Monday, March 30, 2015
Community Professional Names Pro Tech Marketing As Sales Rep In Several Western U.S. States
Now representing company's products in Colorado, Wyoming, Utah, New Mexico, and Arizona
Community Professional has named Pro Tech Marketing as its manufacturers representative firm in Colorado, Wyoming, Utah, New Mexico and Arizona.
Established in 1985, Pro Tech Marketing offers product and system design training, product demonstrations and sales support. and has warehouse facilities in both Louisville (Denver area) and Tempe, Arizona.
Pro Tech attributed its success in the AV industry in large part to an emphasis on building lasting relationships and its tradition of on-site product demos and training.
“Community is a well-respected company with a great product line and an excellent technical support staff,” states Dean Hinton, president of Pro Tech Marketing. “They’ll be an important part of our image as a ‘Systems Solutions Provider.’ I’m looking forward to working with Community to grow their sales in our territory.”
Community director of North American sales Steve Young adds, “Pro Tech Marketing’s personnel in the Rocky Mountain and Arizona region are extremely passionate and dedicated to excellence. We’re very pleased to have them represent Community.”
Pro Tech Marketing
Danley Sound Labs Appoints Three International Distributors
Intended to provide needed infrastructure to speed delivery, service, and support to international customers
Danley Sound Labs announces the appointment of three “master” distributors, including Danley Europe, headed by Marko Lönngren in Finland, Danley Asia, headed by Nicholas Loe in Singapore, and Danley Australia, headed by Steve Anderson in New South Wales.
The master distributors are intended to provide the company with the needed infrastructure to speed delivery, service, and support to its international customers.
“In order to better serve our customers outside of the Americas, we have set up full sales, service, and support centers in the form of master distributors,” explained Jonathan “JP” Parker, Danley director of sales. “While customers can always contact us directly here in the States, the master distributors will be able to respond more nimbly to their requests.
“The three locations that we have established so far – Europe, Southeast Asia, and Australia – serve as an excellent basis, and I’ll be at Musikmesse looking to sign up other complementary international distributors.”
The locations of the master distributors are advantageous. “Singapore is the perfect hub for supporting our dealer and distributor network in Southeast Asia,” says Loe. “Our network of distributors and their customers appreciate having easy access to us as a resource!”
“The Danley advantages are numerous and include superior sound quality, extremely efficient output for the cost, and easy installation and rigging,” said Teemu Räty, partner with Danley Europe. “These days, fans are more sophisticated; they know the difference between good live sound and bad live sound. Most of the other loudspeaker manufacturers are responding with ever-more complicated products that essentially heap technological band-aids on top of technological band-aids. In contrast, Danley’s solutions are simple and actually address the acoustical challenges with excellent phase coherence, coupling, and pattern control.”
Danley Australia recently completed a five-city tour (Perth, Adelaide, Sydney, Melbourne and Brisbane) that introduced the Danley line to contractors, consultants, and end-users. “We were very satisfied with the results of the tour,” says Anderson. “It has already stimulated projects and interest from dealers and consultants.”
Danley will be at the upcoming 2015 Prolight & Sound in Frankfurt (at Hall 8.0 M90) and encourages other additional international distributors to come by to discuss potential opportunities.
Danley Sound Labs
Friday, March 27, 2015
Spider Ranch Deploys VUE Audiotechnik Arrays For Clint Eastwood Event At AT&T Pebble Beach
Audio design included three al-4 compact line arrays on delay in support of the main system in challenging room
The annual AT&T Pebble Beach National Pro-Am, played at Pebble Beach Golf Links, Spyglass Hill Golf Course and the Monterey Peninsula Country Club Shore Course, features an all-star lineup of both pros and celebrities. Run almost entirely by volunteers, the golf tournament is one of the Monterey Peninsula’s largest fundraisers, doling out six million dollars to local non-profits and other youth-oriented charities each year.
Clint Eastwood heads up a prestigious evening party honoring the volunteers, with Spider Ranch Productions (San Francisco) chosen once again to provide full technical production at the Monterey Conference Center in the 19,600-square-foot Serra Ballroom. The lineup of artists at the event included Jake Owen, Kenny G, Ray Romano, Clay Walker, Joe Don Rooney, Gary Mule Deer, Michael Bolton, Colt Ford, Larry the Cable Guy, Huey Lewis, Charles Kelly, Bill Hopkins Band, and of course, Eastwood as the main host.
