FEBRUARY 2018 • ISSUE 012

KYGO’S
DUBAI DEBUT
THE WORLD RENOWNED DJ,
MUSICIAN AND PRODUCER
GRACES THE STAGE AT BURJ PARK

UAE’S NATIONAL DAY • FUNKTION-ONE & AUDIO SANS FRONTIERES BREAK WEST AFRICA • KSA OPENS UP
TO LIVE EVENTS • PRODUCTION MANAGER JOEL STANLEY • FIRST LOOK MIDDLE EAST: EFM’S LISA RYAN
 Excellent events and nothing less.

Photo: Andreas Keller

AV integrator of four levels of „The Sphere,” Expo 2017, Astana, Kazakhstan.

N&M was commissioned to do the technical implementation of the „Astana Sphere“, the
German and Austrian pavilions, Energy Best Practice and Shell at the Expo 2017 Astana.
Come and see our Expo Specialist at the Middle East Special Event & Exhibition Show 2018,
stand C20, on the 22nd to 23rd April at the Madinat Jumeirah, Dubai.

Winner: Supplier of the Year 2015 +971 4 88 53 55 8

Shortlisted: Employer of the Year 2015/ 2016/ 2017 neumannmuellereventtech
Supplier of the Year 2016 www.neumannmueller.ae
Best Use of Event Technology 2016 Dubai Investments Park 1

20180207_nm_az_TPMEA_210x297_dubai.indd 2 07.02.18 15:15

 TPMEA 03

WELCOME...
TO TPMEA

Dear readers,

In what seems like the blink of an eye, we are back for another issue… and what a jam-
packed issue it is!
Our cover story sees globe-trotting EDM extraordinaire Kygo mark his Dubai debut in
the shadow of the Burj Khalifa, before we head down E 11 to go behind the scenes at the
46th UAE National Day celebrations in Abu Dhabi.
In Africa, we hear about the 30-year relationship that culminated in a fairly well-
attended [1.7 million people!] event in Nigeria thanks to a sound package delivery
from Wigwam Acoustics, and speak to Audio Sans Frontieres about their philanthropic
endeavours across the continent with a Funktion-One sound system in tow.
As I leave you to enjoy this bountiful anthology of live production splendour, please
do remember to stay in touch with us about all of your upcoming events - it’s the best
way to ensure safe passage into our next printed edition as the concert season gets into
full swing!

See you in April…

www.tpmeamagazine.com | www.tpimagazine.com | www.tpiawards.com

 The Complete Event Package
in the GCC

Equipment rental experts

offering turnkey solutions to
help execute your event from
start to finish.

From back stage, ticketing and catering

cabins to power distribution and venue
lighting - our expertise will ensure your
event is a success.

UAE | KSA | Kuwait | Qatar | Oman | Bahrain byrnerental.com

Enabling operational efficiency through equipment rental and lease solutions
 CONTENTS 05

CONTENTS
MIDDLE EAST

06 - FIRST LOOK MIDDLE EAST

EFM’s Lisa Ryan talks about what’s in store for
2018 with the region’s latest legislation.

08 - REGIONAL ROUND-UP

16 22
The latest news from the Middle East.

14 - ILEA COLUMN
Vice President of Strategy, Lisa Pennington, on
shaping Dubai’s future.

16 - TECH PROFILE
The Norwegian DJ, record producer, musician
and songwriter played his first ever show in the
region, in the shadow of the mighty Burj Khalifa.

22 - TECH PROFILE

30 46
Event Producer Done + Dusted UK created a
3-scene spectacle for the 46th National Day
featuring an L-Acoustics L-ISA system.

26 - TECH PROFILE
TPMEA speaks to the team behind a temporary
addition to the Dubai nightlife scene - White at
Meydan Racecourse.
30 - INTERVIEW
CEO of Squares Event Management, Mark
Satchell, discusses the Kingdom of Saudi Arabia’s
burgeoning entertainment industry.
32 - INTERVIEW
UK-based Production Mangaer, Joel Stanley, talks
about touring in the Middle East.
34 - PRODUCT FOCUS
TPMEA profiles some of the innovative hardware
coming to the live events market in 2018.
AFRICA
38 - REGIONAL ROUND-UP
The latest news stories from the region.
42 - TECH PROFILE
TPMEA talks to the team behind Christ for all
Nations.
46 - INTERVIEW
Federico Pirzio-Biroli and Oz Jefferies landed in
Kenya with a Funktion-One system in tow, and
now they plan to take West Africa to new audio
heights.

EDITOR ASSISTANT EDITOR STAFF WRITER

Kel Murray Ste Durham Stewart Hume
Tel: +44 (0)161 476 8360 Tel: +44 (0)161 476 8385 Tel: +44 (0)161 476 8360
Mobile: +44 (0)7738 154689 Mobile: +44 (0)7891 679742 Mobile: +44 (0)7702 054344
e-mail: k.murray@mondiale.co.uk e-mail: s.durham@mondiale.co.uk e-mail: s.hume@mondiale.co.uk

GENERAL MANAGER ADVERTISING SALES ADVERTISING SALES

Hannah Eakins Georgia Guthrie Lauren Dyson
Tel: +44 (0)161 476 8360 Tel: +44 (0)161 476 8399 Tel: +44 (0)161 476 8360
Mobile: +44 (0)7760 485230 Mobile: +44 (0)750 1597 837 Mobile: +44 (0)741 5773 639
e-mail: h.eakins@mondiale.co.uk e-mail: g.guthrie@mondiale.co.uk e-mail: l.dyson@mondiale.co.uk

GRAPHIC DESIGN & PRODUCTION DIGITAL EDITORIAL ASSISTANT EDITORIAL INTERN

Dan Seaton: d.seaton@mondiale.co.uk Jacob Waite: j.waite@mondiale.co.uk Daniel Broadley
Zoe Willcox: z.willcox@mondiale.co.uk
MONDIALE GROUP CHAIRMAN www.tpmeamagazine.com
ACCOUNTS Damian Walsh www.tpimagazine.com
Lynette Levi / Sarah Miller: ar@mondiale.co.uk www.tpiawards.com

CHIEF EXECUTIVE COVER PHOTOGRAPHY @tpmea_magazine

Justin Gawne Kygo at Burj Park, Waleed Shah
Tel: +44 (0)161 476 8360 facebook.com/TPMEA_Magazine
Mobile: +44 (0)7768 850767 PRINTED BY
e-mail: j.gawne@mondiale.co.uk Buxton Press • www.buxpress.co.uk youtube.com/user/TPiMagazine
06 FIRST LOOK MIDDLE EAST

EFM’S LISA RYAN

IT’S BEEN AN ENCOURAGING START TO 2018 FOR EFM, WITH A

FLURRY OF GOODS ON THE MOVE FROM OUR EVENTS INDUSTRY
CUSTOMERS. DESPITE THE IMPLEMENTATION OF VAT IMPACTING
US ALL AND CAUSING MUCH CONCERN AMONGST OUR
CUSTOMERS, WHICH THANKFULLY WE’VE BEEN ABLE TO GUIDE
AND ADVISE ON, THIS LOOKS SET TO BE A GREAT YEAR!

The Kingdom of Saudi Arabia (KSA) is a promising events and entertainment growth
market. EFM has always been strong here, however the gradual relaxation of many KSA
regulations, including the first ever women’s motor show in January in Jeddah, has already
delivered an upturn in the events market. KSA will continue to deliver a sizeable growth
opportunity throughout 2018 for us and our customers, building on a successful 2017 for
us, handling many live performances, corporate events and automotive roadshows here.
Orchestral performances and performing arts are increasing in the region, with an ever-
growing number of visitors attracted to venues such as the popular Dubai Opera House. We
also have several international orchestras planning tours in Iran, Kuwait and UAE.
We’ve experienced an uplift in car shows and regional MENA tours with brand new
models launching in the automotive market. We’ve just been awarded a 12 month contract by
one of the leading luxury car manufacturers - touring 20 new marketing cars through Bahrain,
KSA, UAE, Kuwait, Qatar, Oman and South Africa.
It’s FIFA World Cup year in Russia and we’re also working on the prestigious World Cup
Trophy Tour, which will also visit UAE, Jordan, Sudan and Egypt; following hot on the heels of
the Arabian Gulf Cup tour that we handled in December.
EFM has been operating across the MENA region since it launched in 2000. This year
marks the 10th anniversary of our EFM office opening in the UAE. The event industry in the
region has changed hugely since then; it’s been a fascinating time to be on the ground. We’ve
been involved in transporting equipment (via air, road, sea) for some of the biggest events in
the region, including some of the first major international touring acts bought into Abu Dhabi
by Flash Entertainment; the KAUST Opening in Jeddah (2009); Oman National Day (2010); Pan
Arab Games, Arab Cup and Vangelis Concert in Doha (2011); Royal Weddings in Abu Dhabi,
Saudi Arabia, Bahrain and Qatar; Kuwait Constitution event (2012); car roadshows throughout
MENA; National Days, Dubai Motor Shows, and the opening of the Abu Dhabi Louvre towards
the end of 2017.
Roll on EXPO 2020, we’re ready and waiting!
www.efm.global

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FIRST LOOK MIDDLE EAST 07

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08 REGIONAL ROUND UP
ECLIPSE INVESTS IN NEW SHURE
AND GREEN HIPPO PRODUCTS
With the constantly growing demand of Shure
PSM 1000, eclipse Staging Services now has the
largest stock of the product in the region with
16 TX and 24 RX.
John Parkhouse, Head of Audio at eclipse,
commented: “We stock a large amount of both
radio and wired microphone products, all of
which are day-to-day use for us.”
He added: “We opted to buy a large amount
of Shure PSM 1000 because our market needs
it. I can say that in the last 12/18 months, almost
every touring rider has requested them. This is
not limited to concerts. The corporate market has
also now got to a point in the region that such
specific products are often requested too.”
The PSM 1000’s Personal Monitor System
full-rack, dual-channel, networkable transmitter
is ideally suited for the demands of professional
touring and installation applications, and the
diversity bodypack receiver delivers pristine RF
signal and audio quality. Networkability over
Ethernet connection enables remote control
of transmitter functions and comprehensive
frequency coordination via Wireless Workbench
6 software. “The build quality and reliability is
second to none but equally the sound quality
of this product is exceptional and paramount
by the very nature of what it is,” said Parkhouse.
“Add to this dual diversity and the frequency
management capabilities using Shure wireless
workbench and it is simply an ideal product.
We have a number of people in the department
who specialise in all things RF and I can say they
are ecstatic to have added this to our already
comprehensive existing RF stock.”
Working closely with the distributors of
Shure, NMK Electronics, for several years, the
eclipse team relies on NMK’s recommendation
for top-tier brands and products. “NMK have
always been a go-to company for all the
products they represent since I have been in the
UAE. They understand the needs and demands
of a company like eclipse perfectly, because like
us they exist in an environment where timing,
response and prompt delivery is essential and
they never let us down,” commented Parkhouse.
eclipse Staging Services has also recently
made a noticeable investment in its stock of
Green Hippo media servers. Following the
resounding success of the Hippotizer V4 - Taiga,
eclipse is delighted to continue the collaboration
with Green Hippo to capitalise on the latest in
graphics technology with the Hippotizer Boreal
V4+. The new purchase complements its existing
line of flagship media players, projectors and
other video equipment.
eclipse’s Head of Video, Alex Menor,
commented: “Boreal allows us to provide multi-
display outputs for our upcoming projects. As
a key player in the audio-visual market, we are
the first in the region to use this powerful media
server that is more accurate, flexible and quicker
than traditional units. We have experienced its
huge capability to carry out complex projection
set-ups with exceptional image quality without
fail.”
The Boreal V4+ server was chosen as it
is a much-needed visual solution in the live
productions where quality is vital and it handles
content-heavy displays with the highest
resolutions, ensuring that the media is played in
a synchronous fashion.
“We would like to commend the Green
Hippo team on the reliability and unique
capabilities of their products as well as the
excellent technical support they provide, which
we have been witnessing for the past several
years. It was no surprise that when we tried
Boreal, we found it very quick and easy-to-use
in any environment. Designed to meet the
demands of touring and production services
rental companies, it is a very effective way of
managing widescreen displays of a 4K+ output.
The functionality and interface is great and
enables us to deliver the most demanding shows
with ease,” concluded Menor.
www.eclipse.ae
www.shure.co.uk
www.green-hippo.com
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10 REGIONAL ROUND UP
PROTEC ACQUIRES AVENTEQ
Protec has strengthened its presence in the
UK with its acquisition of Birmingham-based
Aventeq.
With this agreement, Aventeq - which will
now be known as Protec European Events - will
have access to a much larger palette of event
production resources, including state of the
art technology, equipment and highly skilled
staff. It will be in a stronger position to extend
its services to a larger client base and offer a
more comprehensive and creative approach to
its technical productions. The joining of these 2
companies delivers on Protec’s vision of inspiring
the entire events industry with extraordinary
and impactful experiences through its technical
expertise and deliveries.
Established in 2008 by an industry
experienced team led by Chris Bramwell, Aventeq
has prided itself in delivering quality projects all
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across the UK and Europe. The company offers
a comprehensive suite of services including
creative and technical design, production,
lighting, audio, video, staging, rigging and venue
support services. It has been known for its slick
productions for events of a variety of categories
and sizes.
Commenting on this announcement, Stephen
Lakin, Protec’s Founder and CEO, said: “I have a
lot of time for Chris Bramwell and the team. They
have built up a strong business and I’m thrilled
to welcome them into the Protec family. I am
looking forward to the opportunity to introduce
their customers to a wider global reach and more
exciting tools & technology to create unique and
memorable event experiences.”
Bramwell will continue to lead the company
to execute on their growth plans but with the
backing of the vast resources of Protec.
“Aventeq, which of course I’m thrilled to say,
is now Protec European Events, has a similar
passion to Protec,” commented Bramwell. “We
focus on delivering fantastic experiences for our
clients and audiences. We are very excited to
be a part of one of the world’s most respected
industry leaders and now be able to offer our
clients a more creative and technological palette
with a wider market reach.”
Lakin added: “Technology in the events
industry has seen exponential growth, creativity
has become bolder and audience engagement
now plays a crucial role in every event. Our clients
are spending more time on developing bespoke
events, creatively using content with technology
to immerse and involve their audiences into their
story’s environment. Technology continues to
play an important role and new technologies
are guiding content developers to dig deeper

