Monday, January 06, 2014
Meyer Sound CAL Covers 360 Degrees at Vancouver Chan Centre
Meyer Sound system deployed at Vancouver Chan Centre
The 1,185-seat Chan Shun Concert Hall in Vancouver’s Chan Centre for the Performing Arts has installed a 360-degree system comprised of six steerable CAL column array loudspeakers from Meyer Sound. The upgrade has markedly improved both vocal clarity and sound distribution for the hall’s variety of events.
The system design was tasked to Martin Van Dijk, principal designer of the Toronto-based consulting firm Engineering Harmonics. The requirement was to evenly cover all seating areas, including 180 hard-to-reach seats in the choral loft behind the stage. The system also had to work at various heights, as the hall features an adjustable canopy to optimize reflections for different events.
“It was an extraordinary challenge,” says Paul Alegado, project manager and associate designer for Engineering Harmonics. “During the review process, the manufacturers and contractors involved had to re-submit designs several times to fully meet the requirements. When all was said and done, it worked beautifully.”
Employing powerful DSP algorithms, the steerable CAL column array loudspeaker allows its vertical beam to be angled up or down in one-degree increments to accurately aim only at target areas. The center cluster at Chan Centre comprises three forward-facing CAL 64 loudspeakers covering the orchestra level and two balconies, two side-facing CAL 32 loudspeakers, and one rear-facing CAL 32 loudspeaker for the choral loft. Four presets in the Meyer Sound Compass control software allow operators to maintain constant coverage, regardless of the height of the cluster and overhead canopy.
“In the past, we’d had problems with people sitting behind the stage or on the stage hearing what was said,” remarks Owen Schellenberger, technical director at the Chan Centre. “Now those problems are essentially eliminated. We had no complaints after any of the ceremonies this graduation season, and the centre management has commented favorably on the improvements.”
The hall has also installed a left-right reinforcement system based around Meyer Sound MINA line array loudspeakers. The system is anchored by twin arrays of 10-each MINA loudspeakers under a 500-HP subwoofer, and also includes 10 UPM-1P loudspeakers for front and loge fill, two on-deck 700-HP subwoofers, and a Galileo loudspeaker management system with one Galileo 616 processor.
“The MINA works very well in here,” says Will Howie, audio engineer at the Chan Centre. “I’m impressed with the clarity it has brought to the room, which is a difficult one, as it was designed for symphonic music. MINA has that certain ‘forwardness’ you hear in a good studio monitor.”
Both the CAL center cluster and the music reinforcement system were provided and installed by Sapphire Sound of Abbotsford, BC. Brockville, Ontario-based GerrAudio provided project support.
The overhaul of the hall’s AV system also included the installation of Avid VENUE consoles at FOH and monitor, and an Optocore fiber-based network system.
Artists who have performed with the new system include Patty Griffin, Judy Collins, Lila Downs, and the Taj Mahal Trio with Shemekia Copeland.
Opened in 1997, the Chan Centre at the University of British Columbia was made possible by generous donations from local philanthropists Tom and Caleb Chan. The performing arts complex also includes the Telus Studio Theatre, the Royal Bank Cinema, and the Great Performers Lounge.
Beverly Hills’ First Performing Arts Center Roars To Life With L-Acoustics
Electrosonic equips Wallis Annenberg Center’s Bram Goldsmith Theater with L-Acoustics ARCS WIFO and XT loudspeaker systems
After more than two years of construction, Beverly Hills’ first performing arts center, the Wallis Annenberg Center – or simply “The Wallis” – officially opened in mid-October with a star-studded, invitation-only gala featuring a concert by Natalie Cole.
Since then, the center’s primary performance space – the 500-seat, proscenium-arch Bram Goldsmith Theater – has been hosting a steady lineup of world-class theatre, music and dance performances sonically reinforced via the venue’s new L-Acoustics amplifier and loudspeaker system.
The sound system was designed and installed by the Burbank team of Electrosonic, Inc., which handled AV design and integration for the entire complex – including the adjacent 1933 Beverly Hills Post Office, fully restored and repurposed as a grand lobby, café, gift shop, classroom and office space, and home to the 150-seat Lovelace Studio Theater.
According to Electrosonic Design Consultant Steve Coe, the L-Acoustics Certified Provider hung an array of three ARCS FOCUS and one ARCS WIDE on a two-line winch above the center of the Goldsmith’s full-sized theatrical stage. The compact array can fly from stage level to show trim at the top of proscenium, as well as fly out of sight above ceiling reflectors at the catwalk level when unnecessary for purely acoustic or orchestral performances.
At the request of the venue’s benefactors, the rest of the sound system is practically invisible. Coaxial 12XT enclosures are hidden in the proscenium on either side of the stage, while two more are flown above the ceiling reflectors as balcony delays. Also suspended above the reflectors are four individually flown SB18i subs for low-end.
