Thursday, August 13, 2015
Beijing’s Oriental Media Centre Selects Allen & Heath GLD Digital Console
The new skyscraper is home to the M Theatre, designed to host residents’ conferences, events, live performances and banquets.
Allen & Heath’s GLD digital system has been installed in the theatre of the new Oriental Media Centre building in Beijing, China.
Located in the heart of the CBD business district, the new skyscraper provides office space for the city’s media companies, and the building’s M Theatre is designed to host residents’ conferences, events, live performances and banquets.
The Theatre’s seats can be fully retracted and the stage is expandable, enabling various configurations to be used for different events.
Sanecore supplied and installed a comprehensive audio system to meet the varied application needs of the venue.
At the heart of the sound system is a GLD-80 mixer with accompanying AR2412 positioned on stage, plus a Symetrix SymNet Solus 8 is employed as the audio processor.
“GLD not only features an intuitive control interface but also powerful processing. The ability to connect a stage rack via Cat5 brings enormous convenience for users. Moreover, I am so impressed by the sound. I have to say, never in my career have I ever heard a sound like this. It is just amazing,” says Mr. Du, sound engineer at M Theatre. “M Theatre’s owners are very satisfied with the outstanding sound of the system and speak highly of its reliability.”
Allen & Heath
SenovvA Upgrades Caesar’s Vista Lounge To Martin Audio
"Immersion concept" Las Vegas club outfitted with DD12 and C8.1T loudspeakers matched with PSX compact powered subwoofers.
Caesar’s Palace recently upgraded several of its lounges and bars including what is now the new Vista Lounge, a unique immersion experience featuring the latest in video technology along with Martin Audio loudspeakers.
SenovvA of Los Angeles, San Francisco, New York and Toronto, a design and management group specializing in the entertainment, special event, architectural-construction and media services industries, was tasked with the design and integration of this one of a kind multimedia project.
Bill Sage, SenovvA account executive for the project, explains, “We worked with the Rockwell Architectural Group in New York and Bergman Walls and Associates in Las Vegas. They came up with this immersion concept for the Vista Lounge that makes you feel like you’re at the top of a skyscraper looking out of the windows down at panoramic skylines of cities like Dubai, New York and Beijing through the use of 4K UHD videos in the windows and LED panels in the lounge’s ceiling.
“We had to come up with the video and audio elements to make their vision and intent work,” Sage adds. “We started with 32 NEC monitors projecting the programmed city views from a Watchout video media server that synchronizes and runs the video to all of the different displays with Crestron processing and control.
“The videos overlook various cities with real time effects like day to night, building office lights, airplanes, clouds and rain striking and running down the windows. The lounge can also load in content for branded environments and special events when a sponsor wants to buy out the bar. We also put 55 Oracle 8mm LED panels in the center of the lounge ceiling with special glass and effects that are synced to the window content to simulate a large skylight.”
Choosing a sound system to complement the video scheme was easy for Sage and Curtis Kelly, Lead for SenovvA’s Systems Design Group, given they share over 20 years of experience with Martin Audio in both the live sound and installation markets.
“Vista is supposed to be a relaxed, low-key alternative to some of the more over the top clubs at Caesar’s,” says Sage. “There’s a DJ who plays what I’d call chill-out music that doesn’t overwhelm the patrons with sound and reinforces the romantic mood. The client wanted an Ultra-Lounge system with high quality sound they could feel, which added up to Martin Audio for us because Curtis and I knew it would give them everything they wanted and more.
“We mounted five Martin Audio DD12s high up on the walls at angles facing the bar which provide real smooth coverage for the room because of the Differential Dispersion technology in the boxes. There are also two DD12 compact powered subwoofers, one buried under the DJ booth and one on the other side of the room which worked out well because we didn’t have space for amps in the rack room and the built-in processing warms up the sound without overpowering the room. We also installed 8 Martin Audio C8.1T ceiling speakers for additional fill and to supplement the system when playing low-key background music. A BSS BLU-80 Audio DSP system provides additional processing.”
In addition to Sage and Kelly, crew for the installation included project manager Coty Shipe, video server programmer Andy Kulhavy and Crestron programmer Micheal Block.
Asked about the client’s response to the installation, Sage confirms, “They really love the Martin Audio system. Vista Lounge is a nice counterpoint to some of the other clubs at Caesar’s because the videos really take you to other places and the sound is subtle but fantastic.”
