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Monday, August 31, 2009

Meyer Sound Germany Celebrating 15th Anniversary With Open House Event In October ‘09

The audio-focused program will bring together touring, installation, and event production professionals, and will highlight a range of technical presentations and discussion panels

To commemorate its 15th anniversary, Meyer Sound Germany will host an industry-wide open house event at its headquarters in Montabaur on October 9 and 10.

The audio-focused program will bring together touring, installation, and event production professionals, and will highlight a range of technical presentations and discussion panels on the hottest topics in the professional audio business, such as the emerging IEEE 802.1 Audio/Video Bridging (AVB) networking standard.

A highlight of the day’s events will be a demonstration of the self-powered JM-1P arrayable loudspeaker, a system designed to provide precise and seamless coverage in tight-packed arrays.

In addition to exchanging industry information, attendees are invited to take a close look at the latest developments from Meyer Sound’s active R&D department at the Berkeley, Calif. headquarters, and join a behind-the-scenes tour of Meyer Sound Germany’s new facilities, which include a designated classroom for technical seminars and the company’s European technical support and service centers.

The event program is scheduled daily from 9 am to 6 pm, and the festivities will conclude on a high note with a party starting at 7 pm on Saturday, October 10.

“Meyer Sound is known for developing legendary products and we want to provide our guests an opportunity to familiarize themselves with tomorrow’s technologies,” says Sascha Khelifa, managing director of Meyer Sound Germany. “AVB and the fourth generation of our show control system are innovations that will shape the events of the future and are topics of interest to designers, event management companies, and other decision makers.”

Jim Sides, CEO of Meyer Sound Germany, adds: “We will be demonstrating some of our new products for the first time in continental Europe, such as the JM-1P arrayable loudspeakers, the Galileo 408, and the MM-4XPD, the directional version of our bestseller MM-4XP loudspeaker. We hope that the technologies and products being presented will spark new ideas for the audio community and we look forward to the exchange amongst our attendees.”

For more information and to RSVP for the event, please visit www.15years.meyersound.de

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ARX Releases New USB I/O Universal Transformer Isolated USB Interface

"Plug and play" A/D and D/A pro audio interface requiring no special driver program installation on Mac OSX, Win XP and Vista

ARX Systems has announced the addition of the new and unique USB I/O Universal Transformer Isolated USB Interface to its range of precision audio tools.

The USB I/O is a true “plug and play” analog-to-digital and digital-to-analog pro audio interface and requires no special driver program installation on Mac OSX, Win XP and Vista.

It features transformer isolated audio inputs and outputs, with new USB analog-to-digital and digital-to-analog converter chipsets that are incorporated into the circuit topology, allowing maximum headroom and ensuring low input and output noise and distortion.

The transformer balanced inputs and outputs and ground lift switch eliminate the earth loops/ground hum and other extraneous interaction, interference and distortions common to computer audio systems with their inherently noisy electrical environment and problematic power supplies and grounding.

The USB I/O is powered directly from the USB bus, so it requires no external power supply or bulky “wall wart” to use.

ARX Managing Director Colin Park comments: “ARX’s USB DI products have been extraordinarily popular since their release and have been adopted by the Pro Audio industry worldwide as industry standard USB to Analog audio interfaces.

“The USB DIs feature the Transformer isolation and heavy duty steel construction that audio professionals require in demanding applications out in the field where ‘little plastic boxes’ with unbalanced in’s and out’s just don’t cut it”.

ARX Systems Website

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Hosa Technology Expands Line Of Hosa-Lite LED Flexible Gooseneck Lamps

The gooseneck lamps with BNC, XLR3M, and XLR4M connectors are designed to fit most mixing console

Hosa Technology has announced the addition of two new LED gooseneck console lamps to its Hosa-Lite lineup: the 15-inch LTE-503XLR4 and the 18-inch LTE519XLR4.

With the addition of these two 4-pin XLR male-equipped models, the Hosa-Lite product line now encompasses 15- and 18-inch gooseneck lamps with BNC, XLR3M, and XLR4M connectors designed to fit most mixing consoles.

Like the entire range of Hosa-Lite LED console lamps, the new LTE-503XLR4 and LTE519XLR4 deliver warm, diffused light that is bright enough to work by—without causing eyestrain.

These lamps feature four white LEDs and two red LEDs for accurate color illumination.

The Hosa-Lite lamps are highly efficient—more so, for example, than incandescent bulbs—providing more light while requiring less energy.

As an LED lighting solution, the Hosa-Lite operates at cool temperatures—facilitating adjustment without burning fingers. Further, these models comply with all international lighting and energy regulations.

