Article

Friday, February 26, 2010

Foreigner Lead Singer Kurt Hansen Utilizing beyerdynamic Wireless System On Tour

Band also carries a beyerdynamic TGX-60 handheld mic for hardwired vocals, Opus 89 dynamic mic and MCE 86 shotgun mics

Iconic rock band Foreigner is constantly touring or playing major events, with lead singer Kelly Hansen utilizing beyerdynamic Opus Series wireless microphones night after night.

“In the 20-plus years I’ve used Beyer mics, I’ve always been impressed with the sonic quality,” states Hansen. “These mics sound like studio mics onstage. 

“I don’t want hyped midrange or narrowed spectrum to assist in feedback rejection, I want to hear what I’m putting out, and Beyer does that in a big, warm way.  I sing a demanding range of music, and I’m very particular about what I need to hear, so I choose beyer, every time.”

“We carry two systems right now, based on the new Opus 900 wireless with the EM981S condenser capsule,” says monitor engineer Lorenzo Banda, who has been with the band three years. “Bar none, it’s one of the best-sounding capsules I’ve ever heard. It just sounds so warm, especially in Kelly’s lower register. I can’t get him to use anything else. Nor would I want to. So no matter where we go in the world, these two units come with us.”

Having used it in full-scale touring, Banda is quite pleased with the Opus Series wireless. “It’s got all the features I could want as an engineer,” explains Lorenzo. “Scan and sync is really easy with the ACT button, and it’s fast and easy to change groups and frequencies if you need to. But for me, it all starts with the sound. The Beyer wireless just sounds so much better for this kind of music. I just wouldn’t use anything else.”

In addition to Hansen’s wireless, Lorenzo also carries a beyerdynamic TGX-60 handheld mic for hardwired vocals. “A lot of times, we’re doing interviews and maybe a quick acoustic set for local TV or radio.

For those situations, wireless isn’t needed or practical, and the TGX-60 still gives us that Beyer sound, with a really rich low end and smoothness across the full bandwidth.”

Other beyerdynamic mics on stage include an Opus 89 dynamic for bassist Jeff Pilson’s backing vocals. And to add crowd noise into the group’s in-ear mixes, a pair of MCE 86 shotgun microphones is aimed from the stage into the crowd from behind the side speaker stacks and shooting toward the center of the house.

Lorenzo Banda also has high praise for the flexibility of the Opus 900. “It’s just got a fantastic receiver. Whether it’s a theater tour or a major television event, you would never know the difference in terms of RF performance. We do things like NASCAR races and NFL playoff halftime shows on live TV, and you know the wireless environment in those places is insane. But my beyer gear is so solid, it never takes a hit.”

The Opus 900 is beyerdynamic’s pro touring wireless line, replacing the Opus 500, which operates in the 700 MHz frequency band, will become illegal to operate in the U.S. as of June 12, due to the FCC’s reallocation of spectrum.

Foreigner toured extensively last fall, in support of the groups recent Can’t Slow Down album release, the band’s first studio release with Hansen on vocals. The group has just begun an intensive 2010 tour schedule, starting with two months of North American dates followed by some April dates in Europe.

beyerdynamic Website
American Music & Sound Website

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Small & Mighty: Real World Gear Looks At The Latest Mini Line Arrays

The good news is that modern transducers are capable of higher SPL and mini line arrays of sufficient length can provide excellent sound reinforcement for smaller venues

As with all sizes of modular line array enclosures there are several designs in the “mini” genre, which we define as those with 7-inch “woofers”.

The simplest two-way systems have a single cone driver and a high-frequency driver, side by each. Some employ dual woofers, and those with a center high-frequency section that provides horizontal symmetry.

Quasi-three-way solutions use dual woofers, but cross one over earlier, so the other is the single source of mid-range, eliminating cancellations. True three-way designs operate separate low-, mid- and high-frequency drivers each in their own bands, but we don’t find many in designs with woofers this small.

A mini line array system makes an excellent center channel for vocals, adding clarity and image to left-right stereo systems. It’s common to find single enclosures used as front fill and under-balcony loudspeakers, where their wide horizontal dispersion is an asset.

Other tasks include rear channels for surround applications where pattern control in the lows is needed. Delay clusters of shorter mini arrays are helpful in large designs where vocal intelligibility is important. Party and meeting planners alike can appreciate lightweight systems that can quickly be deployed or struck.

Loudspeaker designers offer companion low-frequency enclosures to supply sufficient bass extension to be useful for music applications and to achieve full-range response. Companion “low boxes” are larger in size and become the top-most element in vertical arrays, as well as supplying mass for ballast and additional height in ground-stacked applications.

