Wednesday, May 26, 2010
Delec Commentary Systems Chosen For Swiss OB Trucks
Oratis chosen to meet the needs of multi-language sports productions.
At the 128th AES Convention London, German intercom and communication system provider Delec announced the installation of multiple Oratis commentary systems by TV Productioncenter Zürich AG (TPC) of Switzerland.
To meet the needs of multi-language sports productions, TV Productioncenter Zürich, have installed the Oratis commentary system on several of their outside broadcast (OB) trucks.
The Oratis commentary system is based on a matrix frame installed in the OB vehicle which acts as a central audio router.
The commentators use an Oratis commentary terminal connected over a Gigabit Ethernet link to a commentary card in the matrix frame.
This approach enables the OB truck’s audio network to be extended easily via fiber-optic cable to the commentary booth, making it possible to monitor and mix any audio signal locally at the commentary position.
Up to twelve commentary terminals can be driven by one matrix frame. In addition, the system can be integrated with the NEXUS audio routers in the truck using MADI lines, making the Oratis matrix frame an audio hub for all the commentators.
This is benificial as integrating an extra commentator into this set-up requires little effort. Large productions in particular, with multiple commentators, as are typical in multilingual Switzerland, benefit greatly from this approach.
As a start, five TPC OB trucks have been equipped with one Oratis matrix frame and six commentary terminals each and more installations will follow during the year. Up to three commentators can share a single unit; thus, a dual-commentator environment supplemented by a roving reporter loses its complexity and will become the norm.
The audio quality meets professional standards with 24-bit interfaces, 32-bit internal processing, and a 48-kHz sample rate. The quality is maintained over even long cable runs between the OB truck and the commentary position through the use of optical cabling.
Integration with the major intercom system currently in use throughout Switzerland was also a consideration, as this is achievable in a way which enables the intercom to share the commentary terminal’s microphone, headphones, and cabling structure.
TV Productioncenter Zürich AG serves as the technical service provider for the German-speaking public broadcaster Swiss TV in Zürich, specializing in producing multilingual audio programs for Switzerland.
This technology is necessary for multilingual commentary mixes and is part of their everyday production environment.
The first applications of the new system included international broadcasts from the Spengler Cup ice-hockey tournament in Davos and several skiing and football productions.
Delec Website
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Altinex Introduces CP481-008 & CP482-008 MultiTouch Panels
The CP481-008 & CP482-008 are pre-programmed solutions for Polycom and Tandberg video conference control.
Altinex has announced the new CP481-008 and CP482-008 MultiTouch Panels as the latest additions to the company’s expanding line of touch screen controllers.
The CP481-008 and CP482-008 both feature 8.4-inch LCD displays with an LCD resolution of 800 x 600 and a scaled resolution of 1024 x 768.
Pre-programmed for use with Polycom (CP481-008) and Tandberg (CP482-008) video conference systems, these new MultiTouch panels feature an attractive, contemporary design at home in the most sophisticated boardroom and presentation space.
The new Altinex CP481-008 MultiTouch Panel is pre-programmed for use with Polycom VSX Series video conference equipment and controls the system via RS-232 port.
Supported systems include the Polycom VSX 3000, 5000, 6000, 7000e, 7000s, and 8000. The CP481-008 features resistive panel technology that senses ‘touch’ from a finger, stylus, pen, pencil, gloved finger, or other tool.
The Altinex CP482-008 is pre-programmed for use with most Tandberg video conference systems, including the Tandberg 500, 550, 800, 880, 1000, 1500, 2000, 2500, 3000, 6000, 7000, and 8000.
Like the CP482-008, controls is via RS-232 and tactile capability is the same as the CP482-008.
Both the CP481-008 and CP482-008 provide two COM ports that can communicate with virtually any serial device using RS-232 communication. The panels’ two LAN ports allow connectivity to a local area network or a direct connection to another TCP/IP device.
These panels also support wireless LAN in addition to the wired RJ-45 connection in addition to Bluetooth. The panels can be mounted to a stand for table use; or they can be wall or rack mounted.
The standard VESA mount on the panel’s back supports a variety of third-party mounting mechanisms as well a myriad of potential mounting options.
Both the CP481-008 and CP482-008 are field upgradable, including includes changes to the video conference equipment, user interface changes, or the addition of equipment to control, including ancillary equipment such as HVAC or motorized blinds.
