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Friday, March 16, 2012

TSI Global Upgrades Historic St. Louis Peabody Opera House With JBL

In order to update the audio system at the historic Peabody Opera House in downtown St. Louis, Missouri, TSI Global of St. Charles, Missouri, installed a JBL VerTec line array system in the 3,100-seat theater.

The Opera House, originally opened in 1934, has hosted performances by prestigious artists including Frank Sinatra, Ray Charles, Bob Dylan, and the Rolling Stones. Today, it hosts a variety of events including concerts, comedies, theatricals, family and holiday shows, and more.

Paul Murdick, Vice President of TSI, stated that the install was a 3-year long process, with plans changing as technology advanced.

For the main PA system, 14 JBL VerTec VT4888 midsize line arrays were installed per side, accompanied by four VT4882 midsize arrayable subwoofers per side as well as three ASB7128 subwoofers per side. An additional six VT4886 subcompact line array elements per side provide outfill, with six more VT4886 loudspeakers for coverage on the stage lip and eight VT4886 loudspeakers for under-balcony coverage.

Crown I-Tech amplifiers power the system, with BSS London for system processing and control via Harman’s HiQnet System Architect.

Many challenges arose during the planning and installation phases of the project.

“With any renovation, especially a historical building, there is great emphasis on not ruining the architectural integrity of the original structure,” Murdick stated. “We wanted to ensure that all types of performances could be held at the theater, from a Broadway show to an intense rock concert.”

“With the high arc of the building, the VerTec’s worked perfectly as they met the weight limit of the rigging points, and provided a variety of uses by installing them on a swivel hang which could be rotated according to the needs of the performer.”

Since JBL is known as an industry leader with a prestigious reputation, Murdick felt confident that everyone who would be using the system would be happy.

“We had the support of JBL and the owner of the Opera House to ensure that everything went according to plan, and looked the best it could be while providing quality sound and coverage needed,” he said.

Murdick concluded, “I’m proud to be a part of the renovation to a historical venue and the architecture that is present in the Opera House. There is nothing built like it anymore, and to help improve and create more history in the Opera House was a pleasure to be a part of.”

Harman
JBL

L-Acoustics Creates Skandal! In Istanbul

New indie nightclub Skandal! has opened its doors in Istanbul with an L-Acoustics coaxial loudspeaker system supplied by Turkish distributor, Elit Light&Sound Technologies.

Run by leading Istanbul venue owners together with Metehan Çorumluoğlu, aka DJ Style-ist, Skandal! draws heavily on the twin late-70s cultures of New Wave and disco, bringing a new vibe to the Istanbul club scene.

A system of seven L-Acoustics 8XTi coaxial speakers from L-Acoustics’ Architectural Series for installers, with two 108P coaxials and two SB18i fixed installation subwoofers, driven by two LA4 amplifiers, has been installed into the venue.

“The L-Acoustics system is the strongest aspect of Skandal!” says Çorumluoğlu. “The DJs who’ve performed at the venue are so pleased with the sound of the new cabinets so far, and our clientele can also be heard talking about club’s sound quality with open admiration.”

Skandal! is already shaping up to be a major player on Istanbul’s nightlife scene, with weekend programs offering a range of local and international DJs to get clubbers up and dancing until the early hours of the morning.

L-Acoustics

Series Or Parallel? Linking Loudspeakers Properly

Multiple loudspeakers can be connected in series or parallel to the output of the amplifier.

In either case, the current drawn from the amplifier is determined by the total impedance of the load as presented to the loudspeaker terminals.

Impedance is the opposition to the flow of current.

As the load impedance is decreased, the load on the amplifier is increased, because it must work harder to supply the demand for current. In similar fashion, an automobile trying to maintain its speed uphill is under a greater load than on flat ground.

A “no load “condition means that nothing is hooked to the amplifier, so no current flows and no power is transferred.

The opposite condition, a dead short between the amplifier “+” and “-” terminals, represents the maximum load possible, and current flow is limited only by the resistance of the wire making the connection.

So, the lower the impedance the greater the load - a bit counter intuitive but nonetheless true.

HOLE IN THE BUCKET
An example will clarify this. Imagine a bucket full of water.

Two loudspeakers in parallel require twice the current of a single one, just like two holes in a bucket offer one-half the opposition to water leaving the bucket as a single one. (click to enlarge)

Assuming watertight construction (a good thing for a bucket), there will be no water leaving the bucket (analogous to current flow), and the pressure against the sides of the bucket (analogous to electrical voltage) will be constant.

Now, let’s put a hole in the bucket. Water will now leave the bucket at a rate proportional to the size of the hole.

The hole represents the connection of a loudspeaker - current now flows from the bucket (amplifier) through the hole (load).

If we keep the hole relatively small, the pressure will be similar to the water-tight condition. If we replenish the bucket continually, the flow can continue indefinitely.

Next, let’s put another hole in the bucket, identical to the first.

Water is now exiting the bucket at twice the previous rate (more current is flowing), so the supply to the bucket would have to be increased to maintain the water level.

The second hole is analogous to a second loudspeaker connected in parallel with the first to an amplifier.

The load impedance (the total opposition to water leaving the bucket) is decreased, meaning that the replenishing supply must work harder to keep up.

The bucket represents the amplifier, the holes the load, and the replenishing supply is the AC cord that plugs into the wall. Since water is flowing in one direction only, the current is DC (direct current).

The same principles hold true for AC (alternating current), which in this example would mean that water is alternately flowing in and out through the holes in the bucket.

GETTING THE FLOW
Series connection means that the current flows through one voice coil before it flows through the other.

A look at series connection. (click to enlarge)

The applied voltage will divide between the two in proportion to the magnitude of their impedance. If their impedance is the same (the most common case), then the voltage will divide equally across the two. The same current will flow through both.

Series connection is usually accomplished by connecting the amplifier “+” to the “+” of the first loudspeaker, and the “-” of the first loudspeaker to the “+” of the second, and finally the “-” of the second to the “-” of the amplifier.

The total impedance of loudspeakers in series will be the simple sum of their individual impedances, so adding more loudspeakers will decrease the load on the amplifier.