The use of line arrays in smaller venues is limited by weight and height. Miniaturized enclosures not only are less expensive, but also weigh less and can bend more rapidly without breaking their coupling due to their woofer size, making them better for smaller rooms.

The physics of coupling dictates a limit to the angle from one enclosure to the next, beyond which uneven coverage occurs. Line array enclosures with smaller cones allow greater vertical transition in a shorter height.

The vaunted pattern control provided by line arrays extends to the lowest frequencies as a function of the array’s length. Arrays lose pattern control below frequencies whose wavelengths are longer than their height. To achieve pattern control down to 200 Hz, a line array must be over 6 feet. With typical cabinet heights of 7 inches or less, this requires 10 mini line array cabinets.

The good news is that modern transducers are capable of higher SPL and mini line arrays of sufficient length can provide excellent sound reinforcement for smaller venues.

Mark Frink is Associate Editor of Live Sound International magazine.

As noted, “mini”  line arrays are defined here as those with 7-inch “woofers” and smaller, while medium (or “compact”) line arrays – the biggest category – those with 8- and 10-inch woofers, are outlined here. Large-format line arrays, those with 12-inch and larger drivers, will be featured in the near future.

Be sure to take our Photo Gallery Tour of the latest mini line arrays.

And check out Everything You Wanted To Know About Line Array Technology, And Then Some to learn more about line array technology and terminology.

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Powersoft Introduces Armonía Pro Audio Suite Sound System Management Software

Comprehensive software solution for managing and controlling sound systems of any size or scope that rely on Powersoft amplifiers

Powersoft has announced the release of Armonía Pro Audio Suite sound system management software.

Designed to work with any PC, Armonía delivers a highly intuitive and comprehensive software solution for managing and controlling sound systems of any size or scope that rely on Powersoft amplifiers to drive the loudspeaker systems.

Armonía Pro Audio Suite is an Ethernet-based, auto-addressing software package that offers full control of all amplifier parameters while accommodating AES 3 audio on the same cable.

The package has built-in redundancy and extensive logging and alerting features for worry free operation.

Armonía is designed to work with KDSP-equipped Powersoft K, Q, D, QTU and Duecanali Series amplifiers delivering control and monitoring of all amplifier functions including AC mains current draw, headroom, protections and faults.

The software also includes advanced grouping options.

The suite has a LiveImpedance measurement screen for constant visual tracking of the system impedance curve with graphs of the actual musical signal at actual power level.

Armonía also delivers the new Active Damping Control feature for vastly improved cone control for better sound, higher output and extremely tight bass frequency reproduction.

The TruePower limiter feature yields controlled operation and longer driver life by maintaining safe output power levels depending on frequency and true load impedance.

Key features include comprehensive sound and system management, FIR and IIR filters, various available crossovers, modeling and import options, and multiple layer operation. Armonía offers both offline and online modes using an Ethernet protocol, where connectivity is achieved using a standard CAT 5e cable via Powersoft’s AESOP (AES 3 & Ethernet Simple Open Protocol) on an optionally installed KAESOP board.

When used with the KAESOP board, a system engineer can extend the network to a virtually unlimited number of amplifiers through either auto-addressing with self-assigned IP addresses or end user configurable IP addresses. 

Armonía may also run over an RS485 remote control protocol, which comes standard on all K Series and Duecanali amps, and is an option available on Q and D series.

“Powersoft amplifiers are being used to power speaker systems for everything from high profile entertainment like the Times Square New Year’s Eve celebration and the Christmas Tree lighting ceremony at Rockefeller Center to major stadium and club installations, as well as major concerts the world over,” says Claudio Lastrucci, managing director of Powersoft.

“We listened to industry feedback and developed Armonía to provide an easy to use but powerful control package that can handle all kinds of applications from the simple to the most complex distributed systems in real time.”

Armonía Pro Audio Suite is available as a free download to Powersoft amplifier owners. Get it here.

Powersoft Website

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Both Trans-Siberian Orchestra Touring Productions Go With DiGiCo SD7 Digital Consoles

At monitors to handle burgeoning needs; SD7 offers expandable system to accommodate future growth

As one of the top-grossing tours in 2009, the Trans-Siberian Orchestra fuse elements of progressive rock, symphonic heavy metal, and classical music into a unique blend, and are known for their dazzling live performances, complete with full light show and synchronized pyrotechnics.

In 2000, TSO created two separate touring groups - TSO East and TSO West - to allow the band to cover more ground, and they’ve maintained that format ever since.

