Article

Tuesday, March 30, 2010

Reidel Communications Unveils RockNet Expansion Card For Soundcraft At Prolight + Sound

An expansion card for their real-time audio network which provides up to 64 input and 64 output channels.

Riedel Communications unveiled the new RockNet RN.343.VI expansion card for Soundcraft Studer digital mixing consoles at Prolight + Sound 2010.

The RN.343.VI card fits into a console’s SCore Live or D21m card expansion slot and gives access to 64 input and 64 output channels.

A wordclock input is featured via the backplane connector, while a wordclock output is available at the front panel.

A rotary switch is provided for device identification and selection of up to 15 programmable routing tables.

The RN.343.VI enables the Soundcraft Studer to become a part of the RockNet digital audio network and enables remote control of any RockNet microphone pre-amplifier.

The RN.343.VI also supports Independent Gain Feature which allows several mixing consoles to operate with the same mic pre-amps without affecting each other. While the master-console is controlling the analog gain of the pre-amps remotely, all other consoles operate with emulated pre-amps just as if they were also controlling the actual mic input.

RockNet is a digital real-time audio network that provides up to 160 digital audio channels over a single counter-rotating CAT-5 ring. Based on a redundant ring topology, RockNet forms a self-healing network with no loss of audio in case of a connection fault between two devices.

Riedel Communications Website

Soundcraft Studer Website

{extended}

Monday, March 29, 2010

DiGiCo and Riedel Announce Technology Partnership

DiGiCo is pleased to partner with another manufacturer to add value to their products and provide benefits to their customers.

UK-based manufacturer Reidel recently announced a partnership with DiGiCo at Prolight + Sound 2010.

“Riedel as leader in signal distribution solutions for the event industry is a partner who is interesting for us in many aspects”, said James Gordon, Managing Director of DiGiCo.

Riedel and DiGiCo have agreed to work together on the integration of their technologies. Both partners intend to develop solutions that increase the compatibility between products of both companies in order to create benefits for the partner’s customers.

“We’ve always seen our products as an open platform. Integration with other manufacturers always results in benefits for our customers. Therefore we’re proud to welcome DiGiCo as our newest technology partner,” said Andreas Hilmer, Riedel’s Director Marketing & Communications.

DiGiCo’s SD8 is serving as the main mixing console in Riedel’s set-up for the Red Bull Air Race world championship. The event’s complete signal distribution for HD video, audio, intercom and data is based on Riedel’s fiber network solution MediorNet. In addition, a RockNet audio network solution in fully integrated with the MediorNet backbone.

DiGiCo Website

Reidel Website

{extended}

Hosa Technology Announces New SNX Series Pro-Conex Stage Box

New models with XLR returns ensure whisper-clean operation.

Hosa Technology has announced the introduction of the SNX Series Pro-Conex Stage Boxes with XLR returns.

Incorporating numerous features designed to provide reliable service, the new SNX Series Pro-Conex stage boxes provide clean, transparent audio feeds to and from the house audio console and, with all terminations being XLR, are ideal for live-sound environments where long cable runs are common.

The SNX Series is available in multiple configurations and lengths.

Heavy-duty construction is a hallmark of the new SNX Series Pro-Conex stage boxes.

Designed to withstand the rigors of professional touring, all models employ heavy-gauge, rolled-steel chassis with a black enamel textured finish.

This combination of materials minimizes the possibility of damage and keeps the units looking new longer.

With high-contrast white numbers on the chassis and corresponding numbered leads, users will have no difficulty tracing connections, regardless of the lighting conditions on stage.

A heavy-duty wire mesh hanger provides strain relief when supporting the cable fan.

In addition to their sturdy construction, the new SNX Series Pro-Conex stage boxes are built to provide superior audio quality. The boxes utilize genuine Neutrik XLR connectors on all sends and returns for trouble-free connections, free from clicks, pops, or other annoying sonic artifacts.

Additionally, all models employ foil-wrapped, heat shrink-protected internal wiring. Similarly, each lead/signal path is individually shielded using 24 AWG x 2 OFC (oxygen free copper) conductors—thus ensuring superior signal transmission.

