way.

“What really stood out for me with this production was how

cleverly the technology available was used,” Surgeson said. “It is

so easy to overuse technology – technology for technology’s

sake – but it was used very subtly for I See You.”

Sound designer Giles Thomas made use of, what Surgeson

refers to as “good old-fashioned, clever design”, with point

sourced sound.

“When someone entered stage left while their cell phone rang,

the sound only came through the left speaker and for the part

where we had a DJ booth, the sound was coming from top

centre,” she said.

Everything was clearly plotted and planned, which made the

sound design very effective, including a lot of smaller speakers,

specifically because of the point source design.

“I do believe that this sound design enhanced the production,

that it was on a whole new level,” she said.

The sound kit included an EV Q1212 Amplifier, two EV Q99

Amplifiers, EV SX300 12’’ Full-Range Loudspeakers, EV S40 Ultra

Compact 5.25’’ Full-Range Loudspeakers, EV S40 Ultra Compact

5.25’’ Full-Range Loudspeakers and RCF ART 322A Full Range

Loudspeakers.

The real gem of the production, however, was the dimmable

fluorescent lights used throughout and incorporated in different,

unique ways for every different scene.

I See You takes place in three main settings, namely a night

club, a police interrogation room and a parking lot and the

dimmable fluorescent lights, which were used in all these scenes,

emphasised the deference of these spaces and their moods.

“For the night club scene, the fluorescents were subtle, allowing for

more colour in general,” Surgeson said. “The police interrogation

scene had the lights on fully, creating a harsh light and for the parking

lot part, a few then created a bright pool of light, to create the effect

of a street light.”

According to Surgeson, the dimmable fluorescent lights were

originally bought for Last Attitude, a ballet commissioned by the

Dance Forum, but they worked brilliantly for I See You.

Oliver Hauser, who worked on the lighting design for Last Attitude

spoke about what dimmable fluorescent lights bring to the design

table.

“The idea was to create a bare environment with soft but harsh

white light for the dancers, but we also needed a fixture that allowed

for full control for smooth crossfades and blackouts in between

scenes,” he said. “LED fluorescent alternatives were too pricey for this

project. We needed something else that could dim without much

change in colour temperature. A fluorescent lamp colour tends to

stay balanced over a reasonable operating range (100% to 75%), but

the spectral distribution will change slightly as the lamp is dimmed. So

there is a slight colour change but not one the eye can quickly

recognise.”

By using CW 4ft T8 fluorescent tubes with dimmable ballasts hung

on either side of the stage Hauser was able to achieve the required

effect.

The lighting kit included ETC Source 4 36Degrees, ETC Source 4 PAR

NSP, ETC Source 4 PAR MFL and an ETC Ion.

According to Surgeson, it was remarkable to do so much with the

budget they had for the production and that the clever use of

technology available, as opposed to using the latest equipment on

the market, made for an unforgettable production.

“Our Managing Director, Alistair Kilbee has a saying that new isn’t

always better,” Surgeson said. “The simple appreciation for

technology and use of it in clever ways, as seen with I See You is art

in itself.”

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According to Prosound’s General Manager of lighting and structures

Ian Blair, what made this installation so ground-breaking, was the fact

that it was at the time the largest such installation in Africa.

All the new dimmers recently installed in the theatre are 5kW and

everything, including stripping out the old racks and adding

additional cables, took about a month to complete.

According to Blair, with careful planning and additional schedule

managing from the theatre, the entire installation, including the

increase of dimmers by 20%, only meant one dark week for Artscape.

Charles Markotter, who heads up the Prosound Cape Town office,

led the team for the installation. According to him, a total of 497

channels of ETC Sensor ThruPower were installed.

“We also installed 380 channels of Sensor HSR dimmers in the

Drama theatre. The removed system comprised 360 channels of

Siemens dimmers and forty channels of non-dim, so in total we

increased the main lighting system in the Opera theatre by 96

channels,” he said. “Although we had plenty of space, with the

dimming room being huge and the new Sensor racks occupying

barely 5% of the space, we ran just a six man wire team. The existing

wire tray cable trunking didn’t have room for the additional cables for

the new channels, so small racks have been installed in the upstage

corners of the stage.”

For the sound, Prosound supplied a whole new system, including

the main system in the Opera stage – a Meyer M’elodie eight per side,

with five CQ1s and CQ2s for the centre cluster. The front fill is all M1D as

is the effects system, the mixer is a Midas Pro 9 and there are 96

channels of pre amps.

Lighting and sound in traditional theatre spaces is a key component of any impactful professional production. To stay up to speed, Cape Town’s iconic theatrical venue, artscape, centrally located in Cape Town’s scenic foreshore, had been previously fitted with eTC Sensor ThruPower dimmers, thanks to local distributor Prosound.

Artscape gets another makeover from ETC

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ThEaTRE FEaTuRE integrAtion & inStAllAtion

ETC ColorSource Family

+

Americas n Europe n Asia

www.etcconnect.com

Every venue is LED-ready with ColorSource ThruPower, which provides dimmed or switched power on a circuit-by-circuit basis.

Learn more at www.etcconnect.com/ColorSource

Good LED lighting doesn’t have to be a struggle.

Good LED lighting doesn’t have to be a struggle.

www.prosound.co.za

According to Blair, the Drama stage’s centre cluster consists of three

UPA 1P and 2Ps, again with CQ1 and a UPA at each side and the HP

Subs I are shared between the two stages.

DPAs remain the bulk of the mics, but the theatre also invested in

some Sennheiser MKH series microphones, for more public spaces

outside of the theatre.

“The monitors are JBL 712’s, since there are a lot of JBL wedges in

the Cape Town area and just about all the visiting operators are

accustomed to using them,” said Artscape’s Head of Sound

Liam Cookson.

More recently, Artscape contracted Prosound once more to extend

the theatre’s longstanding relationship with ETC. The existing lighting

console in the Opera theatre was upgraded to a state of the art ETC

Eos Ti. The desk was installed in just a week in late March, and currently

offers over two thousand channels of power in the Opera theatre,

and seamlessly interfaces with the ETC Sensor3 ThruPower advanced

dimming system. This in turn enables bidirectional feedback between

dimmers and lighting console. With the lighting in the Drama stage at

the Artscape also driven by and ETC Gio console, the whole theatre

complex has a great ETC synergy. The decision to go with a full ETC

solution in the theatre is partly driven, says Blair, by not only the fact

that ETC is one of the very few global manufacturers making

dedicated and specialised theatre AV technology, but also because

of their renowned 24/7 global backup and technical support –

unusually even extending to spares on discontinued product lines,

simply because of their reliability and longevity.

(with contributions by Stephen Moles and Lighting and Sound International)

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The business of theatre design and installation is a complex one. The precision required for capturing and enhancing the performance is extreme, and requires not only innovative and flexible products, but human expertise. It is also an intensely collaborative undertaking between performers, writers, directors, designers and technical staff. Throw into the mix the huge variety of performance spaces that can be used and designed for theatre and performance, and you are dealing with serious complexity. This is the space in which uK consultancy Charcoalblue plays. James Sey interviewed co-founder andy hayles.

Charcoalblue sky theatre design

By James Sey

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Charcoalblue sky theatre design

Charcoalblue is one of the most renowned and innovative

theatre and acoustics design consultancies in the UK. Since

its launch in 2004, it has grown to a total of around fifty

people working across four studios in London, Bristol, New

York and Melbourne, making Charcoalblue the largest

organisation of its kind working in Britain. As the theatre

consultants and acousticians of choice for many of the

country’s leading architects and theatre companies, its

portfolio ranges from world-famous companies like the

Royal Shakespeare Company (RSC), the Royal National

Theatre (RNT) and Glyndebourne Festival Opera, to

cutting-edge outfits such as Siobhan Davies Dance, Graeae

and St Ann’s Warehouse in New York.