Last year, as the band was maxing out their monitor boards, the conversation got the ball rolling to implement DiGiCo SD7s for both groups. They previously toured with DiGiCo D5s on monitors, and the change to SD7s gave the production what they needed.

“I prompted the discussion early on last year for the SD7 primarily because the biggest handicap for us was the amount of outputs our show was using… we were running out of outputs,” recalled monitor engineer Antonio Luna, who has toured with TSO East for over 7 years, and previously with KISS and Aerosmith.

“We needed a console that was flexible to our growing needs, especially for in-ear monitors. Because of our familiarity with the D5 at monitors with TSO, and my past experience with using DiGiCo on other tours, it was a no-brainer. Production, management and Clair Global were all on board and a part of the decision to get the SD7s.

“The quality of audio is outstanding, and it’s an evolutionary step up from the D5. Now we have a platform that is able to expand as we expand, and DiGiCo is an important part of our sound.”

The monitor rigs for East and West are somewhat identical. Both implement the SD7s and similar in-ear set-ups, although TSO West, under the production guidance of engineer Chris Hoffman, has more RF than East.

For TSO East, Luna manages 60 inputs and 48 outputs—including 16 in-ear mixes, 9 outs for wedges/subs, myriad FX—for TSO’s live production, (which includes electronic drum kit with mic’d cymbals), 2 guitarists, a bassist, 2 keyboard positions, a lead violinist, a narrator, a 9-piece choir, an 8-piece orchestra and 6 lead singers.

His rig is comprised of 14 Sennheiser IEM G3 and 2 IEM G2 wireless monitor systems, 12 Crown Macro-Tech MA-36x12 amps, 16 Firehouse F15 monitors, 4 EV 118 subs and a Clair iO processor.

Once implemented, Luna found that the DiGiCo’s biggest advantage was its workflow and ease of use in managing the hefty number of monitor mixes required by the band live.

“When you’ve got 24 people on stage and 16 stereo in-ear mixes, you better be able to get stuff done quickly,” he said. “I had my show programmed into 32 snapshots in a little under 2 days time for a 2-1/2-hour show. I was amazed that it went that quickly.

“Affecting change is quick and easy on the SD7, and I rely on it heavily. It has a finished quality that is important in keeping my workflow quick and easy, and makes the artist happy.”

DiGiCo Website

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Thursday, February 25, 2010

Climbing The Sound Mountain: Part 2, The Job Interview

Our fictionalized - but instructional - series on making it in the sound reinforcement business continues

If you missed Part 1, go here.

Ben Davis knew this was it, and he was ready. He had secured an interview with Frank of Frank’s Sound Company and Show Rentals, and he was right on time.

Frank let Ben walk into the office behind him, and then shut the door and motioned for Ben to sit down in one of the leather couches at the corner of the room. “You can relax, Ben,” said Frank with a warm smile. “This will be nice and casual.”

Ben sat down and felt the cool luxury of the leather, which did nothing to diminish his excitement. He handed his resume to Frank, who set it down on the stylish coffee table between them without looking at it.

Frank started out by asking Ben: “So, tell me: why do you want to work here?” This question threw Ben momentarily because he simply hadn’t thought of that in so many words.

He stammered just a touch, “Well, uh, that’s a good question. I think it comes down to my desire to work in the audio field and you guys are the big company in town. Your reputation is excellent, as both a place to work and as a service provider. Mainly, I want the opportunity to work in a place that will give me opportunities to grow, both personally and professionally, and to use the skills I’ve learned in a positive way.”

Frank had heard this kind of thing plenty of times, and he recognized some of the typical job placement coaching that students typically received before they left school.

At the same time, nothing about Ben had offended Frank yet so he asked another question: “So, tell me about these skills. Which ones you think are the most important in terms of working here?” Ben was ready for this one, so he jumped right in. “Well, for starters, I have a pretty good handle on basic electricity like Ohms Law and I understand fundamental acoustic issues like the Inverse Square Law.”

Frank nodded, so Ben continued: “I have a pretty good amount of experience mixing, and I’ve helped set up a number of sound systems at my college, for events like Spring Fling and all that. I’ve tuned a system with Smaart before, and I’ve even mixed monitors.”

Frank was still smiling and Ben thought he was doing well – but he was waiting to have Frank take him out back and let him mix, or to maybe at least talk about audio.

Frank continued: “So, what was the worst problem with a sound system you’ve ever encountered, and how did you solve it?” This stumped Ben, because he had never really had to dig himself out of a hole on the job yet.

But he remembered one thing: “Yeah, there was this one time when the bass player’s channel was humming real badly at the festival. We had his amp miked, and then the preamp out into a direct box for the PA as well. We tried the ground switch on his Fender amp, and also on the DI box, but it didn’t get much better. So we used a ground lifter on the AC power for the amp. Problem solved!”