For cinematic events, the venue additionally features a full 7.1 surround system built around L-Acoustics’ smaller XT series products. Eight 8XTi enclosures are mounted in acoustically treated wall recesses along each side of the room and covered with removable acoustic panels, while a total of four tiny 5XT enclosures are similarly hidden along the back wall of the balcony and deliver rear-balcony coverage.
Two LA8 and eight LA4 amplified controllers housed in a custom amplifier rack in the control booth power and process the entire system via LA Network Manager software.
“When we first got involved with this project way back in 2008, we knew even then that we wanted to have an L-Acoustics system in the main house,” Coe recalls. “We originally looked at KIVA-KILO and ARCS II, and then KARA as well. But as the project evolved, ARCS WIFO made its debut and was perfectly suited for the space. Having personally tested the Goldsmith’s new system with a string quartet, classical pianist, jazz band and rock band, I feel that it achieves such a level of purity and clarity – as well as lovely warmth – that many other manufacturers seem to lack. I’ve always loved L-Acoustics in the theatrical setting and this project absolutely confirms that.”
Wallis Annenberg Center Director of Production James D’Asaro shares Coe’s delight with the new system. “Our L-Acoustics house system works very well for producing a sound and expressiveness within the range of what our artists and guest companies expect without being overwhelming to our audiences,” he says. “The system doesn’t feel like it has to ‘pierce’ before it has real presence and power, but is well balanced in a way that allows it to become virtually invisible when we don’t want to perceive that it is doing something.
“During Natalie Cole’s performance at our opening gala, the system sounded clean and inviting. The soul in her music easily shone through, and she commented about the lovely sound from the stage. Natalie’s front-of-house engineer, who had never been in the Goldsmith Theater prior to then, also mentioned that he was very impressed. He was surprised by how amazing everything sounded from a system that, for the most part, is so well hidden. It truly belies the power, coverage and sound it’s capable of.”
Fred Hammond And United Tenors Tour With RCF
Fred Hammond and The United Tenors tour with RCF.
Fred Hammond, arguably one of the most recognizable voices in Gospel music, has received numerous Dove, Stellar and Grammy Awards honoring his innovative work in the genre.
In 2013 Hammond reached across musical boundaries with the creation of United Tenors, a quartet of male vocalists that fuse the gospel stylings of Hammond and Brian Courtney Wilson with the R&B influences of Dave Hollister and Eric Roberson.
Recently the group has been out on tour promoting their album United Tenors: Hammond, Hollister, Roberson, Wilson with a RCF TTL33-A line array system supported by TTS-56A subwoofers.
The system was comprised of eight TTL33-A boxes, an active three-way box with dual 8-inch low frequency woofers along with one 8-inch midrange and three-inch high frequency compression drivers, along with 10 TTS-56A double 21-inch active subwoofers.
“The vocals were pristine,” explains Ray Hammond, front-of-house engineer on the tour. “The system no only handled the four vocalists superbly, but duplicated the rhythm section with precision. The system rocked!”
Hammond had previously worked with an RCF TTL55-A line array system, downsizing slightly for this tour’s venues to the TTL33-A.
“At first, I was a little concerned of the overall sound considering the size of the subwoofers and the 8-inch drivers in the main PA,” Hammond adds. “I expected a frequency hole but to my surprise, it worked great.”
Hammond used RCFs stand-up kart which made getting the P.A. up and dialing it in quick and easy. RDNet, RCF’s proprietary DSP protocol that allows for the monitoring of all system components and control parameters including gain, equalization and delay, added considerably to ease of setup in every venue.
“It was one of the fastest systems I’ve ever worked with,” Hammond concludes. “It sounded amazing, it was flexible and incredibly easy to dial in the system from venue to venue.”
Bose Tames Acoustics At Bridgewater State University Auditorium
Bose RoomMatch Loudspeakers And PowerMatch Amplifiers Tame the Acoustics of the Rondileau Campus Center Auditorium at Bridgewater State University.
Bridgewater State University Bose RoomMatch loudspeakers are able to work around the venue’s existing acoustical intricacies, turning previously troublesome areas like the balcony into prime listening seats
The Rondileau Campus Center Auditorium at Bridgewater State University in Bridgewater, Massachusetts, has been part of campus life since it was built in 1970.
Named for retiring president Adrian Rondileau, the center boasts several ballrooms and conference rooms, a large cafeteria, several common areas, an open access computer lab and a small dining room. It also houses offices for the Center for Multicultural and International Affairs, the Student Government Association and Visitor Information.
The heart of this multi-use building is its 1,300-seat auditorium, which is used for concerts and theatrical presentations. The auditorium’s sound system was recently upgraded with RoomMatch loudspeakers and PowerMatch amplifiers from Bose Professional Systems.
Designed and installed by Sudbury, Massachusetts-based Adtech Systems, the system is configured in a single central array consisting of one RM9005 loudspeaker, two RM9010’s, two RM9020’s and one RM12040; a pair of RMS215 subwoofers; and four LT 9403 full-range 3-way loudspeakers used as fills.
