Monday, November 01, 2010

Avid Announces Technology Demonstrations & Customer Presentations At AES

Butch Vig and Dave Hill lead line-up of main stage presentations

Avid has announced its line-up of technology demonstrations and customer presentations scheduled for the company’s booth at the 129th AES Convention from Nov. 5-7 at the Moscone Convention Center in San Francisco.

The sessions will provide attendees with a look at an array of new audio solutions that support open, collaborative audio workflows for use at home, in the studio or on stage.

Avid guest speakers will include Butch Vig, Garbage drummer and Grammy winning producer of Green Day’s “21st Century Breakdown,” and Dave Hill, founder of Cranesong and co-developer of Avid’s HEAT software, among others.

Sharing stories and best practices honed from years of professional experience, these speakers will share audio workflow tips, behind-the-scenes production details, and impressions about how Avid has taken what we’ve heard from our customer base and delivered on our promise to provide open, flexible solutions for interoperable production environments.

In addition, a series of main stage demonstrations will include:
• Tours through the creation, tracking and mixing of a song while moving from laptop, to desktop, to studio platforms

• Post production sound demonstrations based on HBO’s Emmy award winning series “The Pacific”

• Technology previews of Avid’s MC Mix, part of Avid’s Artist Series of consoles (formerly Euphonix Artist Series) running on a Windows 7 system.

Rotating technology demonstrations on Avid’s main stage and show floor will showcase audio innovations for independent and studio professionals, featuring:

Open, flexible workflows in interoperable environments

Best-in-class audio solutions, including:
• Pro Tools HD Native, the newest addition to the Pro Tools family that harnesses faster CPUs to deliver customers the industry-leading capabilities of Pro Tools HD with native, host-based performance

• Pro Tools HD IO, OMNI, and MADI converters for best in class A-D/D-A conversion and the highest sound quality

• HEAT software, a revolutionary software add-on that brings the warmth of analog components to the Pro Tools│HD mixer.

• Mbox family of portable recording solutions, providing new A-D/D-A converters, cleaner preamps and improved drivers for Pro Tools and third-party DAW support.

• Artist Series and Pro Series Consoles, streamlining production with award winning ergonomic control.

Also appearing at AES as part of the workshop and seminar series, Avid’s Robert Scovill will present as part of an Economics-Driven Change of Touring live sound seminar on Thursday, November 4 and a Live Monitoring and Latency with Digital Audio Networks workshop on Friday, November 5.

In addition, Avid’s Sheldon Radford will participate in an Audio/Video Bridging (AVB) product design panel discussion on 11/5. And in addition, Engineer Billy Bush and founder and CEO of Sonic Magic Studios and post mixer Jonathan Wales will be making an appearance on the Avid booth’s main stage, speaking to the strength and flexibility of Avid’s new HD solutions.

Avid Website

Posted by admin on 11/01 at 01:00 PM
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Electro-Voice Loudspeakers Chosen By The Jawaharlal Nehru Stadium

Hundreds of Electro-Voice were installed in the Jawaharlal Nehru Stadium for the 2010 Commonwealth Games.

With a 60,000-plus seating capacity, Jawaharlal Nehru Stadium in New Delhi, India was the largest venue used for the October, 2010 XIX Commonwealth Games.

The stadium hosted athletics events and, most importantly, served as the venue for the Games’ opening and closing ceremonies.

The stadium is equipped with an audio system from Electro-Voice, extending EV’s footprint in the design of systems for the world’s largest sporting events, including the summer and winter Olympic Games and the recent FIFA World Cup soccer tournament in South Africa.

The EV loudspeaker specification at Nehru Stadium consists of 132 customized XLC127DVX (line-array), 120 Sx300PI, 300 EVID 6.2, and 60 ZX5-60PI surface-mounted systems, all driven by a combination of 135 P3000RL and TG amplifiers to deliver an average of 107 dB and a peak of 115 dB.

The system is remote-controlled and supervised from a single laptop in the stadium control room, all via EV’s IRIS-Net software platform. The system’s Auto Gain Control increases or decreases the sound levels consistent with changes in the level of ambient crowd noise.

All external speakers are manufactured to exceed the IP55 standard for weather resistance, while the system’s speech intelligibility surpasses the approved standard of 0.55 RASTI.

