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Friday, May 08, 2009

Martin Audio Debuts ASX Powered 21-inch Installation Subwoofer

The complete system is rated to deliver 152 dB peak output (measured) from a single enclosure

The new Martin Audio ASX is a floor-mounted active installation subwoofer capable of producing extremely high sound pressure levels from a single low-frequency enclosure housing a single drive unit.

The ASX subwoofer, particularly recommended for premium club installations, stadiums, and special effects applications at theme parks, will be on display at the Martin Audio demo room (#W202C) and booth (#6501) at the upcoming 2009 InfoComm show in Orlando.

The enclosure of the ASX measures (W) 46.85 in x (H) 23.62 in x (D) 46.85 in, and it houses a patented 21-inch transducer, Class D amplifier with 8.5 kW peak power, and full DSP. Combining the transducer, amplifier, and DSP considerably increases output capability in comparison to a conventionally driven loudspeaker driver of the same size.

When incorporated into a Martin Audio Hybrid horn design, the complete system is rated to deliver 152 dB peak output (measured) from a single enclosure. In addition, Martin Audio’s adaptive control loop technology maintains linearity up to the maximum output level and power compression is virtually eliminated.

Key Features:
—Hybrid large folded horn and ported design (-3 dB @ 30 Hz)
—Single 21-inch (530mm) driver with 6-inch (150mm) voice coil driver offering 2.4-inch (60mm) peak-to-peak excursion
—Switched mode power supply with PFC (Power Factor Correction) and global mains voltage operation
—On-board DSP providing delay, EQ and filtering as well as amplifier and driver excursion limiting
—PC-based software application for parameter configuration

Martin Audio Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Thursday, May 07, 2009

TSI Global Installs EAW Loudspeakers Throughout Distributed System Serving New Citi Field

A key system element is a customized version of EAW's full-range AX364-210 arrayable install loudspeaker

Citi Field in Flushing, Queens, the brand-new 42,000-seat home of Major League Baseball’s New York Mets franchise, features a state-of-the-art distributed sound reinforcement system headed by more than 550 EAW MK and AX Series loudspeakers. 

The system was installed by St. Charles, Missouri-based integrator TSI Global Companies, with design by consultants WJHW of Dallas. The result is a highly focused system that is consistent in quality of sound and intelligibility from the top row to the field boxes.

A key system element is a customized version of EAW’s full-range AX364-210 arrayable install loudspeaker, with its 60-degree x 40-degree horn modified to fire simultaneously forward, down, and to the rear. A pair of 10-inch woofers were also added to the cabinet, aimed downward to cancel low-frequency buildup in what is, essentially, an architectural bass trap. Three of these modified enclosures are installed at the clubhouse level, solving a coverage dilemma at one of the stadium’s most challenging spaces.

Other notable aspects include a large number of underbalcony speakers, with the entire system time-aligned vertically through the upper and middle-tier levels, a process helped with the use of Smaart optimization software. Smaller clusters made up of various combinations of EAW MK5396, MK5364 and MK2396 two-way full-range enclosures serve seats on the field’s main level and outfield seating sections.

“This was an immensely complex and challenging system, engineered to accommodate a sophisticated architectural design, and EAW products are at the core of the solution,” says Paul Murdick, Vice President of A/V for TSI Global. “The modifications that EAW were able to execute on their AX364 enclosure met the specifications laid out by WJHW to a ‘T.’

“As a result, those boxes are key to the overall consistency of the sound throughout the stadium, even in challenging locations. And the Smaart software made certain that the time alignments were precise and consistent from top to bottom. Thanks to EAW, there truly isn’t a bad seat in the house.”

EAW Website

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Photo File 1: EAW_CitiField1.JPG

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First Installation of Allen & Heath’s New iLive-T Digital Console At Victory Christian Church

Church makes the move from portable to permanent and from analog to digital with iLive-T

When Allen & Heath announced the availability of the lower priced iLive-T digital mixing system in January, President Dan Redman of Spinnaker Multimedia Solutions in Malvern, PA, was ready. The day after the announcement, Redman placed the first order.

“Our churches had been waiting for a console with these features, at this price point, for a very long time,” Redman explains. “So we were ready to go with it.”

The needs of Victory Christian Fellowship in Audubon, PA have been well matched by the new iLive-T112 mixing surface with iDR48 MixRack.

“This was the fastest project I’ve ever worked on. We started in early December and opened on March 29th,” says Redman. “It’s a testament to the builder, the architects, our manufacturer partners, and especially the church. They knew what they wanted to accomplish and made smart decisions quickly.”

As a result, Victory Christian has become among the first round of iLive-T installs in the U.S.

For the previous five years, Victory Christian had been a portable church, setting up each Sunday in a local high school auditorium, until steady growth made a permanent home feasible. The new 640-seat sanctuary was created in what had been an office building, totally refurbished in theater style with two tiers for good sightlines.

“Spinnaker provided a complete audio consult, from an acoustic architecture study through comparative sound system analysis,” notes Liam Slack, worship arts pastor for the church. “They helped us make educated decisions on everything from construction materials to gear, so the sanctuary would be as high-fidelity as possible.

“Our worship style could be described as “beyond contemporary”, using a more aggressive, pop rock approach than might be found at your average modern worship service.  Sound quality is very important to us, so we were drawn to Allen & Heath from the beginning. When Spinnaker told us the new iLive-T console was in our price range and we could be among the first to have one, we were thrilled.”

A key iLive feature critical to the Victory Christian Fellowship was the extensive output section. Spinnaker designed a Left-Center-Right system with Subwoofers for the sanctuary. Another 16 Aux Sends are used to feed the Aviom A16-II personal monitoring system used by most of the musicians. Two additional mono outputs are used to send full mixes to a pair of traditional floor wedges.

