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Wednesday, February 08, 2012
Enter The PSW Sweepstakes To Win An Audio-Technica Microphone Or Headphones
Enter to win an Audio-Technica microphone or headphones in the first PSW Sweepstakes of 2012.
ProSoundWeb is giving away three Audio-Technica 50th Anniversary Limited Edition products each month in January, February and March.
Specifically, for each drawing, we’re giving away:
1st prize - AT4050/LE Multi-Pattern Condenser Microphone —Special 50th anniversary edition in silver-colored metallic finish with etched-on serial number and carefully crafted wooden carrying case —Transparent uppers/mids balanced by rich low-end qualities combine with advanced acoustic engineering for extensive performance capabilities and highest quality —Dual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the microphone —The 2-micron-thick, vapor-deposited gold diaphragms undergo a five-step aging process so that the optimum characteristics achieved remain constant over years of use —Three switchable polar patterns: omni, cardioid, figure-of-eight —Transformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transients —State-of-the-art surface-mount electronics ensure compliance with A-T’s stringent consistency and reliability standards —Switchable 80 Hz hi-pass filter and 10 dB pad —Custom shock mount provides superior isolation —Valued at $995.
2nd prize - ATM25/LE Hypercardioid Dynamic Instrument Microphone —Exclusive 50th anniversary edition in silver-colored metallic finish with serial number etched on the surface —Ideal for kick drum, toms, and other highly dynamic instruments —Handles very high SPL at close range —Big, warm low-frequency response with excellent presence —Multi-level grille and rugged construction —Offers very full sound on close-up vocals and dialogue —Corrosion-resistant contacts from gold-plated XLRM-type connector —Rugged, all-metal design and construction for years of trouble-free use —Valued at $489
3rd prize - ATH-M50s/LE Professional Studio Monitor Headphones —Special 50th anniversary edition in silver-colored metallic finish —Exceptional audio quality for professional monitoring and mixing —Collapsible design ideal for easy portability and convenient storage —Proprietary 45 mm large-aperture drivers with neodymium magnet systems —Closed-back cushioned earcup design creates an outstanding seal for maximum isolation —Adjustable padded headband for comfort during long mixing/recording sessions —Single-sided straight cable terminates to gold-plated mini-plug with screw-on 1/4-inch adapter —Valued at $209
Go here to enter the latest PSW Sweepstakes. Note that entrants are asked to register to receive the ProSoundWeb Daily e-newsletter.
QSC Audio Products has announced the addition of two new members to its professional team, with the appointments of Joe Peavey to the position of product manager, software and Steve Spittle to the position of business development manager.
Peavey will be working with the Q-Sys team to identify and define improvements and additions to Q-Sys software functionality as well as providing high-level technical support. He has a lengthy background in the installed sound market by his work with the family business, Peavey Electronics, specifically working in manufacturing, tech support and finally product manager of the MediaMatrix line of DSP products.
Since leaving Peavey Electronics in 2006, Peavey has focused on creating hardware and software solutions for various audio manufacturers and consulting services for integrators in the U.S. and Canada.
“In the many months since my first interactions with the company, QSC continually amazes me with their attention to the market, their workforce and quality,” says Peavey. “I am proud to join forces with an organization of their caliber and reputation on a product at the top of its game.”
Spittle, in his new role at business development manager, will focus on expanding opportunities for growth in the company’s integrated systems business. He was previously western U.S. sales manager at Avid, and a vice president/owner at Millar Electronics, a manufacturers’ rep firm located in the southeastern U.S.
“QSC makes great products and cares about its customers,” he says. “I’m looking forward to working with this dynamic team to continue to build on this foundation for growth.”
Spittle is located in QSC’s Costa Mesa headquarters, while Peavey is located in the company’s satellite offices in Boulder, CO.
Meyer Sound Promotes Miguel Lourtie To European Technical Services Manager
Meyer Sound has announced Miguel Lourtie as its new European technical services manager, where he will supervise the company’s technical support team in Europe and assume primary responsibility for sales support and design services in the region.
