Monday, August 13, 2012

Michael Bierylo Named Chair Of Berklee Electronic Production & Design Department

Intends to embrace advances in video game design, software development, and all aspects of computer music and video performance

Berklee College Of Music has announced that Michael Bierylo has been named chair of the Electronic Production and Design Department (EPD).

Bierylo, an electronic musician, guitarist, composer, and sound designer, has been a Berklee faculty member since 1995 and member of the band Birdsongs of the Mesozoic since 1991.

In his new role at the college, he intends to embrace advances in video game design, software development, and all aspects of computer music and video performance.

“Music technology is a moving target, and while new trends tend to disregard what precede them, EPD looks to celebrate all avenues and vintages of electronic expression,” says Bierylo. “We look to both analog and digital systems, lo-fi and hi-fi. Our students design software for iPads and hack Speak and Spells. They create thumping dance tracks, interactive audio-visual installations, and inspired sonic landscapes for video games.”

Bierylo’s commercial work includes music and audio production for Hasbro Interactive, the Smithsonian, Nickelodeon, and the Oxygen Network, as well as music and sound design for the Incredible Hulk Roller Coaster at Universal’s Islands Of Adventure.

As a composer, Bierylo’s work has been featured on A&E’s Biography, the Learning Channel, and Martha Stewart Living. Recent projects include work on the films Granito, the Reckoning, and Traces of the Trade, all featured at the Sundance Film Festival.

Bierylo holds a B.M. from Berklee College of Music and has completed additional studies in jazz composition and audio engineering. A Berklee faculty member for over 17 years, he received the Music Technology Division Excellence in Teaching Award in 2003, and was the 2009 recipient of a Newbury Comics Faculty Fellowship that funded two trips to Berlin to study laptop performance, modular synthesizers, and new music software.

As a member of Birdsongs of the Mesozoic, Bierylo has performed throughout the U.S. at venues as diverse as the Knitting Factory, Honolulu Academy of Arts, Duke and Emory universities, and Dartmouth College.

Bierylo’s compositions are featured on the group’s albums Dancing On A’A, Petrophonics, the Iridium Controversy, and Extreme Spirituals, all on Cuneiform Records. As a solo artist, Bierylo has performed in the U.S. and Berlin, Germany, including a concert with Grammy-nominated electronic musician BT in 2012.

Electronic Production and Design (formerly Music Synthesis) teaches the musical and creative use of electronic production and sound design tools and technologies. Working in professional-level 5.1-equipped studios, classrooms, and labs, students learn electronic composition, synthesizer programming, interactive performance systems, digital signal processing, music with integrated visuals, alternate controllers, and more. The curriculum provides a solid foundation for continued learning and effective performance in a profession that is constantly changing and evolving.

Berklee College Of Music

Posted by Keith Clark on 08/13 at 09:16 AM
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Friday, August 10, 2012

Defining Amplifier Damping And What It Really Means Within A System

So is more amplifier damping factor better?

Ever have one of your friendly amplifier reps walk in your office to present their new mondo-gazillion-watt beast and point out the damping factor spec of greater than a bazillion?

Why, gee-whiz! That’s, like, 10 times more than the other guy! It must be awesome, right?

Well, as we have seen before, it depends on how you are going to use it.

Let’s start with defining damping factor and see what it means to us.

Amplifier damping factor is defined as “the ratio of the load impedance (loudspeaker plus wire resistance) to the amplifier internal output impedance.” (Glen Ballou, editor, Handbook For Sound Engineers, Third Edition)

This basically indicates the amplifier’s ability to control overshoot of the loudspeaker, i.e, to stop the cone from moving. It is most evident at frequencies below 150 Hz or so, where the size and weight of the cones become significant.

A system where the damping factor of the entire Ioudspeaker/wire/arnplifier circuit is very low will exhibit poor definition in the low-frequency range due to the undamped loudspeaker’s ringing.

Low frequency transients such as kick drum hits will sound “muddy” instead of that crisp “punch” we would ideally want from the system.

The formula for calculating damping factor is:


Very few amplifier spec sheets state the output impedance, but you can generally call the manufacturer for this spec or you can calculate it by dividing the minimum rated load impedance by the damping factor rating.

For example, if we are using amplifier with a damping factor rating of 400 and it requires a minimum load of 2 ohms, then its output impedance would be calculated as being 0.005 ohms.

So let’s look at several examples and figure out what we can control in the design of our system to achieve the best results. Say we have two 8-ohm subwoofers connected to an amplifier with a damping factor of 400 with 100 feet of 12 gauge wire,  with a resistance of 0.00159 ohms/ft times 100 feet, gives us a total resistance of.0.159 ohms.

Plugging the numbers into our formula, we get:


In this case, our system damping factor is just 12. Most experts agree that a reasonable minimum target DF for a live sound reinforcement system would be 20, so we need to consider changing something to get this up.

The critical element in this definition is’ the “loudspeaker plus wire resistance” part. In this case, the resistance in 100 feet of 12 gauge wire with a 4-ohm load results in around 0.7 dB of loss, much greater than the maximum target of 0.4 dB of loss, so let’s try bigger wire.

10 gauge wire has a resistance of .000999 ohms/ft times 100 feet equals .0999 ohms and will get us to the 0.4 dB target.

