Tuesday, July 07, 2015
UK’s First Meyer Sound CAL Column Array System Installed At London School
St. Paul’s Girls’ School selects two new Meyer Sound CAL 64 column array loudspeakers for the Great Hall.
In the Great Hall of St. Paul’s Girls’ School in London, two new Meyer Sound CAL 64 column array loudspeakers support speech, live music performances, and video soundtracks.
Custom-colored to match the surrounding oak woodwork in the historic 1904 auditorium, the two slender columns employ precision beam-steering and -splitting technology to deliver uniform coverage across the seating areas.
CAL was selected for the venue after Ian Hawes, the school’s theatre manager, and Jonny Burns, head AV technician attended a demonstration.
“We listened to the sound quality, saw the slender profile, turned to each other and said, ‘This is exactly what we need for the Great Hall,’” recalls Hawes.
“The system is in constant use, mostly for speech but also for prerecorded playback, and occasionally for singing voices or for reinforcing a piano—something we would never have attempted with our old system,” continues Hawes. “The quality of the spoken word has also improved dramatically; voices have the natural quality of the presenter.”
Logistical and aesthetic factors in the 750-capacity hall required the loudspeakers to be mounted on the upper level, though the majority of seating is on the floor level. CAL is set up with three beam presets to handle the school’s requirements. For the top seating, the main preset has a top beam with a five-degree vertical spread and a three-degree down tilt.
For the main floor, the lower beam is a 25-degree spread with a 23-degree down tilt. A third preset is used to cover the back of the floor area as needed. Two UMS-1P subwoofers are also installed to support musical programs.
“Among the beam-steering columns out there, CAL is the only one that sounds like a true high-fidelity loudspeaker,” says system designer Chris Austin of London’s Autograph Sales & Installations. “It’s very musical, making it suitable for ‘proper’ PA applications rather than just voice.”
The Great Hall is listed as a Grade II historic structure by English Heritage and features a pipe organ from JW Walker & Sons installed in 1910.
Six-channel portable production mixer with integrated recorder captures audio for movie filmed entirely on iPhone 5s.
When veteran sound mixer Irin Strauss was tasked with capturing audio for the indie films, Tangerine, he turned to the 664 production mixer by Sound Devices.
Tangerine is a comedy-drama about a woman who searches throughout Hollywood for the pimp who broke her heart and the girl with whom he cheated.
The film was shot on two Apple iPhone5s, requiring Strauss to choose highly compact, mobile equipment in order to keep up with the film crew.
“For Tangerine, two cameramen were running around with phones, allowing us to quickly shoot in certain locations, almost undetected,” says Strauss.
“As the sound guy and the boom operator, I had the most to carry. Having the mixer and recorder in one machine proved invaluable for this project, as it was one less thing to carry.”
Armed with his Sound Devices 664, purchased from Gotham Sound, Strauss was able to keep up with the two iPhone 5 operators.
For the narrative dialogue, he put everything onto one track, with straight ISOs for everybody else, who were wired most of the time. He would also mix the boom and the wired tracks when necessary.
“We weren’t really sure how things would pan out, shooting an entire film using just iPhones, and since the pace was so fast, there wasn’t time to create sound reports, so I really had to rely on the metadata from the 664,” says Strauss. “In addition, using the 664 made monitoring each individual track very easy and convenient.”
The smart phone camera setup also included Moondog Labs’ 1.33x anamorphic adapter and the FiLMiC Pro app. In addition to his 664, Strauss used a Lectrosonics SMV wireless system for his transmitters, along with Sanken COS-11D lavaliers. He employed a Schoeps CMIT5U shotgun microphone and, occasionally, a T-powered Schoeps CMC 4U for locations with low ceilings and little head room.
“This was probably the most challenging project I have ever worked on, as it was not easy to keep up with two guys with iPhones,” says Strauss. “They would just grab their phones and start shooting. Since there weren’t any monitors, I had to make my best guess about what the shots were and how they aligned them. The 664 was really an excellent choice for this fast-paced production. It is a great piece of equipment.”
As a loyal Sound Devices user and customer since the company’s formation, Strauss adds, “from tech to customer service, the company has always been top notch; professional and a pleasure to work with.”