With their flexible gooseneck design, the entire Hosa-Lite product line offers functionality wherever a 12 V BNC, 3-pin XLR, or 4-pin XLR light socket is available. Every Hosa-Lite LED gooseneck console lamp features durable, long-lasting LEDs that make replacing light bulbs a distant memory.

Jonathan Pusey, Hosa Technology’s National Marketing Manager, commented on the new Hosa-Lite Flexible Gooseneck Lamps.

“The Hosa-Lite is one of those simple yet incredibly useful accessories that make working with mixers and all types of rackmount equipment easier,” said Pusey. “This versatile accessory is easy on the eyes, never burns one’s hand, and provides just the right amount of light.

“For sound techs traveling with a touring act, the Hosa-Lite LED console lamp is essential equipment. In the dimly lit recording studio control room, it is equally important. With the addition of our new 4-pin XLR models, we offer a comprehensive product line designed to work with a wide range of products.”

Hosa Technology’s Hosa-Lite product group ranges in price from $44 to $62 MSRP, depending upon the model. The new 15-inch LTE-503XLR4 carries an MSRP of $50 while the 18-inch LTE519XLR4 carries an MSRP of $62. All models are currently available.

Hosa Technology Website

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Sound Image Supplies JBL VERTEC Line Arrays For No Doubt Summer Tour

The Sound Image audio crew reconfigured the large PA system for different environments, based upon architectural considerations in each building

The 2009 No Doubt Summer Tour, which culminated in August with a show at the Neal S. Blaisdel Arena in Honolulu, Hawaii, was supported by sound reinforcement courtesy of Sound Image of Escondido, California, which provided JBL VERTEC line arrays.

The 2009 No Doubt Summer Tour reunited one of the most successful rock groups of the 1990s, whose 1995 release Tragic Kingdom has sold more than 16 million copies to date.

In recent years, No Doubt lead singer Gwen Stefani has enjoyed tremendous success as a solo artist, with Sound Image supporting Stefani’s previous tours with VERTEC line arrays and once again specifying VERTEC for this summer’s No Doubt tour.

The Sound Image audio crew reconfigured the large PA system for different environments, based upon architectural considerations in each building.

For typical outdoor ‘shed’ venue situations, the main PA system contained up to 15 VT4889 full-size line array elements in each main L/R cluster, with an array of eight flown VT4880 full-size arrayable subwoofers and nine to 12 VT4889 elements per side in an auxiliary cluster. Four VT4880 subs were located in the center barricade.

In arena scenarios, the system featured 15 VT4889 elements for each main cluster, along with eight flown VT4880 subwoofers, nine VT4889 elements in each auxiliary cluster and six VT4889 elements in the side-facing outfill arrays, with an additional four VT4880 ground-stacked subs per side.

Veteran concert sound mixer John Kerns handled FOH mixing duties for the tour, while Sound Image system tech John Tompkins was responsible for system setup on a daily basis.

“JBL’s VERTEC system performed very well for us in all types of venues,” Tompkins said. “It’s always easy to fly, a real pleasure to work with.”

Sound Image Website
JBL Professional Website

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Friday, August 28, 2009

API Names Winners Of Visionary Scholarship Awards For Pro Audio’s Next Sound Engineers

Designed to foster creativity and excellence for next generation

API has announced the three winners of this year’s Visionary Scholarship, which is designed to foster creativity and excellence for the pro audio industry’s next generation of sound engineers.

The scholarship is available to students enrolled at universities and schools that prominently feature the API Vision stereo/surround analog console, the Legacy Plus console or the 1608 console as a cornerstone of their students’ education.

API offers it’s congratulations to this year’s winners: Alex Hug, Jacob Lansky and Jacob Merkin. Each winner was awarded $2,000 for a successful essay and the optional submission of recorded material.

Both Hug and Merkin are students at the University of Michigan and use the API Vision in the school’s Duderstadt Center for multi-media production, where David Greenspan serves as coordinator of audio resources at the Digital Media Commons.

Lansky is a student at the New England School of Communications in Bangor, Maine, where Dave MacLaughlin serves as executive director of audio.

Applications for next year’s awards are available online at www.apiaudio.com/schol_app.html

The application deadline for the 2010-2011 school year is April 1, 2010, and winners will be announced by June 30, 2010.

API Website

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Deadline For WFX Charlotte Awards Program Submissions Has Been Extended

The programs recognize outstanding achievements in church facilities and audio visual projects, as well as a multitude of products

WFX Charlotte has extended the deadline for submissions for the 2009 WFX New Product Awards and WFX Solomon Awards. The new entry deadline is September 11, 2009.

These programs, both in their 4th year, recognize outstanding achievements in church facilities and audio visual projects, as well as the multitude of products that make them happen.