Hosa Technology’s new SNX Series Pro-Conex stage boxes are available in multiple configurations and cable lengths—ranging from 8 sends/4 returns and a 25 ft cable fan to 24 sends/4 returns and a 150 ft cable fan. In all, there are fourteen models encompassing configurations with 8, 12, 16, and 24 sends and 25, 50, 100, and 150 ft cable lengths. All models employ 4 returns.

Jonathan Pusey, Hosa Technology’s Director of Sales and Marketing, commented on the new SNX Series Pro-Conex stage boxes. “Our new SNX Series Pro-Conex stage boxes are the Sherman tank of the performing musician and audio professional,” says Pusey.

“These boxes are built to withstand the abuse typically encountered in professional touring and are available in multiple configurations and cable lengths—making them well suited for shows of many sizes. With Neutrik connectors, heavy-gauge cable, and solid construction throughout, I’m confident musicians and audio pros will find exactly what they’re looking for.”

Hosa Technology Website

{extended}

Grammy Nominated Engineer/Producer Hal Winer Selects AKG’s Perception 820

The Perception 820 provided a warm, smooth and rich vintage sound not achievable in software.

GRAMMY-nominated engineer/producer Hal Winer has selected the AKG Perception 820 for his facility, BiCoastal Music.

Offering something that computer programs can not: a warm, smooth and rich vintage sound, the tones provided by his new AKG Perception 820 Tube have been an asset to his recording process.

Winer has been using the Perception 820 Tube in every recording since he first acquired it, applying it to both lead and backing vocals as well as guitar, bass and various other feature instruments.

As the flagship for AKG’s Perception series of microphones, the Perception 820 Tube was specifically designed for use in studios like BiCoastal, where clarity and precision is key.

It has a dual 1-inch condenser large diaphragm that makes it suited for lead vocals, brass instruments, overhead miking and many other applications, and the ECC 83 dual-triode tube circuitry and output transformer emphasize even-order harmonics for rich, smooth and 3-dimensional sound.

The remote control unit allows selection of nine different pickup patterns and provides a switchable second-order bass-cut filter.

“I’ve been using my Perception 820 Tube microphone for every conceivable application; it really is one of the best all-around microphones I have,” Winer said.

“It delivers a smooth, rich sound and it certainly adds some harmonics and warmth to every voice or instrument.  It sounds like it’s already appropriately eq’d to everything I put it on, plus It’s got that tube mic character everyone is looking for.”

AKG

{extended}

Orban Introduces Optimod 8685 With Penteo Surround

The Optimod 8685 makes it possible to seamlessly broadcast legacy stereo programming stereo.

Orban is introducing at NAB the new Optimod 8685 with Penteo Surround.

The Penteo stereo-to-5.1 audio process allows the 8685 to provide two-band and five-band audio processing for surround sound broadcasting and netcasting. 

Orban and Penteo now make it possible for television stations to broadcast all of their legacy stereo programming and stereo commercials in discrete 5.1 Surround. 

Penteo 5.1 is completely compatible with televisions that have stereo audio systems because these sets will reproduce the original stereo that was applied to the Penteo upmixer. 

The Orban Optimod 8685 is also intended for mastering audio in broadcast productions as well as productions intended for media such as DVD and Blu-ray.

Orban Website

Penteo Surround Website

{extended}

L-ACOUSTICS Introduces Modular Line Source System KARA At Prolight + Sound

Delivers considerable improvements over its predecessor including horizontal directivity control and vertical coverage capability.

L-ACOUSTICS introduced the new KARA modular line source system at Prolight+Sound 2010.

Inspired by the K1 stadium system, KARA delivers the highest performance for the rental market.

The system features a compact size and lightweight enclosure complying with rigging and visual limitations and the complementary SB18 subwoofer for reinforced LF contour applications.

KARA delivers a considerable number of improvements over its predecessor: added LF resources for increased bandwidth and coherence, improved directivity control in the horizontal plane, vertical coverage capability and improved ergonomics thanks to an integrated rigging system and lighter weight. 

With a horizontal directivity of 110° and a vertical inter-element variation up to 10°, KARA is configurable to match any audience geometry.