Electro-Voice Website

Posted by admin on 11/01 at 09:55 AM
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Church Sound Basics: Developing Your Technical Ministry

How does one put a winning team together to make the technical production happen?

If you’re a minister of music, a pastor of programming, a senior pastor, or even a volunteer then one of your responsibilities involves dealing with the technical aspects of worship.

Technical, of course, meaning sound, theatrical lighting, video, props, production.

These areas, when properly applied, can add great dimension to the worship experience.

However these elements misapplied can destroy a worship experience.

Nothing is more distracting than feedback, missed cues or “hokey” production quality.

So how does one put a winning team together to make the technical production happen?

First of all, make sure that the people that you select are “sold out” to the vision and purpose of the church. Then create a “hit list” of potential technical ministers.

Check these folks out. Observe them at church, are they plugged in? Do they seem excited about what is going on?

Do they appear open and teachable? How are their communication skills?

Once this list is set and you have checked the field out, interview them.

Be straightforward and honest with your questions. Get to the heart of the matter. Ask yourself: is this person’s heart, spirit, and attitude the kind that I want on my team? Are they as qualified technically as they are spiritually? If not, are they capable of learning?

If this person is someone you want on your team, clearly lay out the vision for the ministry. Hopefully you have been doing this all along!

If you have no vision, your ministry will go exactly where you lead it- nowhere. Wear and express your vision often. Spell it out on paper!

    “The Technical Ministry at ABC Church is a support ministry that facilitates reaching the lost by providing excellence in sound, lighting and video.”

After selling the vision, communicate the expectations. Do it in writing. People appreciate knowing what they are committing to, so have it clearly laid out. Two words of caution here:

1. The technical area burns out more people than perhaps any other ministry.
Build your team big enough so the burden does not become too great.

2. Protect and invest in the people on your team.
Don’t let Bob spend 30 hours in one week volunteering to make a production happen while his family forgets who he is. Also, take an opportunity to invest in Bob. Get to know his family, take him to lunch just for fun.

After your team is recruited, make sure that you keep them in “the loop” as to what is going on. Information is power. Make sure you have a schedule planned out at least one month in advance.

Fax the order of worship for the coming Sunday to the technicians no later than Wednesday or Thursday. This gives them time to prepare. Think of it this way, I hope that you would not approach a soloist to sing and them give them the song on Sunday morning.

Provide ample opportunity for your team to grow and learn. Subscribe to all the industry related magazines and make them available to your team. Purchase some technical resources and make them available.

An excellent technical ministry team at your church is waiting to happen. Take the lead, recruit the right people, and spend the majority of your time investing in them. Believe in people and they will amaze you!

Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.

Posted by admin on 11/01 at 09:30 AM
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Tech Tip Of The Day: Preparing Audio For Broadcast

My mix sounds great on studio monitors but it sounds bad on the TV. What can I do to fix the problem in my mix?
Provided by Sweetwater.

Q: I’m working on a remix of a recent recording for a long time client which has me quite excited.

The reason is that this is my first ever project for broadcast!

I’ve been checking the mix on multiple sizes of monitors, including TV speakers, but something still doesn’t sound right.

Can you offer any advice?

A: We’ve encountered similar issues recently when mixing for broadcast.

We were quite happy with the way the mix sounded through studio monitors, headphones, and home stereo speakers.

But, when the mix was run through small, built-in TV speakers it had low-frequency build up that was making it sound muddy.

Our first instinct was to check the bass and kick drum for anywhere the mix had excess low frequencies we could cut, but found nothing out of the ordinary.

However, when we looked at the guitar track, we found the culprit. A slight bump at 100Hz was enough to cause the muddiness we were hearing.

A quick EQ adjustment dipping the level at 100Hz and boosting the level slightly at 200Hz cleared the muddiness right up. Now the mix translates well on all of our reference devices and is ready for broadcast!

The moral of the story: reference your mixes on as many playback systems as possible, and don’t automatically assume the “obvious” tracks are the source of a problem.

As always, we welcome input from the PSW community and would love to know how you check your mixes for broadcast. Feel free to let us know in the comments below!

For more tech tips go to

Posted by admin on 11/01 at 08:05 AM
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Symetrix Gear Chosen By PSAV For Upscale Projects

PSAV utilizes Axiomtek, which provides a greater degree of sophisticated, intuitive, control to the end user.

PSAV Presentation Services provides the hospitality industry with the tools and technology for meetings.

