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Friday, June 26, 2009

Official Statement From Clair Regarding Michael Jackson

Company provided sound reinforcement on several Jackson global concert tours

Following the death of pop music icon Michael Jackson yesterday (June 25, 2009, Clair issues this statement:

“Michael Jackson was the consummate professional and a dynamic performer,” said Troy Clair, President, Clair. “His death is a huge loss to both the music and live production industries, and we are proud to have had him as a long-standing member of our client roster.”

Clair, based in Lititz, PA, handled sound reinforcement duties for both Michael Jackson and the Jacksons for a number of global tours including “Victory” (1985), “Bad” (1989), “Dangerous” (1993) and “History” (1997) with several noted front of house engineers, including James “Trip” Khalaf.

Clair Website

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What’s The Delay? The Effects Of Weather Conditions On Sound

Temperature changes, as well as wind and humidity can wreak havoc on our carefully aimed and tuned rigs. Here's what's actually happening and steps to counter the difficulties.

Summer is here, and a good many of us are out working those “mud and dust” shows, fairs and festivals.

We get to clean amplifier filters on a daily basis, put wedges into garbage bags to keep them dry, mix with visqueen draped over the console (also to keep it dry). And, we’ll have a shop vacuum at front of house as well as the monitor “beach.”

That said, the toughest aspect to deal with when doing shows in the great outdoors is the effects of atmospheric conditions on a system’s behavior. Temperature changes, as well as wind and humidity can wreak havoc on our carefully aimed and tuned rigs.

And the larger the venue, the greater the effect that these conditions will have on sound propagation. The effects are not preventable, but at least they’re (at least partly) predictable.

Morning, Noon & Night
Any time you’re doing sound outside, temperature gradients are an issue. In the morning, the ground retains the nighttime coolness longer than the surrounding air, resulting in a cool air layer near the ground with a warmer layer above it.

The velocity of sound increases slightly with higher temperatures. For example, at an elevation of 0 feet above sea level, at a temperature of 50 degrees (Fahrenheit), sound will travel 110.7 feet in 100 milliseconds (ms).

At 90 degrees F, it will travel 115.14 feet in the same 100 ms. This will force the wavefront angle of sound from loudspeakers to track slightly downward, bending toward the cold air layer.

In more extreme conditions, sound waves can actually bounce off the ground and skip over part of the audience before refracting downward again further on, causing dead spots in the system coverage.

In the evening the opposite happens. Because the ground is still warm while the air is cooling off, a layer of heat is trapped near the surface. Thus the wavefront angles upward, and can be refracted right over the top of the crowd. (Note also that the warm air layer generated by the crowd itself increases this tendency.)

Wind can produce similar effects. The speed of sound traveling with the wind will equal the speed of sound plus the wind speed; thus, when sound is firing into the wind, you must subtract the wind speed.

And since the wind speed in a boundary region like the ground is at or near zero, a wavefront heading into the wind will refract upward as the top part of the wave is slowed slightly by the headwind.

With the wind behind sound - pushing it - the wave will bend downward. It’s not the wind itself that causes problems, but the velocity variations with altitude.

The effects of a crosswind can be analyzed with a little simple trigonometry. (Is there really any such thing?)

Let’s look at an example. Start with the fact that the nominal speed of sound is 770 miles per hour (mph). Then, let’s say that a crosswind is blowing at 90 degrees to the direction of the sound system propagation at a rate of 40 mph.

We can use those speeds as distances on the legs of a right triangle and determine the angle of deflection. In this example it’s about six degrees.

However, this can be a little deceiving.

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Because the typical cluster may have a horizontal dispersion of 120 degrees or more, part of the wavefront is moving perpendicular to the wind, but other parts are quartering into the wind or away from the wind.

This causes their behavior to be affected as though the wind were pushing the sound as noted above. Very complex!

More & Less
Humidity is another factor that can produce large changes in sound system propagation but this time in the frequency domain.

Although it can seem counter-intuitive, lower humidity equals more attenuation and higher humidity equals less.

Humidity effects on frequency response start at about 2 kHz and become progressively more pronounced at higher frequencies.

At a distance of 100 feet and 20 percent humidity, 2 kHz will be attenuated by only 1 dB, while 10 kHz will suffer a whopping 8.5 dB loss.

And these losses are cumulative for longer distances. At 200 feet, that 10 kHz loss doubles to 17 dB! These losses are also in addition to inverse square law losses - they’re not linear with frequency, so amplitude response can vary greatly over the coverage area.

The inconsistencies are worst between 10 percent and 40 percent humidity. At higher humidity, the losses become smaller and also more linear across the frequency range.

These variations can be an issue with arrayed point sources that have a total vertical dispersion of 50 to 80 degrees. But when the forces of nature are applied to a line array with a wave front that is very narrow in the vertical axis, there is not much room for errors in directivity.

The fact that line arrays maintain their vaunted 3 dB loss per doubling of distance for a far greater distance at high frequencies than at low frequencies is somewhat offset by the higher atmospheric losses at those high frequencies.

But because humidity losses are not linear this isn’t as helpful as it might seem.

Line arrays are also typically used to cover larger venues. The phenomena we’re examining here become more pronounced with distance.

The more air that the sound waves have to travel through, the more opportunity there is for mischief. At 100 feet, the effects are noticeable. At 500 feet, they can be dramatic.

Prime Weapon
So how do we overcome all this atmospheric mayhem? One way is to use delayed stacks. But that’s so 20th century, you say - haven’t line arrays made them obsolete? Not necessarily.

Getting people closer to the loudspeakers is a prime weapon in the temperature and humidity wars. Not only do we preserve a reasonable facsimile of the desired frequency response, we keep a much more even volume level over a large area.

Admittedly, the physical aspects of using delayed systems are a pain.

Obscured sightlines, audio feeds, power availability and extra setup and teardown time add expense and complexity to the production.

But we can minimize the inconvenience. Because air absorption doesn’t affect low frequencies as much as higher ones, we can skip the subwoofers, and in some cases, even the low-frequency cabinets in the delayed system.

This cuts the size and power requirements way down.

And co-locating a delayed source with the mix position cuts down on audio and power feed issues.

Delay is an ideal application for some of the new smaller-format line array systems. They provide plenty of horsepower in a small footprint preserving sight lines.

Alternatively, smaller full-range cabinets can be deployed from the “B” system.

How far from the main clusters should delays be positioned? Sometimes this is governed by physical considerations, and sometimes sound pressure level (SPL) limits are set by the venue in consideration of the surrounding communities.

