Friday, June 27, 2014
Lydvaesenet Snaps Up Denmark’s First Soundcraft Vi3000 Digital Console
Lydvaesenet touring and festival specialists take delivery of new Soundcraft Vi3000 digital mixing console.
LydRommet A/S has confirmed its first sale of Harman’s Soundcraft’s Vi3000 digital mixing console to concert touring and festival specialists, Lydvæsenet—run by Henrik Kjærgaard.
The delivery was the first of three Vi3000 sales confirmed by Lars Christensen, Sales Manager at LydRommet, Harman Professional’s territory distributor.
“We began promoting the Vi3000 as soon as the first pictures were up in cyberspace and immediately received a number of inquiries,” Christensen explains. “Henrik was one of the first people we approached.”
Both Christenesen and Kjærgaard—a vastly experienced sound engineer in his own right—say there is much to commend about Soundcraft’s new console, pointing out the Dante/ MADI interfaces for recording/plugins; 96 mix channels; 24 stereo or/mono busses; the built in local rack; the high-quality local mic pre’s; the additional screen and control for the price; the 36 faders, and in particular “the fantastic audio quality.”
“Most of our customers just say ‘wow’ and can’t believe what they are getting for the money,” continued Christensen. “The Vi3000 is certainly introducing the Vi quality to a broader range of productions.”
Lydvæsenet is no stranger to the Soundcraft platform and already has a number of Si Expressions, Si Performers and a Vi1 in its inventory.
“All were chosen because of the audio quality, facilities and ease of use,” confirmed Kjærgaard.
There were several reasons for the latest purchase, including the I/O capacity of the Vi3000.
“We needed that capacity to take on certain tour productions,” he explains. “But all the other cool features like onboard MADI/Dante, UA plugins, upgraded DSP and graphics certainly helped to make the decision.”
The first tour of duty for the Vi3000 was with Lis Sorensen, an evergreen Danish pop artist at the Jelling Musik festival.
In summary, Christensen stated, “We are proud to count Henrik as one of the most enthusiastic users of Soundcraft’s entire range of digital consoles. He needed the enhanced capacity that the Vi3000 could offer—and the RealTime Rack and access to UA plugins certainly didn’t hinder the decision!”
George Thorogood Extends 40th Anniversary Tour With RCF HDL20-A Arrays
Sound company 242 Concepts traveling with 24 HDL20-A modules, with specific number deployed dependent on size of venue
George Thorogood has announced the extension of his 40th Anniversary Tour through the end of July, traveling with RCF HDL20-A line arrays and SUB-8006AS subwoofers, with systems and support for the tour supplied by Hendersonville, TN-based 242 Concepts.
Specifically, 242 Concepts is traveling with 24 HDL20-A array modules and a dozen SUB-8006AS subwoofers, with the specific number deployed dependent on the size of each venue. The tour has been on the road since February.
“The system has performed flawlessly,” notes production manager/FOH engineer Jeff Pitt. “It’s super-easy to rig, and the aiming software has been an excellent tool for preparing the system for implementation into the wide array of venues we encounter. We chose the HDL products due to the plug and play nature of the design, and we’ve been able to hang more boxes than in previous tours due the light-weight design of the box. The system has fit quite nicely into the truck pack taking up a mere 12 feet of truck space.”
242 Concepts engineer Brian Belcher concurs. “There is so much headroom in these boxes, we’ve never clipped in any way,” he says. “That’s refreshing.” Belcher goes on to provide power usage readings demonstrating that a 24 box HDL20-A rig with 12 SUB8006-AS subwoofers drawing less than 13 amps total. “I don’t think anyone else out there can say they can do that,” he notes.
The HDL20-A is a 2-way line array cabinet with dual 10-inch LF/MF transducers and a 3-inch HF compression driver specified as capable of achieving 135 dB max SPL. The SUB-8006AS is a dual 18-inch subwoofer specified to achieve 141 dB max SPL.
“We all grew up appreciating the music of George Thorogood,” says RCF USA director of dales John Krupa, “and we at RCF wanted to be part of this historic 40th anniversary tour.”
Upcoming dates for the tour:
6/25/14—Albany, NY, Empire Place
6/26/14—Verona, NY, Turning Stone Casino
6/27/14—Buffalo, NY, Buffalo Rocks the Harbor
6/28/14—Rochester, NY, International Jazz Festival
6/29/14—Augusta, NJ, Rock, Ribs & Ridges Festival
7/1/14—Northfield, OH, Hard Rock Live
7/3/14—Elizabeth, IN, Horseshoe Casino
7/4/14—Davenport, IA, Mississippi Valley Blues Festival
7/6/14—Naperville, IL, Ribfest
7/9/14—Traverse City, MI, National Cherry Festival
7/10/14—Toledo, Hollywood Casino Summer Series
7/11/14—Manchester, IA, Delaware County Fair
7/12/14—Michigan City, IN, Harrah’s Blue Chip Casino
7/18/14—Sioux Falls, SD, Sioux Falls Jazz Festival
7/19/14—Walker, MN, Moondance Ranch Jam Festival
7/20/14—Mankato, MN, Vetter Stone Amphitheatre
7/22/14—Janesville, WI, Rock County Fair
Thursday, June 26, 2014
Mixing Metallica: Backstage Video Interviews With Band’s Dual Monitoring Team
"Being consistent is absolutely key to making the artists feel like they're in a safe place wrapped up in their favorite blanket." - Bob Cowan, monitor engineer, Metallica
Watch the interviews with Metallica’s dual monitoring team, Bob Cowan and Adam Correia, as they share the lessons they have learned from mixing the band.