What will it do for DF?


OK, now we’re pretty close to the 20 we were looking for. Notice that the loudspeaker impedance can also give us a big change. The higher the circuit impedance, the less loss we have due to wire resistance.

What if we change our wiring so we have one 8-ohm loudspeaker connected instead of two?

Going back to our 12 gauge wire, we calculate:


Even better! In fact, if you run the numbers a few times, you will see that in a system with some significant length of wire, we will find that damping factor will generally be 20 or higher as long as our total wire loss is 0.4 dB or less.

What if we have a self-powered subwoofer?

In this case, our loudspeaker wire is probably around 14 gauge, and since the amplifier is in the loudspeaker enclosure, it is probably less than a couple feet long.

Assuming the manufacturer is connecting two 8-ohm loudspeakers to the amplifier, and 14 gauge wire has a resistance of .00256 ohms/ft times 21 equals 0.00506 ohms of resistance, and our amplifier has a damping factor spec of 400, what do we get?


Wow! Now that’s a significant difference! Kind of supports the idea of using self-powered subwoofers, or at least putting the subwoofer amps as dose as possible to the subs.

So we’ve looked at the differences in the size and length of our wire and the differences in hanging one loudspeaker on the line versus two to change the impedance of the line.

What if we choose an amplifier with a higher damping factor spec, say 3,000? That’s a big difference, so we should see a much higher damping factor in our circuit, right? Assuming this amplifier can drive a minimum 2-ohm load, we find the output impedance would be 0.001 ohms.

Plugging the numbers into our single loudspeaker with 12 gauge wire system, we get:


Hmm, not such a big deal. That higher amplifier damping factor only improved our system damping factor by 0.31 over the amplifier with a DF spec of only 400.

What if we use the amplifier with the 3,000 DF spec in our self-powered sub with 2 feet of 14 gauge wire?


Remember our calculation using the 400 DF amplifier was 264.55, so now we start to see when the amplifier spec becomes significant.

Essentially, in sound reinforcement systems where we have some significant length of wire between the amplifier and the loudspeaker, the amplifier DF spec has little affect on the performance of the system.

So what have we learned? In live sound reinforcement systems, damping factor is really driven by the length and size of our wire and the impedance of the loudspeakers we connect at the other end.

Since damping factor mostly affects low frequency, we should endeavor to keep our subwoofer loudspeaker lines as short as possible and/or use larger gauge wire. We should keep the impedance of the connected load as high as possible by connecting only one transducer per wire instead of two.

So is more amplifier damping factor better? As one of my colleagues recently said, “Sure! If the loudspeaker terminals are welded to the amplifier output terminals!”

Well, maybe he overstated it a little bit, but yes, as long as the loudspeaker wire is really short, then by all means!

Jerrold Stevens serves as director of the Application Support Group (ASG) at EAW. Previously, he was principal consultant with PMK Consultants in Dallas. He has more than 25 years of pro audio experience, including contracting, independent sales, live sound and studio engineering, and audio system consulting and design.

Posted by Keith Clark on 08/10 at 04:20 PM
Live SoundFeatureStudy HallAmplifierMeasurementPowerSound ReinforcementAudioPermalink

Matt Ward Joins Manley Labs As Strategic Advisor

Veteran of Universal Audio, E-mu Systems, Otari and Studer Revox will develop and implement new strategies for growth

Manley Labs has announced that Matt Ward, former president of Universal Audio, has joined the company as a strategic advisor, where he will work directly with president EveAnna Manley on all aspects of Manley’s business to create strategic goals and a tactical plan to achieve them.

“We’re thrilled to have someone with Matt’s experience and expertise on board,” states EveAnna Manley. “He will help us devise a clear strategy to deal with the challenges Manley faces in the ever-changing audio marketplace.”

“EveAnna and I have been friends for years,” Ward adds, “and we’ve always conferred with each other about the challenges of growing a business so it was natural that when I became a consultant, my first phone call was to EveAnna. 

“Manley is a revered brand with solid products and a stellar reputation for customer service so I’m excited to be joining the team.”

Prior to his 10 years in executive management at UA, Ward worked in product management for other prominent companies in the professional audio and music industries including Studer Revox, Otari, and E-mu Systems.

Manley Labs

Posted by Keith Clark on 08/10 at 02:00 PM
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Lab.gruppen Powers Turnkey Audio Solution At The Out NYC

Working closely with The Out’s architects and designers over the course of 2011, EL’s Creative Chief Operator, Ernie Lake, designed a distributed audio system incorporating 36 loudspeakers powered by one Lab.gruppen C 10:4X and two C 10:8X amplifiers.

Located in Manhattan’s Hell’s Kitchen, The Out NYC is the city’s first straight-friendly, urban resort.

Newly opened in March 2012, The Out NYC prides itself on offering guests a truly unique experience; one enhanced dramatically by a cutting edge audio system designed and installed by NYC’s EL Media Group and powered exclusively by Lab.gruppen C Series amplifiers.

EL Media Group’s central focus is providing luxury sound for luxury properties utilizing custom created musical programming and high-end audio systems.

