Thursday, January 03, 2013
Kramer Introduces High-Speed HDMI Cable With Ethernet Cabability
The Kramer C-HM/HM/PRO is the ideal cable for the most demanding HDMI installations
Kramer Electronics is pleased to introduce the C-HM/HM/PRO high-speed HDMI cable with Ethernet capability.
Kramer’s C−HM/HM/PRO is designed for advanced equipment installations that require high speed cable connections to ensure a high definition experience with maximum audio and visual impact.
Kramer’s C-HM/HM/PRO is a high speed HDMI cable that supports the HDMI Ethernet Channel (HEC) as well as all the latest-generation features in the HDMI version 1.4 standard, including Audio Return Channel, 3DTV, and 4K resolution capability.
The C-HM/HM/PRO features a high data transfer rate of up to 10.2 Gbps. It supports resolutions of 720p/1080i/1080p. The C-HM/HM/PRO supports multi-channel audio stream for external decoding by AV receivers and automatic audio syncing capabilities. It also supports Deep Color, including 24-bit, 30-bit, 36-bit and 48-bit (RGB or YCbCr) color depths. This feature makes the C-HM/HM/PRO ideal for multimedia applications or home cinema and surround systems.
The C-HM/HM/PRO is equipped with Kramer’s unique, flexible jacket that holds the cable tightly in place while simultaneously providing flexibility for challenging installations. The C-HM/HM/PRO also comes with Kramer’s “pull resistant” connectors which can withstand up to 15 lbs of force. This pull resistant connector design is currently available on Kramer’s C-HM/HM, C-HM/HM/PRO, C-HM/HM/FLAT/ETH and C-MHM/MHM HDMI cables. They are compliant with HDMI dimension spec and are backwards compatible. The connectors on the C-HM/HM/PRO cable are also gold-plated to resist corrosion and provide the best possible connectivity.
The C-HM/HM/PRO can be ordered pre-terminated in a varied selection of lengths from 0.9m to 15.2m (3, 6, 10, 15, 25, 35 and 50ft). It is the ideal cable for highly demanding installations.
The C-HM/HM/PRO is currently in stock and available for ordering from Kramer Electronics sales companies around the world.
Posted by Keith Clark on 01/03 at 03:03 PM
Powersoft Amplifiers Drive, Process New North Carolina Venue Sound System
Eight Powersoft amplifiers outfitted with on-board DSP and Ethernet connectivity
Isis, a concert venue with an accompanying upscale restaurant and bar located in Asheville, NC, recently opened with an installed sound reinforcement system that includes eight Powersoft power amplifiers, including Duecanali, K and M Series models, all outfitted with DSP and Ethernet connectivity.
The Isis Restaurant and Music Hall, located in a former cinema that originally opened in December 1937, books national as well as regional performers and can accommodate over 350 people.
Two Powersoft Duecanali 5204 DSP+AESOP and one Duecanali 3904 DSP+AESOP drive the main house system of two EAW QX564 three-way loudspeakers in the music hall.
A Powersoft K8 DSP+AESOP provides power to a pair of EAW SB1002 subwoofers positioned below the stage. One Powersoft M28Q HDSP+ETH supplies power to the balcony fill system of four EAW MK8126 two-way loudspeakers.
An additional three Powersoft Duecanali 3904 DSP+AESOP amplifiers are dedicated to the monitor system. Six EAW MicroWedge 12 floor monitors and a single 15-inch EAW MicroWedge Sub cover the stage, which measures 26 feet wide by 17 feet deep.
Tom Brockenbrough, Jr., principal of Asheville-based company Summit Communications Systems, LLC, designed and installed the sound, lighting and video systems at the venue, which has also been comprehensively acoustically treated.
In addition to the Powersoft amps and EAW loudspeakers, Brockenbrough also supplied a 56 x 32 MIDAS PRO2C digital mixing console to handle both front of house and monitor duties. Audio and control data runs between the console and the Powersoft amplifiers over Ethernet.
Ken Blecher, executive vice president of Powersoft, formally introduced Brockenbrough to the amplifiers on a visit to Asheville during restoration and construction of the venue.
“When Ken took the time to visit us during our selection process, we were sold. He cracked the lid of a K Series and it was obvious that they had changed the game. I’d never seen a design like this before. Now with the amplifiers in place, I am happy to say that Ken and Powersoft delivered in every way. These are the most linear and transparent amplifiers I’ve ever had on a PA system, hands down.”
He continues, “I was pretty set on using EAW’s DSP, but as Ken demonstrated, I was able to load the EAW factory presets into Powersoft’s DSP and was presented with a GUI also unlike anything I’ve ever seen. The process of building up virtual racks and applying EQ groups across multiple amplifiers is the most intuitive and user-friendly interface that you could ask for. I only wish that I had access to this technology back when I was operating and tuning much larger systems.
“With an extremely savvy client, it was not only important that Summit provide world class products, but also the services to support this, and we are very grateful to Ken and his team at Powersoft for being right there with us every step of the way.”
Brockenbrough, who will oversee the system at the music hall for the initial schedule of performances, is using Powersoft’s Armonía Pro Audio Suite PC software to control the eight Powersoft amplifiers from the front of house position. “At front of house I’ve got two virtual racks and various EQ groups built in the Armonía software: a house rack with the amps for tops, subs and fills, and a monitor rack with those three amps.”
