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Installation
Wednesday, February 08, 2012
Allen & Heath iLive For Revitalized Islington Assembly Hall In London
The reopened Islington Assembly Hall in London has selected an Allen & Heath iLive digital mixing system, comprising iDR-48 and iDR-32 MixRacks with two iLive-T112 Control Surfaces, to manage both front of house and monitors.
Originally opened in 1930, the fully refurbished 800-capacity Hall was reopened in 2010 having fallen into disuse for nearly 30 years. The venue now hosts a busy rota of live music, as well as a vast range of events from conferences and parties to vintage fashion events.
“We chose iLive for several reasons,” explains Dan Turner, events operations manager at Islington Assembly Hall. “First, it sounds great and much better than many other digital desks out there. Allen & Heath clearly spent a lot of time getting the preamps right.
“It’s also an incredibly versatile system in the way it works, and pretty much any input or output can be configured to do what you need it to do. I have mainly used analog desks in the past, and iLive almost feels like it is one as the design is more hands-on than menu driven. This helps you get to grips with the beast a lot more quickly than with other digital desks where features can be hidden in layered menus and thus almost useless in the live environment.”
The venue refurbishment plans did not include the installation of a mixing desk, and as such, no multi-core was installed.
“The beauty of this digital system is that to increase the number of available channels all we need to do is use a larger mix rack, there’s no need to dig up the floor to install a cable. Having the mix rack on stage and the control surface at the rear of the hall connected by a single Cat-5 cable was a big selling point,” continues Turner. “We needed an elegant solution to stage monitoring using as few cables and as little space as possible. Using two iLive systems connected together we have achieved this. All signals are routed to where they need to go without the need for active splits on the floor saving valuable space”
The venue also installed Electro-Voice XLE181 line arrays with additional front fills and subs, and Martin Audio monitors on stage.
“Overall, the system sounds fantastic and will enable us to meet all the challenges that our varied events calendar will throw at us!,” concludes Turner.
Rat Sound Deploys L-Acoustics KARAi At Orange County’s Galaxy Theatre
Orange County’s 40-year-old Galaxy Theatre changed ownership back in August and has now undergone a significant metamorphosis into two separate live performance spaces: the intimate 350-capacity Constellation Room and much larger Observatory, which can accommodate an audience of over 1,000.
One of the primary improvements made to the venue in the process was the installation of L-Acoustics KARAi line source arrays provided by Certified Provider Rat Sound Systems of Camarillo, California.
Jon Reiser, along with business partner Courtney Michaelis and a third silent partner, are the team behind transforming the Galaxy from a lackluster aging venue into an edgy hipster hangout that consistently attracts some of the brightest up-and-coming acts like Foster the People, Crystal Castles, The Naked and Famous, Young the Giant, Tyga and Warpaint. Reiser is no stranger to SoCal’s indie music scene having previously spent five years as a partner and talent buyer for Costa Mesa’s Detroit Bar.
Shortly after purchasing the Galaxy, Reiser brought in L.A.‘s Foster the People to play the newly dubbed Observatory. Knowing that the club’s pre-existing PA system wouldn’t be adequate to cover the crowd for such a popular band, he turned to Rat Sound to provide a temporary dV-DOSC rig while simultaneously initiating the design process to permanently integrate a new KARAi system.
Today, the Observatory features left and right arrays each comprised of six KARAi elements flown adjacent to two SB18i subs. Four SB28 subs are also located down on the floor—two housed in bunkers inside the stage plus one on each side of the stage.
A custom enclosure built across the front of the stage houses four coaxial 8XT front-fill speakers, while a single 115XT HiQ flown in the center of the house two feet downstage of the stage lip serves as a downfill. All systems are powered and processed by LA8 amplified controllers housed in racks at the monitor mix position.
Rat Sound provided not only the installation of the L-Acoustics arrays, but the rest of the venue’s sound and lighting systems and acoustic treatments as a full turnkey package.
Rat Sound director of installations David Myers notes that the rental dV-DOSC system helped minimize the venue’s downtime to only two nights despite the significant amount of remodeling and equipment upgrades.
“With the new acoustic treatments and KARAi system in place, the Observatory sounds phenomenal,” says Myers. “KARAi is extremely coherent; it’s like having the artist right in front of you in a studio environment. And the bands, engineers, promoters and audiences are all loving the sound. The Naked and Famous recently played the room and their front-of-house engineer told us after the show that we had totally spoiled him for the rest of the dates on their tour.”
Reiser adds, “The Naked and Famous immediately booked another show with us for March and I know that a big part of that was because of how impressed they were with the system and production level. We’ve had a lot of really great shows in here lately—including Scott Weiland, two nights with Young the Giant, and an epic New Year’s weekend with ATB and Tiesto—and everyone’s walked away at the end of the night being very happy with the house sound.”
