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Tuesday, June 02, 2009

A Trip Most Worthwhile: Community, Technology & Education At LAB DemoFest 2009

Another big reason I took the trouble to attend this thing was the presentation by Bill Hanley. This was the deal-maker for me

I have a keen interest in the history of live sound reinforcement, the gear that was used way back when, and the associated advancements of technology.

I’m also very interested in new technology, even if the price tag of the cutting-edge stuff means the chances of me using it any time soon are a pipe dream.

And, I also like to just hang out and talk shop with other sound guys.

A recent event planned by some ProSoundWeb community members, loosely termed “LAB DemoFest 2009,” combined all of these things and more.

It was not unlike a trade show, except better in some ways, a smaller, more personal event.

Held over the course of two days at the Wachusett Village Inn & Conference Center in Westminster, Massachusetts, DemoFest offered product displays, technical presentations, and live performances all taking place in the same room.

A cash bar on the evening of day one and buffet lunch on day two were also provided by the host facility in the main event room, along with the normal bar and on-site restaurant.

To get there I had to drive the entire length of I-84, and then some, but the round-trip of more than 500 miles was well worth the effort. I’m pretty sure that dozens of audio professionals from all levels of the industry that were on hand - some of them traveling even greater distances to attend - felt the same way.

The bulk of DemoFest planning was done by David Nickerson, with Jason Dermer supplying a rig consisting of EONA ADRaudio loudspeakers and an APB-Dynasonics Spectra console, a 24-channel side-car, and as sweet a rack of outboard as you’ll ever see.

EONA ADRaudio and APB-Dynasonics were not only represented by the presence of their gear, but also by the attendance of company principals. This was also the case with Rational Acoustics. These folks weren’t just hired hands sent to represent these companies, they’re the guys whose names are on the door.

Other manufacturers displaying products included Allen & Heath, Danley Sound Labs, Lectrosonics, EAW, Sennheiser, Shure, and Soundcraft.

On day one, David Missal of Sennheiser and Tim Vear of Shure each gave an individual presentation of their company’s products, served on a panel for a discussion of advanced RF topics. They did a lot to quell the apprehension so many of us have over the new FCC rules. Apparently, the sky is NOT falling.

Other highlights included Jamie Anderson of Rational Acoustics providing insights on the use of Smaart, and Brian Doser’s overview of recording live shows with Pro Tools.

Another big reason I took the trouble to attend this thing was the presentation by Bill Hanley. This was the deal-maker for me.

Bill Hanley is as close to a living legend in live sound as there will ever be. He was at FOH when Bob Dylan came out with an electric band at Newport, and he designed the sound system for Woodstock. He may even be the first guy to ever use stage monitors. (OK, I won’t hold that against him.)

Mr. Hanley is a treasure chest of live sound anecdotes. He also gave the event one of its biggest tributes by deciding to stay and attend day two, noting that “he felt the need to be with his kind.”

Thanks Bill, I’m honored to be thought of as one of your kind.

Be sure to check out Dave’s Photo Gallery tour of DemoFest.

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MTV Canada Selects Lawo mc²56 Digital Console For Revitalized Audio Control Room

Selecting a mixing console that not only met MTV Canada’s current broadcast production conditions, but also one that could grow and adapt to meet their evolving requirements

In its quest to overhaul Audio Control Room 1 (ACR1)—the larger of its two main control rooms housed in its Masonic Temple location— and equip the facility with a full digital path, MTV Canada, a subsidiary of CTV, faced numerous technical and logistical considerations.

Chief among them was selecting a mixing console that not only met MTV Canada’s current broadcast production conditions, but one that could grow and adapt to meet their evolving requirements.

After an extensive series of evaluations, those most closely involved in the selection process made their decision and chose a new mc²56 digital console from Lawo.

The new Lawo mc²56 console, equipped with 64 faders, 144 DSP channels, a remote microphone stage box, and a DALLIS frame for local I/O with roughly 72 channels of analog I/O capacity, was installed in early April 2009 and placed into service almost immediately afterward.

The challenges of upgrading ACR1 with a new mixing desk were multifold, as Kent Ford, MTV Canada’s Audio Supervisor, who is responsible for all audio elements pertaining to MTV’s shows, explained.