Working closely with The Out’s architects and designers over the course of 2011, EL’s Creative Chief Operator, Ernie Lake, designed a distributed audio system incorporating 36 loudspeakers powered by one Lab.gruppen C 10:4X and two C 10:8X amplifiers.

Additionally, the system incorporates EL’s proprietary 3.1 Player, which allows The Out to stream up to four distinctly different musical programs – that shift between various musical genres over the course of the day to reflect the evolving mood and usage of a given space – to multiple zones of the hotel.

Although Lake prefers to install full 8 Ohm audio systems, for this project a mix 70-Volt and 8 Ohm systems were required to provide music to three specific areas of the property; the first floor’s lobby and private conference/dining rooms, the spa and fitness facility and the hotel’s second and third floor courtyards. That requirement was a key driver in his choice of the Lab C 10:4X and C 10:8Xs.

Lake says: “With the Lab.gruppen C Series you can switch from 70 Volt to 8 Ohms very easily. You just flip a couple of switches and you’re good to go.”

The most important factors driving Lake’s choice of Lab.gruppen, however, were the amplifier’s reliability and sound quality.

“We want to make each venue sounds incredible by providing cutting edge, custom sound design that enhances the vibe. We’re big fans of Lab. We love the way they sound and their power usage is incredible – they can be on 24/7 and you never have to worry about them.”

“This is the wave of the future,” adds The Out’s General Manager, David Lopez. “We envision The Out NYC as an urban resort that will help bring back a cluster of fun things to the area for the LGBT community – accommodations, entertainment, fashion and design – all in one complex. Providing the correct music, based on your design and what you’re trying to accomplish with the overall experience, is the most important thing for a lifestyle hotel.”

Established in 2008 to supplement their existing music styling services, EL Media’s installation arm provides turnkey audio solutions for a variety of high-end hotel, restaurant and retail clients across the United States. As the vendor of choice for The Out NYC, EL Media Group are currently working on an additional audio system for the hotel’s dining area, which will also include Lab.gruppen amplifiers.


Posted by Keith Clark on 08/10 at 01:49 PM
Live SoundNewsPollAmplifierInstallationSound ReinforcementAudioPermalink

New Allen & Heath GLD Manages Russian BMW Launch

Russian PA company, City Sound, recently selected Allen & Heath’s new GLD digital mixing system to manage BMW Group’s national launch of its new generation 6 Series Gran Coupe.

“We were one of the first sound companies to adopt Allen & Heath’s new GLD system in Russia, and had already tested the system at several top level events before the BMW presentation, so we had no doubts about the system’s capabilities,” comments Alexander Kosarev, General Director of City Sound.

Hosted on a specially constructed rooftop stage in downtown Moscow with panoramic views of the city, the agenda included an overview with a sound and light show demonstration of the car, plus performances from a live band and a DJ.

“GLD has proved to be very reliable and we are especially happy with the quality of sound,” said Kosarev. “We originally purchased the system for our smaller events but our experiences have shown that we can rely on GLD to manage any event.”

Allen & Heath

Posted by Keith Clark on 08/10 at 01:01 PM
Live SoundNewsPollConsolesDigitalSound ReinforcementAudioPermalink

University Of Virginia’s Chooses Danley For Memorial Gymnasium

As part of its commitment to keeping Memorial Gymnasium in tip-top shape, the school recently renovate the sound reinforcement system with Danley Sound Labs loudspeakers and subwoofers.

Known affectionately to the students at the University of Virginia as “Mem Gym,” Memorial Gymnasium was constructed in 1924 to provide a home for the school’s basketball team. The 2,500-seat facility currently serves as a workout center and home to the school’s volleyball, wrestling, and intramural sports teams.

As part of its commitment to keeping the facility in tip-top shape, the school recently hired dB Audio & Video of Gainesville, Georgia to renovate Memorial Gymnasium’s sound reinforcement system. In order to deliver intelligible speech and spirit-motivating bass, dB Audio & Video installed Danley Sound Labs Synergy Horn loudspeakers and Tapped Horn subwoofers, with Danley Sound Labs processing and amplification at the front end.

The previous sound system was centered on four clusters of horns that fired down from the rafters. Because the brick walls are untreated and because the horns had poorly-controlled patterns, significant energy bounced around the room, effectively masking speech and undermining intelligibility.

“It was an echo chamber,” explained David Clark, operations manager at dB Audio & Video. “It was very difficult to understand what was being said.”

Clark presented proposed the Danley Sound Labs solutions because their Synergy Horn technology not only delivers point-source, hard-pack arrayable, phase-coherent sound, but it also delivers well-defined pattern control all the way down into the low octaves.

“With the Danley boxes, I was able to keep all of the energy on the bleachers and off of the walls,” said Clark.

Danley’s Synergy Horn line contains a diversity of boxes with different beam widths for different situations. At Memorial Gymnasium, the Danley SH-69’s 60x90 pattern fit the bill perfectly.

Clark used a total of eight Danley SH-69s, three each on either end of the building and two at the midline.

“The athletic director also requested some low end to help pump up the crowd,” recounted Clark. A pair of Danley TH-118 subwoofers fulfilled that request wonderfully with Clark mounting them in the rafters, splitting the distance between the three clusters of SH-69s.