They cover everything from Metallica’s stage volume, the utmost importance of consistency, earning and maintaining the artists’ trust, and how they meet the high expectations from the band, front of house engineer Big Mick Hughes, and fans.
Metallica has recently added 76 Meyer Sound MJF-210 stage monitors to its touring inventory. Looking for a new solution to meet a series of on-stage reinforcement requirements, including weight, footprint, power, and clarity, the Metallica team turned to Meyer Sound.
The team, including show director Dan Braun, as well as Cowan and Correia, subsequently took part in the beta product testing during the Asian leg of the band’s tour. Find out more here.
Powersoft Debuts X Series Amplifiers To U.S. Market
Powersoft displayed the new X Series amplifier at InfoComm along with other known products.
Powersoft showcased the new X Series amplifier to the U.S. market at the recent InfoComm show in Las Vegas. The X Series was on display along with other notable products from the Italian manufacturer.
The X Series amplifier takes power amplification to new heights by providing tremendous functionality typically only found in separate outboard units. System integration tools include channel routing, a truly universal mono, bi- and three-phase balancing power supply and a revolutionary fully-featured DSP.
The larger X8 unit boasts eight channels in a 2U chassis, while the X4 features four channels in a single rack unit. Both models share the same power density, being capable of delivering up to 5200W @ 2 ohms per channel. Natively supporting AES3, two redundant Dante™ by Audinate® digital streams and analog inputs, provide up to four different selectable input sources per channel.
Powersoft also presented the award winning Ottocanali 12K4 8-channel amplifier in 2RU package. The new member of the Ottocanali family is the only product on the market that implements dual redundant power supplies, allowing great efficiency and reliability. In addition, the dual power supply setup grants flawless worldwide operation with any AC voltage.
In addition, Powersoft highlighted the K10 DSP + AESOP amplifier – one of the most versatile products in the K Series – during the show. Ideal for subwoofers and high-power, full-range systems, the K10 provides 12000W per 2 output channels. It is extremely stable down to 2 ohms making it simple to minimize the number of amps required to power a specific system. Due to remarkably high efficiency exceeding 85%, the vast power density delivers top performance despite running off a single mains phase, while occupying only a single rack unit.
DEVA, the popular multifunctional device, was also at the Powersoft booth. DEVA is a patented self-contained multifunctional multimedia device for installation anywhere without the need for cables and with virtually zero installation costs. It integrates solar power, bi-directional WiFi 802.11n A/V communication, audio, camera, microphone, lighting and a Class D amplifier with an 8-inch speaker in a compact, lightweight and weatherproof enclosure rated IP65. DEVA is suited to a wide range of applications, from background music to paging, in combination with video and/or audio.
Various amp modules have been also used to emphasize Powersoft’s ‘heartbeat’ design in the form of the DigiMod 3004PFC4 + DSP4, DigiMod 2004PFC2, the 4-channel D-Cell504 and LiteMod.
Foremost among these the LiteMod is a powerful 2-channel switching mode amplifier modules, delivering up to 800W per channel or 1200W in bridge mode, with a flexible platform designed to fit into active monitors, two way loudspeakers and small/medium subwoofers. Capable of impressive sonic performance, with the highest dynamic range and lowest distortion, LiteMod provides clean output power at high volume, thanks to the latest generation compact PFC power supply, guaranteeing reliability and consistency in all operating conditions and low power consumption (less than 0.55W in standby). A dedicated optional DSP board can be easily plugged into the module providing a complete solution in a compact package.
The M-Force moving magnet linear motor transducer was also on display in Las Vegas. With respect to conventional transducers, M-Force requires less power from the amplifier to produce a higher sound pressure levels (SPL) with extremely low levels of distortion. Unlike conventional loudspeakers, M-Force is a genuine push-pull engine where the magnetic field interacts in a linear fashion to provide a controlled force to the moving elements.
The transducer is completely free of moving electrical conductors which in turn maximizes the efficiency and reliability of the whole system. The extremely high motor strength, typically one order of magnitude above conventional technologies, yields to a natural, controlled sound and negligible power compression at the highest sound levels. The extreme displacement capabilities allow an increase in SPL in function of the size ratio of the cabinet design. By merging the unique parameters of the transducer and the amplifier output stage, the system provides unmatched sonic performance and efficiency.
3G Productions Deploys Martin Audio MLA At Electric Daisy Carnival (EDC) In Las Vegas
More than the required amount of low end was provided by 40 MLX subwoofers
The recent Electric Daisy Carnival (EDC) in Las Vegas easily earned its reputation as the world’s largest electronic music festival with seven stages and more than 400,000 in attendance.
The three-day multimedia event took place at the Las Vegas Motor Speedway and focused on providing a total entertainment experience for EDM fans, with over 70 DJs performing each day. 3G Productions of Las Vegas/Los Angeles, which once again provided audio for the event, set up a Martin Audio MLA loudspeaker system on Stage Two (Cosmic Meadow) to deliver coverage and ample low end required for the shows.