Phil Hale, Altinex Vice President of Sales and Marketing, commented on the company’s new MultiTouch Panels, “The CP481-008 and CP482-008 make the process of controlling both Polycom and Tandberg video conferencing equipment easier than ever.”
“Fully pre-programmed for the most commonly used equipment, these new panels are a plug and play solution that enables integrators to get their client’s systems up and running in a minimal amount of time—without the frustration of having to program the control aspects of the system.”
Altinex Website
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Testing Cables On A Regular Basis Is Essential To Solid Church Sound System Performance
A $10 microphone cable was compromising the sound of our $30,000 grand piano. Sound familiar?
Operating the sound system from the mix position during a recent Sunday worship service, it all began when the first note from our grand piano was distorted.
Hmm…
We’d checked the piano channel and sound prior to the service, and all was fine.
My first reaction to the distortion being produced was to reduce the gain on that console channel, thinking perhaps the piano player was nailing the keys very hard.
Yet the problem remained. Next, I did a pre-fade listen (PFL) in my headphones – yes, it was definitely distortion on the piano channel, no question about it.
To capture sound from this grand piano, we use a magnetic pickup from Helpinstill Designs, which sends the original vibrations of the strings (the source of the piano’s sound) directly to the mixing console.
If you’re struggling to reproduce a full, natural piano sound these pickups are definitely an option to consider.
Anyway, my next thought was that someone had accidentally bumped the pickup so that it was hitting some of the strings. Oh well, nothing could be done until the service ended, so I just did my best to work around and minimize the problem.
But a quick look immediately after the service showed that the pickup had not been disturbed.
Finding nothing else visibly wrong, we set up a few microphones to capture the piano in case we encountered the same problem during the next service, scheduled to start in less than 30 minutes.
Sure enough as the service began, here it came again - big-time piano distortion!
We quickly switched over to the backup mics, which covered us without major incident.
However, how I was perplexed and facing a challenge. What could it be? Perhaps the pickup unit itself was failing – my most logical guess at this point.
Prior to that evening’s service, we needed to move the piano to a different location on the platform.
Looking at the microphone cable connecting the pickup to the XLR jack in the floor box, it finally dawned on me to check that cable. Sure enough, it was going bad.
Thus, a $10 mic cable was compromising the sound of our $30,000 grand piano fed to our professional caliber sound system!
It often is the simple things, isn’t it? And yet another hard-earned lesson for yours truly.
To avoid this disruptive and embarrassing problem, all I had to do was invest in better cables, and further, regularly (say, once a month) check the performance of each one with another small investment: a cable tester.
The truth is that our church already owns a very good cable tester made by Whirlwind (called, appropriately enough, the TESTER), but I’d simply gotten out of the habit of using it regularly. Big mistake.
There are many models of cable testers available, and most are very simple to use and understand. A suitable one can be had for less than $100 from your contractor or retail store.
A device like the Whirlwind TESTER should be able to be interfaced with a variety of audio connectors, such as XLR, 1/4-inch and RCA. Once connected, the tester should quickly show, via a simple read-out on the unit’s front panel, if the cable and connector are working properly. Many will also show polarity (don’t call it phase!) reversal.
A “hands-free” design is preferred to allow manipulation of the cable to locate intermittent problems. In particular, I “wiggle” the ends of the cable right next to the connector to check for intermittent problems, because this is the most likely location where they occur.
Cable testers and testing may not be the “glamor” aspect of audio, but it’s a bedrock that allows the more glamorous parts (such as mixing) to flourish. Why let one of the least expensive aspects of a system be its weakest link?
Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.
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Tuesday, May 25, 2010
Custom EAW Loudspeakers Selected For Yoshi’s Jazz Club In San Francisco
EAW Strategic Engineering Group customizes AX Series to keep the club’s sightlines clear without compromising sound
Famed jazz venue Yoshi’s most recent venture in San Francisco’s Fillmore Heritage Center, carries on the tradition begun by Founder Yoshi Akiba and her partners Kaz Kajimura and Hiroyuki Hori in 1973, when they opened a tiny sushi restaurant and jazz club in Berkeley.
The new location is a 28,000-square-foot, two-story, state-of-the-art venue that features the best of local, national and international jazz artists, with seating for 417 in the jazz club and nearly 371 in the restaurant and lounge.
In order to keep the intimacy that helped make the original Yoshi’s so popular, JK Sound, the Bay Area sound systems company that co-designed and installed the new venue’s house sound system, turned to the EAW Strategic Engineering Group to do critical custom modifications to EAW AX396 3-way installation loudspeakers. The modifications resulted in a new model dubbed the EAW AX-SY loudspeaker.
