Monday, August 20, 2012
Crown Audio Expands VRACK Offerings With Introduction Of VRACK 4x3500HD
Three flagship I-Tech DriveCore Series 4-channel amplifiers in a single road-ready rack
Crown Audio has added to VRACK amplifier management options with the introduction of the VRACK 4x3500HD, which incorporates three Crown flagship I-Tech 4x3500HD DriveCore Series 4-channel power amplifiers in a single road-ready plug-and-play rack.
Designed to work hand in hand with JBL VTX and VerTec Series models with upcoming support planned for JBL VRX and STX models, the VRACK 4x3500HD includes three built-in Crown I-Tech HD Series 4x3500 DriveCore power amps, analog and digital connections and a globally universal power distribution system that can be set to meet U.S. and international power standards.
All components are housed in a wheeled rack with a captive suspension system that enables it to be flown in the same manner as a line array loudspeaker system. Multiple VRACKs can be linked together for integrated operation in larger systems.
“Since its introduction our VRACK concept has been embraced by live sound and event providers for its plug-and-play operation, easy transportability and flexible configuration options,” said Brian Pickowitz, business segment manager, Crown Audio. “The VRACK 4x3500HD builds on this concept with a full 12 channels of high-power amplification and greatly expanded connectivity features, giving users a powerful and versatile multichannel amplifier management solution.”
“VRACK is an integral part of our turnkey system package for JBL VTX and VerTec,” adds Paul Bauman, senior manager, tour sound, JBL Professional. “Based on field testing to date, we’ve been extremely pleased with IT4x3500HD performance and VRACK4x3500HD provides the amp rack equivalent of the optimized power density philosophy that was adopted for the VTX V25 loudspeaker itself – lots of horsepower in a compact, tightly-integrated package.”
The I-Tech 4x3500HD amplifiers feature a 4.3-inch front-panel LCD touchscreen that provides amplifier monitoring and access to key functions with color-keyed visuals.
Each amplifier offers an extensive complement of inputs and outputs including four analog inputs, four AES3 digital inputs and four AES inputs over VDrive and the ability to select four CobraNet inputs. The amplifiers also include SpeakON or banana plug speaker connectors.
The VRACK 4x3500HD utilizes Harman HiQnet System Architect 3.2 control functionality and Version 5 DSP preset support for JBL Professional’s new VTX Series V25 plus VerTec Series line array loudspeakers. System Architect provides control through monitoring and adjustment on a rack-by-rack basis and the ability to make changes to all three amps in the VRack through a single interface. The VRACK 4x3500HD is also compatible with JBL HiQnet Performance Manager™ sound reinforcement system design software for enhanced control and monitoring capabilities.
The I-Tech 4x3500HD amplifiers deliver 1,900 watts per channel into eight ohms, 2,400 watts per channel into four ohms and 4,200 watts into four ohms bridged.
The amplifiers provide extensive DSP sound-tailoring capability and incorporate Crown’s linear phase FIR and IIR filters to provide optimized loudspeaker crossover points with improved midrange clarity and off-axis response. A USB port enables users to load preset amplifier settings or device files and update firmware.
New Mackie DL1608 Digital Mixer With iPad Control Now Shipping Worldwide
Also includes update of Master Fader control app for the DL1608
The new Mackie DL1608 16-channel digital live sound mixer with iPad control is now shipping worldwide.
In addition, Mackie has announced a major update to the Master Fader control app for the DL1608.
Upgrades include the ability to store and recall presets for all plug-ins, which allows the user to quickly dial in a channel, with factory and user-defined presets available.
Other upgrades include snapshot and show capabilities so users can store and instantly recall all aspects of any mix.
Yet another facet of the Master Fader update is the ability to configure up to 10 iPad devices for wireless operation.
The DL1608 incorporates 16 Onyx mic preamps and 24-bit Cirrus Logic AD/DA converters.
The package also includes plug-ins like EQ, dynamics, effects and more.