Specifically, the loudspeaker set included 16 MLA and 2 MLAD enclosures per side, 12 MLA Compact per side for side fill and 3 MLA Compact per side for front fill. More than the required amount of low end was provided by 40 MLX subwoofers stacked one on top of the other along the front of the stage. A Yamaha CL5 console was used at front of house, with a Yamaha PM5D for monitors.
“The system performance each night was fantastic and the Martin Audio stage blew everybody away,” says Keith Conrad of 3G Productions. “The client (insomniac) was happy with the way MLA performed, the show was packed every day and the DJs and their engineers were really impressed with the system.
“Because Cosmic Meadow stage was facing out towards the speedway and wasn’t competing with any other stage,” he adds, “we got the full impact and power of the system, which was amazing. As it turned out, we didn’t even need delay towers because the coverage was so exceptional. This was due in part because of Martin Audio’s Display 2.1 modeling software.
“What makes EDC unique from other music genre festivals is the incredible amount of bass that’s required for EDM. The MLX subs were so powerful, the artists and their crews were smiling from ear to ear as soon as they turned it on,” he concludes. “Of course, we were fortunate to have our secret weapon, FOH engineer Manny Perez, who is definitely a veteran with MLA and knows how to tweak the system so it sounds exactly right from the low to high frequencies, which made it an ideal situation for everyone. Overall, I’d say that the system exceeded expectations from every aspect.”
VUE Expands Popular al-Class Line Array Systems With Flyable Isobaric Subwoofer
Designed specifically for seamless integration with the al-4 Subcompact Line Array System, the highly versatile al-4-sb Isobaric Subwoofer features rigging options for suspension above or behind al-4 arrays in a variety of configurations.
After a successful preview at last week’s InfoComm show, VUE Audiotechnik announced today the latest addition to it’s popular al-Class line array family—the al-4-sb Flyable Isobaric Subwoofer.
Designed specifically for seamless integration with the al-4 Subcompact Line Array System, the highly versatile al-4-sb Isobaric Subwoofer features rigging options for suspension above or behind al-4 arrays in a variety of configurations. VUE even offers a flyable end fire grid that allows quick assembly of sophisticated al-4-sb end-fire arrays for improved directionality and reduced low frequency energy on stage.
The al-4-sb is equally adept in portable applications. The compact and durable birch enclosure features recessed handles and skids for easy transport and stacking. Integrated rigging allows easy assembly of ground-stacked arrays, while a 20 mm socket accommodates up to four al-4 acoustic elements on a pole with the optional U-bracket.
At the heart of the al-4-sb are two precision-engineered, long-excursion 15-inch transducers that feature neodymium magnets and large 4-inch (100 mm) diameter voice coils for high power handling and reduced power compression. The transducers are placed in a front-to-front, isobaric configuration. The unique isobaric alignment delivers less distortion from an enclosure that’s dramatically smaller than more conventional dual 15-inch designs.
For ultimate low frequency performance, the al-4-sb should be used with VUE Audiotechnik’s V4 and V6 Systems Engines. DSP profiles are available for a wide variety of al-4-sb configurations. V Series amplification provides power for as many as four al-4-sb subwoofers with the V4, and up to eight with the V6.
When fully optimized the al-4-sb will easily deliver powerful and well-defined low frequency reproduction down to 45 Hz. The al-4-sb can also be used along with additional ground-stacked VUE subwoofers to further extend low frequency response and increase overall system output.
Miley Cyrus Takes Sennheiser Digital 9000 On Bangerz Tour
Miley Cyrus takes out new Digital 9000 microphone systems from Sennheiser.
Miley Cyrus is currently on tour with her fourth and definitely most controversial album to date, Bangerz. On the tour, and for the first time, Cyrus is performing with the new Digital 9000 microphone system from Sennheiser.
The album exhibits influences that shift dramatically between pop, hip-hop, funk, country, R&B and dance. The tour is equally eclectic and outrageous, featuring a giant hot dog, a troupe of dancing furry animals and cartoon characters, foam fingers and some very skimpy costumes amongst other things. High-energy and steeped in self-mockery, there is never a dull moment.
Despite the change of image and musical direction of recent years, Cyrus has remained faithful to key members of her technical team, in particular monitor engineer Vish Wadi and FoH engineer Paul David Hager.
Both have been working with Cyrus (and Sennheiser) for a number of years. Wadi’s relationship with Sennheiser goes back some 17 years, while Hager has been working with Sennheiser since he engineered the Goo Goo Dolls tour in 2005.
“Miley had been using an SKM 5200 handheld transmitter with a 5235 capsule which was a great combination for her – very robust and sounded good — but Paul [Hager] and I were really keen to try out the digital system,” explained Wadi. “When we did, we both fell in love with the sound quality and the innovative RF capabilities, so we decided to move Miley over to the Digital 9000 system for this tour. She is using an SKM 9000 handheld transmitter with the MD 9235 capsule, and it sounds fantastic.”
Wadi noted that FoH engineer Paul David Hager was a significant driving force of the desire to move over to digital.
“If anything, it was even more important for him than it was for me because Paul is using digital outputs, and therefore wanted a fully digital workflow, whereas I am using analog outputs because I think it works better for monitors, especially in-ears.
“That said, there has definitely been an overall improvement in sound quality, and the other major bonus is that it just makes life so much easier for all of us in terms of setup and operation. The frequency scanner is a real time-saver and once you’ve understood how it all works, it’s just a dream to work with.”