If SPL is being measured at FOH, the main system may be operating at a fairly low level, keeping the delayed systems from being very far from the stage.

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A modeling program, or simple math and the inverse square law (or just the inverse law in the case of line arrays) can be used to determine what the acceptable level decrease is before the signal needs to be re-amplified.

Always keep in mind that the extra losses described are over and above the theoretical losses. If a show is being staged in a calm, high-humidity area, you may not have to allow for much environmental loss. But if a show is held in a windy desert, watch out!

Show The Arrivals
How do we determine the correct amount of signal delay to apply? In my view, measuring the actual time difference is the best way to go.

Use (Rational Acoustics) Smaart or (Gold-Line) TEF to produce an impulse response or an Energy Time Curve (ETC). This should clearly show the arrivals from the main system and the delayed stacks, and enable you to use the cursors to give you a delay number.

If you don’t have one of these tools at your disposal, just do the math. At 70 degrees F, at sea level, the speed of sound is 1,130 feet per second, or about .88 ms per foot. If you know the distance, you can determine the time delay.

Many audio engineers like to take advantage of the Haas (or precedence) effect. The human ear localizes on sound based on both time of arrival and frequency content.

The earliest sound - and/or - the sound with the most high-frequency content establishes the perceived direction that the sound is coming from.

The human ear also integrates sounds that arrive within about a 20 ms window, and this is called the Haas zone. In other words, within this time frame, the ear does not perceive separate arrivals.

Thus the audience can be “fooled” into believing that all sound is coming from the stage system by delaying the signal slightly beyond the acoustically correct setting, and by slightly rolling off higher frequencies. This is called localization. You know you’ve done it right if people are saying that the delayed loudspeakers aren’t working when you know they are.

And don’t forget, the speed of sound changes with temperature. If the environment has large temperature swings reset your delays as close to show time as possible.

Now if we could just get it to stop raining.

Bruce Main has been a systems engineer and FOH mixer on and off for more than 30 years. He has also built, owned and operated recording studios and designed and installed sound systems.

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Thursday, June 25, 2009

2009 InfoComm: Tannoy Highlights Additions To VQ Series Of Loudspeakers

The three horn enclosures have been designed to cater for a range of typical applications and offer some industry standard dispersion patterns

At 2009 InfoComm in Orlando, Tannoy highlighted recent additions to its VQ Series of loudspeakers; specifically, three new PSW (Point Source Waveguide) horn formats and a new 15-inch subwoofer module.

The three horn enclosures have been designed to cater for a range of typical applications and offer some industry standard dispersion patterns, namely 40 degree (conical), 60- x 40- and 90- x 50-degree (in vertical position).

These VQ MH (mid/high) horn enclosures can be used in conjunction with the existing VQ products such as the VQ MB, as well as the new VS 15DR sub enclosure, or connected and flown in pairs or larger, tightly packed arrays to offer class-leading full range, wide dispersion coverage.

The new 40-degree conical and 60- x 40-degree horn formats will also be made availabe in the VQ DF down-firing enclosures, to add further flexibility to the existing VQ 85DF (80- x 50-degree dispersion).

Tannoy’s Director of Business Development Graham Hendry explains, “After launching the VQ Series last year, we always planned to expand the range of tools available to the systems designer. This new phase of VQ comes in the form of three new PSW ( patent pending) horn formats and a new 15-inch sub module. The three horn enclosures have been designed to cater for a wide range of typical applications and offer some industry standard dispersion patterns, namely 40-degree (conical), 60- x 40- and 90- x 50-degree (in vertical position).

The modular design approach allows the system designer to create seamless and very predictable arrays which are ‘tight packed’ to avoid any unsightly spaces between cabinets; or they can be used singly as part of large distributed systems.

The new VS 15DR provides an alternative solution to the existing VQ MB (mid-bass) module, in this case utilizing a single direct radiating 15-inch driver which delivers a different level of low frequency performance. Multiple bass enclosures can be stacked together to improve vertical pattern control at low frequencies.

There will also be new DF ‘down-firing’ enclosures with 40- x 40-degree and 60- x 40-degree dispersion patterns, to accompany the existing VQ 85DF and further expand the range of tools available within the VQ Series.

New VQ Series Products:
VQ 40MH
VQ 64MH
VQ 95MH
VQ 40DF
VQ 64DF
VS 15DR

VNET (active DSP, networkable) versions of these products are also planned - more details will be available soon.

Tannoy Website

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(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Wednesday, June 24, 2009

WaveCapture Announces Live-Capture Pro Comprehensive Audio Analysis Tool

Now includes 8-channel analyzer interface for the Lake Controller

The new WaveCapture Live-Capture Pro is a PC-based software tool for real-time live sound measurements, optimized for front of house use.

Up to eight channels of time and frequency domain are measured simultaneously using program material (music and speech), before or during a performance, with the audience present. Live-Capture Pro also employs traditional MLS and Chirp measurements.

The full suite of features includes room-resonance detection in real time, delay finder with group delay and Cepstrum analysis, filter optimization, sound level logging and display of reverberation time graphs.

Live-Capture Pro also acquires complex frequency response data by applying either a maximum-length sequence (MLS) stimulus, Sweep Tone (time-domain chirp) or Dual FFT (using external Wavefiles) to the loudspeaker or sound reinforcement system under test.

And, it offers a multi-channel Real Time Analyzer with up to 1/48 octave resolution.

Sophisticated windowing functions allow the user to mask out room reflections and focus on either equalizing the direct sound (while retaining low frequency resolution) or on spatial averaging of the room transfer function.

Features:
• Real time Magnitude, Phase, Group Delay, PIR, ETC and Cepstrum displays
• MLS (up to 4096k points), Log Sine Sweep (Chirp) and Dual FFT (with external WAV files)
• Up to 8 channels simultaneously
• Displays both frequency and time domain at high refresh rates in real time
• Complex coherence display including phase stability
• Multiple time windowing for room reflection suppression
• Analyzing tools include; Delay finder, Filter Optimizer, LEQ log and LEQ logging, and Reverberation Time
• Curve Manager holds up to 16 captured measurements
• Noise, Sine and Multi-tone generator
• Spectrum and THD analyzer
• SPL histogram with LEQ logging according to IEC 61672 standard

For room tuning and sound reinforcement system optimization, Live-Capture Pro supports spatial averaging. This allows the user to perform multiple measurements throughout the coverage pattern of the sound reinforcement system and base system equalization on the weighted, spatially-averaged response.

The novel Automatic Room Mode finder, with its automatic calculation of parametric equalization, remedies dominant room modes. The Room Mode finder can also run in real time and track room modes.