“Customer support is paramount at Meyer Sound,” says John Monitto, Meyer Sound’s director of technical support worldwide. “Our customers expect an extremely high level of technical expertise and customer service. With his outstanding technical skills, customer rapport, experience in the field, and fluency in several languages, Miguel is a great fit to lead our technical group in Europe.”
Lourtie joined Meyer Sound European technical services in 2007, and has played a vital role in supporting a number of major Meyer Sound projects across the continent, including the Mantziusgården Culture Center, Montreux Jazz Festival, and the Grimaldi Forum. He also serves as a seminar instructor as part of Meyer Sound’s extensive education program.
Prior to joining Meyer Sound, Lourtie founded Lourisom, an audio consulting and distribution business in Portugal and previously a Meyer Sound distributor.
“To ensure a seamless show, high-quality audio tools and the person driving the system are equally crucial,” says Lourtie. “The Meyer Sound tech support network has some of the best sound engineers in the industry, and I look forward to working even more closely with them to help our customers get the best out of their Meyer Sound equipment.”
Lourtie will continue to be based in Lisbon, Portugal.
ESS Audio Outfits Stadion Miejski With System Headlined By Harman Components For Euro 2012 Champ
Polish technology company ESS Audio is midway through an intensive development program that will see the completion of several world-class football stadia by the time Poland co-hosts the UEFA Euro 2012 Championship (along with Ukraine) next summer.
Earlier this year, ESS Audio commissioned an integrated Harman Pro audio components in the new PGE Arena in Gdansk, before turning its attention to Stadion Miejski in Wroclaw, the highest Category 4 Municipal Stadium in the country.
The ESS technical team engaged in a similar fast-fit installation for the rebuilding of the 42,000-capacity stadium, again sourcing most of the equipment from the Harman Pro portfolio.
ESS Audio worked within an innovative architectural concept—devised by JSK Architekci and built by German company, Max Boegl—in which the building is covered by glass fiber mesh coated with a Teflon fiber net façade. As with the successful PGE Arena design, the company used EASE predictions for system optimization, dividing the stadium stands into 14 separate zones, and assigning a zone each to the ancillary UEFA, VIP and Incentive boxes.
ESS Audio has equipped the main bowl and stands with JBL PD Series loudspeakers, with rotated horns, specifying a total of 59 PD5200/95-WRX (90 x 50 degrees) and 28 x PD5200/43-WRX (40 x 30 degrees) weatherized speakers, along with 56 PD5125-WRX weatherized subwoofers. These have mainly been mounted in clusters of five, comprising two PD5200/43-WRX, one PD5200/95-WRX and two PD5125-WRX weatherized speakers.
A further three single PD5200/95’s fire onto the field, with two single clusters playing in front of the LED screens, aiming 90 degrees down to the lower seating. Two additional clusters, comprising a pair of PD5200/95-WRX and PD5125-WRX, are set behind the LED screens for mid and high seat coverage.
With the wind factor a major area for consideration, ESS prepared custom brackets for the PD enclosures, and as a further precaution, secured each PD loudspeaker in the cluster with a steel line covered in polymer.
Powering the rig are 47 Crown CTs3000 amplifiers, fitted with PIP USP4 processor modules, and interfaced with a BSS Soundweb London DSP environment—allowing distribution over CobraNet, and for the system to be remotely controlled and monitored via Harman HiQnet System Architect.
The stadium is divided into a number of dedicated zones, including 20 VIP boxes,10 further Incentive Boxes (and UEFA boxes), a Business Club, a general esplanade / concourse, a fan shop, team zones (including indoor swimming pool) and media zone. In the UEFA, Incentive and VIP areas, a further 90 JBL Control Contractor 8128 ceiling speakers have been specified—powered by Crown CTs600 amplification.
Amp racks are stationed in the four corners of the stadium (each containing a BSS Soundweb London BLU-80 DSP), while an additional BLU-800 processor is located in the Skybox. All five processors are equipped with Input/Output cards.
Each rack also contains an automatic amp changeover (in the unlikely event of amplifier failure), an Edimax switch along with several Moxa optical-Ethernet converters/switches, making the system fully redundant. This is easily interfaced with the stadium’s voice evacuation and fire alarm system via Soundweb London.
