Article

Tuesday, May 15, 2012

DiGiCo SD11 Aids Australian Education

In these financially difficult times, maximizing the potential of facilities has become a key issue for the education sector. At the same time as delivering high quality education in line with modern expectations, schools need to ensure that their facilities generate their own revenue.

These are the reasons why one Australian primary school has invested in DiGiCo, opening up a new market for the console manufacturer.

Helensvale Primary, located on Queensland’s Gold Coast, recently finished a new performing arts centre, complete with a full audio-visual solution designed, supplied and installed by Dominica Sound via DiGiCo’s Australian distributor, Group Technologies.

“The school was previously hiring halls at its local arts centre for its events, but wanted to become self-contained in order to cut some of the operational overheads,” says Steve McCallum, director of Dominica Sound. “At the same time, they wanted to ensure that the space could accommodate a wide variety of events and be rented out to other schools - generating income while, at the same time, saving the other schools money.”

Measuring around 40m x 25m, with a stage at one end and elevated seating at the other, the 1100-capacity venue needed a high quality audio system and so a DiGiCo SD11 digital console was specified.

“We went with DiGiCo because it turned out to be a higher quality and more cost effective solution than anything else,” says Steve. “The sound quality of any other digital console wouldn’t have been anywhere near as good as the SD11, so it was a simple choice.”

Another big advantage of choosing the SD11 was the ability to configure the console for non-technical individuals, such as teachers and student AV operators from other schools.

“Helensvale holds a talent show at the end of every school day. The SD11 is setup with every input on every layer so anybody can walk in, clearly see which fader belongs to which input and begin using the desk. The teachers have commented on how easy it is to use. They just turn it on, select the inputs and then control volume, it’s that simple,” Steve continues.“Everyone loves the new system. One of the teachers has told me that they feel like they’ve won the lottery!”

DiGiCo

Altinex Announces Dual Input-Type Interconnect Boxes

Altinex is pleased to announce the availability of the dual input-type TNP162 / TNP162C Interconnect Boxes, a new addition to the ever-expanding line of Tilt ‘N Plug interconnect offerings.

As a compact interconnect solution designed for installation into tables, podiums, or other furniture as part of an AV presentation system, the new TNP162 / TNP162C offers convenient, one touch access to a variety of video, audio, computer, network, and power connections—making the tabletop connection point attractive for any boardroom or conference room table.

As an easy-to-use tabletop connection device, the Altinex TNP162 is a sharp looking, highly functional tool for facilitating power, Internet/Network access, plus audio and video connections for one’s laptop computer while attending a meeting in the company boardroom or presentation space.

The standard configuration TNP162 provides two different input plates. One input section provides two CAT6 (RJ45) input connections and two AC power connections. The other provides one AC power connection, Computer Video (15-pin HD), Computer Audio (3.5 mm Stereo Mini), Modem (RJ11), and Network CAT6 (RJ45) input connections. All signals are pass-through.

The Altinex TNP162C is highly customizable, with a wide range of available connector options—all factory-configured and terminated so installations are quick and effortless. By calling Altinex customer service at 1-800-ALTINEX or visiting the company’s website, one is able to select from a variety of connector options such as USB, S-Video, RCA, BNC, and more.

Each AV and Data connector comes with a 6-foot cable and is terminated appropriately for quick connections to one’s audio-visual system (wall plate, floor plate, etc.). AC Power connections are provided with 9-10 foot cable lengths.

Either module of the TNP162 can be reversed before installation and each input plate is accessed by pushing down on the top cover. The unit then auto-tilts open with assistance from an internal pneumatic spring. Once open, the input plate remains securely in place.

The input plate is hidden, or closed, by pressing down on the top cover until the latching mechanism engages. In the closed position, the top panels lie flush with the table’s top, held in place by the latching mechanism. This secure fit also means less chance for paperwork to catch the TNP162’s edges when being passed across a table—so documents remain clean and professional in appearance.

Grant Cossey, Altinex Vice President of Sales, commented on the company’s new Interconnect Boxes, “Our TNP162 and TNP162C Tilt ‘N Plug interconnect boxes are the ideal boardroom choice for creating a quick and convenient means of patching equipment into a company’s data network or presentation system. With its ability to be customized in so many ways, the TNP162C offers tremendous flexibility for configuring a presentation space exactly to one’s preferences.

