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Friday, July 30, 2010

St. Mark The Evangelist Upgrades System With Tannoy Qflex Array Loudspeakers

Dickensheets chose the Tannoy QFlex 24 steerable array because of its excellent sonic quality and ability to focus the acoustic energy exactly where it’s desired

St. Mark The Evangelist Catholic Church, a thriving parish in San Antonio, has been outfitted with a dynamic new sound reinforcement system headed by Tannoy Qflex Series self-powered, digitally steerable column array loudspeakers working in tandem with Tannoy CMS Series ceiling loudspeakers.

Dickensheets Design Associates, from Austin, Texas, was retained to design the new system. Consultant Ken Dickensheets has enjoyed a long working relationship with St. Marks and was responsible for the design of the original sound system which was installed when the main sanctuary was built back in 1997.

“The system had to accommodate a new pipe organ and address system needs for the more contemporary service that they offer on Saturday evenings,” explains Dickensheets. “Like many churches, the space had many reflective surfaces. It is always a challenge to create a system that provides musical clarity as well as vocal intelligibility.”

Dickensheets chose the Tannoy QFlex 24 steerable array because of its excellent sonic quality and ability to focus the acoustic energy exactly where it’s desired.

“The extreme steering capability was key,” says Dickensheets. “The speaker had to be mounted within the new organ chamber and provide coverage almost directly in front of the head wall of the sanctuary. The quality of musical sound and speech intelligibility were very impressive as well. It sounded great.”

As a self-powered loudspeaker, the QFlex 24 it was easily built into the new structure which was designed to accommodate the pipe organ behind the chancel. In the end it was virtually invisible to parishioners – another request from the church leaders and architects.

To fill in the rear and sides of the church, Dickensheets used the existing distributed ceiling speakers along with 18 Tannoy CMS 6TDC ceiling speakers. The CMS 6TDCs feature custom cans built by Tannoy that match the church’s lighting fixtures and blend seamlessly into the church architecture.

The entire distributed loudspeaker system was then rewired to accommodate dual delay zones originating from the chancel and the choir area simultaneously.

“Like most churches, St. Marks had a limited budget,” adds Dickensheets. “So in addition to the ceiling speakers we repurposed the original loudspeakers from the old center cluster as source speakers for the choir area. One of the subwoofers from the cluster is co-located with the Qflex array while the other is installed along with the source loudspeakers in the choir area.”

In the main seating area near the center rear of the sanctuary is the FOH mixing area equipped with a Roland V400 digital mixer. The ministerial mics are automixed by a Biamp AudiaFlex system which also handles all of the cross-source delays and system processing.

QSC power amplifiers power the distributed system and the choir source loudspeakers. The amps and controller are located in a rack in the sacristy behind the alter area.

“Sound Distributors, also located in San Antonio, did an excellent job installing the system,” notes Dickensheets. “B&A Architects provided the architectural work needed for the organ installation. It was a great team effort with outstanding results.”

Tannoy Website

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Musician/Producer Kevin Brandon Uses CAD Microphones For New Robby Krieger Album

CAD Trion 8000 multi-pattern tube condenser mics on acoustic bass and Kreiger’s classical acoustic guitar parts, and more

Kevin “Brandino” Brandon, a noted bass session player based in Los Angeles who has played with a wide range of top artists - Ray Charles, Aretha Franklin, Stevie Wonder, Gladys Knight, Mary J. Blige, Justin Timberlake, Beyonce and Outkast among them - has also recently worked as a producer on Robby Krieger’s new solo disc, “Singularity” on Oglio Records.

Brandino chose CAD microphones for two tracks on the new album, “Event Horizon” and “Russian Caravan,” opting for a stereo pair of CAD Trion 8000 multi-pattern tube condenser mics on his acoustic bass to get, in his words, “That ‘booty bass’ sound which is full-sounding, big bodied, warm and natural. The sound I’m known for in town.” He also used the Trion 8000 for Robby’s classical acoustic guitar parts.

In addition to CAD percussion microphone packs on Steve Stephens’ drums, Brandino also used his bass setup on the other track, “Russian Caravan,” along with CAD M179 variable pattern condenser mics and a Trion 7000 ribbon mic for the Brandon Horn Section, which included Thomas Stones III on flute, Albert Wing on tenor sax and Sal Carrachio on trumpet, and Eric Jorgensen on trombone.

A long-time fan of CAD Audio, Brandino sums up his feelings about the mics by saying, “I can always depend on CAD to sound really great in most any recording or live situation. They’re my go-to mics.”

