Article

Tuesday, July 27, 2010

EAW KF740 Line Arrays Supply Coverage For Large-Scale World Cup Fan Watch Venue In South Korea

EAW utilized on two of the three stages

The official cheering club of South Korean soccer, “The Red Devils,” named Seoul’s COEX Mall as its official 2010 FIFA World Cup cheer venue, and it was outfitted with LED screens, stages and sound reinforcement systems, one of them fronted by new EAW KF740 line arrays.

Elan Korea and TFOS Plus, two leading touring companies in Korea, called upon Chung-Bo Sound, EAW’s Korean distributor, to provide sound for the event.

“EAW was used on two of the three stages. We needed to provide an incredibly high-output system that could intelligibly broadcast play-by-play action to the sea of red-faced fans,” stated Hyungjoon Jee, General Manager for Chung-Bo Sound. “These EAW units delivered beautifully.”

To meet the demands, TFOS Plus used EAW KF740 line arrays, eight modules per side, all powered by EAW UX8800 digital processing.

Elan Korea, on another stage, deployed an EAW KF760 line array rig consisting of eight KF760’s per side (left and right) and six EAW BH760 bent horn subwoofers per side (left and right). They also used two EAW KF730 line array modules for center fill and 10 EAW SM84 monitors, all powered by 12 Lab.gruppen FP 1000Q amplifiers.

“Everyone doesn’t just watch the game on TV at home. They go out to the streets to support their teams as a family,” remarked Jee. “The attendees deserve great sound, and we are happy to service them with great EAW loudspeakers. Both Elan Korea and TFOS Plus are great fans of EAW and agree that the equipment is very easy to set-up, especially the KF740.”

EAW Website

{extended}

Engineer/Producer Glenn Rosenstein Adopts Universal Audio UAD-2 Powered Plug-Ins

These days Rosenstein is often ‘mixing in the box’ and uses the UA plug-ins to add classic analog effects

Engineer/producer Glenn Rosenstein cut his teeth at NYC’s Sigma Sound in the 1980s. Madonna, U2, Talking Heads, and Ziggy Marley are just some of the artists whose records received Rosenstein’s touch.

These days, he is producing hits in his own Nashville studio, and he recently added the Universal Audio Powered Plug-ins to his tricked out Pro Tools System and Icon Console for the new Livingston Taylor album “Last Alaska Moon,” which features the singer’s older brother, James Taylor.

“I had heard the UAD plugs on a number of my friends’ rigs and I was familiar with all of the great UA stuff — and was really lusting after one,” commented Rosenstein. “I wanted to get a lot of that tonality. I figured, who better than UA to emulate their existing hardware. My system works seamlessly, transparently, unbelievably well.”

Rosenstein has spent years working with Universal Audio hardware, and these days he is often ‘mixing in the box’ and turns to Universal Audio Powered Plug-ins to add classic analog effects. “Universal Audio is really doing some breakthrough stuff. The fact that they are the creators of many of these pieces of gear to begin with, and have the technology in place to emulate this hardware in a very thorough way.”

“We recently used the UAD-2 Powered Plug-ins on a record I produced for Livingston Taylor, and we had quite a few guest artists on it; James Taylor was involved, Carly Simon was involved. Members of Union Station played on it.

“George Massenburg’s approach to mixing that record was, of course, very organic. The tracks were well recorded in a very traditional sense. Compared to most current pop productions, it was quite an organic record. It wasn’t like Livingston and I created a mandate that this was to be the approach. It just kind of created itself. But when we did go to mix, naturally there were discussions about how we were going to approach the mixes, and how true to the original tracks we wanted to be. Of course, we wanted to be very true to the original tracks. We didn’t want a lot of flash, or a lot of effects. We wanted it to sound natural.

“So when we started getting involved in the mix, George has a lot of his own equipment that he likes to use; he invented all of these important audio tools. But when we started going outside of his box, the first thing he picked up was UA’s FATSO Jr. plug-in. And we were very pleased with the contribution that it made to our record.

“We used it on the background vocals, and also on the horn sections. And it did what a FATSO should. It beefed them up, warmed them up. It did all of the neat little things that the hardware would have done.”

Universal Audio Website

{extended}

Recording Electric Bass - Going Direct Or Using A Microphone

Either way can be effective - here are some approaches and anecdotes

 
My first day as a real engineer rather than an assistant was all about bass. The engineer (who was the studio manager as well) took a break after we recorded basic tracks on a Salsa song.