into their creative talents to make full use of the
technical resources to deliver with impact and to
stay current.
“There is greater demand for a break from the
typical sit and listen conference format to a more
imaginative, dynamic, immersive and involving
experience. This spurs us to continually think
creatively and develop new ways of delivering our
productions. So although we are one of the largest
events technical and staging solutions company in
PRG GEARHOUSE INVESTS IN
DISGUISE GX 2 MEDIA SERVERS
Due to an increasing demand for projection
mapping and large-scale content across
corporate, special events and the concert
touring market, PRG has added 2 disguise gx 2
media servers to its already impressive stock
in Dubai.
The gx 2 is the latest flagship offering from
disguise and has been developed to support
real-time, generative content and includes gold
support for Notch and features a Notch playback
license.
Dubbed as the ‘future of live show
entertainment’, the GPU workstation on the
the world, in my mind, our creative approach to all
our projects and the ability to consistently create
extraordinary experiences through clever use of
technology is what sets us apart. It’s this approach
that Protec European Events will take on which
I’m sure will be an important factor to ensure that
their clients are thrilled with every event delivery.”
Lakin claimed a key factor that contributed
to the company’s success is that it treats every
event (whether it is the smallest of small events
gx 2 is the most powerful yet, creating the most
dynamic displays ever seen. With the ability to
scale up to 2 4k outputs or 8 HD outputs.
Matthew Holmes, PRG’s Head of Video for the
region, commented: “There is a clear demand for
faster and more dynamic media servers in the
region and the gx 2 will allow us to offer the right
equipment solution for our clients. Thanks to the
support of disguise, we will host a 2-day training
session which will be held at our local office to
ensure our operators are fully trained and show
ready.”
Phil Smith, Director of Projects, concluded:
REGIONAL ROUND UP 11
or a mega-show) with the same dedication
and commitment. This approach, he added, has
cemented Protec’s relationships with its clients
and has also played its part in the growth of the
company as well as the industry in the Middle East.
“Protec European Events shares our passion
and I’m looking forward to extending this
commitment across the UK and Europe,” Lakin
concluded.
www.productiontec.com
“We are extremely excited about the arrival of
these units as we are the only provider in the
Middle East to offer complete main and back-
up servers within this range. The system will
supplement our existing investment in industry
leading products such as Christie Pandoras
Box and Dataton WATCHOUT, adding a further
dimension to the company’s ability to deliver
world class events.”
www.prg.com/ae/en
www.disguise.one
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12 REGIONAL ROUND UP
AUDIOLAB-LB INVESTS
IN THE AVID VENUE S6L
AudioLab-lb is a relatively new sound
production and rental company in Lebanon.
In just a couple of years it has grown to
become one of the country’s biggest and most
successful audio businesses.
The company was founded by Imad Mrad,
a well-known and respected live and broadcast
sound engineer, not just in Lebanon but across
the entire Middle East region. He was Head
of Sound at the leading Middle East media
production house Studiovision for nearly 14
years, working on big live TV shows including the
Middle East editions of Taratata, Dancing with the
Stars and The X Factor among others. Mrad is also
the sound engineer for Rotana, which produces
concerts across the Gulf region for well-known
Arabic singers and bands including Mohamed
Abdo, Rabeh Sakr, Rashed al Majid, Hussein al
Jassmi, Wael Kfouri, Kazem Al Saher, Najwa Karam
and Assi Al Hallani.
As a user of Avid audio equipment for more
than 10 years, Imad recently purchased 2 Avid
VENUE S6L live mixing systems from Litewaves,
Avid’s audio reseller in Lebanon.
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“We only use Avid equipment at AudioLab-
lb. We have an Avid VENUE SC48 and an Avid
VENUE Profile which are still very busy, but as we
continue to grow we need additional equipment
- and of course we want to stay up to date with
the latest technology,” commented Mrad. “The
S6L is the best choice on the market. The sound
quality is absolutely superb, unbeatable. It’s an
easy and fast console to work with. It also has
good studio plug-ins – and added to Avid’s plug-
ins, we have a lot of choices without needing
any external hardware or software for that. The
dynamics and pre-amps are also very good.”
Mrad finds the system intuitive and easy to
use. “The whole team was already very familiar
with the Avid VENUE system so it was simple
to get going straight away,” he said. “The S6L
communicates easily with Avid Pro Tools, which
is important as we often need to record concerts
on multitrack directly into Pro Tools. I also find
the Spill function very handy because you can
choose whatever channels you want in your bay
and have them all in front of you. I like to work
with several screens, and it’s easy to set this up
so you can go directly to EQ or the fader on the
screen - it’s all right there.”
AudioLab-lb’s S6L first console - the largest
of its kind in Lebanon with 2 Stage 64 boxes
giving 128 inputs and 64 outs - was installed in
July 2017 and was busy from day one on a variety
of broadcast and live project. It proved its worth
very quickly, on a live concert with a very short
set-up time and almost no rehearsal, thanks to
one of S6L’s software features.
“The Virtual Soundcheck function meant
that we could get a head-start on the mix from
our offices, then once we got to the venue we
only needed around 15 minutes with the band,”
Mrad explained. “Without this function - which
worked perfectly and smoothly in just one click
- we would have faced a lot of problems. I would
certainly say that the S6L saved the day.”
The success of the console led swiftly to the
purchase of the second S6L in December 2017,
which looks set to be kept just as busy as the
first.
www.audiolab-lb.com
www.avid.com

N&M RECERTIFIED ACCORDING TO
INDUSTRY STANDARDS BY DPVT
N&M Veranstaltungstechnik has been
recertified by the DPVT, an independent
German inspection organisation. A
corresponding certificate was handed over to
N&M Managing Director Prof. Eberhard Müller
on the N&M stand at Best of Events held in
Dortmund this January. The DPVT seal certifies
that the company’s planning, organisation and
technical services for the staging of events
satisfy the industry’s quality standards. The
accreditation was preceded by audits and
inspections that are based on the industry’s
specific needs and that enable an objective
quality assessment.
“We are the only AV company here in
the Middle East who have this certificate,”
commented Rick Wade, General Manager of N&M
Dubai. “By having this certification, we show
our clients that we are a competent and reliable
partner by easing their concerns about engaging
properly qualified contractors as well as safe and
tested equipment. The certification procedure
examines the firm’s own objectives and
structures and assesses their implementation,
thereby helping to minimise risks in the
company’s own interest.”
The DPVT auditors once again examined
N&M’s general business processes. These
included acquisition, offer and order creation,
project management, project planning and the
workflows in material planning and logistics. The
planning and implementation of qualification
measures in the company were scrutinised as
was occupational health and safety. Production
audits constituted a key element in the
certification process. These were conducted on
site during the set-up phases of productions
in Hamburg and Leipzig, and assessed both
the implementation of and conformity with
applicable guidelines and standards.
The inspection organisation also ensured
that previously audited processes continued to
be executed to the required standard. A further
part of the audit examined the commercial
management systems employed at N&M for
financial planning and controlling.
The DPVT seal for service providers in the
event technology sector was developed by
industry specialists. N&M has been involved right
from the very beginning and has made a major
REGIONAL ROUND UP 13
contribution to the development of standards as
a member of the advisory board. N&M was also
one of the first companies to be certified to the
new criteria.
DPVT certification offers clients added
protection as they have a duty to inform
themselves regarding the capability and
reliability of the contractors concerned before
awarding an order. The client is responsible for
choosing appropriate service providers and
can be held legally accountable if damage or
even injuries occur during events - as a result of
incorrect installation, implementation, etc. By
commissioning a certified company like N&M, the
client can demonstrate that it acted responsibly
should any claims arise.
The DPVT Deutsche Prüfstelle für
Veranstaltungstechnik (German Inspection
Company for Entertainment Technology) GmbH
is an independent certification authority,
endorsed by the leading associations of the
entertainment technology industry in Europe,
EVVC and VPLT.
www.neumannmueller.com
www.dpvt.org
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14 ILEA COLUMN

LISA PENNINGTON:
SHAPING DUBAI’S FUTURE
BACK IN DECEMBER 2017, ILEA PARTICIPATED IN THE DUBAI ECONOMIC
DEPARTMENT (DED) 2ND BUSINESS COMMUNITY ENGAGEMENT FORUM, WHERE
DUBAI ECONOMY AND THE PRIVATE SECTOR DISCUSSED FUTURE-READINESS.

Above: Darshan Shetty, DED Principal Business Analyst; Lisa Pennington, ILEA VP Strategy; Kholoud Ali, ILEA Operations Manager;
Alexandar Williams, DED Director, Future Economy; Dan Bolton, President of ILEA.