“The 15-foot ceiling limits throw distances, so we needed a total of eight main speaker cabinets in the room, three mains, three delays, and a pair of front fills,” explains Redman. Four dedicated console outputs feed an Electro-Voice Netmax N8000, which handles signal processing and distribution to the main loudspeaker system, which consists of Apogee AFI-8 loudspeakers for LCR, Apogee AE2S2 frontfills and two EAW SBX220 subwoofers.

The band is straight rock in structure, with two guitars, keyboards, bass and drums backing three vocalists, requiring about 30 of the iDR48’s 48 inputs. This leaves plenty of room for expanded configurations for guest artists who sit in on percussion, saxophone, etc.

“They can put any combinations of inputs and returns onto the Aviom channels,” notes Dan Redman. “They are set up with subgroups for things like drums and backing vocals. When they add more performers, the iLive-T makes it easy for them to reconfigure what’s on those 16 outputs.”

While the functionality and flexibility of the iLive-T fulfilled the church’s technical requirements, it was the sound quality that has really impressed Liam Slack. “The first time I played my guitar from the console, I was grinning from ear to ear. There’s a depth and a richness that you just don’t expect from a digital system. The on-board effects processing sounds phenomenal. And it’s all part of the system, so there’s less to go wrong, and no need to spend extra money on a rack full of outboard gear.”

In addition to the physical change in moving from a portable sanctuary to a permanent one, the technical staff at Victory Christian Fellowship has had to make the transition from analog to digital. “The irony is that this console would have made our portable system so much simpler – like instant recall of settings and replacing the 32-channel snake with a single CAT 5 cable,” say Liam Slack. “It’s a huge change, but we haven’t had any difficulties whatsoever. The iLive-T is just so intuitive and it sounds so great, the transition has been a cakewalk. We couldn’t be happier.”

Evolved from the successful flagship iLive digital range, the iLive-T Series has all the performance and power of the original iLive in a new lightweight, affordable package. The T Series comprises the fixed I/O iDR-32 and iDR-48 MixRacks and the iLive-T80 and iLive-T112 surface options with remote CAT 5 connection. Each rack can be used with either control surface, and all models will be compatible with the existing iLive units.

The T Series surfaces feature the same iLive fader strip layout with four layers per bank, and color assignable channel ID strip. Above is the large, instant access channel processing section with familiar analogue style controls that quickly help the new user feel at home with digital mixing. A built-in touch screen provides an additional graphical view of the processing and access to the memories and system configuration. All its settings can be transferred using USB. Administrative lock-down features together to full scene recall and onboard effects make the iLive-T the perfect choice for touring, events, and fixed installations.

Allen & Heath iLive Digital Mixing System Website

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More Than 250 Churches To Be Represented At Upcoming WFX California

“WFX is pleased to welcome facilities and tech teams from some of the most innovative churches in California and beyond." - Nicole Derany, WFX Show Director

Worship Facilities Conference & Expo has announced the participation of more than 250 churches at next week’s WFX California, taking place May 13-15, 2009 at the Long Beach Convention Center in Long Beach, California.

Among the churches are congregations implementing the latest technologies and services to grow and enhance their ministries.

“WFX is pleased to welcome facilities and tech teams from some of the most innovative churches in California and beyond,” said Nicole Derany, WFX Show Director. “These churches have successfully blended their facilities with their technology capabilities for maximum ministry impact. They recognize WFX as a must attend event to stay on the cutting edge of tools that enhance ministry efforts.”

Members of these leading churches will be among those attending WFX California:

Church of the Rock – Winnipeg, Canada
The Church of the Rock encourages networking and support among its members at the Solid Rock Cafe. Now in its fourth year, this two-level facility includes a gym, café, gaming area, and even Dance Dance Revolution to promote ‘clean fun.’

Crystal Cathedral – Garden Grove, CA
A pioneer in church architecture, the Crystal Cathedral boasts over 10,000 windows, 16,000 trusses, and over 2,700 seats in this 128-foot tall glass structure which accommodates more than 10,000 members. The church has gained international recognition from its “Hour of Power” weekly television program.

Eastside Christian Church – Fullerton, CA
What started as an idea in a living room has into a campus which includes a worship center, fellowship hall, and classrooms to educate over 600 students at the Eastside Christian School. The Eastside Christian Church remodeled their main Worship Center in 2000 and has planted churches throughout California.

Menlo Park Presbyterian Church – Menlo Park, CA
The Menlo Park Café, which opened in 2004 as an overflow service of the Menlo Park Presbyterian Church, offers an intimate, informal worship gathering. Services are led by Campus Pastor, Dave Peterson, and feature a live worship band and video message.

Newsong Church – Los Angeles, CA
Founded in 1993 by WFX Keynote Presenter Dave Gibbons, Newsong Churches are now located internationally, including the United States, Thailand, Mexico, England, and India. Among the goals of Newsong are planting customized churches, launching a multisite church, encouraging leadership, and becoming a creative center for the arts.

North Coast Church – Vista, CA
Considered the pioneers of Multi-site/Video Venues, North Coast launched their first venue in 1998 and has grown to over 6,500 in weekend attendance. North Coast currently has five on-site video venues and three offsite venues.

Saddleback Church – Lake Forest, CA
The Saddleback Church has created more than 200 ministries and eight worship venues in Southern California. In addition, they have founded an online Internet Campus, counseling and support programs, Bible studies and seminars, and local and international outreach programs.

The Grove Community Church – Riverside, CA
The Grove Community Church has implemented “Little Churches” to foster new relationships and growth within smaller groups of worshippers striving toward the same goal. The Grove also features The Grille within The Grove Bookstore, an acclaimed full-service restaurant that offers breakfast, lunch, and dinner menus along with holiday brunches and catering services.

The ROCK Full Gospel Church – Parkersburg, WV
The ROCK is currently building a new 34,000 square-foot facility to include a 600-seat capacity sanctuary, state-of-the-art classrooms for childrens’ programs, multi-media meeting rooms, and a full-service coffee and cappuccino lounge. The project is slated for completion in Spring of 2010.