Before leaving the room he told me to punch where the bassist wanted. I started, and was easily able to hear and punch individual notes rather than whole phrases.

A few times I disagreed about which note was pulling the groove off but punched where I was told anyway.

After doing the punches, the bassist and producer agreed that we should have punched what I indicated instead, and we had to punch BOTH notes…the one that was originally out and the one we “fixed”.

After a while, I realized that the engineer should have returned. I turned around to see him sitting in the back of the room watching. When I jumped up and said, “Oh sorry, I didn’t see you” he told me, “I’ve been watching…sit back down, ‘cause it’s now YOUR gig.”

In order to be able to punch the bass, you have to capture it first. There are two aspects to recording electric bass - direct or putting a mic in front of the bass amp’s speaker.

DIRECT
Recording electric bass using a direct box is rather simple. The problem many people encounter is too much compression. I tend to use slight compression to smooth out the transients (usually caused by popping techniques and uneven notes) rather than try to force every note to be the exact same volume.

Although I know many people that automatically crank up as much bottom as possible on every direct Bass they record, I usually add a little 100 Hz (WHEN NEEDED) and also a little bump at around 3-5k (AGAIN, WHEN NEEDED) so the “note” comes through more clearly. Sometimes I will add a little higher frequency to hear more of the “finger attack” or “pick.”

My favorite signal path for recording direct electric bass is a Neve 1073 or 1081 mic pre going into an LA2A, with just enough compression that the needle stays at zero but drops down no more than 2-3 dB at times.

The trouble with trying to compress and squeeze every note to be the same volume when recording is that you may end up losing some of the tone and dynamics of the performance.

YOU CAN ALWAYS COMPRESS MORE OR DIFFERENTLY DURING THE MIX. ALTHOUGH YOU MAY BE ABLE TO MAKE A “FLAT” SOUND MORE FULL, YOU CAN NEVER UNDO COMPRESSION.

I remember, in the analog days, trying to experiment with how to record bass so that the bottom did not saturate the tape. At one point I even tried dropping the bottom and boosting the top when recording, then reversing that process on playback (sort of like Dolby).

For that experiment I used an API EQ, dropping 100 Hz and boosting 10 kHz going into the tape machine, and another API with opposite settings coming out. Of course I recorded the bass on another track straight, without the EQ changes. The track with the EQ had a “rounder” bottom end, but the track recorded straight had a thicker lower midrange that worked better in the mix.

Now that the whole world is digital, tape compression is not an issue (so I recommend just going straight without playing the EQ-in/EQ-out game).

Oh, if you hear a strange occasional buzz on the bass that you can’t track down, see if anyone is using a copy machine in the studio. I once spent an hour tracking down a buzz before noticing it only happened when someone in the lounge was making a copy.

MIC ON THE AMP
The trouble with putting a mic directly in front of a bass amp speaker is that although you do get some bottom due to the “proximity effect”, the REAL bottom of the bass needs much more room within which to develop.

If you mic far enough for the low sound waves, you may introduce a slight delay. What I prefer to do is stick a mic close to the cabinet as well as one a few yards away for the real bottom. Sometimes I just use the far mic.

In either case, it is very important to make sure the far mic track is moved earlier, either by sliding the track back (if you are digital) or flipping the tape and bouncing in Repro (if you are analog).

I was recording a famous jazz fusion band, and we just finished all of the basic tracks (so all of the drum and other mics were still out). We took care of some bass punches and I flipped the tape and bounced in Repro so I had an “early” bass track to send into the bass amp.

I mic’ed the bass cabinet with just a far Neumann U 47 microphone, and sent the early bass track through a delay on the way to the amp so I was able to tweak the time and really lock the amp sound with the direct one (I intended to combine them when mixing).

The bassist of the fusion band was scheduled to be interviewed and photographed, so as a goof we put every single mic around the bass cabinet. The photographer was amazed and snapped away at the bassist posing by his rig…never realizing that the only mic that was really being used was the lone U 47 in the distance.

Finally some reflections on some great bassists I’ve recorded:

Marcus Miller: What can I say? Marcus is amazing, and we developed such a close relationship that he was able to stop playing, look at me, and then play a single note. Because I was always paying close attention I would usually know the note he was talking about and be able to rewind then punch into record at that note (of course sometimes he would play me the phrase before the note he wanted punched).