WFX Solomon Awards
The Solomon Awards are designed to recognize churches and their partners for excellence in facilities design, building, operation, use, and technical production.

Nominations for Best Facilities Manager or Team, Best Technical Director, or Best Technical Production Team can be submitted by vendors at no charge.

Click here to view all categories and program details.

WFX New Product Awards
The WFX New Product Awards will recognize the most innovative new products with a powerful, multifaceted promotion and publicity program before, during, and after the event.

More than 40 categories ensure that new products will be judged fairly in audio, video, lighting, digital church, building materials, and building systems.

Click here to view categories and program details.

For more information, contact Danielle Cushion at .(JavaScript must be enabled to view this email address) or 508-663-1500 x255.

WFX Website

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Sennheiser HSP 4 & 2000 Series Wireless Featured On Current Jonas Brothers World Concert Tour

Last year, the Jonas Brothers used a Sennheiser G2 rig but now the tour has upgraded to the new 2000 Series components

Grammy nominated and platinum-selling artists Jonas Brothers, with ongoing world tour shows across the Americas and Europe, are making use of Sennheiser’s new 2000 Series wireless equipment and Sennheiser HSP 4 headsets.

Last year, The Jonas Brothers used a Sennheiser G2 rig but now the tour has upgraded to the new 2000 Series components. Joe Jonas sings into a wireless Sennheiser SKM 2000 handheld mic, whereas Nick and Kevin Jonas each sing into Sennheiser’s HSP 4 headsets.

The headsets, together with Sennheiser SK 2000 wireless instrument packs, give the brothers the freedom to run around stage and switch instruments between riffs.

Longtime Jonas bassist Greg Garbowsky also has a Sennheiser 2000 Series wireless instrument pack, which features a full and lusciously transparent frequency response from 25 to 20,000 Hz. A rack of Sennheiser EM 2050 receivers ties the signals to the wired world.

“We wanted to use headsets on this tour for Nick and Kevin since they both sing and play multiple instruments. Kristy Jo Winkler, Sennheiser’s global relations manager for the Americas, suggested we try the HSP 4s,” recalls Chris Nauda, show programmer and back line crew chief for the tour. “The headsets are perfect – great sounding, reliable and unobtrusive. They take an incredible amount of stage abuse and still come up sounding like they did the first day we got them. Best of all, the group can put on an even more engaging show without missing a beat to switch mics.”

The HSP 4s are high-quality, permanently polarized condenser headsets with cardioid pick-up pattern and an adjustable, rugged neckband.

The 2000 Series wireless personal monitors – SR 2050 IEM twin transmitters and EK 2000 IEM receivers - are built using adaptive diversity technology, reducing dropouts from rare to practically nonexistent by using the earphone cable as a second antenna.

The 2000 Series continues Sennheiser’s tradition of continually improving performance and reliability as research and technology advance. Users can easily select an open frequency with an intuitive scan feature and then “zap” the wireless device with that frequency using infrared (IR) technology.

“The IR sync feature is wonderful,” says Nauda. “It saves a ton of programming time and is a real lifesaver when we have to change frequencies on the fly. We just hit a button, and that’s it.” Nauda is also fond of the 2000 Series’ new interface. “It’s really smooth and easy to get around on. The backlight display is the best I’ve seen - especially in direct sunlight!”

The intensity of the Jonas Brothers’ schedule has placed unique demands on Sennheiser’s support services, which, appropriate to the act’s international reach, are globally distributed.

“If there’s anybody out there who’s pushing the boundaries, it’s this act,” concludes Nauda. “Sennheiser, and especially Kristy Jo Winkler, have been very accommodating, both in terms of getting us the gear we need when we need it and supporting us around the world. It’s challenging enough for the actual technicians and engineers on the tour to keep everything straight, yet Sennheiser rolls right along with us, adapting to last-minute schedule changes without hesitation.”

Sennheiser USA Website

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Allen & Heath iLive Console Enhances Surround Sound & Multipurpose Production At Smith Theater

Innovative AV system design handles everything from basic lectures to live theater with surround sound

In Howard Community College’s Smith Theater in Columbia, Maryland, a typical day might include everything from theater and film to lectures and meetings, with the occasional live concert thrown in as well.

With inputs ranging from a single voice up to 56 inputs and outputs that might be mono, stereo or full surround sound, it was critical that this multifunctional space have a sound system with maximum flexibility and sonic clarity.

The college chose an Allen & Heath iLive-112 digital mixing console as the control center for its new system.

Smith Theater seats 420 in three sections, with identical left and right mezzanines above the main floor.