The Business Community Engagement (BCE) initiative
was launched in 2016 to deepen Dubai Economy’s
cooperation with the private sector. The aims of BCE
are to share government initiatives, as well as serve as
a platform for business groups and business councils,
to provide feedback and ideas on how Dubai’s
businesses and industry can work together with the
government for a happier business future.
Part of ILEA’s objectives are to work more closely
with the government and ILEA’s interactions and
support of government departments and initiatives are
key to helping evolve the Middle East events industry
further into the future. ILEA’s strategic partnership with
DED and this important interaction supporting their
business community events further strengthens ILEA’s
ability to fulfil this objective and will help us to enable
our members to deliver the very best work to their
clients through collaboration, thought-leadership and
idea sharing.
This year, the theme of BCE was; Enabling a Future-
Ready Business Environment. We believe this is very
relevant and vital now, as global economic, social and
especially technological changes are sweeping and
altering the global economic landscape. Governments,

ME

businesses and industry must always be prepared for
change; better still, be in a position to shape change and
create the future.
A selection of government departments and
business groups were invited to attend and participate
in the panel discussions. I participated in a panel
session titled Enabling a Future-Ready Organisation and
Industry, where we shared ILEA’s initiatives in embracing
and shaping change in events industry. We enlightened
the business community on ILEA’s role and highlighted
the talent of SMEs in the event industry, which are
available here within the region.
During the event, DED also launched several
initiatives to sustain the engagement with the business
community. The new initiatives include:
• EngageDXB, an app to connect the leadership of all
business group entities; which will be key with ILEA
further developing relationships which will be
of benefit to our members.
• The Dubai Quality Appreciation Award for Business
Groups and Councils, which ILEA are proud to have
been nominated for.
ILEA COLUMN 15
• Legal Status for Business Groups and Councils.
• Future industry and foresight initiative to serve as a
resource for business groups.
ILEA’s collaboration with DED continues throughout
2018, where we will look to discuss topics that have
significant impact on the event industry and how we
can work to improve processes and influence change in
important areas such as immigration and mission visas,
freelancer trade licences and visas, and the associated
costs. Freelancers’ contribution to the GDP is another
key area, as are event permits and licensing, along with a
joint workshop with different business groups, councils
and associations.
Lisa Pennington,
VP of Strategy
For details on ILEA membership please email:
admin@ilea-me.com
www.ilea-me.com
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16 TECH PROFILE

KYGO
FOR HIS FIRST PERFORMANCE IN THE MIDDLE EAST, WORLD RENOWNED
DJ, MUSICIAN AND PRODUCER, KYGO, GRACED THE STAGE AT DUBAI’S
BURJ PARK. TPMEA SPOKE TO A COLLECTION OF THE SHOW’S SUPPLIERS
WHO MADE SURE THE TROPICAL HOUSE STAR’S PREMIER PERFORMANCE
IN THE REGION WENT OFF WITHOUT A HITCH.

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TECH PROFILE 17

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18 TECH PROFILE
Over the years Dubai has certainly become
a hotspot for EDM, with most of the genre’s
biggest names often stopping off in the city as
part of their world tours. Last year Kygo added
his name to long list of DJs who have brought
their brand of dance music to the region,
playing a sold out show in the shadow of the
tallest building in the world in Burj Park.
The event was presented by digital music
platform, Anghami, in partnership with Emaar.
To help the company out on all aspects of the
concert was JK58. TPMEA sat down with JK58’s
Senior Production Manager, Mike Mikaelian, to
discuss this latest collaboration.
“JK58 started out in the region 7 years ago
and quickly launched into the regional event
industry,” began Mikaelian walking TPMEA
through the company’s history. “Founder Jean
Carl Saliba helped launch the events industry
within the UAE, taking part and leading in many
AAA shows and events across the region. After
opening JK58 in 2011, he found his partner
Ryan Marginson and they quickly positioned
themselves as key players in event production
and management, supporting a variety of groups
and clients.”
With a wealth of experience, it made
sense why Anghami chose JK58 to work on
this latest venture. JK58 led up all technical
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and logistical challenges as well as contracting
out the various departments to a selection of
suppliers from across the region. “Technical
suppliers were awarded based on capabilities
and working ethics. We had already worked with
our key suppliers previously on other events,”
commented Mikaelian. “It’s important to have
good working energy on-site which we believe
we had at this gig.” Suppliers for the show
included; Al Laith for staging, Delta Sound for
audio, SLS Production for lighting and video and
Stage FX for pyrotechnics and lasers.
Mikaelian commented on the collaboration
with the Kygo crew: “His team were really
good and easy to work with,” stated the Senior
Production Manager. “There were only a few back
and forths before we locked down and elements
on site and faced no issues once they arrived.
Stage design was as per their rider, with only
minor changes made based on the available kit in
the region.”
Despite being well prepared for the show,
both JK58 and its team of suppliers had the issue
of dealing with a less the conventional venue
space. “Burj Park is iconic with a view of the Burj
Khalifa. But it’s a park and not a venue with very
limited access points,” commented Mikaelian.
“Getting everything in presented challenges
but everyone worked together and we were
able to get everything in and ready for doors to
open. Being an island park, access was carefully
controlled to ensure smooth operations.”
“The evening had a great atmosphere,”
concluded Mikaelian. “You could see people from
all over the downtown area making their way to
the main entrance. Getting a large high school
and young adult crowd always makes for a fun
party, with everyone visible having a great time.”
LIGHTING & VIDEO
As with all EDM shows, lighting and video was
an integral part of the experience. Keeping up
with the fast paced music was SLS Production.
Edwin Cheeran, Associate Director for Sales
and Marketing talked through the company’s
involvement with the show. As Kygo and the
rest the crew were in the midst of a world tour,
the production had a fairy solid tour rider that
SLS catered for. “With our experience of working
with many international acts, we were more
than prepared to accommodate any last minute
changes,” commented Cheeran. In fact prior to
the show, Kygo’s LD, Alex Hesse, opted to move
some of the positions of the lights on the day of
setup. In total the lighting rig included 20 Martin
by Harman MAC Viper Performances, 16 Atomic
3000 Strobes, 48 Claypaky Mythos, 40 Sharpys,
24 B-EYE K20’s and 80 Showtec LED Pixel Tracks.
20 TECH PROFILE
Controlling the impressive rig was a full size MA
Lighting grandMA2.
The company also supplied the production’s
video needs with 100sqm of 3.9mm Absen LED
screen for the DJ booth and side towers along
with 75sqm of 6mm Absen LED screen for the
back wall. Also on the rider was an IMAG package
with 2 8.9mm Uniview LED screens. Finally for
control SLS opted for a Dataton WATCHOUT racks.
“The lighting rig itself was mainly distributed
on the sub hangs with a few on the LED towers
with the rest set out on the floor,” commented
Cheeran. “The overall look was just great! We
were very happy to see the lights and video
being used in the best way. The crowd was also
amazing. We were very proud to be part of the
event, especially as it was a sold out show. We
hope to do more shows of the same kind.”
SFX
Adding to the visual feast was Stage FX. The
special effects specialist provided a selection of
effects including Magic FX CO2 Jets, Stage Flames,
Flamaniacs and Sparkulars. Control for all the
effects came courtesy of a ChamSys MQ80 SFX.
Arran Hopkins, General Manager for Stage
FX discussed his involvement with the show:
“We integrated the SFX fixtures into the DJ booth
and in various up and down stage positions to
give the effects some depth. All too often we
see effects just placed across the downstage
edge, which we wanted to get away from on this
show,” explained Hopkins. “At Stage FX we try
to give each show a unique look as much as we
can while maintaining our firm health and safety
procedures.”
Stage FX also ensured that Kygo was
supplied with a healthy laser package, which
was integrated into the DJ booth as well as the
LED screens. “The lasers were operated by one
of our in-house LSO-qualified live operators,
who is very experienced in EDM events using
the latest Pangolin control system,” commented
Hopkins. Stage Effected provided both 24W RYGB
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Phaenon Lasers and 4W RGB Starbeams with a
Pangolin Beyond Laser System for control. Finally,
to ensure stunning laser looks, the SFX suppliers
also deployed several MDG M3e Fog Machines.
Hopkins continued by elaborating on Stage
FX’s experience with EDM star’s production
team. “Everything for the show was specified
by Kygo’s touring production,” he stated.
“Contrary to the misconception that Dubai
does not have the local availability of the latest
SFX and laser equipment, we had everything
requested in stock and more. They left very
happy!” Luke Hammond, Kygo’s Touring VJ, was
especially pleased with the service they received,
commenting to Hopkins that the, “lasers were
absolutely on point!”
While on the subject of lasers, Hopkins
discussed some of the challenges working in
Burj Park: “Prior to the show we planned a laser
termination surface to be constructed across
the back of the entire VIP platform. It worked
perfectly as a shield to the local residential
properties.” But despite a stellar show, there was
one aspect that was missing for the SFX arsenal.
“Sadly were not allowed to use our Xstream
Streamer Cannons and XL Confetti Blasters. This
due to worries of contaminating the Burj Khalifa
lake and fountains, which was understandable
really!”
AUDIO
Delta Sound provided the audio backbone for
the show. Based on the venue layout, Delta used
a slightly smaller set up for the event; consisting
of an L-Acoustics K1 left and right hang, 12 per
side along, with 12 KARA evenly distributed along
the downstage edge for front fills. The Delta
system also consisted of 24 SB28 ground stack
subs. All cabinets were driven using L-Acoustics
LA8 amplifiers together with LA Network
Manager.
Delta Sound’s Rob Eatock discussed some of
the challenges faced by the audio supplier for the
show, the first of which came down to the time
of year. “Around November we had a really high
demand to supply audio for a variety of events,”
stated Eatock. “This meant it was just myself
representing Delta on site aided with a couple of
a regular freelancers and local crew.”
Eatock continued to explain the concept of
the PA design. “The main system we installed
was designed based on our knowledge of the
venue,” began the Project Manger. Due to the
near by residential buildings that surround Burj
Park, Delta opted to not install side hangs or
flown subs to “isolated the sound to the venue
perimeter,” according to Eatock.
As for on-stage audio and backline, Delta
supplied a package as per Kygo’s rider received
from the touring production. “Stage fills included
SB18 subs, KARA and X15 wedges,” stated Eatock.
“I’m glad to say there were no substitutions made
on the audio!”
Eatock concluded by giving his final thoughts
on the show: “At Delta, maintenance of our
equipment is key and by adhering to stringent
testing procedures, we keep our systems in top
working order at all times. The artist’s content
was well produced and sounded great through
the L-Acoustics K1, KARA and SB28 enclosures.
“The show itself was very well received by
the audience, which were in their thousands till
the early hours of the morning.”
From all reports, both from the crew and
critics alike, it seemed that Kygo’s first time in
the city was an unmitigated success. Once again
proof not only of the city’s love for the EDM
genre, but how prepared the UAE suppliers are
for handling the ambitious show designs of the
world’s greatest DJs...
Photos: Waleed Shah
www.kygomusic.com
www.jk58.co
www.anghami.com
www.slspro.net
www.stagefx.ae
www.allaith.com
www.deltalive.com
22 TECH PROFILE

UAE NATIONAL DAY

THE UAE’S 46TH NATIONAL DAY CELEBRATIONS TOOK PLACE ON 2 DECEMBER 2017 WITH
A SERIES OF EVENTS ORGANISED BY THE ABU DHABI DEPARTMENT OF CULTURE AND
TOURISM. THE CENTREPIECE WAS A SPECTACULAR, HOUR-LONG EVENT, WHICH TOOK
PLACE IN A CUSTOM-BUILT, TEMPORARY STADIUM AND FEATURED AN L-ACOUSTICS
L-ISA IMMERSIVE AUDIO SYSTEM, PROVIDED BY DELTA SOUND DUBAI WITH ENGINEERING
SERVICES SUPPLIED BY AUSTRALIAN EMMY AWARD-WINNING AUDIO VISUAL DESIGN
COMPANY, AUDITORIA.