Frank inwardly cringed, but didn’t show it. “Just a couple more questions. How are your soldering skills?”

Ben thought this was kind of weird, but went ahead and answered: “I guess I can solder OK. I helped our teacher fix an amplifier once that had some cold solder joints. Didn’t seem too hard.”

Frank had expected as much. Then he said “Final question. Tell me about how you work in a team situation and whether or not you’ve been a team leader.”

Ben replied, “Sure, I’ve been in plenty of teams, both audio and otherwise. I played soccer in college and was even team captain for a semester. At Spring Fling, I was on the blue team first year, and red team leader second year. I think I do well in teams and can follow instructions and all that.”

“OK, Ben” said Frank. “I think we can use a guy like you here at FSC. When can you start?” Ben had to blink and let the words register. Was he just offered a job? It took him a couple of seconds to respond: “Great – wow. OK, yes – that would be great! Um, I can start on Monday if that’s OK with you!”

Frank nodded, and then added, “Well then, we’ll see you Monday. Just stop at the front desk and ask Sonya for copies of our job application form and tax forms. Just fill those out and bring them in on Monday. See you at 9 a.m. sharp!”

Ben was flabbergasted, both by being offered a job, and also because there really was no discussion of audio or any kind of audition. But it hadn’t yet dawned on him that he wouldn’t be doing audio – at least not for a while.

Just as he was about to head out the door, Frank called to him “Ben, just one thing – and please remember this – don’t EVER use a ground lifter on a guitar amp. Unless you want someone to end up dead.”

As Ben drove home, he was thinking about the interview and how it went. Overall, he was pleased although some things puzzled him.

But mainly, he was concerned about what Frank had meant about the guitar amp grounding. “Someone could end up dead,” he muttered to himself. “I guess I need to learn about what’s going on there.”

Ben resolved to get up to speed on that subject because obviously he had missed something in his classes. As he pulled up to his building, he started thinking about how he was going to spend the next few days before Monday.

After entering his apartment and dropping his keys, CD, greenie and sharpie on the table by the door, Ben sat down at his computer, determined to be ready on Monday with new knowledge about grounding. He was up late into the night gathering information from forums, online articles and book excerpts. “Hmm – looks like this Yamaha Sound Reinforcement Handbook is something I need to own.”

He placed an order on Amazon for a used copy, then finally went to bed trying to sleep despite the lingering thoughts from the day invading his mind.

Next Up: Part 3, Starting at the Bottom

Taylor Jensen is a freelance pro audio writer.

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A Journey To Contemporary Sound At Christ Memorial Church

The project abounds with clever solutions, some borne of budgetary necessity and others a continuation of long-term planning

Christ Memorial Church in Holland, MI, has always sought to be a place where all can belong, and in that spirit, began offering contemporary-style worship services in addition to continuing with traditional style services.

As a result, the 1,700-seat sanctuary, constructed in the late 1980s, needed an upgrade of its sound reinforcement system, both to accommodate the more dynamic contemporary style in addition to better serving traditional needs.

The single-level, fan-shaped main sanctuary presented some unique challenges to the sound team, including a 150-seat choir area to the left of the main front platform and a large orchestra platform right in front of the choir.

Large beams support the wood tongue and groove ceiling, and combined with brick side walls and a rear wall made up almost entirely of glass, acoustics were also a concern.

The sound system design/build firm contracted for the project, Parkway Electric & Communications of Holland, proposed that in addition to flown line array loudspeakers for coverage to the audience area, additional line arrays be installed above the orchestra platform. The goal was to provide a reinforced signal coming from the same area as the natural, acoustical signal.

Further, the design called for a portion of the main loudspeakers to also function as a “delay fill” for the choir cluster.

For this choir/orchestra application, Parkway specified four L-Acoustics KIVA line array elements, arrayed beneath a KILO low-frequency extension cabinet, with two additional KIVA down-firing behind the array to provide monitoring for the choir.

A full demo of this approach, with the loudspeakers positioned very close to the actual proposed installation location, went so well that the church gave the go ahead. The intent was to get the choir array/cluster in place and then raise additional funds to add the additional new line arrays in the coming months.

Change In Plans
Everything was moving right along, with the aging house system to be replaced with two larger KIVA/KILO arrays, until the economy began to worsen, which impacted fund raising, and the project cameto a halt.

Finally, many months later, with only a portion of the funds raised, Gary Matthews, Director of the Church Fine Arts program, and Technical Director Dave Scholten, called a meeting with Parkway to explore what options might be available.