Utilizing the characteristics of Wavefront Sculpture Technology (WST), KARA delivers clarity, precision, and a unique proximity effect.

The LA-RAK touring rack and LA8 amplified controller preset library deliver an extremely advanced and precise drive system for KARA.

A wide range of system configurations to accommodate various LF contour requirements and integration constraints are available for the sound designer and system engineer, allowing high levels of creative freedom.

KARA and SB18 will undergo a pilot phase until June 2010 with a handful of rental companies which will collaborate closely with L-Acoustics’ R&D team and technical support to validate rigging, system setup and preset libraries. The system is then scheduled to ship in September 2010.

L-ACOUSTICS

{extended}

Aviom Announces U.S. Demo Loan Program At 2010 Prolight + Sound

Company to make Pro16 and Pro64 digital snakes available to prospective buyers

Aviom announced a brand new initiative at this year’s Prolight+Sound - through the company’s new Demo Loan Program, current and prospective customers in the U.S. will have the chance to experience Pro16 and Pro64 digital snake systems prior to purchase.

“We learned early on, with our personal mixing system, that the best sales pitch we can make for our products is to let people try them and hear them,” says Chandler Collison, director of marketing for Aviom. “This program is designed to let people get that firsthand experience with our audio networking and connectivity solutions as well.

“With a personal mixer, that ‘wow’ comes as soon as you put the headphones on. But with networking products, you need some more time to put the gear through its paces and see how much it can revolutionize what you do with audio.”

Powered by Aviom’s A-Net, Pro16 and Pro64 modules offer plug-and-play simplicity and modular flexibility. The systems are also both easily reconfigured, allowing them to be more flexible and affordable than products with a fixed system size and limited expandability.  Pro16 and Pro64 devices can also be set up without requiring a PC or extensive IT expertise.

Under this program, Aviom will provide I/O racks and network devices according to a customer’s requested specifications. Any person interested in receiving a demo system should contact Aviom or their Aviom representative.

A basic Pro16 digital snake uses I/O modules in blocks of 16 channels to stream audio over a single Cat-5 cable, up to a maximum of 64 channels. 

The modular system design can be changed by simply rearranging the I/O modules, and can support bi-directional snakes of up to 32 x 32 and 48 x 16 channels by adding more I/O modules. 

A more sophisticated technology, the Pro64 Series maintains the speed and simplicity of Pro16 but provides several features important for higher-end installs. Some of these features include a flexible system architecture with single-channel granularity, remote controllable mic preamps, higher channel counts (up to 64 x 64), and support for higher sample rates (up to 192 kHz). 

Pro64 systems can be configured to run as a bidirectional system supporting up to 64 x 64 channels or as a 64-channel true network with no directional limitations on signal flow, regardless of the number of serial or parallel connections.

Aviom Website

{extended}

Dean St. Studios Install SSL Duality Console

Duality Satisfies Client Demand for Large Format Sessions at Central London Studio.

Dean St. Studios recently installed a 48-channel Solid State Logic Duality console in Studio 1.

Carrying on the creative tradition of this space (formerly industry legend Tony Visconti’s Good Earth Studios and creative home for David Bowie and T. Rex), Duality compliments the acoustic design by world famous Eddie Veale and the creative talents of the Dean St. team.

To meet increased client demand for large format sessions, Duality replaces a 24-channel SSL AWS 900+ SE originally installed when the new owners took over the building and opened Dean St. Studios in 2007.

“We are a five room facility that is growing in leaps and bounds,” says Jasmin Lee, co-owner of Dean St. Studios.

“The sessions we were booking required a large format console for both recording and mixing and, while we looked at other consoles, Duality was the best for our needs.”

“Before Duality, we found that sometimes our clients would track with us and mix elsewhere. Ever since we installed Duality, our clients have been even more eager than ever to complete their projects with us – top to bottom.”

One of the prime goals of Dean St. Studios, according to Lee, is to present the artist with a true creative environment that offers all the amenities of a high spec studio, while having a place where, “Musicians can drop in and hang out and just kind of have that really nice creative sense.