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TECH PROFILE 23

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24 TECH PROFILE
The Here is the Future event programme
developed by event producers Done + Dusted
UK featured a 3-scene, 11-chapter spectacle
showcasing a future that will benefit from
innovations such as artificial intelligence, space
sciences and renewable energy, all slated to
enhance the living standards and happiness
of the citizens and residents of the UAE. It was
attended by the UAE royal family and leaders,
senior state officials, heads of government,
representatives of the armed forces and police,
as well as local citizens.
“With an event themed on the future and
innovation, Done + Dusted logically wanted
to feature the very latest technology in their
proposal,” said Auditoria’s Scott Willsallen. “This
was the ideal environment to deliver something
really special from a sound perspective, so I
briefed them on the L-ISA immersive system and
how it can be used to create a perfect match
between the show image and sound, enhancing
the connection between the audience and the
performance.”
Willsallen’s proposal was accepted and, in
late summer last year, he set about designing
the L-ISA system for the event, collaborating
with L-Acoustics’ Founder and L-ISA creator, Dr
Christian Heil, along with Guillaume Le Nost,
Director of R&D at L-ISA. “I spent a few weeks
with the team to understand the system in
detail and how it could be used in different
environments,” Willsallen recalled. “I created
the system using L-Acoustics 3D acoustical
simulation programme Soundvision, which
includes the qualification tools to certify an L-ISA
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design.”
The stage for the UAE National Day event was
40m wide, with 20m from its front edge to the
front row, while the audience area was around
50m wide x 50m deep. The system designed by
Willsallen and the L-ISA team comprised a Scene
System consisting of 7 L-Acoustics line source
arrays, spaced 5m apart across the proscenium
arch and masked by a projection surface. The
centre array was 9 K2 cabinets, with 3 arrays of 9
KARA either side.
In addition to the Scene System, an
extension system of 4 arrays of KARA, 2 per
side, was deployed. Sub-bass was provided by
a single block of 18 SB28’s (3 wide x 6 high) just
off-centre, behind the rear LED screen.
“We also added a surround system of 10
arrays of 6 KARA - 4 each on either side of the
audience area, plus 2 at the rear,” Willsallen
continued. “But the most impressive part of
the system was the arrangement of overhead
loudspeakers, which were suspended from 4
catenary lines strung across the seating, each
supporting multiple X8 coaxial clusters. The
overhead system was fed with 12 outputs from
L-ISA and allowed us to use multiple reverb
outputs to effectively add a ceiling to the
outdoor venue.
“The effect of these overhead loudspeakers
was remarkable and easy to take for granted, ‘
said Willsallen. “But when they were switched off,
it was like watching a performance ‘over there’
somewhere, but when they were on, it was like
being inside the performance.”
All told, 226 speakers were used to provide
unprecedented spatialised audio for an audience
of 1,800 people.
The preparation process for the show was
straightforward, with Willsallen finding the L-ISA
system easy and intuitive to use. “The software
provides lots of information for fault finding
and signal metering,” he said. “We found the
hardware reliable and the team at L-ISA were only
a phone call away if we had any questions. We
worked on 1 mix for all music stems and another
for all sound effects, then we recorded it all
together for playback.”
A DiGiCo SD5 digital mixing console was
used to provide the EQ, dynamics and bussing
resources needed to deliver 80 outputs to the
L-ISA processor. The processor then delivered
40 outputs back to the console (1 output for
each loudspeaker array, plus a few mix-downs)
for monitoring and delivery to the audio nodes
around the site.
“The event was a huge success and the L-ISA
system was outstanding,” concluded Willsallen.
“Pierre Mussche, Musical Director for the event
and Co-Founder of Musicom Sound Design
and Music, commented that it was the best
sound he’s ever heard. Nick Levitt, the event’s
Production Director, said it was even better than
he had imagined it would be, and the team at
Done + Dusted were thrilled with the way the
sound and vision worked together to deliver a
truly unprecedented immersive experience.”
Photos courtesy of L-Acoustics
www.l-acoustics.com
www.doneanddusted.com
www.auditoria.systems
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26 TECH PROFILE

WHITE
WITH A SOLID REPUTATION ACROSS THE MIDDLE EAST, ADDMIND HAS MASTERED
THE ART OF DELIVERING A UNIQUE EXPERIENCE FOR ITS GUESTS IN EACH AND
EVERY OUTLET IT MANAGES. FROM BEACH CLUBS AND BARS TO LOUNGES,
NIGHTCLUBS AND RESTAURANTS, THE HOSPITALITY OPERATOR KNOWS HOW TO
TICK ALL THE BOXES. THE LATEST VENUE TO UNDERGO A MAKEOVER TO ENSURE
ADDMIND CONTINUES TO DELIVER IS WHITE IN DUBAI. ITS OLDER SIBLING IN
BEIRUT SET THE STAGE BACK IN 2006 - MOVING LOCATION IN 2011 - BEFORE THE
DUBAI OUTLET WAS ADDED TO THE LINE UP A COUPLE OF YEARS AGO.

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TECH PROFILE 27

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28 TECH PROFILE
Being an outdoor club, White, located at the
Meydan Racecourse Grandstand Rooftop, is
fully exposed to the elements of The Gulf -
humidity, sand, water, heat - none of which
are ideal conditions for audio, lighting or video
technology. So when it came to reinstalling the
equipment earlier in 2017 - in time for the new
season - Addmind turned to Procom, a supplier
it had an existing relationship with through
previous projects.
Addmind sees a full support solution as
a very important factor - ensuring design,
operation and execution goes smoothly. “We
have a good relationship with them because of
the support we provide, it’s not just about selling
the product. We provide a solution, ensure the
operation is good and do after sales support.
For a company, which is focussed on hospitality,
not audiovisual, they obviously want all of this
from a provider,” said Rami Harfouch, Business
Development Manager for Procom.
The nightlife industry in Dubai is based
largely on novelty, with outlets constantly
needing a fresh look. But White went all out and
opted for not just 1 new look but 3. Each night
- Thursday, Friday and Saturday - has a concept
and the audiovisual design to match. Thursday is
known as BIZAAAR, Friday as WHITEHOUSE and
Saturday as URBN and the DJ booth is located in a
different place every night, so it was no easy task
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to coordinate that with the PA, the position of the
subwoofers and the lighting fixtures too. At the
same time the changes had to be achievable in
a 12-15 hour time period - the turn around time
the venue closing at night and reopening for the
next - and had to be simple and straightforward
enough for the in-house staff to manage.
“Because the DJ changes position, we had to
go for a homogeneous high SPL sound solution,”
stated Harfouch. “It couldn’t be focussed on
coming from one area or another. So for that
experience, K-array, specifically the Firenze
Series, was not only superior in our eyes but with
its digital steering ability and SAT technology,
was the only answer for this project.” The array
elements are virtually invisible, sitting vertically
on the different sides of the club. They have been
digitally steered to provide a constant sound level
around the venue, as have the subwoofers.
A total of 16 K-array Firenze-KH7 mid-
hi loudspeakers and 8 K-array Firenze-KS8
subwoofers have been installed at White, which
together provide 360-degree coverage. The KH7’s
are flown in vertical clusters - measuring 3.6m -
making it possible to achieve a long throw with
very even coverage. The KS8 is a very powerful
subwoofer that is able to reproduce very low
frequencies and provides a strong punch. Some
delay was applied to the subwoofers, due to
the distance between the top clusters and
subwoofers, and some tuning was carried out on
the clusters to ensure a pleasant sound even at
really high SPLs - the average is 132dB across the
venue, when playing at nominal power.
The system is self-powered with each
loudspeaker driven by a 4 2,000W amplifier and
4 channels of output DSP. The simulation was
carried out with EASE FOCUS 3 and Firmaker
(AFMG) - essential tools to create the 4 FIR filters
that were uploaded in each KH7 DSP to optimise
the coverage and ensure homogeneous SPL and
frequency response distribution across the entire
venue.
Harfouch continued: “White wanted
surround sound with uniform distribution that
would be invisible. The Firenze Series for K-array
was the perfect solution. Since we completed
White, we’ve had great feedback and we’ve now
got a fantastic reference. One of the DJs from
opening week said it was the best sound system
he’d ever played on too. Having validation from a
DJ that has toured the world is a great feeling.”
Alongside the new audio installation came a
new lighting design too. This features a grid of 80
hoists, which holds a kinetic structure of hanging
RGB bulbs comprising LED balls and tubes
working homogenously together. They are in
operation every night but in a different way - for
BIZAAAR it is mainly used as decoration, Fridays
for WHITEHOUSE makes use of the RGB balls and
 TECH PROFILE 29

on Saturday at URBN it’s the RGB tubes. separate concept took place. But thanks to their experience and expertise
It’s all DMX controlled motors, so the balls / tubes move up and down and everything ran smoothly and they are exceptionally pleased with the
change colours. outcome. Judging by the photos on White’s social media pages, which sees
Over 500sqm of LED screen has also been installed at White for which the venue jammed packed night after night, it would seems the clubbers
MADRIX software is used for control. “The MADRIX control is used for agree too.
WHITEHOUSE when the DJ booth moves to the main entrance. Above the www.whitedubai.com
booth is a striking triangular shape LED screen, plus some diagonal side www.add-mind.com
screens. And from that structure the screens go out in a W shape, where www.procom-me.com
we have installed RGB LED strips. It’s all pixel-by-pixel controlled running
on MADRIX. All the shapes are generated by MADRIX, even the Art-Net
connectivity is all from the MADRIX hardware and software,” said Wiam
Boutine, Technical Support for Procom. The grid has been designed to be
developed from an LED pixel mapping perspective. So when we start to
discuss the next season, the discussion will most likely begin with the pixel
mapping.
Intelligent lighting fixtures are courtesy of Cyclops, and there are
more than 300 moving heads in the inventory. Many were existing stock
that were taken out during the summer season to be serviced - normal
procedure for an outdoor club where the technology is exposed to the
dust, the wind, the sun, the humidity - and then reinstalled for the new
season. There are a number of wash and beam fixtures, as well as hybrids
combining wash, beam and spot all in one fixture.
“The signature fixture, which always goes down a storm is the Philips
Showline strobe. The effect electrifies the audience, and because they are
LED, they are energy efficient as well,” said Harfouch. “There’s a laser show
every night too.” An MA Lighting grandMA console is currently used to
control the moving lights and effects.
The key aspect holding of all this technology together is the
humongous truss structure, which was once again provided and installed
by Procom. The truss structure from Eurotruss has been at White for
the last 2 seasons but for this installation 2 towers have been added,
1 on either end of the original structure. The new Eurotruss TT truss
has expanded the venue slightly, meaning audio and lighting product
placement had to be carefully considered. All areas in which the audience
may be seated or standing had to be within the polygon truss structure, to
ensure each and every club goer has an immersive experience. The truss
is 2 polygon shapes repeated so that its symmetrical and creates the W
shape for White. “The original truss design was very clever, it was always
destined to be changed, adapted or expanded. We worked with Eurotruss
on calculations, design and precision as everything has to be perfect when
it comes to truss, it can’t even be as little as 10mm out, it must be spot on,”
said Boutine.
With less than 2 weeks to install, programme and fine tune the
entire system at White, the Procom team had quite a task on their hands,
which couldn’t even be properly tested until the first night of each