He continues, “I am really taking my time with tuning the system and making sure that my client and our community get the absolute very best that we offer. As we go through some different genres and styles of music, I am thoughtfully working on a place for the rig that best complements everything and everyone. But, it is also nice to know that we can very easily apply various presets if ultimately we need be able to change gears depending on the performance requirements.”
He has also configured presets within the software for a set-up of six two-way wedge mixes or four two-way wedge mixes plus a three-way mix, integrating the MicroWedge Sub. In addition, Brockenbrough has enabled Powersoft’s Active Damping Control in the software. “Where I was initially worried that the room would need more low-end, after applying damping control I’ve actually had to bring the subs back down!” he reports. “They just sit there and purr at you, no matter what you do. I have never heard anything like this. It’s awesome.”
PreSonus Names Patrick Faucher As Chief Information Officer
Will oversee the streamlining and unification of the company’s IT infrastructur
PreSonus has named Patrick Faucher to the newly created post of chief information officer, where he will oversee the streamlining and unification of the company’s IT infrastructure, focusing on end-user experience across the entire suite of PreSonus hardware, software, and online solutions, as well as the internal data and communication platforms.
Faucher is the co-founder of Nimbit (now a part of the PreSonus family) and was previously acting as Nimbit’s CTO, where he was instrumental in creating the music industry’s most powerful direct-to-fan platform for musicians.
Faucher will still remain active with Nimbit, but is shifting to more of an advisory role on the day-to-day development activities, and he will be directly involved in Nimbit’s integration into the PreSonus infrastructure and the seamless interaction of the user experience between the two companies’ products.
In his new position, Faucher will focus on making PreSonus’ online information systems more consistent, simple, and engaging for customers, dealers, distributors, reps, and others who do business with the company.
“PreSonus is a global company, with teams in Hamburg, Hong Kong, Ireland, and Massachusetts, along with our main office in Baton Rouge. We want to better integrate our systems from all of these aspects of the company,” says PreSonus CEO Jim Mack. “Further, with the integration of Nimbit, PreSonus has created an ecosystem of hardware, software, and services.
“Creating a streamlined communications environment within PreSonus is essential in today’s highly connected world, and I can’t think of anyone more qualified than Patrick to spearhead that integration. I am confident he will help us provide a better user experience for everyone who interacts with our information systems.”
“Now that Nimbit is part of the PreSonus family, I welcome this new challenge,” adds Faucher. “The team here is an incredible group of industry innovators and leaders. I’m excited to be working with them to create an integrated ecosystem of solutions that has never been done. Together, we’re going to provide a great user experience for everyone who uses our systems.”
Wednesday, January 02, 2013
Midas PRO2 Consoles The Choice At Toby Keith’s I Love This Bar & Grill
Handling the A/V systems for the chain is LiveSpace, a Michigan-based design/build and live events company
Toby Keith’s I Love This Bar & Grill locations, named after the singer’s 2003 hit, “I Love This Bar,” puts a strong emphasis on sound quality when specifying sound systems and has named Midas PRO2 as its console of choice.
Handling the A/V systems for the chain is LiveSpace, a Michigan-based design/build and live events company.
“The first PRO2 we installed was in the Dallas location,” says LiveSpace president Josh Maichele. “It was the third PRO2 shipped in the US. The price point of the console for the amount of versatility, usability and sound quality we get out of it has been a big home run for us.”
With the success of the chain’s early locations, LiveSpace was brought on board to create a cohesive, professional presentation as Toby Keith’s I Love This Bar & Grill entered its current phase of rapid expansion.
“We’re a relationship-based company; we work hard to understand the needs of our clients so that we can tailor a solution specifically for them,” notes Maichele. “The important factors for the Toby Keith’s chain revolved around great sound, rider friendliness, versatility and ease of operation. Believe me, we looked at everything on the market, but when the PRO2 was announced, the only real question was delivery date. For how it sounds and what it can do, at that price point, it’s not even close.”
The various Toby Keith’s I Love This Bar & Grill locations range in capacity from 800 seats up to 3,000 at major locations like Dallas, TX and Rosemont, IL. Live performances range from local favorites to national touring acts like Ronnie Dunn, Montgomery Gentry and Gretchen Wilson.
With new locations opening in over a dozen cities in the coming year, another critical factor for LiveSpace is training the house engineer at each location prior to opening.
“Each location has a house engineer on staff, which is really important when working with visiting engineers who aren’t familiar with the console,” says Maichele. “We’ve developed a workflow for them that makes things pretty user-friendly, with all the routing they should need, plus clearly labeled channel names and a color coded system so that any engineer can easily understand what he’s running and quickly adjust things like gain and EQ.”
Maichele explains, “The biggest problem in working with an unfamiliar console, especially a digital desk, is a fear of getting lost, especially when something starts to ring or feed back. What we’re really teaching is muscle memory, so they have the confidence of knowing they’re only one or two moves away from getting where they need to go. That’s why the POPulation Groups are easily my favorite part of the console. If I’ve built my POP Groups correctly, I can hit those and with one trigger and instantly know where I am.”