This includes incorporating fully-integrated, forward-looking technology solutions for its installations at hotel partners across the United States.

As Symetrix fixed-architecture and SymNet open-architecture DSP solutions have advanced, PSAV has kept up, offering clients ever-greater functionality and performance for ever-less money.

Project Manager Matt Keene of PSAV has begun to include Symetrix’ latest offerings – the Axiomtek touch-panel PC and the latest version of SymVue user-control software for new design and installation projects.

In addition, Keene is retrofitting older Symetrix and SymNet installations with the Axiomtek, which provides an even greater degree of sophisticated, yet intuitive, control to the end user.

Recently Keene utilized the Symetrix technology to deliver upon an upgrade project. “Even though our latest proposal was for much less money than an earlier one, we were able to deliver a lot more functionality,” said Keene.

The system covered a ballroom, which could be divided into separate meeting rooms, as well as two additional physically separate meeting rooms. Powered by QSC eight-channel CX108V amplifiers, Bose Freespace 102F loudspeakers cover the spaces with an even distribution.

Each room contains local inputs of between two and four ELRs mixed by a Crown 28M. A Symetrix ARC-SWK wall panel controller in each of the six spaces selects between the local inputs and various DMX background music sources and controls their overall volume.

A Symetrix Room Combine 788 forms the heart of the system. “I use the SymNet open architecture units when necessary, but for simple systems, the Symetrix Integrator series is the way to go,” said Keene.

“The price is right, the functionality is all there, and the programming time is quick.” The Room Combine 788 is capable of full auto-mixing and signal processing of twelve inputs (including four background music sources) into as many as eight rooms with full loudspeaker conditioning.

Like all Symetrix and SymNet products, it can be controlled by Symetrix ARC wall panels, SymVue user control software (either on a touch-screen PC, like the Axiomtek, or a regular PC), or third-party controllers.

In this example, Keene reserved the ARC-SWK wall panels for source selection and volume control only, placing the Axiomtek touchscreen PC in the equipment room for all room combine/uncombined control. “Most hotels require some amount of room combining,” said Keene.

“It can be challenging to add that additional layer of control without overwhelming a novice user with complexity. I’ve found that when I make room combine/uncombined functionality available in the space, users can sometimes mistakenly make changes when all they really want to do is change the volume.”

“With the Axiomtek touchscreen PC, I simply place a map of the room on the screen with intuitive ‘combine’ and ‘uncombine’ buttons, and then it’s as simple as it can possibly be.”

Symetrix Website

Posted by admin on 11/01 at 07:30 AM
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Turbosound Japan Launches at Inter BEE

Turbosound has launched a new pro audio company dedicated to the promotion and distribution of its professional loudspeaker systems in Japan.

Turbosound Japan, a new partnership between Turbosound Ltd and All Access Inc, will be launched at the Inter BEE show which takes place in Tokyo from November 17th to 19th.

To accompany the launch a wide selection of Turbosound products will be exhibited.

These include the Flex Array tour sound system, the new TFM-560 and RACKDP-50 professional bi-amped floor monitor package, the elegantly styled IMPACT architectural loudspeakers, and Turbosound’s complete range of dedicated sound contracting products.

Experts from Japan and the UK will be on hand to advise and demonstrate.

President of All Access Cozy Hattori commented, “I am greatly looking forward to working with Turbosound. The brand has a long and rich history in Japan, and I am excited by the future possibilities for Turbosound in Japan.”

Turbosound’s Asian market manager Chris Gooddie added, “I have worked with Cozy Hattori for many years, and I am delighted that we have found such a respected and professional partner to work with in Japan.”

“We have been considering how best to serve the needs of our Japanese customers for some time, and the formation of Turbosound Japan is the result of that process.”

“With offices in both Nagoya and Tokyo, and long experience in working with Japanese customers and resellers, Cozy’s organisation is well placed and equipped to deal with sales, support and service.”

“Together we look forward to satisfying an ever-increasing number of Japanese customers in the coming days.”

Turbosound Website

Posted by admin on 11/01 at 06:55 AM
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Friday, October 29, 2010

Royer Labs Adds New European Distribution Partner

The new strengthens Royer's presence within Germany, Switzerland, and Austria.

Royer Labs has announced that the company has reached a new distribution agreement with the German company S.E.A. Vertrieb & Consulting GmbH.