In other words, the higher the load impedance, the lower the current demand on the amplifier, and the less power delivered to the load.

Series connection is rarely used in multiple loudspeaker systems since adding a loudspeaker will change the power flow (and loudness) through all of the loudspeakers. If one loudspeaker opens up, the feed to all of the loudspeakers is lost.

SAME ACROSS EACH
Parallel connection means that the amplifier output current flows through both of the voice coils simultaneously (a current divider), in proportion to their impedance.

If they are the same impedance (the most common condition), the current through each will be the same.

The output voltage of the amplifier will be the same across each voice coil, since all “+” terminals are connected together and all “-” terminals are connected together.

The load increases (the total impedance gets smaller) as more loudspeakers are connected in this fashion.

Parallel connection is the preferred method for configuring a multiple loudspeaker system, because adding additional loudspeakers does not change the power flow (or loudness) through the existing loudspeakers.

The sound level from existing loudspeakers remains the same as additional loudspeakers are added.

Parallel connection, the preferred method for multiple loudspeaker systems. (click to enlarge)

Care should be taken to avoid overloading the amplifier - a condition that occurs when too many loudspeakers are paralleled. This produces a total impedance that is too low and draws excessive current from the amplifier.

When loudspeakers are “daisy-chained” they are being connected in parallel.

The interconnecting cable buses all of the “+” loudspeaker terminals together and all of the “-” loudspeaker terminals together.

This is often confused for series connection, but it is not since the current does not need to flow through one loudspeaker to get to the next.

Series-parallel is useful within loudspeaker enclosures to allow a target impedance to be achieved with multiple devices. (click to enlarge)

An open voice coil in one of the loudspeakers will not produce a level change in the remaining loudspeakers, making this configuration ideal for distributed ceiling loudspeaker systems.

Series-parallel connection combines both of the above and is useful within loudspeaker enclosures to allow a target impedance to be achieved with multiple devices (i.e., dodecahedron loudspeakers, guitar amplifier cabinets, etc.).

It is sometimes employed to achieve an impedance value that would otherwise be too high if series connection alone were used, or too low if parallel connection alone were used.

This method works fine when used internally in a loudspeaker box (like a six 10-inch-loaded “guitar cabinet”), but should be avoided if the loudspeakers are to be distributed around a facility.

Such a system would be difficult to expand and difficult to service due to the non-standard method of connection.

Pat and Brenda Brown own and operate SynAudCon, conducting training seminars around the world.

Powersoft Ramps Up DJ Monitor System At Ruby Skye Nightclub

Ruby Skye, one of San Francisco’s premiere nightclubs, recently upgraded its DJ monitor rig with custom EAW loudspeakers powered by Powersoft K Series amplifiers with digital signal processing.

The owners tapped their long-time audio and video vendor JK Sound, also of San Francisco, to design and install the new system. “Ruby Skye is a very high profile DJ/Dance club that hosts famous DJs from all over the world,” explains Brad Katz, lead systems integrator for JK Sound. “It was extremely important that we put together the highest quality system available.”

Michael Lacina, JK Sound president, designed the system with Katz. They were initially drawn to EAWs QX566 loudspeakers but they were too big for the four-corner system planned for the DJ booth. After talking with EAW about smaller alternatives and finding nothing suitable, the EAW team created a scaled down version of the QX566 for the club, aptly named the RS66. The RS66 is loaded with one pair of 12-inch woofers instead of the two specified for the QX566.

“We coupled each pair of RS66s to an EAW SB528 dual 18-inch subwoofer for really driving low end. It sounds and looks fantastic,” adds Katz.“The EAW Focusing was another huge plus. It made the system sound like it consisted of high-end studio monitors – the DJs love it.”

JK Sound designed a four corner stock setup for the DJ monitor rig. The subs are mounted on rolling risers that match the 16-inch DJ riser. Katz designed custom pole mounted yoke brackets for each of the monitors in order to mount them to the top of the subs, which are outfitted with two pole mounts each. The setup is easily reconfigured or taken apart for removal from the stage.

When it came time to power the system, JK Sound turned to their favorite power amplifier company, Powersoft, for the solution.  “Powersoft products are stable at 2 ohms and below,” adds Katz. “The power density they provide is incredible – there is nothing else like it. Using Powersoft was a no-brainer.”

The system was powered with K Series amplifiers equipped with the optional DSP+AESOP boards. The boards enable Powersoft’s state-of-the-art DSP circuitry, which includes Active DampingControlTM, LiveImpedanceTM Measurement, TruePowerTM Limiters and other unique features, in addition to providing Ethernet capability. “The Powersoft DSP also made it very easy to import and use the EAW greybox settings using the plug-in for ArmoniaTM software,” notes Katz. “The system sounded terrific with very little tweaking – it was really fantastic.”

Katz used three two-channel amplifiers with DSP to power the entire system. One K3, providing 2,600 watts per channel at 4 ohms, powers the subwoofers; one K6, with 3,600 watts per channel at 2 ohms, drives the low-end cone drivers; and one K2, supplying 1,950 watts per channel at 4 ohms, powers the mid/hi compression drivers. 

The rack is located on stage left behind the DJ booth. Both the look and size of the rack was a consideration for the system, explains Katz. “Because the Powersoft amplifiers are only one rack unit, it was easy to keep the rack small and locate it discretely on the stage,” adds Katz. “Everything really came together extremely well for the new monitoring system – the clients are very happy and the DJs are extremely delighted with the new set-up.”

The three Powersoft amplifiers were rack mounted along with a Motion Labs two space Rac Pac distribution system loaded with two Edison Duplex 20A connectors on the front panel and four Neutrik 32A Powercon connectors on the back panel.

Powersoft

Thursday, March 15, 2012

Extron Now Shipping 800 Watt ENERGY STAR Qualified Power Amplifier

Extron Electronics is pleased to announce the immediate availability of the XTRA Series XPA 4002-70V two channel power amplifier. This compact 1U, convection cooled amplifier delivers 400 watts rms per channel for 70 volt distributed speakers.