The WFX California program was designed for churches of all sizes and stages of development. The event also features a variety of special events to facilitate networking between churches and attendees.

Registration is available for WFX online at www.wfxweb.com or by calling the WFX Help Desk at 800-598-6031, Monday – Friday, 9am - 5pm, EST.

WFX Website

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Kelley Technologies Selects JBL Control Contractor Loudspeakers For Aliante Station Casino & Hotel

The system features 754 Control 227CT medium-format, in-ceiling loudspeakers, 983 Control 25T surface-mount loudspeakers, and 232 Control 28T-60 surface mount loudspeakers, all driven by Crown CTs amplifiers, with processing by BSS Audio BLU components

Kelley Technologies, a leading A/V installer for casinos in southern Nevada, handled the design and installation of the entire audio/video system at the new Aliante Station Casino and Hotel in North Las Vegas, implementing JBL Professional Control Contractor Series loudspeakers throughout the venue.

Aliante Station is the latest casino to open under Station Casinos ownership, joining other properties such as Green Valley Ranch, Red Rock Resort and Wild Wild West, and features a gaming area, with 2,000 slot and video poker games, more than 40 table games, a poker room, a high-limit room, and a race and sports book. The hotel offers 200 hotel rooms, while the property also contains six restaurants.

Kelley Technologies has a longstanding relationship with Station Casinos, having installed systems in several of the company’s locations, and the A/V system at Aliante Station showcases the continuation of a successful formula. As with most of Station’s casino properties, the race & sports book area at Aliante Station serves as the head end for distribution of the A/V system.

In keeping with the philosophy of most casinos, the audio system needed to be conducive to creating a comfortable environment where customers would enjoy the gaming experience. “The goal at Aliante Station was to provide crystal-clear, atmospheric sound while simultaneously making sure the audio equipment maintained a low profile,” said H Waldman, project manager for Kelley Technologies.

To create this balance of adequate sound and discreet appearance, Kelley Technologies found the JBL Control Contractor Series to be an ideal solution. And while the audio components are largely out of plain view, Aliante Station is nonetheless a showcase for the versatility and quality of the Control Contractor Series loudspeakers, which are dispersed throughout the casino and hotel.

In all, the system features a total of 754 Control 227CT medium-format, in-ceiling loudspeakers, 983 Control 25T surface-mount loudspeakers, and 232 Control 28T-60 surface mount loudspeakers. Crown CTs amplifiers power the system, which also includes processing from BSS Audio BLU 32 and BLU 80 components.

Since the opening of the Aliante Station, the system has performed to expectations. “The JBL Control speakers were easy to install and provided the smooth, even coverage that is so important in casino projects,” Waldman added.

“Additionally, the variety of options JBL provides allowed us to use different loudspeaker models for different areas while maintaining a level of consistency throughout the property.”

JBL Professional Website
Harman Professional Website
Kelly Technologies Website

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Wednesday, May 06, 2009

Avid Unveils Digidesign VENUE SC48: Compact Digital Console for Small to Mid-Sized Live Applications

Affordable and portable system delivers exceptional sound quality, more creative mixing options and compatibility with leading third-party tools

Avid today introduced Digidesign VENUE SC48: a fully-integrated audio and processing live sound solution developed for small to mid-sized houses of worship, clubs, and corporate A/V companies, as well as touring customers. 

VENUE SC48 combines I/O, digital signal processing and tactile control and offers built-in support for a number of professional audio plug-ins that provide more creative mixing options.

Building upon the company’s VENUE family of professional live sound systems, the VENUE SC48 system delivers the same sound quality and clarity customers around the world have come to expect from VENUE, in a compact footprint. The console introduces several new features designed to enhance and streamline the mixing process including:

• Professional Plug-In Support enables customers to install and use software plug-ins from Digidesign and a number of third party developers to easily and instantly re-create and recall an artist’s signature studio sound during a “live” performance.
• Direct Connection to Pro Tools LE makes it simple to record shows and perform Virtual Soundcheck: a timesaving process that enables customers to playback and mix tracks recorded from a previous performance using a computer connected via VENUE SC48’s built-in USB port.
• Channel Control allows easy access, display and adjustment to any channel parameter with the single click of a button. In addition, any eight parameters can be assigned to the color-coded framework for immediate access during the mix.
• Center Flex Channel provides immediate access to any key input, such as a lead vocalist’s microphone, without having to go through fader layers.
• VCA and Group Spill provides easy control and quick access to grouped channels within a mix by focusing the control surface layout to match the logical groupings created by VCA and Group style mixing.

“The sonic quality of the SC48 far surpasses any other digital desk I’ve mixed on and has really helped us improve our finished product,” said Eric Kibbe, audio manager and mixer of Saddleback Church in Lake Forest, Calif. “Our services often change on the fly, and the size, flexibility and layout of SC48 enables me to work more quickly to address things in the mixes that were never before possible.”

All VENUE systems, including the VENUE SC48, Mix Rack, Profile and D-Show console, use the same VENUE D-Show software, allowing customers to easily transition show files between any system in the VENUE product line within a familiar interface.

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And with VENUE D-Show 2.8.1 software – available in June to registered VENUE system owners for $149 USD via authorized dealers – customers can take advantage of several new workflow innovations, popular user-requested features and other enhancements to increase workflow and mixing efficiency across all VENUE systems.

“We realize that our wide spectrum of customers have different requirements. With the VENUE SC48, we’ve been able to advance our popular VENUE platform to meet the specific needs of customers in smaller to mid-sized applications, at an aggressive price point,” said Tex Schenkkan, Avid’s vice president and general manager, audio.  “By expanding the current portfolio of the VENUE product family, the solution’s open plug-in architecture also enables our customers to integrate the console with industry-leading creative tools, enhancing the live sound experience.”