The new distribution agreement enables Royer Labs to strengthen the presence of its premium microphone products among musicians and audio professionals throughout the key European countries of Germany, Switzerland, and Austria.

Headquartered in Emsbüren, Germany, S.E.A. Vertrieb & Consulting carries a wide range of products for today’s audio professional, including microphones, signal processors, mixing consoles, digital audio networking equipment, and sound reinforcement systems.

Guided by Managing Director Uwe Kirchfeld, the team of fifteen employees provides rapid order processing and shipping, along with full consultation and support services.

“We are very pleased to be representing Royer Labs,” said Uwe Kirchfeld. “Royer is one of the world’s premium microphone companies and is a perfect fit with our existing line card.”

“The microphone is one of the most important components in terms of ensuring a quality recording or true to the source sound acquisition for live sound reinforcement purposes and Royer Labs is a first-tier choice among today’s discriminating audio pros.”

“Royer microphones stand at the forefront of ribbon microphone technology. Their ability to add a rich, warm sound makes Royer microphones the ideal complement to the digital recording process and their robust build quality and ability to handle high SPLs makes them equally well suited to miking applications for today’s touring professionals. We are positively delighted to represent the line.”

John Jennings, VP of Sales and Marketing for Royer Labs, is also excited about the new arrangement. “We believe Royer Labs fits in perfectly with the brands represented by S.E.A.,” said Jennings.

“The addition of Royer Labs microphones brings a much sought after, and previously elusive, brand to S.E.A.’s product offerings and I believe Royer makes a great fit with their other lines. S.E.A. has a solid reputation among the professional audio community and I believe the addition of the Royer line makes a great fit for both firms. I look forward to working with them and have full confidence in their ability to represent our company.”

Royer Labs Website

Posted by admin on 10/29 at 01:43 PM
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L-ACOUSTICS Accepts Parnelli Award for K1

The line source array system takes top prize this year in category of “Indispensable Technology – Audio”

L-ACOUSTICS has announce that its K1 stadium line array system was recognized with the award for “Indispensable Technology – Audio” at the 10th annual Parnelli Awards ceremony held at the Rio All Suites Hotel & Casino in Las Vegas on October 22nd.

“We are very thankful and humbled by this recognition of our innovative K1 system,” said Stéphane Ecalle, L-ACOUSTICS’ marketing director.

“But much of the honor should also be extended to those K1/KUDO/LA8 Rental Network owners, sound designers, and touring engineers that have collaborated with us during the product’s Pilot Phase because their contributions truly helped hone K1 into the remarkable system that it is today.”

These early adopters of K1 include:

    Adlib Audio (UK), Agora (Italy) Arpege Son Lumiere (France) Black Box Music (Germany) Britannia Row Productions (UK) Clearwing Productions (US) Dispatch (France) Euroshow (Russia) Firehouse Productions (US) Hibino (Japan) Jands Production Services (Australia) Loud and Clear (US) Loudness (Brazil) Mid-America Sound (US) MSI Japan, Music & Lights (Sweden) Potar Hurlant (France) Rat Sound (US) Rent-All (Netherlands) Satis&fy (Germany) Sirius Showequipment (Germany) Solotech (Canada) Sound Image (US) SSE Audio Group (UK) Tokyo Sanko (Japan)

In related news, Sound Image of Escondido, California was honored with the award for Sound Company of the Year, while six-time TEC Award winner Robert Scovill took the prize for FOH Mixer of the Year.

Sound Image was one of the first North American sound companies to purchase L-ACOUSTICS’ K1 system, putting it into the hands of Scovill early this year for Tom Petty and the Heartbreakers’ highly-successful Mojo tour.

Also, A1 Audio’s Al Siniscal – who previously installed one of the world’s largest V-DOSC systems into Las Vegas’ Planet Hollywood (formerly Aladdin) Theatre of the Performing Arts – was honored for his technical contributions with the Audio Innovator of the Year award.

And Miami Gardens, Florida-based Beach Sound – a longtime member of L-ACOUSTICS’ Rental Network – was also presented with an award for Hometown Hero Sound.


Posted by admin on 10/29 at 11:20 AM
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Video: An Interview With Kenton Forsythe

Part 1 of 4 in a series of interviews with the founder of EAW and industry legend Kenton Forsythe.

This first part in an ongoing series recorded by Gary Zandstra, Kenton Forsythe discusses EAW’s history and the American way.


Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.

Posted by admin on 10/29 at 10:40 AM
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StagePro Provided JBL VERTEC Line Arrays & Crown VRACK For LDI Show Awards Ceremony

The response to the Awards Ceremony was very positive and the audio system performed admirably..

Rental sound, lighting and staging production company StagePro provided the live sound reinforcement system for the LDI Awards Ceremony, held at the recent LDI trade show in Las Vegas.

The Awards recognized excellence in a variety of categories related to the live design, events and staging industry, including lighting, audio and video.

The audio system featured a comprehensive range of products from Harman Professional, highlighted by JBL’s subcompact VERTEC line arrays.

For the event, StagePro supplied the audio reinforcement system as part of its Apex Mobile Stage.

The main PA system included left/right hangs of four VERTEC VT4886 subcompact line array loudspeakers and two VT4883 subcompact arrayable subwoofers per side, supplemented by an additional four VT4886 loudspeakers placed along the center edge of the stage for front fill.

“The response to the Awards Ceremony was very positive and the audio system performed wonderfully,” said Jay Waller, Owner of StagePro.

“The subcompact VERTEC line arrays were a terrific solution for this event, which provided an opportunity to expose this relatively new product line to a variety of potential clients.” 

A new Crown VRACK loaded with I-Tech HD amplifiers powered the system, which also included a Soundcraft Vi4 digital mixing console along with AKG wireless microphones.

“The Vi4 console performed flawlessly,” Waller said. “We received a lot of comments that the effects package incorporating other Harman technologies like Lexicon is very impressive, and it truly is.”

“Of all the digital consoles on the market, it has one of the nicest sounding effects packages available.”

“The LDI Awards are a great way for the show to recognize excellence in the industry, from the Wally Award in memory of Wally Russell honoring a veteran in the lighting industry, to the Redden Awards in memory of Craig Redden and presented by Epic Production Technologies to honor excellence in lighting in theater, concerts, and corporate events,” said Ellen Lampert-Greaux, Consulting Editor and Conference Director, Live Design/LDI.

“The awards also include the ESTA Members Choice Product Awards and LDI’s Best Debuting Product Awards, which honor technical innovation. The LDI booth awards accented the excitement on the show floor.”

“The final award, sponsored by Showman Fabricators, was for the best Green Product Award in recognition of the greening of our industry. We appreciate the support of StagePro and Harman/JBL in making the awards ceremony a successful event.”

JBL Website

Crown Website

Posted by admin on 10/29 at 08:50 AM
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GefenPRO Announces 10x4 Dual Link DVI Matrix

The matrix supports output from ultra high resolution computer systems

Gefen has announced the availability of its 10x4 DVI DL Matrix, a new addition to the recently introduced GefenPRO product line.

GefenPRO offers integrators and end users professional products with advanced 24/7 technical support for broadcast, rental/staging and post-production environments.

With the 10x4 DVI DL Matrix, any ten computers can be switched to any four professional monitors with full cross-point routing.

Users have the flexibility to create one or two extended desktops or send sources to individual displays.

High resolutions are supported up to 3840x2400, accommodating both single and dual link DVI formats.

Built-in EDID management ensures the stability of pre-settings throughout switching. RS-232 serial control and front panel buttons offer easy access and control.

An internal power supply further strengthens performance, eliminating potential disconnects. The black metallic enclosure is rack mountable and rugged enough to withstand high performance environments.


Gefen Website

Posted by admin on 10/29 at 07:30 AM
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Auralex To Present Class A Fire-Rated StudioFoam Pro At AES 2010

StudioFoam is the first melamine-free Class A fire-rated acoustical foam in the indusrty.

Auralex Acoustics is showcasing its new Studiofoam Pro, the industry’s first melamine-free Class A fire-rated acoustical foam, at the upcoming 2010 AES Convention in San Francisco (Booth 729).

Studiofoam Pro presents a low-cost option for sound absorption in studios, churches, restaurants, clubs and any other venues that requires a Class A fire-rated acoustical treatment.

The absorption level has not been tainted by creating acoustical foam that is Class A fire-rated. In fact, the foam maintains the same cell structure, but the cells are smaller, condensing the thickness of the panel and provides superior performance to a standard 1-inch thick fiberglass panel.