Up in the Skybox is the technical control room where a Soundcraft GB4-16 console, a pair of JBL LSR2325P studio monitors, a rack with AKG DMS 700 wireless mic systems, various line devices (players and recorders) and Soundcraft redundant console power supply are located.
From the Skybox music is broadcast and live announcements made, with an adjacent room for evacuation procedures, complete with fireman’s switch.
The installation meets all required standards (including an STI of 0.5). ESS provided full training including use of the Skybox equipment, System Architect software and general problem solving. They will be able to log on and carry out regular health checks under strict safety rules.
According to ESS Audio project manager Witold Karalow, this stadium project has been one of the most challenging the company has undertaken.
Aside from Karalow, the ESS Audio project team in Wroclaw comprised system designer Wojciech Zielinski and BSS Soundweb programmer Konrad Fengler, with Wojciech Kopytek handling system setup and Dariusz Kuta serving as project coordinator.
Full Compass Systems Appoints Jim Ripp As Assistance Sales Manager
Full Compass Systems has named Jim Ripp as its new assistant sales manager, bringing a wide range of music industry related sales and management experience to the role.
Ripp studied at the University of Wisconsin - School of Music with a dual degree in Piano Performance and K-12 Music Education. While there, he began working at Forbes-Meagher Music Company as a sales/general manager, and also served as director of education.
In addition to handling sales and accounting functions at Forbes, Ripp managed a team of 18 and developed music training programs for youth and seniors.
In 1993, Ripp began working concurrently for Falcetti Music Co. as a store manager, sales representative and teacher, which had him managing a team of employees and teachers while gaining experience in sales, customer service and technical support.
Roxanne Wenzel, vice president of sales and marketing for Full Compass states, “Jim is a great fit for our organization. His skills and experience will greatly complement the sales management we already have in place and help us continue our double-digit growth.”
Community Delivers Sound Throughout New Salvation Army Kroc Center (Includes Video)
McDonald’s founders Ray and Joan Kroc were known for supporting a variety of charitable causes, and their legacy continues with a multi-billion dollar donation to the Salvation Army for the construction of several community centers in cities across America.
The latest Kroc Center, recently opened in North Philadelphia, is one of the largest facilities of its kind on the East Coast, with 130,000 square feet that includes a world-class aquatics center, fitness center, worship and performing arts facilities, café and culinary education center, as well as a wide range of programs for kids, adults and senior citizens.
Quality sound reinforcement was also a big part of the plan for the facility, explains Joe Zamborsky of RTS Unified Communications, which specified a selection of Community Professional Loudspeakers for the project, including R-Series, WET-Series and CLOUD6 in-ceiling systems to cover the pool areas, worship center, fitness center gymnasium and numerous other areas.
“In any major project like this one, there are a number of challenges,” says Zamborsky. Clearly, the project’s tight six-month schedule was a demanding one, as was the need to be exceptionally flexible in the face of numerous logistical challenges.
“On more than one occasion, plans had to be altered due to unforeseen surprises during the construction process. “The number one most important thing is communication,” he observes. “We maintained a daily, ongoing dialogue with everyone involved in the project, and that was key to our ability to keep things moving.”
The Community loudspeakers fit the bill on multiple levels, says Zamborsky, “particularly in the pool areas, which combined a tremendously reverberant environment with an exceptionally high humidity, the R-Series was the only choice. Not only do they look great, but they sound terrific.”
The competition pool area offered up additional challenges as well. “Aside from having to cover the pool area itself, we were tasked with creating a separate system to cover the stands, which are tucked away in their own alcove,” Zamborsky adds. “We chose the Community WET Series to cover that area, because they provided both a tight, focused coverage pattern and a high degree of intelligibility.”
Dynamics Of Product Procurement In The Commercial Electronic Systems Industry
The latest Market Intelligence Briefing (MIB) report from the National Systems Contractors Association (NSCA), Channel Trends and Issues: Dynamics of Product Procurement in the Low Voltage Commercial Electronic Systems Industry, examines the continually evolving product procurement opportunities many systems integrators face in today’s way of conducting business.