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30 INSIDE LOOK

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KSA OPENS UP TO LIVE EVENTS
CEO OF SQUARES EVENT MANAGEMENT, MARK SATCHELL, GIVES AN INSIGHT INTO HOW HIS COMPANY
HAS WORKED ALONGSIDE LIVE NATION TO FACILITATE A PAIR OF SHOWS IN THE KINGDOM OF SAUDI
ARABIA’S BURGEONING ENTERTAINMENT INDUSTRY.
Can you discuss how both Squares Events
Management and Live Nation Middle East
became involved with the ILuminate and
Barney shows? What did the productions entail?
The relationship between Live Nation and Squares
was first born when Live Nation was looking for a
local partner in the Saudi market. Squares is one
of the leading event management companies in
the Kingdom of Saudi Arabia with several self-
produced festivals and large-scale events to its
name, Magical Squares being the most famous.
Squares had previously produced several projects
for the General Entertainment Authority of Saudi
Arabia (GEA), so the combination of Squares and
Live Nation working together on these 2 projects
seemed a natural match.
The GEA had requested international
shows for December 2017, to which Live Nation
suggested Barney and ILuminate. Both of these
shows are represented and managed by Live
Nation in the Middle East, and the schedule
was to present them in Saudi Arabia over a 4
week period. Barney was presented in Al Hasa,
Dammam, Riyadh and Jeddah and ILuminate was
presented in Dammam, Al Hasa, Abha and Tabuk.
Squares managed the entire project from A to Z,
providing the full technical rider, visas, marketing,
front of house and ticketing.
How much lead time did you have and what
challenges did you face during that period? Did
your experience in the region assist with this?
The lead time was short, with only 2 weeks
before the first show. Naturally, a fortnight for any
international show is challenging, but with the
support of the GEA the entire process was made
easier.
Our experience in Saudi Arabia was a huge
benefit as we already had several contacts in
Kingdom who were able to provide assistance.
Fly Aked, which is a transportation company and
one of our sister companies, was able to provide
all the flights and hotels for the cast and crew,
which meant our team could concentrate on the
production of both shows. The most challenging
element was not the lead time but that the tasks
were doubled; given we had 2 international
productions to deliver at the same time.
What kinds of venues are available in Saudi
Arabia and which ones were chosen for the
events?
The Kingdom is blessed with some fantastic
venues. However, trying to secure somewhere in
such a short space of time reduces your options,
and the introduction of GEA means venues are
now being occupied with so much content on
a weekly basis. Both shows were very flexible in
terms of the space they required, so for Al Hasa
and Dammam we used a sports hall and created
a fully functional theatre. For the remaining cities
we used a mixture of university theatres and
purpose-built theatres, such as Riyadh School in
Riyadh.
“The limited time we had to
present these 2 productions
meant that we had to ensure
we used a supplier that we
could trust to deliver in the
time required.”
Mark Satchell,
CEO, Squares Events Management
Who were the technical suppliers for each job
and how were they selected? Were logistics
ever an issue for them?
The limited time we had to present these 2
productions meant that we had to ensure we
used a supplier that we could trust to deliver
in the time required. We selected eclipse as
they had recently set up an operation in Saudi
Arabia and had a solid reputation for technically
producing some of the best shows in the Middle
East. They also have a wide range of experience
with live theatre shows, so for us they were
the obvious choice. For front of house staff we
contracted a local company called Our Mission.
It’s Squares’ policy to try and engage with as
many local companies as possible, ensuring we
INSIDE LOOK 31
support the Saudi Vision 2030 plan to the fullest.
Our Mission was new to the market and we saw
this as an opportunity to support local Saudi
businesses.
How significant are these events in terms of
breaking new ground in Saudi Arabia? Do you
see this as an area for potential growth?
This is a very exciting time for Saudi Arabia, and
the Vision 2030 lead by His Royal Highness Prince
Mohammed bin Salman, who has had such a
positive impact on the country; not just in terms
of entertainment but all areas. The entertainment
industry is still very new and will, like any new
industry, take time to mature. However, I believe
we are certainly on the right track and with the
support of GEA this will only continue to grow.
All of the comments I received on ground while
attending both shows were extremely positive.
The public are so proud and happy that now they
can see international shows such as ILuminate
and Barney in the Kingdom, rather than having to
travel to another country in the region.
What are your final impressions of both of the
shows and what feedback did you have from
clients and suppliers?
Both productions were very different and
engaged with different audiences. Barney was
very much aimed at a young audience from 2-6
year olds, whereas ILuminate was very much a
younger adult audience (14+). We produced a
fun, entertaining but most importantly a safe
environment where our audience were able to
spend time as a family or with friends and be
entertained. We don’t see the suppliers as just
‘suppliers’ at Squares; what is really important to
us is that we are one team. That way, we are all
working towards the same goal and that makes
it easier to achieve. As for our ‘client’ we would
say that, apart from the GEA whose feedback
was positive and supportive, our clients are
the people who bought the tickets and their
feedback and reaction to both shows were more
than we could have ever asked for.
Photos courtacy of Squares Events Management
www.squaresevent.com
www.livenation.ae
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32 INTERVIEW

PRODUCTION
MANAGER
JOEL STANLEY

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PRODUCTION MANAGER JOEL STANLEY, OF PRODUCTION VALUE, HAS WORKED WITH THE LIKES OF GORILLAZ,
BASTILLE, KANYE WEST & RECENTLY, NORWEGIAN DJ, KYGO. HE TALKS TO TPMEA ABOUT INTERNATIONAL
ACTS VISITING THE MIDDLE EAST AND REVEALS WHY HE ENJOYS WORKING IN THE REGION’S BLOSSOMING
LIVE EVENTS COMMUNITY...
When did you first start touring the Middle
East for work, and had you visitied the region
beforehand?
After going on holiday to Dubai in 2007 I first
worked in the UAE in 2010, with the Brand New
Heavies’ tour. After that initial show, I think I’ve
lost count of the amount of times I’ve returned in
the last 7 or 8 years; let’s just say it’s a lot! Mainly
I’ll be with an act who is part of a festival bill, or
an event like the F1 shows in Abu Dhabi.
The recent Kygo show you came to Dubai for
[see cover story!] didn’t take place in a typical
gig venue… did that create any challenges for
you?
As with any show, having technical equipment
provided locally will always bring challenges.
Add to that the fact that it’s typically almost 50
degrees Celsius in the summer, you can have
some issues during long hours. I’m always so
impressed with the local crew working in that
heat night and day! The sand and dust is another
factor. As far international touring goes, Dubai
is a relatively new territory and whenever that’s
the case, it sometimes causes minor nerves.
Luckily, everything worked out fine with Kygo’s
performance and the local festival package was
as per the rider requests.
How did Kygo’s UAE performance & production
differ to the rest of the tour, if at all?
We currently have 3 types of show: a festival DJ
set, our full touring production, and a touring
festival production. As this was an on-the-fly
show, it was the first type; a locally supplied
festival date. The design is different, in that we
simplified it due to the lack of crew with us.
This restriction meant we couldn’t add any
set pieces to our show, but at each festival we
are able to build an upstage high-res LED video
wall, with an 8ft high DJ riser featuring an LED
facade and 4 ground-stacked LED fingers to
represent the keys of a piano. Delta Sound have always been great to me for
As much as Kygo is branded as a DJ, he also
incorporates piano, keyboards, electronic drum
pads and other instruments in his setup, which
I personally feel separates him from other EDM
style acts. The set is designed to be turnkey, and
using common products, fixtures and special
effects helps as I only have 2 crew in my party on
that type of fly festival show.
You travelled to Beirut following the UAE show.
How did playing here with Kygo differ from
your experience in Dubai?
Beirut was amazing! It was first time for me, so
I had absolutely no expectations. As Lebanon is
slightly less versed than some other countries in
the Middle East when it comes to putting on big
live productions for international acts, you have
to re-work your standard advancing. In general,
I’m used to huge volumes of freight waiting for
me, but in this case I didn’t have the luxury. If
a promoter or local production rep is willing to
help despite limited resources, that’s all you can
really ask for and I’m grateful for the help we
recieved.
A challenge outside of the UK can be H&S.
Kygo is a very pyrotechnics and special effects-
heavy show, so coming from the UK myself
(which our industry affectionately calls Safety
Island!) I am used to a certain protocol. Next time
I’ll consider taking additional crew for this aspect.
Did you have pre-existing relationships with
any of the vendors you used in the Middle East?
From doing multiple shows in the UAE, I certainly
did. I have done shows with ex-pat colleagues
such as Malcolm Giles of 117 Live. He even
worked with me when I was a Stage Manager at
JOEL STANLEY 33
[British festival] Secret Garden Party, where he
was working as an audio technician. In Dubai,
my audio needs. From supplying my local radios
(when mine have been stuck at customs!) to a
local audio control packages, I always opt for
their services.
Were there any logistical hurdles?
On a recent trip to Dubai with Gorillaz, I had
20 tonnes of cargo stuck in customs due to
travelling from the US using carnets instead of
the traditional manifest route that Dubai is used
to. Eventually it cleared and the show went on,
but there was a little bit of stress on my part as,
although we had the whole night to set up prior
to our show day, our load-in ate into valuable
programming time and any potential issues with
the gear would be found out much later on. If the
act is due to sound check the following morning,
obviously that makes me nervous! Luckily it all
arrived safe and sound… if just a little bit late.
What are your thoughts on the future of
concerts in the region?
It’s certainly is well on its way to becoming
a destination on the international touring
map; there’s venues popping up all over the
place & I’m looking forward to the continued
improvement in H&S, especially on festival sites.
It’s always very rewarding putting on shows
there, from working with the locals, and the
regional suppliers, to adapting to the customs
& cultures, especially during prayer time. I think
experiencing so many different countries as part
of your touring job is what often makes it so
interesting.
Photos: Waleed Shah
www.productionvalue.co
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34 PRODUCT FOCUS

PRODUCT FOCUS
TPMEA TAKES A LOOK AT SOME OF THE LATEST PRODUCTS TO HIT THE ENTERTAINMENT
TECHNOLOGY MARKET.

CLAYPAKY: AXCOR PROFILE 900

FACT FILE:
• High wattage moving head LED spotlight
• 880W white LED engine with custom lens solution:
- Lumen: 46,000 (24,000 lumen output)
- Colour temperature: 6500 K
- CRI >70
• Optional 880W white LED engine:
- Lumen: 34,000 (17,500 lumen output)
- Colour temperature: 5600 K
- CRI > 90
• 7°- 40° linear zoom
• Focus tracking system
• Color system: 16-bit CMY + linear CTO + 6-color wheel
• 6 HD interchangeable gobos
• Animation wheel
• 4-facet rotating prism
• Variable soft edge and flood frost
• Iris with multiple macros (random, pulsing…)
• Electronic linear dimmer, 16 bit + electronic strobe
• Framing System, 4 focal planes and 90° rotation
• Protocols/Functions: RDM, Web Server and ArtNet

The Claypaky Axcor Profile 900 LED profile spot
utilises the very finest components throughout,
from its colour system to its pin-sharp optics
and the high precision micro-mechanics of its
beam-shaping system. Its powerful and highly
efficient 880W white LED light engine achieves
46,000 lumen (24,000 lumen output) with a
6,500 K color temperature, while an optional
high-CRI (>90) light engine produces 34,000
lumen (17,500 lumen output) and a 5,600 K
color temperature.
Claypaky has been able to produce a high
performance LED fixture with a light emission
comparable to a previous generation 1500W
fixture but with a power consumption of around
1kW.
The beam produced by the Axcor Profile 900
is dense and evenly distributed for the entire
length of the beam, at any beam angle in its
zoom range of 7-40 degrees, and its CMY color
mixing system uses gradual-insertion dichroic
wheels, supported by a linear CTO correction
device, to produce perfectly smooth transitions
between colours. In addition, a separate colour
wheel carries 6 carefully selected professional
colour filters, including a custom-designed CRI
enhancement filter.
The spot profile device produces a perfect
projection and achieves the highest quality light
beam currently obtainable. The patented framing
system works on 4 different focal planes and
can generate sharp shapes of different sizes and
proportions. The system is not affected by any
shaping distortions even at wide beam angles,
where significant distortions normally occur.
The Axcor Profile 900 also provides lighting
designers with a perfect projection and an
extremely versatile effects package. Features
include 6 interchangeable high-definition
rotating gobos, an animation wheel, a 4-facet
rotating prism, 2 variable frost options and an
iris with multiple built-in macros. The 16-bit
electronic dimmer enables smooth transitions,
while its completely flicker-free performance
and low-noise cooling system makes it ideal for
television use, as well as for the highest level of
live events and concert touring productions.
Claypaky CEO, Pio Nahum, said: “As our very
first LED spot fixture the Axcor Profile 900 sets
a new course for Claypaky, and we are proud to
say it is the finest LED spot fixture on the market.
This is an achievement that underlines our
absolute commitment to enhancing the art of
lighting and we look forward to seeing what our
friends in the lighting design world can achieve
with it!”
www.claypaky.it

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 PRODUCT FOCUS 35

AUDIO-TECHNICA:
5000 SERIES

COMPONENTS: • ATW-C510 (ATM510 equivalent) and ATW-C4100

(AE4100 equivalent) cardioid dynamic microphone capsule
• ATW-R5220 dual receiver • ATW-C710 (ATM710 equivalent), ATW-C3300 (AE3300 equivalent),
• ATW-R5220DAN dual receiver with Dante output ATW-C5400 (AE5400 equivalent) cardioid condenser microphone
• ATW-T5201 body-pack transmitter capsule
• ATW-T5202 handheld transmitter • ATW-C6100 hypercardioid dynamic microphone capsule
(handle only, capsule sold separately) (AE6100 equivalent)

