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.”
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.
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.
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.”
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.
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.”
Three DiGiCo D5 Digital Consoles Utilized On The Welcome To Wales Tour
Multiple D5’s ensured that vocals were crystal clear during the Ryder Cup VIP concert and dinner.
Golf’s prestigious Ryder Cup paid its first visit to Wales this year, the tournament taking place in early October at the Celtic Manor Resort, near Newport.
Beforehand, Cardiff’s Millennium Stadium hosted Welcome To Wales, a glittering VIP dinner and live concert which showcased the country’s musical talent to the sporting visitors.
Three DiGiCo D5 consoles ensured that the Welsh voices came through loud and clear.
The sound reinforcement demands of the event were complex with the Millennium Stadium being divided into two for the dinner and concert elements.
Audio company Capital Sound was required to treat both the dinner and concert as separate entities which were effectively competing against one another.
Walk-in music was provided to mask the sounds of the dinner from the public filing into the concert seats but, at the same time, a performance by male choir Only Men Aloud in the dining area was masking the sounds of the public from the VIP diners, as the concert was supposed to be a surprise to them. Announcements were also discrete to both areas.
At the same time, however, certain elements needed to be audible to both sides, such as the audio for VT feeds by Ryder Cup sponsors.
Capital Sound’s solution was to deploy three DiGiCo D5s, one feeding a distributed audio system in the dining area, with two at the traditional FoH and monitor positions in the concert area.
The feed for all playback elements, voiceovers, VT sound and stings came via fibre optic link from a television OB truck - parked at the nearby Cardiff Arms Park - to the D5 in the dining area. This was then matrixed to the two consoles on the show side. That way, audio could be routed to any required console, while each could also mix the elements for their ‘own’ areas independently.
“We used the D5s because we wanted to keep the quality of the signal chain excellent all the way through, plus the guys working the event were familiar with them. So, for me, the D5 was first choice,” said Capital Sound general manager Paul Timmins.
“The system design for the concert was put together before we knew which artists would be performing, so we dealt with it like a festival rig, knowing that various different styles of music would have to be accommodated.”
“The D5s were ideal for that and, with the longest permitted changeover between acts being only 110 seconds, they were patched to their 96 channel maximum with everything saved as snapshots.”
The concert featured Welsh talent, including Katherine Jenkins, Lostprophets, Only Men Aloud, Shaheen Jafargholi and students from the Mark Jermin Stage School, and Dame Shirley Bassey performing with a full orchestra.
Capital project manager Charles Ellery used Welsh FoH engineer Dave Roden for the challenge.
“A few days before, I got a call from Charlie asking if I’d like to do Dame Shirley at the Millennium Stadium. I said ‘Why not? Absolutely, great stuff!’” says Dave.
“It was fine, you’ve simply got to take care of the levels and put Shirley on top and that’s it,” he said. “With an orchestra I find less is more.”
“You can’t do too much with them - you’ve just got to set the gain, get a balance on the strings as a section, horns as a section and so on. Little bits of EQ where it counts and then just sit the vocal on top.
“It can’t be too loud but, at the same time, it can’t be too quiet either because nobody likes it if they can’t hear everything. For me the only difficult part was getting the overall level right and you can’t do that until you judge the audience.”
“With Dame Shirley involved, who knows what the reaction is going to be? They could be jumping on their seats, cheering or they could sit there completely wrapped up in her performance, not making a sound. Judging that - and reacting appropriately - was the major challenge.”
“The D5 is a nice sounding desk. Things have moved on a bit now with the SD7, but the D5 is still a great sounding board. The software has all the features that next generation boards have, but it’s still easy to use. You can dial in stuff in no time at all,” said Dave.
Soundcraft Vi6 Digital Consoles Amplifies Pope’s Public Mass In Scotland
SSE Audio Group provided multiple Soundcraft Vi6 consoles for FOH and monitors.
With a crowd of 75,000 followers, Pope Benedict XVI’s voice during mass at the Bellahouston Park in Glasgow, Scotland was entrusted with SSE Audio Group’s deployment of two Soundcraft Vi6 digital consoles.
With a 35-piece orchestra, 800-piece choir and pre and post-show concerts, the religious event required reliable and vast amounts of digital channels to ensure no note or prayer was unheard.
With years of personal use and high-quality results with Soundcraft consoles, SSE Project Manager, Dan Bennett is well-acquainted with the Vi6 digital consoles. “Soundcraft is personally becoming a favorite of mine for specs,” he said.
“The amount of channels available with the Vi6s were perfect for this type of event and the surface features ensured the utmost quality for the performance.”