Parkway Systems Engineer Jeff VandeHoef offered a somewhat unconventional alternative that better suited the church’s actual budget - a flown system of four L-Acoustics 115XT HiQ coaxial enclosures.

These loudspeakers, which are more traditionally utilized as stage wedges or fill loudspeakers, might be able to meet coverage needs if deployed in an “exploded cluster” above the audience area. Specifically, three of these loudspeakers would bolster house coverage, and the fourth serving as a fill loudspeaker (much like it would have been utilized in the original design).

VandeHoef utilized the L-Acoustics SoundVision acoustic simulation program in mapping out the approach. One of the significant considerations was ensuring that the new loudspeakers would not interfere with the projection path of the existing video system.

The simulation program showed this not to be the case, but it would be a very close call, and all of this came as the church was looking at an upcoming presentation of Haydn’s Creation that would involve the video system.

Because of the potential issue, Parkway moved up the installation date up by two weeks.

“The simulation program showed we would be clear by a few inches, but I choose to push up the priority on this part of the project in order to give us time to make any changes that might become necessary,” VandeHoef explains. “As it turned out, the loudspeaker flypoints were indeed clear of the projection path, just as SoundVision showed.”

Two SB118 subwoofers were also installed during this phase, as were L-Acoustics LA4 amplified controllers for power and processing of all of the loudspeakers. The long-term thinking is that that when funds are available, the 115XT HQs can be re-purposed as stage monitors, replaced by original design’s line arrays.

Two Designs, One Sound
A pleasant surprise to this budget-driven solution was the realization that the acoustic signatures of both the choir system and main system sounded very similar, despite being based on two disparate designs.

“Knowing that line source array and coaxial technologies are very different, I was amazed at how remarkably similar the KIVA and 115XT HiQ sounded. In fact, the chance of us putting a KIVA system in there in the next couple of years went way down because they’re really happy with how the 115XT HiQs are performing,” notes VandeHoef.

The project abounds with other clever solutions, some borne of budgetary necessity and others a continuation of long-term planning. The main system’s Yamaha M7CL-47 digital audio mixing console, which had been added earlier, was outfitted with CobraNet cards to add 32 channels of digital audio to the system.

Twenty-four of these channels route to the recording and video production room. The other eight channels go to Biamp Audia digital units that provide cross-matrixing capability for the choir array.

From there, digital audio goes on to the LA4 amplified controllers providing power and processing to all main system loudspeakers.

An Aviom16/o-Y1 A-Net card was also added to the MC7L console, providing increased functionality with the church’s existing Aviom multizone stage monitor mixing system utilized by musicians.

One specific upgrade in this regard is that the card allows the house sound operator to assign audio outputs directly from Yamaha console interface.

A feed from the Aviom system is also fed to Crown amplifiers retained from the previous system that provide feeds to several stage pockets on the platform where Renkus-Heinz CFX121M monitor wedges can be plugged in as needed.

Several Neumann KM 184 small-diaphragm condenser microphones are suspended above the choir, installed in an earlier upgrade, with a predominance of Shure SM57 mics utilized for a wide range of applications on the platform. Dual Shure SM81 unidirectional condenser mics handle the acoustic piano.

The church also took advantage of Shure’s $1,000-per-unit rebate program to add five UR124S combo wireless microphone systems with SM58 handheld transmitters and UR1 bodypack transmitters. Pastors utilize Countryman E6 omni earset mics with the bodypacks.

In spite of the numerous and sometimes unique challenges the project presented along the way, the end result is a satisfied client.

According to Matthews, “We are absolutely thrilled with the results. The musical style in our arts ministry can greatly vary from a full orchestra and choir performing Haydn’s Creation to our contemporary style of worship - all in the same room - so we needed a system that sounded great and was highly versatile. This setup has been a ‘win’ for all that we do.”

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Meyer Sound To Host Series Of SIM 3 Technical Seminars In Mexico City

Two Spanish sessions of the SIM 3 seminar will be provided

In March, April, and August 2010, Meyer Sound will bring its four-day SIM 3 Training and System Design seminar to Mexico City as part of the company’s worldwide education program.

Registration for the seminars is available at here

The in-depth SIM 3 seminar, taught by Bob McCarthy and Oscar Barrientos, provides participants with a thorough theoretical and operational understanding of source independent measurement and a solid grounding in application of SIM analysis in the design of complex audio systems.

The seminar gives a brief review of SIM theory and system development, followed by a comprehensive discussion of field use procedures for the SIM 3 audio analyzer.

The seminar then extends the foundation of SIM measurement into sound system design.