These are powered by three PM8500N PowerMatch amplifiers. The system is controlled by a Bose ControlSpace ESP-88 DSP.
When Adtech Systems was being considered for the project, Charles Crane, Sales Engineer with Adtech, utilized the the Bose Modeler sound system software to draw all the seating areas within the auditorium and predict the sound coverage.
This showed the customer that the design would thoroughly cover the floor and balcony seating areas, but it also revealed that the array would have to be hoisted higher than expected to address the existing acoustical clouds in place in the venue – something that could only have been accurately determined by computer modeling, since the clouds were not precisely represented on the auditorium’s blueprints.
“As it turns out, we were the only one of the three vendors who provided the schools with a proposal that was validated by computer modeling,” says Crane. “When they saw how Bose was able to provide a complete package, from modeling and speakers to DSP and amplification, they got it – they saw that this was the full-featured solution that they really needed.
“The room has a lot of reverberation and peculiar reflections, and the Modeler design was able to identify them. Then, the combination of RoomMatch loudspeakers, PowerMatch amplifiers and ControlSpace ESP-88 were able to properly address those issues.
“And they worked like a charm – the customer told us that the balcony went from being the worst seats in the house to some of the best. Bose really helped turn this venue around.”
Monday, December 23, 2013
FOH Engineer Zito Uses Waves Plugins On OneRepublic Tour
Acclaimed front-of-house engineer Zito (Backstreet Boys, Kenny “Babyface” Edmonds) is part of the ongoing trend of leading cutting-edge live engineers turning to WavesLive tools.
Zito has been using Waves plugins in the past few years with Avid VENUE consoles and Yamaha consoles (with MultiRack SoundGrid), and recently, on tour with GRAMMY-nominated multiplatinum pop act OneRepublic, he has chosen to carry his Waves plugins on a new platform – the DiGiCo SD5 Digital Console.
Zito cites the Waves IR-Live Convolution Reverb, the MV2 and the H-Delay Hybrid Delay as his three must-have plugins.
“The Waves MV2 is a life saver in leveling out instruments. It’s brilliant in bringing up low levels without having to squash the dynamics of the instrument with compression,” he explains. “The Waves IR-Live has changed my life. Until now, I’ve been unable to replicate my favorite hardware reverb units using plugins.
“But now, with the ability to load in IR’s from my favorite reverb units, it has completely changed how I approach using ‘in-the-box’ reverbs. People are shocked at the quality of the reverbs I’m achieving. And the Waves H-Delay is my favorite delay unit ever, period.
“It’s so versatile, you can replicate anything you want, or come up with creative delay options. The ability to automate has given me unparalleled control over replicating the bands studio effects within, on an easy to use interface.”
On the challenges in mixing FOH for OneRepublic, Zito says, “This band is unique in that they not only perform, but also produce most of their own music. Lead vocalist and producer Ryan Tedder is producing some of the most current popular music out there, which means that the demand for audio perfection is high and their familiarity with the production aspects of their music are keen.
“There are a lot of specific sounds and effects that I am trying to replicate in the live domain. Using Waves plugins gives me the confidence to know that anything the band may throw at me, I can achieve. There has yet to be a challenge that I wasn’t able to solve using Waves tools!”
Compact Avid S3L Provides Plenty Of Capability On Latest Primal Scream Tour
Long-time Avid user, front of house engineer Michael Brennan, selects S3L for funtionality, form factor
For Scottish alt rockers Primal Scream’s latest tour, space for the crew to carry equipment was at a premium. Front of house engineer Michael Brennan was faced with having to fit his kit into a small trailer that would be towed behind the tour bus as it worked its way across Europe and on to Japan for a flying visit before returning to the UK for the tour’s final dates.
Ordinarily the lack of space would have meant going on tour without a mixing console. However, Brennan, who has worked on Avid mixing systems for the past eight years, approached the company about using an alternative solution – specifically its new compact S3L mixing system.
“I wanted to use the S3L on this Primal Scream tour for several reasons,” says Brennan. “I knew that its sound quality is second to none and because of the compact size of the board and the stage-boxes, I would be able to fit it into the trailer. Additionally, the show file I had already created on my VENUE was compatible with it, so I was confident the transition would be simple.”
The new console also made its Japan debut on the tour, having been supplied locally by Clair Global Japan. “It’s perfect for a small club tour and because of the S3L’s modularity and networked Ethernet AVB architecture, the setup time is so quick, plus it’s really easy to scale up if you need to,” explains Brennan. “I can set up a 64-channel desk, 48 lines of stage-box and a 128-channel, 75-meter Cat-5e multi in around 10 minutes. If you add in its space saving size, it’s just awesome. I couldn’t have taken a board on tour if it wasn’t so small and modular. I’ve had to carry this one in a transit van, splitter, truck, car and plane, and it’s been really easy to move around.”