The 664 features six ultra-low noise, high dynamic range transformer-less preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Direct outputs for input channels 1-6 can be switched to six line inputs (7-12) for a total of 12 inputs.
The 664 records up to 16 tracks of 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, enabling the mixer to record up to 12 ISO and four mix tracks. With its dual card slots, the 664 can record WAV or MP3 content to either or both cards simultaneously, with the added ability to assign different tracks to each memory card.
The Laycock Street Community Theatre invests In d&b
Australia's National Audio Systems and Cuepoint work together to create a touring-grade system for multipurpose venue.
Approximately seventy five kilometres north of Sydney, in the city district of Gosford, is the three hundred and ninety seat Laycock Street Community Theatre.
Australia’s National Audio Systems and Cuepoint recently worked together to create a touring-grade system for the venue, complete with loudspeakers from d&b audiotechnik.
Chris King is arts and culture coordinator for Gosford City Council. “Laycock Street Community Theatre is very much the hub of the area’s performance culture.”
“As such, it hosts a very wide variety of performance genres from musicals, rock concerts, pure drama performances, comedy acts, corporate events, film presentations and various community groups, like dance schools. The goal of any new loudspeaker system was to ensure all styles of performance were suitably covered, from the loudest rock show to a subtle, fine music performance, from a large musical to the smallest play.”
“We were fortunate to receive funding through the Arts NSW, State Government Regional Capital Program which was matched by Gosford City Council,” explains King. “This allowed us to choose a system that not only met but exceeded all of our selection criteria, as well as acquiring equipment that would provide numerous benefits to us in the longer term, in comparison with some other proposed options. Guiding our decision were the many positive recommendations from other venues who had recently installed d&b systems.”
“d&b audiotechnik had the most flexible system with the best quality of sound and coverage for our venue,” acknowledges King, on why d&b was the best all round option for Laycock, providing maximum value for their investment dollars. “Another important factor in our decision was that d&b audiotechnik is also one of the few manufacturers specified at the top of most technical riders we receive for touring shows. A d&b audiotechnik installation meant we had a system that would meet all expectations and requirements of touring shows and engineers.”
The chosen system was based on the Q-Series. L/R arrays either side of the proscenium include a Qi-SUB, with the low end further supported by B2-SUBs ground stacked under each array. Extra Qi10s are rigged to provide enhanced centre vocal localisation for drama, musicals and film presentations, while several 8S loudspeakers from the xS-Series cover front fill duties. M6 monitors were chosen for onstage foldback, driven by a D6 amplifier, with the specific intention to redeploy them to the Theatre’s smaller, multi-purpose, Don Craig Room, to create an additional sound reinforcement system in this very intimate space.
Dave Jacques from National Audio Systems’ technical sales department: “Although the design and the commissioning was done by myself, Laycock Street Community Theatre engaged Cuepoint as the dealer to do the physical installation. They are one of our rental partners and provided excellent service to Laycock.”
King is in full agreement: “A big element leading to our selection of the d&b system over other proposals was the high level of attention to detail and customer service provided by both NAS and Cuepoint. Dave Jacques and NAS displayed great enthusiasm and were genuinely interested in putting a great system into our venue. Likewise Brad, Greg and Ricki from Cuepoint had a positive attitude about the challenges faced during the install and were very professional with their approach to the project and produced a high level quality of work.”
One of the main challenges faced by Cuepoint was locating a suitable rigging point for the main arrays. After consultation with Gosford City Council Engineers, a wall mounted rigging frame was custom designed and manufactured by Cuepoint to be bolted onto the double brick wall either side of the proscenium arch. As King remarks, “Great thinking outside the square! Cuepoint went above and beyond to make sure we had a safe and secure rigging solution for the arrays. They had the system installed and NAS had it commissioned well ahead of schedule and under budget.”
“The main aim of this project was to improve our services to artists, performers and audiences,” concludes King. “Previous to this installation, most touring productions needed to sub hire extra audio equipment which added extra cost and subsequent accessibility issues for budget conscious productions.”