The last thing that happens before the LiveSpace team turns over the controls is a technical training night, complete with a live band. Maichele says, “We take them from sound check right through the show, reiterating the workflow and why it’s that way. We start with a minimum of effects and dynamics, basically to drive home how good this console can sound. Then we build from there. It’s been a very successful approach for us.”
MUSIC Group Appoints Galactic Music To Distribute Behringer, Eurocom & Bugera In Australia
Will act as dedicated source for not only products but also for warranty service and repair
MUSIC Group has appointed Galactic Music as its distributor for Behringer, Eurocom and Bugera products in Australia, responsible for sales, distribution and service to a network of dealers across the country.
Further, in order to better serve its dealers, as of January 14, 2013, Galactic will relocate to larger premises in Melbourne.
“We remain fully committed to providing our customers in Australia with outstanding service and support, and the appointment of Galactic Music will allow us to provide a ‘best practice’ customer experience,” comments MUSIC Group VP of sales David O’Kelly. “Having served the Australian market directly for the past decade, we want to ensure the smoothest possible transition; and with Galactic we feel we have made the very best choice of successor.”
General manager of Galactic Music Paul Goldsmith adds, “This is a truly exciting progression that will further strengthen our support of the Behringer, Bugera and Eurocom brands in Australia, and ensure the customer is our number one priority.”
Galactic have been supplying dealers with these MUSIC Group brands for some time and will now act as the dedicated source for not only products but also for warranty service and repair.
Acoustical Solutions Introduces New Whisperwave Ribbon Baffles
Wave-patterned baffles provide sound absorption with attractive organic design
Acoustical Solutions has introduced Whisperwave Ribbon Baffles, curved accent acoustical baffles that are unique because they add movement and creative design while reducing noise and reverberation.
The Ribbon Baffles are a new addition to the company’s Whisperwave line, which all add dimension and acoustical control in open, reverberant spaces.
“We introduced the Whisperwave line here at Acoustical Solutions over a year ago,” says Gary Hudson, ASI national sales manager. “They have quickly become some of our most popular products because they look amazing – and like no other acoustical product – but most importantly they are a high performing noise control solution. The new Ribbon Baffles provide another aesthetic option, broadening the design potential of the line”.
Made from Class 1 fire-rated willtec foam, Whisperwave products are offered in standard and custom sizes and curve patterns.
The baffles are light weight and easy to install, providing competitive NRC ratings averaging 0.95 across the audible frequency range.
Whisperwave products are available in natural white and light grey or can be HPC-coated (black, grey, white, almond or charcoal). The line also includes standard baffles and acoustical clouds.
Harman Pro Appoints Pukshansky Territory Sales Manager For Southern CA & Southern NV
Will work closely with the organization's manufacturer reps and dealers in region
Harman Professional has named Anton Pukshansky to the position of territory sales manager for Southern California and Southern Nevada.
Based at Harman Professional headquarters in Northridge, CA, the veteran professional audio sales executive will work closely with the organization’s manufacturer’s reps and dealers and will report directly to Mark Posgay, senior director, US Sales.
“Anton Pukshansky is an advocate for our customers, an advocate for our technologies and, above all, an advocate for excellent sound,” Posgay states. “I’m very pleased that he has elected to join our team and am deeply confident that he will make a valuable contribution to our customers, channel partners and our reps in addition to driving strong growth for Harman Professional in Southern California and Southern Nevada.
Pukshansky is a multi-Grammy award winning producer, engineer, composer, arranger and multi-instrumentalist. He joins Harman Pro having been a director at MW Audio, where he led sales and operations for a successful sales, design and installation organization.
Prior to MW Audio, Pukshansky was district sales manager for Loud Technologies. He attended the Leningrad Conservatory of music as a piano major from the age of six, and was a pre-med major at Boston University.
Pukshansky says, “I’ve always had the deepest appreciation for high-performing, innovative audio technologies and now working with such a compelling array of products and such a quality team of people, enables me to play at the top of my game.
“I look forward to the challenge and the opportunity of working with the factory, the rep team and my colleagues in the Hareman US Regional Sales Office (RSO) organization.”
Posted by Keith Clark on 01/02 at 07:41 AM
Monday, December 31, 2012
ProSoundWeb Top 20: The Most-Read Articles Of 2012; New Today: #5 - #1
As we turn the page on 2012, here are the 20 articles that were the most-read over this past year on ProSoundWeb, based upon total page views.
Note that some of the articles that delivered top results over the past 12 months were actually written and posted well over a year ago, but they continue to prove of high interest and value to our worldwide readership.
In addition, some very popular articles posted more recently have not had as much time to accumulate traffic as others that have been posted for a longer period of time. We suspect you’ll see some of those fine articles on next year’s list.
Without further adieu, here are the first five of the top 20 articles on PSW for 2012, with five more to be added each day until we reach the number one article on New Year’s Eve Day (December 31, 2012).