Audio-Technica is to launch the third
generation of its 5000 Series frequency-
agile true diversity UHF wireless systems set
to be available by summer 2018. Designed
for use on professional tours, in stadiums,
concert halls, festivals, houses of worship
and other demanding audio environments,
the Audio-Technica 5000 Series continues to
provide incredible audio quality and proven,
critically acclaimed performance for artists,
broadcasters and presenters worldwide.
The new 5000 Series dual receiver offers
the highest-quality wireless live sound, with
Audio-Technica’s dual-compander circuitry that
processes high and low frequencies separately
and True Diversity operation. The receiver has
been updated with a tuning bandwidth of 230
MHz: 470–700 MHz and users now have the
option of selecting a standard receiver with
two balanced XLR outputs (ATW-R5220) or a
receiver that also includes a Dante output (ATW-
R5220DAN). The full-rack receiver chassis holds
two independent receivers and offers antenna
power, frequency scan, IR sync functionality, a
ground-lift switch and a front-panel headphone
jack.
Other new features include an antenna
cascade output that connects up to 8 receivers
so a single pair of antennas can feed up to 16
channels of wireless (these connectors also
provide an RF cable check feature to aid in RF
troubleshooting), an auto squelch feature that
automatically adjusts the squelch setting to
maximise operating range while minimising
potential interference, and a backup frequency
that can be quickly swapped by pressing the
transmitter’s multifunction button in the event
of unexpected interference. Software enables
remote monitoring and control of the wireless
system.
Two transmitters are available for use with
the 5000 Series; the ATW-T5201 body-pack
transmitter and the ATW-T5202 handheld
transmitter. Both transmitters feature rugged,
ergonomic metal bodies, highly visible dual-
mode OLED screens (switchable between
standard or performance views to highlight key
metering), programmable features, soft-touch
controls, and switchable RF power (2 mW/10
mW/50 mW). They are available in 2 different
frequency ranges - DE1 (470–590 MHz) and EG1
(580–700 MHz) - to provide complete coverage
of the receiver’s bandwidth. The compact
ATW-T5201 is equipped with Audio-Technica’s
new cH-style screw-down 4-pin connector
for secure connection to A-T’s cH-style lavalier
and headworn microphones, or cables. The
ATW-T5202 offers extremely low handling noise
and includes a high-pass filter. Its industry-
standard thread mount allows for the use of
six interchangeable A-T microphone capsules,
as well as other compatible capsules. The
advanced digital Tone Lock squelch effectively
blocks stray RF; the digitally encoded tone also
communicates transmitter data for receiver
display.
5000 Series components and compatible
accessories are offered as individual, à la carte
products to give users the greatest possible
flexibility in constructing a system that fits their
needs.
www.audio-technica.com

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36 PRODUCT FOCUS
DIGITAL PROJECTION: DLP LASER 8K PROJECTOR
COMPONENTS:
• 8K Resolution - 7680 X 4320
• 25,000 Lumens / 3 CHIP DLP
• 20,000 hours illumination
Set to be the world’s first commercially
available DLP laser 8K projector, the INSIGHT
Dual Laser 8K sits in a class of its own when it
comes to performance. Providing an ultra-high
8K resolution (7680 x 4320) of 33 million pixels
through 25,000 ANSI lumens of solid-state
laser-phosphor illumination, the new flagship
projector is the ultimate solution for the most
elaborate medical, scientific and immersive
visualisation and large-venue applications.
In addition to the resolution and lumen
performance, it uses proven DLP technology
incorporating 3 1.38 inch DarkChip DMD chips
and Digital Projection’s ColorMax technology
to ensure superb colour accuracy and black
levels. These are especially vital imaging
ME
characteristics when matching projectors in
tiled or blended applications.
From simulation and visualisation
projects requiring unmatched details, to elite
entertainment venues that demand the most
immersive experience through large-scale
imagery, the INSIGHT Dual Laser 8K provides a
new performance benchmark in the industry.
Lamp replacements are never required due to
the solid-state laser illumination system. By
eliminating regular lamp replacement cycles,
system operation is never interrupted, making
long-term maintenance costs virtually non-
existent. This means dramatically lower cost of
ownership over the lifespan of the projector.
Other key benefits of laser illumination
include the simplification of blending
multiple projectors, as laser projectors are
closely matched ‘out of the box’ for colour
and brightness, with predictable and stable
brightness providing close tracking in matched
systems over the long-term.
Featuring MultiAxis orientation capability
of portrait or landscape use and every angle in
between, the INSIGHT Dual Laser 8K also boasts
a multitude of optional high-performance lenses,
ensuring it serves as a powerful and flexible
imaging tool for venues requiring the most
incredible projection solution, regardless of the
installation footprint.
www.digitalprojection.com
 PRODUCT FOCUS 37

ELATION PROFESSIONAL:
SMARTY HYBRID
FACT FILE:
• 3-in-1 Smart Hybrid Beam, Spot, Wash Luminaire
• 9,000 Total Fixture Lumens
• New Philips Platinum Flex 200 240W 7,800K Lamp
• 14,000 Lamp Lumens and 10,000 Average Lamp Hours*
• FLEX Lamp Technology and Lamp Hibernation Mode
• 2° to 20° Beam and 3° to 25° Spot Motorized Zoom
• Full CMY Colour Mixing System
• Frost Filter for Wash Effects
• 13 Colours including CTB, CTO, and UV
• 8 Rotating Interchangeable Glass Gobos
• 12 Static-Stamped Metal Gobos
• 16 and 8 Facet Linear Independent Rotating Prisms
• Multiple CMY Colour, Gobo, and Prism Macros
• Motorised Focus and Auto-Focus
• DMX, RDM, Art-NET, and sACN Support
• Elation’s E-FLY Internal Wireless DMX Transceiver

Making its debut in Amsterdam at ISE, Elation
Professional’s Smarty Hybrid is a full featured
Spot, Beam and Wash fixture and the most
compact CMY colour mixing hybrid the
company has released to date. At the heart
of the fixture is the new Philips Platinum Flex
200 lamp with “FLEX” technology, which uses
a smartly designed discharge lamp/ballast
package to produce high output and compact
performance at an efficient, long life solution of
up to 10,000 hours.
Features include motorised zoom ranges
of 2° to 20° in beam mode and 3° to 25° in spot
mode, a full CMY colour mixing system, and a
frost filter for wash effects.
www.elationlighting.com

ME
38 REGIONAL ROUND UP
GEARHOUSE GROUP GOES TO
AFROPUNK FESTIVAL IN JOBURG
Since its inaugural event in New York in
2004, the AFROPUNK Festival has become
a global phenomenon, associated not only
with alternative punk music but also with its
audience’s eclectic ‘African-born’ styling and
eye-catching fashion statements in Atlanta,
Paris and London. Its South African debut,
at Johannesburg’s historically significant
Constitution Hill on 30 - 31 December, was
welcomed by many as a homecoming to the
continent.
Technical solutions provider, Gearhouse
Group, provided staging, lighting, audio visual,
LED screens, power and rigging to the festival
with Show Sync’s Clinton Seery taking on
Production Direction for the South African
iteration. The event featured South African
musicians as well as a spread of local poets,
artists and activists performing alongside
international stars such as Laura Mvula and
Anderson .Paak.
Gearhouse’s Audio Engineer, Jako de Wit,
estimated that around 40 acts were featured,
with artists performing in relays over both days.
“The stage was divided into 3 performance
areas - each with its own audio setup and each
manned independently by its allocated technical
team,” he commented.
The arrangement dictated an LCR setup with
Meyer Sound MILO for the main hangs and MICA
for front-fills and delays to provide a continuous
music experience for the audience, as well as
excellent sound coverage across the space. The
central Gold stage featured more than a dozen
Af
DJs each day using a Yamaha LS9-32, while the
Red and Green stages each deployed an Avid
Profile and a Yamaha PM5DRH at monitors. All
inputs were controlled by Lake LM44’s and a
couple of Meyer Sound Galileo units handled the
signal out on the stage side for PA distribution.
The lighting configurations were also distinct
from one another, with every stage working
with a dozen each of Robe ColorWash 700E AT,
ColorSpot 700E AT and Martin by Harman MAC
101’s. There were also 6 Martin by Harman Atomic
3000 Strobes and 4 lamp bars for key light and
additional punch during the evening sessions.
The rigs were individually controlled through MA
Lighting grandMA2 desks.
LEDVision provided a cohesive LED screen
set up that drew the 2 outer stages together
visually. The 2 outer and single rear delay screens
ran mostly camera content with a centre screen
in between the 2 stages running content, as well
as camera-work and artists information. A design
comprised of ROE LED strips enhanced the
stage wings and provided colour indication as
to which stage would go live next. Onstage LED
screens (Lighthouse R16 and DuoLED 18) were
used to augment the lighting and enhance the
daytime performances. A complex control setup
was installed to run graphics playback using
Resolume servers as well switching a 4 camera
mix.
“For us, clear and continuous communication
between stage and FOH show call was absolutely
key to the event’s success and it was testimony
to our tight teamwork that it ran so smoothly,”
explained Gearhouse Project Manager, Nickolas
Chapman.
While Production Director Clinton Seery
and technical supplier Gearhouse are long
accustomed to working together, delivering for
the AFROPUNK organisers was a first for both.
“Technically speaking, it’s always more
interesting to work between 3 stages, bringing
them alive individually but while we enjoyed
the fresh approach, it was obviously much more
demanding on the technical team,” commented
Seery. “Lighting, LED screens, audio and cameras
took on the challenge with open arms and we
managed to paint what we believe to be an
‘inaugural-perfect’ picture! Of course when you
haven’t a second to waste, you need to be able to
trust your supplier’s understanding of the client’s
vision and the Gearhouse team was there with
me every step of the way. Even through those
inevitable last-minute problem-solving moments.
These guys go above and beyond to keep their
client happy.”
While the event was smooth sailing on a
technical level, the weather was not. One of the
notorious Highveld thunderstorms hit the festival
on the Saturday. But even that failed to dampen
the spirits of everyone involved. “The weather
came, shook us, shook the sound, shook the
screens, shook the lights, shook the cameras,
even shook the crew, but nothing stopped the
show technically!” concluded Seery.
www.afropunkfest.com/johannesburg
www.gearhouse.co.za