Michael Lacina, President of JK Sound, and Tom Schindler of acoustical consulting firm Charles Salter Associates, collaborated on the design and componentry of the new system. It was determined that an L-C-R array design would provide the desired coverage, using three pairs of EAW AX396 loudspeakers with an EAW UX8800 digital signal processor.
The AX396 pairs were to be oriented such that their 90-degree pattern axis was vertical and that the 60-degree pattern axis was coupled, rendering an overall horizontal coverage of 120 degrees for each of the left, center and right speaker pairs. This was the goal of Tom Schindler’s design: to provide a true L-C-R listening experience for the entire audience.
However, there was the perennial conflict of visual aesthetic versus optimized acoustic performance.
“The design called for two AX396 90 x 60 degree cabinets side by side with the vertical dispersion at 90 [degrees] and the combined horizontal dispersion at 120 [degrees],” Lacina explains. “The front dimension of the AX box is 2 feet by 3 feet.
“Acoustically, one would want to arrange the boxes vertically side by side so that the high-mid components have minimal distance between them. But aesthetically, one would want the smallest vertical profile possible so that the speaker would loom less large over the performers’ heads.”
The solution, they decided, was to strip out the low-frequency woofers from the AX396 altogether and hide these components in the proscenium directly above each L-C-R mid-high pair. Long time JK Systems Engineer Brad Katz came up with the idea to marry the side-by-side 60 x 90 mid-high horns together in one cabinet, thereby simplifying the complexity of the loudspeaker installation.
The new design greatly reduced the vertical and horizontal profile of the arrays, creating a sleek, compact system. Lacina presented the idea to both Kenton Forsythe, Co-Founder of EAW and Senior VP of Engineering, and Joe Fustolo, EAW Director of the Strategic Engineering Group.
They agreed it could be done, and that there was also an opportunity to minimize the distance between the acoustic centers of the adjoining mid-high components. Thus the AX-SY was born.
A final tweak to the design was a 30-degree angle at the top of the cabinet to get the loudspeakers up as high above the stage as possible. To handle the lows, now that the woofers had been separated out, Forsythe, Fustolo and Lacina decided on the EAW SB625z medium-format single-15-inch subwoofer, which was to be placed above each pair of high-mids.
Then between each of the L-C-R dual 15-inch mid bass cabs, there would be two dual-18-inch subwoofers, all hidden from view behind an acoustically transparent scrim in the proscenium.
“The beauty of the design is that all of the big low frequency boxes are completely hidden behind the scrim, so the P.A. would look petite but sound huge and effortless,” Lacina explains.
Yoshi’s would also add other elements to its sound system, including the first installation of the then-brand new EAW MicroWedge, which turned out to be so successful (thanks to its small footprint, large output and high phase coherency) a dozen more MW12s and MW15s were purchased for its Oakland venue.
And the installation would also be the most extensive use at the time of EAW UX8800 processors, with a total of five units providing 40 channels of processing output.
EAW Website
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ANSI Approves InfoComm AV Systems Design Standard
Standard complements, coordinates, system documentation for allied professions
The American National Standards Institute (ANSI) and the InfoComm International Board of Directors have released InfoComm’s second standard, ANSI/INFOCOMM 2M-2010 Standard Guide for Audiovisual Systems Design and Coordination Processes.
The purpose of this standard is to provide a description of the methods, procedures, tasks, and deliverables typically recommended or applied by professionals in audiovisual (AV) systems design and integration projects.
The standard enables clients and other design and construction team members to confidently assess whether the responsible parties are providing the expected services.
A successful professional audiovisual system installation depends on the clear definition and coordination of processes, resources, and responsibilities of the design and installation project teams.
A properly documented audiovisual system provides the information necessary to understand and implement the system goals and project requirements in a logical and efficient manner.
The documentation should complement and coordinate with related architectural, engineering, and construction documentation.
The Standard Guide for Audiovisual Systems Design and Coordination Processes outlines a consistent set of the standard tasks, responsibilities, and deliverables required for professional audiovisual systems design and construction.
“Modern AV systems have become increasingly complex and interconnected to other building systems such as network, electrical, HVAC and building automation/energy conservation,” said InfoComm International Executive Director and CEO, Randal A. Lemke, Ph.D. “Because AV systems provide critical operational functions for the owner, an organized approach to commonly accepted planning, design, and integration procedures is essential.
