Tuesday, October 26, 2010
Guitar Center Professional Appoints Brad Lyons GC Pro Account Manager
An inductry veteran, Lyons joins GC Pro with over 20 years of experience.
Guitar Center Professional (GC Pro) has appointed industry veteran Brad Lyons as GC Pro Account Manager, based in the company’s Atlanta location.
In his new position, Lyons will draw on his extensive experience in pro audio sales and worship sound to help GC Pro expand its presence in the studio, live, post production and house-of-worship market sectors.
The announcement was made by Rick Plushner, GC Pro Director, and further underscores GC Pro’s ongoing commitment to the continuing growth of GC Pro as a turnkey supplier for professional end users.
Brad Lyons has over 20 years of experience using and selling professional audio equipment, and he most recently held the position of Senior Sales Engineer at Sweetwater Sound, where he was responsible for every aspect of audio sales and service, including touring sound systems, studio designs, wireless systems, instrument packages and more.
Over the years, he has received top sales awards from leading companies such as Presonus, Focusrite, DBX, Royer and others. Lyons has an active involvement in worship music, and has served as Audio/Media Coordinator and Production manager for the Unity Performing Arts Foundation and Broadcast Engineer for Blackhawk Ministries, both based in Fort Wayne.
He has also owned a high-end home audio and video production studio for many years.
“Brad comes to us as a solid veteran of the professional audio sales business. His ongoing work as a sound engineer in the recording and worship communities will enhance our ability to offer clients the finest in audio systems design and sales while keeping within the framework of their budgets.”
“He has extensive and diverse product knowledge across many manufacturers and product categories and deeply understands the marketplace. We’re very excited to have Brad as part of the GC Pro team,” said Rick Plushner.
“Over the years, I have witnessed GC Pro grow to become the turnkey supplier for all corners of the industry,” said Lyons, “GC Pro has a great reputation in the recording studio, post production, fixed installation, touring sound and house-of-worship sectors, and is rightly noted for its extremely knowledgeable sales and support staff that truly addresses the needs of their customers.”
“I am proud to be on board and look forward to serving GC Pro and its client base.”
Guitar Center Professional Website
Monday, October 25, 2010
Carl Bader Of Aviom To Present On Two Panels At AES 2010
Company president and co-founder to provide insight into digital audio networking.
Aviom president and co-founder Carl Bader will be offering his expert advice on digital audio networks for live applications during two panels at AES 2010.
The first of these will be “Live Monitoring and Latency with Digital Audio Networks” taking place on Friday, November 5, from 2:30 pm to 4:00 pm.
Bader will be presenting real-world examples and discussing issues related to audio latency and digital networks, specifically when considering personal monitoring and traditional, speaker-based monitoring for live situations. Preferences and habits of performers and how these factor into technology decisions will also be presented.
In addition, Bader will be discussing audio networks for live sound applications during “Networked Audio for Live Sound,” taking place Sunday, November 8, from 11:00 am to 1:00 pm.
This seminar will cover the different types of audio networks available and provide attendees with the tools necessary to make an informed decision as to whether digital audio networking makes sense for their live sound business.
“Aviom’s products are designed to address the challenges such as latency that are often associated with digital audio networks, providing sound professionals and musicians alike with systems that deliver high-fidelity digital audio, and that are intuitive to those familiar with analog systems,” said Bader.
“More and more users are transitioning to digital solutions and benefitting from the simplicity of setup that digital audio networking has to offer. I’m happy to be a part of these panels to help give audio professionals practical advice about how to use digital audio networks.”
Bader’s experience in live sound setups as well as product development for live sound provide him with the knowledge to offer opinions from both perspectives. Heavily involved in the MI market, and a drummer, Bader founded Aviom on the concept of the personal mixer.
Adamson Expands United States Represenative Network
Two additional firms added to the Adamson representative network.
Adamson Systems Engineering has announced the addition of several new companies as US representatives.
The first two are Meyer Marketing which covers all of Florida from two separate offices, one for Southern and one for Central/Northern Florida.
The second, is Marketing Concepts with headquarters in Dallas TX, serving TX excluding El Paso, Oklahoma, Louisiana and Arkansas from five strategically located field offices.
Meyer Marketing represents other high end sound products, among them Lab.gruppen, Middle Atlantic Products, RDL and Blue Microphones, as well as companies manufacturing DSP, conferencing, and acoustic materials. They recently expanded into video, but audio systems integration remains a major focus.
The immediate plans for the Adamson line is to demo products within their territory, offer support and information sharing tools such as their ‘Digibinder’, available for their dealer network on their website.