“That is what I want for here. Duality has definitely helped produce that vibe because the console looks and sounds amazing. Because of Duality, we’ve attracted a lot more mainstream people. They are very keen to come and work here. The room seems to just breathe more with that console in there.”

Says co-owner and engineer Ben Roulston, “The Duality VHD mic’ pres let me add a controlled amount of dirt and grit on, say, a vocal or guitar if the track is sounding too clean in the mix. The preamp gives you control of second and third harmonic distortion, so it presents quite a lot of options. I used to go outboard for dynamics processing, but with Duality, I find myself staying inboard and only using outboard gear for a particular coloration.”

“I think SSL has hit the nail on the head. Duality is a modern desk for modern times. Times are changing rapidly, budgets are lower and our clients need things done quickly with the same quality as in the past. Duality provides that service.”

Solid State Logic

{extended}

L-ACOUSTICS Launches SB18 Compact Subwoofer At Prolight + Sound

Complements L-ACOUSTICS WST modular line sources and coaxial systems.

L-ACOUSTICS introduced the SB18 high power compact subwoofer Prolight + Sound 2010.

The SB18 complements L-ACOUSTICS WST (Wavefront Sculpture Technology) modular line sources and coaxial systems for applications requiring an extension of bandwidth with a flat to reinforced LF contour.

The SB18 delivers an exceptional level of performance while offering the engineer and sound designer numerous modes of operation for rental and fixed installation applications.

The main L-ACOUSTICS system components for LF extension and contour reinforcement are the SB18 subwoofer with a low frequency limit of 32 Hz and LA4 and LA8 (LA-RAK) amplified controllers.

The 18’’ transducers specifically designed for SB18 combine high excursion capabilities, low thermal compression and reduced distortion.

The bass-reflex vents feature a progressive profile allowing laminar airflow and reduced turbulence noise, even at the highest operating levels.

These combined properties contribute to the SB18 sonic qualities in terms of precision and musicality.

The SB18 design is based on a single 18’’ LF transducer integrated into a dual bass-reflex tuned enclosure to deliver both impact and high sensitivity. Its compact size, combined with superior damping characteristics, make it extremely well suited for compact FOH applications. The SB18 is particularly recommended for use with KARA (either coupled/flown or stacked configurations), KIVA, ARCS and coaxial LF contour reinforcement in both standard and cardioid modes.

L-ACOUSTICS

{extended}

Friday, March 26, 2010

Milab Introduces DC-96C Side-Address Cardioid Condenser Microphone At 2010 Prolight + Sound

For a wide range of studio applications as well as live

The latest addition to the Milab product family, the DC-96C, is a side-addressed large membrane microphone designed for studio vocals, acoustic guitar and piano, hi-hats and overheads, guitar amps and more, as well as live applications.

The latest version of the classic DC-96 Series that was originally released in 1967, the new DC-96C shares most of its components, including the capsule, with the DC-196, but like previous DC-96 versions, it is cardioid only and has a single layer mesh grid.

The DC-96C is suitable for a wide range of applications, including studio vocals, acoustic guitar and piano, hi-hats and overheads, guitar amps and more.

Features:
* Cardioid
* Large rectangular condenser capsule
* 12 dB(A) self noise
* Transformerless
* 12 dB attenuation pad
* 144 dB max. SPL
* Gold plated XLR-connector

Shipped with:
* Individual frequency chart
* Windscreen
* Stand adapter

Like all Milab models, the new DC-96C comes with a lifetime warranty. It will be presented at Prolight + Sound in Frankfurt. Visit Milab in Hall 8.0, booth A47.

Milab Website

{extended}

Sennheiser Debuts First EarSet Microphones At 2010 Prolight + Sound

P!NK utilizes prototype of the EarSet 4 for her Funhouse tour

Sennheiser is presenting its first single-sided, ear-worn microphones at the 2010 Prolight + Sound.

There are two hands-free models for stage shows and the broadcasting studio: the EarSet 4 with a cardioid pick-up pattern and the EarSet 1 with an omni-directional response.