A Danley DSLP48 DSP provides modest input tuning, as well as loudspeaker conditioning and protection. A pair of Danley DSLA-3.3k amplifiers powers all of the SH-69s, and one Danley DSLA-6.5k amp powers both subwoofers.

“With Danley processing and amplifiers, I always know that I’ll have the flexibility to meet the requirements of the system and the power to make it sound its best,” said Clark. “And it’s a very clean installation when everything comes from the same manufacturer. It looks good, and you know everything is matched to work well together.”

He continued, “The system turned out sounding really nice. The intelligibility improved one-hundred percent, and now the fans can understand everything that’s being said.

“Moreover, we were able to position the loudspeakers and subwoofers high above the rafters – above the light fixtures even – so that the aesthetics of the building remain intact. With the clarity of the Danley SH-69s and the undistorted thump of the Danley TH-118s, the sound quality of music in Memorial Gymnasium is now amazing!”

Danley Sound Labs

Posted by Keith Clark on 08/10 at 12:48 PM
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Sennheiser Provides Authentic Sound Via Wireless Headphone Technology At Newport Folk Fest

Attendees were able to experience performances from festival artists via Sennheiser RS 120 wireless headphones

Sennheiser, in conjunction with event partner Paste Magazine, recently hosted a live broadcast/recording studio session housed in an alcove of an 18th century fortress, located on the site of this year’s Newport Folk Festival.

By donning a pair of Sennheiser RS 120 wireless consumer headphones, music fans were able to experience performances from festival artists, including Of Monsters and Men, Tom Morello, Jonah Tolchin and 26 others.

Wherever possible, the entire audio chain consisted of Sennheiser related technology — including microphones from subsidiary Neumann and Sennheiser, pre-amplifiers from distributed brand TRUE Systems and wireless RF technology from Sennheiser.

The two-day recording session presented challenges, including a live sound stage located just 100 yards away and an extremely reflective — and somewhat leaky — recording environment.However, the wireless headphones were still able to deliver a clean and quiet performance, faithfully representing the artists’ sounds.

Microphones on stage and in the room included several Neumann TLM 49s and KM 184s, two U 87s and a pair of Sennheiser e 906s. The microphones were connected to a pair of TRUE Systems Precision 8 preamplifiers, which — through a special feature on the back panel of the unit — split the signal and subsequently routed it to both a multi-track recording rig as well as a live mixer.

Each of the Sennheiser wireless headphones received a live stereo mix of the multitrack recording sessions courtesy of Nashville-based engineer Steve Ledet. A Sennheiser A5000CP antenna was strategically placed in the rear of the grotto, providing a generous amount of RF coverage both inside and outside the grotto.

In addition to having many pairs of wireless headphones on hand, Sennheiser set up a special VIP seating area where listeners could audition an assortment of Sennheiser’s audiophile and professional headphones, including the HD 600, HD 650, HD 700, HD 800 and the new Amperior.

“Each of the performers we hosted at the Sennheiser Sound Lounge at the Paste Ruins takes an enormous amount of pride in the craftsmanship and honesty of their songs — this is of paramount importance to them,” says Tim Moore, artist relations manager, Sennheiser. “By selecting a complete signal path of Sennheiser family gear before and after the mixing console, we were able to ensure the integrity of the audio at almost every stage. As a result, the performers were able to establish a more direct and honest connection with their fans.”

Singer/songwriter/guitarist Jonah Tolchin, who performed on the second day of the festival, found the Sennheiser Sound Lounge at the Paste Ruins particularly inspiring. “This is just incredible,” he states. “In this environment, with all these great mics, you are so zoned in and focused with all your heart and soul.”

Clips of the performances will be made available for viewing via Sennheiser’s social media outlets over the next several weeks. 


Posted by Keith Clark on 08/10 at 12:33 PM
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Thursday, August 09, 2012

To Match Or Not To Match? Paying Attention To Impedance

Principles involved in feed a number of inputs from a single signal source

A common task in “audioland” is the need to feed a number of inputs from a single signal source. This may include driving a rack of amplifiers, providing feeds to the press, or distributing a signal around a building or campus.

The methods used to accomplish this range from the profoundly simple to quite complex, and the appropriate method can only be determined after sizing up the situation.

Impedance matching means that an output is terminated with a “mirror” input impedance. This configuration yields maximum power transfer, and more importantly, reduces reflections from a load back to the source.

In multimedia systems, the matched interface is used for very high frequency signals. These include video, antenna and digital interfaces.

One drawback of the matched interface is that active or passive splitters must be used if the source must drive multiple inputs. Otherwise the impedance match is violated and problems result.

One of the most common mistakes in audio is to attempt to apply this interfacing method to the basic analog interfaces that dominate today’s sound reinforcement systems.

In a constant voltage interface, an electronic signal source with a low source impedance (i.e. an output) is used to develop a signal voltage across a high load impedance. The minimum ratio between the source Z and load Z is one order of magnitude (1:10).

This scheme is used universally in the audio industry for passing signals from component to component. One utility of this interface is that it provides the possibility of driving multiple parallel loads from a single source without additional hardware.

The stipulations are as follows:
—The parallel combination of all loads cannot violate the 1:10 minimum impedance ratio.
—The path length (interconnecting cable) must be short when compared to the wavelength of the highest frequency component of the signal.