“We will continue to build upon the great name that Adamson has with even more exposure via our 25 years of successful growth in the Florida market.“ comments Vice President Larry Boscarino. The company also places efforts on local tradeshows, such as the recent AVI University Expo, the TRG Expo, The Walt Disney Tech Expo. Meyer Marketing’s largest portion of business is done with contractors and systems integrators for venues such as Houses of Worship, theme parks and cruise ships, although touring is also a high priority.
Key personnel at Meyer Marketing include President Larry Meyer who is responsible for the day to day sales and growth of the company, in particular in the South Florida territory.
Vice President, Larry Boscarino’s responsibilities in the Central/ Northern territory includes theme parks such as Disney, Universal and Sea World, as well as the Full Sail Advisory Board & Middle Atlantic Products Rep Council.
Meyer Marketing has received 52 Outstanding Achievement Awards from various manufacturers since the establishing of their company in 1985.
Marketing Concepts dwarfs the competition. With six offices spanning over four States, the company which was founded in 1984 has positioned itself as a leader representative of exclusive quality products that differ from the competition.
Marketing Concepts focus is technical based sales with unlimited pre and post sales support and partnering. As for reasons for partnering up with Adamson, the reputation of Adamson’s high end performance products sealed the deal, “Adamson is one of the great names in speakers, who hasn’t heard of them? ” said San Antonio, TX based Partner & Sales Manager, Michael Austin.
Marketing concepts is a one stop shop for practically all professional audio & lighting needs with companies such as Digico, Lab.gruppen, TC Electronic, and Blue Microphones on their Line card.
Adamson Systems Engineering Website
JBL VERTEC Line Arrays Amplify The Commonwealth Games Of India
Northwest Productions And Sound supplied dozen of Vertec arrays and over a hundred Crown amplifiers for the event.
Bringing together more than 50 nations from around the world, the 2010 Commonwealth Games in Delhi, India opened its 12-day athletic competition with a large, multi-array JBL VERTEC line array system powered by Crown I-Tech HD amplifiers to support the opening ceremonies.
The system successfully filled the Nehru Stadium in New Delhi, occupied by more than 60,000 spectators and nearly 5,000 athletes.
Audio production companies Norwest Productions (Australia) and Sound.com (India) collaborated to implement Auditoria’s sophisticated event system design in the field.
Scott Willsallen of Auditoria, having already completed major games ceremonies such as the Athens 2004 Olympics, Doha 2006 Asian Games and the Melbourne 2006 Commonwealth Games, was contracted by the organizing committee for the Delhi 2010 Commonwealth Games to design and manage the audio system for both the opening and closing ceremonies.
Twenty-five distributed JBL VERTEC arrays lined the stadium to ensure everyone from the floor seats to the upper levels fully enjoyed the entertainment, which included performances from traditional Nagada drummers, who drummed to the beat of the countdown to the official start of the event.
Eight of the arrays featured three JBL VT4889 fullsize line array elements and 17 contained three VT4888 midsize line array elements, with each also including a fullsize VERTEC arrayable subwoofer.
One hundred and two Crown amplifiers, including 92 I-Tech HD amplifiers, powered the JBL VERTEC rig. Harman’s HiQnet™ System Architect system software was used for configuration, remote control and monitoring of the system.
Norwest (Sydney, Australia) teamed with a regional, Mumbai-based sound production company, Sound.com, to supply the entire audio package and crew for the Delhi games’ opening and closing ceremonies.
“The VERTEC V4 DSP tunings are excellent. The only additional tuning we had to do was some minor notch filtering to tidy up the response in the venue,” stated Willsallen. “It was all very subtle filtering. If it came down to it, we could have run the show very successfully without any additional E.Q. filtering.”
On the field of play, 25 JBL SRX712M speakers were used for the performers’ monitor system, while 32 JBL CBT70J column speakers and JBL SRX718S subwoofers were used to ensure that athletes on the field could experience the event’s sound. On the main stage, JBL VRX915M monitor wedges were utilized for musical performances.
“Norwest Productions and Sound.com combined their resources and skills to deliver an excellent audio system, which met the performance requirements of my design and worked within the project budget,” said Willsallen.
Tech Tip Of The Day: Balanced Power
Can balanced power solve your ground problems?
Q: How does balanced power help to solve ground loop humming?
A: Using balanced power can help solve certain ground loop problems because it takes its ground from one source, thus having no potential difference.
You can do this yourself simply by taking all your power from one outlet or circuit. If your equipment “leaks” to the ground, meaning current is flowing to the ground wire, then balanced power might be helpful.
Some people believe that balanced power solves all ground loop problems, which is not the case. It is still possible to create ground loops with balanced power.
There are, however other problems that can be solved or improved by using balanced power.
In theory balanced power solves certain problems in a manner similar to how a balanced audio signal does, especially noise cancellation.