“ACR1 handles a broad range of production tasks,” notes Ford. “From this room, we mix MTV | Live and The After Show, which encompasses programming for MTV’s The Hills, The City, and other big properties.  In the process of evaluating mixing systems, we looked very closely at how the console handled stereo—our current production format—and surround sound mixing, which is where we’re headed in the very near future. The mc²56’s modular design enables the console to be very flexible, making it fast and easy to reconfigure the board for different types of production.”

Shawn Hughes, Production Engineering Manager for CTV - MTV Canada, supervises an engineering team in support of MTV Canada and other CTV clients coming through the Masonic Temple facilities, such as Bravo, Discovery Channel, and CTV News. He also serves as the building’s technical producer.

Hughes is equally enthusiastic about the new mc²56 and was quick to embrace the benefits of the console’s snapshot automation and its ability to seamlessly integrate into MTV Canada’s production environment.

“Unlike other CTV facilities,” explained Hughes, “which are primarily news oriented, we’re one of only two production-based facilities for CTV. We handle a wide range of projects and, as a result, we required a console that could readily adapt from broadcast production to music mixing to live programming. The mc²56 can easily be re-configured for different types of mixing projects and we already have a good number of snapshots that enable us to recall settings for a variety of production tasks.

“Equally important, the console can readily adapt to evolving production standards without extensive engineering efforts and it met our technical requirements in terms of integration with the overall facility. We genuinely believe the Lawo mc²56 represents the best bang for the buck.”

Kent Ford was particularly complimentary of the Lawo mc²56’s audio quality and the fact that CTV has embraced Lawo’s approach to mixing and audio networking.

“Many digital consoles have a digital sound to them,” says Ford. “By comparison, the mc²56 is extremely transparent. It sounds incredible. Lawo equipment is found in several CTV facilities and the choice of this console reflects what, I believe, is a move to standardize on Lawo’s strengths throughout its various production centers. I see this as an important strategy to streamline workflow throughout the entire organization.”

Lawo Website

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Crown Audio Calculators: Program Material

Information useful for designing audio systems with Crown amplifiers.

Figures calculated for various program material use estimated duty cycles, taking into account the typical crest factor for each type of source material.

The choices typically available in the calculators are as follows.

Pink Noise: Duty cycle of  50%.

Dance: Duty cycle of 40%. Typically highly-compressed, low-frequency material at very high levels.

Hard Rock: Duty cycle of 30%. Full-range, continuous rock music at concert levels.

BGM: Duty cycle of 20%. Background music, typically used in business music applications at low to moderate levels.

Speech: Duty cycle of 10%. Spoken word material. Typically a speaker giving a presentation, at low to moderate levels.

Paging: Duty cycle of 1%. Intermittent spoken-word paging in commercial or industrial applications. Low to moderate levels.

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Community Loudspeakers Thrive In Devasco International’s Industrial Grade Environment

“We selected the Community product because it met our three biggest priorities: durability, versatility and performance." - David Scott, Devasco International

A short drive north of Houston, Devasco International in Tomball, Texas specializes in customized welding and metalworking solutions. With a large staff, a 62,000-square-foot warehouse, and plenty of industrial-grade machinery, it’s not among the quietest of environments.

Recently, the company installed a variety of Community Professional loudspeakers to handle a variety of sound reinforcement and paging needs throughout the facility. The loudspeakers were specified by Devasco Controller/Treasurer David Scott, who also holds a degree as an acoustical engineer.

Fourteen Community RMG200A voice range horns provide powerful paging capability in the main warehouse, delivering 94 dB of intelligible vocal output, where it overcomes the din of a busy machine shop. In the company’s training facility, a pair of Community SLS920 three-way louds deliver crystal clear music and voice performance for a wide range of corporate and training presentations.       

In the patio and balcony lounge areas, four Community WET W2-2W8 two-way weather-resistant loudspeaker systems accommodate both versatile music and paging duties, even in the face of Houston’s unpredictable weather and extreme humidity. Biamp Nexia DSP controls the warehouse and lounge systems, with QSC Audio amplification throughout.

“We selected the Community product because it met our three biggest priorities: durability, versatility and performance,” explains Scott. “For the warehouse, there was nothing that could match the RMG horns for sheer raw power and intelligibility.