The report provides a distinct difference in the varying methods – including sales representatives to two-step distributors – and outlines the trends of purchasing, product sourcing, dealer business programs, and how systems integrators evaluate their supplier sources.
An evolving distribution channel is causing systems integrators to make decisions on product procurement, providing challenges to the traditional marketplace in the low voltage systems channel.
As businesses streamline and become more efficient, the number of brands of products carried and installed has become more specific, driving the relationships between suppliers and integrators to become an important factor of the distribution model.
The relationship between these suppliers, be it from manufacturers (nearly 50 percent of the respondents purchased gear directly from 6-25 manufacturers) or distributors, (76 percent of integrators purchase from 3-10 distributors), is becoming more important.
However, in 2007, integrators purchased an average of 38 percent of their equipment/supplies through two-step distributors, and in 2011 only 34 percent of total equipment/supplies purchased came from distributors.
Interestingly, smaller firms who procure more products from distributors cannot compete with minimum order and annual purchase requirements, allowing two-step distributors to pave a way for smaller firms to be viable and competitive.
Further, the report shows that some integrators have purchased equipment from distributors to gain advantages such as special pricing, reduced or free freight and other incentives despite having dealer relationships.
Understanding the benefits of a dealer business program are critical to the relationship regardless of which distribution model you choose. Of most importance to the integrators were product/technical training and support and “live” customer service (aka, talking to a real person).
Price also proved to be an important factor, but training and customer service remain the top two factors when determining your partners and providers in business. A strategy applied to all factors of your business from sale to installation to maintenance.
Beyond the business programs, integrators were asked to rate their favorite suppliers, and while there were similar responses, the highly rated distributors featured easy access to “people;” a warranty tied with products, technical training, support; system design assistance tied with a good return policy; and finally sales/training support.
Of least importance were incentives, mobile apps with technical data and coop advertising or “key city money” programs.
The report also shows a majority of integrators prefer field sales reps for audio equipment and for control and interface, security and life safety, telephony, racks, mounts, furniture, accessories, lighting and lighting controls equipment a more direct link to the manufacturers is preferred. Two-step distributors ranked higher in data cabling, security and life safety, telephony and other accessories.
Of other importance is the difference from 2007 to today in the ratings of both local sales reps and distributors in general. Reps in general were rated higher in 2011, and while the ratings for distributors also were higher in 2011 than in 2007, sales representative still ranked higher than distributors.
More detailed information is included in the report showing the important factors used in rating the various distribution models, dealer business programs, how suppliers are chosen and the preferences of product procurement.
NSCA’s MIB reports provide members with current data on key industry issues complete with statistical results, interpretation, implications, market knowledge and implementation goals. NSCA members can access the full report at www.nsca.org/mib.
RFvenue Releases New Long-Range UHF Antenna For Wireless Mic & IEM Systems
RFvenue has introduced the new high-gain, foldable, circularly polarized CP Beam antenna for use with wireless microphone and in-ear monitoring systems used in applications such as concert touring, location sound, audio/visual, and broadcast.
The CP Beam antenna is optimized for long-distance applications in the 470-698 MHz UHF range.
“The patent-pending CP Beam is a convenient, easy-to-use, full-size beam antenna for long-range applications that can be very quickly utilized when needed,” states RFvenue CEO Chris Regan. “Customers wanted a compact and durable high-gain antenna without the size, weight, and additional cost of hard plastic or metal designs.
“It’s great that it folds up for storage, yet is quickly deployable. There’s no need for a dedicated flight case to store the CP Beam – it fits in a two RU rack drawer when folded.”
Robert J Crowley, inventor of Crowley and Tripp microphone technology and chief of Soundwave Research, which operates RFvenue, adds, “The new RFvenue antennas all incorporate ergonomic and human factors that have been ignored in the past. RFvenue’s products make wireless systems easier to use, more dependable, and eliminate guesswork in an increasingly complex RF spectrum.