Designed by Acoustic Dimensions and implemented by AVI-SPL, the audio system uses a left-right-center approach, with delay speakers addressing the mezzanines.

Each section has its own rear speakers, creating a full surround experience for every seating position. 

The facility’s production coordinator, Mark Smedley, selected the iLive-112 for its combination of flexibility, ease of use and portability.

“As a community college, we have a wide variety of events throughout the week,” he explains. “Before the redesign, when we would come in to do a play, the board settings would be changed, so a lot of time was spent on setup and troubleshooting. With the new iLive console, we just push a button and we’re ready to go.”

Jay Paul, VP of engineering and quality control for AVI-SPL, commissioned and tuned the sound system.

“Essentially, we set it up so the system can be used in two ways, with all the iLive outputs feeding a Peavey Nion processor,” he says. “If there’s a surround program, we take inputs from an Onkyo surround processor/preamplifier for 5.1 distribution.

“For standard programming, the console can directly address the main left-center-right system above the proscenium, plus the delay speakers, individually. The subwoofers are also discretely addressable.”

Having full control of the surround outputs allows theater sound designers the flexibility to create greater realism in their production.

Another advantage of the iLive is its portability. The MixRack containing the primary inputs, outputs and DSP is located backstage. From there, Cat5 cables carry both audio and control data to the control surface.

Jay Paul provides the details: “We’re using tie lines from the FOH position at the desk, and there’s an alternate front of house position in the control booth. The console can move to either location. Using value engineering, we set up patch bays and routing so the console can work in either location.”

Howard Community College was Jay Paul’s first encounter with the iLive system. “Sonically, I’m very impressed,” he says. “And having a separate stage rack using Cat5 for audio and control made the infrastructure part of this install very simple. The control surface size is very conducive to environments with space restrictions. Allen & Heath brings a lot to the table in terms of price, performance and versatility. It’s a nice desk.”

Production coordinator Mark Smedley agrees. “We looked at several digital boards and chose the iLive because it had all the flexibility we needed and seemed to be the most user friendly. And it really is. Going digital for the first time, it was very intimidating at first.

“But most people pick up the layout and operation in about a half-hour. But the biggest thing is the time savings we’ve achieved. We can now do three events in a day plus a show at night, no problem. It’s been amazing.”

Allen & Heath iLive Website

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Thursday, August 27, 2009

Systems At New Fillmore Charlotte Feature Dual Soundcraft Vi4 Digital Live Consoles

Two 48-input Soundcraft Vi4 digital live mixing consoles perform in FOH and monitor mixing roles

The Fillmore Charlotte, a 20,000-square-foot venue at the North Carolina Music Factory’s entertainment complex in Charlotte, North Carolina’s Fourth Ward neighborhood, stays true to the tradition of the original Fillmore theaters.

The venue, which opened this past June with Georgia acoustic rocker Corey Smith headlining, has the Fillmore’s trademark red velvet draperies, ornate chandeliers, custom lighting and vintage concert posters.

The building, once a historic Charlotte manufacturing site, was reinvigorated by Live Nation, the world’s largest concert promoter, with Soundcraft Vi4 digital live mixing consoles heading up both front-of-house and monitor positions.

The consoles work in conjunction with a PA system using components from JBL, Crown and dbx, and as with all club systems in the Live Nation chain, it was designed and installed by Sound Image of Escondido, California.

Both Vi4 consoles are configured identically, with 48 inputs on 24 faders, and a total of 27 output buses available for use as masters, groups, auxes or matrices.

Further, the features of the larger Soundcraft Vi6, such as the Vistonics II touch-screen user interface and Soundcraft FaderGlow fader function display are present on the Vi4.

While it’s the largest club of its kind in the region, Rich Davis, Audio Engineer with Sound Image and who is supervising the sound systems installations for the Live Nation Fillmore and House of Blues venues, says that it’s nonetheless an intimate place.

“There’s a lot of acoustical treatment in the room, which really reduces reflections,” he explains. “The Soundcraft V14 consoles are the perfect fit for a club like this. You have an enormous amount of control over the color and the volume of the sound.

“The Vi4’s interface is so intuitive that visiting engineers get the hang of it almost immediately, both at FOH and on monitors. And it’s a great-sounding console.”

The Fillmore Charlotte’s tight acoustics and low ceiling are handled exquisitely by a stereo PA system comprised of seven JBL VerTec VT4888DP powered 3-way midsize line array enclosures per side, augmented by six JBL ASB6128 dual 18-inch subs powered by three Crown MA9000i amplifiers, and four JBL VRX932LAP powered side fill speakers.