One day he was recording a bass solo through a Marshall amp. The amp blew (complete with light show) in the middle of a phrase. A half hour or so later when the amp was repaired (after we took a break), I rolled back to the beginning of the phrase and then punched in RIGHT at the note the amp blew on. Marcus played through seamlessly, as if the punch was seconds after the original performance rather than over 30 minutes.

By the way, people often ask me what chorus I used on certain phrases of “Mr. Pastorius” on the Miles Davis “Amandla” album. That was no chorus, that was Marcus DOUBLING his parts so closely people thought it was an effect on a single track.

Bootsie Collins: When I recorded Bootsie, he was playing a bass with three outputs. Each output went into a different effects chain, and I substituted my Mutron III envelope filter for the box he had (his Mutron had long since died). Although I was told that people usually combined the three signals into one recorded bass track (and the producer suggested I do so as well) I had enough tracks to record each output on a separate track.

When I mixed, I started by getting general sounds, then automating the balances between all three outputs on a part-by-part basis. The sound was great, and I was able to emphasize different aspects of each output as well as each sound combination. (Bootsie played a very funky guitar as well, with his foot stomping the beat as he played).

Bruce A. Miller is an acclaimed recording engineer who operates an independent recording studio and the BAM Audio School website.

{extended}

21st Century Makeover Of McPherson Opera House Features System Headed By Tannoy QFlex

“Aesthetics were critical; equally as important as the desire for good, natural sound." - Michael Dunn, Sound Great Music

Built in 1888 and one of the most prominent buildings in downtown McPherson, Kansas, the McPherson Opera House was saved from destruction in 1986, with a comprehensive refurbishment ongoing since then culminating late last year with a new lighting rig as well as a sound reinforcement system headed by compact, digitally steerable Tannoy QFlex loudspeaker arrays.

The opera house, saved by the McPherson Opera House Preservation Company,  is known for its superb acoustics and has hosted everything from Vaudeville shows and films from the golden age of cinema through to political rallies and suffrage meetings. Correspondingly, says Michael Dunn of Sounds Great Music, designer and installer on the project, “They wanted a sound system that performers would find not only adequate, but impressive” – one that would provide not only good, natural sound, but achieve a look in keeping with the buildings’ roots and legacy.

Tannoy wasn’t the first solution considered, Dunn notes. But after a closer look at the initial concept, one based around a conventional line array system, with the inherent bulk and significant architectural impact that such a system would bring to the space, the benefits of QFlex became apparent. “We started to look at the lines of sight and the 3D models the architect had, and we realized that more than half of the audience would not be covered by the traditional line array concept, and would have to be covered by additional under balcony fills.”

Beyond offering a solution that would enhance the experience of both patrons and visiting performers without detracting from the venue’s historic elegance, particularly given the very delicate and compact dimensions of the performance space, QFlex also overcame other challenges presented by the build.

Specifically, in providing clear, even coverage without forcing users to resort to thumping levels of volume. “It’s very close,” says Dunn. “The front of the balcony is about 25 feet from the stage. The farthest corner balcony seat is only 65 feet from the center of the stage.

Additionally, care had to be taken to ensure no damage was done either during the install, or during subsequent performances, to the venue’s fragile leaded glass windows, or to the plaster and lathe fresco above the proscenium – a work originally created by artist G.N Malm in 1913, and painstakingly restored by EverGreene Painting Studios and Belle Restoration from the original 1888 stencil.

Overall, the low profile, self-powered QFlex arrays are an excellent fit for the 550-seat venue’s needs. “Aesthetics were critical; equally as important as the desire for good, natural sound,” Dunn continues. “In the end QFlex made for both far less visual clutter, as well as substantial gains in terms of coverage and overall clarity.

Initially, however, those gains sounded too good to be true to the client. “When Sounds Great first proposed Tannoy’s QFlex and showed us how small they were, we were highly skeptical,” says John Holecek, Executive Director at the McPherson. “It actually created a bit of a crisis there for a minute, but you either trust your vendors or you don’t,” he adds.

In the final analysis, Holecek is glad he did. “The fact that the speakers are so unobtrusive is a huge plus in an historic theater. I can’t emphasize that enough. They blend in wonderfully well. The acoustics were always good. Now they’re magnificent.”

With both aesthetics and coverage in mind, Dunn installed one QFlex 32 on either side of the proscenium to cover the main floor and the first balcony, while another pair of QFlex 24’s – mounted above the proscenium arch – cover the second balcony.