AES Los Angeles Section To Present Kevin Gross On AES67 Protocol
August 25th meeting to discuss "AES67: An open standard for digital audio networking interoperability and convergence"
For its upcoming August 25 monthly meeting, the Audio Engineering Society Los Angeles Section AES LA Meeting presenter Kevin Gross will spotlight the practical applications of digital audio networking for a broad spectrum of communities, from music recording and touring sound to permanent installations, broadcast, film and TV facilities.
Presented by Kevin Gross, current chairman of the AES Technical Committee on Networked Audio Systems, the meeting will provide an overview of emerging trends during the past 30 years, covering operating principles and capabilities of various Ethernet-based protocols ranging from Cirrus Logic’s CobraNet through Audio Video Bridging (AVB) to the new AES67 protocol.
Last October’s AES Convention in Los Angeles saw the launch of the Media Networking Alliance, which was set up to promote adoption of the non-proprietary AES67-2013 networking standard. An open audio-over-IP interoperability protocol that uses a Layer-3 protocol suite based on existing standards, AES67 is designed to enable interoperability between various IP-based networking formats, such as Audinate Dante, Ravenna, Telos Alliance Livewire and QSC Audio Q-LAN.
AES67-2013 (formerly known by its project name, AES-X192) was created to address the interoperable operation of different high-performance networked audio transport systems for live-sound reinforcement, broadcast and fixed installations. AES67 provides interoperability recommendations in the areas of synchronization, media-clock identification, network transport, encoding and streaming, session description and connection management. The network performance to meet these requirements is available on local-area networks and achievable on enterprise-scale networks.
Looking towards the future, Kevin Gross will focus on the ways in which users can create enhanced interoperability between systems and devices using the non-proprietary, low-latency AES67-2013 standard over Ethernet. The meeting will also look at how the concepts used for audio networking are being extended to carry video, and how network convergence is being applied to unify all manner of communications onto a single network infrastructure.
“Quality of service is essential for any real-time networking scheme, including AES67,” Gross states. “Any standard needs to provide guaranteed delivery of packets of digital audio over a properly configured network. AES67 provides reliable multichannel connections with very low latency, and can be implemented as an interoperability mode on existing devices, in addition to the device’s native protocol.”
Kevin Gross is an independent consultant to AV equipment manufacturers and systems designers. As an AES Fellow, he is a recognized expert at the intersection of real-time media and networking. Kevin has worked in multiple standards bodies, including IEEE where he participated in AVB development; where he has authored several requests for comment; and the Audio Engineering Society, where he led the group that produced the AES67 standard. Kevin conceived and developed CobraNet, helped build the first configurable audio DSP system, and developed early DAW products.
MEETING DATE: Tuesday, August 25, 2015.
PLACE: The Sportsmen’s Lodge, 12825 Ventura at Coldwater Canyon, Studio City.
TIME: Social 6:30 PM, Dinner 7:00 PM, Meeting 8:00 PM.
Participants should check with the LA Section Treasurer regarding dinner costs.
Audio Engineering Society Los Angeles Section
Field Mixer Sharon Frye Relies On Sound Devices
The Sound Devices 664, offering both mixing and recording capabilities, was the only recorder Frye used during filming Bad Girls Club.
Field Mixer Sharon Frye spends the bulk of her time working on such reality television projects as MTV’s The Real World and, most recently, Oxygen’s Bad Girls Club.
To get the job done, Frye relies on a Sound Devices 664 Field Production Mixer for capturing substantial amounts of audio generated by the 24/7 productions
Bad Girls Club follows the antics of seven girls living together under one roof, day and night, which requires a round-the-clock shooting schedule.
Frye works in one of six camera teams, each of which includes a producer, camera person with a PA, along with an AC and audio mixer.
Since the show tapes 24/7, each camera team typically works a 10-hour shift, with overlapping periods where one crew is setting up and the other is closing down. This ensures the complete capture of all footage.
The Sound Devices 664, offering both mixing and recording capabilities, was the only recorder Frye used during filming, which is a unique scenario in sound production.
“With certain reality television shows, you’re going to record through the mixer, but you’re also going to record to a bigger system,” she says. “That wasn’t the case with Bad Girls Club. Due to the show’s filming environment, having the 664 act as a mixer and recorder in my rig really came in handy on set.”