“The first use of the new system was a touring dramatic production of Orwell’s ‘1984’ which involved a highly dynamic sound design which showcased the range of the system. Next up was a highly respected Led Zeppelin celebration concert performed by a group of top Australian musicians and singers that tested the system to its very limits. The system passed with flying colours on both occasions with many compliments received from touring technicians and engineers as well as audience members, a number of whom are regular patrons of our venue. Since then we have received many comments about the improvement in sound quality and enjoyment in the venue from both audiences and performers. There is a definite sense of ease displayed by performers when they walk on stage and see a d&b audiotechnik monitor speaker in front of them.”
Planet Service Chooses Outline For Herbalife’s Italian summit
Overcoming the significant acoustical issues inside Rome’s Palalottomatica arena for 8,000 attendees.
This year’s Italian Summit, by global nutrition and weight management company Herbalife, was held at Rome’s Palalottomatica arena and supported by loudspeakers from Outline.
The event’s AV, lighting and ground support contractor was Planet Service of San Marino, whose audio team consisted in Alessandro Saudelli (audio chief), Emanuele Vischi (sound engineer), Francesco Passeri (mic tech) and Edoardo Michelori (PA man).
Saudelli explains how the team faced the venue’s challenging acoustics and domed ceiling to provide clear audio for the 8,000 attendees.
“Our brief was for a central stage, to exploit the venue’s entire capacity. This, plus the fact that the rig couldn’t be flown, meant we had to opt for a ground support format, with consequent load limits and problems connected with audience sightlines, without overlooking the aesthetic results, since it was a convention, not a concert.”
Planet Service has worked with Herbalife since 2004 and, even if already familiar with the basic needs from a scenographic and spectacular point of view, the production bar is raised every year, so technology has to follow the same trend.
Saudelli continues, “We chose Outline Butterfly for this important event’s sound reinforcement, not only because we’re familiar with the system, but also for the enclosures’ excellent weight:performance ratio. We deployed a total of 96 Butterfly plus 16 Outline Mantas and 90% of the attendees were covered by eight clusters, each comprising twelve Butterfly and two Mantas (down-fill) and weighing approximately 450 kg (992 lb). Therefore, the audio rig loaded the ground support system with just 4.5 tons of the 10 maximum.
The tables closest to the stage, set up on the venue’s playing field, were covered by front-fill enclosures, for the distance between the lower limit of main cluster coverage and the stage (normally two or three metres, but on this occasion approximately six).
“The choice fell on Outline’s Eidos 265 LA, conceived for array use, but ideal for this situation, as their compact dimensions ensure low visual impact, but they’re extremely efficient and a perfect match for the Butterfly and Mantas speakers’ sound. We installed fifteen Eidos round the stagefront.”
Lengthy discussions were held on sub positioning and, for seating capacity reasons, it was eventually decided to position them round the stage, with 21 Outline Subtech 218 and 12 Outline Victor Live in end-fire configuration, with the rearmost sub under the stage.
Saudelli enthuses: “This was obviously a compromise, but any doubts we had vanished completely after switching on the rig and listening to the performance.”
Planet Service, founded in 1983, is the largest rental company in the Republic of San Marino and has collaborated on Herbalife events in various Italian cities and in the Czech Republic, France, Germany, Greece, Hungary, Monte Carlo, Portugal, Spain and Sweden.
The music-based cruise, which sails from November 15-19, 2015, features bands ranging from legendary to neo-progressive rock acts.
The progressive rock genre traces its roots to the early use of the Moog synthesizer, making the Foundation’s role in this year’s cruise a fitting tribute.
The five-night cruise will feature multiple stages of progressive rock music from the GRAMMY-winning rock band YES, special guest Marillion, and 25-plus bands, aboard the NCL Pearl.
A new addition to this year’s cruise itinerary is a special pre-cruise event, complimentary to all cruisers, on Saturday, November 14 in Miami (location TBA), before setting sail to crystal clear Bahamian waters, visiting Key West and Great Stirrup Cay, Bahamas. The special pre-cruise concert will feature performances from Martin Barre of Jethro Tull, Three Friends, and Lifesigns.
Cruise to the Edge supports the Foundation’s hallmark educational project, Dr. Bob’s SoundSchool, and the Foundation’s archive preservation efforts, both of which bring science, music, and innovation alive for people of all ages.