Figure 1: The relative lengths of an audio waveform, a VHF waveform, and an audio cable. (click to enlarge)

Because the speed of propagation of electricity approaches the speed of light, and audio cables are typically less than a few hundred feet, the second condition is easily met in the bulk of audio applications.

Radio frequency, digital, and video signal wavelengths are much shorter, and the impedance-matched interface must be used in lieu of the constant voltage interface to prevent signal degradation. (Figure 1)

Figure 2 below shows an equivalent circuit of a single source driving multiple loads. Note that even though the load impedances are not the same, this is a parallel circuit so all of the inputs have the same voltage impressed across them.

Signal distribution requires a simple “Y” cable connected from the source to the multiple loads. This is a perfectly acceptable method of distributing the signal from a source to multiple loads.

There is no need for impedance matching if the components involved are typical analog audio products or even digital products if they are being fed an analog signal.

A drawback to Y-cable signal distribution is the lack of isolation between the individual loads and the source. For instance, a short circuit across any of the inputs will kill the signal to all of the inputs.

For this reason (and others), this method is not recommended for driving loads that lie outside of the equipment rack that houses the source. In these cases, load isolation can be achieved by using a distribution amplifier (DA).

Figure 2: An equivalent circuit of a single source driving multiple loads. (click to enlarge)

The DA provides a single high impedance input for the signal from the source, but provides buffered low impedance outputs that can be used to drive the remotely located loads. The load buffering is achieved by using an active stage for each of the DA’s outputs.

A short across any one output is buffered from the other outputs by the active stage (Figure 3). Note that this is not impedance matching since the output-to-input impedance ratio is still at least 1:10.

Figure 3: Isolation between source and loads. (click to enlarge)

It must be strongly emphasized that while the Y-cable makes an excellent signal splitter it should NEVER be used as a mixer. Doing so places the source device under a load, resulting in an increase in output current that can lead to distortion under high signal conditions.

When a mixer is needed - get a mixer.

While the DA solves the isolation issue, we’re not out of the woods yet. Another problem that plagues distribution systems results from multiple ground connections between the various components.

These “shared” ground paths include the AC safety ground, the cable shields, and possibly connections to the building ground through equipment racks, etc.

Noise currents will circulate through these “ground loops” (Mother Nature does this without our permission) and possibly infect the audio signal if this parasitic ground current finds its way onto a circuit board.

Isolation devices can allow the audio signal to be coupled from an output to an input with no physical wire joining the two circuits, eliminating at least one of the ground loops.

Transformer isolation allows the signal to be coupled via induction (Figure 4).

Optical isolation uses pulsed light to couple the signal, but usually requires that the signal be converted to a digital format.

The transformer has an advantage in that the signal can remain in analog form.

Figure 4: An isolation transformer. (click to enlarge)

The irony is that the same mechanism that allows a signal to be coupled between two circuits inductively also allows power supply fields to be coupled into ground loops (Figure 5).

We’re faced with the common engineering task of maximizing the effect when it helps us and minimizing it when it is working against us.

Putting all of these mechanisms to work, an active distribution amplifier with transformer balanced inputs and outputs may be the optimum way of distributing an audio signal to multiple components.

Figure 5: Ground loops and power supply radiation form an unwanted transformer in a sound system. (click to enlarge)

The active stages buffer the inputs from short circuits, and the transformers allow ground loops to be interrupted while allowing the signal to pass, while at the same time providing excellent common-mode rejection.

Many DAs also include level controls for each output, allowing the signal level to be optimized for mic or line level devices.

When distributing an audio signal to multiple inputs, don’t overlook the simplicity of simply using a properly wired Y-cable to accomplish the task. If the signal needs to extend beyond the rack, a good DA will easily justify the investment. 

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

Posted by Keith Clark on 08/09 at 01:11 PM
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Hosa Technology 2nd Generation Elite Series Mic Cables Now Shipping

Available with Neutrik XX-Series connectors plus a new nylon webbing over the cable’s PVC jacket, the Elite Series delivers performance attributes that are every bit on par—if not superior to—more costly boutique cables.

Hosa Technology is pleased to announce that a significant upgrade of the company’s popular Elite Series microphone cables is now shipping.

Available with Neutrik XX-Series connectors plus a new nylon webbing over the cable’s PVC jacket, the Elite Series delivers performance attributes that are every bit on par—if not superior to—more costly boutique cables.

Available in both Lo-Z (XLR3F to XLR3M) and Hi-Z (XLR3F to ¼ inch TS) configurations, the cable used in the Hosa Elite Series is a vitally important contributor to overall audio performance.

These cables use 20 AWG Oxygen-Free Copper (OFC) conductors that reduce resistance in order to facilitate maximum signal transfer.

Polyethylene dielectrics reduce capacitance for crystal-clear high-frequency transmission while conductive PVC reduces handling noise.

Further, a 95% OFC braided shield is employed for noise-free signal transmission. Take all this and complete it with nylon webbing over the cable’s PVC jacket, which is cut- and abrasion-resistant for a lifetime of trouble-free use, and the end result is a cable audio professionals can place their trust in.