“This standard provides a practical guideline for defining the audiovisual system requirements and a clear accountability structure for the development and execution of the system design components. It provides a consistent reference for the project team, including architects and other trades, from the initial design phase through construction, project completion, and building occupancy.”
The Standard Guide for Audiovisual Systems Design and Coordination Processes was developed in an open process with consensus and transparency, in accordance with ANSI requirements.
In addition to the standard, InfoComm has developed an Audiovisual Systems Project Documentation Sample, a 175-page set of sample plans and documents which provides a coordinated example of the unique documentation required for AV systems, clearly illustrating how the audiovisual systems documents relate to documentation from allied professions.
The collection also illustrates elements of the Standard Guide for Audiovisual Systems Design and Coordination Processes.
“InfoComm thanks InfoComm Standards Planning Committee and Chair, Richard Derbyshire, and members of the Standard Guide for Audiovisual Systems Design and the Coordination Processes Task Group, moderated by Brian Huff, CTS-D, LEED AP, ISF-C, for their dedication to developing this standard,” said Lemke.
Copies of ANSI/INFOCOMM 2M-2010 Standard Guide for Audiovisual Systems Design and Coordination Processes and the Audiovisual Systems Project Documentation Sample can be purchased from ANSI at webstore.ansi.org.
Copies will also be for sale at the 2010 InfoComm show store in Las Vegas.
For more information, go to www.infocomm.org/standards
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FaitalPRO Launches New 15XL1400 15-Inch Loudspeaker Woofer
Meeting needs of an increasing number of clients that require a special performance 15-inch sub
FaitalPRO has introduced the new 15XL1400, a 15-inch loudspeaker woofer with high power and long excursion.
The new woofer utilizes the same magnet assembly and suspensions – double spider and cone surround – of the company’s 18XL1500 woofer.
“With the new 15XL1400, we were able to reach 1,400 watts of nominal power,” notes Flavio Naggi, FaitalPRO overseas sales manager. “It is a real subwoofer to use on the same level as the 18XL1500 but in an enclosure of smaller volume, tuned to a slightly higher frequency: it is a very specific sub, performing very well in its stroke, the mechanical excursion is the same as that of its 18-inch L ‘brother,’ however, presented in a slightly smaller form.”
The new woofer was introduced to respond to the needs of an increasing number of clients that require a special performance 15-inch sub for high “punch performance” around 80 -100 Hz.
The18XL1500 works from 35 to 80/90 Hz and the new 15XL1400 works from 40/48 up to 110/120 Hz.
Consequently, for a while they overlap and operate in two very close ranges, resulting in excellent punch strength, able to improve any sound with a high intensity level.
The Qt is not very low, also allowing the use of the loudspeaker in front loaded reflex cases.
The overall weight is close to that of the 18XL1500, because it has the same magnet assembly, voice coil and spider.
FaitalPRO Website
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Discount Of $350 For 2011 NSCA Business & Leadership Conference Fees At 2010 InfoComm
Show attendees who visit the NSCA Zone, Booth C5859, will receive a special rate of $599
Systems contractors who register during InfoComm 2010 for the NSCA 2011 Business & Leadership Conference (BLC), February 17-19 at the Rancho Bernardo Inn, San Diego, CA, will receive a $350 discount on registration fees.
Show attendees who visit the NSCA Zone, Booth C5859, will receive a special rate of $599, which is good through the end of the show.
On a daily basis, contractors are faced with tough decisions that could make or break their businesses.
As the road to economic recovery begins, integrators should obtain the necessary tools to outsmart the competition, discover innovative ways to improve the bottom line, and increase customer satisfaction to position themselves for growth.
These strategies and more will be discussed at NSCA’s business conference, the premier forum for executives and managers in the commercial electronic systems industry.
The 2011 event will host world-class presenters and experts on industry issues that affect commercial electronic systems contractors and their ability to do business. Speakers will present topics on risk management, industry-specific trends, leadership and marketing strategies.
“BLC attendees have expressed again and again how important the networking and industry-specific topics are to their business,” said Norah Hammond, NSCA senior director of professional development.“ This year, we will include more interactive sessions to allow attendees to learn firsthand from each other and create valuable connections.”
This year’s venue, the Rancho Bernardo Inn Golf Resort & Spa, is rated as the #1 spa in North America and has hosted both PGA and LPGA tournaments. Minutes from San Diego, the resort specializes in customer service and prides itself in award-winning restaurants.