Studiofoam Pro is available in two sizes: 2-foot x 2-foot and 2-foot x 4-foot, both 1.5 inches thick. It is available in charcoal gray and features beveled edges and provides a Noise Coefficient Rating (NRC) of 0.90.

“Auralex is proud to expand on our Studiofoam product line and to introduce another industry landmark by bringing melamine–free Class A fire-retardant acoustical foam to market,” says Eric Smith, founder and president of Auralex Acoustics.  “Studiofoam Pro is the perfect combination of appearance, pricing, flame retardancy and the renowned physical characteristics of Auralex’s best-selling Studiofoam.”

Many public buildings and local fire codes require that acoustical materials be Class A fire-retardant. Until now, Class A rated acoustical treatments included basic cloth-covered fiberglass and a special flame-retardant type of foam called melamine. Melamine can serve as an absorber, but it is not only expensive, its physical attributes make it very sensitive to physical damage.

Due to Auralex’s proprietary chemical formulation, Studiofoam Pro has all the traditional benefits of Auralex’s industry-leading Studiofoam, including outstanding durability due to reduced oxidation. Studiofoam Pro will not rot, crumble or suffer surface harm from normal use like other reported Class A alternatives.

Studiofoam Pro is Class A rated according to ASTM-E84, which evaluates flame spread and smoke density. It passed the UL 94 HF1,2, which is a fire-rating test specifically for nonstructural foam materials like acoustical foam.

It also passed MVSS 302, a fire test requirement for materials installed in motor vehicles. Passing the MVSS 302 is significant for product installation in RVs and media vehicles. The last test that Studiofoam Pro passed is the California Technical Bulletin 117 (Cal 117), which contains an open flame test and a smoldering cigarette test.

Auralex Acoustics Website

Posted by admin on 10/29 at 06:46 AM
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Sound Devices USBPre 2 Is Now Shipping Just In Time For AES 2010

Balanced XLR outputs are switch-selectable between mic or line level; consumer RCA-type output is available for connection to unbalanced input.

Sound Devices USBPre 2 is now shipping just in time for AES 2010.

The two-channel USBPre 2 offers a powerful, easy-to-use portable interface to interconnect audio sources to Mac OS and Windows computers over USB.

Featuring an entirely new electronic design, it uses the same extended-bandwidth, low-noise microphone preamplifiers and digital converters as Sound Devices 7-Series digital recorders.

The USBPre 2 fits a broad range of applications, including voiceover recording, reference playback and monitoring, and test and measurement.

The class-compliant, plug-and-play device accepts mic level, line level, consumer line level and SPDIF digital (coaxial or TOSLINK) inputs. Its microphone preamplifiers have selectable analog limiters, high-pass filters, 48 V phantom power, and high-resolution LED meters. Because the USBPre 2 draws its power solely from the computer’s USB port, no additional power source is required.

Sound Devices designed the USBPre 2 for both reference quality input and output. Its balanced XLR outputs offer superior rejection to interference and are switch-selectable between mic or line level. Additionally, a consumer RCA-type output is available for connection to unbalanced inputs. Its headphone amplifier easily drives full-sized headphones with extensive, clean gain.

With its unique stand-alone mode, the USBPre 2 functions as a two-channel microphone preamplifier with analog, digital and headphone outputs. Stand-alone mode is perfect for applications that require an easy-to-use, quality microphone preamplifier. A built-in high-resolution LED level meter helps further facilitate these types of applications.

“The original Sound Devices USBPre was the very first bus-powered USB interface with phantom-powered mic inputs. The convenience and flexibility it offered proved quite popular with sound engineers,” says Jon Tatooles, managing director for Sound Devices.

“The USBPre 2 is an all-new update of that original, with powerful new features and superior audio performance. It is the perfect portable audio interface for Avid, Apple Final Cut Pro, and Adobe Premiere Pro editing systems. System engineers will also appreciate its ability to output full line level signals on XLR connectors.”


Sound Devices Website

Posted by admin on 10/29 at 06:20 AM
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Thursday, October 28, 2010

Tannoy Loudspeakers & Lab.gruppen Amplifiers Installed At Cannery Row

The Monterey California eatery chose Tannoy speakers and Lab.grupper amplifiers to set the energetic tone during a recent renovation.

Widely known as the setting of John Steinbeck’s 1945 novel, Cannery Row, and his 1954 sequel, Sweet Thursday, this historic area of Monterey occupies a unique niche in the nation’s cultural consciousness.