Hager is in complete agreement, and made particular reference to the Digital 9000’s unique, completely uncompressed digital transmission.
“The difference in sound quality is measurable,” he said. “The wireless sounds much more natural without all the companding that was previously a feature of wireless systems. As a result, the 9000 doesn’t have that typical “wireless mic” sound – in fact, it almost sounds just like a cabled mic.
“Also, it can handle great distances without dropout, which for a major tour like Miley, where we’re in huge venues with massive stages, is a significant plus point. The other feature I love is the choice of AES outs right into my console for the cleanest possible signal chain – no messing around with any extraneous signal converters, it’s just direct from mic to console.”
“It’s also simplified things for me in terms of workflow,” continued Hager. “The fact that Miley and her background singers now sound so much more natural than before means that I don’t have to EQ nearly as much.
“The other thing that I love is having a range of heads for the mic so that I can find the right one for her voice. The downside is that we’re now spoiled for anything else – having used the Digital 9000, it’s going to be hard to go back to any other wireless system!”
Both engineers have been working with Sennheiser for some time, but Wadi in particular has enjoyed a long and productive relationship with the company. “My first contact with Sennheiser was in 1997 when I was trying to find a mic for Mariah [Carey],” he recalls. I came across the 5000 Series and talked to Greg Beebe [now President of SEC, the wholly-owned US subsidiary of Sennheiser]. He sorted me out for Mariah, and we became friends.
“Some years later, I needed a mic for Sting, and again, Sennheiser was the only company that really reacted and cooperated with me to develop the product I was looking for. In fact, the e865 condenser mic was a direct result of that project. Since then, I’ve been involved in road-testing new gear and giving feedback whenever I can.”
“I think Sennheiser is a great company because despite their size and prominence in the market, they are still a family-run company, and those “family values” are definitely a defining factor in the attitudes of their workforce. You get an incredibly personal service wherever you are in the world — which is enormously reassuring, and from a technical and developmental point of view, they are always a step ahead of the crowd. The result is that you get to deal with great people AND great products. What could be better than that?”
SSL Live Hits Summer Festivals With The Killers
Finds console to be more convenient to work on due to its flexibility and the manner in which an engineer can customize the fader banks
Following The Killers’ successful 2013 Battle Born world tour, the Las Vegas-based band is back on the road this summer in support of Direct Hits, a greatest hits compilation, with appearances at North American and U.K. music festivals.
The band’s front of house engineer, Kenny Kaiser, is delivering his mixes via an SSL Live console. Kaiser, who works with Delicate Productions of Camarillo, CA, came on board with The Killers last year and took over FOH for this tour.
“Delicate is a great partner of Hi-Tech Audio [supplier of the SSL Live console for the tour] in San Francisco, where I’m based,” he says. “Louis Adamo, president of Hi-Tech, called to say they had a new SSL console, so I went down and played with it. I found it fluid and the surface very intuitive. I also had a chance to take a class for engineers and production companies. After I took the class, I found the console even more intriguing. One thing that stuck in my mind was actually taking it apart and looking inside at how it’s made – it’s built like a tank. Plus, with the name SSL, you can’t go wrong; that’s a great name in consoles.”
The Killers’ previous mix platform just wasn’t his style. “There was too much button pushing to get to certain places and it was too spread out,” he notes. “There were fader banks on either side, so I had to do a lot of left and right movements. With Live, it’s more centralized. I don’t have to move around the console and I can stay in one spot, hit one button and quickly do what I need to do.”
Kaiser, who will occasionally use other consoles for events supported by Delicate, finds SSL Live to be more convenient to work on due to its flexibility and the manner in which an engineer can customize the fader banks. “It’s very intuitive and user-friendly,” he says. “There are a lot of options as to how you can set up SSL Live.”
The accuracy of the console also stood out to Kaiser. “Because my background is a system tech, I’m an audio measurement and phase dork,” he explains. “Some engineers might have an eight or 10 dB boost or cut on an EQ band and my thought, if you have to do that, is that something is wrong – either the wrong mic or the console isn’t doing what the engineer needs. I now find that certain things I used to do, I don’t have to do anymore because the EQ does what it says its doing. When you’re on the first band and you want a cut at 120 Hz, it actually does 120. Some consoles say they’re doing 120, but then when you actually plug it in and check, it’s not quite there. Sometimes the Q isn’t quite what it says; with this console, it’s precise.”
Another big hit was Live’s onboard effects. “Everything is built-in, the reverbs sound glorious and it’s all on board,” says Kaiser. “I don’t have to go out and buy a console and then say, ‘Okay, now I need some external piece of software or hardware to get what I want.’ Everything I need is right there in one box to make the sound how I need to make it, which makes my job easier.”
But it doesn’t just stop at the effects, the console’s all-pass filters were also a big selling point for Kaiser. “As a system tech, I use all-pass filters to align side hangs to the mains,” he says. “Being able to have that on inputs to align a pair of kick or snare drum mics is a huge tool to get the phase just right.”
Kaiser also mentions the clarity and distinctness that each instrument has in his mix. “On other consoles, once you start adding more stuff, you hear them start to overload and hear the coherence start to go away, but not with the SSL Live. SSL definitely did their homework to make it sound as analog as possible. This console is the most analog-correct digital console I’ve ever encountered. It sounds phenomenal.”