Several features of the 664 helped Frye meet the pressure of having to rely on only one dedicated audio source. For example, she has noticed that in reality-style productions, the producers want to equip increasing amounts of people with microphones. More mics make for a higher track count.
The 664, with its I/O flexibility can record 16 tracks of broadcast-quality audio to SD or CompactFlash memory cards. Add to it, the CL-6 input control expansion accessory, and the mixer gains six more dedicated, rotary faders with PFL switches plus LED metering and illuminated transport controls. These features along with professional quality sound are why the 664 combined with the CL-6 has become Frye’s go-to choice for high-track-count recording.
“As the mixer, it’s my job to provide clean and usable audio,” explains Frye.
“However, in applications when the camera is the only recordable source, I have to depend on the operator’s deduction of the situation to tell me whether my audio is clean, since I can’t listen to it directly. Now, with the 664 as my mixer and recorder, I know that if the on-camera audio isn’t being adequately captured, I have the clean ISO tracks directly on my mixer.”
Frye also found the 664’s mixing and recording capabilities helpful for balancing a scene, especially when capturing a certain triangle of the cast. This can be tricky, as she must be close enough to the cast to capture audio, while also being out of range of the camera. Now she can worry less about being in the shot and concentrate on capturing the cast members’ audio.
Another feature Frye finds beneficial is the customer-driven design of all Sound Devices’ gear. This offers greater reliability and confidence whenever she has to look away from her rig.
“There are a lot of things that Sound Devices does to make the gear incredibly intuitive for a sound mixer,” she explains. “One of the biggest challenges when you’re mixing in the field, especially when there are a lot of things happening in a given scene or shoot, is that you cannot look down at your mixer, so it’s imperative that it has an easy-to-use layout.”
“Another great feature of the interface is the readability of the screen, especially since we spend a lot of time in nightclubs and bars for the reality-style capture of these shows. Knowing that I can see the interface in the dark, and really any lighting scenario, truly makes a difference in the usability of the product.”
In addition to her reality TV work, Frye has used other Sound Devices’ equipment on past projects, such as the 788T digital recorder to capture behind-the-scenes audio for Season 25: Oprah Behind the Scenes. She has also utilized the Sound Devices 633 compact mixer/recorder as a playback source for an upcoming feature-length documentary called Mavis! on Mavis Staples of The Staple Singers.
Wednesday, August 12, 2015
Yamaha Announces TF Mixer Firmware Updates And New Mac Capabilities
The update adds eight languages to the HELP screens, streamlines the TF Editor for Windows and Mac platforms and more.
Yamaha announces the release of new Firmware V1.12 updates and enhancements for the TF series of digital mixers.
Yamaha also streamlined the TF Editor V1.12 app for Windows and—for the first time—Mac platforms.
The Firmware update from V1.10 to V1.12 adds eight languages to the HELP screens and modifies some of the Presets. It also improves the user experience and the functionality of the TF mixers.
The TF Editor update from V1.10 to V1.12 adds a Zoom function to the Window menu and modifies several Presets.
The TF series, which offers intuitive operation, advanced features and Yamaha reliability to an even wider range of users, now features three dedicated apps–TF Editor, TF StageMixand MonitorMix–that enhance the interaction with the user interfaces and extend the console’s capabilities on any device.
RF Venue Supports Public Theater’s Shakespeare In The Park
Spotlight antenna and Optix fiber-optic remote antenna system address the RF difficulties in Central Park’s 1,800-seat outdoor Delacorte Theater.
The Public Theater’s Free Shakespeare in the Park series has been a storied New York City tradition since 1952, offering free and open access to outdoor productions and features world-class talent with Broadway caliber production and audiovisual design.
Matthew Bell, assistant audio supervisor at The Public Theater, uses two RF Venue products, the Spotlight antenna and Optix fiber-optic remote antenna system, to address and simplify the RF difficulties in Central Park’s 1,800-seat outdoor Delacorte Theater.
The venue has been home to the Free Shakespeare series since 1962, offering creative possibilities to directors, actors, and scenic designers that no other New York City theater can match, while presenting unique challenges to technical production designers, including audio.
“We have to load an entire Broadway quality sound system into a natural park,” says Bell. “There is no pre-existing rigging of any sort. There are raccoons, birds, and rain, and all those have to be taken into consideration.”says Bell.