Two exciting opportunities will be available for all cruise attendees, as the Cruise will hold a raffle for a Minimoog synthesizer signed by a host of legendary progressive rock artists. Raffle tickets will be sold throughout the cruise and a winner will be drawn at the end of the journey. A one-of-a-kind silent auction, replete with instruments, audio gear, historic memorabilia, and much more, will take place on the final day of the cruise. All proceeds from the raffle and silent auction will be donated to the Bob Moog Foundation in support of its projects.
Progressive rock bands YES and Marillion will lead an all-star lineup gracing multiple stages aboard this year’s cruise, including: Anathema, Allan Holdsworth, Three Friends, PFM, Saga, Martin Barre, Caravan, Spock’s Beard, Nektar, Änglagård, Lifesigns, Bigelf,Airbag, Casey McPherson, Messenger, Dave Kerzner, Moon Safari, Barracuda Triangle, Jolly, Enchant, Thank You Scientist, Steve Rothery, Bad Dreams, AHEPJ, and hosted by UK journalist and preeminent YES expert, Jon Kirkman.
Severe constraints on the installation design and methods required an alternative to traditional loudspeakers.
The Shrine of Hussein Ibn Ali is one of the oldest holy shrines in Iraq, marking the burial site of Husayn Ibn Ali, third Imam of Shia Islam.
As part of an extensive expansion of the holy site, the 318-seat Sayed Al-Awssiya’a Auditorium recently received a substantial audio and video upgrade, including a new sound system centered on Renkus-Heinz Iconyx IC Live steerable array loudspeakers.
Baghdad-based Qurtuba Broadcasting and Communications Services (QBCS) provided full audio, video, and control systems for the auditorium, working together with Ardh Al-Quds, the main contractors on the project.
As Abdulrazzak Hummadi, CEO of QBCS explains, the site’s protected historical status proved a challenge in designing the audio system. “The architects placed severe constraints on the locations of the speakers, and the methods of installing them,” says Hummadi. “This led us to seek an alternative to traditional loudspeakers.”
After reviewing a wide range of alternatives, audio engineer Ricardo Castro suggested the Renkus-Heinz IC Live digitally steered array loudspeaker for the venue. IC Live beam steering is designed to create tightly focused beams of sound that can be accurately steered directly toward the audience, and away from walls, ceilings, and other reflective surfaces, dramatically improving intelligibility.
The slim, low profile IC Live design also made it an ideal choice for minimal visual impact. Nonetheless, says Hummadi, the system was an unknown to the customer, and had to pass the critical listening test. “Due to the fact that this was our first time working with Renkus-Heinz and Iconyx technology, we approached the decision making process very slowly and thoroughly. The support provided by the company was outstanding, and that helped make the decision that much easier.”
The audio system is comprised of left and right arrays of two IC Live ICL-FR arrays each. A pair of PN61-R compact two-way loudspeakers provides front fill.
Hummadi adds that logistical constraints also added to the challenge. “The site is fully occupied with people, 24 hours a day,” he explains. “Needless to say, this required both patience and careful planning.”
That patience and planning paid off, says Hummadi. “The first test was simply amazing. The Sound Transmission Level testing showed excellent results, with very consistent coverage throughout the entire venue.”
Hummadi concludes, “It was truly an amazing opportunity to work with these Renkus-Heinz products. Despite the many constraints we had with it being a holy site, I think we have built an effective and attractive solution.”
Soundcraft Offers Ui Series Digital Console Tutorial Videos (Video)
The videos include 10 chapters, providing an in-depth explanation of all basic and advanced features of the Ui Series consoles
Demonstrating its commitment to providing support and education for its customers, Harman’s Soundcraft has developed a brand-new series of tutorial videos for its Ui Series remote-controlled digital mixers.
The Ui Series tutorial videos include 10 chapters, providing an in-depth explanation of all basic and advanced features of the Ui Series consoles, including: getting the console out of the box, powering up and connecting devices, mixing a show and recalling desk snapshots.
The Ui Series videos also detail what’s available on the mixer, how it can be used effectively at a gig and how to harness the available power with the user interface.