“Both EarSets use capsules which are much loved in the live production and broadcasting fields”, says Sebastian Schmitz, Microphones Product Manager. “In other words, the omni-directional capsule of our smallest clip-on microphone, the MKE 1, for the EarSet 1 and the cardioid capsule of the HSP 4 headset microphone for the EarSet 4.”

While the EarSet 1 is particularly insensitive to pop and wind noise and therefore easy to handle, the EarSet 4 is a good choice for loud stage environments where it effectively suppresses ambient noise and offers excellent feedback rejection.

Both micro-phones are very light, comfortable to wear due to silicone tubing, and very resistant to perspiration and moisture.

The earclip and boom microphone can be easily adjusted to fit ear and head shape. The robust cable, which has low sensitivity to structure-borne sound, has a diameter of only 1 mm.

It should only have been a field test, but P!NK was so enamoured of a prototype of the EarSet 4 during tests for her Funhouse tour that she didn’t want to give it back.

Monitor Engineer Horst Hartmann: “The EarSet is the first small microphone that is just as loud under live conditions and sounds just as good as a handheld microphone. Nothing like this was available before. Compromises always had to be made, either in terms of the comfort of the artist when wearing it or as far as the sound was concerned, because the lack of volume necessitated harsh equalization, and the sound always suffered as a result.”

In P!NK’s songs on the trapeze, the EarSet underwent a very tough test. For use in acrobatic displays of this kind, a skin-friendly adhesive tape, which can be covered by make-up, is supplied with the EarSet for providing additional fixing for the mic boom.

Also included are a cable clip for strain relief, a foam windshield for the EarSet 4 and caps for altering the frequency response with the EarSet 1.

The new EarSets can be used with all Sennheiser wireless systems; there are LEMO connectors for the Sennheiser 2000, 3000 and 5000 professional series or a 3.5 mm jack for pocket transmitters in the evolution wireless series. Available in beige or black.

Sennheiser Website

{extended}

Adamson Launches Eklipsa Series Of Horizontal Arrays At 2010 Prolight + Sound

Multiple cabinets can a;sp be flown in a vertical array to further enhance Eklipsa’s flexibility

New Adamson Systems Eklipsa Series horizontal array loudspeakers are available in both 12-inch bi-amp and 15-inch bi-amp versions. 

Both of these unique arrays include Adamson’s Advanced Cone Architecture together with the company’s proprietary High Frequency Wave Shaping technology. 

Both of Adamson’s proprietary ND12, 12-inch neodymium low-mid transducer and ND15, 15-inch neodymium low-mid transducer, feature a progressive Kevlar cone geometry that reduces modal behaviour, providing an improved and linearized pass-band throughout the vocal range.

High Frequency Wave Shaping sound chambers insure a uniform wave front that does not interfere with the adjacent enclosures in the array.  Each waveguide is loaded with a 4-inch diaphragm neodymium compression driver allowing for very high output.

Eklipsa offers a very tight 18-degree x 60-degree horn pattern.  And though the primary implementation of the product is aimed at horizontal arrays, multiple cabinets can be flown in a vertical array to further enhance Eklipsa’s flexibility. Additional hardware is required to build a vertical array. 

Extreme accuracy with tight pattern control is ideal for indoor venues such as houses of worship, where various non ideal surfaces such as large glass windows and hard walls, can cause reflection issues. In clubs and theatres, low ceiling height or missing hanging points can be a bother when trying to fly a vertical line array. For outdoor applications, the Eklipsa is well suited for sports arenas and stadiums.

Adamson Systems Website

{extended}

d&b audiotechnik Unveils E6 Compact Loudspeaker At 2010 Prolight + Sound

Horn with its 100-degree x 55-degree (h x v) dispersion pattern can easily be rotated through 90 degrees

The new d&b audiotechnik E6 loudspeaker is intended to replace the company’s E3 loudspeaker that has become synonymous with small, convenient, and useful.

The E6 is a high performance multipurpose cabinet employing an integrated 6.5-inch/1-inch exit coaxial driver design with neodymium magnet and constant directivity horn loading.

The horn with its 100-degree x 55-degree (h x v) dispersion pattern can easily be rotated through 90 degrees, providing a 55-degree x 100-degree pattern, without the use of tools.