Participants also look at the complex interactions of loudspeakers in a variety of configurations and acoustical environments from the standpoints of phase, frequency and impulse responses.

On March 1 - 5, 2010 and August 30 - September 3, 2010, two Spanish sessions of the SIM 3 seminar will be held by Oscar Barrientos in Mexico City.

On April 27 - 30, 2010, Bob McCarthy, who has been involved with SIM since its inception, will be teaching a SIM seminar in English, with Spanish translation available.

Meyer Sound Website

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APB-DynaSonics Appoints DiModica Sales As Florida Sales Representative

Also will provide representation in Puerto Rico

APB-DynaSonics has announced the appointment of DiModica Sales as the company’s new sales representative for the state of Florida and Puerto Rico.

DiModica Sales has been in business since August of 1993 and currently represents leading brands such as QSC, Lowell, Aphex and Brace Audio, among others.

Asked about his new relationship with APB, company President Chuck DiModica said, “I feel great about it. I’ve worked with Chuck Augustowski in the past, we have a long history and I consider him to be one of the icons in the industry in terms of mixing consoles and I’m just happy to be back working with him again.”

APB-DynaSonics Website

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Wednesday, February 24, 2010

Metropolitan Tabernacle’s New System Features Studer Vista 5 Digital Console

Over the last year, the Tabernacle has installed an extensive digital network infrastructure, completely rewiring its enormous 2,500-seat sanctuary to accommodate a new line-array PA system.

The Metropolitan Tabernacle in Belfast, which has been refurbished with one of the highest sound reinforcement system specifications in Northern Ireland, has chosen a Studer Vista 5 digital console.

This impressive installation was completed entirely under the aegis of the Tabernacle’s in-house technical team, led by Trevor Bowron and Ian McAlees, members of which were unanimous in their choice of the 42-fader Vista 5, the first digital console for the church.

“There’s a lot of experience in our team, much of it gained from the broadcast industry,” explains Ian McAlees, “so we were well-versed in Studer’s reputation for reliability. 

“As well as the capability to handle the large number of sources we use, the desk gave us the facilities to drive as many auxes as we wanted, critically for our Aviom in-ear monitor mixers.”

Over the last year, the Tabernacle has installed an extensive digital network infrastructure, completely rewiring its enormous 2,500-seat sanctuary to accommodate a new line-array PA system.

“In fact, we double-wired for both desks so that we had a complete set of mic lines for both the old and the new to facilitate the changeover. 

“The church services don’t stop, so the implementation of the front-of-house program had to be done without any disruption to normal hours of worship.”

Typically a service at the Metropolitan Tabernacle features an on-stage band with 4 or 5 players, a grand piano and a 200-piece choir, as well as the pastor and other speakers. 

“Normally we use about 70 channels of audio; there are 24 mics on the choir alone.  We installed the Vista 5 with 88 mic inputs all patchable from the 140 mic points in the church, plus analogue and digital line-level inputs.” 

As well as giving quick access to such a large mix in a relatively small space, the Vista 5 impressed with its dedicated Aviom interface, fully integrated into the desk router.  All the mixes are generated internally and driven directly from the desk.

“We’re making moderate use of the Vista’s recall facilities, as the services are not a repeatable event,” continues Ian McAlees. 

“We have been very impressed by how the console saves us set-up time.  The surface itself, especially the Vistonics interface, is popular with the church’s engineers because it is so pleasant to work on. 

“Sonically, we expected it to be good – and it is!”

Studer

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JBL VerTec Line Arrays And Grupo Zonico Rock Venezuela’s Solid Fest

JBL VerTec line arrays comprised the main PA system for the 4-day event, which included performances by leading international and local artists for crowds averaging 20,000 persons per day.

In one of Venezuela’s largest annual live music events, rental sound company Grupo Zonico provided an extensive audio system for Coca-Cola Solid Fest 2010 at Hipdromo La Rinconada in Caracas.

JBL VerTec line arrays comprised the main PA system for the 4-day event, which included performances by leading international and local artists for crowds averaging 20,000 persons per day.

With separate themed event days presenting rock, urban and Latin artists, performers at the festival included Korn, OscarD Leon and Luis Fonsi.
Grupo Zonico deployed a main PA system featuring two array hangs, each comprising 15 VerTec VT4889-1 full-size line array elements and three VT4887ADP compact powered line array elements with DrivePack technology.

The system also included 26 VT4880A full-size arrayable subwoofers, with an additional 12 VT4887ADP loudspeakers provided for front fill. Crown I-Tech HD12000 and HD9000 amplifiers powered the main suspended arrays, while I-Tech 8000 amplifiers powered the subwoofers.