He adds, “It’s also proving really popular in the venues because it has such a small footprint that promoters can sell more seats, which they obviously love.”
Because Brennan regularly uses Avid’s Virtual Soundcheck feature, he always dials in the show before he goes on tour. “When the band comes in for rehearsals, I record the set onto Pro Tools directly from the board, and then I’m able to sit down with the artist at FOH, locate any point in the set and allow the artist to hear my mix. The scene function has been a major breakthrough and is very powerful, as it gives the artist a sense of involvement and confidence as they’re able to really know how they sound. It’s a very creative tool that allows me and the band to realize and achieve the sound we both want.”
Brennan’s a long-time Avid user, having first worked with a D-Show on a Super Furry Animals tour in 2005. When he then got his hands on an Avid Mix Rack System he was so impressed he bought one of his own, which has accompanied him on every tour he’s been involved with since. He has also mixed, produced and recorded many albums over the past 15 years, always using Pro Tools, for artists including Snow Patrol, Primal Scream, Mogwai and Super Furry Animals.
On Primal Scream’s 2010 Screamadelica tour, Brennan recorded every show on Pro Tools, and was then able to mix a live DVD in stereo and 5.1 formats. He says, “The compatibility of Pro Tools with the Avid Profile surface made this a simple process, and I was even able to mix it on the Profile surface as I already had the song mix dialed in.”
Friday, December 20, 2013
The Stereophonics Choose Royer Mics For Their Current Tour
Supplied by Funky Junk, these award winning microphones are helping the band improve the sound quality at their live gigs.
The Stereophonics, one of Britain’s most instantly recognizable bands, have just completed a major UK arena tour to promote their new album Graffiti On The Train.
The equipment list for the tour included three Royer Labs R-121L ribbon microphones, which were supplied by Royer’s UK distributor Funky Junk.
Royer’s R-121 Ribbon Microphone is known for its ability to bring an extremely natural and realistic analog sound to digital recording and live stages. The TEC Award winning R-121L, the ruggedized and more road-worthy ‘live’ version of the microphone, has been specifically designed to withstand the rigors of live touring.
Royer won the prestigious 2013 Technical Grammy partly for their R-121, the first ribbon microphone suitable for close-miking electric guitar and other high SPL sound sources.
The microphones were chosen for the Stereophonics tour by FOH engineer Dave Roden who wanted to continue with their ongoing ethos of constant improvement of the overall sound quality at their live gigs.
“I haven’t used Royer R-121 microphones in a live situation before, but the band have used them in the studio and been very happy with the results they have achieved,” Roden says. “I have also heard them being used by other FOH engineers whom I greatly admire, (Jim Ebdon and Marc Carolan for example) and have always been really impressed with the results. I decided to use them, too, in order to up our game.”
Dave Roden was confident that incorporating Royer R-121 ribbon microphones into his live equipment arsenal would help him capture lead vocalist/guitarist Kelly Jones and lead backing vocalist/guitarist Adam Zindani’s individual guitar tones, as well as the raw energy for which the Stereophonics are famous.
“The band members have all moved on to IEM’s (in ear monitors) and they were hearing things completely differently to the way they’ve been used to with wedges,” Dave Roden explains. “In order to adapt, some of the on-stage sources required a more hi-fi approach.
“This was a challenge for everyone involved, but was a very positive and necessary step in respect to the future performance capabilities of the band, and gave our Monitor Engineer Dave Retson and myself the perfect opportunity to significantly upgrade our mic stock.
“Both the band on stage and the audience in the arenas were very happy with the guitar sounds they were hearing when we used the R-121L’s on the tour.”
Wednesday, December 18, 2013
Meyer Sound Introduces Galileo Callisto 616 AES Primary Array Processor
The new Meyer Sound Galileo Callisto 616 AES primary array processor will be available February 2014.
The new Meyer Sound Galileo Callisto 616 AES primary array processor is a powerful hardware and software solution for driving and aligning Meyer Sound loudspeaker array systems.
Combining versatile alignment tools like U-Shaping equalization and delay integration with a full suite of digital AES3 and analog inputs and outputs, the Callisto 616 AES serves as a flexible mastering tool for delivering digital audio to satellite Meyer Sound processors, including Galileo Callisto 616 processors and Galileo 616 and 408 processors.
“The Callisto 616 AES adds a new level of control in commissioning sound systems as it allows engineers to precision calibrate individual elements or zones using the satellite processors, and then they can use the AES primary processor at FOH to make further adjustments to the overall system using tools like U-Shaping,” explains Todd Meier, digital products manager at Meyer Sound. “Together with the Compass control interface, this pairing provides the ultimate FOH system mastering tool and makes tuning sound systems much more efficient.”
