.(JavaScript must be enabled to view this email address)
Article
Thursday, September 30, 2010
Yamaha Integrated Audio System Chosen By IAO Theater
The theater which has hosted many premier acts in its time upgraded the antiquated equipment which had been in use for 50 years.
Opened in1928, the IAO Theater in historic Wailuku Town on the Hawaiian island of Maui recently underwent a complete system upgrade.
Featuring a Yamaha integrated audio system the project was a vast improvement over the antiquated equipment the theater had been using for 50 years.
The IAO Theater was once the main entertainment venue for all of Maui, known for hosting movie premieres, live stage acts including such stars as Bob Hope and Frank Sinatra, and major community events. In 1953, the theater hosted the star-studded Hawaiian premiere of “From Here to Eternity”.
By the early 1980s, both Wailuku Town and the theater were in decline, and after the theater closed, it was seriously threatened with demolition. A community effort to save it led to a million dollar-plus renovation beginning in 1995.
That same year, the U.S. Department of the Interior placed the building on the National Register of Historic Places. Wailuku is regaining its role as Maui’s artistic capital, and the IAO Theater has re-emerged as an important centerpiece.
The Maui Community Theater, also known as Maui OnStage, has occupied the IAO Theater since 1984. One of the longest, consistently running theater companies in the United States, Maui OnStage provides the island with an affordable and accessible place for self-expression, exploration, education and enjoyment of the arts.
This year, and as part of the initial renovation project, the 375-seat theater received a completely new Yamaha integrated audio system. Primary audio system components were purchased through Wind Over the Earth, Boulder, Colorado.
Theater staff, under the direction of local consultant Jonathan Starr and Mickey Houlihan, owner of Wind Over the Earth, completed the installation on schedule and within budget.
The new audio system was designed by Lloyd Kinkade of Yamaha Commercial Audio Systems and includes a Yamaha M7CL-32 digital audio console and two SB168-ES Stage Boxes.
“The automated board with 300 scene memories and built-in effects, along with the digital snakes and stage boxes, provide the latest in technology for running complex theater productions as well as film and live music,” said Starr.” It allows versatility for expansion and high-resolution multi-track recording capabilities, and makes it possible to host diverse and demanding productions with excellence.”
The system also includes two Yamaha Installation Series IF3115/64 tri-amped main speakers, two IS2205s flown and used as side fills, two IS1118 subs along with four IS1108 monitors residing front of stage. Yamaha amplifiers installed include a T5n, PC9501n, and two each of PC6501n and P7000s. A Yamaha SP2060 speaker processor rounds out the Yamaha system.
“Lloyd Kinkade came over to commission the new system and train the staff, said Starr.”
“He got our wonderful old theatre on Market Street sounding great. We were amazed at the level of support the folks at Yamaha provided to make this project such a success. There was absolutely no interruption of theater operations. We were truly fortunate to go with Yamaha all the way.”
Video: Tricks For Mixing Guitar & Drums From Legendary Engineers
In this, a continuation of the Waves Audio Mixing & Tips Series, we showcase tricks from two engineers to help enhance your drum and guitar mixing arsenal.
Lectrosonics Chosen For Location Sound By Joe Knauer
Lectosonics equipment was chosen for its RF agility, range, and build quality.
When your business is capturing sound in some of the world’s toughest locales, such as the jungles of Nicaragua or on the slopes of Mount Everest, there is usually only one chance to get it right.
Considering the perilous working conditions—for both man and machine—these are not the places for temperamental electronics.
That’s precisely why location sound engineer Joe Knauer relies on his arsenal of Lectrosonics wireless microphones.
Joe Knauer and his four associates operates Joe’s Location Sounds, a firm dedicated to sound recording services for TV, commercials, and feature films. Joe got his start in this business as an ENG (Electronic News Gathering) camera assistant—where he was responsible for all aspects of sound.
Over the years, he’s worked on numerous documentary films and television shows in remote and desolate locations
.
Joe’s arsenal of Lectrosonics equipment is extensive. Currently, he has ten sets of Lectrosonics UCR511 (the European spec UCR411) receivers and UM500 (the European spec UM400) beltpack transmitters.
For communication between production crew and talent, he also uses the Lectrosonics IFBT4 compact IFB transmitter with two R1a beltpack IFB receivers. His associates, Roland Winkler and Axel Traun, also have several sets of UCR 511/UM500 receivers – transmitters, along with SMa super miniature beltpack transmitters, HM plug-on transmitters, plus UCR401 compact receivers and an SR dual channel slot mount ENG receiver.