ESS Audio Outfits Stadion Miejski With System Headlined By Harman Components For Euro 2012 Champ
Polish technology company ESS Audio is midway through an intensive development program that will see the completion of several world-class football stadia by the time Poland co-hosts the UEFA Euro 2012 Championship (along with Ukraine) next summer.
Earlier this year, ESS Audio commissioned an integrated Harman Pro audio components in the new PGE Arena in Gdansk, before turning its attention to Stadion Miejski in Wroclaw, the highest Category 4 Municipal Stadium in the country.
The ESS technical team engaged in a similar fast-fit installation for the rebuilding of the 42,000-capacity stadium, again sourcing most of the equipment from the Harman Pro portfolio.
ESS Audio worked within an innovative architectural concept—devised by JSK Architekci and built by German company, Max Boegl—in which the building is covered by glass fiber mesh coated with a Teflon fiber net façade. As with the successful PGE Arena design, the company used EASE predictions for system optimization, dividing the stadium stands into 14 separate zones, and assigning a zone each to the ancillary UEFA, VIP and Incentive boxes.
ESS Audio has equipped the main bowl and stands with JBL PD Series loudspeakers, with rotated horns, specifying a total of 59 PD5200/95-WRX (90 x 50 degrees) and 28 x PD5200/43-WRX (40 x 30 degrees) weatherized speakers, along with 56 PD5125-WRX weatherized subwoofers. These have mainly been mounted in clusters of five, comprising two PD5200/43-WRX, one PD5200/95-WRX and two PD5125-WRX weatherized speakers.
A further three single PD5200/95’s fire onto the field, with two single clusters playing in front of the LED screens, aiming 90 degrees down to the lower seating. Two additional clusters, comprising a pair of PD5200/95-WRX and PD5125-WRX, are set behind the LED screens for mid and high seat coverage.
With the wind factor a major area for consideration, ESS prepared custom brackets for the PD enclosures, and as a further precaution, secured each PD loudspeaker in the cluster with a steel line covered in polymer.
Powering the rig are 47 Crown CTs3000 amplifiers, fitted with PIP USP4 processor modules, and interfaced with a BSS Soundweb London DSP environment—allowing distribution over CobraNet, and for the system to be remotely controlled and monitored via Harman HiQnet System Architect.
The stadium is divided into a number of dedicated zones, including 20 VIP boxes,10 further Incentive Boxes (and UEFA boxes), a Business Club, a general esplanade / concourse, a fan shop, team zones (including indoor swimming pool) and media zone. In the UEFA, Incentive and VIP areas, a further 90 JBL Control Contractor 8128 ceiling speakers have been specified—powered by Crown CTs600 amplification.
Amp racks are stationed in the four corners of the stadium (each containing a BSS Soundweb London BLU-80 DSP), while an additional BLU-800 processor is located in the Skybox. All five processors are equipped with Input/Output cards.
Each rack also contains an automatic amp changeover (in the unlikely event of amplifier failure), an Edimax switch along with several Moxa optical-Ethernet converters/switches, making the system fully redundant. This is easily interfaced with the stadium’s voice evacuation and fire alarm system via Soundweb London.
Up in the Skybox is the technical control room where a Soundcraft GB4-16 console, a pair of JBL LSR2325P studio monitors, a rack with AKG DMS 700 wireless mic systems, various line devices (players and recorders) and Soundcraft redundant console power supply are located.
From the Skybox music is broadcast and live announcements made, with an adjacent room for evacuation procedures, complete with fireman’s switch.
The installation meets all required standards (including an STI of 0.5). ESS provided full training including use of the Skybox equipment, System Architect software and general problem solving. They will be able to log on and carry out regular health checks under strict safety rules.
According to ESS Audio project manager Witold Karalow, this stadium project has been one of the most challenging the company has undertaken.
Aside from Karalow, the ESS Audio project team in Wroclaw comprised system designer Wojciech Zielinski and BSS Soundweb programmer Konrad Fengler, with Wojciech Kopytek handling system setup and Dariusz Kuta serving as project coordinator.
Adamson Subwoofer Technology Chosen For German Science Experiments
The professorship of Mechatronics at the Helmut-Schmidt University and University of the German Federal Armed Forces in Hamburg has chosen 16 Adamson Systems B-118 subwoofers for a new sound reinforcement system used as the primary sound projection source with an aircraft passenger cabin model.
This experimental loudspeaker rig will be used for studying the effects of noise emissions of the controversial propfan engines inside of the cabin, and the effectiveness of active noise cancelling measures.
The B-118 subwoofers are utilized to re-create a specific acoustic signature of the engine at realistic sound pressure levels.
The department, headed by Univ.-Prof. Dr.-Ing. Delf Sachau, is internationally respected as a leading research institute for cabin acoustics and active noise cancellation technologies and has multiple partnerships with global players in the commercial aerospace industry.