Any captured transfer functions can be run trough an optimization algorithm and produce a list of parametric equalization parameters (Frequency, Q and Gain) to fit the curve. For further optimization, eq parameters can be manually fine-tuned using a convenient graphical user interface.

The Auto Delay updater will facilitate the selection of microphone position and compensate for the time variance between positions.

A Developer’s Dit is available for Live-Capture Pro measurement integration with DSP controller software.

Real time measurement data such as curves from RTA, Transfer function (magnitude, phase, group delay, impulse response etc.) and other data parameters can be presented in the filter design window of most DSP based loudspeaker processors. The measured curves give a real time guide for the operator on adjusting the filters. Measurement system settings can also be adjusted from the DSP controller software.

The Live-Capture measurement software can either run on the same PC as the controller software or remote over LAN. The integration kit includes a communication engine, supporting multiple NICs.

Live-Capture Pro uses threaded computing to acquire impulse responses between 0.35 to 11 seconds and then applies suitably large FFTs to display time domain and frequency domain data at a maximum 23.4 frames-per-second refresh rate.

Advanced complex averaging is used in both domains, taking the coherence and phase stability into account. The default resolution is 96 points per octave with a resolution of up to 192 points per octave available.

WaveCapture Website

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Tuesday, June 23, 2009

Fulcrum Acoustic CX/DX Family Of Loudspeakers Join TQ Install Series At 2009 InfoComm

A newly designed coaxial transducer/horn assembly, along with TQ processing, alleviates the problems previously associated with coaxial approaches

AT 2009 InfoComm in Orlando, Fulcrum Acoustic debuted the CX/DX family of loudspeakers, the first of the TQ Install Series.

Eight different products, all based on coaxial designs, provide 90- x 45-degree or 60- x 45-degree horn patterns and 12-inch or 15-inch woofers.  A newly designed coaxial transducer/horn assembly, along with TQ processing, alleviates the problems previously associated with coaxial approaches.

For example, the CX1595 is a coaxial loudspeaker that packs the output capability of a non-coaxial 15 inch, horn-loaded-HF loudspeaker into a much more compact enclosure. Its coaxial transducer can be rotated in 45-degree increments, which allows a user to precisely tailor coverage to best suit an application’s requirements.

The enclosure’s 40-degree trapezoidal shape may be mounted close to ceilings or in tight-packed vertical arrays.

The CX1595 requires digital signal processing, and many platforms are supported. Those platforms capable of implementing Fulcrum Acoustic’s TQ processing give the CX loudspeakers exceptional clarity and studio-monitor-like transient response even while it delivers high sound pressure levels.

When used with TQ processing, the CX Series and the companion dual-woofer DX Series loudspeakers provide exceptional clarity and consistent voicing even while delivering high sound pressure levels.

The proprietary horns employed in the CX series represent a modern digital-signal-processing-aware update to the traditional horn-loaded coaxial loudspeaker concept. The well-known benefits of the coaxial approach have been realized without the familiar shortcomings of historical designs.

Fulcrum Acoustic’s Temporal Equalization (TQ) digital signal processing techniques eliminate midrange colorations and high frequency harshness while producing a smooth, seamless coverage pattern through the crossover range.

In fact, the coaxial transducers were designed from the ground up to take advantage of the unique capabilities of TQ.

The coaxial transducer in the CX1595 includes a 3-inch diaphragm compression driver. The large diaphragm area permits the compression driver to operate at frequencies too low for smaller compression drivers to handle. This allows the high frequency horn to smooth the polar response of the low frequency section in the frequency range where the horn would otherwise cause shadowing.

It also allows the compression driver to produce extreme sound pressure levels with an effortless sonic character.

The coaxial woofer’s large radiating surface works in conjunction with the HF horn to improve directional control at the bottom of the horn’s operating range, increasing directional control beyond what can be accomplished by the horn alone.

The coaxial transducer’s compact, neodymium magnet not only minimizes weight, but also allows very tight spacing between the compression driver and woofer voice coils.

The delay between the driver outputs is thereby minimized, which allows the coaxial device to work well with a passive crossover.

Fulcrum Acoustic Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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WorxAudio Technologies Announces New X1M-P Line Array At 2009 InfoComm

A combination of ultra-compact form factor and broad horizontal dispersion

At 2009 InfoComm in Orlando, WorxAudio Technologies introduced the X1M-P line array, a two-way, high efficiency, ultra compact line array loudspeaker system that’s the newest member of the company’s TrueLine Series.

The new X1M-P is designed for the most natural sounding reproduction of speech and music program material in applications such as frontfill, stage monitoring, and choir monitoring, as well as a host of other AV applications.

Like all loudspeakers systems in the TrueLine Series, the transducer complement is top shelf. The X1M-P incorporates a medium format, 1-inch exit compression driver coupled to a stabilized proprietary FlatWave Former (wave shaping device) that delivers clear but penetrating high frequencies over a predictable and controlled coverage area.

Dual 8-inch neo drivers coupled to the (A.I.M.) Acoustic Intergrading Module to minimize cone filtering throughout the entire operating range and provide a rich, fully balanced sound with a frequency range that spans from 50 Hz to 18 kHz.

What really differentiates the new WorxAudio X1M-P from competing loudspeaker systems is the enclosure’s unique angle design.

Featuring one side that is flat with a 90-degree angle to the floor, the new X1M-P makes a great choice as a frontfill. Positioned along the front edge of the stage in this orientation, the loudspeaker faces directly out at the audience—making a great choice to provide coverage to those members of an audience located close to the stage.

Alternately, the other side of the new X1M-P features a 5 -degree angle. In this orientation, the loudspeaker makes a great choice as a floor monitor. With its unusually broad 160-degree horizontal dispersion, a single X1M-P placed in the center of the stage area can readily serve as the monitor for an entire choir or group of performers.

To facilitate easy positioning of the X1M-P, the loudspeaker ships with rigging hardware designed to enable mounting of the enclosure on the top or bottom with the optionally available Chief CMA 395 Series angle bracket. With this mounting hardware, the X1M-P can readily be positioned atop a pole.

The loudspeaker enclosure is constructed from sturdy multi-ply Baltic Birch and is heavily braced for cabinet rigidity. Protecting the enclosure is a multi-layered, two part polyurea ProTex finish — available in black or white. A 16-gauge, perforated, cloth-backed, powder coated steel grill with a high transmission ratio protects the transducer complement.