The XPA 4002-70V is an ENERGY STAR qualified amplifier with an Extron exclusive, highly efficient, advanced Class D amplifier design. It also features patented CDRS - Class D Ripple Suppression technology that provides a smooth, clean audio waveform and an improvement in signal fidelity over conventional Class D amplifiers.

The XPA 4002-70V is half the size of comparable amplifiers, conserving rack space and weighing only 9 lbs (4 kg). The Extron exclusive, high efficiency design generates very little heat and allows the amplifier to be convection cooled.

“The ENERGY STAR qualified XPA 4002-70V delivers a unique combination of high power output and very efficient operation,” says Casey Hall, Vice President of Sales and Marketing for Extron. “It is ideal for driving a large quantity of distributed speakers in large spaces such as auditoriums and houses of worship, while consuming less energy, running cooler, and taking up less space than other models.”

The XPA 4002-70V includes an auto power-down feature that automatically places the amplifier into standby after a period of inactivity, and consumes 30 watts or less when idle and less than 1 watt in standby mode. It also has an ultra low inrush current draw to prevent power circuit overload that occurs when multiple amplifiers are switched on simultaneously.

This feature eliminates the need for power sequencing in systems with multiple amplifiers in large centralized equipment racks, and prevents other equipment from experiencing power interruption from associated power surges. Additionally, the XPA 4002-70V amplifier features very low thermal dissipation under full load, which keeps racks and equipment cabinets cool.

Extron Electronics

Wednesday, March 14, 2012

Ashly Audio Enters The Commercial Sound Electronics Industry

Get more of the latest news from the 2012 PL+S show.

 
With the introduction of the new TM-360 mixer/amplifier, Ashly Audio has entered the commercial sound electronics industry.

This is Ashly’s first product in this genre and heralds the company’s commitment to providing quality products to this growing segment of the audio marketplace.

The TM-360, is a 3-input, 60-watt mixer/amplifier that offers input and output flexibility coupled with energy efficiency. It has the capability to automatically switch into a stand-by mode if no audio input is received for 25 minutes, thus reducing the current draw.

The TM-360, along with other new products in this series, will be covered by Ashly’s five-year warranty.

“Our review of the commercial sound electronics market showed a lack of innovation and quality products,” explains John Sexton, Ashly Audio vice president of sales & marketing. “Many of the companies in this sector offer only a one-year or three-year warranty. The energy-efficient TM-360 delivers Ashly-level quality backed by our five-year warranty at a competitive price point.”

The TM-360 uses a Class D amplifier topology for added energy efficiency. Input options include selectable mic or line level, telephone, and dual RCA sum-to-mono. The transformer-isolated output offers a choice of Low-Z (4-ohm), 25-volt or 70-volt.

The 230-watt international version features Low-Z, 70-volt or 100-volt output options. There are two separate zone outputs – a one-watt output for driving a remote loudspeaker and a pre-amp output that can be used to drive a separate amplifier. Rear panel dip switches allow you to select the mix going to each zone. A front panel 1/8-inch mini-jack makes it easy to plug-in a back-up music source.

The TM-360 is in stock and available for immediate shipment. The rack-mount kit (model RMK-360) is available as an accessory.

Ashly Audio

Monday, March 12, 2012

JBL HiQnet Performance Manager Makes Setup More Efficient For CTS Audio

CTS Audio, based in Franklin, Tennessee, specializes in live and installed sound, mobile staging and sales, with a strong focus on tour sound for Christian performers and in designing systems for houses of worship.

JBL Professional VerTec line arrays and Crown Audio I-Tech HD and XTi Series amps are the backbone of the company’s live sound rigs. The adoption of JBL HiQnet Performance Manager audio system design software has made CTS Audio’s job much easier on the last few tours.

“Like most sound contractors, we are always looking for better ways to do things,” said Mike Taylor, vice president of CTS Audio. “When we heard about JBL HiQnet Performance Manager we decided to become an official beta tester. It has dramatically reduced setup time and improved system performance.”

“Before Performance Manager, our crews had to use three separate applications to access the processors, amplifiers and PA system to do the system tuning,” continued Taylor. “I would have to use BSS HiQnet London Architect to time-align and EQ the PA and do any array correction.

“In order to bandpass-check the loudspeakers, I would either have to use HiQnet System Architect or the Powered by Crown iPhone/iPad app. With JBL HiQnet Performance Manager, I can accomplish all these tasks and then some.”

Taylor became aware of Performance Manager after purchasing a new inventory of Crown I-Tech 12000HD amps and talking to Eric Friedlander of Crown about how to get the most out of them and the newer V5 preset tunings for VerTec loudspeakers.

“Eric suggested I become a beta tester,” Taylor said. “The Performance Manager software is a match made in heaven with the Crown I-Tech HD amplifiers.”

“The amps offer extensive processing and interfacing functionality, and Performance Manager makes it simple to match them precisely to the VerTec’s crossover points and dig deep into the amplifiers’ capabilities, to get maximum power, signal to noise ratio and overall sound quality.”

CTS Audio has deployed JBL HiQnet Performance Manager on the recent Amy Grant, Michael W. Smith 2 Friends, Women of Faith and National Catholic Youth Convention tours.

“We implemented it fully as intended as a complete system deployment and optimization tool. Everything from the integrated JBL Line Array Calculator II to the array calculation to the system tuning and monitoring functions was used,” stated Taylor.

“The ability to integrate the Line Array Calculator II software with the array correction functionality is incredible,” Taylor continued. “Having the ability to correct for any low-end buildup in the array before ever firing up an amplifier is huge.”

“The accuracy of the predicted frequency response is superb. In essence, by taking the PA out of the room, you are able to focus on setting up the PA first, then dealing with the interactions of the room, and finally tweaking the system to best accommodate the specific requirements of the show itself.”

“In addition, the bandpass testing and monitoring functions take information and control panels that would otherwise need to be accessed across multiple pages, and integrates them into a unified graphical interface,” Taylor said. “I can live on just one or two pages during the show to make sure that everything is functioning within limits and behaving properly.”