While technology-agnostic, the company does pay great

attention to the architectural and acoustical properties of

all the spaces it is commissioned to refurbish or build from

scratch in order to accommodate different types of

performances. Again, this approach is a collaborative one

driven by artists and performers, but ultimately creates

theatrical space that are adaptable to modern audiences

and technical demands.

The company prides itself on a unique collaborative

approach and relentless attention to detail which has seen it

win awards, glowing reviews from the theatrical and

architectural press and praise from performers, technicians

and audiences.

James Sey (JS): Why did you set up Charcoalblue?

andy hayles (ah): We started the company because

we particularly wanted to work with the best performing arts

companies in the UK – those seeking to improve the way

they are putting on shows or running their business.

This might be an infrastructural approach – for example,

looking at a company’s auditorium and getting more seats

in the space without moving any walls, as we’ve done at the

NT Dorfman, Chichester and the Orange Tree.

Or it might be the design of a brand new auditorium to

rejuvenate an organisation like the Liverpool Everyman, the

forthcoming new Linbury at the Royal Opera House or the

RSC; or a respectful refurbishment of a listed building to

better respond to modern audience expectations like the

Bristol Old Vic, Newcastle Theatre Royal or Liverpool

Philharmonic.

It may range from solving an acoustic problem with

scenery for a single production, as we did when War Horse

visited the Lincoln Centre in New York, through to designing

a new temporary theatre such as the Royal Shakespeare

Company Courtyard or the National Theatre Temporary

Theatre while the theatre company address an alternative

operating model.

Working with the best performing arts companies in the

UK doesn’t just mean the national treasures (though we are

lucky to count the RSC, National Theatre, Royal Opera

House, English National Opera (ENO) and Glyndebourne as

clients) but also those innovating and shaking us up, like

Indhu Rubassingham at the Trike, Paul Miller at the Orange

Tree and the artistic teams at Oval House, Hackney Yard

and Paines Plough.St ann's Warehouse New York

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integrAtion & inStAllAtion ThEaTRE FEaTuRE

We want to work with companies like that at every scale to make

accessing our design and consultancy services easy and to become

the best team of auditorium and technical designers, acousticians

and digital innovators in the world.

JS: What’s the company’s take on collaboration in the theatre industry?

ah: In short – always being willing to learn, creating a conversation

where stupid questions don’t exist, and being generous with

knowledge and experience. And of course – trying to choose to work

with those who seek the same spirit as you.

We’re indebted to our clients and co-designers for the dynamic

collaborative experiences we’ve enjoyed in Charcoalblue’s growth

so far.

Even winning and working on our first project with Siobhan Davis

and architect Sarah Wigglesworth was an amazing collaborative

experience. Both these women are powerhouses of inspiration and I

learned loads in just the first few months working alongside them!

Sarah creates an amazing spirit for design collaboration – the

practice’s meeting room doubles as her family’s dining room in the

evening – it’s like gathering in the heart of her home with your

coloured pencils at the ready!

We’re indebted to those first few clients, including the RSC and

ENO, who had the confidence to appoint us and collaborate with us;

expecting and enabling surprising but effective end results.

We continue to strive to repay that faith and to keep learning and

being as responsive and generous today as we were in those early

days. Still saying ‘what if?’ rather than ‘probably not’!

JS: how will the vision for the company develop?

ah: We want to work with artists that want space to make and

present their art. And with studios now open in New York, Melbourne,

London and Bristol – we want to do that everywhere!

We added acoustic design consultancy to our offer in 2010 and our

Bristol Old Vic

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ThEaTRE FEaTuRE integrAtion & inStAllAtion

royal Shakespeare Theatre Lyric hammersmith London

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integrAtion & inStAllAtion ThEaTRE FEaTuRE

team now includes six acousticians and tree Tonmeisters. We see the

integration and interplay between auditorium design, theatrical

technology and the acoustic environment as being key to the

success of any performing arts space and being able to workshop all

of these elements with our in-house team means that we can explore

matters more deeply and respond as one.

Bringing theatrical innovation to address other artist’s needs also

sees us developing a new digital design consultancy service. Our

research has highlighted how theatre makers are among the

vanguard of those toiling to bring the best of the digital age to the

widest of audiences.

After all, is there anyone better at advising on virtual reality than

those who design alternative realities for live audiences?

We set out to try and achieve national recognition for our design

contributions in our first decade. We didn’t quite manage that! But

the Liverpool Everyman was the first theatre to ever win the Stirling

Prize in 2015 – just one year behind our target schedule.

Our next target is an international accolade by 2019 our 15th

birthday.

We don’t seek accolades for their own sake – but rather as proof to

our valued clients and our talented team that sincere and innovative

design that aims to support and enhance the creative work of the

artist is not only valuable – but valued.

JS: What current projects are you most excited by?

ah: We’re very fortunate to be looking forward to being honoured

by St Ann’s Warehouse, our first completed project in the United

States, at their gala in June.

Nor will it be our last! We open a new highly adaptable theatre for

Chicago Shakespeare next year which attempts to grasp the

essential qualities of temporary space with technological ability

associated with longevity. All on a pier, atop a parking garage and

under the skin of an existing outdoor stage! It’s going to be quite

something!

Closer to home in the UK is the Factory in Manchester, which will be

a thrilling new venue type in the UK – perhaps more familiar in Europe

– a large performance hall bursting with potential for large scale

productions and events.

In June we open our first theatre in Canada – but it only has a life

span of 2 weeks! The Illuminati Festival is taking over a large deserted

power station in Toronto and we’ve designed a 1200 seat space to

host the National Theatre of Scotland’s James Plays.

With three projects currently being designed in the West End, York

Theatre Royal and Dance 4 in Nottingham just opened and the

Tricycle due to open next year – it’s a very exciting time for us!

Oh – and I shouldn’t forget the performing arts centre at the World

Trade Center in NYC. It’s a few years away from completion but it is

going to be quite an amazing series of spaces.

The Temporary Theatre (Shed) National Theatre London

The everyman Theatre, Liverpool

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14th & 15th June 2016

Peripheral Vision would like to extend an invitation to our

partners, their guests and other interested parties to a launch of

our exciting

Product Portfolio.

This will be the ideal opportunity to see the products in action and to spend some time with both the BARCO and Peripheral Vision

teams who will be on hand to offer advice and information.

The event will be held at our offices in Kyalami Business Park

If you would like to attend this event, please contact us at sales@peripheralvision.co.za

Digital . Communication . Optimised

SAVE THE

DATE

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41

42

integrAtion & inStAllAtion ThEaTRE FEaTuRE

“This year, we have the highest standard of excellence ever,” said

Executive Director, Dawn Lindberg “So much so that we have

introduced four new categories: Best Director of a Musical, Best

Support/Featured performance in a Musical and Best Performance in

a production for Children’s Theatre. The fourth new category is in

keeping with the new technology involved in design of sets:

Best AV/Animation.

The judging panel was expanded by six new judges, who were

chosen after extensive research following the highly successful

“Forum” held last year. This was due to suggestions and input from the

Industry as to how to improve and develop the awards’ modus

operandi. The new judges started assessing productions from

January 2016.

The 2016 Awards boasted 26 categories, as well as four Special

Award categories, namely The Life Time Achievement Award (for

Theatre Stalwarts who have given more than 30 years to the Industry),

the Executive Director’s Award, for individuals or companies who

have contributed to the advancement and development of SA

Theatre through their vision and commitment, the World Impact

Award, for productions or individuals who have raised the bar of SA

Theatre Internationally, and a new Award: ‘The Lesedi Spirit of

Courage’ Award, for individuals or companies who have

transcended deep trauma or handicaps to make a life changing

impact on SA theatre.

The Naledi Theatre awards took place at the Lyric Theatre at Gold reef City on 19 april. This year saw an expanded judging panel, as well as four new award categories.