Collectively, the Joe’s Location Sounds crew has access to a total of twenty sets of transmitter/receiver equipment—all of it employing Lectrosonics’ highly acclaimed Digital Hybrid Wireless technology.
“I’m very impressed with the fact that the Lectrosonics equipment makes it easy to change frequencies,” said Knauer. “Further, the fact that this equipment routinely operates in a variety of harsh conditions such as heavy rain, hot sun, dirt, and sand is equally impressive.”
“On The Wildest Dream, a documentary for cinema that follows Konrad Anker and Leo Houlding up onto Mount Everest, the recording of the sound files was done on the north shoulder of Mount Everest at an elevation of roughly 7000 meters,” Joe said.
“The climbers, however, went up to the summit and main filming took place at about 8600 meters. Operating over this far a distance was quite a challenge, but with technical assistance from Lectrosonics’ Larry Fisher, we were able to build a system that handled the situation perfectly.”
“My Lectrosonics equipment has endured some of the most brutal conditions I can imagine. We’ve actually had to dump water out from the equipment’s housing on a few occasions, but after letting them dry, the gear was ready to work in the morning.”
“I’ve had a really positive experience with my Lectrosonics gear and I’m planning on updating it to European versions of the SMa, UCR411, and SR models once they become available. You just can’t beat Lectrosonics.”
Further changes from the FCC in spectrum allocation.
In late September, the U.S. Federal Communications Commission (FCC) announced that TV Band Devices (TVBDs) - unlicensed next-generation consumer products working on new types of “Super WiFi” - will be allowed to operate in the unused UHF core TV spectrum or “White Spaces.”
At the same time, two 6 MHz TV channels are reserved for the use of unlicensed wireless microphone systems, and there’s a secondary haven for wireless mics in the low end of the UHF spectrum.
Specifically, the FCC’s “Second Memorandum Opinion & Order” states that the first channels on either side of TV channel 37 that are unoccupied by broadcast television stations will allow protected operation of an estimated minimum of 12 to 16 wireless mics. TV channel 37 is the unused channel that is already reserved for radio astronomy.
The second safe haven for wireless mics is in the lowest UHF channels, TV 14 to 21 (470-512 MHz), where mobile TVBDs are prohibited.
Jacksonville, FL, low- and midband wireless system “safe havens”: TV 18, 20, 36 and 38.
In addition, fixed TVBDs aren’t allowed in TV channels adjacent to broadcasters.
For example, in my home base of Jacksonville, FL, WTE V TV channel 19 provides a safe haven for wireless mics in TV channels 18 and 20 (494-500 and 506-512 MHz).
In many major metropolitan areas there’s at least one broadcaster below TV 21 providing one or two 6 MHz safe havens.
In 13 FCC-defined “major economic areas,” the requirement that fixed TVBDs avoid channels adjacent to both TV stations and public safety agencies opens up even more spectrum between 470 and 512 MHz.
These areas are the cities of Boston, Chicago, Cleveland, Dallas, Detroit, Houston, Los Angeles, Miami, New York, Philadelphia, Pittsburg, San Francisco and Washington DC, and they will have two to four safe channels for wireless mics.
Several manufacturers recently added new frequency groups to one or both sides of TV 37, or below TV 21. Unless you plan on making a living providing large-scale wireless systems, there’s not a huge need to buy new systems outside of the adjacent-TV 37 or sub-TV 21 safe havens.
Large event managers, licensed and unlicensed alike, will need to register wireless equipment for their events in the FCC’s database 30 days in advance, and must include specific days and times when the equipment will be used.
Submitted RF plans must show that all available protected spectrum will be used at the full capacity of 6 to 8 units per TV channel in order for the FCC to protect the use of additional spectrum for wireless mics beyond the safe havens.
Non-compliance will result in being removed or not being allowed to register in the database. This means that mid- and lowband safe haven UHF wireless system inventory will always be in demand, as it will be needed for both large and small events.
Finally, I’d like to point out that there’s a large tax benefit available for 2010 that will get much smaller for 2011.
Under the HIRE extension to Section 179 of the U.S. Internal Revenue Code, up to $250,000 of equipment purchases can be written off, but the maximum deduction drops to $25,000 in 2011.
In order to receive a tax benefit for 2010, you must buy equipment and put it into service before year’s end.
Given that there’s a small number of desirable frequency groups going forward, waiting until the end of December may find your new equipment back-ordered and therefore making you unable to claim that benefit.
As always, be sure to get your tax - and wireless - advice from qualified professionals.