The audio design included three VUE Audiotechnik al-4 compact line arrays on delay in support of the main system. The al-4 arrays are powered by proprietary V4 systems engines with built in DSP and networking capabilities. SystemVUE software allows remote control of independent elements, or a system as a whole.
The biggest challenge that faced the audio production was dealing with the low 15-foot ceiling without obscuring sightlines and still provide perfect coverage and sound quality for the delays. “We used the al-4s here last year and they were a dramatic improvement in several ways over loudspeakers we have used in past years,” states Spider Ranch owner Alex Moran. “Due to the venue’s small ceiling heights the VUE al-4 line array was the ideal choice for this delay application. The line array’s small footprint solved the sightline dilemma.
“Additionally,” he continues, “the low ceiling height made traditional rigging options unavailable, so the delay loudspeakers needed to be dead hung. This was not a problem with the al-4s since they are so lightweight a single technician took the entire array up in a scissor lift and easily hung it. Solving these problems and having a quality loudspeaker system that exhibits excellent definition and clarity makes the al-4 a perfect fit for this kind of job.”
This year Spider Ranch added the recently released al-4-sb flyable isobaric subwoofer to each delay hang. The compact al-4-sb has two long-excursion 15-inch transducers with neodymium magnets and 4-inch voice coils placed front-to-front in an isobaric configuration.
“We used the al-4-sb as a low frequency component companion to the al-4s,” Moran explains. “This brought out the true nature of the music being performed on stage a 110 feet away to the people at the rear of the hall. At this event everyone is important and the sound quality everywhere is paramount. I’m very pleased with the addition of these compact isobaric cabinets.”
Spider Ranch Productions
Adamson Systems Names Anew Communications Technology As Southwestern U.S. Sales Rep
Firm headquartered in Colorado with a sales force covering nine Western states and offices located throughout the region
Adamson Systems has appointed Anew Communications Technology (Anew C.T.) as its sales representative firm for the Southwest region of the U.S. The announcement was made by Mick Whelan, Adamson director of U.S. operations.
“We are thrilled to have Anew C.T. join the Adamson team,” states Whelan. “They have developed incredible relationships in the industry and have built a terrific reputation for knowledgeable service and support with integrators and consultants. I am confident they will be a positive addition to our sales network as Adamson continues to grow.”
Anew C.T. is an independent sales representative firm headquartered in Colorado with a sales force covering nine Western states and offices located in strategic metropolitan markets throughout the region.
“Adamson is an amazing company with products and technology that sound fantastic and is a great fit for our organization,” says Anew C.T. president Nelson Brugh. “We are extremely excited about this opportunity and plan on making Adamson a household name in our region.”
Allen & Heath Releases v1.7 ArcLight Firmware For Qu Series Mixers
Upgrade allows up to two iPads running Qu-Pad to be connected to a Qu mixer at the same time, and more
Allen & Heath has released a major firmware upgrade for its Qu series of compact digital mixers, paired with key enhancements to the Qu-Pad and Qu-You apps.
New v1.7 ArcLight firmware now allows up to two iPads running Qu-Pad to be connected to a Qu mixer at the same time.
New features in Qu-Pad include saving and recall of processing and FX libraries, a third custom layer for easy access to any combination of inputs, mixes, DCAs, Mute Groups or SoftKeys, full control over key FX parameters, the ability to store and recall scenes, plus access to the mixer SoftKeys.
Master PEQ, GEQ and compressor settings have been added to the Qu-You personal monitoring app, allowing performers further control over their own mixes.
v1.7 ArcLight also makes a channel ducker available on all channels, inputs and stereo groups, adding to Qu’s functionality in applications such as conferencing, education and AV rental. Qu users with AudioRacks connected over dSnake can now source their input channels from any remote socket, allowing remapping of inputs and digital split to multiple channels.
This firmware release also introduces support for the latest addition to the Qu family, the compact Qu-Pac faderless mixer. A new, fully customizable Qu-Control screen can be set up in Qu-Pac with “widgets” for channel levels, mutes and assignment switches, arranged to suit the application and the experience of the user.