The new system was installed by Adamson Europe’s Jochen Sommer, in cooperation with Dr.-Ing. Oliver Pabst and Dipl.-Ing. Kai Simanowski.
The B-118 subs were chosen to meet the project’s needs for compact, powerful low-frequency loudspeakers with a frequency range of 40 to 400 Hz, along with extended high-pass characteristics.
Further, the subs needed to be cost effective, as a greater number of units was needed in order to achieve increased flexibility in respect to pattern control through physical placement of each cabinet, and individual processing.
The subwoofers are driven by two Lab.gruppen C48:4 amplifiers and controlled by a single Xilica XA-2040 processor.
The B-118 employs a single AW18 driver, which has an 18-inch woven Kevlar diaphragm driver. With its extremely high stiffness to mass ratio, Kevlar helps eliminate the effects of cone fatigue while providing enhanced long term reliability.
The AW18 continues to be used in a variety of Adamson loudspeakers, including as the LF extension in the Y18 cabinet, as well as in the SpekTrix Sub enclosure.
“The Adamson speakers met our specifications and demands in terms of output, reliability, and acoustic focusing. Further positive effects of the controlled low frequency radiation are greater energy efficiency, and reduced spill towards neighboring test rigs. Flexibility and control of this system offers new possibilities for our acoustic research projects,” states Dipl.-Ing. Kai Simanoswki.
Community Delivers Sound Throughout New Salvation Army Kroc Center (Includes Video)
McDonald’s founders Ray and Joan Kroc were known for supporting a variety of charitable causes, and their legacy continues with a multi-billion dollar donation to the Salvation Army for the construction of several community centers in cities across America.
The latest Kroc Center, recently opened in North Philadelphia, is one of the largest facilities of its kind on the East Coast, with 130,000 square feet that includes a world-class aquatics center, fitness center, worship and performing arts facilities, café and culinary education center, as well as a wide range of programs for kids, adults and senior citizens.
Quality sound reinforcement was also a big part of the plan for the facility, explains Joe Zamborsky of RTS Unified Communications, which specified a selection of Community Professional Loudspeakers for the project, including R-Series, WET-Series and CLOUD6 in-ceiling systems to cover the pool areas, worship center, fitness center gymnasium and numerous other areas.
“In any major project like this one, there are a number of challenges,” says Zamborsky. Clearly, the project’s tight six-month schedule was a demanding one, as was the need to be exceptionally flexible in the face of numerous logistical challenges.
“On more than one occasion, plans had to be altered due to unforeseen surprises during the construction process. “The number one most important thing is communication,” he observes. “We maintained a daily, ongoing dialogue with everyone involved in the project, and that was key to our ability to keep things moving.”
The Community loudspeakers fit the bill on multiple levels, says Zamborsky, “particularly in the pool areas, which combined a tremendously reverberant environment with an exceptionally high humidity, the R-Series was the only choice. Not only do they look great, but they sound terrific.”
The competition pool area offered up additional challenges as well. “Aside from having to cover the pool area itself, we were tasked with creating a separate system to cover the stands, which are tucked away in their own alcove,” Zamborsky adds. “We chose the Community WET Series to cover that area, because they provided both a tight, focused coverage pattern and a high degree of intelligibility.”
Audio Video Electronics Implements Tannoy QFlex At St. Frances Basilica
Home to one of the oldest Catholic congregations in the United States, the Cathedral Basilica of St. Francis of Assisi is sometimes referred to as the heart of Santa Fe, and for good reason. Although the Cathedral Basilica was dedicated in 1887, the site has been a focal point of worship for the community since 1610.
The first church built where the current structure now stands was destroyed during the Pueblo Indian Revolt of 1680, but another was built to replace it in 1714; a portion of which still stands within the existing building – a small adobe chapel dedicated to Our Lady La Conquistadora housing the oldest representation of the Virgin Mary in the nation.
In addition to serving the spiritual needs of it’s own congregation, the Cathedral Basilica’s rich history attracts approximately 100,000 visitors annually. As beautiful as the Cathedral is, however, for some years it has had a problem, says Wanda Vint, Director, Development and Donor Relations at the Cathedral Basilica. Put bluntly: “You couldn’t clearly hear the word of God.”
With the August 2011 installation of a state of the art sound system that depends heavily on a pair of Tannoy QFlex digitally steerable column arrays that’s all changed.
The major thrust behind the project was a 2009 visit made by the Cathedral’s Rev. Monsignor Jerome Martinez y Alire to the Basilica of Saint Mary in Minneapolis. Surprised that such an old and similarly acoustically reverberant space could sound so good, he asked who had designed and installed the system and was referred to Minnesota-based, Audio Video Electronics (AVE).