Mark Frink is editorial director of Live Sound International.
The 552 was nominated for Outstanding Technical Achievement in the small format console technology category.
Sound Devices has announced that the 552 Production Mixer has been nominated for a Technical Excellence & Creativity (TEC) Award for Outstanding Technical Achievement in the small format console technology category.
Sound Devices 552 Production Mixer is the company’s first to feature a fully integrated digital audio recorder.
Ideal for both simple run-and-gun applications and in complex multi-input/multi-output production setups, Sound Devices 552 is an extremely portable audio mixer.
Designed specifically for professional sound engineers, Sound Devices 552 contains five precision, high-dynamic range, transformer-balanced microphone inputs with expanded gain and headroom.
The studio-grade inputs have their own limiter, sweepable high-pass filter and pre- or post-fade direct output.
At the heart of each microphone input lies a high-performance Lundahl input transformer, which provides freedom from interference in even the most severe RF and EMI environments that are encountered in the field.
“We are honored to once again be nominated for a TEC Award in the Outstanding Technical Achievement category, this year for our new 552 Production Mixer,” says Jon Tatooles, managing director of Sound Devices.
“It’s very rewarding to be recognized year after year by such a prestigious organization for our dedication to developing innovative products specifically for field and on-location recording.”
Q: I was reading the site recently and decided I wanted to start repairing and making some of my own cables.
However, I came upon a term which I’m sure is such common knowledge that I’m sure my question really shows my ignorance.
What is “tinning”?
I know it’s part of the soldering process, but I’m kind of hoping you could explain why it’s important, etc.
Thanks!
A: Thanks for the question!
While it is common knowledge, there’s no reason for you to know what tinning is unless you’ve soldered before.
To answer your question, tinning is the process of pre-applying a layer of solder to a wire before it is actually soldered onto another wire, component or circuit board.
The idea is to apply solder to the bare strands of speaker wire, consolidating them into one easier-to-manage unit.
For example, if you’re soldering an XLR connector, it’s a good (most would say required) idea to tin leads of your wires and connections before making the final connection.
This make the final step of the connection simpler, and also keeps errant pieces of wire under control within the tinned piece of the conductor.
As always, we welcome input from the PSW community and would love to know your thoughts on soldering. Feel free to let us know in the comments below.
Earthworks Announces Improvements & Additions To FlexMic Series
The improved podium mic line now features RFI rejection and new models.
Earthworks, Inc. has announced several improvements in the FlexMic Series of microphones.
Designed specifically for use as podium microphones, the FlexMic Series offers numerous versatile features and options that make these microphones the ideal choice for public speaking venues.
This makes them perfect for integration into lecture halls, presentation spaces, churches, civic centers, theaters, and government facilities.
The newly revised Earthworks FlexMic Series consists of three basic product groups with a variety of models within each group to ensure the best microphone choice for any given application.
The redesigned original FM Series incorporates six models with fully flexible goosenecks in three lengths with the choice of either cardioid or hypercardioid polar patterns.
The FMR Series includes four models in two lengths with goosenecks that have a rigid center and flex at both ends—available in cardioid or hypercardioid.
The FMLR Series microphones also have a rigid center and flex at both ends in addition to a light ring to indicate the microphone’s on/off status and are available in cardioid or hypercardioid models.
Earthworks’ technologies incorporated in the newly revised FlexMic Series models provide a high level of speech intelligibility and uniform off-axis response to insure that the orator is heard clearly and distinctly, with no loss in sound quality, when speaking either at the front or at the sides of the microphone.
The FlexMics offer uniform frequency response at 0-degrees on-axis as well as at 45- and 90-degrees off-axis. This off-axis response and high rejection of sounds from the rear of the microphone also provides more gain before feedback.
The RFI performance of the redesigned FlexMic Series microphones is the result of Earthworks new, RFI Freedom circuitry. This new circuitry was designed to provide complete isolation from radio frequency interference.
In today’s challenging wireless environments, cell phones and other GSM devices are no match for Earthworks’ new RFI Freedom circuitry. Sound system integrators needn’t worry about buzzes, hums, and other radio communications compromising the FlexMic’s exemplary performance.
“Our improved FlexMic Series, which was recently deployed as part of a substantial facility overhaul at the Louisiana State Capital, offers a high level of performance that results in clearly understood dialog—making these microphones a terrific choice for environments where public speaking is common,” said Michael Hurwitz, Earthworks National Sales Manager.