To flesh out the bottom end Dunn specified two Tannoy Power VS 15BP subs and hung them from the second floor of the Juliet balconies to either side of the stage. “You can’t see the subs, can you?” Dunn asks, laughing. “We ported them through the wall and then sealed the ports, so that even in the Juliet balconies, while audible, they aren’t overwhelming.”

Performers will also benefit from six Tannoys V8 Dual Concentric stage monitors, chosen, again, to achieve maximum coverage with a minimal footprint.

The clarity of the system is further enhanced by key recent developments in QFlex’s digital connectivity. Ultimately that’s a product of the install coinciding with the culmination of Tannoy’s development of digital audio input cards and digital audio break in boxes for QFlex systems – The testing of which had only just been completed when the parts were shipped from Tannoy in Scotland to McPherson.

“We’re actually running to the QFlex system using AES 110 digital audio,” Dunn explains. Thus achieving even cleaner sound by maintaining the digital signal throughout the system, eliminating any additional processing and minimizing distortion. It’s the first full digital installation of QFlex in North America, and a second technological first for the McPherson, which, in its infancy, became the first ‘electrified’ venue between St. Louis and Denver.

More importantly, the full digital configuration provided an added layer of quality for the client. Always important, but even more so when doing business in a small town of 17,000 like McPherson, “where things aren’t always based on price,” Dunn says, “but on quality, close personal relationships, and whether you’re going to be here ten, fifteen, twenty years from now and still be able to service the product.”

That quality is reflected in the level of support Dunn received from Tannoy, in the care that both Dunn and Sounds Great owner Chuck Vetter took to provide the venue with the system they required, and, most critically, in the experience the Opera House has offered audiences for over 120 years.

The end result – high impact sound with a low impact visual profile across the board – Already, Holecek says that artists who’ve performed at the venue have expressed a wish to “take the theatre with them wherever they go.”

Tannoy Website

{extended}

General Cable Names Joe Zajac Manager Of Market Development For Commercial AV, Broadcast Products

Joined Gepco in 1996 and has held the positions of engineering manager, field engineer and operations manager

General Cable has announced that Joe Zajac has been named manager, market development, professional broadcast & commercial AV products, where he will lead the market and business development efforts for both the Gepco brand and Sheer Wire line of products. 

“I am pleased that Joe has accepted this position,” said Jay Lahman, vice president and general manager of Gepco and Carol brand products. “Joe’s 25 years of experience in the broadcast industry as well as his 14 years in manufacturing, product development and field engineering give him insight into these markets. I believe his deep technical knowledge and ability to work across the organization will further strengthen Gepco’s position as a leader in the industry.”

Zajac joined Gepco in 1996 and has held the positions of engineering manager, field engineer and operations manager.

For the last year, he has been manufacturing manager for Gepco products with responsibility of the Fiber lab, and the Assembly, Rewind and Shipping/Receiving areas. Prior to joining Gepco, Zajac was Managing Engineer for 10 years at Columbia College Chicago, where he where he has also been a part-time instructor for the last 20 years.

Zajac holds a Bachelor’s degree in Radio/Sound from Columbia College Chicago. As a member of the Society of Motion Picture & Television Engineers (SMPTE), he participates in the society’s Standards Committee and has served as editor of the Standard for Television-Hybrid Electrical and Fiber Optic Camera Cable (SMPTE 311M-2007). 

He has received Certificates of Appreciation from the Audio Engineering Society (AES) and the Engineer and Recording Society of Chicago (EARS).

General Cable Website

{extended}

Let There Be Light: How Fiber Optics Actually Works

Types of fiber and its construction, principles of operation, related terminology, and more

An easy way to understand how fiber optics works: visualize peering into a very long tube, the inside of which is coated with a perfectly mirrored surface. One mile away, at the opposite end, a friend shines a bright flashlight into the tube.

Because the tube is internally coated with a perfect mirror, you will see his light perfectly at your end, regardless of how many twists and turns the pipe takes. If your friend flashes the light off and on repeatedly (simulating a binary off/on electronic pulse), you’ll see this “digital” light data at your end of this internally mirrored pipe - literally, at the speed of light.

Most optical fibers for communications applications are made of silica glass that consists of a solid inner core surrounded by a cladding layer of glass with a lower index of refraction than the core. The boundary between the core and the cladding causes an internal reflection so that light entering the core at one end remains trapped until it emerges at the other end.