The Public Theater’s outdoor Shakespeare productions are technically complex, using wireless for every speaking role. Cymbeline involves more than 40 channels of Sennheiser 3532 and Sennheiser 2000 series, along with Shure IEMs, two matrixed intercom main-stations, and three Telex BTR–800s. Audio equipment rental and frequency coordination is provided by Masque Sound.
Though wireless is of utmost importance, the unique, intimate nature of Cymbeline’s set design paired with the Delacorte’s unconventional upstage area –an expanse of open water named Turtle Pond – makes minuscule wireless audio signals vanish into the trees.
“There is no bounce to the room or anything to reflect RF back onto our actors and antennas, like you would have in a traditional theater,” continues Bell.
“We used two RF Spotlight’s to get our antennas physically closer to our actors. Since they’re low profile, we built them into our set pieces and under the deck, and our antennas are 120 feet closer than we would have otherwise been able to get them.”
The Spotlight’s thin 7mm disc allowed The Public Theater to mount both transmit and receive antennas for some of their UHF equipment directly underneath the actors, maximizing signal-to-noise ratio.
Underneath the stage, the antennas are connected to two Optix RFoF systems which, in lieu of coaxial cable, send signals for mics and IEMs to and from the rack via 1310nm fiber optic cable.
“This park is so big and all our cable runs are so long that we want to get our signal loss down to as little as possible,” says Bell. “We went with the Optix because 2.5 dB of loss is a whole lot better than the 10–12 dB we would get with coax.”
“We have a lot of challenges in New York, and a lot of challenges that you only find in Central Park,” Bell concludes. “These two solutions have allowed us to pick up only the transmitted signals on the stage, as opposed to getting all the extraneous noise around the city.”
Production credits for Cymbeline include direction by Daniel Sullivan, scenic design by Riccardo Hernandez, costume design by David Zinn, lighting design by David Lander, sound design by Acme Sound Partners, hair and wig design by Charles G. LaPointe, and original music by Tom Kitt.
Flexible Performers: Medium Format Line Arrays
These days I’m surprised when I go to a concert or a performing arts center and don’t see line arrays flown at the sides of the stage, often complemented with digital audio networking, remote system control and monitoring, and real-time audio monitoring of the array’s response in the house.
These sleek systems have come a long way from the huge piles of cabinets and horns that I remember from the mid-1960s when I first started going to shows.
Line arrays can provide many benefits, including more even audience coverage in terms of frequency response and SPL, control of vertical dispersion well into the lower midrange, improved sight lines, and ease of setup.
They’re designed to be flown and taken down quickly, often in “blocks” of individual modules, and to be flexibly adjustable to different curvatures – and a more limited quantity of modules can even be ground-stacked. This flexibility can be particularly useful in venues where arrays need to be adjusted regularly to accommodate different types of acts.
Line arrays vary in how amplification and signal processing are implemented, with many being self-powered and requiring only a line-level signal for each cabinet. The electronics in such systems are highly integrated into the overall design, and built for reliability – since they are typically inaccessible during the performance. Other manufacturers choose to provide dedicated external processors and amplifiers matched to the requirements of the transducers and enclosure design, or recommend particular third-party processors and amps.
Smaller-format line arrays, versus enclosures with 12-inch or 15-inch LF drivers, allow wider splay angles within the array elements, while still maintaining consistent coverage. This characteristic can be useful for covering smaller venues that have multiple levels, and can also help work around architectural structures like the edges of balconies. To help sound engineers achieve the most consistent results, many manufacturers complement their systems with predictive software that will calculate the expected performance of particular line arrays at differing splay angles and output levels, across a variety of frequency ranges and array lengths.
The definition of which characteristics makes a line array medium-format, as opposed to small- or large-format, is somewhat arbitrary. Is it how wide or high each element is, how much it weighs, how many components each houses, the diameter of the components, or how loud it gets? For this overview, we’ve based the selection on the size of the largest LF driver within the array, considering those with 8-inch to 10-inch cones to be medium-format.
Even within the medium-format category, there’s a lot of variety. Among the represented brands and models, the horizontal coverage angle varies from 80 degrees to 150 degrees from a single array column, with most ranging between 100 to 120 degrees. Some manufacturers offer cabinets with the same “footprint” with differing horizontal coverage, allowing the user to better “customize” coverage for a particular venue. Enclosure width varies from a bit over 23 inches to over 30 inches, and weight for each cabinet ranges from a bit over 30 pounds to over 100 pounds. Many are self-powered, and others have dedicated external processing and amplification.