The typical claim made by manufacturers of balanced power equipment is that when power is balanced the main power cable has less electromagnetic field around it, so it should induce less noise to nearby audio cables.
Those claims are partially true. If you placed an unshielded cable next to a balanced power cable, quite a bit less noise/hum would be picked up. If you placed a shielded cable next to a balanced power cable less difference would result.
The capacitively coupled portion of the signal is intercepted nearly completely by the shield. Much of the inductively coupled component will reach the screened signal wire(s). Magnetic field around the cable will be practically the same whether the power cable is balanced or not, as there is still the same amount of current flowing up one wire & back down the other.
As always, we welcome input from the PSW community and would love to know your thoughts on balanced power. Feel free to let us know in the comments below!
For more tech tips go to Sweetwater.com
BSS Audio Soundweb The Choice Kempinski Hotel
Luxury hotel builds first-class audio system around the London digital network.
The largest installation of a BSS Audio digital network in the Slovak Republic has been deployed with the opening of the new Kempinski Hotel River Park in Bratislava.
Located on the Danube River, the Kempinski will provide a new standard of lifestyle luxury in this historic city, steeped in imperial heritage.
With its selection of restaurants and bars, a spa and wellness center, in addition to a meeting room and four conference rooms (each divisible into two separate rooms), an advanced digital backbone connecting all the featured areas was required.
Peak Audio s.r.o. handled the installation utilizing two Soundweb London BLU-160 configurable processors, with two BLU-120 I/O expanders and a BLU-BOB2 break-out box, offering a further eight channels of analog audio output expansion.
The BSS Audio Soundweb London devices all interconnected through their digital audio bus.
Based on Gigabit Ethernet technology this bus carries 256 channels of fault-tolerant, low-latency audio at 48kHz/24bit, or 128 channels at 96kHz/24bit across a standard CAT5e connection — providing a highly cost-effective solution.
The Soundweb London matrix at the Kempinski is configured with 44 inputs and 20 outputs, providing signal routing to 13 zones (including the nine conference rooms, foyer and other areas).
Inputs are provided from a variety of sources including CDs, DVDs, wireless and wired microphones — and also notebooks in the conference rooms.
For local mixing with additional microphone inputs, a Soundcraft FX16ii has been provided.
Said Peak Audio’s Ján Krkoš, who project managed the installation, “The Soundweb London platform provided us with the perfect solution.”
“It was easy to program and create a custom control panel, which is straightforward to use. It provides high-quality audio processing and routing and can be relied on for 24/7 operation.”
BSS Audio Website
Alcons Introduces BQ211 Carbon-Coned Subwoofer
The BQ211 is part of Alcons’ global dry-hire Ribbon Network inventory and comes with a 6 year limited warranty.
After sneak-previewed at Frankfurt 2010 as its European debut, Alcons Audio is now presenting its new BQ211 subwoofer, which extends the low frequency response of the company’s pro-ribbon systems for both permanent and portable applications.
It is the first introduction of the upcoming LR24 mid-sized pro-ribbon line-array touring system.
The BQ211 is a double-tuned, quarter-wave loaded subwoofer system which is designed to offer maximum, prolonged high impact SPL performance from a comparatively small footprint.
Featuring the very latest materials and design innovations, it contains a state-of-the-art very large displacement 21” Neodymium transducer with an all-carbon fibre cone, for high pressure loading, plus a force-ventilated 5.3” voice-coil.
The latter is mounted in a vented triple-spider frame and features optimised low resistance impedance and a port-vented magnet structure, to reduce power compression and prolong performance.
The internally-braced 15mm birch cabinet features double-tuned, high-pressure loading, through a rounded 236mm/9.3-in diameter low-tuned bass-reflex vent and wide, high-tuned quarter wave tunnel.
This provides optimised breathing at high SPLs, yet keeping the total system weight to a minimum.
Finished with Alcons Durotect flexible and scratch-resistant coating, it has slider feet on the bottom and sides, enabling the stacking of multiple BQ211’s into vertical low frequency arrays.
The additional front-positioned NL4 connector caters for easy “reverse connection” in cardioid arrays, enabling controlled directional LF dispersion.
It is powered and controlled by Alcons ALC series amplified loudspeaker controllers, whose SDP (Speaker Drive Processor) circuits offer BQ211-specific drive processing with response optimisation, dedicated power and excursion protection, hybrid filtering and cardioid processing.
Additionally, through the SIS (Signal Integrity Sensing) circuit, the cable-length and connector resistance between the BQ211 and ALC is completely compensated for, with a damping factor of 10.000, further increasing response accuracy.
With a frequency response of 33Hz - 150Hz (+/- 3dB) and an SPL that needs to be felt instead of read, the BQ211 is a wideband subwoofer with high SPL performance down to the lowest frequencies.