CAD Audio/Astatic Commercial Website

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Bosch DCN Conference System Brings Advanced Capabilities To Student Union At Ohio State University

Each unit combines two independent microphones and two five-button voting panels with a single speaker that is auto-muted when a participant speaks

When the Student Union at Ohio State University set out to replace its aging campus home back in 2000, the vision was to create a 21st century center for student life incorporating the best ideas from campuses across the country.

After a decade of planning and construction, the Student Union finally realized its goal during the Spring 2010 term, when a brand-new building opened to the student body at the Columbus, OH campus.

Among the largest and most comprehensive student union buildings in the nation, the Ohio Union at OSU is an LEED Certified Green Building packed with meeting rooms, performance halls, food and retail outlets, spaces for creative and leisure activities, administrative offices, and spaces for both student services and student government.

Among these is the Senate Chamber, a tiered conference room combining traditional Senate-style seating with state-of-the-art meeting technology featuring the Digital Congress Network (DCN) from Bosch.

Seating five at its dais and 80 in a concentric series of gently terraced semi-circular tables, the Senate Chamber is designed for meetings where the emphasis is not simply on presentation from the front but rather on lively discussion amongst all attendees.

Facilitating full participation from every seat in the house was the task of designer Bill Kistler, Associate at the Dallas-based AV consulting firm Wrightson, Johnson, Haddon & Williams, Inc. (WJHW). Kistler had to ensure that the conference system was easy to use and delivered maximum intelligibility, while also providing voting capabilities and integrating smoothly with the room’s video systems.

Zenith Systems of Bedford Heights, OH installed the system, overseen by Jim Koeliker (Project Manager), Joe Ockuly (Lead Systems Engineer), and Kevin Wenderoth (Director of AV Solutions).

At the heart of the conference system are Bosch DCN NEXT GENERATION components designed to handle speaking, listening, and voting using a single flush-mounted unit for every two seats at the audience tables. Each unit combines two independent microphones and two five-button voting panels with a single speaker that is auto-muted when a participant speaks.

“We like the Bosch form-factor,” Kistler says, “because the design allows us to fit in everything we need without impacting the working or writing surface of the table. We didn’t have a lot of table depth to work with, so we needed something that wouldn’t crowd the space. The other available options don’t offer such a slim profile and don’t cover two people with a single station.”

Kistler also liked the fact that Bosch’s dual-delegate stations could be combined in the same system with the single-delegate units that were appropriate for the dais.

“The audience-table units are installed,” Kistler says, “but the units for the panel discussion table have to be portable so that they can be unplugged and cleared away when the table space is needed for other things. So we needed the flexibility of a manufacturer that offered not just a built-in and not just a table-top, but rather both options within a single system, so they can both be operated by the same head-end controller.”

The capabilities of the Bosch DCN-CCU Central Control Unit were particularly important because the system is designed to automatically coordinate both microphone switching and voting with the switching of a video feed for both in-room projection and video conferencing.

“DCN NEXT GENERATION provides the interface and the hooks to allow the user panel to output all its microphone and voting functions to the control system,” Kistler says. “That enables an integrated system that can be operated with a very hands-off approach. The leader does not have to watch over the system as much as with other systems. For example, the ability to press a single button for voting mode and have the system take over from there is very nice.”

The ability of the DCN-CCU to communicate via open API with the room’s Crestron controller allowed Kistler to design a system with simple operation but sophisticated capabilities.

“The video image from the cameras defaults to the front table, unless one of the audience stations requests to speak,” he says. “Then, depending on the speaker’s location in the room, one of two cameras auto-tracks to that seat position and the switcher auto-activates that camera’s video. For voting, the chair can choose whether the voting results are viewed only on a front table touch screen controller or also on the main projection screen. If results are sent to the projection screen then the video is scaled to make room for the display of results along the left side of the screen.”

In terms of installation, Kistler says he particularly likes the fact that the stations can be connected in series. “There’s basically one cable running out to a given table, and then it daisy chains to all the other devices down that table.” Wenderoth agrees, saying that “the system was very straightforward to install. Bosch provides a lot of documentation and information about integrating all the components, and their tech support was particularly helpful with information about addressing each station from the controller.”

Wenderoth adds that his clients at OSU are very happy with the way the Senate Chamber turned out, both aesthetically and operationally. “It’s definitely a very impressive room,” he says. “The Bosch system is a very sleek and stylish technology, so it provides a high-tech look. And the room gets a lot of use, so we’ve gotten a lot of feedback.  The University has expressed to us their pleasure with the Bosch system’s ease of use, as well as with the overall quality of the user experience.”

Bosch Website

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Current Tour By Imogen Heap Taking Advantage Of Avid VENUE & Pro Tools In Multiple Ways

Tracks recorded live, mixed, and made available online for paid download, with proceeds going to local charities

Grammy-winning artist Imogen Heap (Best Engineered Album, Non-Classical) who’s also a classically trained musician, producer, songwriter, and multi-instrumentalist, has enlisting the help of two Avid VENUE digital mixing systems—and her fans—to help in her latest charity efforts on her current “Ellipse” world tour.