“I will be using JBL HiQnet Performance Manager extensively on future tours. It saves a lot of time and ultimately enables us to deliver better sound to our artists and clients,” concluded Taylor.

Harman
JBL Professional

Wednesday, February 29, 2012

MC2 Audio Introduces New S Series Signature Reference Power Amplifiers

MC2 Audio has introduced the S Series, a new range of power amplifiers designed for studio monitoring and other applications.

The S Series is the culmination of years of work undertaken by MC2 Audio technical director and co-owner Terry Clarke in developing linear power amplifier technology.

“Our first amplifier range came very close to being the best and we won many plaudits from different market sectors, however the new S Series has taken the audio quality to another level,” Clarke says.

The S Series utilizes MC2 Audio’s AB bipolar output stages, combined with the company’s proprietary current driven floating drive stage. Analog level controls are provided for ease of use and resultant minimal signal degradation.

Sophisticated “side-chain” limiters prevent loudspeaker damage and distortion. These stay out-of-circuit until the onset of clipping so do not compromise the signal path under normal working conditions.

The S Series comprises two models: the S800 and S1400, both of which are outfitted with high-fidelity shielded toroidal power supplies and intelligently controlled, low-noise fans. This combination ensures optimum conditions for the output stages.

Weighing in at 42.5 pounds, the S800 runs 8-ohm loads at 475 watts and 4-ohm loads at 950 watts.

The S1400 weighs 51.4 pounds, producing 775 watts at 8 ohms and 1500 watts at 4 ohms.

Group sales and marketing director Bill Woods adds, “The S Series is a very welcome addition to our range. Our unique position held in live, installed and the more challenging recording studio market is testimony to MC2 Audio’s belief that superb audio quality remains as important to our customers as it does to us.”

All S Series are covered by MC2 Audio’s five-year warranty.

MC2 Audio

MC2 Audio

Friday, February 24, 2012

Ashly Audio KLR Series Amplifiers Contribute To Green Design At Hilton

When the Hilton Concord on the East Bay of San Francisco, undertook a multi-million dollar plan to renovate its thirty year-old property, its goal was to increase the environmental sustainability of its operations. Even the sound reinforcement system in the building’s flexible ballroom and meeting space was to contribute to the hotel’s much smaller carbon footprint.

Local AV integrator JK Sound, Inc. designed the new sound reinforcement system around Ashly Audio’s new KLR Series amplifiers, which deliver tremendous output efficiency while still maintaining high fidelity, reliability, and affordability.

“There wasn’t much to the original sound reinforcement system,” said Dan Thiel, sales and installation manager with JK Sound, Inc. “It was late 1970s technology that had suffered significant deterioration over the decades. The surrounds on many of the loudspeakers had disintegrated completely, and what was left of its head-end was held together by band-aids and chewing gum.”

The layout at Hilton Concord is straightforward. The large Golden Gate Ballroom subdivides into four smaller rooms, one of which subdivides yet again. A smaller adjacent meeting room subdivides into two smaller rooms. In total, seven zones were required.

“Ashly’s KLR Series was the obvious amplifier choice given the green goals of this design,” said Thiel. “They are highly efficient, meaning that for modest power consumption, they have tremendous output. That’s green in two ways. First, and most obviously, less power consumption translates to less power plant carbon dioxide emissions right out of the gate. Second, since inefficiencies lead to the production of heat that a building’s air conditioning needs to deal with, the KLR’s efficiency is less of a strain on the power used to cool the building.”

“Ashly even includes removable, washable air filters on the front of each amp so that it is easy for the hotel to maintain their efficiency. On top of all that, the KLRs are still among the most affordable, and yet reliable amplifiers available.”

Thiel installed four Ashly KLR 3200 dual-channel amplifiers. In the higher ceilings of the ballroom, they power Community D8 ceiling speakers, whereas in the lower ceilings of the adjacent meeting room, they power Community D6 ceiling speakers.

BSS Soundweb London provides all processing and user control. A BSS Blu-8 Wall Controller works like a small mixer, providing the operator with input selection from among background music, local mics, and local line inputs, along with individual and master volume controls. A BSS Blu-10 Wall Controller provides lockout password security control of the system and room combining.

Because JK Sound was subcontracted by Digital Audio Visual Solutions, the company that regularly operates the A/V equipment for events at the Hilton Concord, its green design, centered on the Ashly KLR amplifiers, is likely to find its way into many other Bay Area hotels and event centers.

“We essentially want to create mirror images of this system in the other venues that Digital Audio Visual is contracted to operate,” said Thiel. “That would make it easy for them to train operators on one system with knowledge that will port to the other systems. Of course, the reliable and efficient Ashly KLR Series amplifiers will remain an integral part of the design.”

Ashly Audio

Tuesday, February 21, 2012

Electro-Voice Stars In Sound Upgrade For Historic Hawaii Theatre

Built in the Golden Age of elaborate movie palaces, Honolulu’s Hawaii Theatre is an exquisite example of the gilded glamour that characterized its era. The Hawaii opened its doors in 1922, decades before Hawaiian statehood, making a strong statement that Honolulu was no backwater.

Technically and aesthetically, the neoclassical theater was state-of-the-art, reinforcing the notion of the movie house as a sort of temple to the gods of cinema. Among the innovations that delighted patrons were the double-cantilevered balcony and the cooled-air vents under every seat.

The interior featured scenery created by a leading set designer and was decorated throughout with intricate plaster work created by local artisans. Presenting not only films but also plays, musicals, and vaudeville, “The Pride of the Pacific” was the most elegant public entertainment venue for thousands of miles.

Today, the Hawaii Theatre is as elegant as ever, with an ongoing series of plays, concerts, comedy, dance, and screenings that contributes to the cultural life of Honolulu. It’s a remarkable turnaround for a building whose gradual decline, starting in the 1960s, led to closure and abandonment in 1984.

Local citizens formed a non-profit corporation to save the building from the wrecking ball and, with financial help from the State of Hawaii, convert it into a performing arts center. According to the theater’s official history, “Every inch of the interior was restored and renovated… Art work was restored, gold grill work was refurbished, electrical systems were replaced, all termite-damaged wood structures (e.g. seats, stage) were removed and new ones were installed, and the roof was replaced.”