The stage monitor system employs 10 JBL SRX712M 12-inch stage monitors and four JBL VRX915M 15-inch stage monitors. A pair of JBL VP7215/64DPAN powered 2-way speakers and three JBL VPSB7118DPAN powered 18-inch subwoofers comprise the PA’s delay component.

The system is controlled via a dbx Drive Rack 4800 processor, with a dbx 162SL stereo compressor and dbx 1046 quad compressor/limiter. Networking and management of the system is provided via Harman’s HiQnet System Architect platform.

“A room like this can be a challenge,” says Davis, noting that less reverberant spaces like this often demand more power and more speaker enclosures, potentially impacting sight lines. “That would have happened without the JBL VerTec boxes. We were able to fill this room with far fewer boxes, and the system still has more headroom than any engineer could ever ask for. What a great system.”

Soundcraft Website
Harman Pro Website

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Anatomy Of A Classic Record: “Sweet Dreams Are Made Of This”

How a song recorded in a dingy, warehouse attic on an 8-track became one of the biggest hits of the 1980s

There is no way to say for sure what specific elements, sounds or aspects of a record make it a HIT. Yet every hit has a few key things that grab our attention and make it memorable.

Reviewing a long list of hits, we find that many of the same or analogous elements work over and over, in their separate contexts, to create their charisma.

Some of these have to do with the song itself, others with the way it is arranged, performed, or with the recording and production process.

Finally, some factors may work from the outside, i.e., current events, trends in society, marketing, etc.

Here’s how a song recorded in a dingy, warehouse attic on an 8-track became one of the biggest hits of the 1980s:

Eurythmics, “Sweet Dreams Are Made of This”
Lead vocal: Annie Lennox
From the album: “Sweet Dreams,” originally released 1983.
CD issued 1987: RCA CD# RCD 25447
Music and lyrics by Annie Lennox, David Stewart
Produced by David Stewart
Recorded by D. Stewart, A. Williams, and R. Crash in a London warehouse
Key: C minor
Tempo: 126 bpm
Time signature: 4/4
Key elements: Riff, mood, vocal, chorus, artist’s look, recording
Signature: Mechanistic, dehumanized, synthetic tracks; Lennox’s haunting, doleful, sometimes soulful voice; grim lyrics focusing on the risks, danger, and pitfalls of life and love; the “Look”!

“Sweet Dreams” begins with its signature two-bar progression, a hypnotic loop of 1–flat-6–5. No chords: just pulsating eighth-note arpeggios sound on a reedy synthesizer patch, prowling ominously left and right.

A constant quarter-note kick drum beats time, while the downbeat of each two-measure phrase is marked by a heavy, ringing floor tom or similar-sounding Brazilian sordu. Altogether, the feel is grim, mildly horrific, and definitely threatening.

Lennox’s rich, soulful voice enters, dry and sibilant. In eight terse lines, she surveys mankind’s dark, perverted motives.

,

Like Martha in Edward Albee’s play, “Who’s Afraid of Virginia Woolf,” or Philip Marlowe, the protagonist of Joseph Conrad’s novella, “The Heart of Darkness,” Lennox pronounces that we are all jungle creatures, terrified by the eyes staring at us from the void.

The dual choruses are totally dry, stark, and devoid of emotion. In contrast, each release paints a pitiful, highly stylized picture of mankind’s lot.

A whip-like snare drum drives the beat while the synths prowl over a variant of the original progression.

Two soulful voices harmonize plaintive “ooh’s” in deep reverb on the left, while a catlike lead vocal writhes and shouts from the depths of hell on the right.

Chills creep up my spine as images of subterranean torture and abuse flash across my mind.

The bridge, announced by a momentary swish of preverb, is suddenly charged with energy. A constant sixteenth-note hi-hat spins a brittle web of tension on the left as the kick and whip-snare continue, stepping up to double-time in the final bars.

Synth chords rise through inversions of 1-minor and 4-minor chords, thicker and more harsh in each subsequent phrase.

A bright, compressed piano enters on the right as a metallic, bell-like percussion jars our nerves, clanging on the left.

Over all this, two pairs of voices harmonize desperate advice from right and left. Lennox wails “Hold your head up” in breathy two-part soprano, then answers each repeat with a gravelly, baritone reading of “moving on.”

The track grows denser and more threatening, depicting the confusion and adversity of the world. Meanwhile the combined vocals offer their grimly positive message: persevere!

After this, the somber, mildly bluesy synth solo on the original progression seems almost cheerful by comparison.

The arrangement repeats both choruses, adding a third vocal harmony, then one more bridge, with ever-thickening clouds of synths. In the final chorus, Lennox superimposes her doleful wailing as the record solemnly fades out.

Lennox and Steward revealed all sorts of personal and studio tidbits to interviewer Connor Freff Cochran for the November 1983 issue of “Musician” magazine.