“Our industry has matured significantly as it has transitioned from a purely technology-centric focus,” said Chuck Wilson, executive director of NSCA. “Now, integrators have a stronger desire to understand the best methods, strategies and resources to pursue a long-term growth strategy.”
Online registration and discounts for early bird registration will begin in August. Sign up at the show to take advantage of this great deal to participate in the only industry-specific business conference.
For more information on this event, or how you can get involved, contact Norah Hammond at 800.446.6722 or .(JavaScript must be enabled to view this email address).
NSCA Website
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Extron Universal Twisted Pair Transmitter For Digital & Analog Signals Now Shipping
HDCP compliant and enables HDMI signals to be carried over distances significantly greater than the lengths of standard HDMI cables
Extron Electronics has announced the immediate availability of the MTP/HDMI U T A D, a Decora-style, universal twisted pair transmitter for digital and analog video sources.
Dedicated inputs on the MTP/HDMI U T A D accommodate digital and analog video, audio, and bidirectional RS-232 or IR signals. These signals are transmitted long distances over economical CAT 5-type cabling to remote receiver locations.
“The MTP/HDMI U T A D transmitter is designed to support the many different video formats commonly used in presentation environments,” says Casey Hall, Vice President Sales and Marketing for Extron. “It provides a single point of connection in hybrid digital/analog systems, helping to overcome space constraints and distance challenges often encountered in A/V systems.”
The HDMI transmitter is HDCP compliant and enables HDMI signals to be carried over distances significantly greater than the lengths of standard HDMI cables. The HDMI input supports data rates up to 6.75 Gbps for HDMI 1.3 Deep Color, Lip Sync, and HD lossless audio.
The analog inputs offer dedicated VGA, HD component video, S-video, composite video, and audio inputs for sending a wide variety of video signals along with summed mono audio signals over one CAT 5-type cable.
The MTP/HDMI U T A D is designed for wall-mounting with the included Decora-style wallplate, making it an ideal architectural connectivity solution for integrating digital and analog signals within an A/V system.
It is ideally paired with the Extron MTP/HDMI U R receiver to provide dramatic cost savings, design flexibility, and superior performance.
Extron Website
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Altinex Introduces TNP125 & TNP126 Interconnect Boxes
Include HDMI, Ethernet CAT-6, USB, and TRS stereo 3.5mm minijack connectors
Altinex has announced the addition of the TNP125 and TNP126 interconnect boxes as the latest additions to the company’s expanding line of Tilt ‘N Plug interconnect solutions.
Available in two form factors to seamlessly blend into a variety of boardroom and presentation space decors, the new Altinex TNP125 and TNP126offer simple, one touch access for easy, convenient access to presentation systems.
The Altinex TNP125 interconnect box is offered in a rectangular form factor while the TNP126 is round. With identical connections, these two models facilitate the best possible positioning for a multitude of presentation/meeting environments.
Depending upon the nature of the table and the manner in which people are stationed at the table, the rectangular (TNP125) model may be the ideal choice. If, however, greater flexibility in the orientation of the interconnect box is required, the round (TNP126) model will likely address all placement concerns as it can be inserted into a hole and then precisely angled to provide the most convenient access.
Both the TNP125 and TNP126 Interconnect Boxes provide an aesthetically pleasing, hi-tech, sophisticated means of patching into a presentation system. Push down on the front of the top cover and the TNP’s latching mechanism releases—enabling the pneumatic spring to raise it into position.
Simply connect the device to the appropriate port and that piece of equipment is patched into the presentation system and ready for business.
Creating a sophisticated appearance and facilitating easy access to any presentation system, the new Altinex TNP125 and TNP126 Interconnect Boxes both provide the following connectors: (1) HDMI, (1) Ethernet CAT-6 connector, (1) USB, and (1) TRS (tip-ring-sleeve) Stereo 3.5mm minijack.
The bezels for both the TNP125 and TNP126 are made from aircraft-grade aluminum milled by craftsman to a fine beveled edge. When mounted into a table, the fine edge minimizes the space where debris might collect - keeping the workspace clean and beautiful.
This tighter fit also means less chance for paperwork to catch the edges when being passed across a table - so documents remain clean and professional in appearance.
Phil Hale, Altinex Vice President of Sales and Marketing, states, “For fast, easy access to today’s presentation systems, Altinex Tilt ‘N Plug interconnect boxes are the ideal solutions.The TNP125 and TNP126 Interconnect Boxes further expand the line’s versatility. Available with either a black or brushed aluminum bezel, these sleek looking interconnect boxes provide a high-tech visual aesthetic that compliments the décor of any boardroom or presentation space.”