Designed expressly for use with the X1M-P is WorxAudio Technologies’ highly-regarded PMD-1 digital power amp. Housed in the rear of the enclosure, the PMD-1 eliminates the headache of selecting the right amplifier/signal processing to mate with the loudspeaker and saves space as well.

Featuring 500 watts for the low frequencies and 250 watts for the highs, the amplifier incorporates twin digital program processors, a mute switch for each output, a detented volume control, an XLR transformer with isolated I/O, and industry-standard AC PowerCon switchgear I/O.

Hugh Sarvis, WorxAudio Technologies’ CEO and Director of Engineering, commented on the new TrueLine X1M-P, “The new X1M-P was designed to address the audio community’s desire for an ultra-compact, high performance loudspeaker system with the versatility to function as either a high-performance frontfill or as a monitor wedge—and that’s precisely what the flat and 5 -degree angled sides of this enclosure accomplish.

“Combined with its industry-leading, 160-degree horizontal dispersion, the X1M-P provides unusually broad dispersion. With its unobtrusive appearance and the included EASE Focus array aiming software, the new X1M-P represents exceptional value.”

The new WorxAudio Technologies TrueLine X1M-P Install line array carries a U.S. MSRP of $4,650, and is available now.

WorxAudio Technologies Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Monday, June 22, 2009

Neutrik Unveils Heavy Duty XX-HD Series Connector At 2009 InfoComm

New XLR cable connector is IP67 rated in mated condition

At 2009 InfoComm in Orlando, Neutrik introduced its XX-HD Series, a heavy-duty XLR cable connector designed specifically for outdoor use, equipped with hybrid metal/rubber design.

The new XX-HD Series is both dust and water protected, meeting the requirements of an IP67 rating, by mating it with the related XX-HD cable connector or Neutrik’s MPR-HD chassis connector.

The new XX-HD Series includes a 3-pole female XLR connector (NC3FXX-HD-D) with optional black housing (NC3FXX-HD-B-D) as well as a 3-pole male XLR connector (NC3MXX-HD-D) with optional black housing (NC3MXX-HD-B-D). It also features a rugged zinc die cast shell and gold contacts. 

Designed specifically to withstand the elements associated with outdoor use, the new XX-HD Series also offers Neutrik’s chuck type strain relief system for the secure clamping of cables. 

The XX-HD connector features a rubber sealing jacket which is assembled during the termination of the connector that provides dust and water protection, meeting an IP67 rating (immersed in water of 1m depth) requirement. 

The rubber sealing jacket also protects against mechanical shock. This version is available as disassembled bulk packaging (25 connectors per box) only.

“With Neutrik’s XX-HD Series connectors we have taken our proven XLR technology and created a heavy-duty, road-ready version,” says Pete Milbery, managing director of Neutrik USA.  “While many of our existing connectors can be used on the road, this XLR was specifically designed for outdoor use.”

Neutrik USA Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Wednesday, June 17, 2009

Solid State Logic Now Shipping X-Desk 16-Channel Summing Mixer

Includes smooth 100mm faders, comprehensive artist & studio monitoring with Dim & Cut buttons, Stereo and Mono Aux sends, channel and Master Bus Inserts and accurate bar graph level metering

Solid State Logic (SSL) has announced that the compact X-Desk, combining a 16 channel SSL SuperAnalogue summing mixer with a compact analogue audio hub, is now shipping.

Small enough to be easily transported, X-Desk fulfills all the essentials of the audio mixing process, with typical SSL attention to detail and depth, including smooth 100mm faders, comprehensive artist & studio monitoring with Dim & Cut buttons, Stereo and Mono Aux sends, channel and Master Bus Inserts and accurate bar graph level metering.

For easy integration into an existing studio, X-Desk can be used as an ergonomically refined desktop mixer with removable rack ears for standard 19-inch rack mounting (7U space required). The chassis is all metal. 

Up to eight X-Desks or X-Desk & X-Rack combinations can be cascaded via D-Sub connection to expand up to 160 inputs on mixdown.

Key Features:
• SuperAnalogue – analogue purity at the highest level
• 8x dual input Mono Line channels : 16 channel mixdown
• 8x Insert Send/Returns on channels
• Stereo CUE and 2 Mono Auxiliary Sends
• Cascade with X-Rack and other X-Desks for bigger systems
• Talkback – for artist communication
• Dim & Cut buttons
• Independent Main and Alternate stereo monitor outputs
• SSL Stereo Mix Bus with External summing and Inserts
• 2x Stereo Returns with Level, Pan and Bus assignment
• iJack front panel input for portable playback devices
• High quality internal PSU
• D-Sub Channel I/O connection for studio integration
• 19-inch rack mount ears included

X-Desk is available now from authorized SSL resellers priced $2,899.

Solid State Logic Website

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Tuesday, June 16, 2009

JHE Production Group Chooses JBL VERTEC Line Arrays For NASCAR Festival In Charlotte

This year’s Food Lion Speed Street drew an estimated 400,000 people over three days

North Carolina-based JHE Production Group recently deployed JBL Professional VERTEC line arrays to serve as a big part of the live-event technology provided for the 15th annual Food Lion Speed Street, a three-day festival in Charlotte staged in late May (2009).

Food Lion Speed Street is a free event celebrating the NASCAR season, offering live entertainment, fan access to NASCAR’s brightest stars, and vendor displays from sponsors including Food Lion, Coca-Cola, Miller Lite and Chevrolet. Featuring performers like Bell Biv DeVoe, Clint Black, Gavin DeGraw, Jason Aldean, Lifehouse and Rodney Atkins, this year’s Food Lion Speed Street drew an estimated 400,000 people over three days.

For the 14th consecutive year, JHE Production Group produced the event, and with support from DSS, Inc. of Lenexa, Kansas, supplied the audio system for all three stages at Food Lion Speed Street.

According to Mike Mehesan, Production Coordinator for JHE Production Group, the festival has grown tremendously in the past 15 years.

“I remember back when the event involved a single, small stage and now it spreads all across downtown Charlotte with three separate performance areas,” Mehesan said. “The crowds extended for several blocks. The headline acts, stages and crowds just keep getting bigger.”

The three stages at Food Lion Speed Street included two main stages (the Coca-Cola Stage and the Miller Lite Stage, respectively) and a third, smaller stage (the Food Lion Stage), which was used primarily for presentations and product demonstrations.

The two largest main stages each featured identical audio system configurations: two main line arrays in a left-right arrangement, each containing nine VERTEC VT4888 midsize line array elements and six VT4880 full-size arrayable subwoofers, with a smaller array of four VT4888 loudspeakers on each side for out fill applications.