The two-space, rack-mounted Callisto 616 AES includes six inputs, 16 digital outputs with eight mirrored analog outputs, and a full digital matrix processor. Working in tandem with the Compass control software, Callisto 616 AES is optimized to be a mastering tool that makes it easier to manage loudspeaker systems and shape overall system response.
The U-Shaping equalization comprises five bands with adjustable slopes, widths, and gain. Five bands of complementary phase parametric filters are available on each output. An additional five bands of parametric filters and standard TruShaping equalization are available on each input.
Additional features include delay integration for automatic alignment of Meyer Sound line arrays, and atmospheric correction to maintain high frequency response regardless of changes in temperature and humidity.
To assume impeccable sonic performance for analog audio signals, Callisto 616 AES employs A-D-A conversion with 24-bit resolution at 96 kHz sampling. Internal processing is at 96 kHz with 32-bit floating point resolution. Latency is fixed across all output channels regardless of processing applied, and dedicated connectors are provided for seamless integration of Meyer Sound’s SIM 3 audio analyzer.
Galileo Callisto 616 AES will begin shipping early February.
IK Multimedia releases UltraTuner For iPhone, iPad And iPod Touch
UltraTuner utilizes a new patented detection engine making it the most accurate instrument tuner available for iOS - 10 times more accurate than a mechanical strobe tuner
IK Multimedia is pleased to announce UltraTuner, the most precise digital chromatic instrument tuner app for iPhone, iPod touch and iPad.
UltraTuner is available as standalone app for iPhone and iPod touch or as an in-app purchase within AmpliTube for iPhone and iPad (in all versions).
UltraTuner features one of the fastest, smoothest and most responsive tuning engines of all tuner apps, and is precise to well below a hundredth of a cent - far beyond human perception of pitch, making it 10 times more accurate than a mechanical strobe tuner (considered the gold standard of tuners).
UltraTuner’s accurate pitch detection is achieved through a proprietary dual-analysis processing engine that allows the tuner to get a much more accurate reading of the frequency from the incoming note. The fast response of the tuner makes tuning a mechanical instrument a breeze. UltraTuner’s precision also makes it the perfect app tuner for intonating string instruments like guitar or bass, and by offering note precision down to less than .01 (1/100th) of a cent, making it ideal for calibrating electronic instruments like vintage synths.
UltraTuner’s precision and speed provides players and engineers with a pocket-sized professional instrument tuner always at hand and offers two basic modes of operation: Stage and Studio.
When in Stage mode, UltraTuner is a straightforward, ultra-accurate instrument tuner featuring a unique, simple interface that’s very easy to see in low light conditions. It features a graduated flat and sharp display to indicate degrees from pitch, and when the note is in tune, the display turns green. UltraTuner utilizes the entire device screen for tuning so it is easily visible from a distance on dimly lit stages.
In studio mode, UltraTuner provides pitch tracking - allowing players to monitor pitch over time. This is especially useful in the studio for monitoring pitch of non-chromatic instruments like vocals, violin and brass etc., on recordings over time, and very useful for vocal and instrument pitch training. Studio mode also offers two different visualizations: pitch over time and a proprietary oscilloscope wave form display.
The pitch over time display shows the accuracy of a note as it is played and decays. The oscilloscope wave form display indicates flat or sharp notes by animating the waveform to the left if the note is flat, completely still if the note is right on, and animating the waveform to the right if the note is sharp. These visualizations make it very quick and easy to reference notes while playing a non-chromatic instrument or singing in the studio.
In the settings window, players can quickly calibrate the “A” note, set the temperament type, set the root key for tracking and adjust the audio sensitivity. UltraTuner can use the device’s built-in microphone for audio input, and works with all analog or digital audio interfaces for iPhone, iPad and iPod touch, like IK’s iRig HD, iRig PRO and the iRig MIC series of products.
Innovative patented tuning engine that provides the highest level of responsiveness and accuracy with 0.01 cent resolution
Dual Mode: Stage and Studio
Large Tuning indication visible from a distance (stage mode)
Tuning History to see the tuning variations over time (studio mode)
Temperament selection includes: Equal, Pythagorean, Just Major, 1/4 Comma Mean Tone, Kimberger III, Werckmeister III, Young and Kellner
Useful not only for tuning, but also for non-chromatic instrument training
UltraTuner is available now as a standalone app from the App StoreSM for iPhone and iPod touch for $4.99/€4.49, or as an in-app purchase within AmpliTube for iPhone (Free/LE/Full versions), and AmpliTube for iPad (Free/Full versions).
Tuesday, December 17, 2013
Soundcraft Si Expression 2 Strikes A Chord With Producer Grant Leiterman
The Soundcraft Si Expression 2 is a versatile console that suits Leiterman’s needs,
A lot of talent passes through the small town of Revelstoke, British Columbia, Canada, and as the only producer in town, Grant Leiterman always manages to leave a big impact with his Harman Soundcraft Si Expression 2 digital console.