The Ui Series tutorial video chapters include:
Chapter 1: Unboxing and Getting Started
Chapter 2: WiFi and Ethernet Setup
Chapter 3: Overview of Main Fader Page
Chapter 4 (Part 1): Overview of Edit Mode – 4 Band Parametric EQ
Chapter 7: Setting up Subgroups, Mute Groups, and View Groups
Chapter 8: USB Playback and Recording
Chapter 9: Shows, Snapshots and Isolates
Chapter 10: Advanced Settings
“The Ui Series is a one-of-a-kind product, with a wealth of possibilities for our customers to unlock. But we also expect that our customers will have many questions when learning to operate such a unique product,” said Sean Karpowicz, product manager, Soundcraft.
“We believe the Ui Series tutorial videos will serve as interactive and engaging user guides that all customers can enjoy and get the most out of these new consoles.”
He explained the deal. We would break down our entire recording studio and all the gear we had, load it into a moving van, and drive it to Broad River Correctional in South Carolina.
From there, we’d take over a large concrete room and bring in a dozen or so well-known Christian artists. The inmates would get a great show and we’d produce a live album to give away to supporters of the ministry. Made sense. Actually sounded like fun.
Upon arriving, we met up with the crew from Capital AV, located in the Washington, D.C. area, who provided the house and monitor systems for the concert. Nobody was excited about the acoustics or highly supervised working conditions, but we pulled it off and maintained our cheerful dispositions without episode. Three days later, we loaded the studio back up and went home to mix the project.
After a year or so of doing other things in audio, Larry reconnected me with Capital AV. Prison Fellowship had formally activated a new program to bring entertainers, ministers and former inmates into prisons across the country. They talked me into becoming a road dog and living out of a suitcase about two weeks of every month for the next four years.
During that time, I set up sound systems for about 350 events in 18 different states. Almost all of the events were held inside prison walls. Everywhere from Angola to Rikers Island. From small rural work release camps to federal prisons and death row. Some places I’d heard of and hundreds I hadn’t.
The first few events were nerve wracking until, like most things, it became a bit more routine. Imagine packing a rig for a small state fair into a van or truck. Enough gear for an audience of a thousand or so, along with up to a dozen performers.
Now, imagine hauling that gear into a major airport and moving it all though security. Ha. I wished it was that easy. There was a whole lot more to it.
First. Every single cable, adapter, loudspeaker, stand, microphone, CD, battery and marker had to be inventoried and accounted for. The list had to be checked and verified on the way in and on the way out. You don’t get to leave if anything is missing.
Second. The facilities want to review your inventory list a month before arrival. There was a situation where I was sent to a prison that had received another tech’s pack list. Not good. Spent a lot of time sorting that one out before they let me go.
Third. Most events required me to actually drive inside the prison grounds. This meant going through the “sally port” and those big gates. It meant a full inspection of me and the vehicle once inside, before the second gate opened. That process alone could take up to an hour.
Fourth. Once the gear was approved, it had to be moved to the performance area. The distance was typically a casual 15- to 20-minute walk. No problem empty-handed, but add in pushing road cases, racks and loudspeaker stacks. And 10 or more trips back and forth to the truck.
Some places allowed inmates to assist us, others didn’t. One place actually made me load in alone and push almost a half mile around the recreation field because they didn’t feel like unlocking one door.
I understood. We were a headache and a security risk. We were interrupting the routines that they depended on for security and order. Our presence threw a massive monkey wrench into their entire system. I was always very thankful when they were cooperative.
On one particular event, inside a level five prison, I met “Captain Caveman,” an officer every bit of six foot four and 300 pounds, topped by thick beard. “I don’t care what this paperwork says or who signed it,” he said with a growl, standing up to his full height. “I run this place and if you people are coming in here, you’re going to do exactly what I say or I’ll shut it down immediately.”
It was at this moment, I realized that months of planning and the efforts of almost a hundred people hung on my next words. Summoning my most eloquent and diplomatic arsenal of responses, pulled from my years of experience in production work and said the following…
“Sir, I’m as flexible as Gumby. If you want me to wear a clown nose, walk backwards and honk while I walk, that’s fine with me. We’ll do this show however you tell us to do it.”
He adjusted his belt, leaned towards me, glared for a few seconds, and then said with a snicker, “Alright. Come on in. Let’s get you some help with your stuff.” That gig ran smooth as silk.