Measuring just 590 x 746 x 986mm (23.2 x 29.4 x 38.8-in.) and weighing just 72kg/159lb, it is a portable unit with an exceptionally small footprint.
Part of The Ribbon Network inventory - Alcons’ global dry-hire network - the BQ211 has a wide variety of uses and comes with a 6 year limited warranty.
Alcons Audio Website
L-Acoustics K1 Deployed By SSE For Summer Events
Use of the K1’s meant fewer boxes were required, allowing each array to clear the floor by 9m which dramatically improved camera sight lines.
UK rental company SSE Audio deployed its L-ACOUSTICS K1 large format line source system on BBC Radio 1Xtra Live at Wembley Arena in late September, rounding off a summer of outings for the system.
A total of 72 K1 boxes, with 30 dV-DOSCs, 20 KUDO large format and 18 KIVA ultra compact line source cabinets, plus 48 SB28 subs, were deployed for the event.
The system was driven by 14 flown LA-RAKs housing 72 LA8 amplified controllers, connected by the LA Network Manager.
The event presented several challenges for the sound system. The nature of the bands, including N-Dubz, Tinchy Stryder and Roll Deep, called for high SPLs and sub levels.
Two stages were used, one end-on for bands and one in the round for ‘vocal to track’ acts. The latter needed to achieve seamless 360 degree coverage around the stage, with the system sharing a rigging area with lighting etc., plus weight limitations and the need to keep sightlines as clear as possible for the TV cameras.
For the (end-on) band stage, four hangs of K1 were used, while a further six K1 hangs plus two sub hangs were used for the round ‘voice-to-track’ stage.
K1’s power meant fewer boxes were required, so each array cleared the floor by 9m, improving the all-important camera sightlines. All 14 L-ACOUSTICS LA-RAK power racks were flown on the K1 bumpers, so that only power and network manager connections needed to be run from FOH to the eight centre hangs.
This kept cable runs from the racks to the K1 boxes to an absolute minimum and minimized any power loss.
“K1 was able to meet all the challenges this event threw at it, achieving a full-on and seamless coverage to all parts of the floor area,” says Miles Hillyard, senior project manager, SSE Audio.
“The power and versatility of K1 meant this could be achieved in the round with just six clusters, with sources blending perfectly. It would probably have been impossible to achieve this using other systems.”
The company was presented with the Best Live Sound Event award by industry publication Audio Pro International for this summer’s Download festival, which also featured a full K1 rig.
Other events SSE has used K1 for this summer include the Reading & Leeds, Oxegen, Latitude, V and Cropredy festivals, T4 on the Beach and the recent Papal visit to Glasgow.
Friday, October 22, 2010
Audio-Technica Sponsors The Art & Science Of Sound Recording DVD Series
Producer/engineer and longtime Audio-Technica user Alan Parson's new series prominently features A-T microphones.
Audio-Technica is proud to announce the sponsorship of the Art and Science of Sound Recording DVD series by producer/engineer Alan Parsons.
After almost two years in production, this highly anticipated series of training videos covers all aspects of sound recording, in 24 programs identified by topic.
The complete series, hosted by Parsons and narrated by actor and musician Billy Bob Thornton, was recently released as a three-disc set; the individual programs are currently available for download online.
In the “Microphones” section, several Audio-Technica microphones are prominently featured and identified by Parsons as he discusses and demonstrates various aspects of the recording process.
“Alan Parsons’ body of work speaks for itself,” said Gary Boss, Audio-Technica Marketing Director. “He is a true master of his craft, having worked with some of the most talented and influential artists of the last 50 years and having shaped the course of popular music as a producer, engineer and musician.”
“Alan also has had a long association with Audio-Technica microphones and was one of the first early adopters of our AT4033 microphone nearly twenty years ago. A-T is proud to be a part of this comprehensive and informative series and a continued part of Parsons’ arsenal of trusted studio tools.”
Commented Parsons, “Audio-Technica doesn’t just make wonderful microphones and headphones, they also create and support a range of activities that help bring this equipment to life. That’s rare, and extremely impressive.”
A free portion of the Alan Parsons’ Art and Science of Sound Recording at artandscienceofsound.com.
A Natural Extension Of Classic Sound
Dual-purpose sound reinforcement for the Cincinnati Pops.
The Cincinnati Pops Orchestra, comprised of members of the world-renowned Cincinnati Symphony Orchestra (CSO), performs in historic Music Hall, as well as outdoors at Riverbend Music Center on the banks of the Ohio River and on international tours, presenting concerts featuring acclaimed artists and conductors.
The Pops date back to 1977, when the founding conductor, the late Erich Kunzel, conducted the group’s first sold-out concert.