Light sent through the fiber is most commonly generated by either an LED or a laser. These specialized optical transmitters “flash” the light to represent digital binary data, either on or off. The modulated light is sent at very fast data transmission rates, typically from 125 Mbs (millions of bits per second) to 10 Gbs (billions of bits per second)  - and faster. The light “data” passes through the entire length of the fiber and is detected at the other end by an optical receiver that converts the pulsing light back into an electrical signal.

Optical fibers are designed to operate in either “multimode“ or “singlemode” applications. Singlemode fibers will only accept light rays entering parallel to the axis of the fiber’s core. Multimode fibers will accept light rays entering at angles of up to 25 degrees off-axis. By accepting a wider range of angular displacement, the light rays entering at wider angles must travel a longer distance for a given length of fiber.

This difference in distance results in a minute variation in arrival time for light rays entering at different angles. Variations in this arrival time become proportionally greater as the length of the fiber and/or the data rate increases.

Singlemode fiber overcomes this limitation of multimode fiber and can achieve much longer transmission ranges; however, due to the accuracy necessary to produce light entering parallel to the fiber core’s axis, singlemode systems are typically more expensive.

One common concern about using fiber optic cable is its durability. Fiber cable comes with various types of jacketing which can provide equal if not greater durability than its copper equivalents.

A single strand of glass fiber is only slightly larger in diameter than a human hair. Layers of protective material surround this fiber “core.” Standard installed fiber usually comes with a PVC jacket. “Plenum cable,” a higher-rated grade, comes with a fire-retardant coating (usually Teflon) so that it does not give off toxic gasses and smoke should it burn.

“Tactical fiber,” with the highest grade jacketing, is specifically designed for quick and easy deployment in rugged, harsh environments. It’s engineered and manufactured to meet the stringent environmental and mechanical requirements of the U.S. military. These various grades of jacketing provide increasing levels of durability, but all are as flexible as their equivalent diameter copper cables.

The most common types of fiber optic connectors used are “ST” and “SC” connectors. Both can be field-terminated and are the most useful in permanent fiber installations. TFOCA (Tactical Fiber Optic Cable Assembly) and TFOL (Tactical Fiber Optic Link) connectors provide a higher level of durability.

These connectors are designed to be used with tactical fiber in harsh military field applications and have been adapted for use in numerous demanding commercial applications as well.

THE PLUS SIDE
There are benefits to using fiber optic rather than copper cable. Some of the most important advantages concern fiber‘s inherently superior dielectric properties. Because optical fiber has no metallic components, it’s unsurpassed for providing complete electrical isolation as well as noise immunity.

Electrical isolation is most important when it comes to eliminating ground loops. A ground loop is a condition where an unintended connection to ground is made through an interfering electrical conductor.

Generally, a ground loop connection exists when an electrical system is connected in more than one way to an electrical ground. Because there is no electrical conduction through fiber cable, equipment grounded at one end of the connection is completely isolated from the ground at the other end.

Ground loops can be an especially irritating source of headaches in even the simplest sound systems and thus, using optical fiber signal transmission can eliminate these major sources of problems – entirely.

Another advantage of optical fiber is its immunity to external noise. Electrical noise, also known as EMI (electromagnetic interference), and RFI (radio frequency interference), are unwanted electrical signals that produce undesirable effects and otherwise disrupt audio and data systems.

Sources of EMI/RFI include lighting equipment, computers, electric motors, and radio and television broadcasts. Fluorescent lights and power lines are a common source of annoying 60 Hz hum. Lightning can also be a common natural source of audio and data system interference and disruption.

The interference from all these sources modifies and interacts with data signals in metal cables, causing data errors and transient unreliability. Even traditional high-quality “balanced” copper cables are susceptible to EMI/RFI and lightning problems.

The low signal attenuation performance and superior signal integrity found in fiber optical systems facilitates much longer runs for signal transmission than metal-based systems. While single-line, voice-grade copper systems require in-line signal repeaters for satisfactory performance over long distances, it’s common for multimode optical systems to extend to two kilometers (km) - about 1.25 miles - or for single-mode fiber systems to reach up to 20 or more km - about 12.5 miles - with no active or passive processing. Emerging technologies for fiber optics promise even greater distances in the future.

Long, continuous lengths and the small diameters of fiber optic cable runs provide numerous advantages for installers and end-users. Since today’s applications require an ever-increasing amount of bandwidth, it is important to consider space constraints.

It ‘s commonplace to install new fiber optic cabling within existing HVAC duct systems. The relatively small diameter and light weight of optical cables makes such installations both easier and practical and also saves valuable electrical conduit space.