Under tremendous pressure dealing with inclement weather, narrow deadlines and organizing a concert-style sound system for the Pope, SSE utilized one Vi6 for the monitors and another Vi6 plus a Vi1 console for the FOH management.
It was vital to the organizers that the seating area sounded perfect for the Pope’s service.
“We were able to keep the large stage and all of the entertainment under control with the Vi6s as if it were a large concert, while still offering a peaceful worship service environment for the Papal mass itself,” said Bennett.
“Everything was absolutely perfect and we couldn’t have asked for a better job all around from the team or the Vi6s.”
The Soundcraft Vi6 digital console uses a derivation of the Studer Vistonics touch screen user interface to allow engineers to operate the desk intuitively. With 96 mono inputs and 35 outputs, the console is one of the most comprehensive and detailed, yet simple-to-use boards in the industry.
SSE purchased the Vi6 consoles through Sound Technology, Soundcraft’s UK distributor.
TC Electronic LM2 Loudness Meter Makes Stateside Debut At AES 2010
With the LM 2 TC Electronic has taken on a important leadership role in the global loudness control concern.
TC Electronic will be bringing its LM2 stereo loudness and true-peak level meter to the U.S. market by debuting the advanced technology at this year’s AES 2010.
The LM2 meter enables unprecedented levels of loudness precision and quality in audio applications, eliminating level jumps and other aural inconsistencies for polished sound.
With this new product, TC Electronic is taking an important leadership role in the worldwide concern for loudness standardization.
The new LM2 is one of the first products on the market today that complies with the European R128 loudness standard, as well as U.S. standards.
The meter analyzes any audio, be it speech, music or other sources, assigning it an ATSC A/85- or EBU R128-compliant loudness number. Numbers may be used to normalize programs, commercials and music tracks, and to set metadata in AC3 transmission.
This eliminates level jumps and other inconsistencies sometimes caused by human error. For example, after mixing for many hours, a user’s ears will get tired, making it harder to determine loudness levels. With the LM2 meter, the user can rely on an exact number as a reference for the mix instead of his ears.
Similarly, using the LM2 as part of a monitoring signal path ensures a consistent loudness level in the mixing environment.
“Accurate loudness level is not only an extremely hot topic right now for both the worldwide professional audio and broadcast markets, but it’s also absolutely critical to any production,” said Thomas Lund, HD Development Manager, TC Electronic.
“Until now, few measurement products were capable of taking all the guesswork out of loudness metering. TC Electronic, however, has designed the LM2 meter to offer loudness reference points based on algorithms, not just the human ear.”
“This ensures a completely consistent level of loudness standardization across a production, offering audio professionals tremendous reliability and peace of mind.”
Users can view the loudness numbers generated by the LM2 on the meter’s front panel or Stats display. Connecting the LM2 to a PC or Mac via USB allows access to TC Electronic’s patented “radar meter” technology, which displays loudness over a given period of time. The radar can show loudness data from up to 24 hours back in time, even if there was no connection to a computer during that period.
The LM2 meter is intended for a variety of broadcast audio applications as well. During ingest, it can be employed to measure loudness and the “true-peak” level of incoming audio signals, revealing any signal overloads.
Built-in gain normalization enables it to correct gain to a pre-set loudness level, while a 48-bit precision limiter ensures that if the gain has been positively invoked, there will be no overloads.
Pre-transmission, the LM2 can log the outgoing loudness level of the broadcast station for a full week. Detailed log files may be imported into Excel, and LM2 needs no connection to a computer besides from when log files are dumped. Post-transmission, LM2 can be used to monitor and log what is sent out.
The LM2 meter is compliant with ITU-R BS.1770, ATSC A/85, EBU R128, NABJ, OP-59, BCAP and many other guidelines.
It offers a wide variety of 24-bit resolution audio inputs and outputs, including AES/EBU, TOS, SPDIF/AES3 id, ADAT and analog. Digital I/Os are fully synchronous while analog I/Os are scaled in the analog domain for maximum utilization of converter dynamic range. Analog inputs can be trimmed at 0.01dB precision.
“TC Electronic is not new to delivering outstanding loudness technology options,” adds Lund. “With the LM2, however, TC Electronic has brought itself into a leading position in regards of loudness technology, able to offer unprecedented precision and quality to the professional audio and broadcast markets.”
The new mute switch provides pop-free audio muting for company’s belt-pack transmitters.
Lectrosonics has announced the introduction of the Mute switch.
Designed for use with the company’s belt-pack transmitters, the Mute switch is a belt-mount unit that provides instant, pop-free audio muting.
The Mute switch is an active device that is powered by any 5-pin Lectrosonics transmitter, including the new Servo Input transmitters such as the SM Series, LMa, and UM400a.