• 16 Onyx mic preamps
• High-end Cirrus Logic converters
• Low-noise, high-headroom design
• 6 aux sends for monitor mixes
• Master L/R output for mains
• Powerful, touch-sensitive plug-ins
• 4-band EQ, gate and compression on inputs
• 31-band GEQ and comp/limiter on outputs
• Global reverb and delay
• Seamless wired to wireless mixing
• Tune the room from anywhere
• Get on stage to ring out monitors
• Personal monitor mixing
• Use up to 10 iPad devices simultaneously
Control From iPad
• Intuitive Master Fader app
• “Grow and Glow” visual feedback
• Preset and snapshot recall
• Record the mix to the iPad for instant sharing
• Integrate music from any app into the mix
• PadLock feature locks down iPad for permanent installs
• Kensington lock secures mixer
• Compact footprint—5.5-in x 11.5-in x 3.9-in, 6.9 pounds
SynAudCon Presenting Emergency Communication Systems (ECS) Speech Intelligibility Workshop
Vital for anyone working with ECS in light of new standards
SynAudCon will be presenting the Emergency Communication Systems (ECS) Speech Intelligibility Workshop this coming January 3-5 (2013) at the American Airlines Training and Conference Center in Dallas.
With the new NFPA-72 and UL2572 codes that are associated with Emergency Communication Systems, speech intelligibility seems to be on everyone’s mind.
The ECS Speech Intelligibility Workshop will:
—Foster the design of intelligible systems
—Bring attendees up to speed on the codes
—Teach the measurement process to instill confidence that every system will meet the codes
The American Airlines Training and Conference Center, pictured below, is an ideal venue for the workshop. It offers a mock-up of Chicago’s O’Hare Airport terminal, complete with a reverberant field, arch ceilings, large windows—all of the problems that plague large spaces.
SynAudCon has assembled an all-star staff with expertise in system design, intelligibility codes, and STI theory and application, to lead the workshop.
New Peavey PVX Series Passive Portable Loudspeakers Now Shipping
All have injection-molded enclosures that include a pole mount, three multi-point flying locations and a tilt-back design
New Peavey Electronics PVX Series passive loudspeakers, introduced earlier this year, are now shipping.
The PVX 12 and PVX 15 passive (non-powered) loudspeakers are specified as being capable of handling 400 watts program and 800 watts peak power, respectively.
Peavey PVX enclosures are constructed with heavy-duty Peavey woofers with 2-3/8-inch voice coils for the lows and low-mids, while the Peavey RX14 1.4-inch titanium diaphragm compression driver, coupled to a constant directivity horn, handles the highs and mid-highs.
All have injection-molded enclosures that include a pole mount, three multi-point flying locations and a tilt-back design to accommodate use as a personal monitor.
A black powder-coated steel grille provides driver protection and a clean, professional appearance.
Features: —RX 14 titanium compression driver —12-in or 15-in Peavey woofer with 2.3-in voice coil —Multiple cabinet fly points —Pole mountable cabinet —Molded in cabinet handles —Expansion module bay —Angled side for use as monitor when required —Rugged polypropylene molded enclosure —Combination 1/4-in and XLR input —XLR and 1/4-in through outputs —U.S. MSRP $299.99 (PVX 12); $399.99 (PVX 15)
The Amplifier-Loudspeaker Relationship In The Bigger Picture
The most important thing is to keep in mind what is real and what does work
Power amplifiers have been changing at a fairly rapid pace. Switching power supplies have reduced weight and offered added protection from line voltage variations. Class-D topology has cut the size of power supplies and heatsinks. Amplifiers are also shedding their conventional rack-mount chassis and taking up residence in loudspeaker cabinets.
In light of these developments, it’s time to take a new look at the amplifier-loudspeaker relationship. We begin with the usual questions: How many watts will that loudspeaker handle, and how many watts will that amplifier supply? If the numbers are reasonably close, then they should work together just fine, right?
Maybe so in the “consumer” audio world, but on the professional side, factors such as optimized sound quality across very large spaces, as well as reliability and return on investment, are much more paramount.
Professional power amplifiers are conventionally rated in wattage output with added terminology along the lines of “continuous sine wave” and/or “RMS” (root mean square and commonly thought of as “average”) at a certain “THD+N” (total harmonic distortion plus noise) into a certain “load impedance.”
The quote marks around the terms are used because the meaning of each can vary when applied to sound reinforcement. Voice and music are not continuous, and therefore, they are not sine waves but instead have a wide variation in levels, typically 10 dB to 20 dB from moment to moment. Peak-to-RMS on a sine wave is typically 3 dB. Meanwhile, a higher THD+N allows a greater power rating, while lower THD+N reduces that power rating.
The human ear discriminates differently. It will tolerate, and perhaps even find pleasing, a surprising amount of second harmonic. At the same time, a tiny fraction of seventh harmonic will run the ear (and the person attached to it) out of a room.
Further, the load typically used to test amplifiers is just a fixed resistor with little reactance at all. Anyone who has seen a loudspeaker impedance curve knows that there is very little of it that looks like a resistor. To make things even more interesting, different amplifier topologies react differently with the same signals and loads.