SOUND STYLISTS PURCHASES SOUTH
AFRICA’S FIRST DIGICO SD7
South Africa is now able to give international
audio engineers what they ask for with the very
first DiGiCo SD7 in the country. The exciting
investment was made by Kevin Glover, owner
of Sound Stylists, and the SD7 will complement
his existing DiGiCo inventory, which is the
largest in Africa. Training on this console will
also be offered to all interested parties in the
near future.
Sound Stylists was the first in South Africa
to bring DiGiCo to the country in around 2006
with the purchase of a DiGiCo D5 and they
have subsequently added to this, its stock now
comprising of 2 D5’s, 2 SD8’s, an SD10 and 2
S21’s, not to mention the racks and accessories.
“The South African market is maturing and
is getting bigger,” said Glover, explaining the
thought process behind this latest investment.
“There were a number of international artists that
we serviced with our SD10 last year, however
a number of them were looking for SD7’s.
Essentially we are answering that call. In addition
to that we also needed the additional SD Racks
and having the 32-bit input cards also increases
the desirability.”
Kyle Robson of DWR Distribution, DiGiCo’s
distributor in Africa, elaborated: “To meet
requirements of international acts, the DiGiCo
SD7 was previously hired in for a show, often
from Dubai. The SD7 platform is 11 years old,
yet is still one of the most popular consoles on
the market; the main contributing factor being
the dual engines. It’s like having 2 consoles in
1, which offers the redundancy that engineers
prefer. They have the assurance that should one,
for some reason, break down, the other will kick
in, giving peace of mind. Other benefits include
having high channel counts, more faders and
screens with a bucketload of outputs.”
The sale was an emotional one for Robson.
His introduction to DiGiCo was when he worked
for Sound Stylists and he was one of the first
users to mix on the D5. “I’ve been trying to sell
a SD7 for years,” he said, clearly chuffed. “It has
been one of my biggest dreams to get one in
the country. I have not mixed a show on an SD7,
but have had the privilege to stand behind the
console and play, as well as receive training from
DiGiCo in the UK on all the SD consoles.”
Going back to the legacy of Sound Stylists
and DiGiCo, Glover said he may initially have
entered the DiGiCo platform a little late in the
game with the D5, but desirability by users
was always the main selling point. “Going
forward, I have to say that out of all the console
manufacturers that we’ve had, DiGiCo has been
the most supportive, for want of a better word.
We receive the support, back-up and education
from both DiGiCo and DWR Distribution. I know
that should DWR fall off the planet tomorrow, I
REGIONAL ROUND UP 39
could pick up the phone and anyone at DiGiCo
would assist.”
Ian Staddon from DiGiCo commented: “I am
delighted that Kevin and Sound Stylists have
chosen to not only continue their investment
in DiGiCo, but to go for our flagship SD7. I and
many of my colleagues at DiGiCo have known
Kevin and several of his team for a long time
and it personally gives me great satisfaction
to know that Sound Stylists appreciate DiGiCo,
our products and what we stand for as a
manufacturer. Our beliefs are mirrored by DWR
and this sale is testament to that; a great team
effort by all involved.”
Glover sees the future of the new SD7
working for everyone. He aims to make the
console readily available so that audio engineers
in the South African industry are comfortable and
familiar behind the console. He will be first in line
to receive the training from DWR. “I’m an old dog
and it’s going to take time, but I’m excited. I want
to stay current and I want to know what my team
are talking about,” he laughed. “One thing I will
say, and this is a sentiment from my team, when
they have a choice of desk to run a show, they
always choose DiGiCo.”
www.soundstylists.co.za
www.dwrdistribution.co.za
www.digico.biz
Af
40 REGIONAL ROUND UP
PHILIPS LIGHTING AT EGYPT’S
NEW CONFERENCE VENUE
Philips Lighting has announced that the
prestigious new National Army Conference
Centre in Cairo has chosen a state of the
art lighting system and data infrastructure
from Philips Entertainment Lighting for its
1,700-capacity main auditorium.
Requiring a top quality, professional lighting
system suitable for a modern, multi-purpose
venue, the specifiers needed a trusted brand
- one with a product catalogue capable of
encompassing a complete system solution. State
of the art LED technology, where possible, was
a key requirement, as was first class technical
support throughout the project.
Working closely with local specialist installer
Egyptian Engineering Projects, known as Quality
Egypt, the team from Philips Lighting helped to
make these demands a reality. Philips Lighting’s
sales and technical teams from both EMEA and
USA provided comprehensive on-site support
throughout the project, helping to ensure the
efficient completion of the installation.
Chosen by the venue owner, the Armed
Forces Engineering Authority (Egypt), in
close collaboration with Quality Egypt and
consultant DMG Technologies, the stage lighting
system includes more than 240 Philips Lighting
luminaires. LED technology dominates, including
Philips Selecon PLfresnel1 MkII, PLprofile1
Af
MkII and PLcyc1 MkII luminaires, plus more than 80
LED-based Philips SL Punchlite 220 fixtures.
“Philips Lighting’s light quality is
excellent,” said Adel Attia, CEO of Quality
Egypt. “It enables the theatre to be suitable for
any kind of application, whether concert, theatre
or conference. In addition to its low energy
consumption, it is a solution with a very effective
performance.”
For tasks where conventional lighting
was preferred, Philips Vari-Lite VL4000
Spot and VL4000 BeamWash were specified as the
venue’s main moving lights. Attia commented:
“The VL4000’s offer great quality and complete
dependability, with all the features we could
need. To have so many functions available
in one luminaire is also very convenient and
cost-effective. What’s more, the Philips Vari-Lite
products have an outstanding legacy and the
support from the manufacturer and its technical
team is first-class.”
The lighting control infrastructure employs
a Philips Strand Ethernet data distribution
system, with Philips Strand EC21 dimming for the
conventional element of the lighting rig. Attia
said: “We have installed Philips Strand dimming
and data network systems in a number of other
projects, so we are very familiar with them.
They’re stable, modular systems, flexible and
dependable.”
The finished system has exceeded every
requirement, from power consumption to output
and performance. “We estimate that the power
usage is 60% lower than it would have been
without the LED lighting,” said Attia. “It has all
performed very well and the client is extremely
happy with the installation.
“We would like to thank our Projects Director,
Gamal Elmorsy, who led the project for Quality
Egypt, and all our team who worked hard to
achieve this outstanding project. Our thanks also
to the sales and technical teams from Philips
Lighting, whose experts have provided so much
invaluable support on-site and throughout the
project, from an early stage.”
Grant Bales-Smith, General Manager EMEA,
Philips Entertainment Lighting, said: “Our
broad catalogue of professional stage lighting
technologies offers a unique choice of solutions
for top-end installations of this kind. We are
delighted to be the brand of choice for this
important and prestigious new venue, in which
we have proved that our products are the right
choice for similar projects of any scale.”
www.lighting.philips.com/main/products/
entertainment-lighting

GREEN HIPPO HELPS HP DISRUPT ITS
PARTNER AWARDS
Disruption was the theme of the 2017
HP Partner Awards Evening and this was
continuously highlighted by HP Africa
Managing Director David Rozzio. He
emphasised this is what the company aims
to do to the marketplace in 2018 through its
strategies and new products. With this in mind,
the team at Keystone Productions brought
an idea to disrupt the generic awards evening
format.
The herd of Green Hippos running the show
included 3 Boreals and 1 Karst all feeding 13
Christie LHD 700 7K Projectors. These projectors
were used to map the 12 rectangular dinner
tables from above with custom content. The last
projector was used for the presentations and
video content for the awards evening.
Christopher Bolton from Keystone
Productions knew he would have to call on
others to gather its Hippos together to complete
the herd. Staal van der Berg from Visual Audio
Productions supplied 1 Boreal and 1 Newly
purchased Karst, while Wilhelm Disbergen of
Yellow Bunny Productions and Bolton brought 1
Boreal each to the party.
“It was amazing to see the Green Hippo
users in South Africa coming together to make
this event possible,” said Dylan Jones of DWR
Distribution.
Bolton explained how he came up with
the idea for the event: “The concept to do
multiple tables is something that we at Keystone
Productions came up with a while ago. Finally,
we had a client that wanted to do something
special. Warren Liss was the Video Director and
really created some spectacular content.”
The intro to the evening involved animated
plates and tablecloths followed by bursts of
colour exploding onto the table surfaces. Each
award category had a different content theme
on the tables and a random draw occurred every
so often with a bouncing ball across the different
tables eventually stopping at a chosen winner.
“Green Hippo just works, on this job in
REGIONAL ROUND UP 41
particular the system never let me down,”
enthused Bolton. “The combination of the
MA Lighting grandMA2 and the V4 hippotizer
software rocks. It handled 39 active layers over 13
outputs with no problem.”
Bolton continued by outlining the challenges
of the event: “As with most venues, things at
times do not work out as planned and one is
faced with challenges. The venue’s ceiling height
was only just high enough to fit the image on the
tables. Having a tolerance of 15mm in getting the
structure up high enough to fill the tables proved
challenging but we got there in the end.”
Bolton ended by stating: “There was a great
response from the people who attended the
awards evening and most importantly, at the end
of it all, a very happy client.”
Photos: DWR Distribution
www.green-hippo.com
www.dwrdistribution.co.za
Af
42 TECH PROFILE

WIGWAM ENSURES SMOOTH

AUDIO DELIVERY FOR CFAN
AS PART OF HIS RETIREMENT CAMPAIGN, FOUNDING MEMBER OF CHRIST FOR ALL NATIONS,
REINHARD BONNKE, PREACHED DURING A 5-DAY EVENT IN NIGERIA, ATTRACTING CROWDS OF
AROUND 1.7 MILLION. TPMEA SPOKE TO THOSE INVOLVED IN THE GARGANTUAN TASK.

Dating back to 1974, Christ for all Nations (CfaN)
was created by German Missionary, Reinhard
Bonnke. Since then, the organisation has
attracted millions of worshipers to its large-scale
events. With the founder close to retirement,
the organisation opted to set up a 5-day
extravaganza in Lagos, Nigeria in November 2017.
The event was set to be Bonnke’s final African
Gospel campaign before officially passing the
torch to evangelist Daniel Kolenda.
For the past 30 years CfaN has collaborated
with Wigwam Acoustics since the audio
specialist first supplied CfaN with a sound
system and has provided its services ever since.
The November event was no different, with
Wigwam adding to the CfaN system with a new
radio microphone package and monitor control.
TPMEA spoke to Technical Director, Derek Murray,
about some of the challenges of putting on an
event of this scale.
“Initial pre-production started a year ahead
of the event when the idea was first conceived,
but the main work started 3 months later,” began
Murray. “Site location was the biggest problem
we had to face. So much of the work was based
around an idealised layout. Handling production
managment was Paul ‘Boyo’ Manuel, who has a
long-time CfaN and Wigwam connection.”
The CfaN gigs in Africa can always be
challenging due to the conditions, as Murray
explained: “The event site was situated on a
swamp. The trying weather meant that creative
measures had to be taken to ensure the safety
of the people and gear involved. After truck-
loads of sand, large rocks and pebbles were
laid; the whole stage and sound structure was
still sinking 6 inches into the ground. With
weight adjustments and jacks to lift the front of
the stage, the setup was finally stabilised.” He
continued by describing how Wigwam aided
the preparation process. “Assisted by David
Hopkinson from Wigwam, we visited the site a

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 TECH PROFILE 43

“The general mandate is that the sound should cover all

the available space. For the shows we don’t have fixed
boundaries around the field and people are free to wander,
stand or sit wherever they prefer. In general this could be
200m or beyond!”
Technical Director, Derek Murray

month before the event to see what the layout
would be and how we needed to modify the
technical concept to fit,” he said.
“In general, our local administrator and
organiser would feed us information about the
location and we would get more details when
our transport team would arrive on site. We have
a list of parameters which we would use to layout
the site, based on access for the local population
and vehicle access. Sun and wind directions
would all be considered and whether there are
any obstructions around the site that would
hamper the sound.”
The audio team consisted of 9 crewmembers,
4 of which were either employed through
Wigwam or trained by Wigwam. Additional sound
crew were also brought in from CfaN’s pool of
regular freelancers. “We mostly use experienced
trained crew, but we do use a large number of
local crew, who we take time to encourage and
get them involved,” said Murray.
“There’s often lots of laughter and fun with
the local crew but we are always strict about
health and safety and risk assessments to protect
the locals, who sometimes place themselves at
risk - not understanding the potential dangers
involved.”
The PA system that was deployed was
Meyer Sound across the board. The PA was an
amalgamation of kit provided by Wigwam and
boxes that were owned by CfaN. Collectively
the array consisted of 24 Meyer Sound M3Ds, 18
LEO, 16 LYON and 20 MICA. Also present were 16
MSL-4’s, 8 UPA-1Ps and 16 1100-LFC. For onstage
sound the monitor system consisted of 10 Martin
Audio LE400 wedges, 4 Meyer Sound MJF-210
Wedges and 2 Meyer UM-100Ps. Finally, helping
fly the system were 28 CM-ET Lodestar Motors,
8 of which were supplied new by Wigwam for
this gig along with 4 new 8-way Remote motor
controllers. Also present were 6 Stagemakers.
“For most of our events the sound design is
a collaboration between David Hopkinson and
myself,” commented Murray. “Having worked
together for so long, we know what is needed
and what the system can achieve. No 2 sites are
ever the same, so the design, while being fairly
standard from event to event, had to be tweaked
and adjusted to suit the conditions such as the
topography and ground conditions. The general
mandate is that the sound should cover all the
available space. For the event we don’t have fixed
boundaries around the field and people are free
to wander, stand or sit wherever they prefer. In
general this could be 200m or beyond!”
Murray went on to express the importance
of flexibility with the sound system too, in case