The E6 is a two-way design with a built-in passive crossover network and its frequency response extends from 85 Hz to above 18 kHz.

The cabinet shape allows use either in a vertical or horizontal orientation as well as deployment as a discreet stage monitor.

Weighing in at 5 kg and with smaller dimensions than the E3, it produces a maximum SPL of 123 dB when powered by the d&b D12 amplifier.

d&b Product Manager Werner “Vier” Bayer remarks “The reaction to the E6 was very positive which, I guess, comes from the belief people have in our development routes. To replace a product as established as the E3 takes great trust and, from what I have seen, people have that trust.”

d&b audiotechnik Website

{extended}

The Latest New Products & Updates From The 2010 Prolight + Sound/Musikmesse In Frankfurt

Plenty of new product introductions and much more

Held at Messe Frankfurt, Germany’s large trade show facility, Prolight + Sound is underway through the weekend, held in conjunction with the world’s largest musical instrument trade show, Musikmesse.

The show features more than 800 exhibitors (2,300 total for Musikmesse) made up of companies from around the globe, with attendance of more than 110,000.

Here’s a brief look at news and some of the notable new products that have launched so far Prolight + Sound.

Be sure to check back regularly as our product coverage continues throughout the event.
 

 

 

Notable News
Community Professional Announces Expansion Of European Operations
Hartley Peavey Receives MIPA Hall Of Fame Lifetime Achievement Award
Aviom Announces U.S. Demo Loan Program
DiGiCo and Riedel Announce Technology Partnership
EAW Names TRIUS Vertrieb Exclusive Germany Distributor
Link Announces Audinate Dante Enabled Stage Box
Staff Promotions At Aviom
Allen & Heath Announces Module For Audinate Dante Networking

New, Showcase & Highlight Products
Consoles/Mixers
Allen & Heath Introduces Space-Conscious System to iLive Digital Range
Soundcraft Vi1 Compact Digital Console
DiGiCo SD9 Compact, Integrated Digital Mixing System

Microphones
Shure Beta 27 Side-Address Condenser Microphone
Sennheiser EarSet Series Microphones
Milab DC-96C Side-Address Cardioid Condenser Microphone

Wireless Systems
Sennheiser EM 3732-II, SK 5212-II Wireless With Wider Switching Bandwidth
Nady MGT-16 Miniature Multi-Channel Wireless System

Line Arrays
Meyer Sound MINA Compact Line Array
L-ACOUSTICS Introduces Modular Line Source System KARA
L-ACOUSTICS Launches SB18 Compact Subwoofer

Loudspeakers
One Systems Introduces 12-Inch Subwoofer
QSC KW Series Compact, Active Loudspeakers
Adamson Systems Eklipsa Series Horizontal Arrays
JBL Professional Introduces DrivePack Digital Audio Input Module
Turbosound Milan MI5 Powered Loudspeaker With Onboard DSP
d&b audiotechnik E6 Compact Loudspeaker
Dynaudio Acoustics BM5A MKII
Tannoy Reveal Series Studio Monitors
On Point Audio NP15N Subwoofer, OPA-15 Active Loudspeaker, More
Celestion Compression And Bass/Sub-Bass Drivers

Power Amplifiers
Crown XLS Series Power Amplifiers
Lab.gruppen PLM 20000Q Power Amplifier With Lake Processing
Crown Integrated VRACK Power Amplifier/DSP Package

Processing, Software, Routing & More
L-ACOUSTICS Launches New AES/EBU Input Card
Reidel Communications Unveils RockNet Expansion Card For Soundcraft
Lexicon LXP Native Reverb Plug-In Bundle
BSS Audio Telephone Option For Soundweb
JBL Professional CBT Systems Design Software
Clear-Com Tempest2400 And T-Desk Software

Recording
Metric Halo ILIO-8 A/D/A Converter And Interface

As noted, our coverage will continue, so check back often. Send any news and notes to .(JavaScript must be enabled to view this email address).

{extended}

System Profile: Air Canada Centre

Going digital in Toronto's premier sports venue.