Grupo Zonico also set up a supplemental tower featuring 12 VerTec VT4888DP midsize powered line array elements. The overall system was configured and remotely controlled and monitored with Harman HiQnet System Architect software.

According to Jose Vallenotti, System Engineer for Grupo Zonico, the system performed beyond the company’s expectations.

“The level of total system control we achieve through System Architect makes the job easier as no other manufacturer in the audio industry can provide anything similar.”

“I feel very proud and satisfied to provide a sound system so efficient that it meets and exceeds the expectations of the different engineers that have used it in terms of high SPL, sound quality and effectiveness,” said Hugo Morillo, Director of Operations, Grupo Zonico.

“Harman Pro’s support, along with local support from Harman’s distributor Media CA, is a key element in our success as leaders in the production industry.”

The compliments on the audio system were not limited to Grupo Zonico, as noted by a variety of front-of-house engineers who mixed the live sound for different artists.

“This was the best VERTEC system I’ve ever used in my 15 years in the audio industry,” observed Juan Luis Pedor, FOH Sound Engineer for Wsisin and Yandel, Franco El Gorila, and Joel and Randy.

“The high and low sections of the VT4889-1 were very impressive due to the OmnidriveHD signal processing, and the system didn’t seem to have a limit to its performance capabilities.”

“The system sounded amazing and JBL’s V4 signal processing was incredible,” offered Jose Lehardy, FOH Sound Engineer for Gilberto Santarrosa.

“The system sounded very clear with crisp vocals and lots of headroom,” said Pedro Collado, FOH Sound Engineer for Lusi Fonsi.

Guillermo Sanchez, Business Development Manager, Latin America, Crown Audio, noted that the system’s performance and reliability allowed Grupo Zonico to focus on its main task: pleasing the artists and engineers.

“The power and vocal clarity outperforms any other system available in the market and the benefit that Grupo Zonico is receiving from JBL VerTec line arrays with Crown I-Tech HD amplification is priceless,” he said.

“As Solid Fest is a festival with so many international performers in such a short time, it is usually difficult to please everybody as there are so many different music styles, but as a high-profile company, we strive to provide the highest standard in the audio Industry in Venezuela.

“That is ultimately why we have chosen Harman as our equipment supplier,” said Sheila Perestrelo, Director of Marketing and Public Relations, Grupo Zonico.

JBL Professional

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Steinberg Reduces Cost For MR816X and MR816CSX Studio FireWire Interfaces

Increase in efficiency of production allows Steinberg adjust the pricing and pass the benefit on to its valued customers.

Steinberg North America announces that the price for the MR816X and MR816CSX Advanced Intergration DSP Studio FireWire Interfaces has been lowered by $300 on each model. While the products have experienced remarkable success since their introduction in 2008, an increase in efficiency of production allows Steinberg now to adjust the pricing accordingly and pass the benefit on to its valued customers.

The pro-audio MR816 units combine FireWire interfacing with Advanced Integration technology and are the focus of every latency-free recording and monitoring environment, taking full advantage of Steinberg’s renowned Cubase music production system.

Steinberg North America

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Michael Buble Performs Show at TELEFUNKEN Studios: Hartford’s WTIC 96.5 fm Broadcasts Live

The Buble show is one in a series of shows recently produced by the TELEFUNKEN staff in the company's 8000 sq.ft. manufacturing center, which includes a 2500 sq.ft. soundstage that also serves as a multi-use recording studio and production lab for its extensive microphone line.

International superstar Michael Buble surprised listeners of Hartford, CT’s 96.5 fm WTIC radio when he broadcast a secret show from the studios of microphone manufacturer TELEFUNKEN Elektroacustic. 

WTIC and TELEFUNKEN co-sponsored the intimate performance, which featured stand-up bass, drums, acoustic guitar and Buble, using new microphones from the company known for mics designed in the tradition of the classic mics of the past.

The Buble show is one in a series of shows recently produced by the TELEFUNKEN staff in the company’s 8000 sq.ft. manufacturing center, which includes a 2500 sq.ft. soundstage that also serves as a multi-use recording studio and production lab for its extensive microphone line.

“We want the global music community to know that our lab is not only capable of designing and manufacturing top quality vacuum tube microphones,” said Alan Veniskofsky, Director of Operations, “We’ve now expanded our facility to include a soundstage/recording studio environment capable of hosting performances and sessions with World Class recording artists.”

Canadian-born Michael Buble has sold more than 20 million albums worldwide and has won numerous awards, including two Grammys and multiple Canadian Juno Awards. 