In 1996 the restored facility re-opened as the Hawaii Theater Center, a 1400-seat, multi-purpose performance venue. The restoration work earned the center an Honor Award from the National Trust for Historic Preservation. Listed on both the Hawaiian and National Registers of Historic Places, the building has also been recognized by the League of Historic American Theatres as an “Outstanding Historic Theatre in America.”

Historic authenticity notwithstanding, the center’s goal of providing a state-of-the-art performance space requires a sound system capable of performing to the highest modern standards. At the time of the mid-1990s restoration that meant a system built around Electro-Voice’s DeltaMax series of loudspeakers. But as sound reinforcement technology advanced over the last decade-and-a-half, it became evident that a new sound system could provide even better sound while meeting the more demanding requirements of today’s touring shows and concerts. The challenge was to upgrade system performance while respecting the preservation requirements of the historic interior. Once again it was determined that Electro-Voice offered the best solution for meeting the Center’s technical, aesthetic, and budgetary needs.

A collaborative effort

The Hawaii Theatre sound system upgrade had its genesis seven years ago when the venue was the site of Electro-Voice’s first ever EV Road Show in Hawaii. The task of locating a venue for such an event was put on the shoulders of Buck Tallman of Quantum Sales & Technology, the regional Electro-Voice representative for Hawaii. “Although we had several options available for our show, the Hawaii Theatre had that WOW factor that we needed to help highlight the products offered by Electro-Voice.”

“Great location plus great sound equals great show! That’s exactly what this was – a great showing products that no one had ever done before in this territory, and all at a location as great as the Hawaii Theatre,” says Tallman.

Hosting the Road Show also gave the theater’s Jude Lampitelli, who was stage manager at the time and has since become production manager, to hear what newer Electro-voice systems could do. As time passed, Lampitelli kept in touch with Tallman and Quantum helped provided the theater with sales and service for EV and Telex intercom systems. “We always try to involve local support for the sales and service of our product offerings,” says Tallman. “Local communities benefit when sales or service is kept within that territory.”

It was four years ago that Lampitelli informed Tallman that the venue was considering a sound system upgrade and requested a sample design be drawn up for budgetary purposes. A year later, center manager Burton White began seeking grant money for the project, and a year after that a grant was approved for about half of the needed amount. The center’s members launched a fundraising campaign, and after another year they had raised enough to match the grant.

With funding assured, the design and installation process began in earnest, eventually involving Custom Audio of Kaneohe, Hawaii. Custom, an installation, rentals, and event sound company, was Quantum’s key local partner on the job.

“Quantum did a lot of groundwork to specify the current system as installed, from acoustical predictions to keeping within the theater’s historical and aesthetic parameters,” says Custom’s Jeff Kang, the systems engineer who oversaw the installation. “They designed an excellent system that really fits the space.” Going along with the philosophy of always involving local support, Custom will provide ongoing local support for the system.

“The biggest design challenge came from the fact that it is a historic building,” says Tallman. “Most of the room is covered in plaster handcrafted by local artisans, and it looks spectacular. Because of the historical value of the venue there could be no altering to the existing hang point. The system had to go up in the exact same spot where the old system was hung, which was a single, center rigging point about five feet in front of the proscenium, over the front part of the stage.”

The old center cluster was a horizontal array of six boxes, three wide and two tall. It was supplemented with a pair of single-18 subwoofers, and a set of barely-functional in-ceiling speakers for under-balcony fill. “Sticking with a single hang in the same spot as the old cluster limited our choices,” Tallman says. “We had a few options on what we could put in that would perform well from that predetermined point in the room. We also had to take into account the size of the proscenium, and the aesthetics,” Tallman continues. “When you looked up, were you going to see a big behemoth, a monolithic array, or was it going to blend in seamlessly to the architecture?”

Another consideration was that the center already had a clear vision of the type of system they wanted. “The customer definitely wanted to see a line array in there,” Tallman says. “Given that we had a single hang point with weight limitations, our options were narrowed down to a few possible speakers for the centerpiece of this install.”

As in any installation, the acoustic properties of the room itself were also a factor in shaping the system design. “The room is very conducive to carrying sound from the stage,” Kang says. “The trick in there is dealing with the walls absorbing a lot of that sound.” With that in mind, pattern control was a key concern in choosing the array.

Lastly, the system had to be versatile, able to handle a broad cross-section of performance types. So they had a wide variety of needs for the system. It couldn’t be just a point source, theater-oriented type system that was for voice and prerecorded music. It had to be able to achieve the SPLs that a rock concert would normally want in that room, and also have enough bottom end too,” says Tallman.

The main hang

Weighing all these factors, Tallman found the ideal box around which to build his design: the very compact and lightweight Electro-Voice XLD281 dual 8-inch line array element. Designed for biamp or triamp operation, the XLD281 is a full-bandwidth 3-way box in EV’s XLVC series of installation-focused arrays. With EV’s Coverage Control Technology (CCT), the box maintains 120-degree horizontal coverage down to 250 Hz.

“The XLDs fit all of our design criteria,” Tallman says. “I’ve used them in live situations, and I’ve used them in multiple installs. They handle the right amount of horsepower and they are able to cover the room evenly from a single point hang.” Both Tallman and David Brown, CFO and lead engineer for Quantum, had worked extensively with the XLD281 and both had zero doubt it would do exactly what the theater wanted – both sonically and aesthetically.

“The XLDs come in both 90- and 120-degree horizontal patterns,” Brown adds. “We looked at using 120s more toward the bottom and 90s up top. I did a full EASE analysis on the room, looking for any anomalies of energy and phase from things like multiple reflective points or corners coming back and hitting certain seating areas. When I ran the numbers, we got a smoother overall response with just the 120s than with a mixture.”

“The 90s would definitely have given us a little more oomph in the back, but it just didn’t look like we needed it. So we ended up going with 120s all the way, and it worked well. Everything falls off right where I wanted it to. When a person in the last row of the balcony stands up, they’re still just within the pattern… unless they’re over seven feet tall!”