A clean, reliable connection to one’s mic preamplifier or console input is of paramount concern for any audio engineer or recording enthusiast, and the Hosa Elite Series microphone cable cuts no corners in this regard.

The Neutrik XX-Series connectors employ gold-plated contacts for corrosion resistance and superior signal transfer and utilize a zinc die-cast housing for rock-solid reliability.

With a polyurethane gland to prevent cable kinking for longer cable life and chuck-type strain relief for maximum cable retention combined with a sleek, ergonomic design for easy handling, these connectors deliver the ideal blend of performance and long-term reliability.

“These second generation Elite Series cables offer exceptional audio performance and have been field tested for maximum reliability,” said Jonathan Pusey, Hosa Technology’s Vice President of Sales and Marketing. “With a rich feature set and a highly competitive price, we are extremely optimistic that this product line will find favor with a wide range of customers.

“The Elite Series has always been an exceptional product and now, with the addition of Neutrik connectors and abrasion-resistant nylon webbing for a lifetime of dynamic, noise-free sound quality, I’m confident these mic cables offer the best possible combination of performance and value.”

The Hosa Elite Series microphone cables are available in lengths from 3 to 100 feet and carry MSRP pricing that ranges from $42.75 – $203.55.

The Elite Series is in stock and available now.

Hosa Technology

Posted by Keith Clark on 08/09 at 09:24 AM
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Our Lady Of Fatima Parish Benefits From Tannoy QFlex Loudspeakers

The installation of a pair of Tannoy QFlex 16 digitally steerable array loudspeakers at Our Lady of Fatima in Seattle, WA has eradicated difficulties parishioners had hearing the Word, while maintaining the parish’s ability to offer historically accurate musical performances.

The installation of a pair of Tannoy QFlex 16 digitally steerable array loudspeakers at Our Lady of Fatima in Seattle, WA has eradicated difficulties parishioners had hearing the Word, while maintaining the parish’s ability to offer historically accurate musical performances.

The existing sound system was installed back in 1968 when the new church was built. Needless to say, it was long overdue for a change.

“It was at least thirty years old,” says music director, Matthew Loucks. “Some speakers weren’t functioning and many had been clustered on one side of the sanctuary. In order to hear speech on the opposite side of the room the system had to be very loud – it was a very lopsided configuration.”

As part of a 2010 audio upgrade, a new pipe organ was purchased, while existing wall-to-wall carpeting covering the 650-seat sanctuary’s was removed replaced with Terrazzo flooring. While that enhanced the sound of the choir and encouraged the congregation to lift up their voices in song, it only exasperated the overall lack of vocal intelligibility during services. The church leadership hired Lynwood, WA-based Morgan Sound to design and install a new sound reinforcement system with the primary goal of speech intelligibility.

“Even when we had carpet, it was impossible to hear articulated speech in the back of the room,” says Stephen Weeks, A/V consultant and project manager for Morgan Sound.

Weeks specified a pair of Tannoy QFlex 26 digitally steerable arrays to dramatically enhance speech intelligibility and subtly reinforce musical performances by resident ensembles and visiting performers like The Vienna Boy’s Choir.

“The QFlex array speakers sound natural, clean and clear; particularly in the articulation of high frequencies,” explains Weeks. “QFlex just does a better job in the 4k to 20k range than their competitors and we could manipulate the beam substantially, so less energy is directed at the front of the room and, as you go further back, it gets louder.”

The compact footprint of the QFlex 16 also appealed to aesthetic concerns the church leadership had voiced to Weeks. Mounted discreetly on either side of the altar behind acoustic cloth on an imposing white rock wall their visual impact was minimal while their sonic impact substantial.

“I have nothing but high praise for them,” Loucks says. “There are only two speakers, but they do the job extremely well. QFlex saved us from the hassle and cost of applying acoustic treatments, and they allowed us to preserve the reverberant environment we wanted for music.

“When you’re reading from scripture, you want the Word to be understood all the times. Now, even when there are only a handful of people at our daily 8 AM mass, speech is highly intelligible.”

Morgan Sound

Posted by Keith Clark on 08/09 at 08:55 AM
Church SoundNewsPollInstallationLoudspeakerSound ReinforcementAudioPermalink

Sennheiser & Full Compass Sponsoring Recording Clinic Led By Leslie Ann Jones Of Skywalker Sound

Grammy Award winning engineer to Illustrate vocal mic techniques and best practices

Sennheiser and Full Compass Systems are co-sponsoring an audio recording clinic on Tuesday, September 11 at the Full Compass facility in Madison, WI, featuring Grammy Award-winning sound engineer Leslie Ann Jones, who will demonstrate vocal recording techniques and cover best practices when recording live vocals in the studio.

Attendees will be provided with a pair of Sennheiser HD 449s, enabling them to monitor both recording and playback.

The event will feature door prizes including a K-array Piccolo audio system, a Neumann TLM 102 microphone and a TRUE Systems P-SOLO microphone preamplifier.

Leslie Ann Jones, who is director of music recording and scoring with Skywalker Sound, has been a recording and mixing engineer for over 30 years.

She began her career at ABC Recording Studios in Los Angeles in 1975 before moving to Northern California in 1978 to accept a staff position at the legendary Automatt Recording Studios. There she worked with such artists as Herbie Hancock, Bobby McFerrin, Holly Near, Angela Bofill, and Narada Michael Walden, and started her film score mixing career with “Apocalypse Now.”