Most of these systems use a pair of cones to cover the lowest frequencies, and often will roll off the upper frequencies of one LF driver while allowing the other to cover the midrange. HF is covered by a compression driver, or occasionally a ribbon driver, with pattern control via a horn or waveguide with a narrow vertical coverage angle. Thus a 3-way system is effectively created, with the coupling of the two cones effectively creating a larger LF radiating surface.
The medium-format line arrays presented in this Real World Gear tour of recent models is not meant to be all-inclusive, yet covers a variety of manufacturers and design concepts based around LF components in the 8-inch to 10-inch range.
Take our Real World Gear Photo Gallery Tour of the latest medium-format line arrays.
Gary Parks is a pro audio writer who has worked in the industry for more than 25 years, holding marketing and management positions with several leading manufacturers.
Access Audio Steps Up To VUE Audiotechnik
Cincinnati-based company will feature VUE's full range of al-Class products, as its leading loudspeaker brand.
VUE Audiotechnik announces that Access Audio, a full-service production company based in Cincinnati has joined its growing U.S. rental network.
Access Audio specializes in professional audio, lighting, video and consulting for entertainment, corporate and worship events.
The company will feature VUE’s full range of al-Class products, as its leading loudspeaker brand.
The first purchase includes al-8 High Output Line Array System, al-4 Subcompact Line Array System and al-8SB Flyable Subwoofers, all paired with V-Series System Engines.
“We are proud to partner with VUE Audiotechnik,” says Ethan Pagliaro, president of Access Audio.
“VUE’s team of well-known industry professionals - Ken Berger, Mike Adams and Jim Sides - makes the company stand out in the industry. With this team behind the VUE products, we know we are going to have the highest quality sound possible at any event or venue.”
Chris Knueven, director of operations at Access Audio, comments, “VUE’s products support Dante, and was an important factor in the purchase. We’re using Yamaha CL5 consoles, so to be able to put the amplifiers and ultimately the entire VUE PA on the Dante network is a major benefit for us. We also like the way the al-8 and the al-4 models work together; the rig can be set up as one big PA or two separate systems, which offers us great flexibility for our events.” Pagliaro agrees, “VUE loudspeakers provide crisp, clear sound, with a very smooth transition from box-to-box.”
“We were truly impressed with the technology and the easy accessibility of the VUE team,” Pagliaro adds. “We couldn’t be happier with the service. We saw strong customer support behind the products, which we loved, and when you’re a smaller company like us, that’s hard to come by.”
Midas Releases New PRO1 And PRO2 Console Firmware
The G3.2.1 update brings with it a number of benefits including a spectrum analyzer and loudspeaker processor
Midas announce PRO1 and PRO2 digital console version G3.2.1 firmware is now available, and fully available to the public.
This update brings a whole host of new features, and a series of updates for a more satisfying user experience.
Complete with built in DSP and MIDAS mic preamps, both PRO consoles are lightweight and versatile.
The G3.2.1 update replaces G2.5.3, and brings with it a number of benefits.
For example, in VCA/POP group user mode, users can now reorder channels within a group, and there is now a spectrum analyzer and loudspeaker processor built in.
The DL231 MIDI ports are now active, and a new effects automation ‘safe button’ is in place (in GUI). Users can now easily connect second ports to DL151/DL153 devices, and turn off bulkhead fans with auto on for temperature-sensitive diagnostic purposes.
“Enhancing the user experience is – and always will be, our number one goal,” stated Music Group’s Pete Sadler, AVP, software.
“Our new version G3.2.1 firmware gives the audio engineer a powerful new set of tools, and provides a significant enhancement to the application’s already spectacular feature set – and this is just the beginning.”
To view all the new features and operational enhancements in the G3.2.1 firmware release or to download free of charge, please visit the Midas website.
Korea’s KBS Chooses Riedel For 2015 Gwangju Summer Universiade
Riedel solutions enabled transport of HD video, data, and intercom signals for the world's second-largest multi-sport competition.