“The CP Beam is a high-gain, broad bandwidth, directional antenna that is excellent for long-range wireless mics or IEMs, as well as point-to-point RF links.”
The new CP Beam has a $499 list price. The company’s products are shipping worldwide through distributors, dealers, and a nationwide manufacturer’s rep force in the US.
Blue Announces Mikey Digital Microphone For iPod touch, iPhone, iPad
Blue Microphones announces Mikey Digital, a plug-and-play external microphone for recording stereo audio on the latest iPod touch, iPhone and iPad models using iOS audio apps or the video function.
It offers automatic and manual gain control and a multi-source auxiliary input for direct recording of guitar and other sound sources.
“Mikey Digital is the highest quality and most versatile solution for capturing professional recordings on your iOS device with most audio apps or the built-in video camera,” says John Maier, CEO of Blue Microphones. “Mikey Digital brings more than professional-quality recording to these mobile platforms, it also turns your iOS device into a studio interface for recording guitar, connecting a lavaliere mic or capturing line level audio straight to your iPod touch, iPhone or iPad.”
It includes two custom-tuned condenser capsules for capturing studio-quality audio—the same capsules used in Blue’s Snowball and Yeti USB microphones.
Mikey Digital users can switch between Automatic and Manual gain settings, allowing the automatic gain control to intelligently adjust to fluctuating volume levels or manually locking in a high or low sensitivity level.
Mikey Digital is also equipped with an LED clipping indicator that signals whenever volume levels are producing distortion, providing immediate feedback to adjust for best recording results.
Furthering its capabilities, Mikey Digital also features a multi-source 3.5mm auxiliary input jack for stereo line-in, instrument-in and mic-in. This versatile input turns it into a multifaceted professional recording interface for direct recording of other sources including guitar, handheld mics, mixers and more.
Using a built-in, high-quality mic preamp and a CD-quality A/D converter, Mikey Digital records the highest fidelity possible on the iOS platform and can handle the high SPL of loud environments. It also features a USB pass-thru connection for charging your device while in-use for continuous recording without draining battery life.
Outfitted with a 230-degree rotating head for optimal positioning, it can also capture enhanced audio while recording video by rotating the mic to align with the front- or rear- facing camera. \]
Further, it incorporates an advanced microprocessor allowing for upgradeability and future control through iOS applications. Plug-and-play, Mikey Digital directly connects to latest iPod touch, iPhone 4/S, iPad 2 and iPad and is instantly recognized for use with most audio and video applications.
Biamp Systems Promotes Key Executives With Goal Of Bolstering Growth
Biamp Systems is further developing its executive management structure through the creation of three new key positions to provide new focus on product and services innovation; global marketing and sales strategies; organizational scalability; and even more effective service to its customers.
In support of these goals, Biamp has made the following executive appointments: Graeme Harrison has been appointed to the position of executive vice president of marketing; Matt Czyzewski has been named the executive vice president of operations; and Ron Camden has been named the vice president of worldwide sales.
“Our vision for the future requires an alignment of our organization with our goals for bringing fresh thinking and innovative products and services to our customers,” states Steve Metzger, president and CEO, Biamp Systems. “I’m very excited about the changes we’re making. Graeme, Matt, and Ron all have a wealth of experience and are extremely talented people, and their promotions will have far reaching and positive consequences for our company and our customers.”
In his new role as the executive vice president of marketing, Graeme Harrison will oversee the Biamp worldwide sales, marketing communications, and product management groups. Harrison has worked for Biamp Systems for 20 years and first started as the company’s regional manager in Europe serving Europe, Middle East, Africa and India. He then transitioned to international sales manager and most recently to vice president of international sales.
Matt Czyzewski has been with Biamp for 15 years and has more than 25 years of industry experience. Czyzewski will assume the role of executive vice president of operations, moving from his previous position of vice president of business development at Biamp. Prior to his last position, Czyzewski was the vice president of engineering. His new position will oversee the technical operations at Biamp.
Ron Camden becomes the new vice president of worldwide sales. Camden has more than 25 years of experience working in AV technologies and is passionate about sharing innovations and identifying trends. For the past 17 years, he has been the vice president of North American Sales. In his new position, Camden is charged with developing global sales strategies, and leading the worldwide sales team.
