Wednesday, September 25, 2013
Line 6 Announces POD HD ProX Guitar Multi-Effects Processor/Studio Interface
New rack-mount guitar processor features more DSP power, giving guitarists greater creative flexibility in the studio
Line 6, Inc. today introduced the new POD HD Pro X guitar multi-effects processor and studio interface, replacing the popular POD HD Pro.
Like the recently released POD HD500X, POD HD Pro X features more DSP processing power than before, giving musicians even greater flexibility for creating complex signal paths and unique, intricate tones.
“POD HD Pro X makes the latest POD available in a rack-mountable form factor,” said Max Gutnik, Vice President of Products, Line 6. “With a world-class collection of amps and effects, plus more DSP power than ever, POD HD Pro X represents the ultimate creative studio tool for guitar players.”
POD HD Pro X features the same award-winning collection of HD amps as its predecessor. From vintage classics to modern powerhouses, each HD amp delivers incredible sonic depth, character and touch nuance. More than 100 studio and stomp effects allow guitarists to re-create classic signal chains or discover completely new sounds.
Featuring unmatched flexibility and greater processing power than any other guitar interface, POD Pro X is designed for tone exploration.
Dynamic DSP gives guitarists the freedom to decide which effects to use, and where to place them in the signal chain. They can now add even more effects than before, opening up all-new tonal possibilities.
With a wide variety of analog and digital connections, POD HD Pro X is ideal as a studio interface. Guitarists can record vocals or acoustic instruments, track with their favorite HD amps, use the stereo FX loop to connect stompboxes and outboard effects, and much more.
A USB connection provides multi-channel, studio-quality recording with popular digital audio workstations.
POD HD Pro X is the perfect foundation for any guitar system, and integrates seamlessly with a James Tyler Variax guitar and DT amp or StageSource speaker to form the Line 6 Dream Rig—the only system that can be virtually any rig.
Posted by Julie Clark on 09/25 at 10:44 AM
D.A.S. Audio Manufacturers 10,000 Aero 12A System
D.A.S. Audio has announced that the company manufactured the 10,000th unit of its successful Aero 12A powered line array systems in July.
D.A.S. Audio has announced that the company manufactured the 10,000th unit of its successful Aero 12A powered line array systems in July.
The powerful D.A.S. Aero Series 2 range of line array systems is the result of the company’s continuous effort and work developing successive generations of Aero Series line array systems over the past 10 years.
The versatility of the D.A.S. Aero 12A systems has led to their use in a range of concerts staged by major stars, including world-renowned artists George Benson, Justin Bieber, Alan Parsons, Guns N’ Roses and Simple Minds.
The systems have also become regulars at festivals around the world: Ultra Music Festival in the U.S., FIB and Arenal Sound in Spain, Eristoff in India or Gods of Metal in Italy, to name a few.
The Aero 12A´s have also been on hand to ensure superb sound at a variety of non-musical events on an international scale, like the F1 European GP and Barack Obama’s campaign in the United States.
In addition to live sound applications, the Aero 12As are equally ideal for permanent installs. The Aero 12A´s have been installed in theaters, concert halls, clubs and arenas worldwide, including the Paradise Theater and Stage 48 Club in the U.S., the Broendby Hallen Arena in Denmark and the Buesa Arena in Spain.
Tuesday, September 24, 2013
San Diego Opera Covers Ground With Clear-Com
The San Diego Opera is expanding its production communication coverage area with the help of Clear-Com's wireless intercom system.
The San Diego Opera is expanding its production communication coverage area with the help of Clear-Com’s wireless intercom system.
As part of a system upgrade, the opera has installed six Tempest®2400 Digital Wireless Intercoms with the new Seamless Roaming capability.
The four-channel wireless systems not only support more wireless BeltStation users and deliver the most intercom options, but they also provide the crew and management department with interference-free communications across multiple productions spaces.
One of the leading opera companies in the United States, the San Diego Opera puts out four operatic productions a season, in addition to concerts and other special events.
Wireless intercoms are essential for the crew members since the systems permit untethered movement and communication during productions.
Because of the limited coverage area offered by the production team’s former wireless intercom, they sought new wireless intercoms that would cover the far-reaching areas of the building and a nearby plaza often used for VIP receptions.
In addition, the production team wanted to avoid the issue of interference with their new wireless intercom because wireless systems from local TV stations were already competing for the same frequency spectrum as the opera’s existing equipment.
Already familiar with Clear-Com’s intercom solutions and their capabilities, the San Diego Opera decided to employ Clear-Com products for its latest upgrade.
Six Tempest BaseStations were connected via ZSync (Zero Synchronization) technology to give the staff Seamless Roaming in every production area.
Tempest’s Seamless Roaming feature lets the crew members conveniently travel throughout the performance facility and stay connected without having to change the settings on their BeltStation.
Operating in the 2.4 GHz band, the Tempest2400 systems also resolved the opera’s challenge of wireless interference in the UHF spectrum.
Tempest’s Frequency Hopping Spread Spectrum (FHSS) technology ensured that the system does not compete with signals from other 2.4 GHz wireless devices as well. This minimized frequency coordination and enabled the system to have flawless wireless performance.
“I had television stations intruding directly upon my wireless equipment and so much of it was not working the way it should due to the interference,” says Bill Scott, Audio/Visual Technician for the San Diego Opera. “Clear-Com seems to be first out of the gate to address this, having come up with a very good product to solve all of those problems.