In the opening sentence of the former Steinbeck describes Cannery Row in dramatically contrasting terms, calling it ‘a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream.’

Today the area is a major tourist draw and marine sanctuary, home to a large population of California sea lions, an increasing number of hotels, restaurants and some few fishing companies that add a layer of modern authenticity to what is an increasingly popular entertainment hub.

Although the Cannery Row of Steinbeck’s day collapsed along with the Monterey Bay fishing industry in the 1950’s, the area is now populated by a different sort of angler; people fishing for cold beers, good eats and good times.

Situated in an historic former Cannery and a one-time brothel the Cannery Row Brewing Company aims to deliver just that. Offering up seventy-three brews on tap, an extensive list of bottled beers and ciders, thirty brands of small batch bourbons and the talents of Executive Chef, Mark Ayers, formerly of the Highlands Inn and Pacific’s Edge restaurant and now culinary director of the Annual Pebble Beach Food and Wine.

“It’s a gorgeous area,” says Nathaniel DiMaggio, project manager for Coastal Luxury Management, the developer of the project. Although it does lack some of the hipper variety of establishments more commonplace in larger cities the Cannery Row Brewing Company will help fill that hole, DiMaggio believes.

As well as appealing to a wide demographic with a combination of vintage industrial style, great food and beer fueled fun in one of the buildings allegedly actually mentioned in Steinbeck’s book.

Beer fueled fun and a reasonably comfortable dining experience don’t always go hand in hand, however. That was the motivating factor behind the choice of a suite of Tannoy V Series and CMS in-ceiling loudspeakers powered by Lab.gruppen C Series amplifiers for the gastro-pub’s audio system.

DiMaggio’s primary concern was clear, intelligible playback of program music in both the Cannery’s restaurant and bar areas. A system that would provide maximum intelligibility and evenly distributed sound, zoned to allow a degree of control over in each area, with enough power to allow staff to provide high energy music when necessary.

“We wanted the whole place to rock if need be,” DiMaggio says.

“It’s a big restaurant,” Gianetta says. “They needed something more substantial than your typical background music system loudspeaker. So I pushed him in the direction of buying a pro sound reinforcement type of loudspeaker and a large subwoofer.”

“Tannoy’s proprietary Dual Concentric driver has benefits in every application and the trend is more and more towards deploying these kind of devices,” he continues, be it in a concert setting or club application.

“Right out of the box the Tannoy performs well. You don’t have to do a lot of equalization, and they have symmetry in both the horizontal and vertical axis, where drivers that aren’t coincident don’t.”

Though DiMaggio had some experience with audio technology he wasn’t sure what amplifiers were best suited to the build so he went with Lab.gruppen based on Gianetta’s recommendation.

“The thing that’s cool about Lab’s C Series is that they’re versatile and can do 70 volt and low impedance on the same amplifier on different channels, which was great. And they’re super efficient both for heat and electrical usage.”

“We think the Lab.gruppen C Series are vastly superior to the other amps that are out there,” Gianetta said. “They allow you to set what kind of load you’re going to put on the amplifier per channel so you can run low impedance load or high impedance loads, because it has selectable VPL (Voltage Peak Limiter) that sets the peak voltage on the amplifier.”

The system consists of one Tannoy VS 218DR sub mounted in a corner over the bar on a custom steel bracket, covering the entire 4000 square foot bar/restaurant. In addition, three Tannoy V8’s are mounted in ‘U’ brackets on ceiling beams in the main bar area, angled so bartenders aren’t obliterated when the system is cranked, and driven by a Lab.gruppen C28:4X.

The remaining V8’s are distributed evenly throughout, covering the main dining area and entryway and driven by a Lab.gruppen C20:8X. Sound reinforcement for customer washrooms and the hallway adjacent to them is provided by five Tannoy CVS 4 in ceiling loudspeakers.

A number of third party loudspeakers are situated in an outdoor seating area built around three large fire pits. The system also includes Rane and SurgeX components, Crestron System Automation and Autopatch Video distribution.

While DiMaggio describes the Cannery as ‘sports oriented’, it is not, strictly speaking, a sports bar. Sporting events will be in heavy rotation on eleven Panasonic flat screens tied into the audio system, but only special events like the FIFA World Cup or Super Bowl will be broadcast on the main audio system.