“To match any room’s décor, its bezel is available in black or brushed aluminum, so it looks terrific. With the quick, easy access these units afford combined with their elegant design; the TNP162 and TNP162C create a high-tech visual aesthetic that compliments the décor of any boardroom or presentation space.”

The Altinex TNP162 and TNP162C Tilt ‘N Plug interconnect boxes are available now with a MSRP price of $795 and $835 respectively.

Altinex

Meyer Sound MINA Amplifies Enthusiasm At Yuong-Sang Presbyterian Church

The sermons and songs may be in Korean, but the level of passion expressed in worship at Yuong-Sang Presbyterian Church easily matches that of any other dedicated church service in America.

The excitement level recently kicked up a notch when Yuong-Sang, located in the Philadelphia suburb of Horsham, invested in a new sound system anchored by Meyer Sound MINA line array loudspeakers.

“MINA is a perfect fit for Yuong-Sang in both size and performance,” says Dave Brotman, owner of Coatesville, Pa.–based systems integrator DBS Audio Systems, Inc. “Yuong-Sang has a very active music program, with services including a band, orchestra, and 100-voice choir.

“MINA delivers the power and the clarity the church needs, but in a compact box that blends with the look of their remodeled sanctuary.”

The custom-painted Meyer Sound system includes left and right arrays, comprised of six MINA loudspeakers flown under a 500-HP subwoofer on each side. Five UPJ-1P VariO™ loudspeakers are spaced along the rear of the sanctuary as balcony delays, and six MM-4XP self-powered loudspeakers are recessed in the stage steps to provide front fill and lower the perceived audio image.

“The church already had expressed a preference for a Meyer solution based on the senior pastor’s experience at other churches,” Brotman explains. “They were looking at a M’elodie [line array loudspeaker] system, but by using MAPP Online Pro [acoustical prediction program], I showed them that the more compact MINA would give them all the performance and coverage they needed—and save them a substantial amount of money.”

The Meyer Sound loudspeaker system installed at Yuong-Sang is self-powered, therefore requiring only two additional items to complete the setup: a Galileo loudspeaker management system with one Galileo 616 processor and a 48V, DC MPS-488HP power supply for the MM-4XP loudspeakers. A new Allen & Heath iLive digital console has also been installed.

As part of the church’s complete renovation, Applied Video Technology, Inc. (AVT) in Malvern, Pa. supplied new video systems, including Digital Projection projectors, NEC monitors, Panasonic cameras, a Sony HD production switcher, and Crestron controls.

One of the largest Korean-language churches in the Northeast, Yuong-Sang Presbyterian draws its congregation from Korean-American communities throughout the greater Philadelphia area.

Meyer Sound

Clear-Com Introduces New CC-300 And CC-400 Headsets

Clear-Com introduces the latest additions to its line of professional headsets, the CC-300 and CC-400.

The CC-300 and CC-400 offer extra comfort, better performance and more flexibility for users who employ intercoms for long hours. They are compatible with Clear-Com’s wide range of wired and wireless intercoms.

Wearing headsets day in and day out while communicating with other team members over the intercom can quickly exhaust a user. The new Clear-Com CC-300 single-ear headset and CC-400 double-ear headset were designed to reduce fatigue and accommodate individual preferences by offering a clear and comfortable audio experience.

The CC-300 and CC-400 headsets’ microphone booms can be rotated 300 degrees, allowing the microphone to be worn on the right or left side of the head. Users can also make the headsets larger or smaller by manipulating the slide adjustments on either side of the headband. In addition, the enclosed headphones have very soft padding and a slight rotation to provide a better fit.

The CC-300 and CC-400 headsets are equipped with hyper-cardioid dynamic microphones and high ambient-noise attenuation headphones that deliver balanced audio performance to the user. The acoustic isolation capability significantly reduces external background noise and with a clear audio profile, including an up to 20-kHz frequency response, the new headsets are made for professionals who demand high-quality sound.

The CC-300 and CC-400 headset microphones can be turned on and off by moving the microphone boom. Users need only to pull the boom gently downwards to turn on the microphone and push the boom gently upwards to turn it off, in effect giving them a quick and simple mute to their intercom system. 