It’s a more recent chapter of a rich heritage that stretches all the way back to 1895 with the founding of the CSO.
I recently had the opportunity to attend this year’s final summer concert at Riverbend, a wonderful evening featuring Oscar-winning composer John Williams conducting the Pops in stirring renditions of many of his most well-known works, including scores for Star Wars, Jaws, E.T.: The Extra- Terrestrial, Schindler’s List and several others.
And, this concert also saw the long-awaited unveiling of a new live sound reinforcement system developed for the specific needs of the group.
Sound designer/engineer Ralph LaRocco, who has worked with the Pops since 1997, told me that the new system’s roots date back almost five years to a concert at the cavernous, 8,000-capacity Great Hall of the People in Beijing.
During rehearsals, both he and Kunzel quickly liked what they were hearing from the system provided for the event.
An upward view of one of the COHEDRA CDR 208 S/T and CDR 210 F sets at Riverbend.
“What we want from a system is for it to be full and rich, yet controllable,” LaRocco explains. “There should not even be a hint of a hard edge, because that is not who they (the orchestra) are.”
“Everything is acoustic, and it needs to retain that natural character, that transparency. That’s what we heard immediately in Beijing.”
At the head of that system were HK Audio COHEDRA line arrays, which LaRocco determined as the primary difference-maker.
HK Audio, based in Germany, takes a unique approach to line array element design, and Christian Stumpp of the company was on hand prior to the concert in Cincinnati to provide details.
Each COHEDRA element employs a specially developed acoustic lens to curve the wave front, a method to help prevent the interference and drop-outs of continuous line sources due to edge diffraction.
With a proprietary technology called Emphasized Radiation, signal components that will later be dampened are emphasized first. Applied to wave fronts, this means that the edge areas are projected earlier in time, forming a curving wave front whose sound vectors face slightly inward.
Then, to reduce the gaps that are created when an array is curved, tearing the line source apart and reducing range, both ends of every element’s wave fronts are reshaped in the same way.
The result, Stumpp notes, is the ability to sustain an even wave for a longer period, thereby significantly extending the line array’s near field in the higher frequency range.
There’s a whole lot more to this concept, with plenty of details available on the COHEDRA website.
While LaRocco and Kunzel both wanted to bring COHEDRA to their Pops venues in Cincinnati, the funding to make it happen simply wasn’t available until this year.
However, they stayed in contact with Stumpp, continuing to plan and refine the design, with HK Audio technical personnel also paying visits to both Riverbend and Music Hall to perform evaluations and measurements.
This leads to another interesting facet of the project, in that the same system is utilized for both venues - and two more different performance spaces would be tough to find.
Music Hall, completed in 1878, offers superior natural acoustics, and in fact is noted as one of the best sounding rooms in the U.S.
On the other hand, while Riverbend was originally built for the symphony about 25 years ago, it’s still an outdoor amphitheater with a metal roof, backed by a lawn that takes capacity to more than 20,500.
John Williams conducting the Cincinnati Pops at Riverbend, which was the inauguration of the new system, including the HK Audio COHEDRA line arrays flown left, center and right.
Essentially, the system design team determined that commensurate performance and coverage in both places could be attained through careful array configuration and placement.
Combined, of course, with LaRocco’s ability to construct appropriately tailored mixes.
“Regardless of the venue, my goal is for it to sound the same in the house as it does at the podium, to take what is happening there and extend it as naturally as possible throughout the audience,” he says.
“There must be no color, no bite - every string and wind instrument must sound like they should, and nothing else. We must hear the instruments, and the fullness of it all, the complete ensemble, and every part in its appropriate place relative to the composition.”
At Riverbend, arrays of 12 COHEDRA CDR 208 S/T (dual-8, single- 1.4) elements are flown to each side of the very wide stage proscenium, with a center array of 6 more CDR 208 S/T elements flown at the center. The side arrays are each joined by lines of 4 CDR 210 F dual-10 subwoofers.
Above: The single 12-element COHEDRA array flown centrally to provide coverage at Music Hall.
Three more COHEDRA COMPACT (single-8, dual-1) CDR 108C arrays of four units each flown from catwalks at about the midpoint of the house, on delay, extend coverage to the rear of the fixed seating, and then the existing lawn system takes it all the way to the back.
The system also includes 8 more CDR 210 subs to be deployed when needed, and placed where LaRocco wants them, depending on the specific needs of a production.
“I’m really happy with the performance of the flown subs.
But when we present concerts featuring selections from modern Broadway shows, such as Wicked, we want to fill it out a bit more on the low end,” he explains.
“There isn’t a need for a lot, but the ability to put more kick drum in the presentation is welcome, so that it feels as big as it should be.”