The Altinex TNP125 and TNP126 Tilt ‘N Plug interconnect boxes are available now with a MSRP price of $425. Custom versions, TNP125C and TNP126C, are available for a MSRP of $455.
Altinex Website
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Crown Offering Exclusive Amplifier Installation & Design Sessions During 2010 InfoComm
Topics include house of worship sound system design, roadmapping the user experience, networked amplifier systems and commercial audio
Crown Audio will be hosting a series of training seminars at the upcoming 2010 InfoComm show in Las Vegas.
The Crown Training Room (ROOM N120) will showcase four seminars daily, June 9-11, featuring experts in all phases of system development and implementation.
Registration is available online at http://www.crownaudio.com/seminar.htm.
The schedule:
• 10:00 AM – House of Worship Sound System Design
Thirty-year veteran A/V architect J. Mark Chapman will demonstrate basic design principles and considerations that all houses of worship, from small to large, have in common. Identifying pitfalls and mistakes before they occur are key steps to ensuring ultimate sound after installations. Chapman has more than19 years of experience as a Crown audio technician, with concentrations in designing systems for live, corporate, studio and houses of worship.
• 12:00 PM – Roadmapping the User Experience
Bradford Benn, Director of Application Engineering at Crown Audio, brings 20 years of audio installation, design, project management, documentation and sales to define and guide users through the development and creation of a custom user interface. Responsible for development and use of the Harman HiQnet System Architect software, Benn will drive home the point of creating a navigation structure that will greatly improve workflow, while saving companies time and money.
• 2:00 PM – Working Smarter with Smart Amplifiers: Networked Amplifiers Systems
Amplifiers are far more complex today, working more intricately with sound than simply making it louder. Musical engineer Kevin Heber brings a background of automotive design and tuning, DSP, acoustics and digital communication to showcase the technological wonders of Ethernet communications that keep full systems running smoothly and effectively with minimal oversight.
• 4:00 PM – Food, Fashion or Fitness: Commercial Audio Lives Here
Field Support Engineering Manager for Crown Audio, Zeb Wall, will discuss the importance of audio for restaurants and clothing stores in attaining the desired atmosphere. Basics of the commercial sound design market will give attendees the confidence to meet the design requirements for any retail or eatery establishment. Wall’s training as an electrical design engineer coupled with his first-hand experience with large installations gives him ideal perspective in product and application standpoints.
Harman will also be giving away a $15,000 home theater system during InfoComm. Entries can be submitted at the Harman booth or at any of the seminars listed above. The system will comprise a Lexicon RV-5 A/V receiver, a Lexicon BD-30 Blu-Ray Player and a JBL LS 7.1 Speaker Series including LS Center, LS120P subwoofer, four LS40 bookshelf speakers and two floor-standing LS80 loudspeakers.
Crown Audio
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Harman Professional Amps Up Efforts In China, Expands Sales Team With Seasoned Executives
All three appointees will work closely with existing partners in China and with Harman’s brand-level sales and engineering teams
In a move to drive growth in China and increase its support of customers and channel partners in the Chinese market, Harman Professional has appointed three veteran audio executives to its sales team in Shenzhen.
All three appointees will work closely with existing partners in China and with Harman’s brand-level sales and engineering teams to develop the company’s market presence in China including developing market communication, product development and sales and support.
Vinne Peng joins Harman as Marketing & Communications Manager, having previously served the same role with Artsound International representing Sennheiser in China. Prior to her marketing role, Peng handled sales for Sennheiser in China, holds a degree in English and is studying for a BSc.
Marconi Lee brings to the Harman China team significant experience from the commercial and pro audio markets as well as the conference and PA system markets, having previously worked with TOA China and Bosch Communications. Lee holds a degree in business administration.
Jack Wu has most recently served as Business Development Manager with TC Group China with focus on TC Electronic, LAB Gruppen and LAKE. Before joining TC, Wu was employed by Prime Connections, handling both pro audio and cinema sales, with focus on QSC products. He holds a bachelors degree in electronics.
“With the addition of these seasoned professionals, Harman is adding valuable experience to the team to address existing and emerging vertical markets in China,” said Thomas Marcher, Harman Professional, Director of Sales, North Asia. “We are excited to begin working with each of our new members and we are confident that they will make an immediate and lasting impact.”