“And for the outdoor areas, the WET Series is really the most weather-resistant speaker I’ve ever seen. The major league ballparks in the northeast use them, and if they can stand up to those winters, they can handle our Houston humidity.”

Scott also assembled a portable PA system headed by two Community R6-51 multi-driver arrays, utilized for events like parties and open houses, and also loaned to the city of Tomball and the area Chamber of Commerce.

Community Professional Website

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Xantech Taps Mark Cerasuolo As Director Of Marketing & Business Development

Cerasuolo's 20-plus years of experience in the consumer electronics industry include director-level roles in marketing, technology and product management, business development and training

Xantech Corporation has announced the appointment of Mark Cerasuolo as Director of Marketing and Business Development, with the announcement made by Graham Hallett, Xantech President.

In his new position, Cerasuolo’s responsibilities will include developing a unified, long-term strategy to increase overall brand visibility and market penetration, as well as seeking out new business opportunities in the residential, commercial and building markets.

Cerasuolo’s 20-plus years of experience in the consumer electronics industry include director-level roles in marketing, technology and product management, business development and training. He was recently recognized as one of the “50 Most Vital Industry Influencers” by a well-known consumer electronics publication.

Cerasuolo comes to Xantech having served as Director of Home Entertainment Systems Marketing for Leviton Manufacturing, a privately held electrical manufacturing company. While there, he played a key role in launching that company’s highly-successful residential structured cabling business and later developed and launched Leviton’s line of installed audio products and systems including the Leviton/JBL program.

Prior to joining Leviton in 1997, he held senior marketing positions at Carver Corporation, Bose Corporation, and JBL, and he also provided independent marketing services to other consumer electronics corporations. Additionally, Cerasuolo has been active in industry associations including EIA/CEMA and the CEA.

“Mark has a world of experience throughout all areas of the marketplace, including a detailed knowledge of the electronics and construction industries,” stated Hallett. “Mark also has key insight into the inner workings of national retail organizations and new technology. He will be a tremendous asset to the Xantech family and to our business partnerships.”

While at JBL, Cerasuolo conceived, developed and launched the Residential Sound Business Unit, which provides built-in music systems to the new home construction industry. As Marketing Services Director for JBL International, he provided international marketing support for Consumer, Automotive and Professional Products, and he worked on high-profile branded OEM relationships with Ford Motor Company, SAAB and others.

As Corporate Advertising/Publications Manager for Bose Corporation, he was a key contributor to new technology business ventures including Residential Sound, Noise Canceling Electronics (aviation headsets) and various OEM projects. He also has gathered extensive experience in consumer electronics retail management, prior to his corporate associations.

Xantech Website

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Monday, June 01, 2009

Indiana Church Features Next-Generation Sound Design Headed By Meyer Sound Constellation

Electroacoustic architecture works hand-in-glove with a collection of Meyer Sound loudspeakers to afford both flexibility and intimacy in creating harmonious aural experiences

The South Auditorium of Grace Community Church reveals a striking vision of what worship spaces of the future might look like—and sound like. Within this new, extraordinarily adaptable 1,650-seat space in suburban Indianapolis, Ind., a zero-level platform, reconfigurable wrap-around seating, and 360-degree theatrical lighting allow multiple visual and inter-relational effects.

Delivering sound for this space, Meyer Sound’s Constellation electroacoustic architecture works hand-in-glove with a collection of Meyer Sound loudspeakers to afford both flexibility and intimacy in creating harmonious aural experiences.

For Architect Kevin Callahan of Callahan Studios in Scottsdale, Ariz., the foundational design goal was to work with spatial relationships, color, images and sounds as fluid palettes for creating sensory environments to enable full congregational participation.

“Isn’t worship supposed to be participation, not merely a performance? I believe so, and that’s why I designed the architecture here as a giant, three-dimensional hug,” says Callahan. “Constellation supports that effect by allowing the congregation to sense their active participation.”

From the outset of the design process, Callahan collaborated on all aspects of acoustics and production technology with Vance Breshears and Jeff Miller of Sound Technology Consultants (STC) in El Cajon, Calif., as well as with the church’s Senior Pastor Dave Rodriguez and Senior Director of Production Daryl Cripe. The contractor was The Spectrum Group of Oklahoma City.