The project that initially caught the Monsignor’s ear was undertaken before QFlex was available, explains Kevin Crow, AVE’s VP of sales and marketing, but both spaces had similar issues: “In the Cathedral Basilica of St. Francis of Assisi, the RT was 5 to 6 seconds in the mid frequency band.”
In order to meet the Cathedral Basilica’s needs, Stefan Svard, AVE President and system designer, specified a pair of Tannoy QFlex 40s. Placed on a pair of columns roughly 6 feet above the floor just in front of the altar, the QFlex provide coverage to approximately 75 percent of the 1200-capacity, 90 - 65 foot space. They also provide low frequency support throughout the nave, the south transept, and the Our Lady La Conquistadora chapel.
Additionally, smaller Community Entasys arrays were installed as rear fills for the nave, and to provide reinforcement for the chapel and other ancillary spaces.
Basic EQ, tuning and system commissioning was done via Tannoy’s proprietary VNET software, with the processing handled by the onboard DSP within each QFlex, Svard says, but the system also incorporates a Lectrosonics Aspen DSP to handle mic mixing for the Earthwerks FM series podium condenser microphones specified by AVE, and matrixing for both the QFlex 40 and the additional fill speakers. The Lectrosonics Aspen is controlled by an iPad, which allows users to adjust volume levels easily depending on the type of service in progress, how much of the space is in use and the number of congregants present at any given time.
Naturally, the Cathedral Basilica’s atmosphere had an impact on the choice of QFlex, as did the ability to diagnose any issues the church might have using the QFlex array’s remote monitoring capabilities. But the main reason for choosing QFlex, Svard says, was experience. When he first heard QFlex he was cautious in his assessment. After a shootout with a competitor’s product in a St. Cloud, Minnesota house of worship, however, his opinion changed.
“We’ve done a number of Catholic churches, going back 6 or 7 years, using various steerable array products. Every product has strong points and weak points, but in that case, Tannoy’s QFlex was the clear winner.”
“If I’m in the front, middle or back of a room, the EQ that I need to correct is the same,” he continues. “Other products I’ve used shift in character. QFlex is the only product of its kind that retains its frequency response – its spectral consistency – across its coverage pattern.”
The result is a dramatic improvement in speech intelligibility and the sound quality of both background music and live performances by the Cathedral Basilica’s choir. Still, Vint was concerned some parishioners would not welcome the technology, particularly those who were uncertain they needed a new system, or that it might detract from the church’s historic atmosphere. “But the sound is so clear, we haven’t had any complaints at all.”
Monsignor Jerome Martinez y Alire is equally satisfied: “The sound quality is incredible, as is the appearance of the loudspeakers themselves. We were concerned about how modern speakers would look in such an old, historic church – with custom paint finish to match our walls they all but disappear. The clear, audible sound is a gift to our parishioners and visitors alike.”
Middle Atlantic And Extron Initiate New Half Rack Standard For AV Integration
Middle Atlantic Products , in conjunction with Extron Electronics, is initiating and supporting the establishment of a new standard for half-width rack systems for AV integration.
Working in cooperation with the Electronic Components Industry Association (ECIA), Extron and Middle Atlantic are seeking to establish and maintain a specific ECIA standard for what has typically been offered as a custom rack offering until now.
To further strengthen the quality and application of the standard, the two companies are inviting manufacturers of compact-format devices to join a communication and working group for this effort.
Both manufacturers have recently developed product families – the Extron Half Rack Shelf System and Middle Atlantic’s new HR Series Half Racks – which, respectively, fit within and incorporate the proposed 10 5/8-inch overall width defined in the proposed new standard.
“We are pleased to be working with device manufacturing partners to seize the initiative for establishing an ECIA standard for AV half rack systems,” states Middle Atlantic director of marketing Kevin Handerson. “Having a workable, clear standard will greatly facilitate the installation of half rack products in useful applications.”
Dave Pincek, vice president of product development for Extron Electronics, adds “Extron has long advocated the use of standard, rack-mount enclosure dimensions as a means of improving AV system designs and integration. With this proposed new standard for a compact mounting system, key AV equipment can now be more easily integrated into lecterns, columns, table legs, and similar spaces without sacrificing system functionality, thermal management, or room aesthetics.”
Device manufacturers that would like to participate in the working group should contact Mark Tracy, director of product and business development at Middle Atlantic Products, using the email address .(JavaScript must be enabled to view this email address).
Brigham Young University-Idaho Goes Digital With Dual DiGiCo SD7 Systems
The new BYU-Idaho Center at Brigham Young University-Idaho, is a sprawling 435,000-square-foot building that includes a 15,000-seat auditorium outfitted with two DiGiCo two SD7 digital mixing systems as well as six DiGiRacks.
The process to outfit the venue with an audio/visual system took roughly three years from conception to completion, spearheaded by senior project engineer Andrew Prager of New Jersey’s Diversified Systems with the aid of BYU-Idaho audio engineer David Mann.