“We know that the 2.4 GHz operating spectrum of the Tempest2400 system along with its advanced RF technology is going to secure our communications now and for the foreseeable future, so it was worth the investment.”
FHSS, along with proprietary algorithms and timing synchronization mechanisms, allows the Tempest BaseStation to support more full-duplex BeltStations in a single RF space than other systems. As a result, the opera is able to have more full-duplex BeltStation users than previously possible.
Approximately 40 people at the San Diego Opera use the Tempest systems and the Clear-Com analog partyline that is integrated with the Tempest for a basic opera production.
Crew members handling set changes and other items on the stage utilize the Tempest system, along with personnel in the dressing room, the trap room and a rehearsal hall, which is separated by some distance from the stage area.
On the wired system is the center stage manager, along with those manning spotlights in the upper balcony and staff in the venue’s offices.
Having four-channels of communication on Tempest is another asset since this gives the staff the option of communicating within a single channel or talking/listening to more than one channel at a time.
Other advantages of the Tempest are that crew members can change the volume of each channel and their program feed from their BeltStation. The entire configuration of the Tempest system can easily be adjusted via the system’s associated T-Desk software to fit the opera’s varying productions.
“My goal with the new intercom system was to expand the loop of communication so that everyone who was critically attached to the production is connected,” says John David Peters, Production Carpenter and Technical Director for the San Diego Opera. “We are learning to take advantage of the multichannel capability of the Tempest system, which we are finding particularly useful when teching a show.
“In the past, we had one channel on our wireless system, with 19 or 20 people on that one channel, so there was a lot of cross talk. Being able to assign separate work groups to different channel has really streamlined communications.
“The other thing that I think is really remarkable about the system is how there is absolutely no noise.”
Posted by Julie Clark on 09/24 at 01:49 PM
Amadeus Releases ML 28 Subwoofer
Uniquely designed, powerful new subwoofer with dual 18-inch speakers now available in European and Asian markets
France-based Amadeus has announced that their highly-anticipated ML 28 subwoofer is now shipping and available through dealers in Europe and Asia.
The ML 28 subwoofer was premiered at the 2013 Musikmesse Prolight + Sound Frankfurt Expo. The new subwoofer, fitted with dual 18-inch speakers, combines a set of unique acoustical properties with high-timbral precision and extraordinary power handling capability.
The ML 28 system is designed for use with conventional loudspeakers as well as line array systems manufactured by Amadeus, including the company’s PMX, UDX and DIVA Series, and includes standard presets that are compatible with all well-known digital crossovers.
Pricing on the new ML 28 subwoofer for Europe is € 3999.00 (VAT excluded).
One of the innovations for the new Amadeus ML 28 subwoofer is the proprietary internal reinforcement structure designed to neutralize any standing waves and to suppress energy loss caused by vibrations.
This unique construction technique creates an unmatched tonal accuracy for low frequencies, even at high sound pressure levels. Engineers at Amadeus worked to compute these detailed and important internal physical characteristics, then built prototypes and tested them, then refined the structure until their sonic expectations were met.
Initially designed for the Chinese market, Gaetan BYK, Marketing Manager at Amadeus, describes the genesis of the ML 28.
“The Amadeus brand philosophy is built on the long-standing, close and productive relationships we maintain with our customers, both in France and around the world for over 35 years,” he explains. “The custom-made products manufacturing, following acoustical or technical issues as well as market demands, is a glorious tradition at Amadeus, which serves this philosophy.
“Originally designed for the Chinese market, the new ML 28 is the concrete expression of this ethos.”
Wymen WONG, CEO of Sign King Limited, which was appointed exclusive distributor of Amadeus brand in Hong Kong, Macau and Mainland China, adds: “The rapidly growing professional A/V equipment market aimed at rental companies and entertainment infrastructures in China, including sporting and leisure sites, live music clubs, performing arts centers and various nightlife venues, required us to propose more and more sophisticated, consistent and efficient technical solutions.
“We needed to provide our customers with a dual 18-inch speaker subwoofer, combining unmatched sonic properties, cutting-edge technology with hand-craftsmanship to make it unique. Charmed by the Amadeus history, values and savoir-faire and maintaining very close relationships with their teams, it seemed natural to ask them to develop this new subwoofer project for our market, which is going to be successful.”
As a dual speaker enclosure, the ML 28 is equipped with two 18-inch (46 cm) high-power transducers with ventilated voice coils, including high-density neodymium magnets and Double Silicon Spider (DSS) to improve excursion control and linearity.
The two drivers are positioned in direct-radiating mode. The ML 28 is also equipped with low-velocity laminar ports using progressive termination, which optimize the air streams to limit the effects of port compression and extremity diffraction. The ML 28 offers an extraordinary sound pressure level of up to 141 dB with a power handling capacity of 5.600 W at nominal 4-ohm impedance.
Revealing a proprietary manufacturing technique, applied to ML 28, Bernard BYK, co-founder of Amadeus and CEO of Atelier 33, the parent company of the Amadeus brand, explains: “This unique construction technique, resulting from a unique marriage of traditional craftsmanship and advanced technology, creates, among other things, a dramatic cut in the level of cabinet coloration of the sound using a longitudinal and transverse reinforcement crossed structure.
“It is partly inspired by the internal technicality of our custom studio monitoring systems, which result from processes borrowed from the aircraft industry and in particular the construction of the airplane wings.”
Michel DELUC, lead designer at Amadeus, adds more detail about this construction method, “It has been designed to neutralize the standing waves affecting both the sonic clarity and definition of the lowest frequencies. We achieve this through an extremely complex internal reinforcement structure, using a combination of interlocking panels arranged in two perpendicular planes, each hosting several tuned notch resonators.”