Allen & Heath senior product manager Nicola Beretta states, “v1.7 really deepens the way the iPad integrates with the Qu ecosystem. Pretty much anything that you can control with the mixer can now be controlled from an iPad, and the SoftKeys and extra custom layer help you to build an interface that works perfectly for you and the work you’re doing. We’ve also taken the opportunity to add a few features like the Ducker and flexible dSnake input patching which were at the top of our users’ hit lists.”
The firmware is available for free download here.
Allen & Heath
Soundcraft Vi Consoles From SSE Hire Support Latest UK Tour By John Newman
Engineer Aaron Buck utilizes Vi1 and Vi6 consoles for monitors, as well as a Soundcraft stagebox
Sound engineer Aaron Buck utilized Harman’s Soundcraft Vi1 and Vi6 consoles at the monitor position, coupled with a Soundcraft Stagebox, for the recent UK tour by recording artist John Newman. The consoles were provided by leading UK touring company SSE Hire.
Heavily involved in the production and mixing of his own sound, Newman has strict requirements for what he hears in his in-ear monitors (IEMs), a challenge that Buck met with help from the Vi consoles.
“I like the sound quality of the Vi desks and the onboard reverbs,” he says. “Before we used them, it took us quite a while to settle John into a vocal reverb that he was comfortable with for his IEMs. After switching to Soundcraft with the onboard Lexicon effects engines, it became a matter of minutes to get it down. We haven’t felt the need to tweak the reverbs for almost 100 shows.”
The Soundcraft Snapshot system allows the operator to store records of the console’s settings, which in turn, can be recalled during a performance. For Buck, Snapshots are now an integral part of each show, as both Newman and his band have become reliant on them.
“At first John was wary about the concept of taking Snapshots per song for his IEM mix, because the band members all required changes for each song,” Buck notes. “I decided not to recall John’s individual sends and reverbs, and mix them on-the-fly every night, while still having the band and tech mixes stored and recalled for every song. This gave John peace of mind, while giving the band and techs what they needed as well.”
“Thanks to tech support from Pete Russell and Chris Courtney at SSE, I was able to get a look at these consoles and learn a lot of new software features I have not previously seen before on the Vi6.”
Thursday, March 26, 2015
Royal Theatre & McPherson Playhouse In British Columbia Invest In DiGiCo
Dual venues swap in range of DiGiCo models to replace aging inventory and upgrade capabilities
Both the Royal Theatre and McPherson Playhouse in Victoria, British Columbia, Canada, have upgraded to a range of DiGiCo consoles.
“In 2002, we decided that we were going to have some of the most technologically equipped theatres in Canada,” states Warren Busby, head of audio and assistant technical director for both venues. “We undertook a multi-million dollar renovation of the 1,416-seat Royal Theatre.and with that, purchased new technical equipment. We continued to be state-of-the-art for many years and then, in 2012, we decided it was time to replace the existing console.”
This started Busby’s console search. He had already seen the SD8 and SD10 a few years prior, but wanted a console that offered multiple screens, ahd he wasn’t going to use his entire budget.
“As we host a large number of operators, having multiple screens to work on while they are busy mixing was rather important to me,” he explains. “I demoed a number of different manufacturers’ consoles, and when it comes down to spending this kind of money, any of them would have worked and sounded ok. However, after speaking to people that own (and service) them, I began to lean away from most of them due to parts and servicing issues not to mention lack of software updates.”
When DiGiCo launched the SD5, Busby had his solution, acquired via Gerr Audio, DiGiCo’s Canadian distributor, with support from Shawn Heines.
“Shawn and Gerr president Bob Snelgrove knew this and invited me to be their guest at a small trade show Gerr was hosting in Toronto, where the SD5 was going to make its Canadian debut,” he continues. “DiGiCo’s Tim Shaxson was kind enough to join us from the UK and spent time with me one-on-one explaining the features of the console. He also provided information on the DiGiCo console ‘trade up’ program that was being offered with the SD5 by Gerr. It turned out that we would be the first to have an SD5 in Canada.
After Busby returned from Toronto, the theatre’s technical director Blair Morris and he decided it made sense to take advantage of the trade in incentive. He started working with a couple of local dealers to finalize price quotes, with the final bid awarded to long time Vancouver Island audio production and supply company Pacific Audio Works (PAW).