The system at the smaller Food Lion Stage featured JBL VRX932LA compact constant curvature arrays and VRX918S subwoofers.

With JHE Production Group’s strong presence in the NASCAR industry, providing audio support for pre and post-race entertainment, the company continues to rely more and more on JBL loudspeakers.

“We’ve been using JBL VRX line arrays for all our in-house projects and pre-race stages.  And we specify VERTEC line arrays for almost every large event we do. I’ve used a lot of different line arrays, but the way the VERTEC speakers sound and their ease of rigging makes them one of my favorite speakers,” Mehesan said.

“We’ve been getting a lot of collaborative support from DSS, Inc. and together we have been able to put together huge shows at NASCAR events and get the stages on and off the track in a matter of minutes.”

JBL Professional Website

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Monday, June 15, 2009

LA Sound Utilizes Martin Audio Line Arrays For “Time For Heroes” Charity Event

"Sound-wise the W8LMs were perfect and they threw longer than we needed." - Richard Ralke, LA Sound

The 20th Annual “Time For Heroes” Celebrity Carnival featuring Disney recording artist Miley Cyrus and several Hollywood luminaries at the Wadsworth Theater/Westwood VA Grounds raised over $3.1 million for the fight against pediatric AIDS, hosted by the Elizabeth Glazer Pediatric AIDS Foundation and sponsored by Disney.

LA Sound of Canoga Park, California provided audio for the event, with Owner-President Richard Ralke serving as System Engineer, assisted by band FOH Engineer Paul David Hager, who mixes Miley and the Goo Goo Dolls, and Monitor Engineer Brent Dannen. 

The sound system consisted of nine Martin Audio W8LM mini line array enclosures per side, with two on stage for front fill.

According to Ralke, “we were going to use the Martin W8LCs, but we ended up needing something lighter and less visually intrusive because it was a small temporary stage, so we went with the more compact and lightweight W8LMs.” 

Four Martin Audio W218X subs a side complemented the system, along with seven Martin Audio LE-12J wedge monitors for Cyrus, Martin Audio Viewpoint 4.1 software to facilitate setup, and 16 Crown ITech power amps. 

“Sound-wise the W8LMs were perfect and they threw longer than we needed, which is never a problem,” Ralke added. “The FOH engineer thought it was a great-sounding little box. Everyone was very happy with the sound quality.”

Martin Audio Website

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More Than 350 Shure Microphones Support 40th Annual GMA Dove Awards

Of the 350 mics, 16 operated on Shure UHF-R wireless systems

Broadcast live from the Grand Ole Opry on Gospel Music Television, the 40th Annual GMA Dove Awards relied on audio input provided almost entirely by Shure.

A total of 350 microphones were allotted to the task, 16 of which operated on Shure UHF-R wireless channels. Among these 16 channels, 12 worked with either KSM9 or Beta 58A handheld transmitters used for performances by Shure endorsers, including Chris Tomlin, Third Day, Natalie Grant, and MercyMe.

Grant – who appeared before the crowd with a KSM9 – also took home Female Vocalist of the Year honors, joining other Shure endorsers Casting Crowns (Group of the Year), her husband, Bernie Herms (Producer of the Year), and Third Day (Best Pop/Contemporary Album) as the evening’s big winners.

“Although 16 RF mics may not seem like a lot for an awards show,” audio producer Tom Davis of Nashville-based Seismic Sound noted, “when you factor in all of the other wireless systems onstage—guitars, ear monitors, communications, and whatnot—it got to be a bit of a monkey puzzle.

“It took me a couple days just to map out the traffic once I got all of the requests in from the performing artists on what mics they wanted to use.”

Seated at a Euphonix System 5 digital console in the Opry control room, Tom Davis managed the music mix for the show with assistance from Kevin Reinen and King Williams, while Michael Davis (no relation) stood-in as production mixer in the Camp Digital HD video truck.

Music and production mix for the audience was handled by Tommy Hensley and Bob Bussiere, and the monitor mixer was Kevin McGinty.

On the music side of the equation, turnarounds between acts generally lasted just three minutes, a harsh reality that was tamed by a practice Tom Davis has honed at the CMAs and other award shows:

All the gear for each performer and his or her accompanying band was set up in advance on its own rolling cart in the wings, and then simply pushed into place when needed.

Once in place, linking each cart to the house and production truck was as easy as plugging in via a multi-pin stage box.

“Now you can see why we needed so many mics,” Davis said, revealing the obvious. “Every drum kit, every guitar amp, keyboard, vocal mic – they all had to be put together on their own respective carts.

“Beyond our RF mics, we had 45 hardwired SM57s, 30 KSM32s, 22 Beta 58As, Beta 52As, Beta 91s, KSM27s…the body count just went on.”

Vocals being paramount in performances like these, Davis locked his UHF-R receiver frequencies in solidly for the duration of the show.

“All of our RF receivers for vocals stayed landed the whole time,” he further explained. “Then we just handed-off each artist his or her mic. The auto-sync feature between the Shure transmitters and receivers made this an especially speedy process in terms of setup.”

For gospel and Christian artists as well as their fans, the week surrounding the GMA Dove Awards is a big one where all the stars shine.

“These people are exceptionally talented,” Davis said of the artists heard at the event. “Just like anything in these recessionary times, however, part of the challenge of doing this show revolved around budget.

“This isn’t the Academy Awards or CMAs, but those in attendance and watching at home expect the same production values. Thanks to the resources afforded us by Shure, we were able to provide sound that was comparable to, or even better than, any similar show.”

Shure Website

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Friday, June 12, 2009

Sennheiser Introducing K-Array Loudspeaker & Line Array Brand At 2009 InfoComm

The K-array line is comprised of thin, lightweight loudspeakers for a wide range of pro audio applications

Sennheiser Electronic Corporation will introduce K-array, the newest addition to its family of distributed brands, at InfoComm 2009 in Orlando. K-array is a manufacturer of PA loudspeakers and amplifiers with global headquarters in Florence, Italy, originally established in 1990 as an acoustic research and installation provider.

K-array now manufactures very thin, lightweight loudspeakers for medium to large-scale applications, including touring, events, installed sound, and broadcast.

“K-array has already generated an incredible amount of excitement in Europe and the Middle East, and we are very pleased to bring the brand on board in the North American market,” said Dawn Birr, product manager for K-array at Sennheiser Electronic Corporation. “Installed and live sound professionals will be very impressed with the space-saving designs, easy set-up, and sheer power of the entire K-array line.”

K-array installed sound audio components range from four inches deep all the way down to half an inch, while retaining an incredible amount of power and adaptability.