The new VENUE SC48 is available now. Click here for more specific information.

Digidesign Website

Take our Photo Gallery Tour to find out more about the SC48.

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Metric Halo Introduces ULN-8: Converter - Processor - Preamp - Interface

All of the capabilities of the ULN-8 are built atop Metric Halo's fifth-generation 2d Processing, mixing and FireWire interfacing platform

Metric Halo has launched its anticipated ULN-8 - an audio processing converter and interface offering archival-grade converters, enhanced digitally controlled ULN (ultra low-noise, high-headroom) preamps, dedicated analog-domain sends and returns, analog domain 7.1 monitor controller, AES interfacing, extensive front panel control with excellent front panel metering.

All of the capabilities of the ULN-8 are built atop Metric Halo’s fifth-generation 2d Processing, mixing and FireWire interfacing platform.

This integration provides significant benefits to the owner in the form of reduced cabling (lower cost, weight and less opportunity for failure), weight, power consumption, and cost, while at the same time providing exceptional performance for recording, editing, mixing and mastering suites.

The unit’s standalone operation and standard AES and analog interface allow use as the Audio Front End and Monitor Controller for Pro Tools, stand-alone and PC-based recording systems.

Features:
• Eight channels of archival quality, zero-phase distortion DC-coupled, calibrated 192k A/D
• Ten channels of archival quality, zero-phase distortion DC-coupled, calibrated 192k D/A
• Eight channels of Metric Halo digitally remote-controlled, high-headroom ULN-R preamps (-130 dBu EIN)
• Two channels of exceptional ultra high-Z direct input for instruments
• 8in/8out 192k AES interface
• Full-featured front panel tactile control surface for standalone and connected operation
• All inputs switchable between line and mic
• Eight channels of analog domain send (for analog S/R before conversion and analog preamp output)
• Metric Halo’s exclusive per-channel selectable Character
• Word clock in and out
• Digitally-controlled analog domain monitor control
• Full-featured fifteen segment precision metering
• SMPTE I/O channels
• MIDI I/O for direct connect of Mackie control protocol control surface
• Integrated mixing and deep instantiable DSP processing (includes full +DSP license)
• Stability - mature, real-world-tested firmware, and time-tested fifth-generation Mac OS software and drivers
• FireWire interfacing with ultra-stable, ultra low-latency drivers (FW400 & FW800 supported)
• Exceptional power performance (only 32 watts - DC powerable)
• Low mass (9 lbs. / 4.1 kg.)
• Extremely compact (everything in 1 RU)
• Rack-mountable

The ULN-8 provides archival-quality conversion at multichannel prices. Eight channels of conversion and AES interfacing allow for multiple analog and digital processing signal chains as well as monitoring and processing in surround. If more analog processing chains are required, additional ULN-8s may be added to a system.

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The ULN-8 also provides “boutique-quality” preamps. Multiple ULN-8s may be combined to build large-scale recording packages in a small space. The ULN-8 can also be combined with 2882 and ULN-2 units in a complete recording system.

The integrated mixer in the ULN-8 is a complete digital console with mono to 7.1 bus support, monitor control section, instantiable delay-compensated processing with full delay-compensated send and return support in the mixer.

The mixing and processing engine of the ULN-8 can serve as a ultra-high-quality digital outboard summing system, or the converters can drive an analog summing bus, with results captured.

The ULN-8 has an MSRP of US $5,995, and is available immediately from Metric Halo and it’s worldwide distribution channel.

Metric Helo Website

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New Version Of Middle Atlantic RackTools Software (v3.5) Offers Enhanced Capabilities

RackTools now allows users to export complete drawings to AutoCAD as well as output the drawings at a 1:1 ratio

RackTools 3.5, Middle Atlantic’s free layout and specification software package, has been enhanced with new shapes for user-defined components and greater drawing export flexibility.

The software now allows users to export complete drawings to AutoCAD as well as output the drawings at a 1:1 ratio, saving significant amounts of time.

The software also now supports shapes for user-defined equipment including amplifiers, receivers, and DVRs, in addition to offering an expanded library of RSH Series custom rackshelf shapes is now available with new single, dual and triple LCD shapes that provide more accurate drawing capability.

New RackTools 3.5 affords smaller file sizes and enhanced navigation, with user created components now able to be shared among many different machines not specific to any particular customer type.

Users that already have RackTools can accept these new dates the next time they open the program and are online.

Middle Atlantic Products Website

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Britannia Row Purchases Third Midas XL8 As Double System Heads Out With Depeche Mode

By October '09, company's first Midas XL8 will have been with Oasis tour for monitors for nearly 15 months

Britannia Row Productions has purchased a third Midas XL8 Live Performance System, a move that comes as one of the company’s systems continues its world tour with Oasis while two more XL8’s are specified for the Depeche Mode Tour of the Universe, which begins in Israel this month.

“Oasis went into rehearsals for their world tour last summer and will have had a Midas XL8 out on tour on monitors for nearly 15 months by the time they finish in October 2009,” says Britannia Row’s Mike Lowe. “That console, specified by their monitor engineer Nahuel Gutierrez, is now on the South American leg of the tour.

“Another Midas XL8 went into in SIR studios in New York with engineer Sarne Thorogood for Depeche Mode monitor rehearsals,” Lowe continues. “Anthony King, the band’s front of house engineer, also specified a Midas XL8, and as the Depeche Mode World tour will go into 2010, we purchased our third XL8.

“After a warm-up show in Los Angeles, more band rehearsals in London and production rehearsals in Luxembourg, both consoles ship to Tel Aviv for the first concert of the world tour on the 10th of May.”

In addition to the three XL8s, Britannia Row also owns six Midas PRO6 Live Audio Systems.