As a representative of the venue and its principals, Mann’s number one design criterion for the system was overall speech intelligibility. “Because this is primarily a worship facility,” he explains, “the spoken word is the reason the facility exists and was of utmost importance to everyone involved.”
Armed with that missive, Prager identified the scope of the system and its components, which included a front end and monitor mixer, digital signal processing, amplifiers, and loudspeakers.
As for the mixer specifically, it needed enough inputs/outputs to be shared between both the front of house and monitor mix consoles. Additionally, it needed to be digital and fiber-optic based. The sale comprised the two SD7s and six DiGiRacks—one dedicated to each console at front of house and monitors, with four shared between the two.
Having a fiber optic-based system was also top priority with a majority of advantages—price notwithstanding—including latency and speed. “It’s very cost effective to run fiber,” states Mann. “Obviously, the cost benefit of fiber is much more budget-friendly, but also the amount of information you can send via fiber optics is incredible.”
“The things that come to my mind when we’re talking about digital audio traveling as light instead of through copper is that it’s faster in terms of latency,” Prager adds. “It gives us a smaller cable pathway rather than big fat copper hoses running around the place, and there is a built-in immunity to grounding problems, which can be caused from different power ground and sources.
“We have a third party digital audio transport system running MADI over Opticore—a dual ring of fiber that goes between the mixer and the DiGiCo stage racks. It’s a very robust, very redundant system and because it’s a ring there’s a connection of fiber and the signal can just come from one way or go the other. “
The consoles are being put through a rigorous pace since their installation, on events ranging from BYU-Idaho’s on-going weekly Tuesday devotional service to a small number of musical and theatrical productions.
“Both the events and the Tuesday services range in size and scope,” says Mann. “The Tuesday service, with its single talking-head presenter, also showcases a special musical number, which ranges from a soloist with piano accompaniment to a 350-voice choir with orchestra. Depending on the week, it can be very simple or very demanding. On our typical devotional, we’re running approximately 6-8 inputs; on an elaborate one, it’s more like 80.”
Perhaps one of BYU-Idaho’s most elaborate events was the “Savior of the World” production performed in March, involving an 80-piece orchestra and a 230-voice choir. The input list alone was staggering—in the high 80s—40 of which were to accommodate wireless mics.
Coming from a live sound background, Mann says the challenges of the worship environment are very much different. “When you’re working with a band and vocalists, you generally get a good strong sound coming into your console so you have something solid to work with. In a worship environment, dealing with a single speaker on stage, especially in a podium-type situation, you don’t always get a great level and so it’s a challenge to get enough signal before it starts to feedback. That’s my main challenge in this environment. I think I would rather mix a 300-voice choir and 80-piece orchestra any day over a single voice speaker.”
Powersoft Joins Crestron Integrated Partner Program
Powersoft is now a member of Crestron Integrated Partner Program with the full permanent installations catalog, which is a plug-in, developed by Crestron for Powersoft, that includes the entire range of products.
The catalog allows seamless integration of Powersoft amplifiers in Crestron-controlled environments, including video, security, evacuation and other remotely accessible devices.
The feature set includes full alarm monitoring, mute and volume control, preset selection, power on/off, and real time metering for Duecanali, M Series and K Series. In addition, Ottocanali is currently undergoing tests to be included in the list.
“This important development is yet another step in our plan to expand our presence in the permanent Installation market,” says Luca Giorgi, Powersoft pro audio business unit manager. “The future of this market will be increasingly characterized by the integration of various subsystems into a single complex environment, where the key concept is easy accessibility. We believe that we could not miss the opportunity of being part of it.”
“This is a significant step into that direction because it will greatly expand the interoperability of our products in that market, where we have already set the bar in terms of power consumption, energy efficiency and environmentally sustainable products,” adds Luca Baldi, the newly appointed permanent installation account manager.
This article, #InstallationFail, has been inspired by the many, many instances of bad installation practices I’ve seen throughout the years.
I’ve been taking pictures and cataloging these for quite some time, and I figured it’s time to share them with the world.
Now, I should point out I’m not publishing these to make anyone feel bad. Though some of you should feel bad for some of these installations. But that’s not the point.
The point of this article is to show you how not to do things. My thinking is that many bad installation practices are repeated because someone saw it done that way before and no one told said person it was wrong.
Surely, if you knew it was wrong, you wouldn’t do it this way… right?
In that spirit, here we go. Our first installment is a run of Cat-5 cable. The cable comes up from a lower floor into a pull box; and it comes up in a conduit.
That’s where things get weird. I’m not sure if they found pulling the cable through the conduit just too dang much work or what, but instead of continuing on out through the conduit at the top of the box, they punched through the side of the box and tie-wrapped to the conduit. I’m not kidding.