The most obvious example of how old thinking has led to excess and delusion is in the horsepower race. “My loudspeaker can handle 10 gigawatts and can take all that your 100-terawatt amplifier can deliver! You know – headroom!”
These words are usually uttered by the same people whose Hummer routinely cuts off your Accord on the interstate. However, if the intent is to at least occasionally deliver understandable lyrics, along with music that has instrumental separation and clarity, there needs to be more consideration of the total picture.
SMALLER AND LOUDER
Quick quiz: Which loudspeaker will play louder, one rated at 99 dB/1w/1M sensitivity and handles 500 watts, or one rated at 94 dB/1W/1M sensitivity and handles 1000 watts? Actually, the 99 dB/500-W driver will play louder and use less power to do it.
With a 300-degree (Fahrenheit) rise in temperature that can occur in high output applications, the voice coil’s DC resistance can rise from a typical 5.5 ohms to 10 ohms, and power delivered to the loudspeaker cut almost in half. Thus the 100-watt-rated loudspeaker in reality becomes a 500-watt loudspeaker when power compression is taken into account.
Power handing ratings? With the two-hour AES rating, which is most commonly used, the loudspeaker only has to survive for the duration of the test. Not a word about what it is doing, how it sounds, or the fact that it catches fire 2 minutes beyond the 2-hr. AES test duration.
What about the maximum sound pressure level (SPL) rating for the 1000-watt-rated loudspeaker? Using the usual 1-watt at 1-meter rating, we find that it will deliver 108 dB at about 330 feet without accounting for power compression. This leads us to a new specification: ILS, as in “If Lighting Strikes,” as in “If Lightning Strikes this SPL might actually be attained shortly before the loudspeaker disintegrates into a mushroom cloud.”
Where’s the amplifier in this scenario? Chances are that it’s at the end of at least 100 feet of 12-gauge copper wire. At the typical 1.7 ohms (resistance) per 1000 feet, this means a 1000-watt amplifier is really only delivering 959 watts at 8 ohms, 922 watts at 4 ohms, or just 855 watts at 2 ohms to the loudspeaker(s) (100 X 2 up and back = 200 ft. or 0.34 ohms).
Loudspeakers also depend on low source impedance to deliver a decently musical frequency response, including that “tight low end” which is the result of a high damping factor. Therefore the goal is a smaller cable impedance, not more wattage for good bass response.
What we really need to care about: desired sound pressure levels - BUT - with wide frequency response and low perceived distortion. The most important thing is to keep in mind what is REAL and what does WORK.
Your ears work better than you know, and there are measurements that correlate much better to your ears than much of the stuff that currently fills specification sheets.
Further, it is possible to construct a test waveform more closely resembling music, and it is possible to weight distortion measurements so that they more closely correlate to how our ears perceive distortion. In light of this, aspects such as clipping characteristics and thermal capacity matter a lot.
It’s strictly my opinion, but this discussion leads me to conclude that many of the specific answers of the amplifier-loudspeaker equation might better be left to loudspeaker designers. They’re the ones who know how hard their loudspeakers can be pushed, and where, and without obscene noises and vaporizing voice coils.
This is why we’ve seen the emergence of more powered loudspeakers, which lends itself to a more “in tune” correlation of the two elements. Power matched to the specific needs of each component is a real benefit, while a crossover point tailored for the loudspeaker can better optimize the performance of individual drivers, individually and together. And so on…
Only with the willing consent of the loudspeaker will power drive the merger of the two elements to a stirring conclusion.
Harman Professional Ships JBL HiQnet Performance Manager Version 1.0
An application-specific iteration of the Harman HiQnet System Architect configuration and control software application
Following six months of real-world beta system testing and refinement, Harman Professional announced the market availability of JBL HiQnet Performance Manager sound reinforcement system design software.
JBL HiQnet Performance Manager version 1.0 is an application-specific iteration of the Harman HiQnet System Architect configuration and control software application for professional-grade audio system integration, specialized for touring and live performance venue sound reinforcement systems.
“JBL HiQnet Performance Manager is the product of considerable research, a comprehensive engineering and design effort and equally committed beta program that included 60 audio professionals drawn from the tour and theatrical communities ” notes Adam Holladay, market manager, HARMAN System Development and Integration Group. “As a result of today’s introduction, our customers in the marketplace can deploy an easy-to-use yet eminently powerful tool that allows them to be more effective and efficient at designing high-performing, consistent sound systems for an array of applications.”