Midas Website

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Tuesday, May 05, 2009

Shure UHF-R Wireless In Support Of “Thriller Live” At London’s Lyric Theatre

The crowded nature of the area made isolating RF for on-stage instruments and vocal artists very difficult.

When the producers of the “Thriller Live” musical arrived at the Lyric Theatre in London, they found themselves faced with the difficult challenge of isolating a wireless radio frequency within the heart of London’s theatre district. The company turned to Shure and the Joint Frequency Management Group (JFMG) to provide the solution.

“The issue we have in such a densely populated area is isolating RF channels that are not already in use,” explained Chris Whybrow, the production’s Sound Designer.  “We basically needed to make sure we weren’t stepping on anyone’s toes.”

The iconic venue is located in London’s West End, surrounded by numerous theatre, musical, and comedy productions. The crowded nature of the area made isolating RF for on-stage instruments and vocal artists very difficult. 

Following a full assessment of his requirements, Whybrow selected a range of UHF-R Wireless Microphone Systems supplied by Shure Distribution UK.

“When we discussed our requirements and the frequency isolation issue with Shure, they were confident they could help,” commented Whybrow. “They have experience working with limited frequency environments and were very helpful in ensuring that the right kit for the job was chosen.”

Whybrow also contacted JFMG regarding frequency usage and to obtain the required license for operation of the equipment.

The installation used several Shure UHF-R systems on the Q5 frequency band, which enabled easy set up of this multi-channel system in a busy RF environment. The performers reproducing the King of Pop’s greatest hits are provided with one of seven UR2/KSM9 microphones, finished in both black and champagne.

The KSM9’s dual-diaphragm design perfectly reproduces vocal performances in the live environment and, coupled with the UR2 transmitter, provide a rugged and lightweight solution with improved RF transmission reliability.

“The combination of the Q5 frequency band and Shure’s wireless technology has given us a very strong RF frequency,” said Whybrow. “We don’t get any interference from other microphones or shows.”

Successful RF transmission was achieved through a combination of UR4D dual wireless receivers and UR1 wireless bodypacks. The compact UR1 bodypacks provide transmission from the stage while still allowing a full range of movement by the performers.

Transmissions are fed to six UR4D dual wireless receivers, each capable of selecting 2,400 frequencies and storing six 60 channel custom frequency groups.

“We were able to successfully use the Q5 frequency band for the show, and in all we have 16 channels running for the production,” added Whybrow.  “We’re also using two UA870WB antennas to enhance wireless reception in the theatre area and two UA845 antenna distributors to amplify the RF signals and properly split them to our six UR4D receivers.”

The Shure wireless systems will remain a permanent installation for the production’s entire extended run in London and will also be used with the European version of the production, which is currently touring the continent.

Shure Website

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Heil Sound Introduces PR 20 UT Dynamic Microphone For Wide Range Of Applications

Offers same specs/performance as the PR 20 but at a more cost-effective price

Heil Sound has introduced the PR 20 UT (Utility) dynamic microphone, a low cost version of the successful PR 20 and intended for live sound, commercial broadcast, and recording applications.

Specifications and performance characteristics are identical to the PR 20: wide frequency range, the ability to handle +140 dB SPL, -35 dB of rear rejection and natural articulation. The difference is a stripped down packaging scheme putting the UT in the price range of any musician, recordist or sound company.

The PR 20 UT microphone is perfect for live vocal and instrument applications as well as a superb microphone for serious recording studios or broadcast use. Retail price is $115. (USD)

Heil Sound President and Founder Bob Heil explains, “The PR 20 is shipped standard with an abundance of accessories including gold, silver and black screw-on grill screens that are interchangeable, and a thick padded carrying case.

“While many customers appreciate and use these items, there is a large group of musicians, sound companies and contractors who need a simple ‘one-take’ PR 20. By streamlining the packaging, we can dramatically lower the price without one single alteration to the microphone itself. It is a PR 20 without the bling.”

Heil Sound Website

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Sennheiser To Distribute K-Array Louspeaker & Amplifier Products In North America

K-Array will be officially introduced to the North American market in June at the InfoComm show in Orlando; product shipping also begins in June

Sennheiser has signed an exclusive distribution agreement for North America with K-Array, a PA loudspeaker and amplifier manufacturer based in Florence, Italy.

The K-Array flagship KH4 two-way, flat-panel line array delivers consistent, high-quality audio in long throw applications. Weighing just over 104 pounds and measuring 44 inches wide by 24 inches high and just 6.3 inches deep, the system is specified as producing 145 dB SPL. The vertical coverage pattern is variable between 7 degrees and 37 degrees, with a 120-degree horizontal coverage pattern.

The KS4 self-powered, dipole subwoofer is also just 6.3 inches in depth and weighs 82 pounds. An internal DSP module controls the KH4 mid/high pack and the KS4 subwoofer. Theloud speakers may be computer controlled remotely using dedicated PC software.

Vaino Gennaro, business director for live sound products at Sennheiser Canada says, “We are excited to bring this innovative technology to North America. The technology, design, and sound quality of K-Array have generated a big buzz in Europe and the Middle East. The depth of the line and the crossover into various markets makes K-Array an extremely attractive brand. It will change the production standards of the live entertainment industry.”

Sennheiser Electronic Corporation, located in The United States, is thrilled to add K-array to their portfolio. Dawn Birr, SEC’s product manager for K-Array says, “K-Array is lighter and smaller than traditional loudspeaker arrays. The KH4 has developed a unique high-power, flat panel speaker technology for long-throw, large venue applications. The space-saving design and performance-to-size ratio offer significant cost savings in production, rigging, transportation and setup for medium to large-scale live performance events.”

“We are delighted that Sennheiser is handling the distribution of our products in North America,’” says Alex Tatini, CEO of K-Array. “Sennheiser has a long and illustrious history in the audio industry. We are experiencing strong growth, and having Sennheiser on board means that we can gain access more easily into their growing markets. We look forward to a long and profitable partnership.”