Located steps from the Lake Ontario waterfront, Air Canada Centre is Toronto’s home to several sports franchises, most notable the Maple Leafs of the National Hockey League (NHL) and the Raptors of the National Basketball Association (NBA).

Add to this numerous large concert events and the Toronto Rock lacrosse team, and it’s easy to see why it’s one of the busiest year-round venues.

First opening in February 1999, Air Canada Centre originally featured a sound reinforcement system that would serve its purpose for the better part of the following decade before being exchanged over the course of about a year.

The previous system utilized long-throw horns to serve the main bowl, with four clusters covering all 19,000 seats, now replaced by a zoned loudspeaker approach.

But before delving too deeply into the new arena system, a look at other expansions in the surrounding building will help to further understand the overall thinking that went into the new design.

Westbury National Show Systems Ltd. (WNSS), a Toronto-based full service entertainment technology company that provides production, design and installation services, completed the installation of the new system that brings Air Canada Centre to the forefront of digital technology.

Key personnel on the system team included John Coniglio, Senior Project Sales; Guy Wallace, Lead Designer; Andy Foord, Technical Support/System Designer, and David VanVeldhuisen, Project Manager.

On-site staff includes Dwayne Brown, Manager Venue Services; David August, Technical Producer, and Courtney Ross, Lead Audio Engineer for Maple Leafs Sports & Entertainment Ltd.

Bringing The Show Outside
An expansion includes the addition of Maple Leaf Square, a new structure that will include two towers of condominiums, office space, retail outlets, and large sports bar, all attached to Air Canada Centre via a skybridge.

As part of this expansion, the building’s exterior now features a three-story LED screen that lets fans keep up with what’s happening in the building before, during and after games.

The architectural team on the project, concerned with the exterior aesthetic, came up with a solution to hide the loudspeakers accompanying the screen, a solution that also helps reduce reflections from the surrounding buildings. Renkus-Heinz Iconyx IC Live digitally steerable arrays were chosen, with two dual stacks hidden behind metal grating on each side of the screen, mounted on custom WNSS brackets.

“We were looking to get some more punch outside,” explains Courtney Ross, who has held the position of Lead Audio Engineer since the venue’s opening 10 years ago.

“Each side has two stacked boxes, which fill about half the height of the screen.”

The IC Live arrays were a good fit for two reasons: they fit in the allotted 10-inch spaces, and their output could be focused where designers needed the audio.

“With the building designers wanting the loudspeakers to be integrated into the building for aesthetic reasons, we were very limited.

The Renkus-Heinz system lets us actually steer where we want the sound to go. If you want to hit people right in front of the building, you can, and if you want to aim one 200 feet down the street, you can do that too.

They’re really that directional. It’s unbelievable. You don’t even hear pockets of audio, it’s totally seamless.”

The exterior system is networked with the building’s main control room, where Renkus-Heinz RHAON control software can be utilized with the IC Live arrays and receive audio routed from BSS BLU Series networkable digital processors via Cobranet.

“We’re all about networking with our new system, so it was natural that we wanted to be able to connect the tail-gate system to the control room,” continues Ross. “I can always keep an eye on it to see what it’s doing.”

Live At Gate 5
Another enhancement is the addition of a television studio at Gate 5, with pre-game Leafs and Raptors broadcasts of the “Live At Gate 5” show offering fans a chance to see interviews and game updates. “Because we had to integrate the shows that broadcast live, we had to look at each room,” explains Ross.

“We went all wireless, with Optocore running up to everything. The Optocore network carries all the I/O throughout the building, which travels by fiber, and in turn breaks out to the Soundcraft Vi6 in the arena control room.” (The JBL Control 29AV overhead loudspeakers at Gate 5 run on the Harman HiQnet communication protocol.)

The Optocore network consists of a LX4AP 48-input/16-output network preamp box, and a DD2FE optical MADI network device for the Vi6 digital console.

The result is that system elements throughout the facility are on one giant network with Harman HiQnet communication and Cobranet audio. (The system also has a Cobranet backup.)

The back of house system includes BSS BLU-80 and BLU-32 units feeding 40 zones, including numerous clubs, restaurants, and retail spaces, all of which can now be quickly tapped into via on-site patch bays.