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44 TECH PROFILE

“In total we had 4 separate video productions running as

well as visiting TV stations on site with a large amount of
feeds going around the site.”
Technical Director, Derek Murray

the crowd sizes were to grow throughout the
performance: “While these events are free for
those who attend, all our Gospel and music
events we endeavor to produce as best a
speech response as possible over the whole area
available. It would be counter-productive as a
Preaching Ministry to fail to convey the message
we wish to share. Using high quality sound
systems such as the Meyer Sound Line arrays
we achieve good vocal reproduction over a very
large area, and the music quality is also very
good.”
For Lagos, the production was faced with a
site that was predicted to be 1km wide and 1km
deep. Knowing this ahead of time, they knew
the challenge ahead of them. This prompted
the need to bring in CfaN’s East Africa System.
“Additionally, to supplement the existing
loudspeakers, we added a new LYON Line array
to replace out our older MSL4 speakers which
were then used as infill boxes around the stage,
as well as being available to make delay clusters
if needed,” commented Murray. “As we had
limitations on weight loading on the ground
support systems, we knew we would need 4
towers to effectively carry all the weight and
give the coverage angles needed, and given the
ground conditions it was a necessity!” In the
end, while the site wasn’t filled to capacity, the
production had sufficient coverage over the area,
without the need to set up delays.
For control, CfaN and Wigwam opted for
a package consisting of 5 DiGiCo SD9’s on
Optocore with 2 DiGiCo SD-Racks. For the
performance, Wigwam also upgraded to the
Stealth Core2. “Africa can be very tough on
equipment. Dust and dirt, high humidity and
heat can have detrimental effects on equipment
especially where used in the open,” stated Murray
while discussing the consoles used for the show.
“Over the years we have used various mixing
consoles, amplifiers and control equipment. It
used to be that average consoles and electronics
would survive for about 4 years before needing
to be changed out, and that’s with scrupulous
daily cleaning. However, now that we are using
digital desks, wear and tear isn’t so intense. We
still need to keep the desks clean and kept out of
the elements just the same. Initially the concern
was the heat would be a problem with digital
equipment but having run our DiGiCo SD9’s now
for many years, the only failures we have seen are
power supplies - and some of the SD9‘s are now
7 years old with no faults!”

Af

For microphones, Murray relied on the
“the good old” Shure SM58, a mainstay on
the CfaN show. However, for the 5-day show,
CfaN opted to utilise the new Shure Axient
Digital Radio Microphone System.
Due to the scale of the event it was
not just the audio for the live audience but
feeds for the video production that were also
present throughout the 5 days. “In total we
had 4 separate video productions running
as well as visiting TV stations on site with a
large amount of feeds going around the site,”
commented Murray. “In addition of having
2 monitor setups as well as the FOH we also
had a SD9 handling video related mixes and
feeds as well as running a ProTools recording
system in the video control container. We
also had another SD9 and ProTools system
running over MADI as a back-up in the audio
control container.” Also onsite throughout
the show in Lagos was GOD TV. The
network ran a live broadcast from on site.
Additionally, CfaN, using an uplink that fed
directly to the headquarters in Orlando, Live
Streamed online so viewers from around the
world could be involved with the event.
Murray discussed one of the other
major undertakings for the show - the
visual department. “New for this event was
the use of large LED screens and lighting
along with new additions to the field lights,”
commented Murray. “We had a new team
for the LED screens, which were supplied
by PRG XL Video out of the UK, with Percy
Vermeulen as the LED technician and
instructor. Steve Shaw from Levitating
45
Platforms & Stages
Productions handled Stage Lighting duties.
The largest team was the video crew as
we had 4 separate productions going on
around the event. The video teams were
led by Carlos Flores from our US office, with
Kai-Uwe Bonnke from our Frankfurt Office
directing.” Besides its African events, CfaN
Towers & Archways
hold regional events in Europe and America,
where it has held arena and stadium events.
“As we had previously worked with most of
the crew either in the US or Europe we had a
good working relationship already in place,”
added Murray.
Finally, Murray wanted to give a special
mention to the ground team of truck drivers
led by Winfried Wentland. “The team also
Health & Safety
handle a large part of the initial site layout
and heavy construction, such as stage
building, installing field lighting, prepping the Fruition Events is a creative and innovative
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service, through continuous investment into a
initial site work started a month earlier, with
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info@fruitionevents.ae
Photos: Olek Volyk and CfaN
www.cfan.org.uk www.fruitionevents.ae
www.sseaudiogroup.com/wigwam
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46 INSIDE LOOK

AUDIO SANS FRONTIERES:

THE COMPANY BRINGING
FUNKTION-ONE TO EAST AFRICA

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 INSIDE LOOK 47

IN DECEMBER 2016, FEDERICO PIRZIO-BIROLI AND OZ JEFFERIES LANDED IN KENYA FOR THE KILIFI NEW YEAR’S
EVE FESTIVAL ARMED WITH A FUNKTION-ONE SOUND SYSTEM AND A PASSION FOR SHARING HIGH-QUALITY
AUDIO WITH OTHERS. THROUGH PIRZIO-BIROLI’S PHILANTHROPY AND JEFFERIES’ TECHNICAL EXPERTISE,
AUDIO SANS FRONTIERES WAS BORN, AND CONTINUES TO BLOSSOM, AS TPMEA DISCOVERS…

“The goal is to take sound systems to places
that don’t have access to it,” Oz Jefferies [of
UK-based Audio Feed] told TPMEA while talking
through the business plan for his new project,
Audio Sans Frontieres. The new venture, set up
with partner Federico Pirzio-Biroli, has already
enjoyed quite the journey into Africa’s live
events industry. The duo’s goal? To take world
class sound systems to places that potentially
don’t have easy access to them.
According to Pirzio-Biroli the incentive was
born after he attended the Kilifi New Year’s
festival in 2015. He reminisced: “I remember
thinking that everything was just right at that
event... well, almost,” he laughed.
“The location is beautiful, it had good DJs and
a great crowd; it would have been the perfect
festival if it wasn’t for the awful sound. We found
out it was using a 30 year-old system! Naturally,
this was something I thought I could probably
help with!”
Pirzio-Biroli and Jefferies’ have a long-
standing relationship with British manufacturer
Funktion-One, all of which started at Burning
Man. He continued: “We actually purchased a
system several years ago for Burning Man festival
in the US, which we then kept and maintained in
the UK.” It was with this same system that Pirzio-
Biroli thought the pair could make a valuable
difference to Kilifi New Year’s festival - and show

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48 INSIDE LOOK
people what they’d been missing. “Personally,
I was getting quite tired of the business side of
things in the UK,” admitted Jefferies. “This is by far
the greatest reaction I’ve ever seen at a festival.
We provided the system and have never been
met with so much excitement, appreciation and
happiness in anything we’ve ever done before
- I’ve got pictures of the musicians playing their
live instruments and hearing them back like
never before. The overriding response was clarity
and clearness, with people hearing new sounds
and their instruments in a new way.”
After providing the sound system for this
event, Pirzio-Biroli and Jefferies decided to keep
it in Kenya, and set up Audio Sans Frontieres
to manage the system and its African projects.
“We arrived with this sound system, but our
intentions of leaving Kenya to return to festival
season elsewhere relied upon us finding the right
team to look after it,” he confirmed, noting that
they cannot simply be left in the hands of people
using guess work. “Luckily, we’ve landed on our
feet with the sound engineers,” commented
ME
Pirzio-Biroli. “They were all in their mid-20’s and
all very humble.” Jefferies agreed: “We picked
a manager and 3 technicians and then started
a training period to make sure they used the
system to the correct standard. This then meant
that we could continue to provide the system
to other charitable events in Kenya and the
neighbouring countries when we weren’t there.”
The Audio Sans Frontieres inventory currently
comprises of 6 F121 bass enclosures; 4 Resolution
4T mid-high 3-way loudspeakers; 2 compact F101
loudspeakers, ultra-high fidelity E100 and E25
amplifiers (by MC2 Audio) and an XTA Electronics’
DP448 processing platform.
Jefferies commented on their relationships
with manufacturers: “We have long standing
relationships with Funktion-One, XTA and the
MC2 family, which makes my job as a sound
designer & installer take shape easily; I know I can
rely on them should we ever need international
support.”
The year 2017 saw the system donated to
the Lamu Arts Festival on Lamu Island, one of
the oldest inhabited towns in Africa. It has also
been seen at Soysambu in the Wild, a festival on
a wildlife conservation area and NYEGY NYEGY
festival in Uganda.
However, when commercial events began
to enquire about the new system in town,
Jefferies explained their next steps: “As a charity,
we didn’t want to donate systems to money-
making enterprises. It was decided that we’d
start a commercial wing of the charity that would
charge for hire. Any profits could then be used to
further fund the charity.”
In November 2017, this new commercial
arm installed a new system into legendary bar,
40 Thieves. It comprised 2 compact F101’s, 4
F81’s, BR118 Bass Reflex bass enclosures and
MC2 Audio’s Delta 80 amplifiers [along with
lighting and truss elements]. January 2018 saw yet
another install, this time for The Alchemist, one
of Nairobi’s biggest outdoor live music venues.
Audio Sans Frontiers is proud to have trained the
engineers, and invited other local engineers to
learn how to use Funktion-One systems to their
power
to scale.
We created the pro range with one thing in
mind: to play huge video content across massive
canvases, in the toughest of live environments.

With four VFC card slots - output DVI, SDI,

or DisplayPort as your project demands.

www.disguise.one/en/products/pro/
50 INSIDE LOOK

full potential. even though they’re on the same continent. local artists and children from local war torn
Pirzio-Biroli explained how things differed “The number of times you see a really countries.” Obviously an offer he couldn’t refuse.
in his neck of the global woods when it came talented artist do an amazing live performance Speaking of their other goals for 2018, Pirzio-
to what audiences expect. He said: “In the UK, and then listen to it on the CD afterwards, you Biroli added: “From a business perspective, I’d
for example, people are so used to good quality can barley recognise it.” He continued. “It’s like to do 4 or 5 more installs, but personally, my
sound that they feel cheated by anything less shocking. The production value is just so low main goals will be with the non-profit side of the
at an event, free or not. Here, the systems are or the equipment just isn’t sufficiently high business, pushing the boat out and seeing how
typically decades old and don’t represent sound quality as it is in West Africa. But now, with the far we can take this rig. No matter what your
the way the events deserve to be heard. From the high quality sound, the local artists are really education or economic position, appreciation of
perspective of the musicians here, they’ve never appreciating the importance of good production good sound is universal.”
heard themselves through anything of notable for high end mastering. We’ll be able to help The team certainly seem to have a lot on their
quality.” He also talked about how, due to a lack develop these artists to a point where we can to-do list for the coming months. In fact, when
of quality sound systems & production expertise finally bring them to Europe.” TPMEA spoke to the duo, they were organising
in some areas, East African music has been at a In 2018, Audio Sans Frontieres have been a prison tour with local artists to entertain the
disadvantage - but that’s about to change. tasked with providing the system to the highest inmates. TPMEA HQ can’t wait to see what’s next!
“East African music doesn’t really have a DJ set world record attempt atop Mount www.audiosansfrontieres.com
voice in Europe or the West, whereas West African Kilimanjaro in Tanzania. Jefferies elaborated: “The www.funktion-one.com
music has been established for at least 20 years. charity Last Night A DJ Saved My Life asked us to www.mc2-audio.co.uk
East African artists don’t reap the same rewards, help to raise money and equipment to support www.audiocore.co.uk

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9 MAY 2018
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