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Monday, July 26, 2010

Martin Audio Longbow Line Arrays Serve Pyramid Stage At Glastonbury Festival

64 W8L Longbow cabinets were flown in 16-deep dual inner and outer main PA hangs per side, with an additional 64 W8LCs flown in four delay positions

RG Jones Sound Engineering provided Glastonbury Festival’s Pyramid Stage audio production for the third year in succession, after first working on the iconic stage in 2007 as suppliers of FOH and monitor control systems.

The south London-based company, the UK member of the Synco Europe Network, was lead contractor for the audio production.

On the busiest weekend of the European festival calendar with more than a million watts of “Synco by Martin Audio” line array hardware at festival stages across northern Europe, RG Jones brought in London neighbors Capital Sound to supply the left and right PA hangs, and co-designed a cardioid sub-bass array with a Martin Audio team headed by Jason Baird.

A total of 64 Martin Audio W8L Longbow cabinets were flown in 16-deep dual inner and outer main PA hangs per side, with an additional 64 W8LCs flown in four delay positions, all optimized with the assistance of Smaart. Loudspeaker control was achieved via a rack of five XTA DP448 digital controllers, with a Klark Teknik DN360 for the engineers ‘grab’ EQ.

The sub-bass array has been refined over the past two years, in conjunction with noise monitoring specialists RPS Planning & Development, to satisfy the complex requirements of providing full-on audience enjoyment while containing the sound in the Pyramid Stage arena, which holds up to around 100,000 people and is just 1100 meters (3,608 ft) from the village of Pilton.

54 Martin Audio WS218X subwoofers, powered by Crown Macro-Tech 12000 amplifiers, were configured in a cardioid array, with its output electronically curved to cover the full width of the field, achieving impressive sub volumes and very even coverage to 120 meters (393 ft) out in the arena.

Jason Baird, Martin Audio’s R&D Director, has been involved with the Pyramid Stage system design since 2008 and comments that “this year’s design picks the best aspects of 2008 and 2009 to make 2010”.

He adds: “The cardioid sub array is doing two things, the main one being the broadside array: by delaying the subs incrementally from the center outwards you can bend the overall wave front, so it’s actually tuned to fit the shape of the Pyramid Stage field. And then a third of the subs face backwards in a cardioid configuration to kill the broadside array’s output on the stage itself.”

As in previous years noise containment was achieved partly by driving the upper four boxes in each of the four arrays from its own controller, which can then be turned down independently of the rest of the array should any problems noise spillage offsite arise, minimizing impact on crowd sound levels.

Adds Baird: “We can make fine adjustments which have barely any effect on the sound in the field, but achieves the stated objective of reducing levels off site. That’s the reason the same system’s been used three years on the run, because of the great success in keeping both the crowd and the residents happy. It’s a real pleasure to work with the RG Jones team, and the Capital Sound guys too.”

Martin Audio Website

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Renkus-Heinz Names AMI Music International As New Brazilian Distributor

AMI is one of the leading professional audio distributors and project design groups in Brazil

Renkus-Heinz has announced the appointment of AMI Music International as the company’s new Brazilian distributor.

Based in Sao Paulo, AMI is one of the leading professional audio distributors and project design groups in Brazil, with an impressive distribution network of audio and live sound professionals covering the entire region.

The company offers regular training seminars and technical assistance to its user base, and also boasts a resume of high-profile installations that spans houses of worship, museums, convention centers, and the Brazilian headquarters of Fiat and Renault.

“Brazil is a vibrant country and a powerful, influential force, both in the South American region and beyond,” remarked Rik Kirby, Renkus-Heinz Vice President of Operations. “We’re excited to welcome AMI International into the Renkus-Heinz family, and we’re confident that this is the beginning of a long and mutually supportive relationship.”

Octavio do Nascimento Brito, Managing Director of AMI, added, “Renkus-Heinz is one of the original and most respected loudspeaker manufacturers in the industry, and we’re both pleased and honored to be associated with them. We have already been receiving inquiries from our dealers and customers, and we’re looking forward to working together with such a powerful and renowned brand.”

Renkus-Heinz Website

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Gone But Not Forgotten - Older Mic Models That Still Do The Job

Somewhere between the esoteric mega-buck audio salon and the trash heap, you can find things that, although decades old, still does the job. Here's some of the author's some favorite older microphones

There are advantages to getting older. Years of learning something new at every gig add up to that thing we call experience.

You remember how well the first Soundcraft console you ever used responded to your touch.

You recall, despite its simple interface and lack of things to tweak, how great the reverb of a Lexicon PCM-60 sounded.

Another advantage to getting older is that the gear you lusted after as a youngster becomes affordable.

The downside of this can be the making a purchase decision based on the romance of nostalgia.

Certain pieces of audio gear remain popular long after being discontinued, transforming into that romantic term “vintage.”

Depending upon how well it works and how rare it is, some gear goes up in value and actually can sell for more used than when it was new.

Sometimes the popularity of something on the used market is so great it catches the attention of manufacturers who either reissue the same model or introduce a new model that “sounds just like the old one.”

Witness various flavors of Neumann microphones and the Universal Audio LN-1176.

And a lot of older audio gear is still viable in today’s sound reinforcement world. Somewhere between the esoteric mega-buck audio salon and the trash heap, you can find things that, although decades old, still does the job.

Let’s start at the head of the signal chain by looking at some favorite older vintage microphones.

Sennheiser MD-409 (click to enlarge). Resurrected a while back as the e609, then re-resurrected as the e609 Silver at an even lower price, the MD-409 is still much in demand.

Incredibly versatile, it’s used for vocals, drums, horns, and is also a mic of choice for electric guitar cabinets.

The 409 commands good money on the used market, with prices over $300 for a single unit in good condition not uncommon.