“Rob Mayor from PAW was able to work with Gerr Audio and fit not only the SD5 into our budget, but also an SD10 to replace our aging analog monitor console,” says Busby. “The final system consists of the SD5 and an SD-Mini Rack at FOH, an SD-Rack stage right and a D-Rack with optical stage left. All pieces are on an optical loop with patch points for the SD10 monitor console either stage left or right. The two consoles gain share the SD-Rack.
“After all this planning for the Royal Theatre, and to stick with our mandate of providing cutting edge technology, we decided to purchase an SD9 for the smaller 772-seat McPherson Playhouse,” he continues. “We decided it was important to have continuity of equipment between our two theatres as there are multiple operators and the SD9 Rack Pack was too good of a deal to pass up on.”
The Royal hosts everything from high school graduations, to symphony, opera, and rock and roll and the only shows the console is not used for are the touring acts that bring their own. “But, if they don’t have a DiGiCo themselves, they are always curious to check it out when I turn it on,” Busby notes. “I have hosted many front of house engineers that started the day not liking the fact they had to use my console. After a quick lesson and a soundcheck they tell me they can’t believe how good it sounds and how easy it is to get around. They always seem to leave with their show file and a smile on their face. The SD10 is only deployed when we have an act that requires multiple monitor mixes and is a breeze to set up – just two optical cables and one AC line.”
The McPherson Playhouse is more community oriented, with a large number of amateur theatre and dance performances. It also hosts a number of musical acts from Elvis impersonators to Bryan Adams acoustic shows, most of which take advantage of in-house production.
“I personally love the SD9 and only wish it had a couple of small features I’ve become accustomed to on the SD5,” he concludes. “I mix a large number of theatre shows on it with up to 30 wireless mics and enjoy the ease of use and flexibility of the snapshots section of the console.
D.A.S. Audio Helps Keep The Energy High At BattleFrog Obstacle Race In Miami
Event and Action Series loudspeakers deployed at two sites for the event founded by former U.S. Navy SEALs
Founded by former U.S. Navy SEALs, the BattleFrog Obstacle Race Series is an intense obstacle course race for all ages inspired by the challenges Navy SEALs face every day in training, with a recent series in Miami utilizing a new sound reinforcement system headed by D.A.S. Audio loudspeakers.
BattleFrog transforms every race venue into a demanding obstacle course, with the Miami area participants taking up the challenge on the BattleFrog 15K, BullFrog 5K, BullFrog Mile, and TadPole Dash 400M courses.
Edwin “Haviken Hayes” Guerra is the production coordinator for BattleFrog Series, Miami and director of operations for Kenote Entertainment of Hollywood, FL. He worked alongside festival directors Alex Cruz and Frank Mendez in serving as the DJ/MC for the Miami main stage area, in addition to being responsible for coordinating all production aspects of those areas requiring amplified sound.
Specifically, D.A.S. Audio Event and Action Series loudspeakers were deployed at two sites for the event. “On the main stage, our current configuration uses two stacks of five Event 208A line array cabinets over two Event 218A subwoofers running through a DSP-2040A multi-channel digital signal processor,” Guerra says. “We also use two Event M210A dual 10-inch stage monitors, which I (as the DJ) and other people scheduled to speak use during the event.
“And at the start line, we use two Avant 215A loudspeakers and two Action 118A subwoofers plus two Action M12A stage monitors for our start line MC/Coach Pain Dewayne.”
Guerra emphasized the systems’ speech intelligibility, dispersion, and power. “My voice has never sounded better,” he says. “You can see the audience react immediately when I make announcements about their heat’s start time. And the sound projects evenly across the entire area. The entire festival area was covered—without ever sounding harsh or fatigued.
“I’ve also been impressed with the equipment’s ease of use. This enables me to easily manage the rig even when skilled labor is limited or unavailable. The rigging is user friendly and flexible. With 18 races this year, we needed something that can handle the road while also having a low power draw. The Event series was the solution.”
The new D.A.S. Audio loudspeakers are proving to be the right fit for the rigors of the BattleFrog Series, representing a significant upgrade from the previous system. Guerra reports. “We’ve received numerous compliments from both event attendees and BattleFrog employees. Our D.A.S. loudspeakers really ignited our festival area, which is such an important part of the customer’s overall experience. Not everyone knows good sound, but they certainly know when it’s bad—and with our D.A.S. equipment, those issues are a thing of the past.”