With decades of experience, Leiterman mixes sound at convention centers, nightclubs and a 300-seat performing arts center.
The Soundcraft Si Expression 2 is an extremely versatile console that suits Leiterman’s needs, especially since his projects range from wedding ceremonies to monitor mixes with bar bands.
For this reason, he finally made the switch from analog to digital. The Si Expression 2 digital board provides clear advantages in terms of recallable features and copy-paste capabilities.
“My setup times are as quick as my analog days, only now I get the benefits of storing multiple digital profiles,” said Leiterman. “Soundcraft makes it very easy for me to go to any venue with minimal gear and pull up the settings that I prepared for it.”
When asked about other mixing consoles, Leiterman replied: “The inputs on a lot of other boards are so compressed, there’s no music left. I have been working with Soundcraft my whole life, because it has been the most reliable brand for me. The Si Expression 2 definitely holds up to the Soundcraft reputation because it does not sound too warm or too crisp.”
Soundcraft consoles are designed with the user in mind, as it comes standard with FaderGlow to illuminate the fader slots according to function, the TOTEM for instant mixing with a single key, and the complete feel of an analog board as each control is dedicated to a given function without any layering of controls.
“Just as expected from a Soundcraft console, it was solid out of the box and does everything just the way I want it to. My experience with Soundcraft started with the 200 and 800 Series, and I’m glad the company listens to its customers and provides upgrades all the time,” Leiterman stated.
Bose L1 Systems Chosen For Hawaiian Virtuoso Daniel Ho
GRAMMY Award-winner, and curator of traditional Hawaiian music, relies on a combination of Bose portable products to bring perfect clarity and tone to his concerts in the U.S. and abroad
From his base in Los Angeles to venues as far apart as Nashville and Hong Kong, Daniel Ho has taken the traditional music of Hawaii far and wide.
The Oahu native has recorded 18 solo albums and produced over 100 albums, in the process winning six GRAMMY Awards as an artist, producer and audio engineer. But Ho’s greatest pleasure is taking Hawaiian music to people, performing it in concerts all over the world. And besides his ukulele, he always travels with his L1 portable sound system from Bose Professional Systems.
From ukulele clinics at venues around the country, including Guitar Center stores, to huge concert settings, Bose L1 systems and T1 ToneMatch components have supported Ho’s live performances night after night.
Ho travels with a pair of Bose L1 Model II loudspeaker systems and uses one or both, depending upon the size and the acoustical nature of each venue. For the smallest venues, he’ll use the Bose L1 Compact system, which combines conventional PA and monitors into a single sleek unit.
Ho is also a user and fan of the Bose T1 ToneMatch digital multichannel mixer that features over 100 proprietary ToneMatch presets for instruments and microphones and includes the Bose zEQ, storable scenes and a suite of studio-class effects. These few components allow Ho to travel the world, ready to interface with any kind of performance venue confidently.
“I’m also an audio engineer, and I do all the mixing and mastering for our record label, DHC, so I know exactly how I want everything to sound,” he explains. “The Bose L1 system and T1 mixer are the only way I know I can reproduce exactly the sound I want in any venue.
“The L1 system delivers great sound and the right dispersion – I set it up and I immediately have a 180-degree soundfield. For instance, I can plug an instrument mic into the mixer, call up that preset and I have the sound I’m looking for at the press of a button. We’ve tried using a variety of studio-quality microphone pre-amps live, but nothing comes close to the quality we get from the ToneMatch engine.”
Ho plugs everything into the Bose T1 audio engine including the piezo-electric pickup on his ukulele, giving him complete control over his live sound. He can simply give the output of the T1 engine to the FOH mixer at a large venue and know that the exact sound he’s hearing on stage is precisely the sound that’s being sent to the house PA system.
“It’s a real confidence booster,” he says. “I’m always sure that my mix is what I want it to be, regardless of the size of the room.”
With his accolades and appearances in contemporary cinema hits like 2008’s Forgetting Sarah Marshall, in which he sang “Nothing Compares 2U” in Hawaiian, he’s become one of Hawaiian music’s most recognized exponents. But at heart Ho is still a gigging road warrior and as such truly appreciates the ergonomic benefits of the L1 system and T1 ToneMatch engine.
“They’re incredibly lightweight for the kind of performance they offer,” he says. “And I especially like the fact that the T1 mixer has a cover that I can use when the unit is unattended. No one can touch the knobs or spill something into it. I don’t have to carry extra equipment like mic pre-amps. These components offer a turnkey travelling PA system solution that fits any audio environment.”
Monday, December 16, 2013
Soldaat Van Oranje Marches On With Alcons
Soldaat Van Oranje Marches On With Alcons
In October 2010, an Alcons LR14 loudspeaker system took its bow at the first performances of Soldaat van Oranje, De Musical (“Soldier of Orange, the Musical”), a huge, technically complex theatrical production based on the book by Erik Hazelhoff Roelfzema and the film of the same name.