Designed to be used on the road for live events fitted with accessories to make its handling easier, the ML 28 subwoofer can also be used within fixed or long-lasting installations for amazing low-end audio reinforcement.
The subwoofer is available in a highly wear resistant black (water-soluble) paint finish, but is also available in several standard colors. Or the ML 28 can be ordered in a ‘made to measure’ finish, based on registered or non-registered colors and/or materials. To offer more possibilities, the cabinet and the acoustical fabric covering the front grill can each have a different color.
GLP Impression X4S Tours With Chris Isaak
GLP Impression X4L utilized on Chris Izaak tour.
Having used GLP’s impression X4 LED heads in the design of Fleetwood Mac’s current touring set, production designer Paul ‘Arlo’ Guthrie has turned to 16 of the small impression X4S for the current theatre (and festival) shows by veteran rock singer, Chris Isaak.
These are mounted on five vertical pipes — four on the center bar and three each on the others.
With economy at the forefront of his thinking, Guthrie sensed that the new X4S fixtures could not only be rigged quickly, within their own touring structures, but at the same time pack a lot of punch.
“We haven’t done a ‘beamy’ show for Chris in a while so I wanted something that was adaptable to the range of venues we were playing, and would provide us with options,” he admits. “I also wanted a physically smaller light to fit with the scale of the show.”
The venues themselves have varied considerably — from 1,000-capacity wineries through to 10,000-seat amphitheaters; hence the need for scalability.
The impression X4S combines power (from 7 x 15W RGBW programmable LED’s), flexibility, and practicality in a small, compact design and can be programmed with custom and multiple pattern effects.
Offering homogenized color mixing across a wide color spectrum it boasts full Zoom flexibility (from a tight 7° to a wide 50°) and weighs in at less than 12 lbs.
Arlo admits that the combination of size, great color rendering and zoom range had been the prime reasons for specifying the fixtures, which were tasked with providing aerial beam effects and texturing.
The stage set itself incorporates a burning piano, a woven backdrop and some LED riser surrounds.
Says the LD, who has been working with the artist for the past 13 years, “Each year I get together with Chris and draw [ideas] on napkins, tablecloths and hotel stationery. He is a great artist and we always have fun collaborating on ideas. We try and keep the lighting tasteful and theatrical.”
His views are shared by the tour’s programmer and board operator Jared Trinnaman, who describes the X4S as being an easy fixture to work with.
“All the features are laid out within the DMX channels in a way that make sense. Features are easy to access and use, and they are right where you expect them to be.
“The fixture responds instantly to the console commands and there is no noticeable lag in response. On top of that, the pan and tilt speeds are fantastic on the X4S — not only are they fast, but the movements are fluid.”
Like Arlo, he is also a major advocate of the brightness and color referencing.
“The range is great,” notes Jared. “It hits the saturated colors, pastels, various color temperatures — and the white LED really cuts through.
“I am constantly finding new ways to build on the show, which revolves entirely around the impressions, and gain a better understanding of the range of colors it is capable of.”
Furthermore the heads have run entirely trouble free. “These are stout little fixtures and I would gladly use the X4S again — in all kinds of situations,” appraises Jared.
But the final word goes to Paul Guthrie: “The impression X4S works on so many levels,” he says. “I have been particularly impressed by the zoom function, the high brightness, superior optics, pixel feature, speed of response, compact size and general reliability.”
Posted by Julie Clark on 09/24 at 12:51 PM
Monday, September 23, 2013
JBL VTX Network Continues To Build Momentum In France
JBL VTX continues to build support in France.
The arrival of system and sound engineer Laurent Delenclos at French Harman Professional distributor SCV Audio not only boosted the company’s technical support, but provided added reassurance to the growing network of JBL VTX users.
Although Delenclos is supporting all the represented Harman Professional brands, his primary focus has been on spreading the word about VTX via demos and at the SCV Audio facility outside Paris.
Following the VTX system’s French debut in September 2012 at the summer festival, Foire en Scène in Chalons en Champagne, three companies—Pan Pot, Echo Animation and Audio Scène—have made substantial investments in the platform, and Delenclos believes this is just the beginning.
“All three companies that have bought into VTX technology are delighted with their purchases and the benefits that this system brings,” Delenclos confirmed.
As an existing JBL VERTEC user, Audio Scène (based in north-central France) was the first to commit, consolidating its rental fleet with 12 VTX V25, six G28 subs and four Crown VRack 2 complete touring amplifier racks.
Also based in the north, Echo Animation boosted its inventory with 12 V25, six S28 and four VRack 2 systems, while across in the French Alps, Pan Pot purchased 18 VTX V25, twelve G28 subs and six VRack 4 in a complete overhaul of its existing rental fleet.
Since all companies specialize in the event and concert market, this provides JBL with a growing network of partners.
“Without this new generation of speakers, the breakthrough would have been much more difficult to achieve,” Delenclos said. “I joined SCV with the idea of overturning old preconceptions about JBL. In France, the mere fact of having a good PA system is not enough—users also want to work with competent partners, with complete support of the distributor—and I remain available for that.
“The system is very easy to troubleshoot.”
Technical training is of paramount importance, he insists. “It is the first implementation of the system, and I support this personally—carrying out duties such as hosting seminars and demos, as well as checking JBL Line Array Calculator (LAC) simulations for installations and supporting dialogue between the users — in other words acting as a link between them and JBL.”