Interchangeable cabling is another major benefit of the CC-300 and CC-400 headsets. Both headsets come with a standard four-pin female connector, but users can easily change the cable and connector at the base of the headset by using a Phillips screwdriver in order to accommodate different connector types. The same process can be used to repair and replace a damaged cable on the fly.

“Busy crew members need a headset that they can slip on and immediately feel the difference in fit and performance,” says Stephen Sandford, Product Manager, Clear-Com. “The Clear-Com CC-300 and CC-400 deliver by providing long-lasting comfort and high-quality audio, and can be used in conjunction with virtually all of our intercom solutions.”

Clear-Com

Accuracy vs. Realism: Simulating The “Human” Side Of Audio Measurement

The human auditory system is equipped with two inputs - left and right ears.

This “binaural” processing system provides us with the ability to localize where sound is coming from, something that a one-eared listener would have difficulty in doing.

Playback systems may utilize any number of channels to surround the listener with sound, but two channels is always enough to simulate the human listener.

Recording enthusiasts have long discovered the benefits of stereo microphones. While not necessarily “human-like,” they can produce recordings that add spaciousness and realism to the recorded material.

Two-channel acoustic measurements are important for the same reason - they add a human characteristic to the data.

For our discussion here, I’ll use the term “binaural” to describe recording processes that provide data for two ears - there is no need to distinguish between making a recording and making a measurement, as either or both could be of interest.

Let’s look at some of the ways to get binaural data. Many modern measurement platforms support two-channel recording. We will assume that one of them is being used, allowing our discussion to be confined to microphone techniques.

One of the first decisions that must be made by the data gatherer is whether accuracy or realism is more important.

After a little consideration, it becomes apparent that one cannot have both. Setup parameters that provide a more accurate view of the loudspeaker’s response will require that the effects of the environment be minimized.

On the other hand, if the effect of the room is to be considered, then accuracy will need to be sacrificed to include it.

The question becomes, “Do I want to know what is actually happening, or do I want to know what is perceived to be happening?”

The answer to this question will fundamentally affect the method used to collect the data.

It’s important to note that at least three responses are being gathered in the recording - the loudspeaker, the listener and the room.

The listener’s response is a constant. The ear/brain system is assumed to be processing sound the same way at every seat. The loudspeaker’s response can be dramatically position dependent, but it does not have to be.

Loudspeakers that are designed for covering an audience evenly can have a similar response over a large area.

The room also has a response, but it is unique for each listening position. This is one of the reasons why we can’t correct room acoustic problems with electronics.

Is the goal of the measurement accuracy or realism? If the purpose of the measurement is to calibrate an equalizer or crossover network, then accuracy should be considered first.

It is desireable to know the true acoustic response of a transducer at a point in space, usually for the purpose of improving this response through signal processing.

In Figure 1 you wil see a stereo microphone on a stand at ear height might convey what a listener will hear, but this response will include seat-dependent artifacts, such as a strong reflection from the floor or other nearby objects.

Figure 1: Responses of ear height and ground plane microphone placements. (click to enlarge)

The resultant comb filters will make it impossible to observe the response that is due to the loudspeaker alone.

If one were to attempt to compensate for the effect of the floor reflection, the compensation would not be correct for a closer or more distant listener seat. As such, it is best to ignore the floor reflection altogether when “tuning” the system.

Also, such a “seat dependent” response would average out if a large number of measurements were averaged across an auditorium.

This is why near-field and ground plane measurement techniques play an important role in sound system tuning. (This article is about neither – we’ll table this discussion for the future.)

Case For Realism
If the measurer wants to know what a sound system/room sounds like, then accuracy must give way to realism. Realism requires a binaural recording technique, and it must include the same effects from the room that might affect a live listener.

Mic placement is actually much easier than when considering accuracy, as the measurer simply listens to the system wherever he/she like and then replaces his/her head with the microphone. See Figure 2 for mic choices, which include:

Figure 2: Dummy heads, while expensive, provide stability and repeatability. They are ideal for research projects. Peter Mapp displays his arsenal of two-channel mics. (click to enlarge)

Stereo.

A simple stereo mic can yield left/right information. Two cardioid mics in an X/Y configuration can yield convincing stereo.