Other K-Array products include the ultra-slim Kobra Systems, the Ka line of Class D amplifiers and KM8 ultra-compact, high-powered line array stage monitors. Included in the Kobra Systems range are the KK200 and KK50, ultra-thin, three-dimensional array loudspeakers, which are 6.5 feet and 1.6 feet in length, respectively. Sennheiser China announced their distribution agreement with K-Array in December 2008.

K-Array will be officially introduced to the North American Market in June 2009 at the InfoComm show in Orlando. Product will begin shipping in June.

Sennheiser USA Website

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AKG Introduces AMS Series Adjustable Microphones

Length of gooseneck adjustable; user can select between cardioid, omni and hypercardioid patterns

Based acoustically on the AKG Blue Line Series, the newest addition to AKG’s product line-up, the Architectural Microphone Series (AMS) allows users to customize the microphone by easily adjusting the length of the gooseneck module as well as selecting various designs for the shape of the capsule housing unit.

The self-designed microphone can be personalized with any color as well as a shiny gold, chrome or a cool nickel finish for professional settings. In total, the entire microphone series are available in more than 6,840 customizable settings.

Premium studio microphones, like the AMS, are characterized by a very flat frequency response, low self-noise and a consistent polar pattern. Three precision transducers make up the Series, all with different polar patterns, including a cardioid, an omni-directional and a hyper-cardioid.

Beside the three different polar patterns to match different room acoustics, the AMS showcases a diverse range of capabilities, such as flat frequency response for acoustic performance, gold sputtered ultra-low mass diaphragms, switchable bass cut filter and preattenuation pad. The series also offers an extremely high resistance to RF interference for extended versatility.

Adding on to the extraordinary attributes of the AMS, the mics are equipped with a bayonet coupling system with self-cleaning contacts and the Blue Line bayonet coupling system enables the capsules to be easily change.

With the installation of any of the microphones in the AMS, different mounting modules are available, including a wide range of specialized mounting accessories specifically dedicated to making the installation easy and can bring the microphone into place. 

Blended rubber material and high mechanical damping in the shock mounts help to eliminate any mechanical vibrations.

AKG Website
Harman Professional Website

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Renkus-Heinz Iconyx Loudspeakers Provide Solution At North Davis Church of Christ

“The Iconyx system provides high intelligibility and an intimate sound character for both speech and sung vocals without the ‘in your face’ sound character that different loudspeakers might provide." - Curt Taipale, system designer

North Davis Church of Christ in Arlington, Texas, more than 100 years old, recently replaced its loudspeaker system with three Renkus-Heinz ICONYX digitally steerable arrays in a unique configuration designed to complement the church’s new video screens as the first stage of a complete sanctuary renovation.

The church’s congregation has grown continually since its foundation on a vacant lot in 1907, but acapella vocal music continues to be a strong part of its tradition. Minister of Music and Worship D. J. Bulls, a prominent arranger whose choral and worship arrangements are sung in churches across the country, directs the praise teams and the Celebration Choir, and also coordinates media for worship assemblies.

Taipale Media Systems (TMS) designed the new systems. Principal Consultant Curt Taipale, who measured the highly reverberant room, says: “This is a 1,000 seat, 220 degree-wide fan-shaped auditorium, in which the RT60 ranges from 2.6 seconds at 125 Hz to 1.3 seconds at 2 kHz.”

The renovated room features a pair of video screens that form a large V-shaped wall above and behind the stage. Working with Renkus-Heinz Senior Applications Engineer Jim Mobley, TMS used the point of the V as the mounting location for an Iconyx IC32 array.

Taipale adds: “That position puts the main loudspeaker roughly 12 feet above and 20 feet behind the pulpit, which would have been a problem if it weren’t for the tight vertical pattern control of the IC32, which has a clear line of sight over the head of the orator, and into the first row of pews.”

Two IC7 fixed-beam Iconyx arrays extend coverage to the far side seating areas, picking up where the center IC32 leaves off. A pair of Bag End D18E-AD subwoofers provide the low end support needed for bass vocal parts, and for concerts. Two Renkus-Heinz TRX81/12s are used as low-profile floor monitors.

All of the passive loudspeakers are powered by a Lab.gruppen C28:4 amplifier, with a Biamp Nexia SP for system tuning. To conserve the church’s resources, TMS retained the existing Mackie SR32 mixing console.

“The Iconyx system provides high intelligibility and an intimate sound character for both speech and sung vocals without the ‘in your face’ sound character that different loudspeakers might provide,” says Taipale. “And it didn’t hurt that the Iconyx system came in at one-third the cost of the alternate design approach – a center cluster and supporting under balcony delay ring.”

He adds: “Its combination of wide horizontal coverage with tightly controlled vertical beams also allowed us to improve the sound quality dramatically with no additions to the existing acoustic treatment.” Acoustic finishes designed to support the congregation’s singing will be added in a future upgrade.

The system was installed by Summit Integrated Systems of Lafayette, Colorado, which has successfully bid on many TMS designs across the country and knows Iconyx technology well. EASERA SysTune live sound measurement software provided an objective reference, with measurements of reverb times and real-time STI calculations in addition to frequency response and SPL measurements.

Contractor, consultant and manufacturer coordinated to ensure the two-day installation caused no disruption to worship services, with fine-tuning by Renkus-Heinz Application Engineer Jonas Domkus, Curt Taipale and Summit President/CEO Chris Rayburn, who notes the wall mounted Iconyx and easy wiring helped speed the installation in a building not designed for a conventional system and with limited ceiling access.

Wayne Rowan, co-leader of North Davis’ AV Ministry, summarises: “Our experience with the Iconyx speakers and associated equipment has been spotless, and Curt and Summit could not have done a better job. It is rare to have engineers and contractors do such an outstanding job.”