“All future areas, including new retail spaces, now include BSS integration,” Ross explains, allowing anyone to connect a microphone from almost any space for announcement purposes, sending a signal to or from anywhere in the building.

Controlling Chaos
The hub of all the action, the control room, features the previously mentioned Vi6 digital mixing console. “We obviously wanted to go digital,” explains Ross.

“A lot of consoles have a huge footprint, and on-board processing that we don’t necessarily need since we’re not a touring rock show.

The Vi6 is a straight-ahead digital console with a modular local rack and stage box that lets you add on I/O and processors as needed. The control surface is perfect for what we’re doing – it’s very simple.

They’re one of the few digital consoles that give you a full heads up display. I can see the entire scope of what the board encompasses by looking at the board itself without having to scroll through four or five pages.”

A 48-channel Yamaha DM1000 digital mixing console runs the back of house show. “Some of those zones have individual feeds, so the Yamaha console handles all the matrixing for that on 32 channels.”

Ross adds that the first couple of pages on the console are used for I/O for the back of house, with the remaining pages being used for back-up purposes.

The Main Bowl
A shoot-out was held between six manufacturers to help in the selection of loudspeakers for the main bowl, with JBL emerging the victor.

“Loudspeakers were hung basically where they are now.”“

“A group of 30 key venue staff members listened to the loudspeakers to select which they thought were most appropriate, Ross notes.

Dave Clark, a freelance audio system designer, tuned the system for JBL for the shoot-out and later, the installed system.

“He was a natural choice for Westbury to hire, as he had all his EASE and Smaart files from when he did the shoot-out.”

The original system worked fine for years, but as Ross relates, it was time for an upgrade.

“For what it was, the system was great, but it got really loud in here just because they were long-throw cabinets so they needed a lot of power to throw far distances.

Temperature and the conditions of the environment of the building really had a lot to do with how loud it was on any given night.” As physical changes were made to the building, such as added balconies, or glass walls, the original system was no longer doing what it should.

“As soon as you change the environment, it impacts the whole system’s performance,” Ross says. “This time we wanted to have direct coverage to specific sections, and we were able to achieve very little crossover with the dispersion patterns.

When you walk from area to area, the coverage is seamless now.” The room’s overall volume has dropped and intelligibility has improved, which is appreciated by fans. “You want to be immersed in the game when you’re here, but you don’t want anything to take away from that experience,” he adds.

Clusters of JBL PD5322/64 loudspeakers (48 in total) are flown, evenly spaced, around the bowl for seating coverage, with JBL PD5200/95 loudspeakers in clusters of two as corner fills as well as downfills in key locations. Sixteen JBL ASB6128 subwoofers are hung in the steelwork of the ceiling, in clusters of four. WNSS provided custom bracket mounting hardware for all of the loudspeakers.

Situated on the catwalk above the ice surface and scoreboard, Crown amplification is used to power the system, specifically a dozen Macro-Tech MA-5000i models for high and mid frequencies and a dozen more MA- 9000i for low frequencies.

The network allows both Ross and Andy Foord access to the system at any time, using browser-based remote login software.

“Once I dial in past the firewall, I’m looking at my work PC from home. I can see the mainframe computer from off-site, which then lets me look at any computer I need to see,” explains Ross.

“I can turn things on and off remotely if needed, but really the only time I need to do that is when concerts are taking place when I’m not required to be here.”

Ross mans the system for all sporting events in the building. “It’s also a good tool for Westbury,” he notes.

“The amount of hours that were spent designing the matrices – what turns everything on and off – was a large part of the design. It allows Andy to take care of any troubleshooting off-site, so he can dial in and see what’s happening.”

When Ross has requested changes to the system, Foord was able to have the change completed by the start of the next work day without a site visit. “They still do site visits of course, but it’s not needed as frequently any more.”

The end result is one that has brought Air Canada Centre to the forefront of system networking, which makes attending a game in person a much more exciting experience for sports fans, wherever they may find themselves in the building.

Jeff MacKay is Managing Editor of Live Sound International.

{extended}