“We designed it to be something that a touring artist would sign off on,” Tallman says. “The number of boxes was influenced by what it took to get control down to the breaking frequency that I thought we would need after having been in the room and knowing where the problems were. But we also had to avoid interfering visually with the proscenium arch. The bottom of the array should never intersect the arch of the proscenium by more than a foot from the upper rows or any other viewpoint in the theater.”

The final design is a ten-box hang with a hard break in the middle to avoid bouncing sound off of the balcony lip. “We wouldn’t normally have done a hard break,” Brown says, “but EV’s new FIR filter presets for the XLDs make the array behave so well that we can decouple those two sections more than normal, and the break takes the energy off of the lip like we want. The pattern picks back up on the other side and still sounds great. They’ve done such a good job with these final presets – they are fantastic.”

Tallman chose four Electro-Voice Xi-1082 2-way full-range loudspeakers for front fills. Another six Xi-1082s are used for under-balcony fill. “We like the size of the box and its value,” Tallman says. “It’s very affordable for its output and overall sound quality. And it blends well with the main hang because EV keeps the overall tonality very similar from box to box. The consistency of EV’s speaker voicing makes it easy to get a smooth transition between coverage zones.”

The system is equipped with two different models of Electro-Voice subwoofers. Two EVF1181S single 18-inch front-loaded subwoofers live in what Tallman refers to as a “bunker” built for the old system’s DeltaMax subs. “We had to find a sub that fit in the bunkers that were already there,” he explains, “because we weren’t going to be able to put subs under the stage or install them near the stage.”

“If the show is just talking heads, or there’s not a whole lot of low-end material, then they can run with just those loft-mounted subs,” Tallman continues. “When it gets a little more pumping and it needs more low-end punch, then they have four dual-18s that they roll out onto the stage right next to the proscenium. Those are EV’s QRX 218S compact dual 18-inch subwoofers. I chose that model because it’s a high-output, low-profile, sub that fit within the budget. I’ve used them over and over again. Four of them provide enough low-end to keep up with the mains and the overall SPL requirements for the low frequencies.

Also used on a situational basis are the theater’s eight TX1122 12-inch two-way full-range loudspeakers, which serve primarily as floor monitors. “They pull them out when they have concerts,” Tallman says. “We chose this model for its output and its quality; it was the right price-performance ratio. But footprint was also a concern. The enclosures are compact. It’s a radical design that really takes up less space on stage without sacrificing performance.”

Power and control

Designing the entire system around the XLD281 was made easy with the use of Electro-Voice amps and DSP. “My design philosophy follows that if DSP, loudspeakers, and amps can all come from the same manufacturer then they should,” Tallman explains. “I’ve done installs with amps from other manufacturers behind EV speakers and those installs sounded very good. But knowing that EV amps are over-engineered and built really well, I knew they would enhance the experience we were looking for. From the output power to the very low failure rate and power consumption, the performance-to-cost ratio makes them more than affordable. EV amps are competitive with anyone on the planet in terms of power and value.”

Fifteen CPS amps are used in all: five CPS2.9s, nine CPS2.12s, and one CPS8.5. “The CPS2.12s are used for the LF drivers in the main array and the subs,” Kang adds. “The CPS2.9s are used for the HF on the XLDs and also for the Xi-1082s. And the CPS8.5 is used for the monitors.”

Each amp is equipped with an RCM-810 card that functions as an IRIS-Net remote control module. “The RCM-810 allows you to monitor your system and see what’s going on without having to get on a ladder or pull out test equipment,” Brown says. “You can see in real time if your drivers are in good shape, and check things like the impedance of the rig. Also, if you use the RCM-810 card on a digital amplifier like the CPS8.5, 4.5, or 4.10, it allows you to control the output stage based on your calculated load. You can adjust your output impedance and stabilize it, so that it matches the overall impedance of the load that you’re actually driving.”

While the DSP on the RCM-810 cards is used for supervision and load matching, the audio processing is handled by a NetMax N8000-1500 digital matrix controller. “There is no better sounding audio processor,” Brown says, “and it does everything. It’s just a powerhouse in terms of DSP – crossovers, compressors, and all of your limiters are in there.”

Kang agrees with Brown’s assessment. “The capability to process FIR filters in real time makes the N8000 the ultimate configurable processor,” he says. “It is very versatile in how it programs and can do quite literally almost anything you ask it to do. It’s also great sounding and roadworthy too.”

Given the NetMax’s capabilities, it was the obvious choice for running the theater’s Electro-Voice amps and loudspeakers. “It just makes sense to use the same manufacturer’s DSP box,” Brown says. “EV has spent a lot of time coming up with those loudspeaker presets and FIR filters, making sure that everything in the system is gain-structured properly and all of the frequency responses line up. So when I load in the speaker parameters, they’re going to be correct. If we’d chosen a different brand of processor, I would have had to do transfer functions for a 10-box rig, which is a lot of work.”

Brown also points out that NetMax is “not just a loudspeaker processor. It’s also a 32 by 32 digital matrixing device that you can use to do all of your routing. So it’s a fantastic front-of-house box, but it can also take care of the rest of the venue with things like matrixing background music and routing your paging. It also can run CobraNet modules and Dante. So you get your choice of networking and how you talk to other devices.”

System installation

Once the system was designed, it was primarily up to Kang and his Custom Audio team to get it up and running. “The first part of my job was to analyze all aspects of the installation and the logistics of the project,” Kang says. “We figured out what parts of the existing system could be re-used and what needed to be removed. Custom input panels and floor mounts for some of the front-fills needed to be designed and manufactured. Laser-engraved name tags needed to be laid out for etching. Rigging hardware needed to be sorted out and ordered. Speakers needed to be disassembled and painted. And I had to decide what would be the most efficient use of the NetMax processing power – what was both practical and useful for the theater to have – so that I could program an initial IRIS-Net file for the controller.”