Shure SM59. A real “sleeper” you can get for a song! Ruler-flat frequency response from 100 Hz to 10 kHz means this mic has no built-in “hype.”

This feature, along with relatively low output, probably contributed to its eventual demise, since it was marketed primarily as a vocal mic.

But these same features make it great for horns, guitar cabinets, and other places you might not want a SM57 “presence peak”.

Not terribly common, but as of a few years ago at least, they could be found for under $100.

AKG D224. A mic with a very interesting technology, it has a pair of coaxially mounted diaphragms connected together via an electronic combining network.

Since AKG was able to optimize the diaphragms for their intended frequency ranges, the mic was said to “bring the sound of a condenser microphone to a dynamic”.

This design addressed the common problem of phantom power being unavailable in the field.

Electro-Voice N/D308. Part of the original N/DYM line that debuted about 20 years ago, the N/D308 cardioid is a great workhorse utility mic.

Its wider pattern is just the thing for splitting a pair of rack toms. The flat front of the yoke-mounted “tea egg” makes for easy visual identification.

Stedman N-90. I’ve been told these were “a side-address EV RE20.”  When I contacted Stedman, they told me, “The capsule was supplied by EV, and built to our specifications.”

Not employing the EV “Variable-D” technology found in the RE20, the N-90 will have some good ol’ proximity effect.

A large-diaphragm dynamic, it’s great for low brass like baritone sax and trombone, or the low rotor of a Leslie if you’re lucky enough to get to do that sort of thing.

Get an N-90 and try it on snare bottom! (And thank me later!!)

AKG D12E. A large-diaphragm dynamic designed for vocals that found it’s way inside kick drums and in front of brass.

Said to be the predecessor of the D 112, it doesn’t have the top end “click” of the egg-shaped AKG.

However, the D12E’s low end is, as some might say, “like buttah!” Useful in the popular two-mic kick drum technique, employed along with your favorite flavor boundary mic.

Easy to find, and not terribly expensive.

Dave Dermont has worked in professional audio for well over two decades and is a frequent contributor to ProSoundWeb and the LAB Forum.

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Spider Ranch Productions Adds DiGiCo SD8 Console & MADI 48X24 Rack

"We have also ordered an SD9 to augment our upcoming technical teaching and training road show." - Alex Moran, Spider Ranch Productions

Spider Ranch Productions recently added a new DiGiCo SD8 digital system and MADI 48x24 rack to service its growing concert and installation business.

The Northern California-based production company offers wide-ranging live sound and audio/visual services to corporate, touring, festival and other events throughout the Bay Area and West Coast.

Spider Ranch owner Alex Moran commented on the purchase and partnership. “After evaluating the various digital console options available, we felt that partnering with DiGiCo would offer the most in terms of audio quality, technical support and most importantly, long term growth. Our entire team is thrilled with the product line and the immediate positive responses from our clients.”

“The platform and pricing structures of the DiGiCo SD8 and SD9 models are very compatible with our rental and installation divisions,” he added. “Currently there are several churches we are working with that are very responsive to adding the small footprint SD9.

“We have also ordered an SD9 to augment our upcoming technical teaching and training road show that reaches out to various venues, clients and engineers throughout Northern California.”

DiGiCo Website

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Sound Marketing West Chosen To Represent Aviom In Southwest U.S.

Aviom will also benefit from the Sound Marketing West’s training center and regional technology expositions

Aviom has announced that Sound Marketing West will represent the company and its full line of products in Southern California and Las Vegas. .

“Sound Marketing West is very excited to be working with Aviom,” says Dave Kaiser, general manager of Sound Marketing West. “We feel that Aviom’s innovative product offerings are a perfect complement to our existing lines.

“With the addition of Aviom, Sound Marketing has the ability to offer our customers turnkey solutions for the installed and live sound market. Everyone on our team looks forward to bringing Aviom’s groundbreaking products to our territory.”

Aviom will also benefit from the Sound Marketing West’s training center and regional technology expositions. Offering video projection equipment, a PA system and seating for more than 35 people, the training center has hosted hundreds of events to date, enabling its dealers to become more effective and more knowledgeable salespeople. 

“We believe the relationship between Sound Marketing West and Aviom is a great fit for both companies,” says Gary Lee, Aviom’s director of sales for the Americas. “Sound Marketing West has built a solid reputation over the years and we believe the addition of Aviom will enhance their many offerings.”

Aviom Website

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Allen & Heath Launches iLive Tweak - First iPhone App For iLive Digital Mixing System

Adds another option to iLive’s array of remote control possibilities

Allen & Heath has launched iLive Tweak, its first iPhone app, to provide real time mobile control of the iLive digital mixing range.

The release adds another option to iLive’s array of remote control possibilities, which includes laptops and touch tablets running iLive Editor control software, and the PL Series of controllers.

Available for download free of charge from the Apple store, iLive Tweak opens up new control possibilities for iPhone-using sound engineers, enabling them to remotely browse and select channels on their iLive MixRack, and adjust levels and mutes, PEQ, GEQ, and delays.

iLive Tweak is compatible with iLive’s latest software release, v1.7, and runs on the iPhone 3, 3G, 3GS and 4, as well as the new iPad.

“iLive’s flexible architecture has enabled us to pioneer the use of remote control devices instead of the traditional control surface, and our first foray into iPhone apps is only the start,” explains A&H MD, Glenn Rogers. “iLive Tweak is the perfect tool for engineers to access all the key functions of the iLive input and mix channels, and we plan to launch several more dynamic apps for other aspects of iLive control.”

To download iLive software v1.7 and for a link to the iLive Tweak app, go to www.ilive-digital.com

Take the PSW Gallery Tour of new iLive Tweak

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