Overall, these events were the most some of the most stressful, frustrating, and challenging shows I’ve ever worked. The constant pressure of being accountable for every minute and every piece of gear could be brutal. The venues where the shows were staged were almost uniformly awful from an audio and acoustics perspective.
It might be surprising, then, when I say that I’d do it all over again. It was great to help in providing positive encouragement to the inmates and officers, and the crews and ministry were wonderful. The bonus is that the training and experiences were invaluable to my development as a sound tech. I am forever thankful for that opportunity.
Frankfurt Opera Selects Studer Vista X Digital Console
With the new console, approximately 400 DSP channels can be processed, optionally in 48 or 96 kHz.
The Frankfurt Opera recently added a new HarmanStuder Vista X digital console for use in its opera house.
The console surface is equipped with 32 faders and is built for an extension of 10 more faders.
With the new console, approximately 400 DSP channels can be processed, optionally in 48 or 96 kHz.
The Vista X Infinity was initially installed in the recording studio of the Frankfurt Opera, where it could be set up without time constraints and in line with the needs posed by the Frankfurt Opera’s performance schedules.
This also allowed for easy transfer of show files from the Opera’s previous console to the new Vista X.
The move to the opera house completes during the theatre’s summer recess.
Peter Tobiasch, head of the Sound Department of Frankfurt Opera, said, “We were quickly impressed by the Vista X and its capabilities optimally accommodate our performance operations. Thus, we will be able to use the console both for live performances and for in-house productions in 96kHz. What we also found very accommodating was the redundancy of the Studer system, which is an absolute must for us in our live performance operations: apart from the power supplies and the system cabling, it is equipped with a completely redundant engine. This gives us the security we require as a matter of necessity during the daily performances.”
Apart from the Vista X console, a Studer Compact Remote Bay was also delivered. In addition to a large touchscreen, the Compact Remote also offers a set of rotary encoders and a total of 12 faders, allowing access to all channels and settings of the master console. When required, the Compact Remote can be positioned as an extension to the master console. In can also serve as a slave console in the hall or on stage.
In combination with the Infinity Core, the Studer Vista X offers the highest degree of performance and satisfies maximum redundancy demands. The use of the latest technologies and interfaces guarantee security of investment with regard to future expansion. These parameters are essential for demanding performance operations, such as those found at the Frankfurt Opera.
The “Städtischen Bühnen Frankfurt” (Municipal Theatres of Frankfurt) is the largest municipal theatre operation in Germany and consists of two artistic disciplines: the opera and theatrical performances.
Frankfurt Opera was awarded the prize as opera house of the year by Opernwelt magazine in 1995, 1996 and 2003. Since 1951, Frankfurt Opera has had its venue at the Willy-Brandt-Platz, the former Theaterplatz.
Symetrix Announces Further Third-Party Integration With SymNet Composer 4.0
The latest software for SymNet Edge and SymNet Radius Dante-scalable DSPs also provides support for the new ARC-3 wall panel remote.
Late last year Symetrix announced extensive new support for third-party Dante devices from Shure, Audio-Technica, Attero Tech and Stewart Audio in version 3.0 of its SymNet Composer open architecture design software.
Now Symetrix has expanded its configuration opportunities even further with the release of SymNet Composer 4.0.
With SymNet Composer, integrators can use a single piece of software to streamline their programming, network discovery and Dante signal routing of SymNet hardware and multiple third-party products.
The latest software version extends this capability to encompass Attero Tech’s newly-released unDUSB Dante interface.
“Attero Tech’s unDUSB is a very handy, driver-free 2x2 USB-to-Dante interface that will be deployed primarily for computer-based applications in conferencing systems such as Skype and Microsoft Lync,” explains Trent Wagner, senior product manager, Symetrix. “It can also assist with playback and recording on a PC, so should be very useful for the purposes of archiving meetings and recording courtroom sessions.”
Additionally, SymNet Composer 4.0 offers full support for Symetrix’ latest ARC series wall panel remote. Expected to begin shipping shortly, ARC-3 will arrive in a single SKU supporting both surface- and flush-mounting, and incorporates a brand new capacitive touch interface with LED feedback, as well as a multi-lingual graphics-capable OLED display that is expected to resonate strongly with Symetrix’ global customer base.