Their “studio” was a dingy, v-shaped warehouse attic. No acoustical tiles, no drum booth, no double-sealed glass window.

They played and sang in the same room with their tape deck and mixing board, which were a TEAC half-inch 8-track [an upscale semi-pro format] and a cheap, used Soundcraft, respectively.

They had two mics that they used to record everything, and for outboard processing, a handful of old effects boxes, a space echo, and one spring reverb.

“Dave and I almost split up the day we wrote ‘Sweet Dreams,’” says Lennox, remembering a particularly bitter point during their between-contracts period. “I’m very negative and he’s very positive. But we were having a terrible time and I couldn’t take it anymore, and I said so.

And he said, ‘Okay, fine. You don’t mind if I go ahead and program the drum computer then, do you?’ I was lying on the floor, curled up in a fetal position or something, and he programmed this rhythm. It sounded so good, in the end I couldn’t resist it. I sat down behind the synthesizer and fam!, the riff came. I got that and said, ‘Oh, that’s good,’ and we put it down.” And then she improvised the lyric. Into the microphone. With the tape running. What you hear when you put your stylus down in the groove is Annie’s first and only take (except for the part about “hold your head up” in the chorus; that came later).

(Editor’s note: This tale was excerpted from the book “Inside The Hits” by Wayne Wadhams, available at the Berklee Press web site.)

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Mythbusters Television Show Challenges Rifle Gunshot Legend With Meyer Sound Subwoofers

Two subwoofers per side were stacked in Meyer Sound’s six-inch thick concrete isolation chamber, and driven far beyond their typical usage patterns, well beyond pain threshold

The build team of the popular Discovery network program “Mythbusters” — Kari Byron, Tory Belleci, and Grant Imahara — recently visited Meyer Sound’s Berkeley headquarters as part of their quest to verify the claim that a Russian-made SKS rifle could be set off by the vibration of a high-powered subwoofer.

“Mythbusters” often calls on Meyer Sound when it comes to investigating audio-related myths. The show, which features a team of five special effects and science experts who put some of the most outrageous urban legends to the test, has turned to Meyer Sound to prove or debunk such popular claims as a duck’s quack not echoing, the human voice breaking glass, or the existence of the dreaded “Brown Note.”

While the “Brown Note” episode called for modifying electronics to accept frequencies well below the normal operating range, this time the test involved four of Meyer Sound’s 600-HP compact high-power subwoofers.

Two subwoofers per side were stacked in Meyer Sound’s six-inch thick concrete isolation chamber, and driven far beyond their typical usage patterns, well beyond pain threshold.

“This was an interesting episode because we were tasked with moving a physical object with a substantial amount of force, using vibrating air (sound) to move a piece of metal (the firing pin),” explains Dr. Roger Schwenke, Meyer Sound’s staff scientist.

“We used a lot of different signals in a wide range of peak-to-average ratios, from sine tones and sweeps to pink noise. I worried about somebody opening the chamber door at the wrong time and hurting our ears, but at no time was I worried about hurting the speakers.”

In the end, yet another urban legend fell by the wayside as the attempts to move the firing pins with sound waves were unsuccessful.

“The only way air was going to move something with that much mass is if we could build up energy over several cycles,” Schwenke concludes. “That’s fundamentally what a resonance is, when energy from one cycle adds coherently with the energy stored from previous cycles.

“What’s great about this episode is that we got to demonstrate this simple principle: In order to have a resonance you need a mass (the firing pin) and a restoring force (like a spring). No spring, no resonance, no displacement from equilibrium. Myth busted.”

Meyer Sound Website

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Coming Up Fast: Syn-Aud-Con Presenting Digital Seminar In Mid-September

This is the only time this class will be presented in 2009

Syn-Aud-Con will be presenting the Syn-Aud-Con Digital Seminar in Dallas, on September 14-16, 2009. 

The seminar is designed to provide a comprehensive introduction to digital audio, digital signal processing and networking. This is the only time this class will be presented in 2009.

This class is taught by three instructors - Steve Macatee, Brad Benn, and Pat Brown - each coming from a different background, making this team diverse and highly qualified.

Sample comments from attendees of the most recent Syn-Aud-Con Digital Seminar:

“Pat, Steve and Brad make learning fun. Class is well organized and well presented. Great troubleshooting techniques presented during the third day when constructing the local network.”

“I love this type of learning environment because it brings together people with a wide range of specializations and experience. I found the presentation to be well paced and flexible/responsive to the class interests. Great Seminar – learned so much.”

Syn-Aud-Con will be bringing a trailer full of equipment to the seminar, with the instructor team deploying a multimedia approach. Day three presents the opportunity for attendees to construct a local network.