Most-Read Articles #20 - #16 (Posted Wednesday, December 26)
#20—Care & Feeding: Keeping Gear In Top-Flight Shape
By Craig Leerman
#19—In The Studio: Top 10 Countdown Of Mixing Myths
By Joe Gilder
#18— Church Sound: Track Down The Buzz In Your System
By Chris Huff
#17—Defining Amplifier Damping And What It Really Means Within A System
By Jerrold Stevens
#16—DI Boxes For Guitars: Different Approaches For Acoustic And Electric
By Peter Janis
Most-Read Articles #15 - #11 (Posted Thursday, December 27)
#15—In The Studio: Defining Characteristics Of Great Vs Amateur Mixes
By Bobby Owsinski
#14—Loudspeaker Arrays: Data & Solutions In Solving Horizontal Coverage Problems
By Pat Brown
#13—Being “One” With Your Source When Mixing
By Karl Winkler
#12—Making It Flat: Analyzing Loudspeakers & DSP
By Ken DeLoria
#11—Recording: The Importance Of Space In A Mix
By Matthew Weiss
Most-Read Articles #10 - #6 (Posted Friday, December 28)
#10—12 Ways To Use Your iDevice In The Studio
By Jon Tidey
#9—Portable Power: The Secret Life Of Generators
By Craig Leerman
#8—Church Sound: Methods For Doing System Line Checks
By Mike Sessler
#7—Method To The Madness: The Anatomy Of An Audio Rack
By Dave Rat
#6—Fun With Feedback: Audio Mythology Alert!
By Peter Mapp
Most-Read Articles #5 - #1 (Posted Monday, January 31)
#5—Solving A Conundrum: Deployment Of A New Subwoofer Configuration
By Todd Hartmann
#4 —Hunting Gremlins: A Veteran Provides The View From The Stage Side
By Gary Gand
#3—Purple Sounds Best: A Matter Of Mass Psychology
By Karl Winkler
#2 —Tuning Without Tools: Working Through A System To Get It Up To Speed
By Tim Weaver
#1—Laying The Foundation: Making The Live Mix Work No Matter What
By Dave Rat
Friday, December 21, 2012
Extron Introduces Long Distance HDMI Twisted Pair Extender
Extron Electronics is pleased to announce the immediate availability of the DTP HDMI 330, a transmitter and receiver set for long distance transmission of HDMI, audio, and bidirectional RS-232 and IR control signals up to 330 feet (100 meters) over a single CATx cable.
The HDCP-compliant extender provides an effective means for extending HDMI with embedded multi-channel audio from HDMI-equipped devices. In addition, the DTP HDMI 330 accepts analog stereo audio signals and digitizes them for simultaneous transmission over the same twisted pair cable.
The compact enclosure sizes and remote power capability make the DTP HDMI 330 ideal for extending HDMI, audio, and bidirectional control in space-challenged environments.
“AV system designers and integrators often need to send digital video, audio, and control signals over long distances,” says Casey Hall, Vice President of Sales and Marketing for Extron. “The DTP HDMI 330 achieves this with the use of a single twisted pair cable, allowing for flexible installation while also ensuring optimal signal quality.”
This extender streamlines integration with analog and digital audio signals. It allows a direct analog audio connection from devices with stereo output, such as desktop computers or laptops, and provides balanced and unbalanced audio output from the receiver. Additionally, the DTP HDMI 330 continuously maintains DDC communication of EDID and HDCP between a source and display for reliable operation, ensuring direct compatibility and optimal signal transmission between devices.
The DTP HDMI 330 is compatible with CAT 5e, CAT 6, and CAT 7 twisted pair cable, and can be used as a point-to-point solution or integrated with an HDMI matrix switcher to extend inputs or outputs to remote locations. It supports signal resolutions up to 1080p/60 and 1920x1200 and supports HDMI specification features including data rates up to 6.75 Gbps, Deep Color up to 12-bit, 3D, HD lossless audio formats, and CEC.
For added flexibility, either the transmitter or receiver can be powered over the original twisted pair cable, allowing both devices to share one external power supply.
Posted by Keith Clark on 12/21 at 10:53 AM
Symetrix Provides Salt Lake City Restaurant With Ultimate Sound System Control
Local A/V integration firm Performance Audio obliged, using a Symetrix Jupiter 8 processor to dial in Zest’s fidelity and a Symetrix ARC-WEB to provide custom control of all relevant parameters directly from Staker’s smartphone.
When veteran restaurateur Casey Staker conceived of Zest Kitchen and Bar, located in Salt Lake City, he knew it had to have a great sound system – and he also knew that he had to have ultimate control over the performance and volume of that sound system.
Local A/V integration firm Performance Audio obliged, using a Symetrix Jupiter 8 processor to dial in Zest’s fidelity and a Symetrix ARC-WEB to provide custom control of all relevant parameters directly from Staker’s smartphone.
“Staker has been in the restaurant and bar business for a long time,” said Jake Peery, system design & installation expert with Performance Audio and the individual responsible for Zest’s custom sound system. “More than once, he’s seen a good time ruined by overzealous DJs, who effectively chase patrons out the door with sheer volume.
“Since he plans on a regular rotation of local DJs along with not-infrequent shows by national DJs on tour, he wanted some personal insurance that no such thing would happen at Zest. I recognized that the Symetrix ARC-WEB was the answer. It would give him all the control he wanted on his smartphone.”
The Symetrix Jupiter 8 processor fills most of its eight inputs from an iPod dock, a microphone, a computer and a balanced stereo pair located at a modest FOH position. Repurposed QSC RMX-series loudspeakers and JBL Control 25s join a collection of new JBL AM7212s, AC28s, and ASB6118s to provide the system with serious output.