Naledi Theatre Awards boasts four new categories, six new judges

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ThEaTRE FEaTuRE integrAtion & inStAllAtion

BeST SuPPOrTING aCTreSS: Janna Ramos-Violante, Doubt

BeST SuPPOrTING aCTOr: Phillip Tipo Tindisa, Fishers of Hope

BeST PrODuCTION FOr ChILDreN (Supported by assitej Sa) (0 – 12): Shrek, The Musical. JR. Produced by People’s

Theatre. Based on book by William Steig,

Directed by Jill Girard & Keith Smith.

BeST PrODuCTION FOr YOuNG auDIeNCeS (Supported by assitej Sa) (13 – 17): Making Mandela, Produced by KBT

Productions & Hello Elephant in assocation

with the SA State Theatre & Daphne Kuhn for

the A&G Theatre on the Square. Written &

Directed by Nick Warren & Jenine Collocott.

BeST PerFOrMaNCe IN a ChILDreNS’ TheaTre PrODuCTION: Gamelihle Bovana, James and The

Giant Peach

BeST NeWCOMer/BreaKThrOuGh (The Brett Goldin award) Sponsored by Distell: Menzi Mkhwane, A Voice I Cannot Silence

BeST COSTuMe DeSIGN: Floris Louw, After Animals

BeST LIGhTING DeSIGN (Sponsored by robe Lighting): Kevin Stannet, After Animals

BeST aV / aNIMaTION: JanHendrik Burger, After Animals

BeST SeT DeSIGN (Sponsored by Dreamsets): Patrick Curtis, Fishers of Hope

BeST SOuND DeSIGN (Sponsored by DWr Distribution): Larry Pullen, After Animals

BeST SCOre / arraNGeMeNT / aDaPTaTION: Nataniël, After Animals

BeST MuSICaL DIreCTOr: Rowan Bakker, Sister Act

BeST PrODuCTION:

CuTTING eDGe: Johnny Boskak Is Feeling Funny. Written by

Greig Coetzee, Co-Directed by Roslyn

Wood-Morris & Craig Morris.

BeST eNSeMBLe: Lepatata. Produced by Market Theatre &

Windybrow Theatre. Written by Moagi

Modise, Dir. by Makhaola Ndebele.

BeST OrGINaL ChOreOGraPhY: Grant van Ster, Fishers of Hope

BeST DIreCTOr OF a MuSICaL / reVue: Steven Stead, Sweeney Todd

BeST DIreCTOr OF a PLaY: Khayelihle Dom Gumede, Crepuscule

BeST SuPPOrT/FeaTureD PerFOrMaNCe IN a MuSICaL: Phumi Mncayi, Sister Act

BeST PerFOrMaNCe IN a MuSICaL (FeMaLe): Candida Mosoma, Sister Act

BeST PerFOrMaNCe IN a MuSICaL (MaLe): Jonathan Roxmouth, Sweeney Todd, The

Demon Barber of Fleet Street

BeST LeaD PerFOrMaNCe IN a PLaY (FeMaLe): Fiona Ramsay, Miss Dietrich Regrets

Fiona Ramsay, Doubt

BeST LeaD PerFOrMaNCe IN a PLaY (MaLe): Ralph Lawson, A Voice I Cannot Silence

BeST NeW Sa SCrIPT: A Voice I Cannot Silence. Produced by Arts

Trust of SA (ATSA). Written by Greg Homann &

Ralph Lawson, Directed by Greg Homann.

BeST PrODuCTION OF a PLaY: Fishers of Hope. Produced by the Baxter

Theatre Centre & Mopo Productions in

association with the SA State Theatre. Written

& Directed by Lara Foot.

BeST PrODuCTION OF a MuSICaL (The Joan Brickhill award): Sweeney Todd, The Demon Barber of Fleet

Street. Produced by Pieter Toerien & Kickstart

by arr. with DALRO (Pty) Ltd. Written by Hugh

Wheeler, Music & Lyrics by Stephen

Sondheim, Dir. by Steven Stead.

LeSeDI SPIrIT OF COuraGe aWarD: Gaynor Young

eXeCuTIVe DIreCTOr’S aWarD: Thembi Mtshali

LIFeTIMe aChIeVeMeNT aWarD: Taliep Petersen (Posthumous)

LIFeTIMe aChIeVeMeNT aWarD: Alvon Collison

WOrLD IMPaCT aWarD: Ladysmith Black Mambazo

The SOPhIe MCINGa eMerGING VOICe aWarD (Sponsored by the Market Theatre 40Th Year anniversary): Thandazile ‘Sonia’ Radebe.

FuLL LIST OF WINNerS: The Naledi Theatre awards 2016

4444

interview

James Sey (JS): Tell me a little about the corporate background to the business, and where it finds itself now?

James Gordon (JG): We started developing new

product lines in 2002 to

announce ourselves as a new

brand in the market at the time.

DiGiCo has grown

tremendously since then, all

through organic growth and

the excellence of our products.

We got to a point where we

had to make a decision with

our partners, Electra, about the

way forward. In 2014 that

process of looking where we

were in the British audio market

led us to the bringing together

of DiGiCo and console

manufacturers Calrec and Allen &

Heath to create a new professional audio group, while retaining each

company’s unique skills, customer relationships and brand identities.

Each business has a slightly different focus in the console market, so

the fit between us is good, and the same applies to our crucial R&D

function. None of our engineering teams were lost, and each brand

can approach its own markets through its own channels.

With DiGiCo’s manufacturing base in Scotland, and our sales and

marketing operations in South-East England, , we’re very centrally

situated for the big European live market which is still a big focus

for us.

JS: Where else is the company focusing? how are newer markets being opened up for you?

Ian Staddon (IS): We come out of the live and

rental markets, and have built

up a lot of brand loyalty with

engineers. With our newer,

digital consoles, which usually

have a smaller physical

footprint, we are opening up

the theatre market, especially

franchise musicals – a major

international production in the

West End, for example,

recouped its investment in a

new DiGiCo digital desk in just

DiGiCo – the ultimate console surfers

DiGiCo console in action at the Olympics

active in its current incarnation as a company since 2002, uK console business DiGiCo has become a benchmark manufacturer and designer of cutting edge mixing consoles. a long-time presence in the Sa market, they have recently appointed DWr Distribution as their new distribution partner here. The company’s first breakthrough product was the DiGiCo D5, by now a renowned digital mixing console that offered the best of analogue working practices and audio finesse with all the versatility and feature richness that the digital environment could offer. More than a decade on, how has the business developed and where is it going? James Sey spoke to CeO James Gordon and VP of Sales Ian Staddon.

Ian Staddon

James Gordon

4545

interview

three months because they could sell extra seats! Our consoles are

very flexible and successful in the theatre sector, and we’ve invested

in software for our consoles in the hope of big market growth in the

sector. For example, we’ve solved many EQ problems raised by

certain roles in large productions having more than one person

playing them, with subsequent different voice resonances and so on.

Our focus on upgrading and innovating with our software means

added longevity for many of our consoles. It also means we can

introduce a new model like our S21, which has reduced features and

functionality but at a lower price point, but we’re not sacrificing any

quality. And crucially the model is still software upgradable!

JS: In sales and marketing terms, what do you see as the trends in the major global markets?

IS: In the big metropolitan markets in the US and Europe, our market is

still very much rider driven, but since there’s been a bit of a lull in the

introduction of new models from our direct competitors, we’ve

managed to gain a bit of market share. In the broad Asian

market, which was traditionally a high-end play, we’re now

seeing business filtering into the mid-market. A lot of venues in

those countries are built from scratch, so get quite a bit of install

in those markets. If we have live shows in the venues, then that

helps too! In the South African market, as you know, we’ve

recently moved distributors, which was a carefully considered

decision not taken lightly. There’s a lot of competition in the SA

market, which is a ‘mixed use’ market. We needed to tailor our

sales approach accordingly.