BattleFrog Obstacle Race Series
Wednesday, March 25, 2015
Cultural Palace Theater In China Equipped With Renkus-Heinz
Left-center-right configuration of ST-Series loudspeakers provides consistent coverage across the entire audience
The new Wuxi Cultural Palace Theater in the ancient city of Wuxi, China, includes a 573-seat multi-use performance venue equipped with a Renkus-Heinz point source loudspeakers
The system for the theatre, designed by Zhejiang Institute of Urban Investment and Development Co., is based around Renkus-Heinz ST-Series Complex Conic systems. The left-center-right configuration includes a pair of STX7/64 dual three-way 12-inch loudspeakers in the center, flanked by three STX7/94 boxes on left and right.
Supplemental fill duties are handled by 12 TRX61 2-way systems, with low-frequency reinforcement covered by a pair of DRS18-2B direct radiating subwoofers, ground stacked on either side of the stage.
Performers onstage have a versatile monitoring system, including six TRX121 12-inch 2-way systems and four TRX151 15-inch 2 way loudspeakers. QSC amplification powers the system, with a Yamaha PM5D 48-channel digital console at front of house and a 40-channel Midas Verona analog desk for monitors.
“The theater is used for a wide variety of programs, from opera and ballet to musicals, symphony, and other performances,” explains a spokesperson for CAH Professional Sound, the company providing the equipment for the project. “Versatility was a critical consideration in the audio system design, and the Renkus-Heinz loudspeakers deliver high performance, high reliability, and excellent pattern control.
“Utilizing a left-center-right configuration of ST-Series loudspeakers, it was possible to provide consistent coverage across the entire audience. The compact TR-Series cabinets covered a handful of shaded areas in front and upstairs on the balcony level.”
The New Wuxi Cultural Palace Theater opened its doors in 2014, and has since enjoyed a regular schedule of performances and events. CAH’s spokesperson reports the venue has received praise for its excellent sound from attendees and performers alike: “The Renkus-Heinz system has performed well beyond even the most optimistic expectations. The sound in the theater is clear and articulate, with excellent fidelity to every seat in the house.”
Tuesday, March 24, 2015
Ashly Audio Brings Top Performance To High-End Car Dealerships
Multi-zone systems all utilize Ashly Audio processing, amplification, and user control
The Dilawri Auto Group, Canada’s largest automotive group, recently opened several new dealerships in the Vancouver and Lower mainland areas of British Columbia, all equipped with top-quality sound systems utilizing Ashly Audio processing, amplification, and user control.
The A/V integration wing of Vancouver-based firm Commercial Electronics has been involved in these projects from the planning stages and has now completed installations at new Porsche, Mercedes-Benz, Audi, Infiniti, and Aston Martin locations.
“Good sound is important anywhere, but it’s especially important at a car dealership,” said Terry Neudorf, pro division manager at Commercial Electronics. “Poor quality sound is distracting and annoying, and although potential customers many not be consciously aware of poor quality sound, it tends to make them edgy, irritated, and motivated to leave. Naturally, that’s a terrible dynamic to set in motion at a car dealership.
“The Dilawri Group fully realizes this and places proper emphasis on getting the sound systems at their dealerships right. They want to show respect for the client the moment they walk into the showroom, and pleasing, high-quality A/V is a critical component of that respect.”
With a philosophy that emphasizes precise control, Neudorf designs the dealership sound systems with four or five zones in the showroom alone. Additional zones cover staff rooms, technician rooms, training rooms, boardrooms, fitting rooms, service bay drive-through areas, and also the car servicing bays themselves.
Inputs include a standard background music server source, as well as audio feeds from video switcher/scalers or AirMedia systems. Ashly Audio NE Series multi-channel network amplifiers with onboard Protea DSP are Neudorf’s choice in these applications. When pre-amplification output routing or matrixing is needed, the Ashly Pema series of multi-channel network Protea-equipped media amplifiers fits the bill.
“Protea control software is very flexible and powerful and enables our installer to accurately route, tune, and calibrate the audio system,” Neudorf says. “In addition to ensuring consistent content volumes, we also provide the system with complete output protection via compression/limiting because sometimes the after-hours cleaning staff likes to crank it up and sometimes the systems stand in for the ‘event system’ at parties or other showroom happenings.