Middle Atlantic And Extron Initiate New Half Rack Standard For AV Integration
Middle Atlantic Products , in conjunction with Extron Electronics, is initiating and supporting the establishment of a new standard for half-width rack systems for AV integration.
Working in cooperation with the Electronic Components Industry Association (ECIA), Extron and Middle Atlantic are seeking to establish and maintain a specific ECIA standard for what has typically been offered as a custom rack offering until now.
To further strengthen the quality and application of the standard, the two companies are inviting manufacturers of compact-format devices to join a communication and working group for this effort.
Both manufacturers have recently developed product families – the Extron Half Rack Shelf System and Middle Atlantic’s new HR Series Half Racks – which, respectively, fit within and incorporate the proposed 10 5/8-inch overall width defined in the proposed new standard.
“We are pleased to be working with device manufacturing partners to seize the initiative for establishing an ECIA standard for AV half rack systems,” states Middle Atlantic director of marketing Kevin Handerson. “Having a workable, clear standard will greatly facilitate the installation of half rack products in useful applications.”
Dave Pincek, vice president of product development for Extron Electronics, adds “Extron has long advocated the use of standard, rack-mount enclosure dimensions as a means of improving AV system designs and integration. With this proposed new standard for a compact mounting system, key AV equipment can now be more easily integrated into lecterns, columns, table legs, and similar spaces without sacrificing system functionality, thermal management, or room aesthetics.”
Device manufacturers that would like to participate in the working group should contact Mark Tracy, director of product and business development at Middle Atlantic Products, using the email address .(JavaScript must be enabled to view this email address).
Effective April 1, 2012, Yamaha Electronics Corporation, USA (YEC), which is the U.S. sales and marketing company for audiovisual products, will be merged into Yamaha’s U.S. sales and marketing subsidiary, Yamaha Corporation of America (YCA).
Both companies are located in Buena Park, California, with YEC originally established as a 100-percent-owned subsidiary of YCA in 1981.
The merger objectives include realizing maximum synergies, increasing management efficiency, principally in administrative business processes, and implementing closely coordinated sales and marketing of musical instruments and A/V products.
YEC offers home theater components and systems, featuring A/V receivers, amplifiers, Blu-ray/CD players, loudspeakers, desktop iPod speaker systems, home-theater-in-a-box (HTiB) pre-matched systems and the company’s exclusive Digital Sound Projectors single component surround sound solutions.
YCA is one of the largest subsidiaries of Yamaha Corporation, Japan and offers a full line of musical instruments and sound reinforcement products to the U.S. market. Products include acoustic and digital pianos, portable keyboards, guitars, acoustic and electronic drums, band and orchestral instruments, marching percussion products, synthesizers, professional digital and analog audio products, Steinberg recording products and Nexo commercial audio products.
Larry Italia, vice president and general manager of Yamaha Commercial Audio Systems Inc. (YCAS) subsidiary, states: ““The recent announced merger of Yamaha’s YEC and YCA groups has no organizational impact on the Yamaha Commercial Audio Systems subsidiary.
“There will no changes regarding YCAS staff, structure, distribution or policies. The Commercial Audio B-to-B markets and their channels are unique to most of YCA’s scope of business and was one of the reasons YCAS was established as a separate subsidiary. YCAS will not be distributing YEC consumer products, musical instruments, etc. as result of this merger.
“We congratulate our colleagues at YEC and YCA on their new organization and will be strongly supporting their efforts as always.”
Brigham Young University-Idaho Goes Digital With Dual DiGiCo SD7 Systems
The new BYU-Idaho Center at Brigham Young University-Idaho, is a sprawling 435,000-square-foot building that includes a 15,000-seat auditorium outfitted with two DiGiCo two SD7 digital mixing systems as well as six DiGiRacks.
The process to outfit the venue with an audio/visual system took roughly three years from conception to completion, spearheaded by senior project engineer Andrew Prager of New Jersey’s Diversified Systems with the aid of BYU-Idaho audio engineer David Mann.