Easier than running through the conduit? Perhaps. Correct? Uh, no.
Now, there is a proper way to bring cable in and out of a box without using conduit. Cable clamps and bushings are two such options. Apparently, neither were handy when this cable run was done.
And in case you’re wondering what might be wrong with pushing cable through a box in this manner, take a closer look from inside the box.
See those nicks in the insulation? They’ll get worse with time as the building vibrates.
Those sharp edges on the box will gradually cut through the cable as the building vibrates. It may take a while, but the wire will eventually be compromised.
They also pulled rather tight, which puts pressure on the cable, another no-no.
Finally, after continuing up the outside of the conduit, the wire goes through a fire-rated wall; a big no-no. This is the kind of stuff that will get you shut down if you have a fire inspector with a limited sense of humor.
There are proper ways to go through a fire-rated wall. This is not one of them.
This #InstallationFail has a lot going for it (perhaps more correctly, not going for it). The sad thing is that it was installed by a company that does cable installation. Meaning, this was not the work of some well-meaning but uninformed volunteers.
Nope, this was a “professional” job. And frankly, that irritates me.
Now, let’s move long to some great reader finds. I won’t give credit, largely to protect the guilty, err… innocent. But you know who you are.
Actually, these were all found by people who were just as amused and disgusted at the same time as we all are.
Why try to cram too much into a work box? (click to enlarge)
This is a classic case of “Why work hard if you don’t have to!.” I’m not exactly sure how the bolt is connected to anything structural, but I’m pretty sure that little metal dome is not rated for holding a Parnel.
And really, trying to stuff all the wires inside the box? Waaaayyyy too much work. Let them all hang out. Keeps ‘em cooler, anyway. Nice work, to be sure.
You can use wire nuts for almost anything. I love the art of this piece.
The interplay of the yellow and blue wire nuts is stunning. The fact that someone took the time to do it is impressive. I’m not sure what exactly the little stub of a RJ-11 may have been plugged into, or how they managed to plug anything in while it was mounted in the wall, but it’s got creativity written all over it.
I can’t say for sure, but I’m guessing there was a RJ-11 coupler somewhere in the mix here…
The safety of this device is unquestionable.
Unquestionably bad, that is. I can’t decide which I like more…the duplex outlet with only one leg attached, or the plug end with no backing housing, leaving the hot terminals right out there in the open for all to experience.
I’ve seen a lot of sketchy electrical wiring in my day, but this one takes the prize for most sketchiest. I’m not sure what in parallel universe this may be considered safe, but it’s not this one.
They could have at least used gaff tape to cover up the hot leads…
Moving along, consider this a primer on how not to install cables.
The good news is there’s plenty of cable should the equipment need to be re-located.
At least I can’t chalk the above mess to a professional installer. The next photo however…well, it’s just the way the installer left it.
Bushings? We don’t need no stinking bushings. Or the cover for that matter.
Man it was nice of those plumbers to put those pipes there for the cables to run over.
And just to prove the A/V guys didn’t favor plumbers over HVAC guys…
We’ve got loudspeaker cables going over HVAC and electrical! Score!!
Yes, we’ve seen all sorts of creative installs. This is one of my favorites. Props for using conduit. But feeding an extension cord through it to plug into a dimmer? Hmmm…
Hey, at least they put the extension cord in the conduit…
Sometimes, however, conduit seems hardly necessary.
This isn’t so much an “installation” as a lack thereof…
I really have nothing more to say about that one.
Mike Sessler is the Technical Director at Coast Hills Community Church in Aliso Viejo, CA. He has been involved in live production for over 20 years and is the author of the blog, Church Tech Arts . He also hosts a weekly podcast called Church Tech Weekly on the TechArtsNetwork.
New Integrated Cores Provide QSC Q-Sys Technology For Smaller Applications
QSC Audio has announced the next generation of Q-Sys products, designed specifically to deliver powerful digital networked audio solutions for the widest range of applications.
The new Core 500i and Core 250i provide advanced centralized processing, routing and control for contractors and consultants needing a solution for smaller venues such as restaurants, nightclubs, stores, schools and churches.
These two new Core models are fully integrated solutions, each with eight card slots on-board. The Core500i is capable of up to 128 network channels while the Core 250i provides up to 64 channels. I/O is selectable via the various Q-Sys I/O cards. Options also include the MTP-64, and MTP-128 multitrack players.
Like all Q-Sys Cores, these systems run under a customized Linux operating system on Intel microprocessors and motherboards. IT connectivity is easily implemented utilizing Layer 3 Gigabit networking protocols and standard Gigabit Ethernet hardware.
The systems are capable of providing simple and fail-safe redundancy for mission-critical applications. All system design, configuration, administration and control operate under a simple and straightforward GUI.