In a move that leveraged the reach of her fan-base, Heap went online to audition musicians, interact and collaborate with fans, and even have fans vote on set lists for each date, all in preparation for her tour, which began in late 2009 and continues through most of this year.

She took it a step further at a London performance in February, where she improvised a song, later christened “The Shepherdess,” where the audience chose the key, tempo, and time signature immediately before the song began. The track was recorded live, mixed, and made available online for paid download, with proceeds going to a local charity.

The experiment worked so well that Heap decided to repeat the improvisation on subsequent dates of the North American leg, earmarking local causes at each show to benefit from the downloads.

To create the songs, Heap’s monitor engineer, Mike Benson, records each track into Pro Tools LE through his VENUE Mix Rack System.

“It’s a simple but powerful setup,” he says. “I just run a couple of FireWire cables from the back of the Mix Rack into a laptop running Pro Tools [that’s connected to] a portable hard drive. [Pro Tools] sees the Mix Rack as an Avid audio interface. I can choose a combination of up to 18 input, output, and FX return channels to record.”

Benson favors many of the included VENUE plug-ins for monitor mixing. “I’m loving the Smack! compressor plug-in, and I’m using the Dynamics III compressors as ear protection for the in-ear monitors,” he says. “I’m also using the De-Esser to take the edge off the electric guitar sound without affecting the other sounds that come down the same channels.”

Engineer Tom Evans mixes front of house for the show on a second VENUE Mix Rack System, and afterwards also mixes the improvised track using a MacBook Pro running Pro Tools LE software.

According to Benson, the integration between Pro Tools and the VENUE systems makes moving the tracks between systems a seamless process. “Taking the tracks I’ve recorded and moving them to Tom’s Pro Tools rig is as straightforward as it gets. Typically, by the time the truck’s packed, he’s got his headphones on and is working on the edits.”

“After the show, I drop the audio files into a template, based on the initial mixes, with approximate settings for EQ, compression, and plug-ins,” explains Evans. “I normalize the tracks to ensure consistent levels between shows, then I do a preliminary mix, putting in some initial automation, cleaning up noise, and adding effects such as delay and reverb.”

The rest of the process is equally simple. “Once I’ve done the preliminary mix, Imogen has a listen, and we discuss where to edit the track to create a short version,” says Evans. “Then we create both a full-length ‘warts and all’ version and a shorter, edited version. Usually, the next day I’ll have another listen with fresh ears, complete the mix, and upload bounces to Kelly [their mastering engineer] for mastering. Kelly’s input is particularly important, since I’m only referencing on headphones, so it’s good to have someone check the mix on speakers.”

Sales of the improv performances, posted at www.imogenheap.com/charity, have been brisk enough to raise funds for a wide range of causes, from flood relief in Nashville and food banks in Denver to hospitals and conservation groups. Heap hand-picks, from her fans’ suggestions, each charity to reflect a local edge, further inspiring fans to give back to their own communities. In fact, a download of one particular track fetched a $1,000 donation.

“The ability to make these tracks available for people so soon after each show—while it’s still fresh in their minds—has certainly gone a long way toward furthering our efforts,” says Heap. “Pro Tools and the VENUE systems have played a big part in helping us to reach our goals.”

Avid Website

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Altinex Debuts New Combination Interconnect Box & Switcher Package

Applications include boardrooms, classrooms, presentation spaces, and other locations where the ability to share information is critical

Altinex has introduced a new collaborative workspace package consisting of the TNP221 tilt ‘n plug interconnect box and the UT250-101 under table matrix switcher, which together provide convenient patching in of a laptop computer and selection of a specific display device for sharing information. Applications include boardrooms, classrooms, presentation spaces, and other locations where the ability to share information is critical.

The Altinex TNP221 interconnect box provides an aesthetically pleasing, hi-tech, sophisticated means of patching into a presentation system. Incorporating a VGA computer video (15-pin) port, a stereo 3.5mm mini-jack for audio follow, a USB connector, an RJ-45 Ethernet CAT-6 connector for network access, plus an AC power connection, the TNP221 makes it a snap to connect one’s laptop computer for a presentation.

Additionally, the bezel of the TNP221 provides two buttons positioned along the right side of the unit’s bezel that enables the presenter to select monitor #1 or monitor #2 via the UT250-101 Under Table Matrix Switcher. This system accommodates as many as eight TNP221 interconnect boxes—enabling users to display their work on separate monitors.