More than a decade on from its first steps with the iconic D5,

DiGiCo’s SD Series, which includes the popular and accessible

S21, is the new standard setter and its fast, engineer friendly user

interface are becoming more and more relied upon in different

markets. The company’s reputation as a hard-wearing,

adaptable and beautifully engineered range of live consoles is

standing it in good stead as it looks to innovate for the future,

and to expand its market reach.

46

live eventS REPORT

Everyone gets together for the KKNK

The Klein Karoo Nasionale Kunstefees (KKNK) kicked off the Easter

weekend in March, celebrating its 22nd year. Oudtshoorn, host for the

KKNK, was again transformed into one giant festival, with schools and

churches transformed for theatre, comedy and musical productions

and a large outdoor main stage, lovingly titled the Musiekplaas

(Music Farm), created for concerts.

Technical suppliers and production crews flocked to the KKNK,

headed by technical manager of the festival for the past 10 years,

Pieter-Jan Kapp (Kappie), who made sure everything ran smoothly.

The vast list of technical suppliers and production crew included

Gareth Chambers and Duncan Riley from DWR, Blond Productions’

Christian Ballot, Mark Gaylard from MGG Productions, who was

subcontracted by Blond Productions for additional crew and

equipment, CJ Mostert from Multi-Media, Marius Marais from Audio

Logic, and Stephan Kruger and Braam Avenant from Freelance

Entertainment Projects.

Even with the almost ‘traditional’ rainstorm (usually experienced at

least once during the festival) which occurred on Friday, the show

went on. “Everything was washed away on Friday afternoon,

productions had to stop and start but thankfully the concert went

on,” explains Kappie. “The people had a great time and so did we.”

With the main stage and several ‘theatres’ to run, it was all hands

on deck for the week-long festival.

The concert kicked off with Zoid Afrika. The heart felt performance

saw Karen Zoid on stage with fellow friends and musicians, Anneli van

Rooyen, Kahn Morbee (The Parlotones), Corlea Botha and Jannie

Moolman and others. Performances that followed over the next few

nights included the Huisgenoot 100 Concert, a gospel evening

'Boontoe!' which coincided with Easter, and the ‘Rymklets’ (Rap)

dedicated for the local Rap and Hip Hop culture with DJs of

Oudtshoorn and the Western Cape.

Main stage

Tumisang Sebogo, who has worked at the festival for the past 20

years, was the lighting designer for the main stage, while Audio

Logic’s Marius Marais was the sound engineer.

“Joshua Jordaan (HOD of LED from MGG) and I designed the set,

which is LED based,” explains Sebogo. The VuePix screen forms the

backdrop with side panel strips running down on either side of the

stage creating depth. “There are always a few changes,” he says.

“The floor design was altered because a choir was added, but with

design we evolve and I just roll with it. There’s always a plan.”

Programming was on a grandMA2 full size.

aBSa Burgersentrum

Every year during the KKNK, the old Burgersentrum in Oudtshoorn

transforms into the music theatre for classical and jazz fans. Helping at

the festival for the ninth year, CJ Mostert from Multi-Media was the

lighting designer for this venue. “It’s for the love of the arts, you can’t

do this for money,” he smiles.

The Klein Karoo Nasionale Kunstefees took place over the easter Weekend in Oudtshoorn for the 22nd year…

47

REPORT live eventS

48

live eventS REPORT

“Multi-Media supplied the entire venue with technical and AV,”

says Mostert. The gear transformed the stage with 6 x Robin 600 E

Spot, 12 x Robe LEDForce 18, 12 x Robin 300 LEDWash, 5 x Robin DLS

Profiles, 8 x Martin 101 CT, 6 x Martin Aura and a MDG Hazer.

Mostert has a fine eye and created striking looks, working on an

Avolites Tiger Touch.

Operating sound in the Burgersentrum was Stephan Kruger from

Freelance Entertainment Projects. “It has been a good turn out,” says

Kruger. “The tickets for this venue sold out every morning and I have

loved it.”

Johnny Bisschoff hall

Sizwe Banzi is Dead, the theatre classic dealing with the question of

the human dignity of a black man in apartheid-era South Africa, was

one of the main shows that ran at the Johnny Bisschoff Hall.

Acclaimed local acting heavyweight John Kani directed this

acclaimed production of the play originally written by himself and SA

theatre legends Athol Fugard and Winston Ntshona. The lighting

designer and production manager was another SA theatre luminary,

Mannie Manim, previously at the Market Theatre. Manim and Kani

also produced the show.

Lighting operator Braam Avenant from Freelance Entertainment

Projects was lighting programmer and designer for this and other

shows running in the Johnny Bisschoff venue, in his third year at KKNK.

“I worked on a grandMA dot 2 and this is one amazing desk,” says

Braam. “I did not have one issue with it. Everyone has enjoyed the

show – it has been an amazing production.”

Die Boer Theatre

Usually a sound engineer, but for the KKNK festival a lighting operator,

Juan Jansen van Vuuren added his flair to the flamboyant 'Die Boer

Teater' at the Oudtshoorn NG Church, which serves as a dining and

live entertainment venue. “My job is to create atmosphere and to

make sure that the artists feel at home on our stage,” says Jansen van

Vuuren, who programmed on a grandMA dot 2.

He incorporated 12 LED Parcans, 4 Robe 575 Spots, 4 Parcans and 4

ETC Profiles to create magic. “I had never used the dot 2 before, but it

was great and very easy to use,” Jansen van Vuuren comments.

SaNW auditorium

Theo Kruger, an independent freelancer from Pretoria and at the

KKNK for the seventh year, was the lighting designer and operator at

the SANW Auditorium, home to a few dramas over this period.

“It was the first time I used the grandMA dot 2,” says Theo. “It was

not too difficult and after the first day, I had it. Gareth Chambers from

DWR was also at the festival to help me. The festival itself is always fun,

we work hard but it’s fun.”

Kappie had nothing but praise for the extensive technical team

and sponsors who pulled together to make the event possible. “It’s a

huge but very important undertaking,” he concludes. “Without

everyone pulling in the same direction for this very varied and

necessary cultural and arts festival, it just wouldn’t happen, so a

sincere thanks to all who gave of their time and expertise.”

Harmony needs balance, silence, and quality of light.

ww

w.c

layp

aky.

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The sound of lightSCENIUS

Music spreads into the surrounding silence, and a harmonious light radiates into the darkness of the scene. In a play on perfect symmetries, light too varies its tones. Balanced intensities, soft shades, vivid colours, perfect white, accurate wash, fancy shapes...

Listen: this is the Scenius, the harmonious sound of light.

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ProSystem_A4_EN.indd 1 16/12/15 17:30

50

live eventS REPORT

The gala launch event featured a full AV and live show, as the

culmination of VWSA’s national sales conference. A professionally-lit

display of the various incarnations of Golf GTi’s over the years outside

the venue, ushered guests into the luxurious banquet hall.

The evening consisted of the presentation of the various sales

awards to VW staff from all over the country, interspersed with a lavish

meal and live entertainment by the likes of Arno Carstens and Lira.

The show space was beautifully lit by lighting designer Francois van

der Merwe, with equipment supplied by MJ Event Gear.

The various entertainments and awards were simply acting as the

precursor to the big reveal of the show, the unveiling of the brand new

2016 VW GTi Clubsport, the sleek and powerful flagship incarnation of

the GTi.

The stage set-up consisted of a stage for the live dancers and

presenters, dominated by three DigiLED vertical side screens on each

side, all supplied by AV Systems. The side vertical columns were

digiLED Ti6N at 6mm resolution, and were 4m wide x 3.6m high. These

flanked an impressive 14mX4m central screen, also a DigiLED iMAG

series 3.2mm pixel pitch screen. This screen comprised of modules of

500mm square, weighing 9kgs each. Enticing content flitted across

the screens as background and filler for the dancers, and also to

project crystal-clear information on the awards and proceedings to

the audience. All content was projected in high-end HD by a Christie

8K HD Xenon projector.