System designers typically plan optical systems that will meet growth needs for a 15- to 20-year life span. Although sometimes difficult to predict, potential growth can be accommodated by installing spare fiber cables for future requirements.

Installation of spare fibers today is more economical than installing additional ones later. In addition, with the use of multiplexing technology, additional channels can be carried over the same fiber cable by simply upgrading the hardware at either end.

As bandwidth demands increase rapidly with technological advances, and prices continue to drop, fiber will continue to play a vital role in the long-term success of more reliable AV transport.

KEY FIBER OPTIC TERMS
Bandwidth: A measurement of the information-carrying capacity of an optical fiber. Note: This term is often used to specify the normalized modal bandwidth (MHz•km) of a multimode fiber. See “Dispersion” (below) for singlemode fibers.

Cladding: The material surrounding the core of an optical waveguide. The cladding must have a lower index of refraction to keep the light in the core.

Dielectric: Non-metallic and, therefore, non-conductive. Glass fibers are considered dielectric. A dielectric cable contains no metallic components.

Dispersion: The cause of bandwidth limitations in a fiber. Dispersion causes a broadening of input pulses along the length of the fiber. Three major types are: 1) modal dispersion caused by differential optical path lengths in a multimode fiber; 2) chromatic dispersion caused by a differential delay of various wavelengths of light in a waveguide material; and 3) waveguide dispersion caused by light traveling in both the core and cladding materials in single-mode fibers.

Electro Magnetic Interference (EMI): Electrical noise, or EMI, are unwanted electrical signals that produce undesirable effects and otherwise disrupt the control and degrade the fidelity of system circuits. EMI may be either radiated or conducted. When the noise originates from a source and travels through the air it is called radiated. Conducted noise travels on an actual conductor, like a power line. The original noise may have been radiated, coupled into the lines, and then conducted.

Ferrule: A mechanical fixture (generally a rigid polymer or metal tube) used to protect and align a fiber in a connector. Generally associated with fiber optic connectors.

Fiber: Thin filament of glass. An optical waveguide consisting of a core and a cladding that is capable of carrying information in the form of light.

Fiber Bend Radius: The radius a fiber can bend before the risk of breakage or an increase in signal attenuation.

Minimum Bend Radius: The amount of bend a fiber (or cable) can withstand before experiencing problems in performance.

Graded-Index: Fiber optic cable design in which the refractive index of the core is lower toward the outside of the fiber core and increased toward the center of the core; thus, light rays are focused inward which allows them to travel faster in the lower index of refraction region. This type of fiber provides higher bandwidth capabilities for multimode fiber transmission.

Wavelength: The distance between two successive points of an electromagnetic waveform, usually measured in nanometers (nm).

LASER Diode: Light Amplification by Stimulated Emission of Radiation. An electro-optic device that produces coherent light within a narrow range of wavelengths, typically centered around 780 nm, 1310 nm, or 1550 nm. Lasers with wavelengths centered around 780 nm are commonly referred to as CD Lasers.

Light Emitting Diode (LED): A semiconductor device used to transmit light into a fiber in response to an electrical signal. It typically has a broad spectral width.

Mode: A term used to describe an independent light path through a fiber, as in multimode or singlemode.

Multimode Fiber (MM): An optical waveguide in which light travels in multiple modes. Typical core/cladding size is 62.5µm /125µm (measured in micrometers).

Multiplex: Combining two or more signals into a single bit stream that can be individually recovered.

PVC: Abbreviation used to denote polyvinyl-chloride. A type of plastic material used for cable jacketing. Typically used in flame-retardant cables.

Plenum: An air-handling space such as that found above drop-ceiling tiles or in raised floors. Also, a fire-code rating for indoor cable.

Radio Frequency Interference (RFI): Electromagnetic radiation which is emitted by electrical circuits carrying rapidly changing signals, as a by-product of their normal operation, and which causes unwanted signals (interference or noise) to be induced in other circuits.

Singlemode Fiber (SM):  An optical waveguide (or fiber) in which the signal travels in one mode. The fiber has a small core diameter, typically 8.3 µm.

Buddy Oliver is a recording engineer with degree in audio engineering. He’s also director, professional audio for FiberPlex as well as the company’s lead engineer for the Light Viper pro audio product line.