The Killers recently headlined the Hangout Festival on the sandy beaches of Gulf Shores, AL where the console was put to the true test of the weather. Kaiser notes, “Despite the heat, high humidity, wind and sandstorms that we encountered that weekend, the console was just great.”
Wednesday, June 25, 2014
Sound Devices Debuts 970 Audio-Only Rack-Mounted Audio Recorder
64-Track Dante and MADI-Equipped Multi-Track Audio Recorder Makes AV Debut
Sound Devices showcases the 970, its first-ever dedicated audio-only rack-mounted recording solution, which boasts an impressive 64 channels of Dante and MADI.
The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording, including live events such as concerts and sports recording, corporate events, houses of worship (HOW), studio and mobile production, as well as theater and museum presentations.
Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. Inputs available include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. The 970 is a powerful tool for professionals who require a significant number of audio channels. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported.
The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying and allows for continuous long-form, high-track count recordings.
The Sound Devices 970 features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks as well as file transfer over the data network with SMB.
In mission-critical audio-over-IP AV installations, where hundreds of audio channels are distributed between zones, setting up a redundant network to protect against loss of audio due to network failure provides peace of mind. The ability to have one drive transferring files over Ethernet, while another continues recording, offers significant production time savings. Corporate, HOW, theater and museum presentation videos that are created, edited and rendered remotely can be transferred directly to the venue.
File metadata editing of scene name, take name, notes, track names and reel folders can be done during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also allows for format conversion between analog, AES digital, MADI and Dante, acting as a bridge and routing matrix between these types of audio I/O.
Sound Devices 970 is designed with a large five-inch screen for metering of up to 64 tracks and for fast and intuitive menu control. It also features the Sound Devices proprietary PowerSafe technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording.
In addition, the 970 features FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. This occurs when a drive is inadvertently removed during recording, with the 970, simply reinsert the drive and it automatically repairs its files.
With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is well-suited to operate as a master clock. It can also slave or be jammed to any other time-code source.
All common production time-code rates and modes are supported. The 970 also supports external synchronization from word clock, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.
Community Delivers Great Sound for Ice Hockey World Championship
Community loudspeakers are installed at the Chizhovka-Arena in Minsk.
Art Ramos Studio a.l.c., Community’s partner in Belarus, has recently overseen the installation of the audio systems at the Chizhovka-Arena in Minsk, featuring Community loudspeakers. The arena, one of the largest sports facilities in Belarus, is a multipurpose complex for ice hockey, sports, leisure and entertainment and is the home ground of HC Yunost-Minsk.
Chizhovka-Arena was built for the International Ice Hockey Federation (IIHF) Ice Hockey World Championship that took place in Minsk in May 2014. In addition to the tens of thousands of fans that traveled to see the event live, the IIHF’s flagship event was televised to 115 countries with television audience around the one billion mark.
Chizhovka-Arena is located in the south-eastern part of Minsk in a picturesque nook of a park named after the 900th anniversary of the city. Designed by Marat Grodnikov, the arena resembles two drops of water flowing into each other. The modern design fits well into the landscape of the Chizhovka Water Reservoir.
The main building, an ice hockey arena with multipurpose use for concerts, basketball and other events, seats 10,000.
The second building consists of a small ice hockey training arena with 500 seats and a multipurpose sports hall with 740 seats, used for basketball, handball, gymnastics and other sports. This sports hall is also frequently used by television companies for filming TV shows. The two buildings are connected by a junction with conference and press rooms, shops, restaurants and cafés.
An original proposal was modified with a system design by Art Ramos Studio engineers, Alexey Sayganov and Alexandr Malets and the project was awarded by tender, complying with the obligatory procedure for all governmental purchases.
Anton Streltsov, Deputy Director of Art Ramos Studio, commented, “Our proposal was chosen as it offered excellent value to the customer and met the requirements of the arena with a very modern approach.” The installation was handled by BelElectroMontazh, with supervision and support from Art Ramos Studio.
Throughout the complex the system uses two hundred and thirty-eight Community Distributed Design Series ceiling loudspeakers and four hundred and thirty-two Distributed Design Series surface-mount loudspeakers, supplied in a combination of black and white finishes to best complement their locations.
In addition, eight Community R.5HP three-way coaxial, 12-inch loudspeakers were used to cover the ice hockey pitch in the main arena.
All loudspeakers are part of the EVAC/fire alarm system, for which separate certification was made in Belarus. The loudspeaker lines and loudspeakers are all controlled by QSC Q-SYS which monitors for loudspeaker, cable and short circuit faults.
Five separate Q-SYS systems are used to cover all areas of the complex, including the large arena seating, corridors, foyers, halls, cafés and restaurants, the small arena’s ice hockey area, the small arena’s sports hall, the small arena’s corridors, foyers and halls and the junction between the two arenas. The system includes a DiGiCo SD11 mixer, QSC amplifiers and Beyer Dynamic microphones.
Anton Streltsov concluded, “Our team was extremely satisfied with the system’s results. With Community we know we can always deliver outstanding sound quality and reliability. Our engineers were particularly impressed by the uniformity of the SPL we achieved on the ice hockey pitch using R.5HP loudspeakers, which is really important as players move so fast under adjacent loudspeakers. It was the best result of any similar installation.”