“The ability to pre-program different scenarios into the system is fantastic, and that kind of functionality is novel and impressive at a car dealership. It speaks to the high value of the system.”
Users select those presets, change input sources, and adjust volume from Ashly WR-5 hard-wired remote controls or wirelessly via the new Ashly Remote App for the Apple iPad. The WR-5s are individually identified on the Protea system, allowing Commercial Electronics installers to program each unit for area-specific control. They reside in sales managers’ offices for showroom control, in boardrooms for multimedia control, in service bays to allows the vehicle technicians to control their shop environment, and so on.
“Ashly controls are simple for the clients to use,” Neudorf explains. “Access to functions on the control panels is direct and intuitive, which cannot be said for all controllers.”
He continues, “Our goal as an integration company is to provide the client with the highest level of quality, flexibility, and control. We strive to install systems that are as future-proof as possible. We like to think ahead and anticipate ‘what if’ scenarios. Ashly allows us to do that. The DSP toolbox inside Ashly’s Protea software gives us options. The ability to simply add a controller if we need to and the ability to make system changes for the client while sitting in our office across town – all of this aligns with our goal of providing service to our clients in a way that pleases them and that is profitable to us.”
SSL Live Consoles Play Key Role At Les Victoires de la Musique In Paris
Four SSL Live. L500 consoles at both front of house and monitors for show honoring top recording artists in France
Les Victoires de la Musique, which recognizes the top recording artists in France with a live show at the 5,000-seat Le Zénith arena in Paris, this year featured live performances David Guetta, Brigitte, Jean Louis Aubert and Christine and the Queens, among others, with the audio crew utilizing Solid State Logic (SSL) Live consoles.
Specifically, both the live performances (accompanied by a live orchestra) and broadcast were supported by four SSL Live. L500 consoles at both front of house and monitors.
Supplied for the event by Parisian rental firm Silence, the L500’s layout, with its intuitive touch screen and hardware controls, were a great fit for the ceremony’s two front-of-house engineers. The production was technically sophisticated, with 10 SSL stageboxes on stage.
Fabien Chanier, who handled the house mix for the performers, and Stephane Pelletier, who mixed the orchestra, deftly managed the heavy workload of this complex live event. Chanier and Pelletier also faced the sonically challenging placement and use of movable screens, which were shifted around the stage throughout the show, obscuring different loudspeakers at varying times.
Two more L500s were stationed at the monitor position, where Alex Maggi mixed band monitors while Jerome Kalfon focused on the orchestra monitors. Gilles Hugo, director of Silence, the Paris-based AV company that provided sound services for the show, served as the ceremony’s director of sound.
Silence also recently used an L500 for the NRJ Music Awards, presented by NRJ Radio and broadcast on TF1 TV.
Solid State Logic
Extron Now Shipping Six Input, Four Output Audio Expansion Processor With AEC & Dante
Places six mic/line sources onto a Dante audio network, and routes any four Dante channels from the network to an amp or other destination
Extron Electronics has announced the new AXP 64 C AT, an audio expansion processor with six mic/line inputs and four line outputs for remote connectivity to a Dante-enabled DMP 128 audio system.
The AXP 64 C AT is used to place six mic/line sources onto a Dante audio network, and route any four Dante channels from the network to an amplifier or other destination.
It incorporates Extron ProDSP with gain, filtering, and dynamics processing for all inputs and outputs. Four of the inputs also include AEC, 48 volt phantom power, and dedicated control ports for mic control. FlexInputs offer the additional capability to process Dante channels in place of the first four local inputs.
A single Ethernet cable from one AXP 64 C AT, or several linked units, to a central equipment rack greatly reduces the effort and expense of pulling one cable for each endpoint.
“Integrators need a way to eliminate the effort and expense associated with pulling multiple cables to the digital signal processor in the equipment rack from the microphones and audio amplifiers in the meeting space,” says Casey Hall, vice president of sales and marketing for Extron. “The AXP 64 C AT routes signals from the meeting room to one or more DMP 128 AT digital matrix processors on the Dante network but also receives and processes signals back to the room from the network all using a simple Ethernet link.”