Delenclos says the addition of Crown VRacks has also been particularly welcome.
“This standardization of amplification and DSP is a real plus for the VTX system,” he said. “The Crown I-Tech HD amps are powerful and reliable and they are fitted with an exemplary DSP resource. In addition, JBL HiQnet Performance Manager software is an extremely flexible tool that facilitates the implementation of VTX and VRack systems.”
A number of high profile one-off events have already benefited from the power of VTX. These include Les Nuits de Frejus, Festival d’Hyères, Les Arènes de Frejus, Festival Amnésique and Jazzaramatuelle (all with Pan Pot), Jazz in Marciac (Antoine Crespin /SCV Audio) and of course Foire en Scène 2012 et 2013 (SCV Audio).
Delenclos says is more than happy with the penetration of the French rental market to date, but added, “We will not be resting on our laurels and I will be continuing to work hard to promote VTX.”
Friday, September 20, 2013
Meyer Sound LEO Powers Metallica’s First Shows In China
The core flown LEO system comprised main front hangs of 18-each LEO-M line array loudspeakers, 32 1100-LFC low-frequency control elements deployed in dual steerable arrays, and a Galileo Callisto loudspeaker management system featuring four Galileo Callisto 616 array processors and one Galileo 616 AES processor.
For the band’s first-ever performances in China, heavy metal legends Metallica delivered two packed shows at Shanghai’s Mercedes-Benz Arena.
A Meyer Sound Sound LEO linear large-scale sound reinforcement system was deployed by Ling Hua ProSLV.
“I was immediately struck by the linearity of the LEO system, even when it was pushed to very high levels,” says Freddy Kot, chief engineer for Ling Hua ProSLV. “Even with sustained readings of over 112 dB at FOH, there was no distortion. And of course, the audience was just ecstatic with what they heard.”
The system configuration for the show was handled by “Big Mick” Hughes, Metallica’s long-time FOH engineer, with assistance from consultant “dB Dave” Dennison. The core flown LEO system comprised main front hangs of 18-each LEO-M line array loudspeakers, 32 1100-LFC low-frequency control elements deployed in dual steerable arrays, and a Galileo Callisto loudspeaker management system featuring four Galileo Callisto 616 array processors and one Galileo 616 AES processor.
“The mix position was placed quite a long way from the stage so as to avoid taking up good audience seats,” says Hughes. “This wasn’t really problematic as the main LEO system easily threw that far. The crowd was great and sang along to a lot of the songs, despite the language barrier.”
Rounding out FOH reinforcement were dual side hangs of 14-each MILO line array loudspeakers, six MICA line array loudspeakers for down fill, six MILO loudspeakers for front and lower corner fill, and 18 floor-stacked 700-HP subwoofers.
On stage, 20 Meyer Sound monitors were placed around the band’s two-level platform, with twin hangs of five-each MICA loudspeakers for side fill.
Hughes mixed behind a Midas XL8 console, while monitor engineer Bob Cowan and monitor assist Adam Correia manned Midas PRO9 and PRO2 boards. On stage, Metallica’s vocals were captured by Shure Super 55 Deluxe Vocal Microphones.
DELEC Presents New oratis compact Intercom
DELEC, intercom and commentary systems experts within the SALZBRENNER STAGETEC MEDIAGROUP, has introduced the oratis compact intercom unit.
DELEC, intercom and commentary systems experts within the SALZBRENNER STAGETEC MEDIAGROUP, has introduced the oratis compact intercom unit.
The DELEC oratis compact series currently includes two different sized matrix frames.
The smaller MF1212 provides connectivity for 12 subscriber units plus 12 additional four-wire connections. The larger MF1624 version provides an audio matrix with ports for 16 subscriber units and 24 four-wire connections.
“These two variants cover a large number of small-scale intercom applications. The units are suitable not only for compact TV-production installations but theatre staff will surely welcome this user-friendly and well-priced solution,” says DELEC sales engineer Jürgen Malleck
“However, our new range should not be regarded just as a stand-alone system. It can also be combined with our modular oratis series and used, for example, as an extension unit to a large oratis system.”
As is usual with DELEC systems, the oratis compact acts as a fully summing audio matrix to which the various oratis series subscriber units can be connected.
For this purpose, it is equipped with 12 (MF1212) or 16 (MF1624) AES/EBU ports which are connected via RJ-45 connectors and CAT5 cabling to the subscriber units or they can be used as digital four-wire connections.
12 or 24 additional analogue ports are used to set up analogue four-wire links. When connected in this way, the oratis compact is a fully-fledged stand-alone system.
Using a DELEC connection to Gigabit Ethernet, they can also be networked with other DELEC components, which enables them to be used as an extension to a large oratis installation.
The oratis compact can also be equipped with an optional Audinate Brooklyn module which provides additional connectivity options using Dante. This opens up a huge range of possibilities for other applications, such as IP-based integration into large audio networks.
The oratis compact has a minimal footprint with maximum packing density. The processor, the DSP module and the optional Dante module are hosted in a 1U 19” rack enclosure. Thanks to its compactness, the oratis compact is the ideal broadcast companion.
oratis compact configuration is undertaken using the control software which can be installed on any standard PC. The computer is used here solely for setting up the system and is not required during normal operation. The oratis compact is connected via an Ethernet link. The system also includes a built-in redundant power supply integrated into the unit.
“Versatility is a clear advantage of our new oratis compact,” Malleck concludes. “It serves both as an introductory product for straightforward installations and as a remote interface node within a campus-wide system – including the option of IP networking.”