His debut album was a Top Ten hit in numerous countries, followed in 2005 by the success of “It’s Time” and in 2007 with “Call Me Irresponsible,” which was #1 in Canada, as well as a top hit in the Billboard and European charts.

Show videoclips
TELEFUNKEN Elektroacustic

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Tuesday, February 23, 2010

HOW-TO Sound Workshops Announces Upcoming Training Schedule For March

Sessions feature a hands-on approach, joined by real-world examples that help sound volunteers retain the maximum amount of information in the minimum time. Coming to Kentucky and Virginia in March.

HOW-TO Sound Workshops, dedicated to growing ministries through real-world audio education and applied technology, has announced its schedule of training sessions for March.

Upcoming dates include:
March 6: Crossroads UPCI Church, Radcliff, KY
March 13: Mt. Olivet UMC, Arllington, VA
March 20: Resurrection Lutheran, Newport News, VA

Each session runs from 9 am to 6 pm.

HOW-TO Sound Workshops are designed with your entire praise team and media volunteers in mind.

Taught by instructors with extensive background in audio education at all technical levels, everyone from new volunteers to seasoned professionals will learn how to deliver their worship message in the best way possible.

Sessions feature a hands-on approach, joined by real-world examples that help sound volunteers retain the maximum amount of information in the minimum time.

Topics covered in each session include:
—Microphones and Inputs
—Wireless Systems
—Mixing Consoles
—Processors
—Amplifiers and Loudspeakers
—Mixing and Recording Techniques
—Loudspeaker Setup, Alignment, and Processors
—Stage Setup
—Setup Techniques
—AC/Electrical Power Issues

HOW-TO Chief Instructor Mike Sokol has been a live-sound, recording, and design engineer for over 38 years as well as a musician for 50 years who has run sound for thousands of Worship, Music, and Political events.

During the past 10 years, Sokol has presented over 600 seminars and Hands-On Workshops across North America at churches, recording schools, universities, and professional audio organizations such as the Audio Engineering Society, the Society of Broadcast Engineers and NARAS (Grammy Awards Group).

Find out more about HOW-TO Workshops here.

To register, go here

HOW-TO Sound Workshops Website

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Monday, February 22, 2010

TC Group Americas Names Laura Clapp Davidson As Marketing Manager, MI & HD Divisions

Will focus on the continued growth of our brands in both the MI and HD market verticals

TC Group Americas has announced the appointment of Laura Clapp Davidson as Marketing Manager – MI & HD Divisions.

Davidson has been with TC since 2007, excelling in the role of Product Specialist & Channel Marketing Coordinator and Artist Relations. Her extensive product and market knowledge of all TC Electronic and TC Helicon products and demonstration skills were major factors in being promoted to the Marketing Manager position.

Davidson graduated from Berklee College of Music in 2001 with a degree in Professional Music and spent 7 years in Nashville as a full time performing musician. 

Marc Bertrand, CEO of TCGA Inc. says, “Laura brings a tremendous amount of real world user experience to her new role. I am looking forward to Laura’s professional belief in our products and the enthusiasm she brought to our demo’s and video’s being expressed in all of our marketing plans, strategies and materials”

Davidson’s new position within TCGA, will focus on the continued growth of our brands in both the MI and HD market verticals, and she will also be the primary communication liaison between TC Group Americas and all the brands represented for these market verticals.

TC Group Americas Website

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Audio-Technica Offering New Five-Year Warranty On Artist Elite Wired & Wireless Microphones

Artist Elite products purchased after January 1, 2010, through an authorized U.S. A-T dealer, now come standard with this warranty

Audio-Technica has announced a new five-year warranty on its entire line of Artist Elite wired microphones, wireless microphone systems and wireless microphone system components.

Effective immediately, all Artist Elite products purchased after January 1, 2010, through an authorized U.S. A-T dealer, now come standard with this warranty.

The announcement was made by Greg Pinto, Audio-Technica U.S. V.P. of Marketing.

Because a five-year warranty is uncommon among manufacturers of wireless products, the announcement further emphasizes A-T’s confidence in its wireless solutions and unparalleled dedication to its end users.

Included in the warranty are such critically acclaimed Audio-Technica products as the 4000 Series and 5000 Series frequency-agile true diversity UHF wireless systems, AE2500 dual-element cardioid instrument microphone, AE3000 cardioid condenser instrument microphone, AE3300 cardioid condenser handheld microphone, AE4100 cardioid dynamic handheld microphone, AE5100 cardioid condenser instrument microphone, AE5400 cardioid condenser handheld microphone and the AE6100 hypercardioid dynamic handheld microphone.

Audio-Technica Website

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