Host broadcaster Korean Broadcasting System (KBS) employed Riedel Communications equipment to produce the international feed for the 2015 Gwangju Summer Universiade in South Korea, the world’s second-largest multi-sport competition.
The Riedel solution enabled flexible and reliable transport of HD video, data, and intercom signals throughout the competition, which extended from July 3-14.
“The Universiade is unique in showcasing the passion of the world’s youth for sport, as well as their skill and competitive spirit, and it was essential that we provide a host broadcast feed that would capture the atmosphere at the games,” said Yong Suk Cho, general manager of the OB Team at KBS.
“True to its reputation for performance and reliability, the Riedel equipment played a central role in our production of this dynamic international event.”
Organized by the International University Sports Federation (FISU), the Universiade was created as a combination of “university” and “Olympiad.”
Serving as both an international sporting and cultural festival, the Universiade is staged every two years in a different city around the world, representing both winter and summer competitions.
For the 2015 competition in Gwangju, Riedel supplied a MediorNet Compact real-time media network comprising four frames; an Artist digital matrix intercom system including keypanels and beltpacks; a Performer digital partyline system with headsets; and the company’s RiFace universal radio interface and more than a dozen radios.
In addition to supporting the flexible and simultaneous transport of multiple HD feeds, along with GigE and communications, between the OB compound and aquatics venue, the complete and fully redundant solution from Riedel ensured communication among production staff using both wired and radio systems. The Artist system was used by KBS in a typical International Broadcast Centre (IBC) setup, with ports serving all aspects of the IBC — from incoming feeds to QC, transmission, and operations.
“We are proud to play a role in supporting the world’s most prestigious sports competitions and in bringing compelling broadcasts of these events to worldwide audiences,” said Marc Schneider, director of global events at Riedel Communications.
“The deployment of our MediorNet, Artist, Performer, and RiFace systems for the 2015 Gwangju Summer Universiade again demonstrates the value our integrated communications and signal-transport solutions bring to live-event production and broadcast applications.”
Posted by House Editor on 08/12 at 07:17 AM
JRB Associates Appointed To Represent Grundorf Corporation
Territories include Indiana, Kentucky, Michigan, Ohio, Tennessee, West Virginia, and Western Pennsylvania.
Grundorf Corporation, parent company of loudspeaker manufacturer Grund Audio Design, announces the addition of Amelia, Ohio-based JRB Associates to its expanding list of sales representatives.
JRB Associates will represent Grundorf Corporation throughout the territories of Indiana, Kentucky, Michigan, Ohio, Tennessee, West Virginia, and Western Pennsylvania; effective July, 2015.
JRB Associates represents a number of audio and video equipment manufacturers and is well entrenched in the AV installation and professional audio market segments—making them particularly well suited to represent the types of products manufactured by Grundorf Corporation.
JRB Associates is committed to offering superior customer-engaged experiences that drive long-term loyalty and deliver sustained growth.
Joe Baumgartner, JRB Associates’ principal, commented on the company’s new relationship with Grundorf Corporation, “Grundorf Corporation is a highly regarded company with a diversified product portfolio that spans the music, professional audio, and AV installation markets. These are the very markets our company has focused on and served for several years, so I believe we are a great fit. I look forward to a long and mutually beneficial business partnership between our two companies.”
Frank Grund, president of Grundorf Corporation, shares Baumgartner’s enthusiasm.
“I am very pleased to welcome the team at JRB Associates aboard,” says Grund. “JRB Associates has a well-deserved reputation in our industry and I’m confident that, together, we can do great work. All of us at Grundorf welcome the JRB Associates team.”
Posted by House Editor on 08/12 at 07:04 AM
CAD Audio Now Shipping StagePass IEM System
Featuring 16-channel UHF frequency agile performance for connectivity in crowded RF environments and stereo operation.
CAD Audio is shipping its StagePass IEM stereo wireless in-ear-monitor system.
The StagePass IEM Series system features 16-channel UHF frequency agile performance for connectivity in crowded RF environments.
Stereo operation enables discrete signals to be transmitted to the right or left channels for enhanced monitoring capability.
Featuring CAD MEB2 TruPitch balanced armature monitor earbuds with EasyFit silicon molds for a custom fit, the system ensures greater isolation from stage bleed.
A Dynamic Range of greater than 101dB immediately sets the StagePass IEM apart from competitive systems.
CADLock Automatic Tone Code Squelch eliminates unauthorized interference in RF-unfriendly environments.