Posted by Julie Clark on 09/20 at 11:48 AM
Thursday, September 19, 2013
Enrique Iglesias FOH Engineer Tim Holder Does It All With Metric Halo
In recent years, Holder's Metric Halo ULN-8 interface, together with Metric Halo’s SpectraFoo, ChannelStrip, Character, and HaloVerb software, have raised the bar, giving Iglesias a huge, warm, well-defined sound.
Tim Holder, FOH engineer, has defined the live sound of Enrique Iglesias for over thirteen years.
In addition to his regular stints with Iglesias, which take him around the world, Holder is a Clair Brothers employee of fourteen years and is currently doing “weekend warrior” work with Blake Shelton as a system engineer.
Part of what defines his approach to live sound is an endless effort to improve sound quality.
In recent years, Holder’s Metric Halo ULN-8 interface, together with Metric Halo’s SpectraFoo, ChannelStrip, Character, and HaloVerb software, have raised the bar, giving Iglesias a huge, warm, well-defined sound.
“In addition to forming the heart of my home studio, I use my ULN-8 in a unique way,” he explained. “The live digital console that we use has a lot of great things going for it but I’m not totally happy the way the stereo bus sums nor the overall quality of the converters.
“To work around these issues I send stems to my ULN-8 via AES and sum them in Metric Halo’s MIO Console. That gives me the ULN-8’s superior summing and bypasses the converters in the console’s FOH rack.”
He uses the ULN-8 as the clock source, which gives him the ability to drive the sound system via analog or AES.
A huge part of what Holder loves about his job is that he gets to fully engage his creative side. He enjoys the new challenges that arise on a daily basis and finding creative solutions to them.
Nevertheless, he acknowledges – even embraces – the fact that his creative work is underpinned by a solid science.
“We often use local PA systems, so tuning the system is a big part of my job,” he said. “I walk into a new challenge every day.”
For over a decade, SpectraFoo has been Holder’s sound analysis software of choice, in part because its interface is so intuitive and useful and in part because it integrates beautifully with his Mac and the ULN-8.
Holder time aligns a PA system using SpectraFoo in combination with Metric Halo plug-ins to delay, equalize, and filter as appropriate via MIO Console.
“The flexibility of MIO Console is unparalleled and its dependability is rock solid. I should also mention that I use it for multi-track recording. I can record the same stems that I’m driving the PA with and mix them down later.
“Alternatively – or in conjunction – I can create a custom record mix within MIO Console. I’m limited only by my imagination.”
Holder’s go-to Metric Halo plug-ins include ChannelStrip, HaloVerb, and Character. Although he does some general coarse-level filtering and EQ’ing on Iglesias’ vocals using the board, most of the substantial processing takes place using ChannelStrip on a stem that he sends to the ULN-8.
He uses its comprehensive equalization and compression to dial in a perfect representation of Iglesias’ voice and then sends that signal back to the console with no conversion necessary and no perceptible latency. He also uses HaloVerb on vocals and the snare drum.
“I love how easy HaloVerb is,” he said. “No matter what I do, I find something I like.”
In addition, he uses the “Soft-Sat” emulation in the Character plug-in on the whole mix.
“The way that algorithm translates to a big PA is unbelievable. All I do is push one button and any edginess or harshness goes away, replaced by a huge, warm sound. It’s an amazing plug-in.”
“By using the ULN-8 in combination with the Metric Halo software, my mixes have been transformed from cold and compressed to astonishingly warm, deep, and clear. I first tried this method on a short six-show run in India.
“The venues were all outdoors with minimal acoustic issues, and we used local PA. They were the best sounding shows of my career. The local sound guys appropriately named my ULN-8 the ‘magic box.’
“I have not mixed a show without it since,” he concluded. “The difference is that big.”
Metric Halo Labs
Alcons LR24 Is The Beef At Hamburg’s ELBJAZZ festival
Hamburger ELBJAZZ festival 2013 saw the deployment of Alcons Audio’s LR24 pro-ribbon line-array.
With more than 15,000 visitors and a total of 60 concerts, this year’s Hamburgs ELBJAZZ festival was a tremendous success. The festival takes place in several locations of the Port of Hamburg and HafenCity in Germany.
The general sound and light contractor for the event was ProfiMusik from Lüneburg, Germany.
The main stage, positioned inside the shipyard of Blohm+Voss, utilized Alcons Audio LR24 pro-ribbon line arrays.
The mid-sized 3-way pro-ribbon line-array, consisting of 8x LR24 cabinets per side, was complemented by 4x VR8 ultra-compact pro-ribbon monitor as near fills and 12x BQ211 carbon 21-inch quarter-wave subwoofer in cardioid arrangement, as sub extension.
The system was powered and controlled by 4pcs. Alcons Sentinel10 (4ch. DSP) amplified loudspeaker controller per LR24 array. Further Sentinel10s were used for controlling the subwoofer systems.
Tobias Lange (managing partner ProfiMusik), technical production manager for ELBJAZZ and one of the first testers of the new Sentinel10 amplified loudspeaker controllers: “The Sentinel amplifiers are in terms of weight, power and sound experience ahead of time.”
“All Alcons systems are characterized by an incredibly clear and lifelike resolution at mid and high frequencies,” explains Jonas Hellberg, managing partner ProfiMusik. “They offer an unparalleled homogeneity of the sound stage, both at low as well as high sound pressure levels.”
The LR24 easily covered the audience of 8,000 that came to hear the Main Stage entertainment.