A repurposed Crown CTS4200 powers the loudspeakers in less critical locations, while new Ashly KLR 4000 and KLR 5000 amplifiers power the most prominent loudspeakers and subwoofers.
“The Ashly KLR series gives me the best bang for the buck,” said Peery. “Nothing else touches them on price, and the output is loud and clean.”
Of course, Staker wouldn’t be at Zest all the time, and his staff would need to control the system in his absence, so Peery installed a Symetrix ARC-2e wall panel remote in the manager’s office. The ARC-2e allows the staff to recall presets for different modes of operation. However, Staker’s ARC-WEB control digs deeper and allows him alone to override zone volumes.
“In addition to being a great sounding and inexpensive device, the Symetrix Jupiter’s support of ARC-WEB was a deciding factor in this installation,” said Peery. “ARC-WEB is easy to set-up and use, and is compatible with many popular web browsers, operating systems and devices, including iPhone/iPad and Android.
Casey’s on an Android device right now, but that might change. If and when it does, ARC-WEB will still work just the same.”
“Controlling the system from my phone is very cool,” admitted Staker. “Every DJ hears something different. With the system Jake designed, I can control the volume from anywhere in the restaurant, and I can make individual adjustments to the dining room, the bar, or the dance floor. I can pin it to what I want, not what the DJ wants.”
Florida Power & Light Relies On Tannoy QFlex To Spread The Word
Looking for a single point source solution, Peerson turned to QFlex array loudspeakers from Tannoy. He brought in a QFlex 32 for demonstration purposes and won approval immediately.
Florida Power & Light (FPL) headquarters in Juno Beach, Florida, features a large atrium that is often used for annual meetings, announcements and gatherings for employees.
An expansive room – approximately 175 feet long by 70 feet wide and 50 feet tall – it features glass walls, a metal roof and tile floor. A second floor balcony overlooks the area and is often used as an additional viewing area for such events.
In the past the company has relied upon speaker-on-a-stick sound reinforcement during atrium gatherings. Although sufficient for small events, these systems were mostly unintelligible for large assemblies.
The FPL leadership recently decided it was time to address the unintelligibility issue and contacted Peerson Audio in nearby Jupiter, Florida for a solution.
“They wanted a system that would cover the first floor and balcony intelligibly,” explains Allen Peerson, owner of Peerson Audio. “We needed a system that would allow us to direct the sound on the audience and keep it off of the hard surfaces – which were pretty much everywhere.”
Looking for a single point source solution, Peerson turned to QFlex array loudspeakers from Tannoy. He brought in a QFlex 32 for demonstration purposes and won approval immediately.
“They were extremely impressed with the system,” he adds. “I was told that it was the first time they had been able to hear anything crystal clear in the room – ever.”
After further review, Peerson decided that the Qflex 48 would better suit their need with additional SPL and the option of covering an even larger audience area. He used VNET, Tannoy’s proprietary Qflex software to program the column array specifically to the rooms needs.
Peerson opted to hang the QFlex 48 from a metal ceiling joist in the ceiling with the cable and brackets provided. It was “steered” using two hanging points to direct the sound where it was needed.
The QFlex 48 is a little more than 9.5 feet tall with than a 7-inch width and depth loaded with sixteen 4-inch low frequency drivers, sixteen 3-inch low frequency drivers and sixteen 1-inch high frequency drivers.
Peerson Audio also provided a Symetrix DSP mixer with the system so that the end-user could control the system source materials and volume controls via a smart phone.
“It was important to provide them with a system that would not only provide intelligibility but also suit their needs for a long time,” Peerson explains. “This was another situation where QFlex was ideal for the application.”
Thursday, December 20, 2012
Designer Notebook: Bose Expands RoomMatch Array Module Loudspeaker Series
Concert-quality sound consistent from seat to seat for fixed installations
The Professional Systems Division of Bose Corporation has recently introduced additional coverage patterns for the RoomMatch loudspeaker series, to expand the configurations for the Progressive Directivity Array concept.
This article will review the technologies of the RoomMatch series and examine how they can be deployed to improve the overall sound quality for both live music performance and spoken word in many different room sizes, shapes, or acoustic conditions.
Product development for the RoomMatch series began more than 10 years ago by identifying the compromises of both line array and conventional point-source loudspeakers, when used in fixed-installation sound systems that require excellent sound quality for both live-music and spoken-word program material.
The design team interviewed leading system design consultants and AV integrators and reviewed more than 200 actual room-loudspeaker array designs. From this analysis, several key observations emerged that influenced the design objectives:
1) Most line array loudspeakers offer only a single, wide horizontal coverage pattern. While this approach is great for outdoor music concerts, the wide pattern can cause unwanted acoustic reflections from sidewalls in typical indoor venues. Most point-source designs offer only two or three horizontal pattern choices – an improvement, but still very limited.
Bose RoomMatch Progressive Directivity Array. (click to enlarge)
2) Most sound systems for indoor venues require, on average, 50 to 80 degrees of total vertical coverage. The typical line array module limits vertical splay or coverage to about 10 degrees. Thus, most line arrays require at least 6 to 8 modules per array to achieve the required vertical coverage, which can be prohibitively expensive in smaller venues that do not require 110 dB levels.