At the crucial point in the show, as video content on the central

screen merged with the dancers and lighting, the screen lifted to

reveal the new GTi Clubsport. But behind the car was another screen,

this time a 15m long X 3m high DigiLED curved screen, a digiLED

MC10SR at 10mm resolution. Against this beautifully elegant screen

the car was impressively foregrounded. Consisting of 180 panels of

AV Systems revs it up for VW

as you would know if you’re a petrolhead, this year marks the 40th anniversary of the iconic VW Golf. The celebration of the famous German marque took place recently at, appropriately, Kyalami’s Theatre on the Track. aV System’s DigiLeD screens played a crucial role in the event.

51

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500mm squares, all offset at an angle to the next panel of between

7mm and 14mm, the role of the curved LED screen in providing the

dramatic backdrop to the show was well-judged. “It’s a

multipurpose, all-weather IP65 rated piece of LED technology,’

enthuses Alvaro Rodrigues from AV Systems. “Not many people know

that DigiLED is a UK company, despite manufacturing mostly in

China. The quality is exceptional, and we provide a full inhouse

service and repair function, so it’s rare that any component needs to

be imported or exported.”

The next generation LED display technology certainly did the job

on the night of the Clubsport reveal. With front access to all

components, the technology provides excellent contrast ratios and

vivid colours. The whole DigiLED series features silent operation and

lightweight design, which reduces installation costs – a big

advantage for successful use for indoor events and applications.

51

52

live eventS EXPERT OPINION

Rigging and such: Rotating a truss…. from square to diamond?

By Rinus 'Rhino' Bakker

What is the effect of using a square truss in a diamond cross section shape? This is a type of use often seen in relating to hanging (LeD) screens, as a solution to create a centralised hanging point. (see fig.1).

Before you start

Please realise that for square truss, used as a diamond shape, the

loading capacity of that truss is reduced significantly, almost to the

point of that of a flat truss.

If no internal braces are in place, the truss may start to deform

under loading. (see fig.2).

Fig 1 Fig 2

53

EXPERT OPINION live eventS

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The truss position in a truss pod

Any proper design of a square or rectangular truss type will have a

system of internal diagonals that prevents the cross section of the truss

from deforming under conditions of, for example, unbalanced

loading; sloppy slinging or rotated orientation. Rotated orientation will

happen in a truss pod that is raked – two sides will be in the raked and

two sides in a rotated position. (see fig.3).

Support reaction forces in raked trusses were discussed in our

last column.

In such a raked set-up the loading tables are no longer valid. But

the manufacturer should not immediately ‘punish’ the user for doing

a truss pod design like that. In Europe a manufacturer is expected to

keep in mind that ‘abnormal’ use can happen and that this should

not lead to immediate failure.

Internal diagonals help the user in the return on investment

Why is that, one might ask?

Well, let’s have a closer look at a square truss used as a diamond

shape cross section. The load – like lighting fixtures or LED screens – will

be applied to the lowest chord, and slinging at the support points in

most cases will pass around the two side chords, or –one should not

hope- the top chord only. The effect of this is a vertical pull and a

horizontal compression, forcing the shape to become a rhomboid.

(see fig.2). Internal diagonals can absorb those forces, but as these

are not as abundant as the regular braces, and their capacity to

prevent such deformation is not unlimited. Even a brand like Prolyte,

that manufactures trusses equipped with internal diagonals, will tell

the customers that diamond shape use of square truss shall reduce

the load to about 66% of the loading tables.

And what about those brands that don’t have any internal

triangulation? Where will they limit the capacity of the diamond

shape use? From lots of user experience and feedback it turns out

those brands are often causing more problems in assembly. Not too

hard to imagine, because when the conical connectors, bolt holes or

fork ends are machined with high tolerance accuracies, even the

slightest deformation, can render a module difficult to assemble.

Trying to get it mounted, using hammers, ratchet straps and donkey

kicking will start to degrade all the truss units it is assembled to as well.

The example of such extreme deformation is shown in fig. 4.

So please keep this is mind, next time you use a square truss section

as a diamond shape. Although diamonds may be a girls’ best friend,

that doesn’t necessarily apply to riggers.

Fig 3

Fig 4

5454

live eventS REPORT

The Voice makes South Africa proud

“When we eventually got sign off I was both elated and terrified at

the same time,” de Lancey recalls. He realised that with the scale of

the task at hand, lighting would be a key component, and that

putting together a like minded team of people together to do the

show justice was paramount. Joshua Cutts was appointed lighting

designer, and after a pitch process, Dewet Meyer of JDM Unlimited

was appointed set designer. Multi-Media’s Auriot Booyes headed up

the crucial audio component of the tech design, and also serves as

assistant project manager to de Lancey.

“It was an enormous relief when Josh said he was available to take

on the job. I knew obviously that we would be getting one of the best

lighting guys in the country but I also knew it would be taking a lot of

pressure off me. It has proved to be a very symbiotic relationship,” says

de Lancey.

“I think the biggest learning we had, and the essence of what The

Voice is all about,” says de Lancey, “came from Mauritz Briet, who is a

Dutch consultant who has advised on the show for international

audiences. At the beginning of the production he came through at

the start of each element, namely the Blinds, the Battle and the Live

performances. When he first

walked in at the beginning

of the Angola Blinds, the first

country we produced for, he

looked at this lighting rig and said,

‘This is fantastic, but there’s way too

much, cut it down.’ “

Cutts and De Lancey had to ake this on

board. They were trying to create something

spectacular and now had to strip the technical

elements down to a basic lighting rig. But the

show works on a tried and tested formula. It starts

off small for the Blinds in an intimate theatre

environment, grows the atmosphere slightly for the

Battles and then builds in head room for the Live show. This

format, which has now run for the past nine months, sees the studio

turn around equipment every six weeks or so to accommodate the

next phase of each country’s recording. Each country also has its own

director, music director and personal stamp.

From a lighting point, Cutts has control on a full MA2 System. The

MA solution comprises of a grandMA2 Light, an onPC Command

Wing, MA NPU, MA VPU Light, MA 4Port Node, Fibre Network Switch all

on a fibre network.

The musical director on the South African show is James

Bassingthwaighte, and he and Cutts are the pioneers of the use of

timecode in South Africa. “James and I worked very closely together,”

says Cutts. “I did a lot of the groundwork for timecode and how to

implement it very quickly on The Voice. Timecode is almost like the

nervous system of the show, without it, it wouldn’t work. It allows me

more precision for all my cues and I’m not afraid of a zero type

cue time.”

“My vision was to pixel map as always. A big thing I found in the

American Voice in particular is that they use a 5x5 pixel panel of

lighting. We have a similar product in our country called the Elation

Cuepix. It allowed me to have a high count of pixels in a small area

through connecting all these panels together.” Video runs over the

entire lighting rig to complement the video currently running on

the screens.

When the television audience heard that The Voice would come to South africa, there was a huge response and huge expectation. For Chris de Lancey from Multi-Media, which was awarded the technical supply for The Voice angola, South africa and Nigeria by production company aMPN, it has been a tremendous buzz to see the show raise the bar for local televised shows and to meet international standards.

Phot

os b

y D

unca

n ri

ley

55

REPORT live eventS

As the studio is relatively

small, Cutts used Robin

Pointes for sharp, hard

beams or he would

zoom out for gobo

work. Front

lighting was a

challenge as

the set and

ceiling design

were not suited for

followspots. Generic

front washes were

originally used but these

fixtures did not give the

dynamics to go up and down on

stage. “It was generally a focussed

instrument that I couldn’t move and

manipulate based on each song. We

weren’t getting the black levels we

wanted in the room and it wasn’t creating

the definition and depth we wanted. It wasn’t theatrical enough.”