Older churches with highly reverberant acoustics foster a feeling of connectedness, observes Miller, but it has been largely sacrificed in multiuse houses of worship built over the last few decades.

“Rooms were made dead for voice intelligibility and amplified music, but for the congregation it was like singing into a pillow. By switching on Constellation we can bring back the experience of a community worshipping together, while switching it off provides optimum acoustics for amplified music.”

The second main benefit of Constellation, as noted by Cripe, is the capability to tailor the room’s acoustics with multiple presets for any style of music. “We do everything. In one service we can have a full-on rock set, then classical style strings, and a choir. We go all over the board, which is why we love what Constellation will do for us.”

Constellation electroacoustic architecture creates natural acoustical ambiences through carefully balanced and selective enhancement of early reflections and later room reverberation.

At Grace Community Church, the Constellation system comprises a primary communications processor and four VRAS processors. Room reverberation zones are allocated for the left, center, and right sections of the room, and a fourth VRAS processor generates early reflections from the stage to the house.

The system employs a total of 30 microphones and 89 Meyer Sound loudspeakers positioned on walls and overhead. Loudspeaker models used include 57 of the tiny MM-4XP miniature loudspeakers, 16 compact UPM-1P loudspeakers, and six UMS-1P subwoofers.

The main system required exceptional flexibility in design, as it must support use of the room in multiple configurations, including temporary proscenium and in-the-round. The digitally cross-matrixed LCR system features four CQ-1 and nine CQ-2 loudspeakers as the main cabinets, with 14 UPJ-1P VariO loudspeakers for the delay ring and six M1D-Sub subwoofers for low-frequency support.

“It was our desire from the beginning to have an all-Meyer system,” states Cripe, “and over the months since opening, the performance has been flawless.”

Though he has received numerous compliments on the quality and clarity of the main PA, Cripe has noticed—to his satisfaction—that few in the congregation seem to be aware of the enhancements from Constellation.

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“It doesn’t sound artificial or electronic, and the effect is absolutely natural for the dimensions of the room,” he observes. “Yet people tell us that they can hear things better, that they enjoy the congregational singing more, that they feel energized by their participation. That lets us know it’s working great.”

For Callahan, the integral role of Constellation at Grace Community Church sets the stage for even more creativity and congregational participation. “Total adaptability in worship is what the next generation will be seeking to explore,” he predicts.

“The Constellation system actually affords the adaptability in the sonic domain. In the future, any time the creative arts team says we want to do this or that with sound, chances are they will be able to do it, thanks in large part to Constellation.”

Meyer Sound Website

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Bose Introduces L1 Compact Portable Line Array Loudspeaker System

The L1 Compact system features an integrated low-frequency enclosure and combines the amplifier, monitor, PA, mixer and EQ into a complete audio system

Bose Professional Sound has introduced the new L1 Compact portable line array system, the latest addition to the Bose L1 product line. It will be on display at the Bose booth (number 6185) at the upcoming 2009 InfoComm show in Orlando.

The new L1 Compact system features an integrated low-frequency enclosure and combines the amplifier, monitor, PA, mixer and EQ into a complete audio system ready for simple connection to an instrument, microphone, MP3 player, computer or other audio device. It continues the legacy of the original Bose Cylindrical Radiator loudspeaker—the product to first introduce the company’s unique approach to live music amplification.

The L1 Compact system features a 14-inch line array and offers two setup configurations: extended (68 inches tall) for larger venues or collapsed (17 inches tall) for smaller venues, where it can be placed on a table or other elevated surface.

Proprietary Bose Spatial Dispersion loudspeaker technology helps foster wide, uniform sound coverage across the stage and throughout the audience, even at the extreme sides, while built-in Bose ToneMatch signal processing can be used to optimize the sound of an instrument or microphone.

Two ToneMatch circuits are included: channel one is designed for a dynamic handheld microphone, and channel two includes a ToneMatch preset designed for an acoustic guitar. Other instruments and audio devices also can be used simultaneously via channel two, through a line-level audio output.