JBL HiQnet Performance Manager provides a comprehensive, step-by-step workflow that directly corresponds to real-world system configuration, taking the workflow paradigm introduced in System Architect 2 to a higher level of functionality. It is fully integrated with JBL’s Line Array Calculator II loudspeaker configuration and acoustic modeling software.
“Performance Manager is an integral part of Harman Professional’s turnkey system solution for the recently-released JBL Professional VTX Series and provides an ideal simulation and control environment that allows system engineers to fully leverage the power of VTX and Crown Audio VRACK”, states Paul Bauman, senior manager - tour sound, JBL Professional. “The workflow approach is consistent with what has been taught throughout VerTec training for the past six years and there is an exciting roadmap ahead for additional product and optimization integration into Performance Manager.
“I’d like to personally thank all of the beta testers who provided invaluable input as well as the SDIG software team for doing a fantastic job on the software development side”.
JBL HiQnet Performance Manager version 1.0 is available for $399 per license at http://hiqnet.harmanpro.com. Volume discounts are available.
An series of online training videos can also be viewed and a public Performance Manager training session will be held during the PLASA tradeshow in London, England in September—visit http://hiqnet.harmanpro.com for more information.
The Performance Manager workflow forms the foundation of the software with an appropriately- tailored user interface for each and every stage.
The user begins by loading templates of the speaker arrays used in the system, and then runs Line Array Calculator II for each array as part of the initial sound design task of determining how many and which type of loudspeakers are required to cover a given venue.
For each array, Performance Manager automatically loads the passive VerTec or powered VerTec DrivePack DPDA line array configuration into the main application workspace – the first of many automated design processes native to the software application. Loudspeakers can also be manually loaded into the templates if desired.
Once the user defines the required amplifier parameters for the passive loudspeakers within the arrays, Performance Manager automatically loads the correct number of Crown Audio VRACK or other user-determined amplifier racks into the audio system.
The software then associates the amplifier outputs with the bandpass crossover inputs for the selected array and programs the amplifiers with the correct JBL preset data, as well as gain shading and JBL Line Array Control Panel equalization parameters that are determined in JBL’s Line Array Calculator II as part of the modeling process to optimize sound pressure level and frequency response over the defined audience geometry.
Representations of the bandpass inputs for each loudspeaker section are overlaid onto the arrays, enabling the user to easily visualize the array configuration, whether JBL DrivePack-powered or driven by external Crown power amplifiers. Performance Manager software also significantly simplifies system-networking configuration – the user can simply drag and drop devices discovered on the network onto the pre-configured devices within the Performance Manager workspace to synchronize all addressing and parameter values.
In addition, the Performance Manager graphic interface provides embedded control panels for array calibration, time alignment and system EQ which utilize input section digital signal processing resources available in either Crown I-Tech HD (and legacy I-Tech) power amplifiers or JBL DrivePack-powered loudspeakers with DPDA digital audio input modules. Input attenuation, equalization, delay settings and bandpass controls are all readily accessible directly within the main application workspace along with flexible grouping and comprehensive solo/mute functionality for system testing.
Once system tuning is complete, Performance Manager’s Show Mode display is optimized for the actual live performance, offering appropriate adjustment control ballistics for equalization and dedicated monitoring interfaces for levels, speaker loads, thermal conditions and AC power requirements. The workspace for all stages of Performance Manager’s workflow has a common design motif, with monitoring functions overlaid on top of the same loudspeaker bandpass representations within the workspace, making visualization easier and more consistent across various workflow screens.
Made from the same Class A flame retardant molded thermoplastic as Auralex’s acclaimed T’Fusor, the QuadFusor combines four of the company’s MiniFusors and arrays them in an attractive 2-foot-by-2-foot pattern.
This Class A fire-rated acoustical diffusor is suitable for commercial spaces and can be dropped into a ceiling grid or mounted to a wall or ceiling.
Versatile and affordable, the QuadFusor offers a rare combination of great performance, Class A flame retardancy, stellar appearance and competitive pricing.
The QuadFusor’s surface-variable design includes a proprietary ledge and rear cavity that accommodate the insertion of a rigid substrate such as Auralex PlatFoam or acoustical fiberglass, thus improving the device’s diffusion characteristics and adding significant low-frequency trapping. The QuadFusor can easily be installed in new or existing construction. T
he QuadFusor is Auralex’s latest addition to their complete line of acoustical treatment solutions, perfect for contractors and system integrators at any budgetary level.