From 1987 to 1997, Jones was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood, where she recorded projects with Rosemary Clooney, Michael Feinstein, Michelle Shocked, BeBe & CeCe Winans, and Marcus Miller, as well as the scores for several feature films and television shows.

In 2003, Jones was nominated for a Grammy Award for Best Engineered Recording, Classical, and received a Grammy Award for The Kronos Quartet’s recording of Berg: Lyric Suite, which won Best Chamber Music Album. This year, she won a Grammy Award for Best Engineered Album, Classical for Quincy Porter: Complete Viola Works by Eliesha Nelson & John McLaughlin Williams.

Go here for more information on this event. Seating is limited.

Full Compass Systems

Posted by Keith Clark on 08/09 at 06:51 AM
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Audio-Technica U.S. Appoints Javier Tiburcio As Support Specialist For Mexico, Central America

Will be responsible for providing product training and sales support to A-T distributors and customers

Audio-Technica U.S. has appointed Javier Tiburcio as training & sales support specialist for the territories of Mexico and Central America.

He will be responsible for providing product training and sales support to A-T distributors and customers in Mexico, Central America and South America, as he works as part of the team to grow the brand and increase sales within these regions. The announcement was made by Philip Cajka, Audio-Technica U.S. president and CEO.

Tiburcio has broad experience in microphone sales and training. A native of Acapulco, he has lived and worked his entire career in Mexico, and will continue to be based there. 

His previous positions at Hermes Music and Grupo Imis have included sales and marketing responsibilities for the A-T brand in Mexico.

An experienced musician and audio engineer, Tiburcio studied music at the School of SUTUM, and digital audio and audio for broadcasting at CECAT, gaining expertise in microphone placement for live sound and recording.

He has visited music industry dealers throughout Mexico and conducted clinics and training seminars at a variety of music expos with musicians like Moderatto Drummer Elohim Corona.

“Javier is a tremendous asset for us to expand our sales and training strategies in Mexico, Central America and South America,” said Cajka. “He comes to Audio-Technica with a wealth of experience, and we look forward to all of the great things we can accomplish together.”


Posted by Keith Clark on 08/09 at 06:17 AM
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Furman Now Shipping Contractor Series CN-15MP MiniPort

Extends SmartSequencing technology to components outside the equipment rack

Furman is now shipping its Contractor Series CN-15MP (15A capacity) MiniPort.

Designed for components outside the equipment rack, it combines Furman’s SmartSequencing technology with power protection and optional compatibility with Panamax/Furman’s BlueBOLT hosted remote power and energy management platform.

The CN-15MP features one pair of AC outlets with configurable delay on/off options, while Extreme Voltage Shutdown circuitry protects connected equipment against under/overvoltage conditions.

When connected to a Furman SmartSequencer (CN-1800S or CN-2400S), the CN-15MP’s SmartSequencing technology allows bidirectional, safe sequenced power on/off of remotely located equipment with the simple press of a button or turn of a key.

Remote control/monitoring is available via Panamax/Furman’s BlueBOLT cloud-based platform or third-party control systems when utilizing a BB-RS232 adaptor with the SmartSequencer.

The CN-15MP can also be integrated with legacy (non-Contractor Series) and non-Furman power conditioners/sequencers via remote terminal blocks.

“Packed with features for the ultimate in flexibility, the CN-15MP provides a convenient way to extend the benefits of our SmartSequencing technology to remotely located equipment,” says Dave Keller, senior vice president of sales and marketing for Panamax/Furman. “When combined with our SmartSequencers, installers can also take advantage of our cloud-based BlueBOLT platform for remote outlet control, energy monitoring, email alerts during power events, and more.”

The CN-15MP is available now to Certified Furman Contractor Series resellers. More information is available at


Posted by Keith Clark on 08/09 at 06:09 AM
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Cross Pointe Ministries Selects WorxAudio Technologies

To ensure a high level of speech and music reproduction capabilities throughout the seating areas, the church installed a new sound system consisting of WorxAudio X1i-P line array and TL218SS-P subwoofers.

The Cross Pointe Ministries campus recently celebrated the opening of their new building that provides seating capacity for over one thousand worshippers.

To ensure a high level of speech and music reproduction capabilities throughout the seating areas, the church installed a new sound system consisting of TrueLine components from WorxAudio Technologies.

Terry Hayes, owner of Tupelo, MS-based Pro Concert Music, Inc., was contracted to design and deploy the church’s new sound reinforcement system.

After discussions with church management to ascertain their goals for the system, Hayes deployed a central cluster consisting of six WorxAudio Technologies X1i-P powered line array elements augmented by two WorxAudio TL218SS-P powered subwoofers—one on each side of the stage area.

“In addition to consistent sound coverage, we were very concerned about the visual aesthetics of the space and, on that note, wanted to minimize line of sight issues,” explained Hayes. “For this reason, we elected to install a central loudspeaker cluster.

“These speakers needed to have broad horizontal dispersion and this was a key factor in our selection of the WorxAudio X1i-P. With a dispersion pattern of 160 degrees horizontal by 10 degrees vertical, we determined that a 6-element hang would properly fill the space.”