The L1 Compact system is fully compatible with the separately available Bose T1 ToneMatch audio engine, which provides an extensive library of ToneMatch presets, custom EQ capability with proprietary Bose zEQ, and a suite of effects and processing.

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Along with the XLR microphone and 1/4-inch instrument inputs, the L1 Compact system offers two inputs. The 1/8-inch stereo input allows for connection to MP3 players, computers, satellite radios or any device with a line-level audio output. The RCA stereo input accommodates DVD/CD players, VCRs and DJ mixers.

The L1 Compact portable line array system carries a list price of $999 and is available direct from Bose and through Guitar Center retail stores, Musician’s Friend online and select
independent retailers nationwide.

Bose Professional Sound Website

 

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Todd-AO Hollywood Unveils New Euphonix System 5 Digital Consoles

The addition of these new Euphonix consoles brings the total to eight Euphonix consoles for Todd-AO overall

Euphonix has announced that Todd-AO, one of the world’s leading audio post production companies, has installed two dual-operator Euphonix System 5 digital audio mixing systems at their Hollywood facility.

Both of the new Euphonix System 5 consoles have 80 faders, include over 400 DSP channels and come with EuCon Hybrid that enables the console to control not only the Euphonix DSP channels but also external ProTools HD DAWS that are installed on Stage 1 and Stage 2 of Todd-AO Hollywood.

ProTools channels and Euphonix DSP channels can be placed anywhere on the console surface and mixed simultaneously – a unique feature of the System 5.

With the installation of the two stages complete, Todd-AO also announced that three-time Academy Award-winning Re-recording Mixer Michael Minkler will move to the freshly upgraded Stage 1 at the Hollywood facility. Currently Minkler, along with Re-recording Mixer Tony Lamberti, is mixing Quentin Tarantino’s Inglourious Basterds on the Euphonix System 5.

“One way Todd-AO maintains a dominant position in Hollywood’s high-end feature film market is by being able to respond decisively to the evolving needs of our clients. Euphonix consoles help us to do that,” said Bill Johnston, SVP Engineering CSS-Studios. “Euphonix consoles’ combination of integrated DSP and native workstation control gives us a unique edge.”

Specifically configured for motion picture mixing, the System 5 digital film console offers an uncompromising digital audio system that is easy-to-learn and designed for fast access to film-specific mix controls. The system can be fitted with a film style monitoring panel including pec-direct switched and joysticks.

“Todd-AO’s commitment to the art of film is a testament to their success. That is why it is a privilege to have such a well-respected post production house committed to Euphonix as well,” said Mike Franklin Executive Vice President of Worldwide Sales for Euphonix. “With eight Euphonix consoles installed so far, Todd-AO is an overwhelming endorsement to the sound quality and performance Euphonix film mixing consoles offer.”

In the last eight years dubbing teams mixing on Euphonix System 5 consoles have been nominated for the Oscar in sound mixing nine times and have won the coveted award six times, including Black Hawk Down, Dreamgirls, and The Bourne Ultimatum which were all mixed at Todd-AO facilities.

Since the installations, projects completed on the new Euphonix consoles at TODD-AO Hollywood include Crank: High Voltage and Gamer.

Euphonix Website

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Sabine Now Shipping 915 MHz SWM6000 Wireless Microphone Systems

Like Sabine SWM7000 systems (which operate in the 2.4 GHz ISM band), these new systems also offer built-in RF scanning and recording, selectable front panel control lockouts, networked control for the maximum number of channels, and remote control

Sabine is now shipping SWM6000 Smart Spectrum wireless microphone systems that operate in the 915 MHz ISM band, which is license-free and available for use in North and South America.

Because the 902 to 928 MHz ISM band is outside the range of frequencies that have been allocated for consumer wireless products and broadcast digital television (DTV), wireless users will be able to use all available channels in the band without interference from DTV or other UHF devices.

SWM6000 Smart Spectrum receivers are available in one- and two-channel models and come with Sabine’s built-in processing, including FBX Feedback Exterminator, compressor/limiter, adaptive de-esser, and parametric filters, as well as the company’s proprietary Mic SuperModeling, which provides a “virtual cabinet” of microphone sounds. In addition, SWM6000 systems offer refined dual companding that contributes to clean sound.