Cutts therefore opted for Robe BMFL Blades. “I only use four BMFL

Blades from the front for about 80% of my key lights, he explains.

“What’s interesting is I tried to use them as programmable followspots

so I continually move them around the stage within cues of the song to

almost follow the performer from one side of the stage to the other.

Two BMFLs are used to wash the entire stage. Then I cut them down to

where the performer is. I cut the stage out, and when the performers

move, all I do is open the blades. If they go left, I’ll open the left blade,

if they move to the right, I’ll open the right blade. That way I’m not

changing the intensity of lighting. They are going at 100% and

it’s working.”

Vuepix E Series panels were used for the screen. “We started off on

the Blinds with 50 panels,” explains Chris. “In the Battles the floor stuff

stays and we add side screen to about 100 panels which are mainly

used for the team names. For the Live show we go up to 200 panels.

Those are all on Q7 controllers.”

There is approximately 2 km of RGB LED strips as the set had to

switch on and off. “The set needs to be able to disappear, reappear

and change colour and adapt based on the performances,” says

De Lancey. “It is one of the most challenging aspects of the show!”,

he smiles. “And we are constantly rerouting. I think we have 98 DMX

controllers and power supplies.”

Dewet Meyer was given the set design aspect of the project. He

developed items such as the large hand with mic set piece by putting

the visual into a 3D drawing format and sending the plan off to be laser

cut. Once the base of the timber hand had been created, it was fibre

glassed and painted.

The Voice has been a privilege for De Lancey and Cutts to be part

of. “The Voice really focuses on the talent. You can’t call them

contestants, you call them talent, there are no judges – there are

coaches,” De Lancey explains. “There’s a lot of work that goes on

behind the scenes to find this talent. The Voice is a very specific brand.

It needs to look a certain way, it needs to feel a certain way and the full

production team’s attention to detail is considerable.”

It’s a winning formula, and the local technical and production teams

have continued to make it sing.

5656

live eventS REPORT

When the high-voltage, theatrical dance experience Burn the Floor

returned to South Africa, they looked to Audio Logic to supply all the

additional audio equipment that was needed for the production and

to meet the specifications given by Sound Designer Derek Wilson.

Though this was the fourth time the show returned to South Africa, it

also marked its first time in Pretoria, Cape Town and Durban.

With jaw-dropping choreography, heart-pounding music and

breath-taking moves, Burn the Floor included a talented ensemble of

dancers who joined forces with two sensational singers and a live

band. Breathing new life into traditional dances such as the Viennese

Waltz and Foxtrot, Burn the Floor seared with the passion of the Tango

and Paso Doble, and revelled in the sheer energy of the Cha Cha, the

Samba, Rumba and Jive. The show featured South African dancers

Kylee Brown, Johannes Radebe, PW van der Walt (on drums) and

Kuba Silkiewicz (on guitar).

According to Leon Barnard, State Services Manager at the State

Theatre, Burn the Floor is the biggest international production

performed in the South African State Theatre in several years.

“The show features a lot of audience interaction, so we needed to

remove the orchestra pit and include several extra seating,

expanding the audience capacity to 1 300 people, for the show.”

“Throughout the show the performers go in to the audience, so we

had to create a means for that contact with the audience.”

Barnard also confirmed that because this is a touring production,

the relatively small set travels with the production, while they make

use of in-house and supplied sound or lighting equipment.

The production featured additional audio equipment from audio Logic and in-house lighting at its changing venues…

Burn the Floor returns to South AfricaBy Elaine Strauss

57

www.alustage.euwww.alustage.eu

According to Audio Logic’s Sound Engineer Julius Dreyer, who did

the FOH mix of the show, the State Theatre in Pretoria’s In-house Nexo

GEO S8 and CD12 system was used as main PA with Nexo PS10 and

PS15 as front and side-fills.

“Because of the different moods set throughout the show from very

high-energy to close intimate scenes, audio levels and effects were

specifically set for every scene,” says Dreyer, “keeping in mind that we

needed to accommodate everything from classical to rock.”

The sound kit also included a Yamaha CL5 as the FOH console with

two Yamaha Rio3224-D racks. Shure ULXD4Q Receivers with a

combination of Shure ULXD-2/Beta58 Handheld Microphones for

vocals and Shure ULXD-1 Body Pack Transmitters for headsets and

guitars. A combination of Shure Beta52, Shure Beta56, an AKG P170,

Audio Technica ATM350 and Shure Beta181 were used for the drum

kit. The guitar rack was supplied by Burn the Floor and consisted of

Avalon U5 DI-Pre-amps for acoustic and bass guitars and Fractal

Axe-Fx for electric guitars. The playback equipment was also supplied

by Burn the Floor and consisted of two Macbook Pro’s running Digital

Performer as playback software and using MOTU 828x as audio I/O.

According to the owner of production company Innovation and

Production Manager for the show, Vanessa Nicolau, the lighting for

Burn the Floor in Pretoria was designed by Australian Scott Rogers

using the existing State Theatre rig and running the show off the

theatre’s Grand MA on time code.

Simon King is transferring the design to the Baxter Theatre in

Cape Town.

Though most of the equipment will not be moved between the

different theatres for Burn the Floor, according to Dreyer, the change

in venue should not affect the sound production of the show.

“Every venue will have a different PA system and acoustics so

everything will be re-calibrated and equalised to make everything

sounds the way that the production requires.”

Burn the Floor ran from 28 April to 15 May at the State Theatre in

Pretoria and both Nicolau and Dreyer were enthusiastic about the

show, emphasising how well the production did during its time

in Pretoria.

“We could not have asked for a more enthusiastic group of people

and we had a standing ovation every night,” Nicolau says.

“What really stood out about the production for me, was how

closely audio and lighting was integrated with the dancers and all

performers on stage -very specific cues throughout the show,” Dreyer

says. “It was really a pleasure working with the professional Burn the

Floor production team and cast.”

Burn the Floor will be showing at the Baxter Theatre in Cape Town

from 19 May to 5 June, before coming to a close at the Izulu Theatre in

Durban from 8 to 19 June.

57

58

live eventS REvIEw

RUSH MH6 Wash – good things, small packagesWhat a cute little thing the ruSh Mh6 is. From the front it looks a bit like a Mac aura, and a bit like a ruSh Par 2. It is in fact the case that both these units inspired the design of the Mh6 Wash. I think this is a really sensible move on the part of Martin. The Mac aura lens not only looks great and works well, it’s something they’ve already spent the time developing and refining. Metaphorically speaking, Martin had a pretty good wheel so they didn’t need to invest time and money trying to re-invent it.

The motorised lens offers 10 to 60 degree zoom

range, which is tight enough to provide convincing

beams, and more than wide enough to make use

of the full available output of the fixture.

The light source is 12x 10W Osram Ostar RGBW

LED modules, and while it’s not about to set the

world on fire, the

2 000 lumen

output is certainly

more than

respectable for the

very modest size of

the fixture. For the

past two weeks

I’ve been staring

at the MH6 Wash

sitting amidst a row

of much bigger

discharge based

fixtures in the ENTECH lighting shootout. While it certainly doesn’t keep

up with the big guys, it definitely doesn’t disgrace itself in the

presence of some much bigger guns. Size and price considered,

the MH6 stands up well. It’s also a lot quieter than most of the

other fixtures.

Being a LED source, the fixture doesn’t actually generate a lot in

the way of heat when it’s dark. An on-demand cooling system keeps

the LED chipset cool when it’s running, and the fixture quiet when it’s

not. I like that. Pan range is pretty standard at 540 degrees, while

the 200 degree tilt range is a little shorter than common but still

perfectly usable.