{extended}

NSCA Education Foundation, Bosch Award Three $2,500 Scholarships

Students receive assistance to pursue industry education

The NSCA Education Foundation and Bosch Security Systems, Inc., Communications Systems Division have awarded three $2,500 scholarships to students pursuing careers in the commercial electronic systems industry.

Andrew Keil and Wade Kolata were chosen for the Robert Bosch scholarships and Gary Fine was selected as the first recipient of the Monte Wise scholarship.

Keil is enrolled in the Audio Arts and Acoustics program at Columbia College Chicago. He said the constant evolution of technology and the savvy required to stay current as technology advances are what interest him most about the industry. After he graduates, he hopes to start his own contracting company and incorporate all forms of technology.

Kolata is a student in Automated Systems & Robotics at Dunwoody College of Technology in Minneapolis. He gained professional experience as a live sound reinforcement technician and pro audio products specialist in sales and service. Kolata said his lifelong involvement in music was his primary source of hands-on exposure to electronic systems.

“I feel the industry offers me the opportunity to combine my passion for creating and performing music with my keen interest and curiosity in electronics as an applied science,” Kolata said.

Fine is pursuing a bachelor’s degree in Audio Arts and Acoustics at Columbia College Chicago.  He has held several jobs in the industry, working as a house engineer for a music venue and audio technician on a commercial video shoot, in addition to volunteering as a stagehand for Chicago sound companies at large shows. In particular, he finds the live audio industry challenging and intriguing, especially through technological advances and evolving aesthetic needs.

“Bosch is happy to support the future of the industry through these scholarships,” said Daniel Nix, VP of Sales, US South, Bosch Security Systems, Inc., and a member of the NSCA Education Foundation Board of Directors. “These individuals represent the future of our industry and we’re excited to contribute to their success as they prepare to enter our field. Gary Fine, in particular, exemplifies the legacy left by Monte Wise as a talented musician and dedicated scholar.”

In partnership with the NSCA Education Foundation, Bosch Security Systems, Inc., Communications Systems Division offers the Robert Bosch scholarships in memory of Robert Bosch, who founded the Robert Bosch GmbH, a German technology corporation. The Monte Wise scholarship was established in memory of the Bosch systems applications specialist’s untimely death in 2009.

“In conjunction with Bosch, the NSCA Education Foundation is pleased to offer financial assistance to up-and-coming industry professionals,” said Andy Musci, NSCA Education Foundation president. “We look forward to welcoming them into our industry and benefiting from their new ideas and perspectives regarding electronic systems.”

NSCA Education Foundation Website
Bosch Communications Systems Division Website

{extended}

Focusrite Launches New ISA428 MkII Four-Channel Mic Preamp & A/D Converter

New to the ISA428 MkII is a switched-mode power supply, which lowers the internal noise and heat output of the unit, and greatly reduces its weight

New to Focusrite’s ISA range of pro audio hardware is the ISA428 MkII, a premium four-channel mic preamp and A-D converter. The ISA428 MkII supersedes the existing ISA428 and is available at a much more affordable price.

Like its predecessor, the ISA428 MkII features four of Focusrite’s transformer-based ISA preamps. These are the same as those found in the Forte console, used on countless hit records over the past two decades.

Each channel has phantom power and phase-reverse controls, plus switchable input impedance and an adjustable high-pass filter.

Mirroring the feature set of the original model, the MkII also has an optional eight-channel A-D converter upgrade, which converts signals from the preamps and an additional four line-level inputs to 24-bit digital data streams at sample rates of up to 192kHz.

New to the ISA428 MkII is a switched-mode power supply, which lowers the internal noise and heat output of the unit, and greatly reduces its weight — ideal for touring companies and mobile recordists.

The exact same analog circuit board can be found in both the original and MkII derivations of the ISA428.

The most noticeable difference is the removal of the large moving-coil peak meters of the ISA428. Metering duties on the MkII are handled by per-channel, six-step LED bargraph displays, which monitor the signal prior to the A-D stage, providing an accurate status of the preamp’s output level.

Also removed is the soft limiter feature of the ISA428. In light of this, precise calibration figures are supplied in the user manual, to enable accurate system setup. 

Focusrite Director of Product Strategy Rob Jenkins commented, “More and more people are making high-quality recordings outside the traditional studio environment, and they have different requirements to recording studios: they want the same high-quality audio, but in a simpler package.

“So the objective with the ISA428 MkII was to create a leaner, more cost-effective design that maintained the Focusrite sound. The new power supply helped us achieve this, and it actually runs cooler with less noise and interference than the previous model.”