Things change when the system goes to Music Hall. Here, the choice is a single 12-element array, flown centrally in front of a large acoustical structure that extends out from the proscenium.
The arrays have a much more pronounced “J” shape, arching downward in order to cover main floor seating. The 80-degree horizontal dispersion of the array extends coverage very well to the side seating areas.
“Because of the acoustic nature of this venue, the low frequencies can build up pretty easily - 160 Hz will come around and swallow you in a heartbeat, so you have to be smart about it,” LaRocco says.
“We’re running the boxes full-range and will not fly the subs. In rehearsals, the cuts in the LF sound almost cold, but once there’s a crowd, it really warms up.”
The loudspeakers are driven by a Lab.gruppen amplification package, all FP 10000Q 4-channel models, chosen for a number of reasons, including their sonic quality, total-power-to-footprint ratio, and excellent customer support.
In fact, Josh Evans, who recently joined the Lab.gruppen team, was also in attendance for the system debut. The amplifiers are joined in their mobile racks (for convenient transport between the two venues) by HK Audio FIRNet digital loudspeaker processors.
The system also features a new DiGiCo SD8 digital console, which LaRocca selected after some serious homework. He wanted a high channel count, with the SD8 offering 60, and he also sought to implement a digital snake at both venues.
The new system’s rack-mounted Lab.gruppen FP 10000Q 4-channel amplifiers and HK Audio FIRNet digital loudspeaker processors.
“Just mic’ing the orchestra, along with contacts, takes the channel count up to about 35, and then we need plenty more for our guest artists,” he notes. “You don’t want to make compromises or start sacrificing channels.”
“In addition, I talked with several mixers, including some Broadway people, and they all told me I wouldn’t be disappointed at all with the sound quality of this board. And, at its price point, especially within the context of what we’re trying to achieve, it’s a great fit.”
Pops performances come in two flavors. There’s a more “traditional” setup with a band shell, where the orchestra is not mic’d except for some rhythm players, and then guest artist vocals are amplified and laid over the top.
The other setup is “remix,” where the band shell is removed, black drapes are deployed, and the microphones come out in force.
In remix mode, all instrument sections are mic’d, and then principal players in each section are mic’d so that a little more definition can be added to the mix when needed. In other words, the principals are playing the primary parts, so they provide added emphasis but within the context of area mic’ing of sections.”
“There’s also select contact mic’ing on principals, but it can sound “a bit close,” so it’s applied judiciously. For example, if a drum passage is playing full-bore, the extra gain from the contacts can come in handy in bringing up other vital portions of the mix. But just a bit more.
“I’m not doing anything unusual with the mic’ing, just using quality microphones and taking care with placement,” LaRocco adds. Neumann KM184 small-diaphragm condensers are applied for strings, while most woodwinds are on Neumann KM183 omnidirectional condensers.”
Clarinet and brass some instruments get AKG C 414 large-diaphragm condensers, and Sennheiser MD 441 dynamics handle the horns as well as bass. The harp has an Sennheiser MKE 2 omnidirectional condenser placed inside it, and piano has a combo of a C 414 and an AMT M40 acoustic piano mic system.
For direct needs, LaRocco prefers Radial Engineer JDI passive DI boxes. Overhead, there are pairs of AKG C 451 condensers with CK 1 elements flown about 12 feet above the deck.
Meanwhile, at the console, LaRocco is primarily controlling the overall section sounds. “I look at my role as being an extension of the conductor.
He’s the one really running the sound, so the goal is to capture what he is directing up there as it is happening and naturally amplify it.
“This new system furthers that goal. When we first fired it up, it needed literally nothing - a little EQ but that was it,” he concludes. “Just a comfortable sound, the signature Pops sound, happening just like it does on stage.”
Keith Clark is editor in chief of Live Sound International and ProSoundWeb.
Meyer Sound MICA Upgrades North Point Church Main Auditorium
MICA arrays proved to be the ideal solution for North Point's difficult space.
After installing Meyer Sound reinforcement systems at two newer branch campuses, North Point Community Church has followed suit at its main campus in Alpharetta, Ga.
There they replaced the 12-year-old system in the 2,700-seat East Auditorium with a new system based on Meyer Sound MICA line array loudspeakers.
“We were struggling with coverage in that room,” admits Micah Stevens, director of production for North Point Ministries.
“We needed a system that would fix those issues, and since we’ve been very happy with what we’d heard at the other two campuses, the obvious choice was to continue with Meyer Sound.”
As with the earlier systems at North Point’s Buckhead and Browns Bridge campuses, audio system design and installation was entrusted to Clark (formerly Clark ProMedia), also in the Atlanta suburb of Alpharetta.
According to the company’s principal designer, George Clark, the time had come to “bring the main campus up to par and conform to the experience at the newer satellite locations.”