It works with most 2- and 3-wire lavaliere microphones wired according to Lectrosonics guidelines.
The new Lectrosonics Mute uses an optically coupled switch to silence the audio signal without any clicks and pops, even when located in a strong RF field.
The unit’s toggle switch is weather resistant and the included cable has weather resistant vinyl boots at each end.
A wiring kit is included that provides a 5-pin connector, strain relief parts, and an additional water resistant vinyl boot to protect the lavaliere microphone connector from moisture.
With its weather resistant package, the Mute switch makes an ideal choice for outdoor sporting events. The housing is machined aluminum, powder coated, and laser engraved for ruggedness and legibility.
The toggle switch is conveniently sized and can easily be controlled under garments. The reversible, stainless steel belt clip enables it to be adjusted to the user’s preference.
“The new Mute switch is an indispensible accessory for our 5-pin transmitters,” commented Karl Winkler, Lectrosonics’ Director of Business Development. “This is the perfect solution for muting the audio feed of referees, ministers, or others who require the ability to either temporarily silence or temporarily engage their microphones.”
“The unit’s robust design protects it from moisture and the housing is specifically built to withstand the rigors of outdoor use. I’m confident many sound professionals will find this an invaluable accessory.”
A useful calculator for designing audio systems with Crown amplifiers.
This calculation will give you the amount of attenuation, in decibels, you can expect with a change in receiver distance, in a free field (outdoors).
For example if you were standing 20 feet from a loudspeaker, and were to move to 40 feet away from that loudspeaker, you would expect to see a drop in level of 6 dB. Sound that is radiated from a point source drops in level at 6 dB per doubling of distance.
Tannoy Installed For Newly Constructed Opera House In Dallas
The Tannoy speakers provide the audio quality and ability to blend necessary for an opera system.
The newly constructed Winspear Opera House, located in downtown Dallas, Texas, is a reinterpretation of the traditional opera house.
The main performance space seats 2,200 and was engineered specifically for performances of opera and musical theater, with stages equipped for ballet performances as well as other forms of dance.
Jeffrey White of Clair Brothers Audio Systems (Dallas) along with Dan Heins of the Nashville Office of Clair Brothers, provided the engineering, shop drawings and installation of the audio systems for the space.
“As a multi-use facility it required a multi-use sound system,” noted White and Heins. “The space was acoustically tuned and designed for Opera complete with a system designed to provide necessary vocal or orchestral support.”
“Another sound system for live music productions was installed for non-opera use. There is very little overlap between the systems.”
The only components that bridge both systems are the 58 Tannoy CMS 501 ceiling speakers that are used for all under and over fill on four tiers of balcony, along with rear fill of the main deck, mezzanine and upper balcony.
Martin Van Dijk of Engineering Harmonics, based out of Toronto, consulted and designed the system and specifically selected Tannoy 501 ceiling speakers.
“Sonic quality was extremely important, especially for an opera system,” said Dijk. “The Tannoy speakers not only provide exceptional audio quality, but they blended seamlessly with both primary systems.”
Initial spacing of the speakers was determined using acoustic software, with critical listening employed in the upper deck to ensure quality coverage. The fourth balcony is situated close to a sloping ceiling which added to the acoustic challenge. Because the 501s are utilized in both systems, it was important that their placement be optimized for both.
These high power and high sensitivity ceiling monitors, containing a 130mm (5.00”) ICT transducer, are specifically designed for applications requiring the combination of premium sonic quality for music and speech reinforcement and exceptional reliability – making them the ideal choice for the Winspear Opera House.
Electro-Voice Chosen By Pyxis For North Coast Church Installs
Pyxis trusted Electro-Voice manufacturer representative Quantum Sales to help them complete the North Coast Church projects on time.
Six weeks isn’t much time to go from an initial customer inquiry to having PA systems on-site and ready to rig.
However, when Pyxis Industries in Riverside, California was asked by North Coast Church to bid on the design and installation of sound systems at two different locations, owner Chad Costanzo didn’t hesitate.
“These installations had to come together extremely quickly,” Costanzo says.
“But our past experience with Electro-Voice gave us total confidence that everything would work out fine. And it did.”
The vendor that had originally been retained to design and install sound reinforcement systems for the sites had to pull out of the project only two months before opening day at both facilities.
Pyxis got the call from North Coast, and Costanzo went to work with systems engineer Alan DiCato, deciding how to handle the project within the church’s allocated budget.
While the previous provider had already specified designs based on products from a different supplier, Pyxis proposed using an Electro-Voice system instead. “EV has become our go-to manufacturer, because the installs we’ve done with their products have always sounded great right out of the box,” said Costanzo.