“I provided the WorxAudio Technologies support staff with the measurements of the room and emphasized the need to ensure coverage across the sanctuary’s 120-foot width,” Hayes continued. “After WorxAudio modeled the space in EASE Focus 2, I proceeded to install the system based upon their recommendations.

“I emphasized the fact that this building is metal construction with a concrete floor, as I was very concerned about echoes. WorxAudio’s TrueAim Grid made the process of installing the loudspeakers a remarkably easy task.

“The bottom of the cluster is positioned 21 feet above the congregation floor and, thanks to the precise throw of the loudspeaker enclosures, echo was held to a minimum. With the congregation in the church, there was no need for acoustical treatment!”

In addition to the six forward facing loudspeakers, there is an additional X1i-P mounted on the rear of the TrueAim Grid. This loudspeaker is positioned down toward the stage and serves as an on-stage monitoring system. It is completely hidden from the congregation’s view.

“The two WorxAudio TL218SS-P subwoofers do a terrific job of providing the low end punch for the system,” Hayes added. “With two 18-inch transducers in each enclosure, there’s plenty of low frequency sound from this system.

“Music plays a prominent role in worship services here, so these subs are a vital part of the overall sound. The fact that the entire system is self-powered was yet another factor that figured prominently in my selection of the WorxAudio equipment, as it minimized noise and power loss from long cable runs and the amps with DSP are part of each enclosure’s design.

“As a result, there was no need to find a space to house a rack of heavy power amps.”

Being a member of Cross Pointe Ministries, Hayes knew that any shortcoming of the sound system would haunt him on a weekly basis. He knew he could count on WorxAudio’s customer support services to help him design and deploy the right system.

“WorxAudio’s support was terrific,” Hayes reports. “They did a great job of modeling the room and had my back every step of the way—all without incurring any additional expense. Speech intelligibility is terrific and the sound remains consistent throughout the entire space. The client is thrilled and I’ve had several other churches come by to listen and observe the new system. I can say with confidence, they’re the best speakers I’ve ever heard!”

WorxAudio Technologies

Posted by Keith Clark on 08/09 at 06:02 AM
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CPL Takes Delivery Of Its First Yamaha CL5 Digital Console

Also have sights set Yamaha’s new CL1 and CL3 variations

West Midlands, UK-based AV specialist Central Presentations Ltd. (CPL) is one of the first UK rental companies to take delivery of the Yamaha CL5 digital mixing console, introduced earlier this year.

CPL already has a large stock of Yamaha LS9 and other desks. One reason the CL5 was chosen is that it runs on the same operating principals as these, so all their engineers who are used to working with Yamaha digital consoles will be able to use the CL5 immediately, and quickly familiarize themselves with its many features.

The CL5 system was supplied to CPL by the Birmingham office of LMC Audio Systems.

“The compact size and weight for 72 channels is a ‘no brainer’,” explains CPL managing director Matthew Boyse, who adds that it is “perfect“ for so many of the corporate events and presentations that CPL services. “It is a truly multi-purpose console that will fit neatly into any space and transport very easily.”

The CL Series is the first Yamaha console family to run natively using the Dante digital audio network protocol, with connections between Dante elements via Cat5e cable further reducing overall weight and truck space requirements.

Other Dante devices can be connected to the network keeping the domain completely digital, and in this context, CPL’s CL5 was supplied with two Yamaha RIO-3224-D stage racks giving 64 inputs and 32 outputs which connect via Cat5e in a simple daisy-chain or redundant star-network. Up to eight RIO stage-boxes can operate on the same network, including the smaller RIO1608-D, providing excellent expansion and audio distribution potential.

James Lawford, sales manager at LMC Audio Systems, states, “The availability of the RIO-1608-D stage box, and the move towards Dante by other third party manufacturers, will allow CPL to harness the power of a fully integrated digital audio network, working across standard Cat5e cabling and Ethernet switches, future-proofed with the move towards AVB, and with the reliability, ease of use and wide industry acceptance of a Yamaha console.”

The CL Series also includes a Premium Rack with a Rupert Neve Designs five band Portico 5033 equalizer and a Portico 5043 compressor/limiter. Up to eight Premium Rack devices can be assigned, including VCM technology emulations of other classic analog devices.

Via Dante, the console is also optimized for very straightforward live multitrack recording, utilizing Steinberg Nuendo Live that is supplied with the system and runs on Mac or PC, or any other digital audio workstation.

Nigel Griffiths of CPL notes, “You can set the system up to minimize the need to run analog multicores and the multitrack record and playback facility, without needing additional sound cards or having to stray back into an analog domain, is brilliant. I can’t wait to get my hands on it.”

CPL is already anticipating hot demand for the console and it becoming a valuable cross rental item. CPL has arranged with LMC to provide training days for both its full-time and regular free-lance engineers and technicians, enabling them to maximize their experience with the console.

In addition to further CL5 purchases, Boyse also has his sights set on Yamaha’s new CL1 and CL3 variations, which will become available late summer, the idea being that the company will stock the full CL range.

Central Presentations Ltd. (CPL)

Posted by Keith Clark on 08/09 at 05:51 AM
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