To consistent coverage throughout the wide auditorium, Clark built his design around twin hangs of seven each MICA line array loudspeakers.
Main arrays are augmented by four DF-4 loudspeakers as down fill, ten M1D line array loudspeakers as front fill, two MSL-4 loudspeakers and three UPJ-1P VariO loudspeakers as side fill, and five UPQ-1P loudspeakers for balcony fill.
System drive and processing is handled by a Galileo loudspeaker management system with three Galileo 616 processors.
Bass reproduction was especially tricky, as North Point has a somewhat newer West Auditorium built back-to-back against the East Auditorium. Services are held in both at the same time, each with its own music teams, with teaching pastor Andy Stanley’s message presented live in one and via HD video in the other.
To eliminate bass bleed back into the West Auditorium, Clark specified ten M3D-Sub directional subwoofers to maintain a cardioid coverage pattern down to 30 Hz.
“It was a remarkable difference, moving from the old system to the new,” observes George Clark. “The low end is now tighter and more defined. Listening to the same genre of music you can hear striking improvements in clarity and balanced tonality.”
For Micah Stevens, the Meyer Sound line arrays at all three campuses help provide a consistent listening experience regardless of where a first-time visitor may attend. “The systems are different sizes and configurations, but they all share a common sonic signature.”
“That makes it easier for us to develop a consistent sound for the music, and for the teaching segment by Andy Stanley—whether he’s there in person or via video from one of the remote campuses.”
North Point’s Browns Bridge campus, opened in late 2006, relies on a system anchored by 26 M’elodie line array loudspeakers to cover the 2,100 seat auditorium. Opened the following year, the ministry’s 3,100-seat Buckhead Church features 33 MICA line array loudspeakers.
An upgrade of the original system in the 2,500-seat West Auditorium in Alpharetta is now in the preliminary planning stage.
Meyer Sound Website
Kaces Introduces Microphone Messenger Bag
Intended to protect up to 6 microphones in a padded case while on the road.
Kaces has announced the introduction of the latest product in their line, the microphone messenger bad.
A total of six (6) microphones will fit safely into the new, slim, messenger-style bag by Kaces.
Heavy foam surrounds each mic and the entire outfit is covered with padded 600D polyester to survive on the road.
A padded panel zips over the top while a second cover flap folds over the entire face of the bag and is secured with two latching straps.
A large, zippered accessory pouch can be found on the front, along with an adjustable shoulder strap to make carrying easier when transporting multiple pieces of equipment.
Audinate Opens European Operations
Audinate has opened their European operations due to a significant portion of their OEM partners and customers being based in Europe.
Audinate has announced the formation of its European operation, Audinate Limited, based in the UK.
A significant portion of Audinate’s OEM partners and customers are based in Europe and this expansion reflects the widespread industry adoption of Audinate’s Dante media networking technology.
As a result of this new expansion, Audinate has offices in Europe, the USA, and in Australia.
David Myers, Audinate’s COO remarks, “Audinate has built a reputation as the best digital media networking solution and we are recognized by our customers and partners for our responsive support.”
“As a result of this expansion, Audinate can provide around the globe support for our OEM Partners.”
As part of Audinate’s direct presence in Europe, Kieran Walsh has joined Audinate as Senior Technical Solutions Manager. Kieran Walsh was formerly with Britannia Row Productions, one of the world’s leading audio rental companies.
While at Brit Row, Kieran was responsible for the Digital and RF Department. Walsh has worked on some of the largest concert and special event projects including Led Zeppelin at the O2 arena, Nelson Mandela’s 90th Birthday concert in Hyde Park London, the Beijing-London Olympic handover ceremony (London segment) and the National Football league (NFL) international series matches at Wembley Stadium.
“We are pleased to have Kieran help our European expansion“, adds John McMahon, Audinate’s VP of Sales and Support. “Kieran brings a wealth of day-to-day experience of deploying Dante systems for some of the largest events and concert tours over the past few years”.
Walsh worked as a sound engineer and producer for a variety of recording projects for clients including BBC, EBU, Sony BMG and EMI. Walsh holds a degree from the Royal College of Music and has performed on a number of world premieres as an orchestral player as well as appearing as a soloist with a number of Orchestras.
“I am looking forward to the new opportunities that Audinate presents”, says Kieran. “I have always been impressed with Audinate and look forward to helping a larger audience implement the power of Dante’s integrated network solutions”.
Tech Tip Of The Day: Meet The dB Meter
Why a loudness meter is an essential tool for the recording studio, not just live sound.
Q: Not long ago I set out to start my own studio, and so far it’s been going well.
Recently I was reading a list of essential tools for the studio and noticed it included the dB meter.