After these preliminaries came the installation itself. “We tackled the loudspeakers first,” Kang says. “The EVF-1181S subs were fit into the existing bunkers with fractions of an inch to spare. Then came the six Xi-1082s for under-balcony, which were painted to match the ceiling color. The locations were spiked to within inches of the designed placement and approved by the theater before mounting. The four Xi-1082 front-fills were simply placed, but custom speaker cable was built to allow the orchestra pit to move freely behind them. The QRX subs in front of the proscenium arch also needed custom speaker cable to allow the fire curtain to close without obstruction. The final part was to hang the XLD281 array on an existing frame suspended from a permanent hoist. We gained an additional foot of clearance for sightlines by re-engineering the existing frame and tucking the XLD grid right up to it.”

On the electronics side, Kang says, “the first order of business was to remove all the old equipment from the racks without damaging or disrupting the existing patchbay or wiring. We had to patch around an existing patchbay designed for analog EQs and crossovers and incorporate the NetMax controller while still leaving most of the patchbay 100% functional. This was not an easy task, as most of the wires in the back of the rack were not labeled correctly or had been changed over the years. Then we loaded the new amplifiers into the existing amp rack, and remoted one additional amplifier to another nearby rack. The final test was to pass noise to all of the components and verify that everything was wired correctly.”

All in all, Kang says, “the system was well designed and has excellent coverage. The XLD281 is a great-sounding full-range box, very intelligible with a very smooth midrange, and not a lot of hassle either to rig or to EQ. Having made a couple of pre-site visits, there were not a lot of unforeseen issues during the install itself.”

In addition to the main loudspeaker system, Custom also installed various ancillary audio systems, including a Bosch Integrus wireless infrared language distribution system with a four-channel NT-TX transmitter, 24 pocket receivers, and two medium-power radiators capable of transmitting 20H to 20K audio. The Integrus, which is rackmounted in the sound booth, is used as an assistive listening system for ADA-compliance as well as to transmit surround sound to remote speakers.

For wireless, Custom installed a four-channel Electro-Voice REV system composed of REV-D dual receivers and REV-WTs bodypack transmitters. “The RE-V wireless is a professional-level system that has tour-grade durability and also the sonic quality that a lot of today’s artists and engineers demand,” Kang says.

Four new REV-HD767s, which combine an REV-H handheld transmitter with an N/D767a microphone head, were purchased for use with the wireless system, as were four RE97 lavalier microphones. “The N/D767a is a great-sounding capsule,” Kang says, “and the REV-H is durable and also compatible with Shure capsules. As for the RE97LTx lavaliers, they are great-sounding microphones not just for speech but for performance as well.”

A happy ending

With the system installed, Custom and Quantum commissioned the room, comparing actual performance to the response predicted by EASE modeling. “We had done a very extensive EASE analysis before we put that rig in the room,” Brown says. “The system performed as expected; the coverage was what EASE had said it would be. The delays voiced well to the mains, and after we time-aligned the subs and Smaarted the room we did about five presets, and they all sounded very, very good: high intelligibility, nice smooth coverage, good balance. It was interesting to hear how well the line array performed as a single point source, maybe better than we could have pulled off with stacked three-wide horizontal arrays. We have way more control with the line array.”

Pleased with the results, Tallman, Brown, and Kang demonstrated the system’s capabilities for the local live sound community. “We not only trained the theater’s own techs, we also invited all of the local techs so they would know what they had when they walked in the room,” Brown recalls. “And we also made some slight adjustments based on their input, so we involved everybody.”

“You could tell that the locals engineers were thinking that the room hadn’t sounded that good in a long, long time,” Tallman adds. “So I was happy, Custom Audio was happy, and more than anything, the theater management was very happy, with smiling faces all around. We knew that everyone—the owner, the facility manager, the front-of-house guys, the production managers, and the audience—each has their needs, and we wanted to make all of them happy. That’s exactly what we achieved with this system.”

Tuesday, February 14, 2012

Lab.gruppen PLM 20000Q Makes First Appearance At Sierra Nevada World Festival

The main sound reinforcement system at the latest Sierra Nevada World Music Festival was driven by recently introduced Lab.gruppen PLM 20000Q power amplifiers.

Although Sacramento Production Services has been providing audio for the three-day festival for sixteen years, this marked the first time they’ve used Lab.gruppen amplifiers. “It’s our first year using the Labs, and the first time we used Lake Processing on this PA. We built it and sent it out specifically for this gig,” says Sacramento Production Services front of house engineer and system tech Dwaine Wise.

For several years the system has been relatively consistent, adds the company’s sales and production manager, Keith Wackford. This year the loudspeaker set was comprised of 24 Martin Audio W8LC line array modules, 14 Martin W8LC dual-18 subwoofers, and two Martin W8Cs for front fill.

“All that off of just nine PLMs,” Wackford adds. “And everybody raved about how much more musical the PA was – plus our client said this was the best this PA ever sounded.”

In past years it took double the rack space to do the show, Wise notes. “Cutting down on our racks was a big thing. We used to have to roll out four of them to do 12 a side. This time, when we were packing the truck we were like, are we forgetting something?”

Lake processing also helped immensely, he adds. “Being able to monitor the amps from front of house and actually knowing exactly what’s going on – not just that an amp is clipping, for example, but why it is, and monitoring the temperature of the amps – on a summer festival gig that’s huge.”

In the end, the addition of the PLM 20000Qs helped Wise save time in tweaking the system and streamlined his workflow substantially, and they also provided far more sheer power than the previous amplifiers. “There’s a lot of reggae on the bill, and the more volume you can get, the happier people are. Before having the PLM 20000Qs, we just didn’t have that amount of power, and to get it we’d really have had to ramp up the number of amp racks we brought out,” he says.

Lab.gruppen

Friday, February 03, 2012

Peavey Debuts Expansion Modules For Powered Loudspeakers

New Peavey Expansion Modules expand the capabilities of the company’s EU Series, Impulse 12D, and the new PVXp powered loudspeakers.

The new 9-Band Graphic EQ Expansion Module aids users in controlling feedback using the built-in, proprietary FLS Feedback Location System, which makes accurate feedback elimination simple and intuitive.

The 9-Band module gives users greater control over shaping and accenting live or recorded vocals and live instruments, as well as increases control over general sound equalization, and removes 60 Hz AC hum.