The AXP 64 C AT includes four independent channels of AEC with advanced algorithms for fast convergence and optimal intelligibility in conferencing applications. The AEC-enabled inputs also offer FlexInput capability to route a Dante channel through the processor in place of a local mic/line input. The flexible input selection enables the AXP 64 C AT to process audio from remote wireless microphones, wallplates, and other sources from anywhere on the Dante network.
In an installation with a large number of mics, the AXP 64 C AT audio expansion processor places audio signals onto the Dante audio network using standard IP networking. Signals are received as expansion inputs at one or more DMP 128 AT processors.
A sound system designer can incorporate several AXP 64 C AT or Extron AXP 50 C AT audio expansion processors to create a large mixing matrix with up to 56 remote inputs and 24 outputs per DMP 128 AT using the built-in four-port Gigabit switch. This simplifies scalability and the audio cabling infrastructure by avoiding long analog mic cable runs.
To further simplify the audio cabling infrastructure, the AXP 64 C AT converts four channels from the Dante network to line level audio signals, processes them, and routes the optimized audio to local sound reinforcement systems.
Eighteen Sound Expands Worldwide Sales Presence
Appointment of Davwinder Sheena as director of sales, Middle East, Asia and Pacific Rim, and Jeffrey Cox as director of sales, North America
Italian loudspeaker manufacturer Eighteen Sound has announced the appointment of Davwinder Sheena as director of sales, Middle East, Asia and Pacific Rim, and Jeffrey Cox as director of sales, North America.
Based in Singapore, Sheena has guided sales leadership in various market quadrants in the Asian region for a number of name pro audio brands from the U.S. and Europe.
“We’re excited to develop this important region of the world utilizing the extensive experience and relationships that Davwinder brings,” states Giacomo Previ, Eighteen Sound director of global sales. “His fluency in so many Asian languages and his comfortable demeanor, make him the ideal teammate and representative of Eighteen Sound in the region.”
“Eighteen Sound has become a serious player over the last decade and the quality Italian design and engineering that the team has come out with over the years is really a step ahead of its class,” adds Sheena. “I am looking forward on reinforcing both their distribution and manufacturing efforts in the territory.”
Cox, who has been handling marketing and business development duties for the company, further expands his role by bolstering sales efforts and availability in North America. His goal is to more broadly develop Eighteen Sound’s client and market relationships in North America while continuing to strengthen the brand worldwide.
“We have worked with Jeffrey for the past 16 months, and it has become very clear that we need to continue to grow our presence in the United States,” says Previ. “We have been preparing the organization to further development in the States, and I am confident our foothold on the North American market will grow exponentially in his hands.”
Cox concludes, “This is an amazing company that redefines quality when it comes to professional audio products. It has been a pleasure being a part of their continued growth. I am particularly looking forward to working with Italy, and directly linking companies in the States to Eighteen Sound, bringing their extraordinary loudspeakers to people everywhere.”
Monday, March 23, 2015
Harbinger Announces New LP9800 Powered Mixer
Latest model in company's LvL Series offers up to 800 watts of power for mains, monitors or bridge mono
Harbinger Pro Audio has introduced the new LP9800 14-channel powered mixer, the latest model in the company’s LvL Series.
The LP9800 provides 800 watts of power, useful for driving stereo mains, split to handle both mains and monitors, or deliver power in bridge mono mode.
Both amplifier channels (mains and monitors) have a level control and a 5-segment LED input meter. Line-level preamp outputs are also provided for feeding powered stereo main and mono monitors. A pair of 1/4-inch line-level inputs foster routing stereo signals directly to the amplifier.
The LP9800 provides 14 input channels with nine XLR microphone inputs and 1/4-inch TRS balanced line inputs—each with a -25 dB pad, rumble filter, and clip indicator—as well as three stereo channels with XLR mic and 1/4-inch TS inputs. Every input channel has a 3-band EQ, effects send, and aux send. Globally switched, +48 volt phantom power serves all microphone inputs.
Dual 9-band graphic EQ foster tailoring of sound. RCA aux input and output jacks can route break music from a CD/MP3 player, send the main mix to a recording device, and more.
A 24-bit, stereo, digital effects processor delivers reverb, delays, and various other effects, complete with a quick parameter control, on/off switch, and 16 presets. The effects can be routed to both the mains and the monitors, with separate level controls. There’s also a jack for an effects-bypass footswitch (not included).