Like Sabine SWM7000 systems (which operate in the 2.4 GHz ISM band), these new systems also offer built-in RF scanning and recording, selectable front panel control lockouts, networked control for the maximum number of channels, and remote control via third party controllers like Crestron or AMX.

Long-life rechargeable NiMH batteries power the SWM6000 transmitter, and each transmitter is outfitted with a built-in charger jack. A convenient handheld microphone clip doubles as a charger stand — whenever a handheld mic is in the clip, the battery is recharging.

SWM6000 wireless microphone systems will be on display at the Sabine booth (number 5944) at the upcoming 2009 InfoComm show in Orlando.

Sabine Website

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Madema SpA Supplies JBL VERTEC Powered Line Arrays To Serve 1 Million At Primo Maggio Festival

As it has for the past several years, Madema exclusively handled all concert sound reinforcement duties for Primo Maggio, with the company’s sound system design featuring 127 VERTEC system enclosures

Italian audio system provider Madema SpA deployed a large, multi-array JBL Professional VERTEC system for the recent Primo Maggio festival in Rome, and annual public event that commemorates the Italian Labor Day.

Held in Rome’s Piazza San Giovanni in Laterano, the temporary stage for Primo Maggio is traditionally set up in front of the historic Basilica of St. John Lateran, the first church to be built in Rome, with original construction dating to 313 A.D

This year’s event drew a crowd estimated at more than 1 million spectators, largely due to the special appearance by popular rock singer Vasco Rossi. Other featured performers included Edoardo Bennato, Alessandro Mannarino, Robben Ford, Caparezza and Subsonica, with the event present 30 different bands in total. The event was broadcast live throughout Europe on RAI to another estimated 4 million.

As it has for the past several years, Madema exclusively handled all concert sound reinforcement duties for Primo Maggio. The company’s event sound system design featured a total of 127 VERTEC system enclosures.

The main PA system was formatted as a left-right configuration of 18 enclosures per side, comprising VT4888DP-AN midsize powered line array elements with DrivePack technology, with three additional VT4888DP-AN line array elements provided for front fill. The main arrays were each flanked by 12 VT4880 full-size arrayable subwoofers, flown in arced companion arrays.

For additional low-frequency reinforcement, 24 VT4880A ultra-long excursion ground-based subwoofers were spaced along the front of the stage.

All non-powered subwoofers were driven with Crown Macro-Tech MA5000VZ power amplifiers, and a total of 700,000 watts of peak power was available for the overall system.

The Madema team utilized Harman HiQnet System Architect software for configuration and control of the system. This user-interface platform gave complete access to onboard DSP and amplification channels across the entire system of nearly one hundred networked devices, whether traditionally-powered passive subwoofers or internally-powered full-range speaker arrays.

To reach additional listeners in the spacious, 40,000 square-meter (430,000 square feet) listening area and surrounding boulevards, Madema also set up four delay towers of 14, 12, 8 and 6 VT4888DP-AN line array elements.

With such a huge crowd, an asymmetrical audience area, and placement constraints due to the plaza’s historical architectural features, the largest delay tower had a throw requirement of nearly 200 meters (660 feet), a challenge for any loudspeaker system. Madema’s equipment selection and system design approach met the challenge.

“I simply love JBL,” offered Davide Micheli, Madema’s Event and Technical Manager for Primo Maggio, upon hearing the entire multi-array VERTEC DP system during pre-show testing.

Micheli was assisted onsite by a group of the company’s key technicians, including System Engineer Carmelo Carlaccini and FOH Engineer Gianmario Lussana, who was responsible for assisting sound mixers for bands on the show.

Madema’s Stefano Brugiotti managed wireless radio-frequency systems, Luca Molinari was in charge of the complex stage monitor system, and Moreno Zamperini of Audio Equipment handled user-interface and network management issues.

“Massive, large-scale outdoor entertainment events like Primo Maggio challenge the skills of any rental sound company and crew,” noted David Scheirman, Vice President, Tour Sound for JBL Professional. “With this event, Davide Micheli and his team of audio professionals have clearly shown why Madema has earned its reputation as one of the Mediterranean region’s premier concert sound system providers.”

JBL Professional Website

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