“The LR24 system allows a sonic experience that has undoubtedly contributed to the exclusivity of this festival,” adds Tina Heine, organizer of the festival. “Our collaboration with ProfiMusik and Alcons Audio was visionary, as the partners thought, planned and implemented within the meaning of the festival. For this we are very grateful.”
In addition to the LR24 on the Main Stage, further Alcons systems were used in the Fischauktionshalle (Fish auction hall); Initially for Jazz Echo and subsequently for the Elbjazz festival, 16x Alcons LR7 micro pro-ribbon line-arrays and 18x LR14 ultra-compact line arrays were deployed, with another 4x Alcons VR8 as near-fills.
With these systems, the Fischauktionshalle was sonically reinforced to the highest standard, despite the acoustic difficulties resulting from the hall’s architecture.
“The high precision of LR systems in terms of directionality and sound stage clearly enabled us to execute this task much easier,” says Jonas Hellberg.
Mumford & Sons Brings Babel To North America On L-Acoustics
Solotech deploys K1 System for summer and fall tour legs, while LD Systems does likewise for "Gentlemen of the Road" festival dates
Following the 2010 release of Sigh No More and relentless international touring, Mumford & Sons’ rise to fame has been nothing short of meteoric.
Currently supporting its newest album, Babel, the band has once again been back on the road with “The Full English” tour, which marks its second sweep across North America this year.
Montreal, Canada-based Solotech has been providing L-Acoustics concert sound systems and support for “The Full English” as well as the band’s May/June “Summer Stampede” leg. Systems and support for August/September’s “Gentlemen of the Road” (GOTR) two-day stopover shows have been provided by fellow Rental Network company LD Systems of Houston, Texas.
According to Jamie Howieson, Mumford & Sons’ audio system engineer and sound designer, the production crew has been deploying 28 K1 mains and six KARA down-fills, plus 16 K1-SB flown subs with 16 SB28 below for most shed dates. Out-fill hangs are comprised of 24 KUDO, with 10 dV-DOSC for lip-fill.
Arena shows are typically reinforced via 32 K1 and 12 KARA, paired with 16 K1-SB and 16 SB28. Out-fill hangs consist of 24 K1 with 12 KARA down-fills, and lip-fill is accomplished via a dozen dV-DOSC.
GOTR festival dates, which have each boasted sell-out crowds of 40,000 fans, take advantage of 24 K1 for mains, 20 more K1 for out-fill, and 16 K1-SB and 16 SB28 for low end. Three delay towers featuring a combined total of 24 K1 and six KARA provide extended throw, and LA-RAK touring racks each loaded with LA8 amplified controllers have provided system power and processing for all shows.
With Mumford & Sons performing largely on traditional acoustic-style instruments—albeit plugged into Marshall, Orange and other amplifiers—the band is known for its energy and huge dynamic range in concert. From ultra-quiet to roaringly loud, Howieson notes that he and FOH engineer Chris Pollard have been duly impressed with the performance of the L-Acoustics rig.
“Chris is very comfortable mixing on K1 and is achieving some fantastic mixes from night to night,” he says. “This system lends itself very nicely to the band’s sonic requirements and we’ve been hearing many compliments from local promoters at the venues on its musicality and coverage, both of which are remarkable.
“I’ve also been very pleased with how quickly we can fly everything, which frees up more time for system optimization and sound check. In short, the equipment and support from L-Acoustics, Solotech and LD Systems have been excellent.”
Tuesday, September 17, 2013
Avid Unveils State-of-the-Art S6 Control Surface
Avid delivers innovation in a control surface featuring modularity, ergonomics and speed.
Avid unveiled a major new addition to its family of control surfaces for sound recording, mixing and editing.
The Avid S6 is designed for audio professionals in the most demanding production environments, delivering the performance needed to complete projects faster while producing the best sounding mixes.
In addition, S6 provides mixing professionals with a state-of-the-art solution that easily scales to meet their current and future challenges.
“Working in ever more complex environments with fast project turnarounds, mixers need intuitive, tactile control of editing and mixing, and the ability to easily work with other artists, engineers, and facilities,” said Chris Gahagan, senior vice president of products and services at Avid.
“Drawing on more than 20 years of leading edge innovation, the S6 delivers the game-changing modularity, superior ergonomics, and streamlined collaboration to meet mixers’ changing business requirements.”
Built on the same proven technology that is core to the industry-leading ICON and System 5 product families, the Avid S6 enables mixers to quickly turn around complex projects while swiftly handling last-minute changes.
With its ability to simultaneously control multiple Pro Tools and other EUCON-enabled DAWs over simple Ethernet, S6 also speeds workflows and enables network collaboration on a single integrated platform.
Avid S6 key features that include:
· Modular design — Adapting to every stage of a user’s business, the S6 control surface can be customized with the addition of the modules needed to match current workflow. It can be horizontally and vertically scaled as the client base grows. Pre-configured S6 M10 or S6 M40 surfaces may be purchased with the required faders, knobs, etc. already provided or, with S6 M40, further personalized with different channel control combinations.
· Ergonomics — A traditional, familiar console layout allows easy transition from previous systems. The multipoint touchscreen quickly and easily accesses plug-ins, large track counts, surround panning and more, while top-lit status knobs and high resolution OLEDs add operational efficiency. Additional 12.1-inch displays on S6 M40 systems further enhance instant project overview by providing deep visual feedback on key items such as channel names, audio meters, routing, clip names, and scrolling waveforms. Ultimate recall enables quick location for last-minute mix changes.