Spaced omnidirectional mics are another popular method. This is art, not science so there really aren’t any rules to break. If you like what you hear, then it’s O.K.

Head Simulation. An added element of realism can be achieved by simulating the presence of a human head. The “head effect” is called the Head-Related-Transfer-Function (HRTF.) The Crown SASS uses omni mics spaced at human dimensions with an absorptive mass in between.

Frequency-dependent directivity is achieved by boundary-loading the mics on small, flat panels.

Head/Torso/Pinnae Simulation. Perhaps the best binaural mic is the dummy head. This includes the effect of the head, torso, and even the ear structure. The major benefits of this technique are customization and repeatability.

The response can be modified electronically and physically to whatever is desired, and setups can be recalled in the future if needed.

Digital signal processing provides a low-cost, powerful way to modify the response.

Dummy heads can cost many thousands of dollars, but the cost is easily justified for researchers that need the benefits.

Human Mics. One way to make a “poor man’s” dummy head is to utilize your own (no offense intended). Everything is already in place except the microphones. I’ve seen numerous mic placement mechanisms over the years, including eyeglass mounts, wires, and even earrings.

Possibly the most clever and realistic approach to date is the In-The-Ear (ITE) recording technique pioneered by Don and Carolyn Davis in the late 1980s.

Figure 3: The Countryman B6 lapel mic makes an excellent “At-The-Ear” microphone. The foam insert is from a Shure E1 ear bud.

This involved placing probe mics at the surface of the ear drum. This technique captured the outer ear response, including the ear canal resonance. The resonance was removed with an inverse filter during playback.

A variation on this technique that sacrifices some accuracy for practicality is to place small mics at the entrance to the ear canal. I will call this “At-The-Ear” to distinguish it from the previous technique.

The mics are held in place by some foam inserts (Figure 3).

The two mics have XL male connectors that can connect directly to my data recorder.

I normally survey an auditorium without wearing the mics to determine the measurement positions, and then return to the seats with mics in place to gather data.

Figure 4. The impulse response and frequency magnitude of the B6 mic placed in a free-field and At-The-Ear. The impulse response of the At-The-Ear placement has been offset for clarity. Note the stark contrast between accuracy and realism in gathering data. (click to enlarge)

Figure 4 shows a comparison between a free-field measurement and the “At-The- Ear” placement in both the time and frequency domains.

The responses have been overlaid for comparison.

The methods used to gather data are determined by the intended use of the data.

This often requires more than one technique, each preserving or enhancing the information in a way that yields more insight into the particular problem being solved.

When making measurements, arrive equipped to acquire both accurate data and realistic data, and then let the question being pondered determine the preferred perspective.

Pat Brown teaches the Syn-Aud-Con seminars and workshops. Synergetic Audio Concepts (Syn-Aud-Con) has been a leader in audio education since 1973. With nearly 15,000 “graduates” worldwide, Syn-Aud-Con is dedicated to teaching the basics of audio and acoustics. For more information visit their website.

Monday, May 14, 2012

Symetrix Announces Release Of SymNet Composer DSP Configuration Software

Symetrix has announced the immediate release of SymNet Composer installed sound DSP configuration software. It will be on display at the upcoming 2012 InfoComm show in Las Vegas, booth C10331.

When performing basic Edge hardware configuration, Composer automatically identifies the type of audio I/O module installed in each of the Edge frames’ four I/O card slots (up to 16 channels of local audio).

When connecting multiple Edge frames via Dante gigabit network audio (up to 128 channels total), quick and easy network management is accomplished entirely within the SymNet Composer programming environment.

A fully open architecture application, Composer’s fast and fluid navigation accelerates the audio path design process. System designers exercise complete creative control selecting from a library of over 600 proven DSP processing, routing, mixing, and special purpose modules.

A designer’s proprietary Super-modules (complex blocks of multiple DSP modules and routings) can be exported from or imported into Composer and re-purposed in future projects.

SymNet Composer’s Event Scheduler automatically changes presets at pre-determined dates and times using a familiar Outlook-style calendar. If desired, hardware clocks can be set to sync to network time protocol (NTP).

Composer also configures the Symetrix ARC series of wall panel remotes along with the zero-cost embedded ARC-WEB for wireless control of Edge hardware using Apple and Android mobile devices.