I understand why these meters are useful for live engineers, but are they really that necessary for studio use?
A: Our ears are finely tuned instruments, capable of perceiving an incredibly wide range of volume levels and frequencies.
But, for our ears to work their best in the studio, we need to manage volume levels…too quiet and the ears’ frequency response changes.
Too loud and not only does response change, but there is danger of permanent hearing damage.
For best results, keep your volume level consistent from session to session, and keep the volume the same as a mix or track changes volume. The tool for doing this?
The level or dB meter. Every studio needs one sitting right there on the desk or console, displaying exactly what’s happening volume-wise and keeping our ears honest and safe!
However, that dB meter (which I’m sure is now sitting there on your desk or console) can be put to other uses as well.
A level meter can be a great tool for level matching two sources for accurate A/B comparisons, particularly when comparing a “commercial” mix off of a CD with a raw mix you may be working on.
Unless the two sources are precisely matched, the louder one will always sound better.
As always, we welcome input from the PSW community and would love to know your thoughts on studio loudness. Feel free to let us know in the comments below.
For more tech tips go to Sweetwater.com
Lectrosonics Wireless Technology Utilized By Home Improvement Reality TV Shows
Many "crasher" style shows on the DIY and HGTV Networks rely on the reliability of Lectrosonics when the audio must be perfect.
Reality TV is quite popular these days, especially those shows that offer insightful tips and tricks for do-it-yourself home improvement enthusiasts.
Such is the premise for House Crashers, Bath Crashers, Yard Crashers, and Turf War—all of which are produced by The Idea Factory and aired on the DIY and HGTV Networks.
The premise behind most of these shows is such that the show’s host ambushes homeowners while they’re home improvement shopping.
When the host identifies the ultimate home improvement challenge, he follows the lucky homeowner home and performs a total overhaul. Capturing the host’s remarks or the subjects’ reactions isn’t something that can be rehearsed.
Spontaneity is key to capturing the essence of what takes place—and to insure nothing is missed, Lectrosonics wireless microphone technology is an essential ingredient of the production process.
Location Sound Engineer Palmer Taylor is one of the key sound technicians behind the scenes. With a background in music composition and recording, Taylor got his start in the location sound business by working on a documentary titled Rivers of a Lost Coast, which was narrated by Tom Skerritt.
He was mentored by local sound engineers Jimmy Bell and Rob
Neely—both of whom are also involved in location sound for the ‘Crasher’ shows and were integral parts of pioneering the audio work flow for the shows. Bell and Neely are also enthusiastic Lectrosonics users.
Today, Taylor is an integral part of the location sound crew and his Lectrosonics equipment plays a pivotal role in the shows’ production.
“Presently, I’m using two Lectrosonics UM400a and one UM400 beltpack transmitters for my wireless mics,” states Taylor, “and the receiving end; I have three UCR411a compact receivers. For the camera hop, I use two Lectrosonics SMQV dual battery super-miniature beltpack transmitters and an SRa dual channel slot mount ENG receiver.”
Taylor’s entire 5-channel setup employs Lectrosonics’ Digital Hybrid Wireless technology
“Lectrosonics’ sound quality is first rate—rivaling the quality of a cabled microphone,” said Taylor. “I’ve also been extremely impressed with the equipment’s reliability.”
“The build quality is really solid and it never lets me down. It’s not uncommon for me to have my wireless mics across the yard or behind several walls within a house and yet dropouts are non-existent. The range of this equipment is one of its most impressive traits.”
“Recently, I was on a show where we had more talent than we did wireless receivers,” Taylor explained. “By coordinating frequencies in advance and assigning those frequencies to the various talent, I was able to pre-program those frequencies into my UCR411a receiver and then step through my ‘presets’ using the arrow keys.”
“This is a really useful feature when there are more transmitters than there are receivers. This way, as the various talent came into view, I could quickly change the receiver’s frequency and seamlessly catch the talent’s dialog for the time they were on camera. When someone else entered the picture, I just switched the frequency on the receiver again.”
“I’ve downloaded Lectrosonics’ free RM sound files to my iPhone,” he said, “which can be played back from any MP3 player. In doing so, I have the ability to control lock, unlock, sleep, and unsleep functions on my SMQV transmitter.”
“These features are extremely convenient since I don’t have to physically touch the transmitter to make my changes.”
“I’ve been very impressed with Lectrosonics. Whenever I’ve called in for advice or assistance, the support technicians clearly understood what I’m looking to accomplish and were able to assist quickly and efficiently.”
“Location sound work involves being able to capture your subjects the first and every time. There’s really no margin for error. Thanks to the features and reliability of my Lectrosonics gear, my clients are very happy with the quality of the work I deliver.”
Posted by admin on 10/22 at 07:39 AM