Cost is $900. Seminar agenda is here, and registration can be done online here or by calling 800.796.2831.

Syn-Aud-Con Website

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Lectrosonics Wireless Delivers Impressive Range & Dynamic Live Audio At Will Allen Airshows

"While the actual aerobatics take place within several hundred feet of the crowd, preparation for the stunt frequently requires that I take the plane almost 5,000 feet away from the receiver in order to position the plane for the maneuver. That’s just shy of one mile and, even then, I’ve never experienced a single dropout." - Will Allen

Will Allen Airshows present a series of breath-taking loops, hammerheads, spins, stalls, and other aerial maneuvers - all while Allen, known as the “Flying Tenor”, sings the national anthem of the United States and, occasionally, the anthem of Canadian live from the cockpit of his Decathlon (a two-seat fixed conventional gear light airplane).

The aerobatic routine has been choreographed to harmonize with the cadence and crescendos of the anthems as Allen performs solo, with keyboard accompaniment emanating from terra firma. The situation requires him to carry two very unusual (for a pilot) pieces of equipment—a pitch pipe and a Lectrosonics wireless system.

“When I’m ready to start, I take my cue from a pitch pipe,” explains Allen. “Once I have the music’s key, I start singing and the accompaniment follows my lead.”

The technology and coordination behind these performances is nothing short of considerable, with Allen’s powerful vocal performance emanates from the plane via the Lectrosonics wireless system directly to the air show facility’s broadcast system.

Utilizing a Lectrosonics UM250B UHF beltpack transmitter securely strapped into the rear seat of his airplane and an aviation headset mic with a customized harness to pass signal to the transmitter, Allen communicates wirelessly to a Lectrosonics UCR211 Diversity UHF receiver manned by Mark Bader, his sound engineer/keyboard accompanist on the ground.

“We’ve been using our Lectrosonics setup for just over a year,” states Allen, “and throughout all the performances, I can tell you without the slightest hesitation that the system has performed flawlessly. I never cease to be impressed with both the range and sound quality of the Lectrosonics equipment.

“While the actual aerobatics take place within several hundred feet of the crowd, preparation for the stunt frequently requires that I take the plane almost 5,000 feet away from the receiver in order to position the plane for the maneuver.

“That’s just shy of one mile and, even then, I’ve never experienced a single dropout, which for a performance of the national anthem would be absolutely unacceptable.”

Allen is equally enthusiastic about the ease with which the wireless system can be configured. “In addition to all the RF congestion in the immediate vicinity of the airfield,” he notes, “we frequently encounter RF activity from local broadcasters and other sources. With each new location where we perform, we always run a frequency scan, select the best open frequencies, and lock everything down prior to the start of each show.

“This process is quick and easy and not once have we ever had to call Lectrosonics for assistance. Similarly, the gear is built like a tank and we’ve never required service. The g-force that the transmitter endures during acceleration and throughout the maneuver is substantial, so that says a lot about Lectrosonics’ quality.”

“I’ve been really impressed with Lectrosonics performance. Given the results we’ve experienced with our present gear, our plan now is to upgrade to the company’s newer UM450 transmitter and UCR411A receiver. This way, we can take advantage of Lectrosonics’ Digital Hybrid Wireless technology.”

Find out more about these unique airshows here - www.willallenairshows.com

Lectrosonics Website

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Wednesday, August 26, 2009

Two New Developments Emerge Under The “White Spaces” Heading

Microsoft enters the fray; and is a new "post white spaces" wireless company entering the market?

Two interesting developments have emerged recently under the heading of “white spaces”.

First, if you recall, the FCC authorized the development and eventual marketing of “white space devices” that have now come to be known as TVBDs (TV Band Devices).

However, the technical requirements for these devices are quite stringent; specifically, that they must sense other signals and take a lower priority in any given location than existing TV broadcasts and wireless microphones.

Microsoft, working with researchers at Harvard University, has announced that it has set forth protocols for networks that will use this “unlicensed spectrum”.

Wireless microphones pose a significant challenge to such devices and networks because they’re very low power, and also, are only on when they’re being used.

To deal with this, Microsoft’s approach includes an algorithm that detects available frequencies and switches to a backup channel if interference is detected.

In tests, the device has detected interference from a wireless microphone and moved to another frequency within three seconds.

Three seconds? That can be an eternity if you are experiencing a wireless system dropout, but it depends on the situation as to whether or not it would be a problem.

For instance, what if you turn on all the wireless transmitters for a particular scene in a stage production?

In that scenario, the TVBD or local network would recognize these transmissions and avoid them with plenty of time before the wireless mics would actually be used.