With Composer, any chosen set of controls (i.e. faders, mutes, selectors) can be consolidated and exported to create custom technician or end user virtual control panels from a program called SymVue. There’s no scripting language to learn, no time-consuming graphic design.

Composer supports third-party RS-232 or Ethernet control devices with Symetrix’ human-readable external control protocol.

“DSP is deep in Symetrix’ DNA. Edge hardware, paired with Composer software, is our most exciting commercial audio product yet,” says Paul Roberts, Symetrix vice president of sales and marketing. “Announcements regarding additional audio input/output modules for Edge, as well as on-line training and certification for SymNet Composer, are slated for the very near future.”

The Symetrix technical support staff is available for remote design assistance and in-person training at .(JavaScript must be enabled to view this email address)

Symetrix

Baker Audio Installs JBL VLA Line Arrays At UNC’s Kenan Memorial Stadium

Baker Audio of Norcross, Georgia, recently upgraded the audio system at the University of North Carolina’s (UNC) Kenan Memorial Stadium, home of Tar Heels football since 1927, with JBL VLA line arrays. Baker Audio shares strong ties to UNC and installed an innovative sound system to complement the stadium’s new “horseshoe” design.

Keith Hicks, President of Baker Audio, took great pride in revamping the sound in his alma mater’s stadium, where he played four decades ago as a scholarship UNC football player.

The 64,000-capacity stadium was renovated from its original shape to the horseshoe pattern, which required a completely upgraded sound system, designed by Jack McCallum of Wrightson, Johnson, Haddon & Williams, Inc.

Hanging from the new scoreboard, provided by CBS Sports, Baker Audio supplied 22 JBL VLA601 3-way full-range loudspeakers on each side of the scoreboard, while 23 AM5212 2-way loudspeakers were installed in the “bowl” under the balcony areas, which provided delayed sound coverage.

The system is powered by Crown amplifiers-43 MA-5000i’s, 14 MA-9000i’s and 14 MA-12000i’s accompanied by four CTS2000LITE amplifiers-and is processed through BSS London DSP technology with 11 BLU 800’s as well as 36 BLUCARD-OUT and four BLUCARD-IN analog cards which route all of the audio for the PA, play-by-play and music to achieve that powerful game day sound.

“The JBL system was peaking at 112dB-we’re rocking,” Hicks said. “The VLA line arrays are outstanding. The low-end response is spectacular and we continue to receive compliments on the clarity and coverage of the sound.  The UNC athletic staff is pleased with all aspects of the installation and we’ve even received calls from businesses around the city saying they can hear the music during games.”

Working under tight time constraints, Hicks noted one challenge associated with fitting Kenan Memorial Stadium with the new speaker system. While preparing to hoist the VLA speakers, Joe Kimsey, Project Manager for Baker Audio, noticed that the stacks, which each measure more than 25 feet tall, would have less than one foot of clearance within the housing.  Baker Audio was able to overcome this challenge by utilizing a 300-foot crane to carefully hang the speakers. Greg Coddington, project engineer for WJHW, was instrumental in the success of the system installation and coordination, says Hicks.

David Rotman of Rotman Architecture added, “In many aspects, it was a very complex construction project; however, due to the dedicated team at Baker, the Kenan Stadium at the University of North Carolina can deliver that ‘wow’ factor with an innovative sound system that, not only works in conjunction with the new, state-of-the-art scoreboard, but provides a state-of-the-art sound system experience at every seating location throughout the building.”

“The VLA line arrays give the stadium much more horsepower than it’s ever had,” Hicks continued. “Every aspect of the installation, from coordinating with the construction, to securing the arrays on the video board was excellent. The entire system is extremely impressive.”

“It was a great opportunity for me, personally, to fit the stadium with sound after years of attending games and even playing football there 100 years ago,” Hicks joked.

JBL

More Than 500 EAW Loudspeakers For Miami Marlins New Stadium

In April, the Miami Marlins inaugurated a new season of baseball in brand-new Marlins Park, located in the Little Havana neighborhood of Miami.

The stadium’s distributed sound reinforcement system, designed by Wrightson, Johnson, Haddon & Williams (WJHW) of Dallas, incorporates 517 EAW MK, QX and MQX Series loudspeakers. The system was installed by Minneapolis-based systems integrator Parsons Electric.