EAW Loudspeakers Provide Voice & Music Reinforcement At Baptist Seminary
Configured in a central cluster with delays, under-balcony/front fills and choir monitors
Ford Audio-Video Systems has installed EAW QX Series, AX Series and UB Series loudspeakers at the newly constructed J.W. “Jack” MacGorman Chapel on the campus of the Southwestern Baptist Theological Seminary (SWBTS) in Fort Worth, TX.
On the project, Ford AV worked closely with Acoustic Dimensions, an Addison, TX-based consulting firm.
The EAW loudspeakers, configured in a central cluster with delays, under-balcony/front fills and choir monitors, provide voice and music reinforcement in the 3,500-seat auditorium. Additional EAW systems are installed in the chapel building’s choir and orchestra rehearsal rooms.
The new 106,000-square-foot chapel building is intended as a training venue for expository preaching and will also house musical performances, such as the annual presentation of Handel’s “Messiah” by the seminary’s School of Church Music.
The new, larger chapel is a significant upgrade for SWBTS, whose current chapel is unable to accommodate graduation ceremonies and other large events.
“The seminary’s top priority was speech reinforcement,” says Acoustic Dimensions senior consultant Casey Sherred. “The EAW QX speakers allowed us to design a speaker cluster that delivered natural speech reinforcement with great pattern control.”
”This is a very substantial project, and a lot of this chapel is being built around the audio-video systems,” adds project manager Jon Pidgeon, who is based at the Denver office of Ford AV.
The new chapel features two 24-foot by 13.6-foot rear-projection screens, fully equipped high-definition video production and audio production suites, music and theatrical production rehearsal rooms that can accommodate over 200 people, and other facilities, Pidgeon reports.
The EAW loudspeakers supplement the chapel’s main left-right arrays. “We have a total of five QX units hanging in one cluster, covered with a fabric orb,” says Pidgeon. “There are two QX side fills and five upper balcony delays that are also QX speakers. The center QX cluster is being used for vocal reinforcement only, but they have the option in the DSP to also use it for live performances.”
The full range, three-way model QX564 and QX596 loudspeakers respectively provide coverage over a 60-degree by 45-degree and 90-degree by 60-degree dispersion pattern.
Andrew Welker, Ford AV engineer on the project, adds, “We’ve also installed some two-way, full range UB52 speakers for the under balcony and for front fill. We have four AX Series units for choir monitors and there are two rehearsal rooms that have other AX speakers in them. We’re using UX8800 DSP units in conjunction with another processor.”
SWBTS is an outgrowth of the theological department established at Baylor University in Waco, Texas in 1901. It moved to its present location on Seminary Hill in Fort Worth in 1910 and was placed under the direction of the Southern Baptist Convention in 1925.
The seminary has trained and sent out more than 40,000 graduates to serve in local churches and on missions around the world since its founding.
HOW-TO Sound Workshops Utilizing Lab.gruppen E Series Power Amplifiers
Full FOH system powered by two Lab.gruppen E 12:2s and one E 8:2
When HOW-TO Sound Workshops chief instructor Mike Sokol started out in church sound, the average house of worship audio system often consisted of a few microphones and a basic console – all typically locked away behind a sign reading ‘DO NOT TOUCH’.
While house of worship audio systems have become far more complex, the training available for those running them hasn’t kept pace, he says. The HOW-TO Church Sound Workshops have been working to change that.
Lab.gruppen E Series amplifiers are one of the tools they’ve acquired most recently to serve that goal, Sokol says. “We want to showcase technology that wastes less electricity, sounds better and has more headroom. I have a number of Lab’s Contractor Series and they’re fabulous, but for smaller churches the E Series are a better fit in terms of wattage, performance and size.”
Dedicated to providing audio engineers and praise teams across North America with the skills to maximize the worship experience they offer congregations, HOW-TO Sound is a unique hands-on ministry.
“Imagine a cooking class, where somebody is showing you how to whip up a frosting, or whatever, that’s what I do,” Sokol says. “I have a full FOH system, powered by two Lab.gruppen E 12:2s and one E 8:2. I have a Sony pan-tilt-zoom video camera over the console and up to thirty separate mixers connected by a digital snake. I turn on the camera and students see my hands on one of the [large-format] front-of-house consoles on a six-foot wide video screen.
“I mix either a full praise band or pre-recorded multi-track musical examples through FOH at full volume and get them to reproduce that mix on their consoles and in their headphones, then I critique their mixes.”
The E Series offer multiple benefits, Sokol says, including great sound, ample power and rock-solid performance. Additionally, Lab’s IntelliDrive Energy Efficient Amplifier (IDEEA) platform, auto-power down function and temperature controlled fan also save substantial amounts of energy.