On the other hand, imagine there’s a person in the lobby of a theater, uploading a file to a network from his TVBD. Then, he walks into the theater in the middle of an ongoing performance, where his TVBD starts to interfere with a wireless mic channel being used for the show.

In this case, there might actually be a wireless mic dropout that would last a full three seconds.

Of course, this assumes that the signals did not interfere with each other from the lobby, but would do so the instant they were in the house together.

It seems that there is still major room for improvement before these devices are ready for prime time.

Second, a company called RF Venue has emerged, promising to “Refine Wireless Microphone Performance in the White Space Era”.

It’s not clear if this company offers hardware, software, system management or some combination of these elements. What is clear is that this may be the first new company to enter the market, post-white spaces.

Existing wireless microphone manufacturers have all done their part to increase reliability of their systems in light of re-allocated spectrum and the threat that there may be new, unlicensed devices sharing spectrum.

But I think we will see more of these new entries as the issue heats up. That is, along with more new entries from existing players.

The next couple of years ought to be very interesting indeed.

Related links:
http://www.telecommagazine.com/newsglobe/article.asp?HH_ID=AR_5577
http://www.rfvenue.com

Signing off for now…
Mike Wireless

Mike Wireless is the nom de plume of a long-time RF geek devoted to better entertainment wireless system practices the world over.

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More posts by Mike Wireless:
Upcoming AES Presents Opportunities To Learn More About Wireless
Latest Wireless Series #5: Inside The Shure UHF-R Series
The Myths of Wireless System Transmitter Power
Latest Wireless Series #4: Inside the Sennheiser 2000 Series
The RF Spectrum Before & After The “Big Day”
Latest Wireless Series #3: Inside The Lectrosonics D4
Latest Wireless Series #2: Inside The MIPRO ACT Digital
Latest Wireless Series #1: Inside The AKG DMS 700
Is The UHF Spectrum Going To Ease Up After June 12?
Change The Only Constant In Marketplace For Wireless System Spectrum

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Looking Glass Arts Production Classes Provide Sennheiser Components For Students

“Getting good production sound is essential." - Mickey Houlihan, Looking Glass Arts

Boulder, Colorado’s Looking Glass Arts, which provides high school students filmmaking and acting tools, techniques, and craft combines top-flight equipment such as Sennheiser microphones, headphones and wireless packages with a teaching style that that purposefully melds technical skills, art, and philosophy.

“As the tools have become cheaper, I’ve watched one art form after another,” Looking Glass Arts Co-founder Mickey Houlihan remarks. “Sound engineering is a great example – people used to devote their lives to understanding the tools and developing the sensitivities to capture just the right sound. Now anybody can record anything with his or her computer.

“I have a camera and I like to take pictures, but that doesn’t make me a photographer. I feel that the arts play a critical role in our society, and the debasement of that scares me.”

Three concurrent teams of students spend one week training on techniques and equipment, one week shooting, and a final week editing everything down to a seven-minute short. The course culminates in a screening party.

Production values are important to Houlihan, and he emphasizes to students that the easiest way to tell the difference between an amateur’s work and a true filmmaker’s work is sound quality.

Each of the three teams works with a Sennheiser ME 66 shotgun microphone at the end of a boom. The output from the microphone feeds a Sennheiser evolution SKP 100 G2 plug-on wireless transmitter.

Both the boom operator and the director of photography monitor with Sennheiser ew 100 ENG receivers and Sennheiser eH 150 headphones.

When a shotgun mic won’t work, the crew has access to a Sennheiser ME 2 lavalier microphone with an SK 100 G2 transmitter.

Because the ME 66 is powered by a Sennheiser K6 powering module and because the K6 can run on battery power, the students can use a fully wireless system.

“Getting good production sound is essential,” said Houlihan. “There’s no time in the schedule for ADR or Foley. And we’re not on movie sets. There’s lots of extraneous noise – cars, dogs, leaf blowers, airplanes, you name it. The first few years we did the course, the boom operator didn’t get a lot of respect.

“We’ve worked to change that by bringing in big name sound recordists who explain the art of their field and by underscoring the importance of good sound to the effectiveness of an entire film. It’s good that we’re working with Sennheiser, the same manufacturer used by the Hollywood studios.”

Until recently, Looking Glass Arts didn’t have Sennheiser wireless equipment and instead ran wires from the mic to the camera, and headphones from the camera to the boom operator. “People get distracted and wires get yanked,” said Houlihan. “And with HD cameras on tripods, I was often nervous. Now, in addition to preventing our equipment from hitting the ground, the sound person is free to move however he or she needs to in order to get the best sound.”

Sennheiser USA Website

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