Installed models include the Vyper 3D line arrays, Tornado point-source loudspeakers and the Kobra series of ultra-slim 3D line arrays.

Meanwhile, the K-array Red Line delivers clear audio for concerts, conferences, parties and other functions. The adaptable and portable PA systems are only a couple of inches wide, yet can deliver full, rich sound to an audience of 1,000 people.

The line includes the KR100, KR200 two-way loudspeakers, and KL12 and KL18 ultra-light subwoofers. The KR speakers measure only a couple inches across, and the KL subwoofers weigh just over twenty-five pounds. With adjustable coverage and extreme portability, they represent the best possible solution for event audio..

The KH series is for larger touring and other live events, consisting of the KH4 two-way flat panel line array and KH15 two-way ultra-compact line array. Both are self-powered yet measure only six inches deep. The KH4 is ideal for long throw applications, such as arenas, while the KH15 is designed for medium throw applications, such as theaters, concert halls, and churches.

The KS series is extremely portable, and easy to fly or ground stack. The KS4 “figure 8” subwoofer is also small and weighs in at less than 85 pounds.

The KA series of Class D amplifiers address all the needs of high-end applications. Each amplifier is outfitted with on-board DSP, which provides perfect signal processing for all K-array products, as well as a broad selection of dedicated presets.

Rounding out the offerings for live sound applications are the Overbass series of self-powered subwoofers and the ultra-compact, high-output KM8 stage monitor. The KM8 enables accurate reproduction of both vocals and instruments with high gain before feedback, and can operate alone or in an array of multiple units.

Sennheiser USA Website

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Wednesday, June 10, 2009

Recent Wireless Technology Series: Inside The MIPRO ACT Digital

This is the second in a series detailing the latest technology in wireless microphone systems. To read the first installment, covering the AKG DMS 700 system, click here.

The MIPRO ACT Digital wireless system has been on the market for a couple of years, and like the AKG DMS 700 digital wireless system, it uses the same UHF bandwidth we’re all familiar with when using any UHF-band microphones.

(Note that the “D” in “Digital” for this MIPRO system is capitalized because it is part of the official product name, rather than the generic system name.)

Specifically, the MIPRO ACT Digital covers 620–692 MHz – fairly close to the upper limit of what the FCC Part 74 rules now allow for this type of use.

In terms of features and operation, it’s somewhat similar to the Lectrosonics 700 Series digital wireless system, but with some interesting differences.

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Basics
Two receivers are offered in the ACT Digital system – ACT-81 single-channel and ACT-82 dual-channel, both single-rack-space units.

Both the companion ACT-8H handheld transmitter and ACT-8T beltpack transmitter feature charging contacts – a nice convenience, but note that these transmitters only operate using rechargeable battery packs.

The rechargeable approach is usually just fine for churches or other installed sound applications, but sometimes it’s not as popular for touring or portable music application, where the convenience of “getting some new/fresh AA batteries from the corner shop” is more ingrained.

Although the bandwidth of this system is indicated as “620–692 MHz,” it’s actually broken into three fixed bands, each 24 MHz wide.

Each receiver and transmitter can only tune within its specified range. This is similar to many other systems, such as those from Zaxcom, Lectrosonics, Sennheiser evolution, etc.

Most analog systems introduced in the past few years, however, such as the Sennheiser 2000 Series and Shure UHF-R, have much wider bandwidths, with 70 MHz or even 90 MHz being quite common.

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The AKG DMS 700 offers a whopping 155 MHz, which is not matched by any other system at this time. The trade-off is that the wider the bandwidth, the more unwanted signals are being “digested” by the receiver front end. In general, users should choose the narrowest bandwidth that still meets their needs.

Like the AKG system, the MIPRO offers digital outputs and a word clock connection - nice features now that consoles are more and more accepting digital sources. Again like the DMS 700 (as well as Sennheiser 2000 Series and Shure UHF-R and ULX Pro), the ACT Digital has an IR port for synchronizing the settings between the receiver and the transmitter. This can be a nice, time-saving feature.

The color display on the receiver front panel is a good feature that is hampered by a limited interface. A single knob to change all settings?

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The product documentation is also quite limited – while the company’s marketing literature is fairly clear, the owner’s manual is truncated, lacking in detail.

Audio Performance
The ACT Digital system uses a sample rate of 44.1 kHz and a 24-bit A/D conversion process. This yields a flat frequency response of 20 – 20 kHz with a tolerance of -2 dB, better than most analog wireless systems, particularly at the bottom end. Most analog systems exhibit something like a 40 or 50 Hz low end response and a 16 or maybe 18 kHz on the top end.

Because the ACT-Digital system does not use a compandor, the associated artifacts are gone as well. The dynamic range of this system is a very nice 110 dB, A-weighted.

Latency or “group delay” for the system is listed at 4 milliseconds (ms), which is on the order of many other types of digital signal processing, including consoles, and is largely a factor of the 44.1 kHz sample rate.

Higher sample rates would yield a lower latency, but would also require a greater data rate between transmitter and receiver. While 4 ms is respectably low, it is bested by some other systems. And for speech applications, it is well within the range that will be undetectable. 

The only problem might be if this system were used with a digital console along with any additional analog processing.

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The resulting latency might be in the 8 to 10 ms range – within the area of detectability for many users, particularly singers using in-ear monitoring (IEM) systems.

Encryption
The ACT Digital offers selectable encryption at a 128-bit key length, now the minimum for any truly secure system and relatively “sell-able” – although it is restricted as to who can buy it, there is no special government license needed as there is for 256-bit encrypted systems. Also, 128-bit can be very robust if implemented properly.

Choosing to engage the encryption on this system is a simple as selecting it on the receiver and on the transmitter. This is a very easy-to-use feature on the ACT digital wireless.

Conclusions
While there aren’t any real ground-breaking features or technology here, the ACT Digital wireless system is a nice package and can certainly provide quality audio and data encryption where needed.

Keep in mind that it competes with other signals in the UHF band, and offers only three 24 MHz bands within the larger tuning range of 620-692 MHz, so whether or not this system will work well in larger, multi-channel applications and with competing signals (potential interference) in the same band needs to be tested.

Most digital wireless system manufacturers claim that their products are “impervious to inter-modulation problems” and “not affected by crowded RF spectrum”. But since there are no known larger-scale systems out there, this remains to be seen

The audio specifications look very solid and are indicative of what can be done with digital as opposed to analog with respect to wireless systems. The latency is fairly low and should not affect most applications. Other comparable systems include the Lectrosonics 700 Series and the AKG DMS 700.