Setup is via a two-line backlit LCD display with four adjacent

navigation buttons. It feels a bit cheap, but it gets the job done and

once the address is set it doesn’t really matter how it feels. Four

dimming curve choices plus an electronic 'shutter' give plenty

of options for dimming looks, while 36 colour presets make for

quick looks across many fixtures. Dimming, pan and tilt all

feature 16-bit control too, which is an unexpected feature on a

fixture at this level. Bonus! At 7.1kg weight the MH6 is dead easy

to handle and rig en masse.

PowerCon plus DMX on 3-and 5-pin XLR all with loop-

throughs make It efficient to patch. 155W power consumption

means you can run a stack of MH6 units off a single 10A power feed.

Even the price makes it easy to use a lot of these things. MH6 Wash is a

competent and compact LED fixture, and comes at a very attractive

price indeed.

Brand: RUSH by Martin

Model: MH6 Wash

RRP: R25 000 (excl VAT)

*Price correct at time of print and subject to change

Product info: www.martin.com

Distributor: Electrosonic. www.electrosonic.co.za

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RovoRx-HDMI sets yourUltra HD/HD monitoring free with a single Cat 5e/6 cable.

A standalone solution or RovoCam’s perfect companion,

RovoRx-HDMI is an HDBaseT receiver delivering video and audio output to both HDMI

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Record and stream H.264 simultaneously in one

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RUSH MH6 Wash – good things, small packages

60

eXPert oPinion

From the late twentieth century onwards we have all witnessed the revolution in TV set technology. Display screens have undergone a noteworthy evolution, in which square box television sets changed to wide rectangular ones, then to flat plasma displays although they weren’t actually flat but only labeled as such in reference to what they used to be. Plasma display panels (PDP) were succeeded by LCD technology which wasn’t much thinner than their predecessor. Only when the compact fluorescent light source got upgraded to LeD, did the thickness reduce tremendously. For many years, these LeD-lit, LCD panels were the flavour of the month and they increased in either brightness or resolution as new and improved models were released. With each of these technological breakthroughs our minds were blown away and the screens became more appealing every time. even upgrades within existing technologies were impressive. The next level of display innovation has arrived and recently came to light through many well-known manufacturers at ISe2016. This new technology is known as Organic LeD (Light emitting Diode), more commonly abbreviated to OLeD.

OLED: Flattering flat panels By Abrie du Plooy

LG OLeD TV

6161

eXPert oPinion

Organic LED as a display technology is nothing new. Many film and

video production institutions have been experimenting with it for

many years. However, it has only recently become available as

residential and commercial displays. The OLED display screen is a light

emitting technology and therefore doesn’t need a separate light

source behind the screen as is required in LCD panels. They can thus

be manufactured much thinner than ever before. LCD screens are

classed as a transmissive technology, which essentially means that

the LCD display merely transmits the light from a separate light source

behind the LCD screen. Each pixel in the LCD panel then individually

disperses the white light into the three primary RGB (Red, Green and

Blue) colours at various intensities in order to display the correct

mixture of light required to reproduce the image visible to the viewer.

The architecture of these LCD panels requires a screen in front, as well

as a light source behind it which adds to the thickness.

In contrast to conventional light sources which emit light by heating

a filament until it glows while hot, LEDs are a semi-conducting, solid

state light source that require far less energy to produce light. LEDs

emit light when electrons are energised through specially treated

solid materials that the LEDs are made of. Through this sub-atomic

process, low voltage pulses initiate electron movement further away

from its proton core and when the energy dissipates, the electron jolts

to its original position. During this twitch, alternative energy is released

in the form of light. Depending on the length of electron movement,

different colours can be created based on the colour spectrum.

Organic LEDs are similar to traditional LEDs but the light is produced

by organic molecules. In this environment the term ‘organic’ refers to

the molecules around the rings of atoms in carbon elements such as

wood, plants, petroleum and diamonds. As mentioned above, OLED

technology emits its own light and therefore does not require a

separate light source. This enables the OLED display products to be

extremely thin.

Plasma displays have finally reached the golden years and it has

become increasingly difficult to purchase one. PDP is also an emissive

technology as the ionised gasses inside the screen emit light. The

plasma imaging technology has extremely high thermal emissions

albeit very bright and therefore sufficient cooling components are

required behind the plasma panel which adds to their thickness.

Another downside for PDP is that they consume high levels of energy

and the panels are physically very heavy to handle and install. PDP

technology has each pixel subdivided into three segments. Each of

these sub-pixels is filled with different colour (RGB) phosphor-coated

cells which illuminate when energised. The three colours combined at

100% intensity, or variations thereof create the full colour spectrum

that forms the image which the viewer can then experience. Plasma

display panels have their benefits as well. Because of the panel

emitting the light, the black areas were darker, delivering higher

contrast between lit and unlit areas. LCD panels have a challenge in

this regard as the light source at the back is present even when a pixel

is blacked out. This results in black areas appearing dark grey instead

of true black. Plasma displays are also capable of delivering very high

brightness levels and can be produced in large sizes. However none

of these benefits could save its obsolescence.

The imaging technology in OLED displays works by means of a

layer of organic semiconductor between two electrodes which emits

light in response to electric current. The OLED pixel composition works

in a similar pattern to that of a plasma display with each pixel

subdivided into three sub-pixels. These are known as RGB OLED

displays and each segment contains an organic diode which

produces one of the primary RGB colours. Certain manufacturers use

WRGB (white, red, green and blue) technology where each pixel is

divided into four sub-pixels instead of three. The fourth segment

produces white light only, but in order to create white light, one

requires a 100% mixture of each of the RGB colours. The architecture

to achieve this white segment works somewhat differently to

RGB OLED.

In the case of WRGB OLED, each segment of the pixel is created by

compressing different layers of red, green and blue diodes. This

sandwich of materials then creates a pixel with four segments

delivering white light. A colour filter is applied to the surface area of

three of the white segments creating the required RGB light and the

fourth segment is left clear for the white light to be visible.

This fourth sub-pixel makes the technology even more energy

efficient as it requires only one LED to produce white instead of a

combination of the RGB LEDs to deliver the same objective. This results

in an energy saving of roughly 60%. Another benefit of having a fourth

pure white sub-pixel is the increased brightness when used in

conjunction with the remaining RGB LEDs to produce whiter images.

OLED displays also offer a much higher contrast as black areas can

be completely switched off – as in the case of plasma technology –

compared to the light leakage experienced in LCD screens.

Additional benefits of OLED are lower thermal emissions and because

of the properties of the organic diodes, they can be applied to all

kinds of surfaces that make it possible for OLED screens to be lighter,

thinner, flexible (bendable and foldable) and generally more

durable. OLEDs can also operate in a wider temperature field than

older technologies.

OLED products are currently still very expensive but based on the

statistics around the costs of developing and producing electronics,

pricing can only go one way from here and hopefully, OLED displays

will be part of every video project sooner than we can imagine.

Panasonic OLeD TV

NeC OLeD TV

6262

Studio Pro Audio REvIEw

In February 2016 Genelec launched the 8430 Smart

Active Monitor™, the first audio monitor to allow

direct monitoring of professional quality

audio-over-IP streams.

Genelec has been cooperating with another Finnish

company, Jutel, specializing in radio automation

systems, to install an audio system of 35 audio-over-IP

loudspeakers at a restaurant in Oulu, Finland. The

installation demonstrates that audio-over-IP can offer

great flexibility in controlling and directing audio

streams, enabling easy software-based acoustic

zoning and audio system repurposing. The installation

has been running non-stop since the restaurant

opened in May 2015.

The 8430 has a few versatile connectivity options. The

AES67 signal input is a secure and robust etherCON

compatible RJ45 connector. The AES67 input supports 44.1 to 96 kHz

sample rates as well as 16, 24 and 32 bit word lengths. Highly accurate

clock synchronisation to a network-attached precision time protocol

grandmaster clock source enables accurate monitoring of high

resolution audio signals. The 8430 also supports analogue monitoring

using a balanced XLR connector.