As a representative of the venue and its principals, Mann’s number one design criterion for the system was overall speech intelligibility. “Because this is primarily a worship facility,” he explains, “the spoken word is the reason the facility exists and was of utmost importance to everyone involved.”
Armed with that missive, Prager identified the scope of the system and its components, which included a front end and monitor mixer, digital signal processing, amplifiers, and loudspeakers.
As for the mixer specifically, it needed enough inputs/outputs to be shared between both the front of house and monitor mix consoles. Additionally, it needed to be digital and fiber-optic based. The sale comprised the two SD7s and six DiGiRacks—one dedicated to each console at front of house and monitors, with four shared between the two.
Having a fiber optic-based system was also top priority with a majority of advantages—price notwithstanding—including latency and speed. “It’s very cost effective to run fiber,” states Mann. “Obviously, the cost benefit of fiber is much more budget-friendly, but also the amount of information you can send via fiber optics is incredible.”
“The things that come to my mind when we’re talking about digital audio traveling as light instead of through copper is that it’s faster in terms of latency,” Prager adds. “It gives us a smaller cable pathway rather than big fat copper hoses running around the place, and there is a built-in immunity to grounding problems, which can be caused from different power ground and sources.
“We have a third party digital audio transport system running MADI over Opticore—a dual ring of fiber that goes between the mixer and the DiGiCo stage racks. It’s a very robust, very redundant system and because it’s a ring there’s a connection of fiber and the signal can just come from one way or go the other. “
The consoles are being put through a rigorous pace since their installation, on events ranging from BYU-Idaho’s on-going weekly Tuesday devotional service to a small number of musical and theatrical productions.
“Both the events and the Tuesday services range in size and scope,” says Mann. “The Tuesday service, with its single talking-head presenter, also showcases a special musical number, which ranges from a soloist with piano accompaniment to a 350-voice choir with orchestra. Depending on the week, it can be very simple or very demanding. On our typical devotional, we’re running approximately 6-8 inputs; on an elaborate one, it’s more like 80.”
Perhaps one of BYU-Idaho’s most elaborate events was the “Savior of the World” production performed in March, involving an 80-piece orchestra and a 230-voice choir. The input list alone was staggering—in the high 80s—40 of which were to accommodate wireless mics.
Coming from a live sound background, Mann says the challenges of the worship environment are very much different. “When you’re working with a band and vocalists, you generally get a good strong sound coming into your console so you have something solid to work with. In a worship environment, dealing with a single speaker on stage, especially in a podium-type situation, you don’t always get a great level and so it’s a challenge to get enough signal before it starts to feedback. That’s my main challenge in this environment. I think I would rather mix a 300-voice choir and 80-piece orchestra any day over a single voice speaker.”
Counterfeit Shure Products Seized In Peru And Paraguay
Thousands of counterfeit Shure microphones were recently confiscated by customs officials in Peru and Paraguay.
The actions were the result of ongoing investigations by Shure representatives in both countries, in cooperation with local customs and law enforcement agencies.
The seized products will be destroyed under the supervision of customs agents.
In Peru, 2,303 counterfeit Shure microphones were seized by customs officials as the products were being imported into the country. The microphones included models C606, SM58, and PG58. Also confiscated were 1,594 cables and several thousand accessories, user guides, and product cartons, all branded with the Shure trademark.
The products were being imported by Fabi Export and Import, a company that is not an authorized Shure distributor or reseller.
In Paraguay, a delegation of officials from the customs authority raided a number of resellers in Ciudad del Este, including Music Shop, Music Brasil SA, and Musical World. Counterfeit products seized included SM57, SM58, Beta57A, and Beta58A microphones as well as PGX Digital Wireless components.
“Shure continues to take vigorous action against counterfeiters worldwide,” states Mark Humrichouser, general manager for the Shure Americas Business Unit. “We are committed to challenging the sale of counterfeit Shure products, not only to protect the interests of Shure and our distribution partners, but to ensure that consumers receive authentic products with the performance and quality for which Shure is famous.”
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