3) While point-source loudspeaker arrays can cover large vertical angles more cost effectively, they suffer from interference “seams” when used in multiple module arrays. These seams, or destructive phase-interference patterns, result from the path length differences of multiple high-frequency drivers covering the same seating area and cause peaks and dips in the frequency response.
The design goal for RoomMatch was to solve these problems to deliver superb sound quality for both live music and spoken word, for a wide variety of room sizes, shapes, acoustics, and budgets.
Product Line Physical Description
The RoomMatch product line consists of 20 full-range modules, one companion subwoofer module, and accessory rigging hardware. The full-range modules are available with horizontal coverage pattern choices of 55, 70, 90, or 120 degrees. In the vertical plane, pattern choices are 5, 10, 20, 40, or 60 degrees, for 20 different horizontal and vertical combinations.
The model name for each full-range model describes the coverage pattern. For example, the RM7020 model provides a nominal 70-degree horizontal and 20-degree vertical coverage pattern. The recent additions to the RoomMatch series include the new RM5540, RM5560, RM9005, RM12005 and RM12010 modules.
Each 2-way, full-range module contains six (6) 2-inch titanium-diaphragm compression drivers mounted to a Continuous-Arc Diffraction-Slot (CADS) manifold. The CADS manifold provides acoustic summation, free from significant peaks or dips in response, from 500 Hz to 16 kHz, and exits into a constant-directivity waveguide with effective pattern control to approximately 1 kHz. The low-frequency section contains two (2) 10-inch cone transducers with 3-inch voice coils, with each woofer contained in a separate vented enclosure.
The full-range modules are approximately 39 inches wide and 23 inches deep. Height varies by the coverage pattern for full-range modules, with 17 inches in height for the modules with 5-degree vertical patterns, up to 27 inches for the modules with 60-degree vertical coverage. The on-axis frequency response for the full-range modules is 60 Hz to 16 kHz (+/- 3 dB) with recommended crossover and active equalization.
The line also includes a subwoofer module and rigging hardware accessories. The companion subwoofer extends usable array response down to 40 Hz and features dual Bose 15-inch high-excursion woofers. Optional side plates allow the subwoofer to be integrated with full-range modules in suspended arrays.
The rigging hardware accessories include array frames that allow up to 8 modules to be suspended with a 10:1 safety factor and include independent testing and load certification.
Bose RoomMatch RM7020 full-range array module with grill removed.
Several new Bose proprietary technologies combine to provide concert-quality sound for fixed-installations in a wide variety of room sizes, shapes, acoustic requirements, or budgets. The new transducers and waveguide technologies set a new standard in seat-to-seat consistency in frequency response and lack of interference seams in array summation.
With the modular approach, RoomMatch systems can be scaled from single modules used for modest SPL requirements to 8-module progressive directivity arrays for the highest SPL requirements, all with consistent frequency response to minimize final system EQ and tuning time.
RoomMatch Waveguide Technology
One of the breakthroughs for the RoomMatch design is the process that allows 3-dimensional constant-directivity waveguides to be manufactured from flat panels of plywood and engineered plastics.
These panels are cut by CNC machines and captured by a steel frame that also secures the woofer enclosures and side-plate rigging hardware. This patented process allows 95 percent of the parts to be common for the line of 20 different full-range modules, and can even accommodate additional patterns in the future.
This design also allows use of large-format waveguides, with effective pattern control down to about 1 kHz, without expensive tooling for each individual horn (often the limiting factor for coverage pattern choices in competitive designs). Experience has shown that large-format waveguides are essential for excellent sound quality for spoken word in many venues.
Exploded view of RoomMatch full-range array module
Continuous Arc Diffraction Slot Manifold
Another key technology is the new, proprietary Continuous Arc Diffraction Slot (CADS) manifold, which sums the output of six Bose EMB2 compression drivers for each full-range module.
The physical spacing of the diffraction slots is acoustically equal from module to module, which eliminates destructive phase-interference and provide seamless array summation in the audible frequency range. The included angle of the CADS manifold determines the nominal vertical coverage angle for each module as shown in the following illustration.
At left, CADS manifold with EMB2 drivers; at right, CADS manifold assemblies by vertical angle.
Bose EMB2 Compression Driver
The RoomMatch waveguide technology and CADS manifold design also required a new compression driver design. The waveguide design required a single transducer that could cover 500 Hz to 16 kHz, while the requirement of the 60-degree CADS manifold required a maximum compression driver diameter of about 3 inches.
The new Bose EMB2 compression driver, developed specifically for the RoomMatch system, pushes the design envelop for 2-inch-diaphram compression drivers. One of the keys to this performance is the new, patented phase plug design, which allows extended mid-band response from a small-diaphragm driver, while lowering total harmonic distortion by reducing the compression ratio.
At left, Bose EMB2 compression driver; in the center is a titanium diaphragm; and at right is the patented phase plug.
Progressive Directivity Arrays
Integral to the RoomMatch system design is the ability to vary both the horizontal and vertical coverage pattern for each module in the array. Thus, narrow patterns can be selected for the far-throw positions in the array, with progressively wider patterns used for the short-throw down fill positions. This allows the radiation pattern of the array to be customized to better match the coverage area defined by the room dimensions.