An audio-over-IP stream may in principle contain any number of

channels. Conveniently, on an IP network, all audio streams can be

visible to all monitors. Routing of audio in the network is no longer

dependent on cable layout. Audio can be routed from anywhere to

anywhere. Connecting audio-over-IP devices is simple. You attach

one cable to ethernet and that is it. The physical cabling has no

significance in determining what audio channel goes where in the

system. The cabling in an IP network system always follows the same

principle: the monitor connects to an IP switch device using one IP

network cable, and all devices connect via IP switches. The maximum

length of the cable from the switch to a monitor is 100 meters. Most of

the time this is more than enough and this can be easily extended

using another switch device. After pulling the physical cables, the

magic of connectivity happens in the software configuration.

System configuration is easy. All devices are accessible and visible

through the network and devices are configurable at the same

computer display.

As a part of the Genelec Smart Active Monitoring (SAM™) Series,

the 8430 shares the same electro-acoustic design as others in the

series. This design includes the Genelec Minimum Diffraction

Enclosure (MDE™), Directivity Control Waveguide (DCW™)

technology, flow optimised reflex port, very low acoustic distortion

across audible frequencies, high sound pressure level capacity, wide

bandwidth, and uncoloured output both on the acoustical axis and

in the off-axis directions.

All 8430 monitors are individually computer calibrated on the

factory production line, to

eliminate and remove any

unit-to-unit differences. The 8430

features the smart AutoCal™

system calibration. This is part of

the Genelec Loudspeaker

Manager (GLM™), the

company’s monitor

management system. All professional audio reproduction

configurations are supported by the GLM, including the most

advanced 3D immersive audio systems. Using the GLM, up to 30

monitors and subwoofers in one room can be aligned and calibrated

quickly and efficiently.

Supporting spot and wide area corrections at unlimited positions in

a room, the GLM AutoCal system aligns the times-of-flight for all

monitors, setting monitors at equal acoustic distance, the

reproduction levels enabling all products to play at the same level

irrespective of their distance or room acoustic influences, and

equalises the frequency responses individually for all monitors,

removing room acoustic colourations. This enables the reproduction

system to have neutral sound character, ensuring the highest

monitoring accuracy.

The 8430 applies Genelec’s standard for environmentally friendly

design, so all the materials used in manufacturing the 8430 are fully

recyclable. The enclosure is manufactured of recycled aluminium.

The die cast enclosure, protection of the drivers against mechanical

damage and electronic abuse, and versatile fixing features

integrated in the enclosure structure offer excellent long

term reliability.

While Genelec 8430 supports the AES67 interoperability standard it

is also a fully developed Smart Active Monitor, enabling fast and

accurate acoustical calibration of even the most complex

multichannel or immersive audio system calibration. This enables

detailed and individual compensation of the listening room’s acoustic

influences. The robust monitor has been designed for hard

professional use, offering high reliability and excellent life time. The

Genelec 8430 is an industry-first solution for directly monitoring

audio-over-IP streams.

Aki Mäkivirta is Research & Development Manager at Genelec Oy.

audio-over-IP technology opens up new, exciting possibilities for building audio infrastructure. aki Mäkivirta of Genelec discusses the potential of the technology, explaining the capabilities of the company’s new 8430 monitor.

Genelec innovates in audio-over-IP

6363

SociAl

Christie Digital Launch – Christie Africa Office, Northlands Deco Park

Michelle Jordan and Deepak Nathoo

richard henn, Geoffrey Toplis and Steven van der Merwe

Kerrylea els, Pamela rodda, Cristina Straussner, annalise hodgson and angela Dias

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Michelle Jordan and Lizelle Muller

Kerstin Tilley, Shaun de Freitas and Shazley Naidoo

Steven White, Dalene Barnard, Kevin Olivier and Sebastian havas

Steven Cooper, Corne hubinger and Jake du Plessis

Greg Buitendag and Mauritz van Wyk

Kevan Jones, ashleigh Smaller, Doron Mansur and richard Nye

6464

SociAl

Naledi Awards – Lyric Theatre, Gold Reef City

anré roux, Charlie Bouguenon, Claudia Prinsloo and Shaun Koch

Taryn Foster-Sutherland and Matt ramsey

anika Badenhorst and Madelaine Lotter

Trena Bolden Fields, Lesedi Job and Jerome Fields

Funeka Peppeta, Orly Shapiro and Busabuntu Dubazana

Denel honeyball, Murray Todd, Charlie Bouguenon and Brandon auret

Nichole Makoba, TeeKay Baloyi and Thalia Burt Martin van heerden, Wendy Gila and Ziyanda Yako

Shenay O’Brien, Claudia Prinsloo and Shaun Koch

Nonhlanhla Banda, Thato Motlhaolwa, Vuyo Magodla, Thabiso rammala, MoMo Matsunyane and Thapelo Mohapi Oora Motsikoe

James Sey and Lara Foot

Mimi and Motlatsi Mafatshe Greg homann and Cathy Specific

Viva Afrika Sound and Light (Pty) Ltd45 Lake Road, Longmeadow

Longmeadow North Business ParkPO Box 4709, Rivonia, 2128, South Africa

Tel: 011 250-3280, Fax: 011 608-4109orders@hybrid.co.za, www.vivaafrika.co.za

viva afrika

K-LA210 DSP Dual 10” 2 Way Active Line Array

Frequency Response (+/- 6dB anechoic chamber):

57Hz – 20 000Hz

Drivers: HF Driver: BEYMA, 1.4” exit, 1.75” voice coil

LF/MF Driver: BEYMA, 2.5” voice coil

Signal Input/Output Connector: Female XRL Input,

Male XLR Output

Power Input/Output Connector:

Powercon NAC3MPA / NAC3MPB

Power Rating (AES): 1600W

Maximum calculated SPL/M

(Continuous/Program/Peak): 125dB/128dB/131dB

Amplifi er: Class D

Processor: 48KHz signal sampling, 56bit

Weight: 38.5Kg

Dimensions mm: 742(W) x 302(H) x 695(D)

K-LA Series – powerfully ACTIVE

NEW

PRODUCT

Series – powerfully ACTIVE

DSP Features

• K-LA Line Array Systems

features maximum simplicity in

Set up and Operation.

• A compact portable touring,

rental and installation system

that brings Line-Array

technology to an accessible

ease of use and price point

• A dynamic sound well packed

in a compact size, for the right

price , this is KLA Series

3 x K-LA 218 DSP

K-LA 210 DSP Frame

6 x K-LA 210 DSP

18900 Watts

±4000 people outdoor > 40m

±5000 people indoor > 40m

RECOMMENDED RETAIL PRICE: R575 650.00

3 x K-LA 218 DSP

K-LA 210 DSP Frame

6 x K-LA 210 DSP

Demos available

Exclusive (Country) distribution: Distributor Address / Telephone / Web

www.digico.biz

S21S21Awesome Specification

Exceptional Performance . Stunning ValueQuite simply a game-changer, the S21 has all the power and flexibility of

DiGiCo’s Stealth Digital Processing™, the technology behind the legendary SD Series consoles. 96kHz as standard, equivalent to 80 DSP channels,

46 Busses, local I/O with 24 mic line inputs,12 analogue outs, it’s got all this. And more.

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48 TRACK RECORDING

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DiGiCo S21 Full Page - Pro Systems Magazine.indd 1 04/05/2016 15:15

Official DigicO DistributOr fOr sOuth africa:DWr DistributiON block c, unit 1, Kimbult industrial Park, 9 Zeiss road, laserpark, honeydew, 2170, JohannesburgIt’s all about the people tel: +27 11 794 5023 | fax: + 27 11 794 5702 | sales@dwrdistribution.co.za | www.dwrdistribution.co.za