KEY FEATURES
Four ISA-series mic preamplifiers
Focusrite’s flagship preamps, featuring per-channel phantom power, phase-reverse and insert control, and variable high-pass filtering.

Optional eight-channel A-D converter
Featuring the same 24-bit/192kHz A-D technology as the ISA828 preamp, boasting a dynamic range of 122dB.

Switchable input impedance
Lets you change the input impedance, allowing you to match your mic to the preamp Features the ‘ISA110’ setting to provide the sound of the Forte’s ISA110 module.

Hi-Z instrument inputs on each channel
Jack sockets on the front panel allow you to connect instruments quickly.

Switchable balanced insert points
Allowing additional hardware to be linked into the signal chain.

Variable high-pass filter
Uses the same high-quality circuitry as found on the ISA110 to provide adjustable filtering of frequencies between 16Hz and 420Hz.

Accurate LED metering
Six-step metering for all input channels, including the four additional A-D inputs.

The ISA 428 MkII is expected to be available in late 2010.

Pricing:
USA: $1799.99 MSRP / $1499.99 at dealers
UK: £1199.99 inc. VAT Suggested street price
DE: €1689.99 inc Tax MSRP

Focusrite Website

{extended}

HOW-TO Church Sound Workshop Training Sessions Coming To Ohio, Alabama, Missouri

Also coming to New Jersey in September

 
HOW-TO Sound Workshops, dedicated to growing ministries through real-world audio education and applied technology, has announced upcoming training sessions for August 2010 in Ohio, Alabama and Missouri. 

Upcoming Sessions:

August 7
New Connections Church
Lancaster, OH
9 AM to 6 PM

August 8
Kettering Adventist Church
Dayton, OH
10 AM to 6 PM

August 14
Bethlehem Baptist Church
Headland, AL
9 AM to 6 PM

 
 

August 28
Northland Cathedral
Kansas City, MO
9 AM to 6 PM

To register, go here.

Cost to attend is just $159, with groups of 5 or more eligible for a discounted rate of $129 per person. Further, those registering 14 days or more in advance are eligible for a discount rate of $139 per person and $109 per person for 5 or more people.

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

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

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

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

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

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

In addition, HOW-TO will also be presenting a NO-SHOCK-ZONE Clinic, focusing on critical AC/power and electrical safety issues, in Phoenix on Thursday, June 3.

Find out more about HOW-TO Workshops here.

HOW-TO Sound Workshops Website

 

{extended}

Dante Virtual Soundcard Now Available Online

Software solution that turns a PC or Mac into a Dante enabled device, using the Ethernet port on the computer to communicate with a network of other Dante enabled devices

Audinate announced that its Dante Virtual Soundcard is now available for online purchase at the company website.

Dante Virtual Soundcard acts like a physical sound card or audio interface, including the ability to play and record audio using any Windows audio application with standard ASIO multichannel audio support, or any Core Audio Mac application. This includes applications such as Cubase, Nuendo and Logic, and additionally for Mac, more general audio applications such as iTunes.

The Dante Virtual Soundcard may be purchased as a 7-day, 30-day, or permanent license which can be downloaded directly from the Audinate website (direct link here). The Dante Virtual Soundcard is a software solution which turns a PC or Mac into a Dante enabled device which uses the Ethernet port on the computer to communicate with a network of other Dante enabled devices.

No special hardware is required; the Dante Virtual Soundcard is installed on a conventional PC or laptop. As long as there is another hardware Dante device in a network to act as clock master, the Dante Virtual Soundcard can enable the PC or Mac to be a source or a destination on the network.

The Dante Virtual Sounds offers the ability to record and playback up to 64x64 channels from a standard computer without the need for a hardware soundcard.

“When we first launched the Dante Virtual Soundcard, customers were amazed that they could provide the same level of quality of a hardware sound card, but all in software.’ states John McMahon,” Worldwide VP Sales and Support at Audinate. “Since the Dante Virtual Soundcard is connected by IP over Ethernet, customers have the flexibility associated with networks.’

Dante Virtual Soundcard is available for purchase as a permanent license or for or use as a rental licenses for tours using a weekly or monthly rental. 

The cost of a 7-day license is $6.95 USD, a 30-day license is $14.95 USD and a permanent license is $149.95 USD. Audinate is also offering a one-time “Try It For Free” option that will allow users to try the application for 14 days at no cost.

Audinate Website

{extended}