“The response to our efforts to increase flexibility of control options in concurrent iterations of SymNet Composer has received a very enthusiastic reaction from systems integrators worldwide – and we expect that pattern to continue with SymNet Composer 4.0,” remarks Wagner. “The ease of third party device configuration is an obvious benefit to the SI community, and we expect to be in a position to announce further integrations in the near-future.”
Sennheiser Announces New Sound Academy Date At White Light
The course is aimed at both new and existing users of wireless microphones and in-ear monitor systems.
Sennheiser announces Sound Academy is heading to White Light in Wimbledon, South West London on the 15th of July for its latest Wireless Mics and Monitoring Essentials courses.
The course, run by Sennheiser’s Andrew Lillywhite and Tim Sherratt, is aimed at both new and existing users of wireless microphones and in-ear monitor systems, including sound engineers, designer and live event professionals, students, apprentices, sales people and AV technicians who want to further their understanding of the area.
The course will provide the skills and confidence to operate multichannel wireless systems, covering acoustics and electrotechnology, wireless mics and monitoring, antenna technology, microphone technology, frequency management and wireless monitoring.
L-Acoustics Selected For The Dance Floors At Omnia In Vegas
Audiotek installs dozens of XTi and ARCS WiFo series enclosures at the largest nightclub in Las Vegas.
Omnia Nightclub at Caesars Palace Las Vegas Hotel & Casino has installed dozens of L-Acoustics loudspeakers to drive the Main Club dance floor and set the mood in the intimate Heart of Omnia VIP lounge.
Audiotek of Dublin, Ireland supervised the technical design and installation of the audio, video and lighting systems throughout the Hakkasan Group’s new 75,000-square-foot venue.
L-Acoustics was selected to supply the loudspeaker systems at Omnia following extensive demos for the client, including one of the club’s in-house DJs, Afrojack, at the manufacturer’s facilities in Oxnard, California, Marcoussis, on the outskirts of Paris, and in London.
The audio systems design team included Audiotek’s owner and managing director, Frank Murray, sound engineer Chris Kmiec, technical director Len Bolger and project logistics director Mags Morton, together with James Algate, Hakkasan Group’s VP of music. Kmiec, who was also on-site project technical manager, collaborated closely with Dan Orton, L-Acoustics’ application engineer for the UK and Ireland, during the design process.
“Having been associated with Hakkasan Group and its companies for nearly 20 years, we’ve been involved in a number of their landmark venues worldwide, including Godskitchen, Code, Home and, more recently, Hakkasan in Las Vegas,” says Murray. “We have always tried to outdo and outperform our previous designs with each new adventure, and Omnia has certainly been our most ambitious project to date.
“Continually striving to be at the cutting edge of the technologies within our disciplines, when it comes to audio, this means embracing and specifying the most innovative products regardless of their origin, complexity or cost. For Omnia, the world’s premier dance club, that solution was L-Acoustics, and we are delighted to say that we have achieved a result far beyond our greatest expectations. The L-Acoustics kit deliver a sublime performance night after night, and the uniform reaction of clubbers, performers and management has been overwhelmingly positive. It was a pleasure to deal with everyone at L-Acoustics; their attention to detail and drive to achieve the best possible result is truly commendable.”
In the Main Club, a quad arrangement of 12 ARCS II constant curvature speakers is focused on the dance floor, which is directly below a 65-foot-tall domed ceiling and TAIT-designed ten-ton “chandelier” of kinetic lighting and projection. Low-end is handled by a dozen SB28 dual-18-inch subwoofers, most of which are clustered together for greater coupling and positioned below the stage. On stage, two stacks, each comprising three Kara(i) WST line source modules and two SB18i subs, deliver foldback to the DJs.
Twenty-six passive 12XTi coaxial speaker cabinets provide mezzanine and under-balcony fill, and are delayed back to the main dance floor in order to provide uninterrupted, even coverage throughout the massive space, which can accommodate 3,500 patrons. Six ARCS Wide constant curvature speakers and four SB18i single-18-inch subs provide additional fill, also timed back to the main system, at the club’s rear bar area. Nine LA8 and eight LA4 amplified controllers drive the entire main club system.