“And we also knew that EV and their local rep, Quantum Sales, would be able to assist us in making these tight timelines and staying within budget. Both factors were crucial, because, with that short of a time-frame, any issues we had would be a big problem for everyone.”
Pyxis had the two systems designed, priced, and approved within three weeks. “EV has such a broad line of different boxes that we were able to choose something that fit the application and the price point really well,” said DiCato.
The core elements of both systems are “exploded array” clusters drawn from Electro-Voice’s Xi-series. While the rooms are physically dissimilar — one is rectangular and the other more trapezoidal, and their ceilings are different heights — the clusters are identical except for the angles of the speakers.
“Line arrays would not have been a good choice for these rooms,” said DiCato says. “We didn’t have the ceiling height we would have needed, and in one of the rooms we had an odd shape to cover.”
“The exploded array design allowed us to angle the boxes in each room to get the coverage we needed, and also to use fewer boxes and fewer amps channels to get that coverage, which allowed us to stay within the customer’s budget.”
The clusters combine full-range Xi-1153A/64F three-way, 15-inch, medium-throw loudspeakers and Xi-122MHA/64F ultra-compact, high-output, two-way loudspeakers. “We use the 1153s for longer-throw coverage of the main seating area,” DiCato says, “and the 1122s for front fills and down fills.”
“The Xi boxes sound great without a lot of additional processing,” said Costanzo, “and they are very versatile, so they really cover the multiple uses that are planned for these rooms, from a Sunday church service, to a Friday night concert, to conferences and youth groups during the week.”
“And their waveform shaping gives them really good pattern control all the way down below 500 Hz. That allowed us to aim well and control our cutoffs precisely.”
“We have three down-fills hanging below the main cabinets, directly above the stage, so we needed very good control to get good gain-before-feedback. And we had no issues with that at all.”
The low end for both systems is augmented by three dual-18 Xsubs in concrete bunkers below the stage, while stage monitoring is handled by four TX1122 FM stage wedges at each venue.
“They are a great-sounding monitor at a great price point,” said Costanzo.
Power is provided by Electro-Voice CPS series amplifiers. “The amps have headroom galore,” DiCato says, “so nothing needs to work hard at all.”
Costanzo adds that the CPS amps are “known for their reliability, which is great for the HOW market. They will have the amps for a long time without any failures. They sound great – you really can’t go wrong with them.”
For system control, Pyxis chose an Electro-Voice NetMax N8000-1500 with three added DSP cards. “NetMax is an incredible tool,” DiCato said.
“We’ve looked at other systems, and nothing comes close in terms of flexibility and ease of programming. It was easy to get everything set up because it has a very intuitive user interface.”
Click to enlarge.
“All the cabinet models are right there in the library, so you can you just drag them in from the menu.”
That ease of setup turned out to be critical because Pyxis didn’t gain access to the live venue until the Wednesday before the Sunday opening. “They were still painting the booth and hooking up power,” said Costanzo.
“But it all went together how it was supposed to, and worked the first time. We only made very minor adjustments, and I was able to do that all in real-time, running NetMax and Smaart together on my laptop out in the venue. I could make changes in NetMax and see it respond immediately in Smaart. It was great.”
The NetMax systems also included optional digital I/O cards that allow Pyxis to bring in 96 kHz/24-bit AES EBU digital audio directly from the digital console without any conversion. “We can even pull the NetMax interface up on a Midas console display,” said DiCato.
“So the EV gear works seamlessly with the other products we use, and we had no issue at all with interfacing or compatibility. It was just great to have everything work so well right out of the box.”
They remain in the memory of the bride and groom (and their families…) and those memories often include anger, frustration, or anxiety.
When something goes wrong in a regular church service, you fix the problem and move on.
People might remember, but it’s usually no big deal.
The difference is that a wedding is a one time event.
I have been asked to run sound for weddings in two different ways. The first is when a friend says “I’m getting married, can you run sound at the wedding?”
The second is when I’m asked by someone in the wedding party or via the church secretary if I am available on a certain date to run sound for a wedding. No matter what the case, I know it’s time to get to work.
Running sound for a wedding can be much different from a church service. A videographer might want to tie into your mixer so he has a better audio track for his video.
Or, you might have to mic an instrumental quartet. Not only might you do things you normally don’t, you are dealing with new people, not to mention a new order of events that will keep you on your toes.
Where the Work Begins…
The most important detail you need, as soon as possible, is the name and phone number for the person in charge of the wedding service. This might be a hired wedding coordinator or the bride’s mother.