Harman Pro Website
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Zaxcom Highlighting New TRX900LT Digital Wireless Transmitter At 2010 InfoComm
Provides encryption for secure audio transmission
The new Zaxcom TRX900LT digital wireless transmitter, on display at the upcoming InfoComm show in Las Vegas, offers the ability to fully encrypt audio signals for secure audio transmission in corporate and legal settings where sensitive material may need to be protected from signal interception or theft.
The TRX900LT bodypack unit combines wireless transmission, recording, and remote control receiving functions into a single low-cost wireless transmitter.
To activate the encryption, a TRX900LT user simply enters an encryption code into the transmitting and receiving units.
With over 16 million key code combinations, it’s impossible to decode the audio signals without the key. Once the code is entered, the system will encrypt all signals automatically.
“There are many situations in corporate offices, religious facilities, and legal settings in which sensitive material may need to be protected during transmission and recording. As with all of our digital wireless technologies, our new TRX900LT addresses this need with complete digital audio encryption, states Glenn Sanders, Zaxcom president.
“In addition, the TRX900LT packages a powerful feature set into our lightest, lowest-cost unit that fits well with virtually any setting and budget.”
Like all technologies in Zaxcom’s TRX product line, the TRX900LT bodypack unit features 100 percent digital transmission/. Designed to be extremely lightweight and durable, the TRX900LT is housed in a high-strength, impact-resistant nylon polymer casing that provides protection from both corrosion and water damage.
With a patented internal timecode-referenced audio recorder that backs up all wireless transmissions on a removable microSD card, the TRX900LT eliminates the possibility of audio loss due to interference or signal dropout.
By integrating a group of TRX900LT units, users in board meetings or other company events are able to establish a multi-track recording session directly from the bodypack units. Each TRX900LT unit will operate for up to five hours on a single AA lithium battery and is compatible with all Zaxcom wireless receivers and IFB transmitters.
Also included in the TRX900LT transmitter is reception of remote controls via ZaxNet. ZaxNet is Zaxcom’s new 2.4-GHz RF network that enables distribution of remote control signals, timecode, and metadata.
With ZaxNet, TRX900LT users will be able to control gain and audio replays remotely via a timecode reference so that multiple Zaxcom wireless systems can replay audio in sync.
The TRX900LT-ZaxNet integration also will allow users to remix audio from multiple transmitters, creating a virtual multitrack playback and re-record system.
The TRX900LT with integrated recording will be available in late June 2010 for a list price of $1,495 USD. Microphones are sold separately by Zaxcom authorized distributors.
The TRX900LT will be on display at 2010 InfoComm 2010 in booth C6483.
Zaxcom Website
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Tech Tip Of The Day: Studio Subwoofer Placement
Does it matter where the subwoofer is placed for studio monitoring?
Q: I recently setup a home studio with a 2.1 monitoring system, and the bass sounds kind of, well, just bad.
I setup the monitors the way the diagram showed, but I just placed my sub on the floor next to my desk.
Is there anything I should keep in mind when positioning my subwoofer?
A: Positioning your subwoofer(s) can often be a difficult task and the relative locations are not the same for all rooms.
A certain amount of experimentation is to be expected, particularly when outfitting a studio with a new monitoring setup.
The main requirement is that the location of the subwoofer not be audibly apparent.
One method for locating an optimal position is to place the subwoofer(s) near the listening position and play program material with significant low-frequency content. Then, listen at likely subwoofer locations around the room and choose the location that delivers the smoothest bass response.
This location is apt to be the best choice for final subwoofer placement. Remember that the signal to the subwoofer is band-limited anywhere from 80 to 120 Hz and that as the crossover frequency rises, the ability to localize the loudspeaker position increases.
Because the LFE channel may have content up to 120 Hz, it is recommended that the sub crossover be set at 120 or bypassed (as the bass-management filter will provide the necessary rolloff).
However, keeping the crossover frequency for the bass-managed channels low (80 Hz) provides the greatest flexibility in positioning the subwoofer.
Many home studios and control rooms are often set up in a symmetrical design, making it tempting to locate the sub in an equally symmetrical location (for instance, along the center line under the front speaker, or right next to your desk).
However, a symmetrical placement in a symmetrical room often creates symmetrical standing waves and thus, an uneven room response. Placing the sub slightly asymmetrically may produce a more satisfactory result. Using a second sub can also help smooth out uneven room response problems.
For more tech tips go to Sweetwater.com
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Meyer Sound Constellation Chosen For Laguna Presbyterian Church
Constellation tailors acoustics for the 82-year-old Laguna Beach Church.