Accessing the TNP221’s various ports is quick and easy. Push down on the front of the unit’s top cover and the TNP’s latching mechanism releases—enabling the pneumatic spring to raise the TNP221 into position. Simply make the connections to the appropriate ports and that piece of equipment is patched into the presentation system and ready for business.

Working in tandem with the TNP221, the UT250-101 is an 8x4 VGA computer video and audio matrix switcher that provides easy routing and management of multimedia signals from multiple laptop computers and document cameras via a single, convenient location under a table.

The UT250-101 provides eight VGA-UXGA computer video inputs and eight 3.5mm stereo inputs—perfect, for example, for taking the external video monitor feed from multiple laptop computers along with the audio outputs for accompanying audio signals. Now, multiple participants in a business meeting can “patch in” their laptops and easily route their presentation to a projector or video display without disrupting the continuity of the meeting.

The UT250-101’s eight video inputs can be routed to any of four video outputs via dry contact switch ports or using RS-232 control. The audio inputs accept both left- and right-channel signals, and then combine them to create a single balanced mono audio signal.

In addition to standard video and audio outputs, the Altinex UT250-101 also has four integrated Twisted Pair (4TP) transmitters for transmitting the video and audio signals over long distances to remote multimedia presentation systems. This carries the advantage of using CAT5 cable for those long runs as opposed to VGA cable—thus easing the process of running lines through walls and conduit while utilizing a lower cost cable type. The four Twisted Pair outputs can transmit video and audio signals to all Altinex Twisted Pair receivers.

When used in conjunction with the TNP221 interconnect box, the UT250-101 offers some additional highlights, including Auto-Switching and Display On/Off. With Auto-Switching, if the UT250-101 senses a new input, the device automatically switches that new signal to output #1. This feature can be disabled using RS-232 and can be overridden by the TNP221’s push-button switch.  For Display On/Off, the UT250-101 can be programmed so the RS-232 port will send a power-on command to the display device when the first input signal is detected.  When a period of time passes and no activity on the input ports, a power-down signal will be sent to the display device for shutdown.  This feature is enabled/disabled via RS-232.

Phil Hale, Altinex Vice President of Sales and Marketing, states, “The new Collaborative Workspace Package is the ideal system that enables multiple people to share their ideas when collaborating on team projects. This package not only makes it a breeze to patch one’s laptop computer into the presentation system, it enables two people at a time to display their materials on two separate monitors so those in attendance can compare and share ideas. It’s the perfect means of facilitating multiple perspectives to not only share information, but to also reach consensus.

“As multiple people access the system, the UT250-101 matrix switcher looks at the last signal to route content to the displays—enabling users to easily display their work when asked to do so. With its hi-tech, flush mount appearance, the TNP221 interconnect box presents a sophisticated appearance that blends seamlessly into the aesthetics of the most upscale presentation space. I’m confident integrators and end users alike will find much to like with this new system.”

The Altinex TNP221 and UT250-101 carries a MSRP of $495 and $1,495 respectively. The UT250-101 is available now while the TNP211 will be available by August 31, 2010.

Altinex Website

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Crown Audio Appoints Daniel Saenz To Position Of Market Manager For Installed Sound

Working directly with customers to support design and development of installed systems and deployment of Crown amplifiers for install applications

Crown Audio has appointed Daniel Saenz to the position of Market Manager, Installed Sound, where he will be responsible for working directly with customers to support design and development of installed systems and deployment of Crown amplifiers for install applications. He will report to Vice President of Marketing, Marc Kellom. 

Prior to joining Crown, Saenz served in multiple roles at AV consulting and design firm Pelton, Marsh, and Kinsella, LLC, most recently as Senior Director of Marketing and Business Development and managed the Las Vegas office. In this role he was responsible for marketing acoustics, AV, telecommunication and security services as well as consulting on major projects in the Las Vegas market. These projects ranged from hotels to theaters/showrooms and education facilities.

With Pelton, Marsh, and Kinsella, LLC, Saenz was a co-founder of the firm’s marketing committee which handled the firm’s marketing efforts nationwide from its Chicago, Dallas, and Las Vegas offices. 

“At Crown we understand the need to educate our customer base on the best practices for system design and installation. Daniel brings more than 10 years of valuable experience working on the biggest and most intricate installed sound projects in the country. His understanding of project management, sound reinforcement, and technology will prove to be a valuable resource to our customers,” states Kellom.

“It’s an honor to join a company like Crown that is known throughout the industry as an innovation leader. Throughout my time as a consultant, I became very familiar with Crown and the quality of products the company delivers across a broad range of markets, including installed sound,” says Saenz. 

Saenz holds a Bachelor’s Degree in Audio Arts & Acoustics from Columbia College of Chicago and an MBA from the University of Nevada, Las Vegas. 

Crown Audio Website

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