What’s important is that you know who they are, how to contact them, and that you are kept in the loop as to what is needed in the wedding and what is expected from you.
Meet with them well before the wedding rehearsal so you have all the information you need. Most importantly, make sure you are available if they have questions.
Once you know who is in charge of the wedding, meet with them to line up the event order and the requirements. This helps you get all your equipment in order, rent any equipment if necessary, and get copies of all pre-recorded audio.
If they have hired a videographer, contact that person and find out what requirements they might have that impacts your work. Ideally, after meeting with all of these people, you will know what you need, and have an order of events so you can plan your work.
An event schedule (order of events) is important because, just like your regular church service, you need to have everything cued up at the right time. I did a wedding once at a far away church I’d never seen.
The CD player was a portable boom box that was patched into the mixer.
While I made it work, cuing up accompaniment songs during the wedding was a pain. Bottom line, when you know what’s coming, you know how to prepare.
Before I forget, you might be handed a few iterations of the event schedule until a final version is secured the night of the rehearsal.
It happens. Each iteration is usually a slight modification of the previous.
The night of the rehearsal, you must be present. The rehearsal time not only is good for the people in the wedding but it’s a great time for you.
You are about to run sound for a one-of-a-kind wedding. A rehearsal gives you a chance to practice.
If you are handed any last minute audio such as a tape or CD, you should play it through completely so you know it works. You can also set your channel levels, do your eq’ing, and deal with the biggest problem I hear in weddings…“I do.”
The phrase “I do” might be the only phrase the bride and groom ever say but it’s the one that is said the most sincerely, the most heart-felt, and the darn quietest!
You have to decide how to mic the bride and groom. There are several options. First, wireless microphones can be a simple solution.
Just make sure you have them turned off when you hear the phrase “you may kiss the bride.” I’m just not a fan of amplified smooching. (of course the two wirelesss mics that close together would cause problems but where is the humor in that?)
Second, place a corded microphone between them. I don’t like this idea because they have to stand in the right place, it stands out on stage, and it can get in the way.
The last option is a handheld wireless microphone. The best man or the pastor can hand it to the couple or hold it in front of them as they speak. If individual wireless isn’t an option, use the last method.
The rehearsal time also gives you a chance to talk with the wedding coordinator if you have questions. Also, it gives you a chance to give a short instruction session on “how to hold a microphone” if required.
Before the Wedding
The day of the wedding, run through a sound check with your microphones and input devices such as a CD player.
Make sure the lapel microphones have been clipped on the people at the right location on their shirt; a fist below their lowered chin.
Also do a video-audio test with the videographer. When the wedding coordinator shows up, meet with them in case anything has been changed.
Show them your copy of the event schedule and have them verify it’s correct.
You don’t want to be running off an older version.
After the Wedding
After the wedding, I wait until all the visitors have left the sanctuary before I start putting up any stage equipment.
I also take down typical onstage equipment such as microphone stands and music stands because that’s where the wedding party will have photographs taken.
Once everything is put away, I hand the wedding coordinator an audio copy of the wedding.
If they have a videographer, I hand it to them instead.
Even if the videographer had an audio patch into the system, a separate audio copy might be helpful. They have their own horror stories.
Finally, I check in with the wedding coordinator. This usually is a simple “I’m done and I’ve put away all the equipment. Do you need anything else?” I’ve never been needed further but it’s best to ask.
But Wait, There’s More
Weddings are ripe for problems of any nature. I don’t know why, they’re just like that. So, you need to plan for emergencies during the wedding. These can include:
A spare wireless microphone behind the pulpit
A spare XLR cable hidden on the stage
A baseball bat to stop any ringing cell phones
A plan if the power goes out
You know, just the usual…
The last one is very important. The wedding coordinator helps with the wedding. You help with the audio. If something happens with the electricity, who is in charge?
We’ve all been to a beautiful summer wedding but storms happen and tornadoes can pop up out of nowhere. Establish who will be in charge.
If the power goes out, does the service go on from the light of the exit lamps? If so, do you have a backup system that powers the sound system?
Usually the pastor for the wedding is the pastor of the church, so they take charge when emergencies occur. However, that’s not always the case, so by knowing who is in charge, emergencies can be managed properly.
In the End
Remember a wedding service is a unique experience between two people. You want the service to be flawless.
You don’t get a second chance.
What Bad Wedding Audio Experiences Have You Witnessed? What Wedding Audio Advice Can You Share? Let us know in the comments below!
Ready to learn and laugh? Chris Huff writes about the world of church audio at Behind The Mixer. He covers everything from audio fundamentals to dealing with musicians. He can even tell you the signs the sound guy is having a mental breakdown.
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