His co-leader, Shane Webster, adds: “Speaking on stage is a more pleasant experience because sound that’s echoed back to the stage has been decreased due to the aiming capability of Iconyx. I think the biggest compliment to the system has been the number of assisted listening devices that are no longer being used because words can be understood much more easily.”

Minister of Music and Worship D. J. Bulls is also pleased with the outcome: “It has far exceeded our expectations in every way,” he says. “It brings a new energy to our worship space; the sound is crystal clear, intelligible, and adds a great deal of vibrancy to both the spoken word and our music, with each vocal part extremely clear.” He adds: “ I wouldn’t hesitate to recommend Iconyx, Curt Taipale or the guys from Summit to anyone.”

Renkus-Heinz Website

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Monday, May 04, 2009

Inside The New System At The Historic Queen Elizabeth Theatre In Toronto

Though it’s a permanent install, it’s designed, even aesthetically, like a touring rig

Mention the name Queen Elizabeth Theatre to Canadians in the concert industry and their minds immediately head west to the grand old dame of Vancouver theaters.

Toronto, however, has a venue of the same name. Not as well known perhaps, or as celebrated, but certainly with a rich history of its own.

Designed by Peter Dickinson, and built by Page & Steele architects in the mid-1950s, the theater is located near the waterfront on the grounds of the Canadian National Exposition, it has, over the last 20 years, fallen off the local radar somewhat, but if owner, Bruno Sinopoli, and Technical Director, Mark Prinsloo have their way, that’s going to change.

Traditionally the CNE grounds are considered a bit off the beaten track for the city’s music fans. Recently though, the rapid development of live/work loft spaces in nearby Liberty Village, and the revitalization of West Queen West and Toronto’s Parkdale Village has been bringing concert goers closer all the time.

Both take an extremely hands on approach to their projects. When I meet Sinopoli he’s mopping the stage floor. “This is Bruno,” says Prinsloo, by way of introduction. “He owns the place.” After opening the successful Mod Club on Toronto’s College Street strip in the hear of Little Italy, the two were looking for a larger venue, and for Sinopoli the purchasing the QE was a no-brainer. He essentially walked in, took one look, said “I want it,” and that was it.

Refitting A Landmark
At first glance you can see why he was impressed. The 1,250 capacity theater not only had good bones, it required minimal structural work and no additional acoustic treatments.

Well outfitted for both artists and crew there’s plenty of room for everyone to get work done on show day – including five artist dressing rooms and dedicated office space for promoters, production and local crew. And, refreshingly – a loading dock with plenty of space around it – rather than the cramped alley/obstacle course that characterizes the load at some older theaters.

Instead of the usual balcony area the QE features an area of rear seating banked at a 30-degree angle and surrounding the primary Front of House mix position. If undersold, the area can be covered entirely with black curtains laid directly on top of the seats, so as not to impact sound.

Above that, there’s a small VIP room, formerly the old followspot position and the only real renovation undertaken in the theater proper. The actual purpose of the VIP area, i.e. who gets it and why, speaks volumes about the kind of experience the two wanted to provide patrons.

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“We don’t actually sell it,” says Prinsloo, “we give it away.” Aside from knocking out some offices adjacent to the lobby to create a bar area, that was all they did in terms of renovation – between the bar and lobby they have an audience holding tank that can comfortably hold approximately 1,000 people.

“We try to make people as happy as possible here,” Prinsloo explains, and not just the audience, but artists and their crews as well.

Anybody who’s spent anytime on the road has experienced the feeling of being unwelcome in someone’s house. For whatever reason, that happens more often in theaters than in your average large bar. You know the feeling – you load in, and even before you start unpacking your kit, heads start shaking. The roadblocks start going up and the words “You see, what we do here…” come out of someone’s mouth. Not here.

Good vibes wouldn’t be worth much, however, if the venue’s production wasn’t up to snuff. “To launch a venue this size, you have to be very good, or you’re not going to make it. That’s why we put all the effort into the sound and lights,” Prinsloo explains.

Maximum Flexibility

Based on his experience at the Mod Club, Prinsloo chose Adamson products across the board: 12 Adamson Y-10 line array modules, four Adamson T21 subwoofers and two Adamson Metrix loudspeakers flown in front of the proscenium as a center fill for frong of house; and Adamson M15 bi-amped monitors in tandem with two SX18’s for sidewash.

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The amp package, a mix of Lab.gruppen fp 6400 and QSC 2450 were chosen based on both power and price point. “The Adamson T21 subs have two 21-inch loudspeakers. Each of those loudspeakers wants to see 3,000 watts, and the Lab.gruppen’s the only amp that’s going to give you that. There’s 24,000 watts of low end,” Prinsloo says.

At first glance it seems odd that the PA isn’t flown. “There’s a firewall that has to be able to fall and we had to get a bunch of engineering drawings done for that and we just haven’t had the place long enough to get it,” he explains.

But stacking the PA on large, wheeled platforms hasn’t negatively impacted sound. And while they’re still considering flying it, the system – as is – speaks to another aspect of the venue important to Prinsloo’s vision.

Flexibility, he explains, is what sets the QE apart from similar rooms. Both front of house and monitor rigs, stacks, racks and two Yamaha consoles – a PM 4000 and PM 3500 respectively – can be moved relatively easily to accommodate an incoming act desire to augment production, or bring in their own. A secondary mix position dead center of the final three rows of level seating further enhances that flexibility.

Though it’s a permanent install, it’s designed, even aesthetically, like a touring rig. “The consoles are still in the road cases and the FOH rack is a touring rack; using multi-pin cables and connectors so that it could be torn down in a hurry,” explains Westbury National Show Systems’ Mark Sandolowich, who provided a good portion of the system.

Although Sandolowich made some suggestions to Prinsloo based on Westbury’s current inventory – namely some Dolby Lake crossovers they had in overstock – he stresses that Prinsloo knew pretty much exactly what he wanted.