Monday, June 23, 2014
Sincopa Turns To Optocore For Timberlake And Stones In Tel Aviv
Sincopa Sound & Light has recently used the newly acquired Optocore digital returns racks to service major concerts by Justin Timberlake and the Rolling Stones.
Sincopa Sound & Light, one of the largest PA companies in Isreal, has recently used the newly acquired Optocore digital returns racks to service major concerts by Justin Timberlake and the Rolling Stones. Both concerts were held in Tel Aviv’s giant Park HaYarkon for up to 50,000 fans.
For the Timberlake concert they deployed Optocore’s sophisticated fiber distribution system comprising four XR6-FX interfaces at the FOH, stage and delay tower ends. One device was configured 8AE/8MI and the other three 8AE/8LO.
Transmission to the L-Acoustics PA and delay towers was via Optocore AES, analog and Ethernet on a redundant loop, with two AES lines from the Digico SD-7, through a routing/summing Lake LM-44 to a total of five AES lines on the Optocore rack. These were configured for AES and analog, while an analog line was connected for backup.
The two Optocore stage racks ran AES Out/Analog Out and AES In/Analog In, respectively. The other AES/Analog Outs were assigned to the two delay towers.
A compliment of L-Acoustics K1, K2, VDosc and Kara, optimized by dedicated L-Acoustics LA8 amplified controllers in 21 LARacks, covered a total distance of 210 meters, with 152 meters to the furthest delay point.
“Optocore supplied extremely close technical support and dealt immediately with any issues we encountered,” said Assa Efrat, the Sincopa technical manager who configured the system. “I can now see this being part of our permanent audio deployment and it will be used again and again.”
“The support from Optocore was amazing,” agrees Amos Bokobza, CEO of Sincopa Sound & Light. “We were able to choose such a huge project on which to debut the Optocore system only because of the great technical support; this enabled us to remain calm during set-up and show days.”
Other technical crew for the Timberlake show included Eran Pereldik (project manager), and system engineers, Eran Pereldik and Efrat himself. The Optocore solution more than met their requirements and was promptly redeployed when the Rolling Stones appeared at the same venue on June 4.
Robert Scovill Chooses EAW Anya For Tom Petty Tour
Sound Image will provide an EAW Anya system for the upcoming Tom Petty tour.
EAW today announces that Sound Image has joined the expanding global network of Adaptive Performance Partners through the purchase of an Anya system.
The system will be immediately deployed on the Tom Petty Hypnotic Eye Tour. Award winning FOH engineer, Robert Scovill, insisted upon Anya after putting the system through an extensive evaluation at a private event.
“I haven’t been this excited about a new approach to PA technology in a couple of decades now,” said Scovill. “The approach that EAW has taken with Anya is a leap forward in the quality and the way in which audio can be presented to a large audience. I’m thrilled to have the opportunity to be an early adopter of Anya. I’m literally counting the days to our first shows.”
The arena tour, featuring very special guest Steve Winwood, will additionally make stops at the scenic Gorge and Red Rocks amphitheaters along with a special night at Boston’s historic Fenway Park. EAW Resolution software will be used to adapt the coverage of the 54 module Anya system to perfectly match the diverse requirements of the venues on the tour.
“This is a very big day for EAW,” states Jeff Rocha, president of EAW. “The collaboration between this specific artist, engineer and sound company is as good as it gets. Robert’s selection of Anya further reinforces the industry shift away from conventional line arrays in favor of the pioneering technologies of adaptive performance. And the level of excellence that Sound Image consistently delivers will make those technologies available to a very wide range of artists.”
Dave Shadoan, president of Sound Image added, “We analyze, watch and develop evolving technology closely and we strive to remain at the technological forefront in the touring industry. When we see a product that has the potential to cut a new path, we will certainly get involved. When Robert Scovill came to us with the concept of using Anya for Tom Petty, we knew that it was time to pay attention as we had been monitoring the Anya system as well.
“Robert is a very talented engineer and we have had a strong relationship for many years. As we roll this system out for its first major tour, we’re confident that it’s in very capable hands. It will be a great opportunity for Sound Image to show the system to other engineers that are curious about Adaptive Performance technology, allowing them to see how it can be used with their clients moving forward. Jeff Rocha and the EAW team have worked very hard to provide something new and different. It is an exciting project to say the least.”
Friday, June 20, 2014
Crest Audio Announces New Tactus Digital Mixing System
Crest Audio has partnered with Waves to create the Tactus Digital Mixing System.
Crest Audio has partnered with Waves to create the Tactus Digital Mixing System. The Tactus Digital Mixing System provides a simple, customizable touch-screen operating interface that puts all of the audio routing, processing and mixing tools within easy and immediate reach.
Designed to work with the new Waves eMotion Mixer for SoundGrid, the Tactus Digital Mixing System offers a full complement of professional features and allows the use of Waves audio processing plug-ins for live events.
The Tactus hardware is comprised of the Tactus.FOH, the audio processing core for the system, the Tactus.Stage, a 32-in/16-out remote stage box, and the Tactus.Control, a dedicated hardware control surface .
The modular capability of the Tactus Digital Mixing System, which interconnects via standard Gigabit Ethernet cabling and an internal Gigabit switch, allows multiple configurations in a range of channel counts to best suit each application.