Meanwhile, the new 3-Band Parametric EQ Expansion Module provides fine-tuning capabilities with gain, frequency and bandwidth (Q) control.

Finally, the new 3-Channel Mixer Expansion Module expands the powered enclosure’s input options by three input channels, with each channel featuring level control, high and low equalization control, and a combination XLR and 1/4-inch input.

9-Band Graphic EQ Expansion Module specifics:
—Nine frequency bands: 63, 125, 250, 500, 2k, 4k, 8k, 16kHz
—FLS Feedback Locating System
—+/- 15 dB boost and cut
—U.S. MSRP $59.99

3-Band Parametric EQ Expansion Module specifics
—Three frequency bands: Low 40 to 800Hz; Mid 200 to 4kHz; High 1kHz to 20kHz
—+/- 12 dB boost and cut on each frequency band
—Q adjustable from 0.1 to 1 on each frequency band
—Hard-wire bypass
—U.S. MSRP $49.99

3-Channel Mixer Expansion Module specifics
—Three channels of additional inputs
—Combination XLR female and ¼” TRS input
—Microphone and line-level input range
—Two-band EQ on each channel
—Switchable phantom power global for all three channels
—U.S. MSRP $79.99

The new Peavey Expansion Modules for powered loudspeakers are made in the USA will be available in Q2 2012 from authorized retailers.

Peavey

Thursday, February 02, 2012

Powersoft Joins Crestron Integrated Partner Program

Powersoft is now a member of Crestron Integrated Partner Program with the full permanent installations catalog, which is a plug-in, developed by Crestron for Powersoft, that includes the entire range of products.

The catalog allows seamless integration of Powersoft amplifiers in Crestron-controlled environments, including video, security, evacuation and other remotely accessible devices.

The feature set includes full alarm monitoring, mute and volume control, preset selection, power on/off, and real time metering for Duecanali, M Series and K Series. In addition, Ottocanali is currently undergoing tests to be included in the list.

“This important development is yet another step in our plan to expand our presence in the permanent Installation market,” says Luca Giorgi, Powersoft pro audio business unit manager. “The future of this market will be increasingly characterized by the integration of various subsystems into a single complex environment, where the key concept is easy accessibility. We believe that we could not miss the opportunity of being part of it.”

“This is a significant step into that direction because it will greatly expand the interoperability of our products in that market, where we have already set the bar in terms of power consumption, energy efficiency and environmentally sustainable products,” adds Luca Baldi, the newly appointed permanent installation account manager.

Powersoft

PSAV Deploys Crown Audio VRack Amplification System For Hotel Events

PSAV Presentation Services, the world’s largest A/V rental supplier with more than 800 offices worldwide, many located on-site at major hotels, specializes in providing in-house audio-visual services to the hospitality industry for meetings and events, and maintains one of the largest, most up to date equipment inventories in the industry.

Since its introduction, PSAV has been using Crown Audio VRack, a turnkey amplifier rack system that includes three I-Tech HD I-T12000 power amplifiers, a versatile input panel with analog and digital connections, and a globally universal power distribution system that can be set to meet U.S. and international power standards.

All of the components are housed in a wheeled rack that can be flown in the same manner as a line array loudspeaker system.

“Typically, a hotel sells the meeting space and we work with the end client to provide the equipment and labor required to manage the event,” notes Jacob Ingle, audio product manager for PSAV. “Since we own all of our equipment, we have to select products that are cost-effective, efficient and reliable in order to maintain a profitable bottom line.”

“We have been using Harman products for quite a long time and even discussed building pre-configured amp racks with Crown before VRack was introduced. When they introduced the VRack, it was the perfect solution for a number of our amplification needs,” continues Ingle.

“One of our goals is to standardize gear as much as possible so our technicians can move from location to location and be familiar with the equipment they’re going to use,” says Ingle. “Having a unified amplifier package like VRack makes this a lot easier. We have many locations large and small, and VRack is adaptable to different situations because it allows multiple configurations for analog and digital inputs, for different types of speakers and for system networking.”

“Crown’s VRack is the perfect solution for the audio rental supplier because of its benefits as a plug-and-play solution for customers like Jacob who face an ever-changing set of challenges based on each event,” states Brian Pickowitz, marketing manager for Crown.

“Another major advantage is that VRack interfaces with Harman’s HiQnet Performance Manager system design and setup software and is specifically designed to work with JBL VerTec loudspeakers. Because we use a lot of JBL, Soundcraft and other Harman gear in addition to Crown, VRack becomes part of an all-in-one solution where all components ‘talk to each other’ using HiQnet. This makes system setup and operation much easier and a great deal more efficient,” adds Ingle.

Crown Audio
Harman Pro

Wednesday, February 01, 2012

Oslo Audio First Rental Company In Norway To Invest In L-Acoustics KARA

Oslo Audio has become the first rental company in Norway to invest in L-Acoustics KARA WST line source loudspeakers, ordering 24 cabinets from local distributor Scandec Systemer.

The KARA loudspeakers are powered by L-Acoustics LA-RAK amplified controllers and supplemented with SB18 subwoofers.

“KARA has a flexibility that will enable us to use the system for pretty much all venues in Norway,” says Paal Klaastad of Oslo Audio. “For us the audio performance of the KARA system was never in question. As a long-time L-Acoustics user, we are confident that the sound quality is first class. The reputation of the brand ensures that the end users are also confident of the system’s performance.

“The scalability of the system, its integration with the LA-RAK platform and the ease of rigging and handling makes us confident that this will provide a good return on investment for years to come. We look forward to putting the system to use, and to collaborating with other network agents in Scandinavia.”

Oslo Audio’s new KARA loudspeakers were used for the first time at the 10-year anniversary concert of Crystal Canyon Studios, with a lineup of Kåre & The Cavemen, Ulver, Paperboys, Kitchie Kitchie Ki Me O and André Holstad.

That system consisted of the 24 KARA cabinets with 12 SB118 subs and six 115XT HiQ coaxial monitors, powered by LA-RAKs.

L-Acoustics