Additionally, custom user control panels are easily created and can be displayed on any Internet-connected PC, iOS device or QSC’s own Touch Screen Controllers (TSC-3, TSC-8). Any incoming signals may be mixed and routed to any output and nearly unlimited DSP is provided, including Acoustic Echo Cancellation.
Also newly announced is the I/O-22 analog I/O box. It is a compact, standalone unit designed for widely distributed audio sources or destinations such as individual rooms in a multi-room venue (judicial chambers, classrooms, VIP suites, etc.)
It provides two mic/line inputs and two line outputs and connects directly to the Gigabit Ethernet network. It is powered by PoE or 24 VDC and includes an 8.5 watt mono amplifier and mounting plate for discreet and compact installation.
Extron Introduces New Eight-Port Fiber Optic Audio Extractor
Extron Electronics has introduced the FOX AEX 108, an eight-port fiber optic audio extractor for independent processing and routing of audio signals in a fiber optic AV distribution system.
Each port accepts signals from a FOX Series transmitter to extract a two-channel analog audio signal for processing, and then re-transmits the original signal to a FOX Series receiver.
To simplify integration with mixers, DSP devices, and audio amplifiers, the FOX AEX 108 provides both balanced and unbalanced stereo.
Buffered loop-throughs feature output reclocking and full transmitter power levels to ensure signal integrity.
Available in multimode and singlemode models, the FOX AEX 108 is great for use in FOX Matrix system applications that require extraction of audio signals for local processing and independent distribution.
“System designers and integrators that rely on Extron FOX Series products for fiber optic AV signal distribution now have a new option to route audio within the equipment room,” says Casey Hall, vice president of sales and marketing for Extron. “The FOX AEX 108 provides an easy way to extract audio signals for independent processing while maintaining the integrity and convenience of the fiber optic link.”
The FOX AEX 108 is part of the larger, expansive FOX Series of fiber optic products from Extron. It is compatible with FOX Series matrix switchers, switchers, distribution amplifiers, and HDMI, DVI, VGA, VGA/YUV, and AV transmitters and receivers.
Housed in a compact 1U, half-rack width metal enclosure, the FOX AEX 108 is designed to provide convenient access for audio signal processing and routing from an equipment room.
Soundworks Installs db Technologies In UW-Stevens Point Arena
A basketball arena at the University of Wisconsin - Stevens Point has been decked with 20 db Technologies Arena 15 loudspeakers. Beside sporting events, Quandt Fieldhouse is also the venue for commencement ceremonies and hosts a multitude of concerts and assemblies—which can ask a lot of the sound system and the design/build team.
Brian Baumann and Kent Laabs of Soundworks Systems Inc. handled the design and installation.
They explain, “The audio system needed to be capable of high SPL’s for UWSP Pointer basketball games and other athletic events. It needed to be capable of clear music reproduction whilst maintaining high speech intelligibility for both low and high SPL events. On top of all that, budget was a factor.
“The room itself presented acoustic challenges which included its mezzanine type area with tiered seating and a plexiglass-faced guard rail system. We needed to mitigate unwanted reflections from the maple floor, painted block walls and especially the plexiglass. We divided the room into 8 zones in order to accommodate the permanent seating, temporary bleachers and floor seating with delay and zone presets.
“We researched various loudspeakers from multiple manufacturers before deciding on the db Technologies Arena 15. We had used other Arena series products on previous installations and were familiar with their performance. We designed and bid the system utilizing the Arena 15 based on the available horn pattern, sensitivity, power handling and price point.”
The two way passive Arena 15 boasts powerful low frequency reproduction and a compression driver with a 1.4” voice coil, giving it the flexibility to handle a full range of applications. With a high SPL of 129dB and weighing in at only 23.7kg, it also guarantees easy installation.
“Rotatable horns, M10 rigging points and their lightweight design made them very easy to install from the structure steel,” confirms Baumann. “When it came time to tune the system, we were again amazed at their smooth and articulate response without processing. Final tuning of the system was a breeze. Now that the system is in and has been used for many athletic events and winter commencement ceremonies, it only confirms that our choice in loudspeakers was spot on and consistent with the high level of quality that our reputation is built upon.”
“Soundworks Systems Inc. provided us with an excellent solution for our space,” said Mitch Capelle, Assistant Athletic Director for Media Relations at the University of Wisconsin-Stevens Point. “The space, with its wide variety of uses, needed a system that could provide us with this kind of versatility. Soundworks Systems Inc. perfectly tailored this system to the multiple uses of this showcase facility on our campus to improve the spectator experience, no matter the event in the space.”
Based in Wisconsin, Soundworks Systems Inc. designs and installs audio, video and lighting in a variety of venues including, but not limited to, theatres, houses of worship, indoor and outdoor athletic stadia, schools, boardrooms and local government facilities. In addition, the company provides live production for touring acts and corporate events.