“The fact that they shut down after 20 minutes of activity and that their parasitic draw is only 1 watt is fantastic,” he states. “I’ haven’t driven them full-tilt boogie for hours yet, but if I did, I’d bet you they’d still run cool. The more efficient the amp, the less power you pay for running them and the less you pay for air conditioning. Plus, the more amps that you can route off of your service without major rewiring.”
Here’s Marc Bertrand, CEO of TC Group Americas, talking with Hector LaTorre of HOW-TO Sound Worshops about Lab.gruppen amplifiers at the 2012 InfoComm show in Las Vegas:
The E Series’ compact footprint is also a plus for portable churches. “Lighter is better when you’re moving gear in and out every Sunday morning, and it’s bordering on insanity how light these are. When I first got the boxes I was literally thinking, ‘are there amps in here?’”
The most important factor, however, is sound quality. When Sokol first received the amps, they went right into his truck for a recent workshop in Lima, NY.
“I’d done all of the patching ahead of time and didn’t have a chance listen to them until I fired the system up, but when I did, it sounded incredible – like a big hi-fi. Amplifiers may not be the sexiest part of a system, but they’re the weightlifter of your gig and have a lot to do with how your system sounds. It used to be the pastor would shout from the pulpit. Now people expect a very high level of intelligibility and CD-quality music.”
HOW-TO Sound’s approach is very much based on demystifying the details for sound engineers and church volunteers, from helping them establish what equipment they need, to demonstrating outboard gear, such as TC-Helicon’s VoiceLive Rack mic channel and vocal F/X processor that can help make their bands and choirs sound bigger and better.
Sokol greatly appreciates it when manufacturers like Lab also pay attention to detail. “I don’t like Phoenix connectors; either the wires pull out of them, or they get stuck, but the E Series have these cool little tabs so you can tie the wires down. It’s little touches like that that show Lab.gruppen really have their act together’.
Mike Sokol has 40 years of experience as a live sound/recording/design engineer. Over the past decade he’s hosted over six hundred HOW-TO Sound Workshops, produced by Fits & Starts Productions, LLC, for organizations including AES, the Society of Broadcast Engineers and NARAS [Grammys], and in churches, recording schools and universities all across North America.
HOW-TO Church Sound Workshop 2012 National Tour
Richfield Church of the Nazarene
7524 E. Mt. Morris Road, Otisville, MI 48463
Saturday, August 25, 2012—9 AM to 6 PM
System Analysis & Training (SAT)
Crossroad Christian Church
4867 N. DuPont Highway, Dover, DE 19901
Saturday, September 8, 2012—9 AM to 6 PM
System Analysis & Training (SAT)
Breath of Life Seventh-Day Adventist Church
11310 Fort Washington Road, Fort Washington, MD 20774
Sunday, September 9, 2012—9 AM to 6 PM
How-To Sound Workshop - Training for Volunteers
Trinity Fellowship Church of Tyler
10344 Highway 31 East, Tyler, TX 75705
Saturday, October 13, 2012—9 AM to 6 PM
The PA People Call On JBL Loudspeakers to Deliver Sound Reinforcement At Ausgrid Stadium
Application Engineered (AE) loudspeakers with weatherized treatment for external use (WRX), along with JBL Control 29AV-1 and Control 25AV loudspeakers
Ausgrid Stadium in Newcastle, Australia (formerly Energy Australia Stadium), home to the Newcastle Knights, has undergone a facelift with the redevelopment of its Western Grandstand as well as implementing a new audio system designed and implemented by The PA People.
The new system incorporates JBL Professional Application Engineered (AE) loudspeakers with weatherized treatment for external use (WRX), along with JBL Control 29AV-1 and Control 25AV loudspeakers.
All loudspeakers are driven by Crown Audio CTS amplifiers fitted with the latest Crown DSP card—Crown IQ PIPUSP4/CN. Overlay processing and control is via BSS London BLU systems.
Loudspeakers for the stands consist of six clusters of spaced elements mounted close to the leading edge of the roof and a quantity of fill speakers to cover areas shadowed from the main clusters.
Each of these six clusters utilizes a JBL AM5212 and AM4315 loudspeaker to cover the grandstand upper seating and one JBL AM4315 loudspeaker to cover the grandstand lower seating.
Both loudspeaker models feature rotatable horns that allowed them to be installed horizontally. Careful selection of the horn coverage pattern and orientation allows the grandstand upper seating to be serviced by a single enclosure while maintaining SPL variation of within the target +/- 3dB.