The LP9800 is ruggedly built, with protective corners and covering.
“We wanted to create a versatile, high-quality, yet very affordable powered mixer that would meet the needs of casual performers and working musicians alike,” states Harbinger product manager Jim Norman, “and the LP9800 delivers on all counts. It’s easy to set up and use, it sounds great, and it’s built to last. Here is an excellent solution for a wide variety of gigs and for rehearsal spaces as well.”
The Harbinger LP9800 is available now at Guitar Center and Musician’s Friend with a street price of $349.
Harbinger Pro Audio
Fulcrum Delivers Controlled Audio At New Tim Hortons Field In Ontario
Big challenge on project was creating system to meet exacting standards of tenants while controlling sound spill
Tim Hortons Field, a new stadium in Hamilton, Ontario built for the upcoming 2015 Pan American Games that’s also the new home of the Hamiton Tiger-Cats of the Canadian Football League (CFL), is outfitted with a sound reinforcement system headed by Fulcrum Acoustic loudspeakers.
One big challenge in the project was creating system to meet the exacting standards of both FIFA (soccer’s governing body) and the CFL while controlling sound from spilling into the nearby residential area.
Fulcrum Acoustic TQ Install weather-resistant loudspeakers were proposed to meet this challenge, with system design by Dave Clark Consulting, along with another consultant, Arthur Skudra, and installation by A/V Solutions of Mississauga, Ontario.
“The challenge was pattern control,” explains consultant David Clark. “FIFA requires a very loud system so it can be used for crowd control and urgent public address, yet we needed to avoid the nearby homes. With no roof structure, all of the sound has to come from above and behind. Fulcrum makes some products with substantial directivity control that suit the project perfectly. We used EASE to demonstrate performance both in the stands and at the perimeter of the property.”
Specifically, the system is based upon the Fulcrum Acoustic AH463, a dual-loaded 4-inch compression driver coaxially mounted in quad 10-inch LF horns, to deliver primary coverage Twelve of these biamplified boxes are mounted, with three on each of the four lighting towers atop the east side stands. Four more are installed above the upper press box area on the west side, roughly seven stories above the field.
As Fulcrum Acoustic co-founder Dave Gunness explains, the AH463 is a new product created especially for this project. “After reviewing the project’s SPL requirements, along with the mounting locations for the loudspeakers, it was clear we needed a higher-output solution than what was currently available,” he says. “The AH family already offers high sensitivity, high power handling, excellent pattern control, and a compact footprint, so it made sense for us to create a higher-output version with a tighter dispersion pattern for this project.”
Clark notes, “It was very well behaved and delivered a very focused, even coverage, as well as satisfying the requirement of getting very loud for urgent public address. The Fulcrum system can achieve those levels in a reasonably small form factor, which was also important because of potential shadow interference with lighting. It was a very good product fit for this project.”
Seating areas shadowed by the stadium’s architecture are covered by strategically chosen fill loudspeakers, time aligned with the main system. Full-range Fulcrum coaxial horn systems were specified based on directional requirements, including 16 AH65FP (60x45-degree dispersion) and four AH96FP (90x60-degree). Both utilize Fulcrum’s Full Passive design, delivering high size-to-output ratio with fewer amplifier channel requirements.
Covering the middle deck of the west side seating are 16 Fulcrum CX1295 loudspeakers, a smaller full-range model installed on cantilevered yokes. “This allows them to essentially cover two levels, eliminating an entire row of speakers on the west side,” Clark adds.
Fulcrum also offered a high level of involvement in the design process, especially with the AH463 being a new product. “They measured the speakers in the lab and provided custom GLL files that I could plug into the EASE model,” Clark says. “That was a real plus. When the speakers arrived, they were accompanied by preconfigured crossover objects, including FIR filters, for the amplification and control system, which is a 64-channel Q-Sys core by QSC.”
The system was commissioned in August, with the sound team reporting that its performance measuring up to the predictive computer models. Garry Brown, veteran stadium sound engineer for the Hamilton Tiger-Cats, was also in attendance.
“The Fulcrum system sounds so much better than the old stadium, and it’s nicely controlled,” reports Brown. “They spent a day and a half checking filters and coverage, making sure everything was smooth and even. It’s much better for the houses right across the street behind the end zone, too.”