An 82-year-old Spanish mission style building stands proud In the heart of Laguna Beach in Southern California, as the home of Laguna Presbyterian Church.
After a two-year renovation that included the installation of a Meyer Sound Constellation acoustic system, the sanctuary now provides an acoustic environment that fully supports its diverse worship program.
“We were very unhappy with the sound,” says worship elder Lorna Cohen. “It was fine for spoken word but we had all sorts of music that just really wasn’t engaging our congregation because of the building’s acoustics.”
“We also have this Möller organ with 1,600 pipes and we weren’t really able to experience the full range of that because we had a very, very dead space.”
Laguna was committed to finding an audio solution that would fully support its praise band, sermons and readings, agape bells choir, and chorus.
Preserving the aesthec integrity of the historic architecture was also a key requirement, and this essentially eliminated large modifications as an option.
According to acoustic measurements conducted by Jerry Christoff of Veneklasen Associates in spring 2005, Laguna had a nominal reverberation time of only 0.8 seconds at 500 Hertz.
The short nominal reverberation resulted in dry and lifeless choir and organ sound, and less than robust congregational singing. The report concluded that the VRAS technology, which is at the heart of Constellation, would achieve a much wider range of reverberation and envelopment than the alternative options.
Subsequently, a successful VRAS demonstration proved the systems worth to Cohen. “It was my first Constellation listening experience and it was a shocking difference,” said Cohen. “The system was turned on and off, and then on, it was just the difference between wanting to sing and not wanting to sing.”
Dave Lawler of Docktrdave Audio Inc. oversaw the audio upgrade at Laguna, from system design, installation, to final tuning. Sixteen miniature cardioid and omnidirectional microphones throughout the room pick up the room’s acoustics and these signals are processed by one MS-Constellation and two MS-VRAS processors.
In addition to the Constellation system, Laguna also installed a main reinforcement system that features 14 UPM-1P, four UPM-2P, two CQ-2, eight UPJunior VariO loudspeakers, and 15 Stella-4 installation loudspeakers, as well as 500-HP and USW-1P subwoofers.
“From our first hearing of VRAS to the completion of our Constellation install, the response of the congregation has been nothing but positive,” says Cohen. “The system is also very simple to operate, which is what we need as a church.”
Meyer Sound Website
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Shure Helps Band Play Gig On Mount Kilimanjaro
Global performances raise awareness for The Smile Train, which has provided more than 500,000 free surgeries for children around the world.
Indie-Rock band Sound Driver is currently midway through a very unusual world tour.
The musicians are visiting some of the world’s most iconic venues as a way of raising awareness for children’s charity The Smile Train.
To date they’ve played at the Sydney Harbour Bridge and even broke a World Record on Mount Kilimanjaro.
Upcoming stops on the “Chasing Rainbows” tour include The Great Wall Of China, Niagara Falls, and Dubai’s Burj al Arab hotel.
Successfully negotiating such a schedule requires equipment that’s compact and lightweight for easy portability, while still retaining reliability.
That’s why when it came to wireless in-ear personal monitoring, wireless microphones, and all of the tour’s PA needs, tour manager David Spillane knew that he needed gear with a track record for both quality and reliability.
Shure has been one of the main sponsors of the Chasing Rainbows Tour, providing all five band members with wireless in-ear personal monitoring (PSM600 receivers and transmitters) systems to ensure quality sound, no matter the venue.
The wireless systems have proven to be crucial to the band’s performances. Shure also provided a UHF-R wireless system for lead singer Chad Marriott.
For amplification, QSC K8 active loudspeakers have been a smashing success. The rugged loudspeakers were compact and light enough for the band to carry up Mount Kilimanjaro, yet powerful enough to deliver full, crisp sound with the 1000W Class D amplifiers that power the QSC K8’s dual drivers.
“Shure is a globally recognized brand,” noted Spillane. “Along with the global nature of The Chasing Rainbows Tour, this makes them a perfect brand partner.”
“Shure products always perform at the level we expect - and even more so with the extra demands of this tour.”
“We’re delighted to have been able to help the band with this incredible achievement,” said Peter James, Managing Director of Shure Distribution UK.
“It’s challenging enough to just climb Kilimanjaro, but gigging when you reach the summit takes an extra special effort and massive determination.”
“Shure and QSC products are tested to extremes so we were happy to provide the band with microphones, PA, and monitoring gear that were up to the task.”
Shure Website
QSC Website
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