Servicing the grandstand upper seating with a single enclosure has the added advantage of virtually eliminating interference effects such as comb filtering which occurs when arraying loudspeakers to cover a common zone.
The JBL AM4315 is operated as a passive 3-way and is driven from a dedicated channel of Crown CTS2000 amplification which also provides over 6 dB of headroom. The multi-band Progressive Transition mid-high frequency waveguide provides increased sensitivity in the critical midrange vocal region between 500 Hz and 2.8 kHz. The JBL AM4315 also has extended bandwidth and a well-controlled coverage pattern.
Open arena viewing areas are covered by using the long-throw JBL PD5212/95-WRX weatherized loudspeaker. JBL Precision Directivity (PD) loudspeakers are well regarded by professional sound operators for their excellent pattern control down to 250 Hz.
A total of 72 JBL Control 25AV loudspeakers and 24 JBL Control 29AV-1 loudspeakers are deployed for coverage to the grandstand infill areas.
InfoComm International has announced its future rotation plans for its annual InfoComm exposition and conference.
InfoComm 2013 will be held at Orlando’s Orange County Convention Center’s West Building, June 12 to 14.
InfoComm 2014 will be held at Las Vegas Convention Center’s North and Central Halls, June 18 to 20.
The show will rotate between the two cities in the same halls in mid-June thereafter through 2019.
InfoComm has signed lease agreements with both facilities.
“InfoComm exhibitors and attendees have been well accommodated in both Orlando and Las Vegas, and we are pleased to continue our rotation between these great convention cities,” says Jason McGraw, CTS, CAE, senior vice president, expositions, InfoComm International. “Our show has experienced phenomenal growth over the past several years based in large part to the well-run convention centers, large hotel selection and premium entertainment options offered by both of these destinations.”
A schedule of future dates:
2013 - Show 6/12-6/14, Conference 6/8-6/14, Orlando
2014 - Show 6/18-6/20, Conference 6/14-6/20, Las Vegas
2015 - Show 6/17-6/19, Conference 6/13-6/19, Orlando
2016 - Show 6/8-6/10, Conference 6/4-6/10, Las Vegas
2017 - Show 6/14-6/16, Conference 6/10-6/16, Orlando
2018 - Show 6/6-6/8, Conference 6/2-6/8, Las Vegas
2019 - Show 6/12-6/14, Conference 6/8-6/14, Orlando
Set in the heart of the “Eternal City” at the new Roma Eventi – Fontana di Trevi Conference Centre, the convention will be chaired by Umberto Zanghieri, vice president of the AES Southern Europe Region.
The announcement was made by AES executive director Bob Moses.
Recently opened in the heart of Rome, a stone’s throw from the Quirinale Palace and, its namesake the Trevi Fountain, the modern Roma Eventi – Fontana di Trevi Conference Centre is situated in a neoclassical palace built in 1930.
Designated by Benedict XV as home to the Gregorian University, the Conference Centre covers almost 30,000 square feet, and consists of 15 meeting rooms able to accommodate over 1,000 participants.
The 134th AES Convention will bring together audio engineers from around the world to “Listen, Learn, Connect” and, share the latest knowledge in audio research, development and applications.
This marks the first time an AES Convention will be held in Rome.
The 133rd AES Convention will be held at the Moscone Center in San Francisco, Oct. 26 – 29, 2012.
Altinex Debuts New TNP528/TNP528C Tabletop Interconnect Boxes
Hybrid solution with Digital (HDMI) and Analog (VGA) interconnects, as well as network and USB ports
Altinex has announced the availability of the new TNP528/TNP528C tabletop interconnect boxes, two new additions to the expanding line of Tilt ‘N Plug offerings.
As a versatile interconnect device, the TNP528 is a hybrid solution with Digital (HDMI) and Analog (VGA) interconnects, as well as network and USB ports designed for mounting into tables, podiums, or other furniture as part of an AV presentation system.
The TNP528 and its customizable sibling—the TNP528C—offer convenient, one touch access, making the tabletop connection point attractive for any boardroom or conference room table.
The new TNP528 is UL/cUL certified for the highest standard of electrical safety. The standard pre-configured sectional plate (identified as the SP3501SC) contains one USB Type A, two VGA video, two HDMI, two 3.5 mm audio, and two RJ-45 CAT-6 network connectors. All connectors have 6 foot cables.
To ensure easy access to power, the TNP528 and TNP528C both incorporate dual 12-amp AC sockets.