Time on the build, DiMaggio stresses, was a commodity that was in very short supply. “We started in February and wanted to hit summer. So it was a year-long project crushed into three or four months.”

All system components were supplied by Oakland based Leo’s Professional Audio, who service, among others, A-list clients like George Lucas, as well as providing design/install services of A/V, lighting and acoustical solutions for a variety of churches, schools and sporting venues.

Although Graham Cooper, VP of Leo’s Professional Audio install division, regularly specifies Tannoy and Lab.gruppen for his own projects, this time out his mandate was very basic. “Pretty much, ‘“here’s what we need and we need it NOW,” he says with a laugh, adding that Leo’s Professional Audio technician, Gordon Fava, also worked on the Cannery install, loading and terminating the rack.

For DiMaggio’s part, he had never heard of Lab.gruppen or Tannoy prior to this build, he explains, but is so pleased, he intends to use Tannoy and Lab.gruppen again in an upcoming project.

Tannoy Website

Posted by admin on 10/28 at 02:30 PM
AVLive SoundNewsPollAmplifierInstallationLoudspeakerSignalSound ReinforcementSystemAudio • (0) CommentsPermalink

Allen & Heath iLive DualRack Chosen For Kent Open Air Classical Festival

The iLive was chosen to mix performances of opera, musical theatre, a military band, and much more.

Kent-based PA company, SRD Group, was chosen to provide sound reinforcement for a large scale 16,000 capacity outdoor classical music event, selecting a range of units from its stock of Allen & Heath iLive digital hardware and using the latest ‘DualRack’ capability.

The varied program included opera, musical theatre, military band, traditional choral, and a headline performance by the Royal Philharmonic Orchestra conducted by John Rigby and accompanied by soloists Wynne Evans, Elizabeth Watts and Richard Morrison.

The evening was also narrated by actor Robert Powell, featured the marching band of the Brigade of Gurkhas, and included a fireworks and cannons finale.

“With crowd coverage extending 365m deep x 100m wide, and due to the predominantly orchestral material, audio requirements reached 180 inputs. To compound this issue, the FOH footprint needed to be very compact due to crowd sight line issues,” said SRD’s MD, Stuart Roberts.

“iLive was the obvious choice, as its flexible, distributed audio architecture makes it easy to build high capacity systems within a small footprint.”

The Royal Philharmonic Orchestra was mixed on a separate system by specialist classical sound engineer, Ian Barfoot, who provided 4 stereo subgroups to both the FOH and Monitor consoles, which took pressure off the engineers and provided a better audio balance within the Orchestra.

The main FOH system consisted of an Allen & Heath iDR10 modular MixRack loaded with 64 inputs - 56 analogue and 8 digital – connected to an iLive-80 Control Surface with a mixture of analogue and digital local outputs.

There was an EtherSound digital split to the Monitor system, which comprised an iDR0 miniRack connected to an iLive-112 Control Surface with 24 analogue local outputs.

The orchestra system included of two iDR10 MixRacks loaded with 128 inputs - 120 analogue and 8 digital - running in ‘DualRack’ mode, feeding 16 digital outputs - 8 digital feeds to the FOH system and 8 to locally required outputs - with 16 analogue outputs as back up.

All the MixRack and Control Surface connections, except the monitor system, were via Gigabit Network Smart Switches with fibre optic interfaces over deployable tactical fibre cable.

WiFi networks were installed on all of three iLive systems to allow remote access to control functions via iLive’s Editor control software. All the iLive systems and network interfaces were powered via UPS units for protection from variations and interruptions in the temporary AC supply.

“Everything worked according to plan,” said Barfoot. “iLive is still one of the best sounding, most intuitive digital desks around, which is why it was chosen. With the added flexibility of ‘DualRack’ mode, the channel count is doubled per system without compromise, making the choice of iLive even easier.”

“After the event we received a lot of compliments from the artists taking part who remarked on the quality of the monitor sound, and to the best of our knowledge there were no complaints from the crowd regarding any issues with sound or coverage.”

“We would definitely do it the same way again - the combination of good input sources with an excellent mixing console makes every ones job much more simple.”


Allen & Heath Website

Posted by admin on 10/28 at 11:02 AM
Live SoundNewsConsolesDigitalMixerProcessorSound ReinforcementSystemAudio • (1) CommentsPermalink
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