U.S. MSRP of MIPRO ACT Digital: $3,520 for the dual-channel receiver, $1,800 for the single-channel receiver, $2,000 for the handheld transmitter, and $1,920 for the belt-pack unit.

Note that this is nearly double the listed pricing for that AKG DMS 700, and is in the ballpark of the pricing for the Lectrosonics 700 Series. Therefore - and as always should be the case - only you can decide if the feature set, audio quality and other factors make this the right product for you.

Find out more about the MIPRO ACT Digital system here.

Signing off for now…
Mike Wireless

Mike Wireless is the nom de plume of a long-time RF geek devoted to better entertainment wireless system practices the world over.

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Other posts by Mike Wireless:
Inside The AKG DMS 700
Is The UHF Spectrum Going To Ease Up After June 12?
Change The Only Constant In Marketplace For Wireless System Spectrum

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Tuesday, June 09, 2009

DiGiCo D5T Helps “Billy Elliot” To Tony & Drama Desk Awards For Sound Design

"After taking a long, hard look at all the digital consoles available, the D5T was the only serious choice." - Sound Designer Paul Arditti

The Broadway stage adaptation of the feel-good movie Billy Elliot, about a coal miner’s son who dreams to dance, was recently awarded 10 Tony Awards including Best Sound Design, and in addition, the show scored 10 2009 Drama Desk Awards, which also included Outstanding Sound Design.

The show’s sound designer, Paul Arditti, is an award-winning veteran of theatrical productions since getting his start at London’s National Theatre in 1985. Together with long-time friend and periodic collaborator, Academy Award nominated director, Stephen Daldry, Billy Elliot marks the duo’s first alliance on a musical production.

Since its debut in London, the show has enjoyed continued success and recently celebrated a four-year milestone. An Australian version opened in ’07, with the Broadway production launch in November of 2008.

For the extensive audio portion of the NYC theatre install, Arditti was forced to diverge from what had previously been implemented in London and Australia, taking into consideration several factors including analog-versus-digital platforms and reliability issues, plus the theatre’s limited FOH real estate allotment.

Arditti custom-configured a DiGiCo D5T system from the ground up with help from associates John Owens (UK) and Tony Smolenski (US), and Masque Sound, a US-based live sound reinforcement specialist, that ultimately helped make Arditti’s vision a reality. He also secured veteran Broadway production sound engineer Robert Biasetti, who had worked with DiGiCo consoles previously on several Broadway productions.

“Both the London and Australia shows were mixed on a Cadac J-type console,” Arditti explained. “While I was very happy with this console in London—it is undoubtedly the best sounding analog mixing console I have used—we had a lot of reliability issues in Australia and I was concerned that these issues would plague us in New York. Also, the J-type is a very large desk, and the space available to us in New York was insufficient to squeeze in all that hardware.

“After taking a long, hard look at all the digital consoles available, the D5T was the only serious choice. I had used D5Ts and D1 live consoles in the past and liked them very much, so that influenced that decision. In addition, I chose it for the reason that it is the best sounding digital desk I have heard, but also because it is an industry-tested model, is cost-effective, is one of the only consoles with the input channel and output bus capacity the show requires, it fits our mix position, the control software does what we needed it to do, and because it will be compatible with our future plans for the show.”

The custom-configured system includes a DiGiCo D5T Surface (w/Optical Option and Combi Card Installed), DiGiCo D5T-RE (w/Optical Options, and Combi Card installed), DiGiCo D5-TC Control Surface, DiGiCo DigiRack (w/MADI Pods), 2 DiGiCo DigiRacks (w/Optical Pods), 17 DiGiCo Input Card Mic/Line, 4 x 15’ DiGiCo Optical cables, 1 D5T to RE Changeover (unit able to swap: MIDI, all GPI/O connections, Overview screen), 8 DiGiCo AES SRC Card Combo AES I/O Card, and 5 DiGiCo Analogue Output Cards.

Billy Elliot’s extensive audio requirements made full use of the expanded digital console for a total of 140 inputs and 46 outputs to and from the D5T (although there are well over 150 other inputs which feed other sub-mixers in the system): 55 analog inputs from the band, 48 wireless/wired vocal mics, 18 digital inputs for reverb and effects returns, and a further 19 analog inputs from the music playback system.

In addition, there are 35 digital outputs from the console and 11 analog outs. The 24-channel sound effects system is controlled by SFX software and is mixed on a smaller digital mixer, which merges with the outputs of the D5T into a system controller.

Separate band and vocal sound systems were designed with very controlled coverage in the auditorium to maximize the vocal power of the children’s voices without feedback. The concern was also to make the lyrics always audible, even with big music and the relatively small voices of the kids.

Arditti knew from early on that, with Elton John writing the score, the band would sometimes need to be fairly loud. And since London, it has doubled in size to include a richer brass section, which made the vocal/instrument mix increasingly more challenging.

The sound system of over 180 loudspeakers includes many speakers for sound effects dotted around the stage, several wireless speakers built into props, and a comprehensive auditorium surround system.

“Amongst my favorite sequences,” said Arditti, “are the riots during ‘Angry Dance’, the massive miners’ pit lift, and the cassette recorder playing ‘Swan Lake’ which swells into the ‘Dream Ballet’ sequence, filling the theatre with the orchestra as Billy flies around the stage.”

For the Australia show, Arditti designed a ‘Tap Floor’, which is also incorporated into the Broadway production. It comprises 96 piezo-electric pickups distributed across the majority of the stage area, which are set into the subfloor under the parquet.

“The intention is to pick up and amplify tap dancing from anywhere on the stage, without risk of feedback or interaction with other live sources,” said Arditti. “The usual solution to this problem (which we use on Billy during his ‘Angry Dance’) is to run wireless mics down the legs of each actor, to the dancing feet. Unfortunately, because of the nature of the costumes, this is mostly not an option. The ‘Tap Floor’ allows the choreography to take the actors anywhere around the stage, and still to be effectively miked.”

“With some experimentation, we discovered what spacing of the pickups worked best, and how to mount them in the floor most effectively. The audio from the pickups goes individually into 96 channels console. The mixer then splits the floor into zones, and applies compression and gating. The stereo output of this mixer feeds a stereo analog input on the D5T, where the audio is finally EQ’d and routed to the sound system.”

Production sound engineer, Robert Biasetti—whose previous Broadway production stints include Annie Get Your Gun, Baz Lurhman’s La Boheme and Legally Blonde, among others—mans the FOH command post. Biasetti contracted with Masque Sound in June for the show’s build, which took approximately six weeks from start to finish. Because of the massive scale of the show’s I/O requirements, Biasetti says he undoubtedly found the presets to be one of the most useful features on the system.