Three years, a thousand performances and over a million audience members later, the Alcons system is still performing flawlessly.
Soldaat van Oranje, De Musical is by far the biggest theatrical production ever staged in the Netherlands.
Housed in a converted aircraft hangar at a former military aerodrome in Valkenburg, it tells the story of a group of Dutch students in the Second World War, each of whom follows a different path during the conflict.
The show’s production is unique, with the raked audience seating on a 30m/100ft. diameter turntable in the middle of the hangar. The perimeter is divided up into different stage sets, the 1100-strong audience and 180º video projection revolving from scene-to-scene. The actors walk between the sets, maintaining continuity as the audience turns.
Sound designer Jeroen ten Brinke chose nearly 100 Alcons LR14 pro-ribbon line-array cabinets for a huge surround system - fed via an optical cable, fitted on a drum system that turns through a total of 7,000º to avoid breakage - every one of which is still working perfectly today.
Each scene features an L-C-R array of LR14s, plus a 15-inch sub, driven by 30 ALC4 2x 2kW amplified loudspeaker controllers. With 14 arrays in all, as the seating revolves the right-hand array from the previous scene becomes the left array of the next one.
The quality of the Alcons pro-ribbon LR14s was crucial in making these transitions smooth and lifelike. However, just as important was the exceptional reliability of the Alcons equipment.
After a thousand shows, one would expect even the most rugged loudspeaker or amplifier to be tiring, but the Alcons units are showing no sign of it.
“The LR14s and ALC4s have been worked relentlessly hard, but there has not been one breakdown, not a single replacement needed,” says Alcons Audio co-founder Tom Back. “Not even any components have needed changing.
“As a Dutch manufacturer, it has been an honour to have Alcons loudspeakers as the main house system on a production that tells a story of our heritage. We are very proud that the equipment has operated so flawlessly,” he says, before adding with a smile, “Although we’ve not been surprised about that!”
“It’s great to see that an experimental and very forward-thinking approach to the sound design for this project, was realized and confirmed in practice with the Alcons pro-ribbon arrays,” adds Jeroen. “The confidence we placed in Alcons systems, with the superb speech-intelligibility and gain-before-feedback and on top of that, not one single failure throughout years of intense, in fact almost daily, use, has been fully justified.”
Due to run until at least August 2014, currently plans are being developed for exporting this unique production to the UK, the USA, Japan and the Middle East.
“Being a technical production that people will be talking about for years, called by some “musical v2.0”, only makes us more proud to be part of it,” Tom concludes. “We really hope that it - and the Alcons loudspeakers in it - will be enjoyed by international audiences in due course.”
Friday, December 13, 2013
ATK Audiotek Utilizes EAW Anya For American Country Awards In Las Vegas
Pre-show modeling of the arena in EAW Resolution software predicted an optimal system of 40 Anya modules flown three columns per side
ATK Audiotek deployed EAW (Eastern Acoustic Works) Anya arrays in collaboration with Rat Sound for sound reinforcement at the 4th Annual American Country Awards (ACAs) this week at Mandalay Bay Arena in Las Vegas.
“EAW’s Anya performed as promised and beyond,” states Mikael Stewart, ATK vice president of special events and the FOH production sound mixer for the show. “The coverage, clarity and headroom met all expectations, as with any EAW product. It provided all the necessary elements required by a multi-performance award show. The dialogue levels and music quality was top notch.”
Pre-show modeling of the arena in EAW Resolution software predicted an optimal system of 40 Anya modules flown three columns per side in a 10-6-4 configuration. Each of the 20 module arrays was able to provide 180 degree horizontal coverage from a consolidated cluster without the need for independent side hangs.
And Anya’s ability to rapidly adapt coverage gave ATK the ability to modify trim height and make required changes to system coverage almost instantly, without rehanging the system.
“The Anya system was very powerful, and punchy,” says Ron Reaves, the FOH music mixer for the event who is also noted for mixing The Grammy Awards. “It’s a very musical PA system, in a very modern package. All of the acts were happy with the FOH mix, and I had a great time mixing the show on this system.”
“For us, it’s all about enabling the connection between artist and audience. It’s about the experience,” states EAW president Jeff Rocha. “Seeing each and every fan engaged in the performances, which included an emotionally powerful, crystal clear tribute to Patsy Cline from LeAnn Rimes, makes all of the years of Anya development worthwhile. We are thrilled to know that fans across the globe will soon feel the impact that this revolutionary technology has on the experience of live performance.”
Pictured (left to right) at the ACAs are Bernie Broderick and Geoff McKinnon (EAW), Mikael Stewart (ATK Audiotek and FOH production sound), Ron Reaves (FOH music), and Jeff Rocha and Rusty Waite (EAW).