· Intelligent studio control — Compatible with Pro Tools and other popular EUCON-enabled DAWs, S6 enables detailed work on up to eight audio workstations simultaneously, as well as the ability to switch sessions in seconds from a single control surface across the facility. High-speed Ethernet connectivity makes it easy to reconfigure operations as business requirements dictate.
Avid S6 will be available at Avid resellers worldwide in Q4 2013. As a modular system, S6 is available at a variety of prices, with M10 configurations starting at $21,995 and M40 configurations starting at $43,480.
Monday, September 16, 2013
New York Philharmonic Presents Summer Park Concerts With Meyer Sound LEO
The New York Philharmonic performed a series of five concerts throughout New York City using Meyer Sound LEO sound reinforcement.
This summer, New York Philharmonic performed a series of five concerts in parks throughout New York City using a Meyer Sound LEO linear large-scale sound reinforcement system. Two large shows took place on Central Park’s Great Lawn, where Meyer Sound loudspeakers covered a widely dispersed audience estimated at more than 50,000.
For the 15th consecutive summer season, both sound coordination and FOH mixing duties for the New York Philharmonic were entrusted to Larry Rock, audio director for the symphony orchestra. For Rock, a Grammy-winning veteran of hundreds of classical concerts and recordings, LEO’s debut performance raised the bar for large-scale presentation of classical music.
“It was a new experience,” says Rock. “The LEO system is very powerful—it is particularly clear and efficient in the high-frequency ranges. Also, its throw is rather astonishing. I expect we could have eliminated the first delay ring, or moved it back 50 to 100 feet.”
The main LEO system for Central Park comprised dual main arrays of 12-each LEO-M line array loudspeakers, with 12 1100-LFC low-frequency control elements arranged in four cardioid arrays. System drive and alignment was provided by a Galileo Callisto loudspeaker management system with five Galileo Callisto 616 processors.
To cover the entire audience on the expansive Great Lawn, the stage’s main LEO system was augmented by a delay system which included 18 M3D, 16 MILO, and 26 MICA line array loudspeakers. Twin arrays of 12-each M’elodie line array loudspeakers provided stage side fill.
Sound Associates of Yonkers, N.Y. supplied the delay system and logistical support, with principal designer Robert Hanlon assisted by console tech David Bullard. Robert Gorton assisted Rock at FOH, and Josh Marks was head of sound.
“This is the first time I’ve ever heard a line array behave as a single, giant loudspeaker,” attests Domonic Sack, project coordinator at Sound Associates. “When you walk from front to back, you don’t hear any changes. It exhibits seamless consistency both vertically and horizontally, which is an incredible accomplishment.”
At FOH, Larry Rock mixed behind a Studer Vista 5 digital console, augmented by a Lexicon 300 reverb processor. The orchestra used MK4, MK21, and MK4V Schoeps microphone capsules, as well as several Neumann KM 184 microphones.
The first of the New York Philharmonic’s two free Central Park shows was a benefit for Hurricane Sandy relief sponsored by Major League Baseball, featuring a guest appearance by Mariah Carey. Two days later, the Philharmonic presented Dvořák’s Cello Concerto and Tchaikovsky’s Fifth Symphony.
Friday, September 13, 2013
Bruno Mars’ World Tour Goes All Digital With DiGiCo
DiGiCo’s sonics and ultra-customizable surface provide a ‘staggering amount of features and power’ to showcase one of the top artists touring today
Bruno Mars is riding high off the success of his sold-out ‘Moonshine Jungle’ outing. Sporting a diverse set-list with a mix of eclectic covers, radio hits, and originals (many from his latest outing, Unorthodox Jukebox CD), the tour was recently made Rolling Stone magazine’s list of “50 greatest live acts right now.”
The Clair Global tour is outfitted with dual DiGiCo SD7s at FOH and monitors, both running redundant Waves SoundGrid servers.
Each desk has two SD racks for individual control of preamps and are connected completely via digital Optocore fiber cable.
FOH engineer Derek Brener sends MADI lines direct from FOH to the record rig, handled by Charles Moniz, who records 96 channels to a Pro Tools system seamlessly without the need for an expensive audio router for archival purposes.
Brener’s managing a total of 108 physical inputs for the eight-piece band consisting of two drum kits, bass, guitars, multiple keyboards, a B3 organ, plenty of vocals, horns, playback, and a couple of talkback mics.
He’s been a DiGiCo fan since Mars’ first run in 2011, and stepped up into an SD7 (from an SD8) because of the larger input requirements.
“We have 108 physical inputs and I still have plenty of capacity for eccentric bussing, effects, and outboard apparatus,” he explains. “I also take advantage of the macros, too.
“I love to have hot keys to turn sends on and off to delays. For example, the delays in ‘Just the Way You Are’ are live so the hot keys make it very easy for me play the desk like an instrument and delay just certain words instead of either having it on or off.
“I love DiGiCo consoles for their smooth sonics and ultra-customizable surface. The SD7 is a monster and gives me a lot of freedom and space to experiment and tweak. It has a staggering amount of features and power.
“Do you need to use all of the features? Hell no! But is it nice to have them right there if you need them? Absolutely! The snapshot recall scope is great, dual engines, dynamic EQs, etc.
“I can go on and on about the features it offers, but simply put, for a digital desk, it’s the cream of the crop. Straight up.”
For outboard gear, Brener’s using three Empirical Labs Distressors (“the best compressors on the planet”), a TC Electronics 2290 for stereo delay (equipped with a custom non-latching footswitch for tap tempo), and a Lexicon 960L.