“This show has a large cast, and most of them alternate between ensemble cast roles throughout the show. Also, with four boys sharing the role of Billy and two boys sharing the role of Michael, the D5T’s aliases and presets are invaluable tools that are used every day, enabling us to make it all work well.”

Both agree that the D5T’s sonic quality is nothing short of exceptional. “The mic preamps are transparent and the desk sounds as good with 40 channels of wireless mics open as it does with one,” Arditti commented. “I am happy to say that feedback from the performers and musicians has all been very good. When they get the chance to have a listen in front of the speakers they are impressed.

“Audience members regularly comment positively about the sound, which is also a testament to the mixing skills of Bob Biasetti. And of course, Billy Elliot just won the Drama Desk Award for “Outstanding Sound Design”, and was nominated for a Tony as well, so it seems that at least some enlightened voters got it right!”

DiGiCo Website

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Big-Time Sound Reinforcement At 2009 Coachella & Stagecoach Festivals

A huge bill, a huge crowd, and a huge system... Actually, systems

The tenth annual (2009) Coachella Valley Music and Arts Festival saw hundreds of performers across five stages, with a wide range of artists including Paul McCartney, Leonard Cohen, The Cure, The Killers and hip hop pioneers Public Enemy, among many others. 

It was followed by the growing Stagecoach Country Music Festival, held on the same beautiful desert location at the Empire Polo Grounds in Indio, CA (east of Los Angeles) and featuring top country artists such as Kenny Chesney, Kid Rock, Brad Paisley, plus dozens of others. The two events offered performances by nearly 160 other artists packed into five collective days.

Attendance reports vary, but the aggregate attendance for both events is estimated to be about 250,000, with the three-day Coachella reporting about 160,000 (its second best ever) and the two-day Stagecoach accounting for the rest, reporting it’s highest attendance figure to date.

Paul Tollett, president of event promoter Goldenvoice, noted that the figures are good news for the concert industry. “Anyone that has a business in 2009 is just trying to make sure that you dodge a bullet,” he told The New York Times in the aftermath. “But this went beyond that. We’re super happy.”

Production Manager Kevan Wilkins is directly responsible for the operation and success of the production of Coachella and Stagecoach, as well as the safety of the 200,000-plus ticket holders. Part of the team since the second Coachella, he’s know for his vision, expertise and, most importantly, calmness under pressure.

At it has for nine of the past 10 years (and all three Stagecoach Festivals),  Rat Sound Systems provided sound reinforcement and support, this year serving all five stages (three for Stagecoach). This year, more than 30 members made up the sound team, headed up company President Dave Rat.

For the main stage, the company assembled a huge main stage system with twin line arrays comprised of 15 L-ACOUSTICS K1 enclosures topped by eight K1-SUB boxes and tailed by three dV-DOSC downfills. Additional arrays of eight K1 plus three dV-DOSC provided far left and right side coverage.

Low-end was delivered 32 SB28 subs arranged in cardioid stacks across the front of the stage. L-ACOUSTICS ARCS cabinets delivered nearfill, while stage monitoring was accomplished via 115XT HiQ wedges.

Two arrays of nine V-DOSC boxes each were flown out in the audience area as delays, and power for all systems was provided by numerous LA-RAK touring racks loaded with LA8 amplified controllers located under the stage.

More than 50 EAW MicroWedge Series MW12 stage monitors were employed over four Coachella stages, the largest outlay of MW units ever for a single event. “The MicroWedge is a great monitor under any circumstances, and I’m proud to have been intimately involved in its design,” stated Dave Rat. “It especially offers an advantage for festival sound because it’s plug-and-play. And the sound is great - it’s full range.”

Jon Monson, who heads up systems and tours for Rat Sound, appreciated the ease with which the large-scale K1 system could be flown, crediting its captive rigging facilities.

In addition to the K1 system used on the Coachella Stage (Mane Stage), Rat Sound specified L-ACOUSTICS systems for the two desert festivals’ other stages, including a V-DOSC/SB28 system at the Outdoor Theatre (Palomino), V-DOSC at the Sahara Tent (Mustang), and KUDO at the Mojave Tent.

“I cannot begin to say how excited I am about the response to our new PA. We knew the K1 system was great but this level of enthusiasm from all angles, was unexpected. It’s clean, it’s clear and it’s loud and the coverage is phenomenal,” Rat said. “There is just nothing else out there that can do what this system can do.”

“The response from Goldenvoice, the promoter of both festivals, has been pure positive as well,” he continued. “Not only did they notice the sonic difference, but I am told they are surprised at getting calls about how amazing the show sounded.”

Goldenvoice Production Manager Kevan Wilkins confirms this fact: “I was blown away when I heard that McCartney thought it was a great live sound,” he says. “As for me, personally, it was amazing.”

Be sure to take our Photo Gallery tour of a wide range of photos of the systems, gear and audio crew at the festival.

Coachella Sound Team:
1 Main Stage FOH Roz
2 Main Stage FOH Greg Nelson
3 Main Stage System Scott Sugden
4 Main Stage Mon Derek Van Ord
5 Main Stage Mon George
6 Main Stage Patch Master Mike Arnold
7 Main Stage Patch Matt Fox
8 Main Stage Wedges/Power Tyler Arnold
9 Main Stage Stripper Manny Perez (cable stripper that is)

10 Outdoor Theater Stage FOH Nick Brisbois
11 Outdoor Theater Stage FOH Jamie
12 Outdoor Theater Stage Mon Billy Flores
13 Outdoor Theater Stage Mon Jared
14 Outdoor Theater Stage Crew Chief/Patch Master Jim Jorgenson
15 Outdoor Theater Stage Patch Taka
16 Outdoor Theater Stage Patch Jason

17 Sahara Tent FOH Jim Lockyer
18 Sahara Tent Mon Chris Rymarz
19 Sahara Tent Crew Chief Ronnie
20 Sahara Tent Patch Kyle Rogan

21 Mojave Tent FOH Bryan Worthen
22 Mojave Tent Mon Steve Walsh
23 Mojave Tent Chief Neal
24 Mojave Tent Patch Phil Reynolds
25 Mojave Tent Patch Sara

26 Gobi Tent FOH Andy Turner
27 Gobi Tent Mon Johnny B
28 Gobi Tent Crew Chief LBC

29 Rat Sound Systems Coordinator - All Stages, Jon Monson
30 Festival Audio Consultant - Dave Rat

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