Thursday, December 12, 2013
Avid Live Systems Power Austin City Limits Music Festival
Trusted live sound solutions provide unrivalled sound quality for 225,000 music fans at one of America’s largest music festivals
The Austin City Limits Music Festival is renowned for the high-caliber live performances that entertain 225,000 music fans each year in Austin, Texas. The popularity and size of the 2013 event resulted in an expansion of the program to two consecutive weekends, accommodating performances by over 150 acts on eight stages.
Leading sound reinforcement companies LD Systems (Houston, TX), Big House Sound (Austin, TX), Crossroads Audio (Dallas, TX), Thunder Audio (Livonia, MI), and Miller Pro AVL (Austin, TX) all used Avidlive systems to provide world-class sound for the festival’s eight stages.
In addition, Avid VENUE software enabled show file compatibility across systems, resulting in a streamlined, efficient process.
“Almost every artist at the event was using Avid Profile systems—they were everywhere,” states Robert Ausmus, Director of Production Services for LD Systems. “A lot of bands have [VENUE show] files for them. It’s pretty much the default festival board, period.”
Using a variety of Avid live sound systems, the technical crews easily managed the increasing scope, size, and complexity of the Austin City Limits Music Festival. The sound companies employed a mix of Profile, Mix Rack, and SC48 systems at front of house and monitors to support an eclectic mix of performers, including some of the world’s most notable acts like super-group Atoms for Peace, featuring members of Radiohead, The Red Hot Chili Peppers, and more.
“We tour with Profiles at front of house and for monitors,” explains Sean “Sully” Sullivan, front of house engineer for Atoms for Peace. “You see them everywhere—they’re easy to use, the layout is ergonomic, and they sound amazing.”
Sullivan is also a big fan of Avid’s Virtual Soundcheck feature, which enables engineers to use prerecorded tracks from a previous show or rehearsal in place of live inputs to EQ the system, set up snapshots, and more. “I use Virtual Soundcheck every day,” he adds. “With a festival the doors open early and you never see the bands for soundcheck. Virtual Soundcheck is crucial to get the rig to sound as expected—it’s changed my game.”
Wednesday, December 11, 2013
Sound Reinforcement For “Lost In the 50s” Goes Wireless With Lectrosonics
IS400 Digital Hybrid Wireless Instrument System facilitates cable-free transmission between loudspeaker towers
Lost In The 50s, the 4-day auto and music extravaganza in Sand Point, Idaho, was a huge success this year.
Sound reinforcement for the popular event took a considerable step forward by transmitting audio wirelessly from one loudspeaker tower to another.
Central to this endeavor was Lectrosonic’s IS400 Digital Hybrid Wireless Instrument System.
Sagle, ID-based Over the Edge Productions Northwest was contracted to handle sound reinforcement. Owner Eddie Fontaine was determined to eliminate the cables that typically extend from one loudspeaker tower to another—improving audio quality while eliminating the safety hazard of cables running throughout the streets of downtown Sandpoint.
He found the solution with Lectrosonics wireless technology.
“The longer the cable runs, the greater the chance of inducing noise and other anomalies into the audio chain,” Fontaine explained. “Before using the IS400, I used to stretch cables from tower to tower and speaker to speaker to run the system. By integrating the Lectrosonics IS400 system, we’ve eliminated all the cables and have made sound reinforcement 100% wireless throughout the downtown area.
“Before using the IS400 system, I tried several other manufacturers’ equipment, but the other systems would drop signal and introduce various forms of interference. Since using the Lectrosonics system for Lost in the 50s with tremendous success, I have taken on several additional projects using the same basic process—distributing audio to the various loudspeaker towers wirelessly with the help of the IS400.”
“The setting up of the IS400 system is very easy and straightforward,” Fontaine continued. “The SmartTune feature makes it very easy to identify and lock in available frequencies and the system’s range is excellent.
“The quality of the sound reinforcement system remains clear and natural thanks to Lectrosonics’ Digital Hybrid Wireless technology. For Lost in the 50s, the loudspeaker towers stretched across a good 6 – 8 block radius throughout downtown Sandpoint.
“That’s a lot of cable and, with it, comes the increased chance for a cable to get damaged or unplugged—and let’s not to forget the potential safety hazard.”
Fontaine has owned the Lectrosonics IS400 gear for approximately three years. He rented the IS400 prior to purchasing his own equipment and was always very impressed with the system’s performance.
“One of the great things about Lectrosonics is the fact that the company’s customer service and technical support center is very helpful,” he adds. “I remember having questions about one of my handheld transmitters with IS400.
“I called them while on the job site and within 20 minutes they had me up and running. While the issue turned out to be operator error on my part, I was really impressed with how helpful and patient they were.”
Fontaine notes that with the aid of Lectrosonics equipment, he feels like hi business is poised for considerable growth.
“I’ve gone from working one or two big events to the point where I now have a dozen projects in the pipeline—and I’ll be using my Lectrosonics IS400 gear on every one.”
Posted by Julie Clark on 12/11 at 05:31 PM