The Tactus.FOH is powered by the Waves SoundGrid audio processing/networking platform, ensuring extremely low latency with precision audio processing.The Tactus.FOH frame provides 8 local microphone/line inputs and 8 line outputs, and serves as the audio signal processing engine.
The Tactus.Stage includes 32 microphone/line inputs and 16 line outputs. The digitally controlled high-quality mic preamps feature ultra-low input noise, high slew rate, very low THD, and 66dB adjustment range in 1dB steps to maximize dynamic range. An integrated gigabit Ethernet switch allows for easy networking. Users also benefit from the option of combining Tactus.Stage I/O interfaces for a total of 64 stereo inputs by 32 stereo outputs.
Accordions & Didgeridoos: Mic Techniques For “Exotic” Instruments
Living in South Central Texas, we operate in a very diverse ethnic atmosphere and encounter every description of strange and unusual instrument.
Over time, we (and our engineers) have discovered some techniques that work well for some of these applications. There may be other, possibly better ways to accomplish the task.
But the following represent tried and true methods that work for us, as well as the musicians we support.
Accordion. What do you call 100 accordions in the Rio Grande? A good start! The accordion is found in so many styles of music, it boggles the mind. Within those styles are different kinds of accordions, as well, and they need to be addressed separately.
In the traditional Mexican forms of Conjunto, Tejano, etc., the button accordion is most often found. The musician will either have a clip-on type mic and a wireless unit, which means you provide a DI and hope the musician doesn’t bend over too close to the monitor or turn the wrong way.
Or, the musician will want a mic on a boom stand, which is positioned to the musician’s right, very close to the center of the instrument. For the stand, we prefer the short (low profile) boom.
For all accordions, we’ve found that the Electro-Voice N/D468 (formerly 408) provides the preferred response. It’s widely known by sound companies as a drum mic.
The N/D468 has a wide dynamic range, with the ability to handle shrill SPL that the accordion presents. Just take a 3 dB to 6 dB cut from the highs and you’re pretty much home free.
This egg-shaped microphone swivels in its bracket, so it’s very easy to position and stays out of the musician’s way as well. As an option, the Shure Beta 57 also works well.
Cajun accordions are smaller and have a piano side (stage right) and a bass side (left). Most Cajun players will have a clip-on type mic on the piano side (again, provide a DI), or they will often take the XLR and plug it straight into the accordion. They will often ask you for a separate mic for the bass side.
Again, the 468 works very well for this purpose. Just watch out for low-end rumble.
Celtic accordionists, as well as German polka, Klezmer, and other European styles use the larger piano accordion. They normally do not have any pick-ups or clip-ons and will usually ask for two mics, one for each side. Celtic artists may also play concertinas or other gypsy-inspired instruments. The miking techniques are the same. Another mic that we like in this application is the Sennheiser 421.
The most important thing to remember about accordion is that any player over the age of 12 has probably suffered hearing loss and will most likely ask for a lot of accordion in the monitor. If you’re experiencing feedback from the stage, the first suspect is always the accordion and the range will usually, but not always, be somewhere between 4 kHz and 6.3 kHz.
Didgeridoo/Alp Horn. The Didgeridoo is an Australian aborigine instrument. It’s a long tube that rests on the floor and can be made of anything from wood to PVC pipe, producing a low, rumbling sound. Your first instinct is to put a kick drum or bass mic on it. Don’t do it!
Our experience is that a Shure SM58 is a great bet. Place a mic on the floor near the opening and monitor the low frequencies. This instrument is designed to cover long distances (miles, even), so the low-frequency response is intense and needs absolutely no help from sound reinforcement.
The Alp horn, a Scandanavian instrument, is similar in construction and intent. It can be miked the same way, although the low end is not quite so intense, and it does produce melody.
Celtic Harp. The first few times we encountered a Celtic harp, which is a half-sized version of the concert harp, we attempted to mic it with a condenser, placed near the strings.
Unfortunately, the harpist needs to move the harp backward into playing position, then forward to set it at rest.
Too often, the strings of the harp rub against the mic and create really ugly noise. Then when the harpist pulls the harp back into playing position, he or she rarely gets it back in the same place and the whole thing becomes an unsatisfying experience.
Then we did a show with Polyphonic Spree, which boasts a full-size, concert harp. The harpist used a Barcus Berry harp pick-up, and it sounded fabulous!
A mic approach that handles the hurdy-gurdy.
The Barcus Berry folks informed me that the very first Barcus Berry pick-up was invented for harp, and that their piano pick-up is exactly the same, just with a different name silk-screened on it. Oh, how happy we were to learn this.
The Barcus Berry piano pick-up is small (two inches long), designed to be stuck on the soundboard of the piano with two-sided tape. It plugs into a control box that acts like a DI, and works works best with drums; other times, a well-placed single mic does the trick.
It does the same on the harp. Just apply it to the soundboard of the harp and no more worries – beautiful harp music without all the annoying noise of an external microphone. Any sound company that works with acoustic pianos or harps should own one of these fabulous pick-ups.
Stringed Instruments. The diverse types of stringed instruments that come across our stages is staggering, from the balalaika to the bazouki to the oud, banjo, papoose, and on and on. If they have a pick-up, we’re happy people. But often, they don’t.
The miking technique is pretty much the same, no matter the name the instrument. Most sound folks mic these instruments at the sound hole; however, the place to get the very best sound out of a stringed instrument is where the neck joins the body.