“We have years of experience in the pro audio field, and the dBTechnologies loudspeakers are impressive,” says Baumann, who has since used Arena 8s in a multi media room at the Amherst High School (Amherst, WI), and specified more Arena 15s in a local elementary school gymnasium. “I don’t think the performance of these boxes can be beat at their price point.”
Summit Ridge Christian Fellowship Mobilizes With Powersoft Amplifiers
Summit Ridge Christian Fellowship located in Spokane, Washington, recently upgraded their worship services with a new sound system powered by Powersoft amplifiers.
The church leadership worked closely with AGI Professional, located in Eugene, Oregon, to design a system that would accommodate not only their contemporary services but also their requirement for the system to be portable with easy set-up.
“Summit Ridge is part of a growing segment of churches that doesn’t own a brick and mortar building but instead leases space for their regular services,” explains Kyle Anderson, owner of AGI Productions. “They currently use another church space that doesn’t have a big enough sound system to accommodate their needs – which is where we came in.”
Anderson specified a left-right system that consists of two Fulcrum Audio FA12 12” coaxial loudspeakers pole-mounted on 13 ft. heavy-duty truss stand with a steel crank-up. Two Fulcrum Audio Sub115 15” direct radiating subwoofers are positioned directly below the loudspeakers for driving low end.
A single four-channel Powersoft M50Q DSP+ETH provides all of the power necessary.
“With each channel providing 750W at 8 ohms, it was a no-brainer,” Anderson adds. “We used channels 1 and 3 for the subs and 2 and 4 on the mid/high boxes and had plenty of headroom.”
Anderson continues, “All we had to do was synch the DSP with the manufacturer’s FIR filters – do a little tuning here and there and we were good to go. We locked it down and provided the crew with a “show EQ” in their portable racks that they use if they run into a situation that requires minor modifications.”
The 4-channel M50Q DSP+ETH is equipped with four inputs and outputs all in one rack unit. Each channel offers five bi-quad filters for system equalization, two crossovers, eight bi-quad filters, and RMS and peak limiters eliminating the need for outboard equalizers. Presets can be created, stored, and completely monitored utilizing the Armonía Pro Audio SuiteTM software with computer and amplifiers communicating over standard Ethernet.
“Our clients were amazed that they didn’t need a huge amp rack to get the power the system provides,” Anderson concludes. “They were so delighted that they have spread the word to some other churches in the area that were looking for upgraded systems as well. It was a win-win for everyone involved.”
Technomad Upgrades Audio Presence at Club Med Sandpiper
Systems integration firm Axxentos of Fort Lauderdale, Florida turned to Technomad upon evaluating the outdoor audio needs of Club Med Sandpiper in nearby Port St. Lucie. The new outdoor audio systems, featuring 14 Technomad weatherproof loudspeakers, comprise part of a property-wide renovation alongside indoor AV upgrades and general construction projects.
Club Med Sandpiper’s 400-square-mile resort property exists in southern Florida’s sweltering climate, requiring durable outdoor audio systems that can withstand the year-round heat, humidity and moisture. The resort also required high-quality loudspeakers that could power full-range, high-volume audio over long distances, and reproduce soothing background music at clearly audible levels.
“I’ve learned what gear can survive in harsh environments over the years, and from all the outdoor installations I have done, only one company reliably endures the elements — and that is Technomad,” said Olivier De Kegel, owner and president of Axxentos. “They also produce great sounding audio.”
The external pool system proved the biggest challenge as De Kegel had little guidance from the resort, other than that management wanted a nice-sounding background music system during the afternoon and a louder system in the evenings. He installed two Technomad Berlin loudspeakers, the largest loudspeaker in the company’s range, to handle both requests with one system. The Berlins accommodate every activity from Bingo to full-blown nightclub-style events.
Axxentos installed a 70-volt infrastructure to accommodate long cable runs from a new central audio headend to various areas, including the bar. Ten Technomad Vernal 70-volt loudspeakers power the bar zone, delivering music and entertainment to guests enjoying daytime activities and the nightlife.
Two Technomad Noho loudspeakers also welcome guests with high-energy music audio at the entrance as they check in, with lower-volume background music playing in between arrivals.
“The resort wanted a system they could easily manipulate at the welcome area to balance loud and soft audio, and the Nohos offer power that is closer to the Berlin but compact enough for installation at the entrance,” said De Kegel.
Elsewhere, Axxentos installed AV systems in new conference rooms, built a mobile DJ unit and renovated a large theater system, merging existing equipment with some new components. But the outdoor audio systems remain the crown jewel of the resort upgrades.
“This was my largest installation to date, with some interesting upgrades and unique challenges,” said De Kegel. “They went from being fully analog to a more digital, centralized model. There won’t be any dull nights with the high-quality audio systems they have, and the durability of the Technomads ensure they won’t have to replace the outdoor systems every two years.”
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