“It’s not like no expense is spared,” adds Sandolowich. “They had to think carefully about how they spend their money.” That meant spreading the money around to get the most bang for the buck and a system that measured up to the demands of virtually any incoming artists’ technical riders.

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Put simply, says Prinsloo, “A killer loudspeaker system that sounds absolutely fantastic and a really nice light rig.”

“He knows our gear and we’ve been working together for years,” says Sandolowich. That knowledge helped keep costs down, allowing the duo to agree on a combination of new and rented equipment from Westbury’s inventory. “Half the clubs you run into in the city, they’ve got a lot of stuff, but when they get down to gates and comps they put in a bunch of junk.

“There’s none of that in this rig, it’s all high quality components.” From mic pack to processing, to overall sonics, the common denominator was doing right by both artists their techs, and their audiences.

Simplifying Cable Runs
Another unique element of the build was the speed with which it was completed. Then again, they didn’t have much choice given the demands of their timeline.

Luckily, very little slowed their progress. One change necessary involved the cable run from the stage to Front of House. Previously it had gone the long way around, offstage, to the wall, up the outside of the wall and back to Front of House. “It was just too long so we ran it through the ceiling. That was really the only issue,” says Prinsloo.

In all, the install took three days. Being that the QE was already a working, if underused, theater, much of the infrastructure in terms of power and rigging was already there. “The fly pipes behind the proscenium were in good shape, there’s some nice FOH positions for lighting,” says Sandolowich.

“They might add rigging for the sound in the future,” he adds, “but, if you look at the angle where it’s sitting it’s probably bang on to where it needs to be. There’s no real elevation in this venue so there may not be any reason to fly it.”

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Having large conduits and cable bridges already in place saved time in running snakes. “It wasn’t one of these things where we’re pulling wire for weeks. We put in pre-made snakes and the racks were wired off site, panels with loudspeaker output and line input connectors on them and twist lock power so everything just plugged in to make install time really quick,” says Sandolowich.

Having Adamson pretty much in their own backyard didn’t hurt either, added Prinsloo. The relationship between Prinsloo and Adamson goes back a ways. “I’ve known Brock Adamson for 25 years,” he says. It’s also Canadian made, and one of few domestic self-contained operations.

Between Adamson’s Benoit Cabot and Jesse Adamson the system was tweaked out in short order. After Jesse Adamson surveyed the venue, and the gear was installed, tweaking the system out using Adamson Shooter software took, essentially, a day.

“Coverage of seats is the challenge in any theater – you need it to sound even everywhere, and we achieved that,” says Prinsloo. Had there been a balcony, that would have further impacted both their equipment needs, and possibly some additional soundproofing. As it is, after the QE’s opening night crowd reaction said it all. “You know when ticket buyers notice the sound is great that’s a good thing. Sound is either great or it isn’t when you’re a ticket buyer.”

Where are they going from here? Right now the show reviews are positive, business is good and while there’s nothing they’ve found immediately that needs to change, Prinsloo has plans to augment the system in the future – with luxury items, he says – “Tube compressors, some Shure KSM 105 and Neumann microphones.”

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Always, he stresses, with flexibility in mind. “Every tour is a little bit different and you’ve got to be able to deal with issues everyone’s issues in order to get the job done.” Not to mention keeping everyone happy.

With two of the arguably best sounding venues in Canada’s largest city in their hands, and doing well, the question is, are he and Sinopoli happy, or are they thinking about making it a trio?

“Yes,” Prinsloo says unequivocally. He’s cagey about specifics, but you can see the light behind his eyes when he talks about their next step. Clearly he’s got a plan. It’s not a question of if, but a matter of when. Which begs one last question – how? For Prinsloo, this gig may be the realization of a lifetime dream, but it’s a dream that takes up virtually every waking hour he has. Right now he’s splitting his time roughly 75-25 percent at the Mod Club and the QE respectively, occasionally working three shows a day. “The only time I don’t work here or at The Mod Club, I’m sleeping.”

Based in Toronto, Canada, Kevin Young is a freelance music and tech writer, professional musician and composer. As a founding member of Canadian rock band Moist, he toured widely, from the north Arctic of Canada to the deep south of the US, as well as Europe and Asia.

Queen Elizabeth Theatre Specifications & Gear List
Technical Specifications
Stage Floor: 48 x 35 feet
Surface: Wood
Stage Right Wingspace: 20 x 20 feet
Stage Left Wingspace: 20 x 10 feet
Grid Height: 40 feet
Risers: 6 x 4 x 8 feet
House Spots: On demand

Front Of House System Gear
1 52-channel Yamaha PM 4000
2 dbx 3231L stereo EQ
3 Drawmer DL 441 quad compressors
3 Drawmer DS 404 quad gates
1 Yamaha SPX 1000 digital multi effect
1 Yamaha SPX 990 digital multi effect
2 TC Electronic M1 reverbs
2 TC Electronic D2 delay
1 Denon 620T CD deck

Stacks & Racks
12 Adamson Y-10 line array cabinets
4 Adamson T21 subwoofers
14 QSC 2450 amplifiers
4 Lab.gruppen fp 6400

Monitor System Gear
1 58 channel Yamaha PM 3500
9 Adamson M15 bi-amped monitors
2 Adamson SX18 sidewash
5 dbx 3231L stereo 31-band graphic EQ

Microphones
8 Sennheiser 935
4 Sennheiser 604
3 Shure SM 81s
4 Shure SM-58
8 Shure SM-57
3 Shure SM-94
4 Shure SM-98
1 Shure SM-91
2 Shure Beta 52

Miscellaneous
10 DI cables
10 JDI direct boxes
80 microphone cables
50 assorted Atlas mic stands
5 12 pair sub snakes
1 WNSS, power distribution system including six 20-amp stage drops

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