Other professional features include a shielded metal chassis transmitter, durable carry case, rack ears and an antenna relocation kit.
—Frequency: Q Band 470 498MHz
—Audio Frequency Response: 40Hz – 16KHz
—Dynamic Range: >101dB
—Audio Output Power: 100mw into 32Ohm
—Transmit power: 30mW
—AA Batteries with > 10hrs battery life
—Pricing—MSRP: $459 MAP: $349
Posted by House Editor on 08/12 at 06:56 AM
Tuesday, August 11, 2015
UW-Stout’s Johnson Fieldhouse Outfitted With Tannoy VQ System
Audio Architects design and install new system for the University of Wisconsin-Stout with VQNET 100 loudspeakers.
Constructed in 1964, UW-Stout’s Johnson Fieldhouse has undergone numerous updates over time – the most recent, a new audio system that depends almost exclusively on self-powered Tannoy VQNET loudspeakers for reinforcement of speech and music.
As the home of UW-Stout’s men’s and women’s basketball, gymnastics and volleyball teams, the arena is primarily used for athletics, but it’s also the site of the campus’ annual commencement ceremonies and required an audio system to provide high intelligibility.
“The old system was installed roughly 25-years ago,” says Lori Anda, director, recreation and sports complexes at UW-Stout, “but it wasn’t efficient for events that weren’t athletics. The speaker cluster was above the center of the court so during games it hit the spectators, but at commencement, people said they couldn’t hear very well, so they needed to be updated to accommodate all our events.”
Designed and installed by Wisconsin–based AV firm, Audio Architects, the new system includes ten Tannoy VQNET 100 loudspeakers, which fit the needs of the facility in all respects: for output, intelligibility and aesthetics, says Audio Architects’ senior sales engineer/lead digital signal processor programmer, Andy Pierson.
“They provide extremely high directivity and in reverberant environments like this it’s all about control. Also, with the sensitivity of the VQNET 100s, you’re getting the fundamental vocal range within the horn-loaded portion of the box, supplemented by some low of the low range from its dual 12-inch drivers.”
The Tannoy loudspeakers are flown from the ceiling above the arena’s beams to keep them from accidentally coming into play during ball games and to keep them out of sight when aesthetics are a factor. Two pairs of VQNET 100s cover the main bleacher sections on either side of the gymnasium. Another two provide coverage for the court itself. During commencement, those are augmented by four more VQNET 100s, two of which cover each end of the room.
“The time zero point is right where the podium microphone is set up for commencement; the same place they make courtside announcements from,” Pierson explains. “The loudspeakers for the bleachers behind the announcer and the loudspeakers covering the court aren’t time-delayed, but those covering the other side and each end are time-aligned and work very well for both commencement and games.”
“We really like powered speakers for large fieldhouses,” he continues. “It makes servicing easier, frees up real estate in key areas and limits the need for long cable runs. In rooms like this, typical runs can be 200-feet long and result in a lot of loss. Also, because of the VNET software, you get precise control and can monitor the loudspeakers remotely. With a powered box, you know the manufacturer’s design provides the right amount of power for all the drivers, which makes them a really good fit for this environment.”
The main system also includes two preexisting third-party dual 15-inch subs, Biamp Tesira DSP and a rolling equipment rack that can be connected to an external mixer and/or used in conjunction with any of a number of CAT-5 receptacles installed in the arena to expand the venue’s flexibility. “For instance, if they need microphones for a reader or choir during commencement,” Pierson adds.
For Pierson, the job involved both audio and video upgrades to the venue; just one of many projects Audio Architects have undertaken at UW-Stout over time, including the February 2015 installation of a smaller Tannoy system in the Johnson Fieldhouse weight room. That system is comprised of four Tannoy DVS 8 surface mount loudspeakers chosen for their high output and the amount of low frequency energy they provide when mounted in each corner of the room.
In every case, one of the key factors taken into consideration in the design of audio systems for UW-Stout – beyond intelligibility and flexibility – is ease of use, which the Johnson Fieldhouse system provides with individual, automated settings for commencement, game days and practice sessions.
“So when people want to listen to music while they shoot hoops, they’re not blasting everyone else out of the building,” Anda says. Most importantly, the Tannoy VQNET 100s provide a substantial improvement in sound. “Audio Architects met our needs very well. The system works perfectly. Budget permitting, I’d put these loudspeakers into the other venues at Stout as well.”