The Altinex TNP528C is the customizable tabletop interconnect version and can be outfitted with a wide range of available connector options—all factory-configured and terminated. A variety of options are available.
While the standard TNP528 employs a black matte finish, the TNP528C is also available in brushed aluminum and the black Reflection Series mirror finishes.
The TNP528’s input plate is accessed by pushing down on the top cover. The unit then auto-tilts open with assistance from an internal leaf spring mechanism. Once open, the input plate remains securely in place. The input plate is hidden, or closed, by pressing down on the top cover until the latching mechanism engages.
In its closed position, the top panel lies flush with the table’s top, held in place by the latching mechanism. This secure fit also means less chance for paperwork to catch the TNP528’s edges when being passed across a table.
“Our TNP528 and TNP528C Tilt ‘N Plug interconnect boxes are a terrific boardroom choice for creating a quick and convenient means of patching equipment into a company’s data network or presentation system,” states Grant Cossey, Altinex vice president of sales. “With its ability to be customized in so many ways, the TNP528C offers tremendous flexibility for configuring a presentation space exactly to one’s preferences.
“And since the TNP528C’s bezel can be finished in brushed aluminum or the mirror finishes from our Reflection Series, the unit makes for a truly impressive connection point in the contemporary boardroom or presentation space.”
The Altinex TNP528 and TNP528C Tilt ‘N Plug interconnect boxes are available now with a MSRP price of $828 and $927, respectively. An additional charge applies when a Reflection Series cover/bezel is selected.
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.
Bar Sport Enjoys Successful Inplementation Of Variety Of Community Loudspeakers
Ceiling loudspeakers, full-range systems and more
Oxfordshire-based RealSound and Vision has completed the installation of Community Professional loudspeakers for Cedar Sports Management at Bar Sport in Maidenhead, Berkshire, England.
The new Bar Sport venue is located at Grenfell Island, a popular area in the town for cafés, bars, restaurants and the cinema. “Being a sports venue, the timeline for their scheduled opening was pretty much dictated by Euro 2012,” explains RealSound managing director David Nibbs. “This defined a tight schedule for the sound and dance floor lighting to be designed and installed, but with a decisive client and good service from our suppliers we were able to complete the installation on time.”
RealSound designed the system using Community Professional ceiling loudspeakers to maintain clear sightlines to the bar’s 42 video screens in the low-ceiling venue.
“With high ambient noise levels we chose Community for their high efficiency, intelligibility and well defined coverage” says Nibbs. “Bar Sport has four zones over two levels and required 15 Community D6 ceiling loudspeakers to provide optimum coverage. Their high efficiency meant we only needed to tap each loudspeaker at 15W and could comfortably drive the system with a t&mSystems Project120.4P four-zone power amplifier and still have ample headroom.”
“The more challenging area from a design perspective was the central dance floor,” Nibbs continues. “With the ceiling height and sightline issue, traditional large box loudspeakers were unacceptable. I discussed this with Stuart Cunningham of CUK Audio, the Community distributor. He came up with an unusual but ideal proposal, suggesting four Community MX10 monitor loudspeakers, ceiling mounted at each corner of the dance floor.
“This provided a perfect solution: With their mounting brackets, the MX10s were easy to ceiling mount and presented minimal intrusion into the room. The loudspeakers could be accurately directed to the dance floor, minimizing reflected sound both within the venue, and to the surrounding residential areas. And the MX10 uses the same family of drivers as the D6, giving consistent sound quality throughout the venue.”
The dance floor system is completed by two Community VLF212 subs for high power low frequency energy. A Powersoft M28Q four-channel amplifier drives the dance floor system. System control is via a dbx ZonePro 1261 central processor, with four dbx ZC-8 remote control wall plates providing user flexibility.
The venue is additionally used for both live music events and DJ entertainment. In the DJ booth, RealSound provided a Denon DN-X1100 DJ mixer and two Denon DN-SC3900 media players. For continuous music playback throughout the day, they also installed a Tascam CD200i CD player with integral iPod dock plus a Numark iDec as a second iPod docking and control facility.
A very compact and discreet lighting system was also installed around the dance floor, consisting of six Chauvet ColorBand Pix RGB LED battens and two Chauvet DMF10 LED moonflowers, operated via a Martin Professional 2510 lighting controller.
“The Community loudspeakers allowed us to achieve a powerful foreground system very discreetly, and the client is suitably impressed with the result,” concludes Nibbs. “Bar Sport has chosen a bumper sporting year to open this new venue and I’m pleased we’ve delivered a system which will enable their customers to enjoy the many upcoming events to the fullest.”
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