“The EL and Lexicon units are must haves for me. The EL comps are truly the Swiss army knife of compressors and are my favorites. They emphasize that round warmth to Bruno when he really digs into the comp.
“Bruno has incredible mic control, which is a blessing and a curse because when he gets too far away from his mic, he thins out tremendously. I found the distressors provide the best tonal and level consistency applicable to his style.
“The Lexicon is the smoothest, most authentic and believable verb, at least to my preferences. Don’t leave home without it!
“Of course, I’m using the Waves SoundGrid server to enhance what the SD7 has already made sound amazing. I mostly use the CLA stuff. My go-to lately has been a chain of the CLA-3A>H-EQ>L2. I use that for Kick, Snare, and Toms.
“The 3A gives the tones so much weight and characteristic and the H-EQ has so much personality. Playing with the slopes is the key. They provide so much color and nuance.
“Lastly, the L2 adds the incredible punch in the low-mid area, especially noticeable on drums, when you set the threshold just right.—For guitars and horns, I hit 2As pretty damn hard for a nice, unabrasive creamy sound.
“I always end up playing with the hi-freq knob to squash the nasty tones up top. I’m always careful with that. Also, on the horns, I am using the REDD .17 for analog graininess and a certain articulation.
“The Leslie hits an 1176 hard as our keyboard player is extremely dynamic. The only thing I use on vocals is the supreme and omnipresent C6 for de-essing and squashing problem areas.
“Other than that, there isn’t much else going on. I have a couple of onboard verbs for snare, acoustic guitar, and horns, (which rarely get used in big arenas), but are lifesavers in outdoor, dry-as-a-bone situations.”
James Berry’s also no stranger to DiGiCo desks, having used an SD7 on recent outings with Beyonce on monitors before signing on with Mars.
The band recently transitioned to all in-ears, utilizing J&H in-ears, Sennheiser 2050 IEMs and Sennheiser 3732 wireless systems.
“The new features in this latest software version are very helpful,” he says. “I love the way the new control group feature helps control auxes. It’s great to be able to splay out all my auxes at one time on one channel.
“I’ve been using the Copy Audio feature extensively to route audio anywhere, which gives us a lot of multitasking opportunities and lets me connect a lot of gear with better quality.
“We also have a total of four SD Racks between FOH and monitor world, as well as two Mini SD Racks loaded with all AES cards taking in all the wireless. This allows us to keep everything digital.”
Berry is also making use of everything onboard the SD7 for his effects, with the exception of a few Waves plug-ins for Bruno’s output and vocals.
“I’m using a TC Electronics 2290 for Bruno’s delay, and running three TC M6000 taking that AES to my vocal rack on the SD7 and its all clocked in at 96k off the console.
“I’m also using MIDI to control those from the snapshots. In addition, I’m using the Waves C6 plug-in on both his vocal and outputs.”
Additionally, he’s used the SD Conversion software extensively on this tour.
“Early on, we were carrying an SD5 as a backup, so I was able to easily transfer between the platforms using the software seamlessly.”
Overall, Berry says the most important reasons that keep him satisfied with the DiGiCo platform are “the sound, first and foremost. From there, usability, service and reliability. The support from DiGiCo when needed has always been top-notch. Needless to say, I’m a huge DiGiCo supporter.
Metallica Headlines Roskilde With Martin Lighting
The Roskilde Music Festival in Denmark, one of Europe’s biggest summer music festivals, utilized Martin lighting throughout the event.
The Roskilde Music Festival in Denmark, one of Europe’s biggest summer music festivals, has brought together some of the world’s most popular artists since the early 1970s.
On this year’s Orange Stage, Metallica headlined the festival, with performances from many other globally acclaimed artists, including Rihanna and Slipknot.
Designed by veteran lighting designer Kasper Lange, the Orange Stage featured a vast amount of Harmn Martin lighting fixtures for the Metallica set.
The Orange Stage included 68 Martin MAC 2000 Wash XB’s and 34 MAC III Profile moving heads, along with 65 MAC 101’s and 10 MAC Aura LED moving heads. Thirty-four Atomic 3000 strobes with Atomic Colors scrollers were deployed for blinding punch effects. Copenhagen-based rental company Litecom, supplied the gear.
Martin lighting, which has graced Roskilde for years, also played a role on several other stages at the 2013 festival including the Pavilion Stage, featuring MAC III Profiles and MAC Auras supplied by rental company Victory, the Odeon Stage, with MAC Auras also supplied by Victory, and the Apollo Stage, featuring Atomic 3000’s supplied by rental company Comtech. Comtech also contributed MAC Auras, MAC 700 Profiles, MAC 350 Entours, MAC 250 Beams, MAC TW1s and Atomic 3000’s for various other areas.
“Martin has been used during the historic Roskilde festival for many years, and we are proud to continue this partnership, supplying the brightest and highest quality lighting systems for the bands and fans,” said Steen Matthiesen, Martin Vice President EMEA Sales. “Having a large variety of fixtures deployed throughout the festival speaks to the versatility of Martin and will undoubtedly provide our latest and greatest fixtures for next year’s Roskilde!”
Orange Stage Crew:
Jonas Ritz – Head Rigger
Balder Thorrud – System Tech
Hrannar Hafsteinsson – System Tech
Timo Kauristo – FOH Tech
Thomas Brockmann – FOH Tech
Leif Hellberg – Wysiwyg suite
Posted by Julie Clark on 09/13 at 11:10 AM