Unfortunately, getting the musician to trust you is another thing altogether. Unless there’s a quiet sound check time, where they can be shown the difference, chances are that once you set up the mic and turn your back, they’re going right back to the sound hole.
Interestingly, some of the bluegrass players we’ve worked with don’t prefer the Shure SM57 (gasp!). The reason given is that the windscreen on the SM57 rotates, and when the mic touches strings (especially on banjos), it creates some vibrations. A fixed screen instrument mic is preferable in their minds.
Mallet Percussion/Pan. Mallet percussion includes xylophone, marimba and vibraphone. These instruments have resonator tubes under the bars and can be difficult to mic evenly.
Vibraphones sometimes have pickups (again, usually Barcus Berry strips), but not often. We’ve found that placing two condenser mics, evenly spaced between the high and low bars, about 12 inches under the resonator tubes, will offer the best coverage.
Overhead miking doesn’t work well with these instruments because the instruments are not loud and you can’t pick up enough of the instrument without bleed from the rest of the stage overpowering it.
The pan, or steel drum, is in the same family and is miked the same way. As with the accordion, watch out for excessive low end on all these instruments.
Sometimes over/under micing works best with drums; other times,a well-placed single mic does the trick. (The drum above is called a bodhran, by the way.)
Jembe, Ethnic Drums. Just about any good instrument mic can be used on hand drums. Typically, place the mic a couple of inches from the head on the side away from the musician. Some jembe players will want a second mic on the bottom.
Cajon. Also called a “box,” the cajon is exactly that, a hollow box with a hole in the back, that the musician sits on and beats. The best way to address the cajon is just like a kick drum – a Shure Beta 52 in the hole.
Step Dancers. If providing sound for a Celtic event, chances are that it will have step dancers. If there’s not a wood floor, they’re on their own!
For one or two dancers, a piece of 1/2-inch-thick plywood of decent size can serve their purposes. On the front of the board, in the middle, place a boundary mic, which will help get the sound of the shoes into the mix with the music. (And often, these bands will bring their own board.)
Bagpipes. Oh, what a conundrum! But well-played bagpipes don’t have to be a curse. Like accordions, bagpipes can be amplified with a pick-up or mics. The pick-up is always a nice surprise and usually, it only requires one line and a DI.
If going with a mic, then actually, two will be required – one for the drone and one for the chanter. The drone is the tall pipe that sticks up overhead. A SM58 or similar mic, positioned like a drum overhead, works nicely.
The chanter is the recorder-like piece that the musician plays with his hands. Another SM58 or SM57 on a short boom will do the trick. Note: Musicians rarely want any bagpipe in their monitors – they’re plenty loud on stage!
There are myriads of other instruments, most of which can be handled by a standard mic complement. Without experience, common sense and trial and error are still the best approach to the challenge.
The best part about these encounters is that we learn something new every time.
John and Teri Hogan owned Sound Services, a successful sound company based in Texas.
Wednesday, June 18, 2014
Community I SERIES Launched At InfoComm
I SERIES includes point-source, high-directivity, compact and floor-monitor models in multiple performance levels, providing modular scalability for any application requirement.
Designed to provide exceptional musical quality and vocal clarity, Community’s new I SERIES is an innovative family of high-power/high-output modular loudspeakers that allows designers to implement complex solutions in houses of worship, multi-purpose auditoriums, live theaters and other professional and commercial venues.
I SERIES includes point-source, high-directivity, compact and floor-monitor models in multiple performance levels, providing modular scalability for any application requirement. A suite of matching-height subwoofers, in sizes ranging from compact single 12-inch models, to ground-shaking dual 18-inch models, complements the full-range I SERIES models with powerful low-frequency extension.
Optional weather-resistant versions fill the needs of sports fields, amphitheaters and other venues needing high-performance loudspeakers designed for full outdoor exposure.
I SERIES features high-output woofers that combine a variety of technologies for smooth response, exceptional intelligibility, low distortion, and minimal power compression. Two-way models have large-format compression drivers, a choice of six rotatable horns and individually-voiced, beamwidth-matched crossovers with single or biamp operation.
Three-way models offer a choice of three rotatable horn patterns and biamp or triamp operation and use a combination of large-format HF compression driver and Community’s M200HP midrange compression driver – both with ketone polymer diaphragms for exceptionally smooth and uniform sound quality.
I SERIES loudspeakers’ attractive, but discreet, appearance meets system design goals while minimizing any impact on facility aesthetics. Their lightweight 15mm Baltic Birch cabinets are finished in black or white low-gloss textured paint, and their edge-to-edge wrap-around fabric-backed powder-coated steel grilles have no forward-facing logos, resulting in an exceptionally clean appearance.
A wide range of optional low-profile, modular installation hardware supports the quick and easy installation of virtually any combination of I SERIES models. These installation hardware systems improve aesthetics by keeping the brackets hidden above and behind the cabinets, while also reducing the vertical array height and minimizing the number of suspension cables.
Chris Barrow, Community’s Director of Product Marketing, said, “I SERIES is a wide variety of great loudspeaker tools, crafted for sonic and aesthetic transparency and designed to remove the limitations systems designers and integrators face when using other loudspeakers. With I SERIES, systems designers can realize their goals for even coverage and great sound while architects and owners get a loudspeaker array that blends well with a facility’s interior design.”