Extron Introduces New SMP 351 Streaming Media Processors
New SMP 351 Streaming Media Processors offer 400 GB of internal solid state storage to accomodate more AV content.
Extron Electronics introduces two new models to the popular SMP 351 Streaming Media Processor lineup.
These new models offer 400 GB of internal solid state storage to accomodate more AV content.
All SMP 351 models feature five inputs, creating presentations by combining two high resolution signals, a background image, and metadata into layouts that enhance a presentation’s message.
Extron’s FlexOS embedded operating system makes the SMP 351 adaptable to changing requirements. Applications can be uploaded to FlexOS that empower the SMP 351 to automate system operation using control ports.
“We increased the internal solid state storage to support our customers that record content in very high quality or who record a large volume of material,” says Casey Hall, vice president of sales and marketing for Extron.
“These new models offer five times the internal storage, enhancing recording workflow flexibility, and giving customers more time before transferring content off the processor.”
Requiring no license fees, the SMP 351 is a flexible, cost-effective media processor for delivering dynamic presentations to larger audiences. It is for any environment where AV sources can be streamed live or recorded, and where multiple AV sources are combined to enhance a presentation. Organizations use the SMP 351 to communicate with staff or students who cannot be present at an event, affording all the opportunity to review and gain insight into the live experience. It can be adapted to many applications, documenting virtually any meeting, conference, or activity that uses AV sources. The SMP 351 is ideal for use in corporate, education, government, healthcare, courtroom, house of worship, and rental and staging applications.
Keynote Speaker Mark Waldrep To Address Hi-Res Audio At ALMA Symposium & Expo 2016
Discussing the realities of the high-resolution audio/music push and helping to peel back the curtain on this emerging audio initiative
ALMA International has announced that Dr. Mark Waldrep will deliver the keynote address—entitiled “Hi-Res Audio: A Bridge To Build Or A Bridge Too Far?”—at the ALMA International Symposium & Expo 2016 on Sunday evening, January 3, 2016, at the Tuscany Suites & Casino in Las Vegas.
Waldrep will be discussing the realities of the high-resolution audio/music push by the music trade organizations and labels, helping to peel back the curtain on this emerging audio initiative.
Specific points to be addressed include:
—What’s the truth behind “hi-res transfers” and how are they different than new high-resolution productions?
—Why are there two “hi-res” logos, each with its own set of specifications and requirements?
—Are the 19 million CD rips offered on PonoMusic really capable of delivering the “soul of music”?
—What does it really take to move fidelity to the next level?
Waldrep founded AIX Media Group (AMG) in 1989 and currently operates AMG, AIX Records and iTrax.com. He has more than 35 years of business and production experience in the world of digital multimedia and the application of technology in the entertainment and recording industries.
In 1994, Waldrep was experimenting with technologies and interactive designs that could integrate the record business with the emerging multimedia industry, formulating the idea to place music videos, interviews, liner notes, and web connectivity on a standard audio CD that resulted in the birth of the “i-Trax enhanced CD” format.
His trademark “i-Trax” appeared on dozens of ECDs released during the early 1990s, including the first ECD from a major label (Rhythm of the Pride Lands/Walt Disney Records), the largest-selling (The Rolling Stones “Stripped/Virgin Records), and the first to have an Internet connection (David Bowie & Bing Crosby “Little Drummer Boy/Oglio Records).
AIX Records, the first interactive record company, was founded in 1994 and has released almost 100 albums. In 2000, AIX Records embraced the DVD-Audio format and adopted high-resolution as the recording standard for their releases on DVD and Blu-ray. In 2010, AIX released the first of their two-dozen productions with both HD-Audio and HD-Video on Blu-ray and in August of that year released the world’s first 3D Music Album.
Waldrep is a frequent keynote speaker, presenter and conference panelist at events around the world, presenting keynote addresses at the 2015 Newport Audio Show, 2010 Latin America AES Conference in Bogota, Columbia, the 2009 InterBEE Show in Tokyo, Japan and the 2010 CEA/AXPONA Show in New York City. He’s currently writing “Music and Audio: A Guide to Better Sound,” which will explain recent developments in music production, fidelity, and new modes of distribution, to be published in the summer of 2016 (more information here).