Additionally, this approach uses the differences in module directivity index (DI) to help equalize the levels of far-throw and near-throw modules without drastic amplifier attenuation, which improves overall system efficiency. Bose has termed this new class of curvilinear array the Progressive Directivity Array.
Modeler Array Design Tool
To help system designers select the correct modules for optimal array performance for the target room coverage and level requirements, a new “Array Design Tool” has been added to the Bose Modeler sound system design software.
The user inputs the room dimensions and selects the desired number of modules (often based on budget requirements), and then the array tool automatically calculates the recommended array modules and maps the predicted coverage, sound level, and intelligibility of selected locations on the room model.
Modeler Array Design Tool screen capture.
PowerMatch Amplifier With Loudspeaker DSP
The Bose PowerMatch PM8500 configurable professional power amplifier is designed to provide optimal amplification and loudspeaker DSP for all configurations of RoomMatch arrays.
The PM8500 is a class-D amplifier with a unique dual-feedback loop topology that delivers 4,000 watts rated power with class-leading audio quality, efficiency, and reliability, in a 2-rack unit chassis weighing 28 pounds. The outputs may be configured to provide 8 x 500, 4 x 1,000, 2 x 2,000 watts, or mixed combinations. With recommended configurations, one PM8500 amplifier can power four RoomMatch full-range modules or two subwoofer modules.
The onboard DSP provides loudspeaker processing with presets for all Bose Professional loudspeakers. Front-panel controls allow selection of configurations and loudspeaker presets. Additional settings are accessed via the USB interface and ControlSpace Designer software, with a separate PM8500N model that includes integrated Ethernet control and monitoring functions.
The PM8500 amplifier is available separately and can be used with almost any professional loudspeaker.
Bose PowerMatch PM8500 configurable power amplifier.
RoomMatch and PowerMatch systems have already generated positive reviews from leading consultants and integrators. Significant installations for RoomMatch include the Oakland LDS Temple in California, the Evergreen Christian Community in Washington, the Telus Spark Science Centre in Calgary, the Nippon Budokan in Japan, Kinnarps Arena in Sweden, the Alexandre Dumas Theatre in France, and the SM Mall of Asia Arena in the Philippines.
Using RoomMatch modules in progressive directivity arrays, design consultants and integrators can realize systems with unprecedented sound-quality consistency from seat to seat, even in acoustically challenging rooms.
The large-format waveguides contribute to outstanding intelligibility for spoken word, while all technologies combine to provide the tonal balance and dynamic range required for concert-quality live music production. In fact, several consultants have commented that they were surprised with how little time is required for final room EQ with the RoomMatch and PowerMatch system, while providing outstanding sound quality for both spoken word and live music production.
Another advantage of the RoomMatch modular design is that it allows SPL to be scaled for differing budgets independent of vertical coverage. With conventional line arrays, the vertical coverage is narrowly confined by the number of boxes in the array.
Thus, venues that require large vertical angles for coverage (typical for main floor plus balcony seating), always require a large number of conventional line array boxes, which drives system costs beyond many budgets. With RoomMatch modules, designers can realize the required vertical angle, for example 80 degrees, by using arrays configured from two to eight modules, depending on SPL, coverage control, and budget requirements.
In summary, RoomMatch systems can provide concert-quality sound for live music production, with high intelligibility for spoken word, in fixed-installation sound systems for a wide variety of room sizes, shapes, acoustic requirements, or budgets.
In addition, leading design consultants and integrators have reported that RoomMatch progressive directivity arrays provide very consistent sound quality from seat to seat, with virtually no audible array interference seams.
More information regarding RoomMatch is provided here.
Alan B. Shirley is product line manager and Paul Fidlin is director of engineering for Bose Professional Systems Division.
Related Links on PSW:
Bose RoomMatch Facilitates Versatile System At New Iowa High School Gymnasium
Bose PowerMatch 8500/8500N Power Amplifiers Drive New System At The Villages
Bose RoomMatch Arrays Deliver Intelligibility, Music Quality At Oakland LDS Temple
Bose Offers New Accessories For ControlSpace Processor & PowerMatch Systems
Bose Expands RoomMatch Array Module Loudspeakers With Five New Coverage Patterns
Wednesday, December 19, 2012
Danley Sound Labs Names Jonathan Parker As National Sales Manager
Brings more than 25 years of sales and marketing experience to the position
Danley Sound Labs has tapped pro audio manufacturing veteran Jonathan “JP” Parker for the role of national sales manager.
Parker more than 25 years of sales and marketing experience to the position, having worked with working with pro audio manufacturers such as Bose, Crown, TOA, and Martin Audio.
Although he will focus on the domestic market with Danley, Parker’s background provides him with a global perspective.
Reporting to company president Mike Hedden, Parker will be responsible for growing domestic sales of Danley’s unique loudspeakers, subwoofers, and supporting processors and amplifiers.
“JP’s qualifications and industry experience perfectly position him to elevate Danley’s domestic sales at a time when our products are gaining critical momentum in multiple segments of the installed sound market,” explains Hedden. “Beyond his obvious talents, JP is a great guy. As an active member of his church’s praise team – JP plays keyboards and bass and also runs the sound – he’s in touch with the end user’s needs.”