“Whether it’s a boardroom, a lecture hall, a church, or a similar environment, the FlexMics offer today’s orator the clarity and dynamic range that enables them to sound completely natural and be clearly understood.”
Self-Powered L-Acoustics Boxes Chosen By Shepherd Of The Hills
The P Series boxes have performed very well and the positive comments have been continual.
With over 7,000 weekend worshippers and four independent “plant” churches spread throughout the Los Angeles area, Porter Ranch-based Shepherd of the Hills Church is a growing house of worship.
To accommodate its ever-increasing attendance these days, the pastoral and music teams at the church’s flagship location host seven services each weekend in their 1,500-seat sanctuary, which is now home to a self-powered P Series loudspeaker system from L-Acoustics.
Prior to the installation, the church had purchased compact, highly-portable P Series enclosures for several of its satellite locations.
Hal Sacks, Shepherd of the Hills’ director of media arts, and his team were so pleased with their performance that they contacted at L-Acoustics about putting together a new system for their main sanctuary in Porter Ranch.
Together, Sacks and Palmer created a SoundVision model of the sanctuary and came up with an entirely self-powered system design featuring three central arrays – each consisted of just two 112P – hung from the ceiling as a distributed system.
A total of eight 108P are flown from the truss beams as fills, while four SB15P are positioned at the front of the room to deliver LF reinforcement.
Despite the diminutive size of the enclosures deployed, L-Acoustics’ 3D, real-time acoustical design software proved that the loudspeaker arrangement would produce surprisingly exceptional coverage.
The church agreed to the plan and US Audio and Lighting of North Hollywood was called upon to facilitate the sale and installation of the system, which has more than lived up to everyone’s expectations.
“Even though our sanctuary is a difficult room to tame acoustically, the P Series boxes are performing very well and the positive comments have been continual,” says Sacks. “It’s a smooth, warm and rich-sounding system without hype.”
“Another important factor in our decision to go with L-Acoustics was due to the fact we had rented a KUDO system from US Audio several years ago for our Easter Passion Play run.”
“Although it was really overkill for our room, the thing that I enjoyed most about the KUDO boxes, as I do with the P Series, is that you don’t have to drive the system hard for it to sound great!”
“Whether the music is orchestral, R&B, rock or pop, all of these styles ‘breathe’ through these systems. The bottom line is that L-Acoustics makes an excellent product and their people have been great to work with.”
DiGiCo Announces Winner Of The 500th SD8 Console Contest
The contest attracted entries from across the globe and raised in excess of £30K.
Launched at PLASA2009 and the winner drawn at PLASA2010, DiGiCo’s 500th SD8 console competition in aid of the families of John Roden and Jim Douglas, attracted entries from across the globe.
The lucky winner hails from DiGiCo’s home turf.
Matthew Cotton, from Southampton, collected his one-of-a-kind SD8 from the DiGiCo offices on September 22 and could not be more delighted with his windfall.
“I didn’t believe it when David Webster [DiGiCo’s marketing director] called to say that I’d won,” grins Matt.
“It was only when a friend from Entec, who was with Noreen Roden at the show when she made the draw, rang me that I knew it was true.”
Monitor engineer Matt is a fitting recipient for the console as both John and Jim graced the monitor position of many a high profile tour.
“We’re really pleased the console is going to a fellow engineer,” says DiGiCo managing director, James Gordon.
“We’ve raised in excess of £30K in total, which will be divided equally between John and Jim’s families, and to know that this special console has gone to someone who understands exactly what these guys were about is perfect.”
“It still hasn’t quite sunk in,” said Matt as the DiGiCo team helped him load the SD8 into his van, although it did become a bit more real when my wife, who has worked in lighting and has an idea of the size of desks, asked me where I was going to put it!
“This really has come at the perfect time for me. I used an SD8 earlier on this year on the Australian Pink Floyd tour and I loved it, so I’m really looking forward to getting it home and having the chance to get to know it all over again.”
”I’m delighted for Matt,” says Noreen O’Riordan, John Roden’s partner.
“And the fact that we’ve worked together on Aussie Pink Floyd means that my lighting boxes might be snuggling up to this special edition console in the back of a truck sometime soon.”
“I’m as pleased as could be that Matt is a sound engineer like Jim and John and that he’s even from the same neck of the woods,” adds Jim’s wife Carol. “It couldn’t be more fitting.”
Quote meon an estimate et non interruptus stadium. Sic tempus fugit esperanto hiccup estrogen. Glorious baklava ex librus hup hey ad infinitum. Non sequitur condominium facile et geranium incognito.