In the Heart of Omnia ultra-lounge—one of three spaces within the venue, the third being The Terrace rooftop overlooking the Strip—the main system comprises four ARCS Focus and four ARCS Wide loudspeakers with six SB18i subs. Additional 12XTi passive coaxial speakers plus six SB15m high-power, compact single-15-inch subs handle in-fill in the lounge, which offers a hip-hop focus to the 1,000-capacity VIP crowd. Monitoring at the DJ booth includes 115XT HiQ coaxial loudspeakers and an SB18i subwoofer. The system is powered by four LA8 and five LA4 amplified controllers.
Rockwell Group, headquartered in New York City, handled architectural design for Omnia, which doubled the floor area of PURE, which it replaced, enabling the venue to stake its claim as the largest nightclub in Las Vegas. The opening weekend at Omnia featured performances by DJ Irie, Martin Garrix, DJ Ruckus, Questlove and Chuckie in addition to Calvin Harris, as well as Justin Bieber’s twenty-first birthday celebrations.
Founder And President Of Auralex Acoustics To Give Lecture At Summer NAMM
Eric Smith to speak on home and projects studio acoustics for TEC Tracks.
Eric Smith, founder and president of Auralex Acoustics will give a special lecture at The Summer NAMM Show in Nashville, at the convention’s TEC Tracks.
The hour-long lecture, on the subject of Home and Project Studio Acoustics, will take place at 4:00 p.m., Friday, July 10, at the TEC Tracks exhibit space, Booth 354.
From the project studio to mobile situations to recording in your bedroom, there are now a variety of portable, cost-effective acoustical treatment options that let you reconfigure and tune your space quickly and easily.
Eric Smith, CEO of Auralex, will present these solutions, along with easy-to-understand advice about how to control the most common acoustical issues facing the recordist and musician.
Bundle consists of RedNet 1 or 2, RedNet PCIe card, Sonnet Echo Express SE I Thunderbolt chassis and for a limited time an Ethernet switch.
Focusrite is offering RedNet product bundles for Native users providing turnkey workflow solutions.
Each RedNet Native Bundle consists of either a RedNet 1 eight channel A-D/D-A interface or a RedNet 2 sixteen-channel A-D/D-A interface; a RedNet PCIe card; Red 2 & Red 3 AAX-compatible plug ins; Sonnet Echo Express SE I Thunderbolt chassis; and, for a limited time, an Ethernet switch (a $750 value).
The RedNet 1 bundle, also known as the RedNet Native 8x8 Analog I/O System, adds conversion to users’ DAW, whether they use Cubase, Nuendo, Logic or Pro Tools software, for Mac or PC.
Featuring a Sonnet Thunderbolt Chasis and Cisco Ethernet switch, this package includes everything you need to get started. Just add computer and DAW software.
With dynamic range of 119dB and low distortion, RedNet PCIe provides true analog-round-trip latency of just 2.0ms at 96kHz, allowing cue-mixes to be set up in the DAW software rather than a separate cue mix application.
RedNet 1 offers eight channels of analog inputs and eight channels of analog ouputs on two rear-panel DB-25 connectors. The included Cat 6 cable, which carries audio, control and clocking signals, is used to connect RedNet 1 to the Ethernet switch. Front panel signal indicators provide level-checking capability of all eight input and eight output channels.
Once connected with RedNet 1, RedNet PCIe and your computer, the Ethernet switch will have five spare ports, allowing additional I/O to be added in future. When more I/O is needed, the extra interface is simply plugged in with a single Cat 6 cable, allowing the full 128 I/O channel count of RedNet PCIe to be realized. Alternatively, add additional computers with Dante Virtual Soundcard or additional RedNet PCIe interfaces, allowing a multi-DAW studio to be created.
Finally, the included Sonnet Echo Express SE I Thunderbolt chassis allows you to use RedNet PCIe with any Thunderbolt-equipped Mac. Just insert the card, plug-in to your computer and build your own Dante network equipped production environment.
Software available upon registration:
· Focusrite Red 2 & Red 3 Plug in Suite
· Dante Virtual Soundcard
The RedNet 2 bundle, also known as the RedNet Native 16x16 Analog I/O System, has all the same benefits as the RedNet 1 bundle with an additional eight channels.
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