“Danley is one of the few pro audio companies that not only offers unique solutions to longstanding problems,” says Parker, “but also commits itself to providing an ethical and healthy environment for all of its employees. Danley has a great product and a great story to tell. I’m excited to be part of the team and to help spread the word!” Parker will focus the Danley sales team’s efforts where they can have the most impact, and he will support those efforts with effective sales and marketing tools.
Danley Sound Labs
RCF Introduces Multi-Channel D+ Class Amplifiers
The new UP 8500 Series D+ class amplifiers are the result of continuous research carried out by RCF engineers.
RCF has debuted new multi-channel D+ class amplifiers. The new UP 8500 Series D+ class amplifiers are the result of continuous research carried out by RCF engineers.
Thanks to innovative D+ class circuitry, UP 8500 amplifiers offer high efficiency, superb audio performance and dual power supplies. This makes them suitable for emergency/evacuation system applications.
In fact, a single, lightweight 19” rack has two automatic switching power supplies (230 Vac and 48 Vdc) and one or more separate amplification circuits with a constant voltage output of 100 or 70V, galvanically isolated to connect speaker lines with no earth.
Each amplification channel includes 3 analog audio inputs, all at line level and mixing with the possibility of managing the priority of the first input over the second. The third input is always active to interface the amplifiers with monitoring systems that use continuous audio signals.
Other features that contribute to UP 8500 amplifiers being the ideal choice for “100V” applications include the option of disabling the volume controls from the front panel, remote shutdown for additional energy savings and the logic output that indicates the operating status of the internal circuits, assisted by sophisticated protections.
The series currently includes a single-channel 500 W model and two multi-channel 2 x 250 W and 4 x 125 W models, for greater versatility of use in fixed 100V installations.
Posted by Keith Clark on 12/19 at 11:50 AM
Lectrosonics ASPEN Processing Deployed At Women’s Hospital
Supports unattended operation at new conference facility
Specializing in the care of women and infants, Women’s Hospital is the premiere facility of its kind in the greater Baton Rouge area. With the recent completion of a new conference facility, the hospital now has state-of-the-art capability for handling presentations, training sessions, and related business.
Audio and video provisions are crucial to a facility of this nature and, to ensure trouble-free sound, an ASPEN Series Digital Audio Processor from Lectrosonics was incorporated into the conference center’s AV equipment arsenal.
Technical Services Group, a design/build firm that provides a wide range of contracting services in commercial broadcast radio, television, audio, video, and control systems, including total engineering management, installation, design, maintenance, and service, was contracted to design and install the new facility’s AV system. Scott Richard, System Designer for Technical Services Group, discussed the challenges of the project and his decision to equip the facility with a Lectrosonics ASPEN SPN1624 digital audio processor.
“The new conference center is very versatile,” Richard reports. “The space consists of two primary areas: one that can be divided into two smaller rooms and another larger area that can be divided into three rooms. This type of versatility meant that the projector and the distributed system must have the ability to combine and un-combine—depending upon the area’s configuration at any given time.
“One of the big concerns for the hospital was managing these areas without the support of a full-time AV technician. With that said, unattended operation was key to the success of this project.”
“The area is set up to accommodate 15 wireless microphones, with upwards of three mics in any of the five possible spaces,” Richard continued. “In addition, the AV system manages the audio program material from a stationary desktop presentation computer that resides in the conference area or from ‘visiting’ laptop computers that the various presenters may wish to patch into the system.
“All of this is coordinated via a Crestron DigitalMedia™ digital AV control system that communicates with the ASPEN processor via RS-232. With a simple touch of the Crestron’s control panel, the ASPEN 1624’s automixing capabilities adjust the room’s audio provisions automatically—making the entire process transparent to the end user.”
When queried about those features that made the Lectrosonics ASPEN SPN1624 a good fit, Richard offered the following, “Unattended operation and the ability to interface with the Crestron were key attributes,” he said. “The ability of the ASPEN SPN1624 to re-configure itself—depending upon the way the rooms are set up—is incredibly useful, as it eliminates the necessity of an AV tech or anyone else having to interface with the equipment.
“I’ve also been extremely impressed with the ASPEN processor’s ADFE (Automatic Digital Feedback Elimination) function. Since the facility opened in late summer, we haven’t received a single call regarding feedback issues. It’s been terrific.”
Richard reports that Lectrosonics customer and technical support services were yet another important consideration in the deployment of this system. “I have a long history with Lectrosonics and am always impressed with the company’s support services, which I consider the best in the AV industry,” Richard notes. “If I have any questions or concerns, I know I can contact the company and get right to the nuts and bolts of the issue without wasting time.”
The deployment of the Lectrosonics ASPEN SPN1624 digital audio processor at Women’s Hospital was initially arranged through Technical Services Group’s Vice President of Sales and Marketing, Patrick Meek, who was instrumental in securing the project for the company.
“The new conference facility at Women’s Hospital was a very important installation for our company,” says Meek. “This was a high visibility project, as the hospital provides a variety of unique services to the area. We are very proud to have been a part of this project. The AV system has now been operation for a few months and our client is very pleased. The Lectrosonics ASPEN processor is an integral part of that system and the SPN1624’s contribution to its overall performance is considerable.”