Marlins Park has a retractable roof, but in order to best take advantage of the sun for its natural-grass field, the stadium had to be angled in such a way that the grass get as much exposure to the sun as possible between games.

As a result, rather than the usual half-dozen or so section templates in the seating areas for which a basic configuration of loudspeakers would make up a repeatable pattern, this system’s design required over 30 individual section drawings, with nearly every one of the upper-deck sections being unique. Thus, loudspeaker placement and aiming was different for virtually every location on the upper deck.

The loudspeakers are grouped into 23 categories, in some cases with multiple units required to deliver coverage to a single area.

In addition, the stadium’s asymmetrical design meant that focal points often needed different throw-length speakers set at different distances and patterns. For instance, the area around home plate uses the EAW MQX8343-MS-WP long-throw enclosure from one side, but is matched on the baseline sides and outfield porch by a shorter-throw QX564-WP unit.

“The system design was very complex, but the EAW speakers were exactly what we needed to make it work,” says Tim Habedank, systems specialist at Parsons Electric. “On opening day, the sound was clear and highly intelligible, even over the noise of a capacity crowd.”

Habedank adds that while the roof is likely to be closed for most events at the stadium, the long reverb time when it is closed, particularly in the lower frequencies, will remain under complete control, thanks to the precise aiming pattern that the EAW speakers are capable of.

“We were able to achieve very tight pattern control across the spectrum,” Habedank says. “Yet at the same time the longest-throw speakers maintain the coherence of the sound for distances of between 200 and 300 feet. It’s really remarkable performance and the sound of the stadium shows it.”

EAW

Friday, May 11, 2012

New York Designer Specifies RCF At La Bodega Negra

CP Sound has completed a full sound system installation at an upmarket Mexican restaurant in London’s Soho district.

The brainchild of Will Ricker (who heads up Ricker Restaurants), top New York nightlife designer Serge Becker was brought in to create the interior of this two-in-one operation.

With a fully featured DJ booth set downstairs in the 95-cover basement restaurant lounge, Becker specified RCF sound reinforcement throughout, based on his positive experiences with the brand in various locations in New York City.

Designing the sound for the hacienda style basement into five zones, Colin Pattenden of CP Sound wall-mounted four C3110 full range, compact 10-inch and 1.5-inch horn, wide-dispersion, low profile loudspeakers, one in each corner of the main Piano Room. Providing low frequency extension are a pair of concealed Acustica S8015 low-profile Band-pass 15-inch subwoofers.

In the basement’s secondary dining area, which forms its own independent zone, are an additional pair of RCF C3110’s and an S8015 sub, with three further C3110’s and a low profile sub distributing sound around the Basement Bar.

Stated Pattenden, “Serge Becker requested that we used RCF and we were happy to do so as these are extremely powerful speakers. The system has been carefully processed, and although La Bodega Negra is situated under the Z Hotel, there is massive concrete isolation which enables the system to be pushed up to around 115dB if necessary.

“The S8015’s were fantastic for installing because they fitted snuggly underneath all the seating.”

Feeds into the system vary, from CD playback from Pioneer CDJ-900’s — with a DJ operating Tuesday through Saturday — to computer music files, which provide general background music.

The sound has been carefully processed to optimize the coverage, and is distributed through a series of zones to the ten different areas of the restaurant.

With a lively café and taqueria on the ground floor complementing the downstairs restaurant (each served by separate entrances), La Bodega Negra is the latest addition to Ricker Restaurants’ portfolio, their other units including such well-known haunts as The Great Eastern Dining Room, Eight Over Eight and E&O. Due to the locality of the venue homage is also paid to the history of the area — with a faux frontage designed to simulate a sex shop, with red neon lights.

Stated general manager, Richard Seldon, “These speakers produce a clean, well-balanced sound, with good bottom end. Downstairs we need music that’s loud, but at the same time doesn’t interfere with the dining. The RCF system delivers that.”

RCF

Adam Shulman Appointed As EAW Installed Systems Support Manager

EAW announces the expansion of its Application Support Group (ASG) with the appointment of Adam Shulman to the position of Installed Systems Support Manager, effective immediately.

The announcement was made by Jeff Rocha, EAW President, and further underscores EAW’s dedication to customer support and the ongoing development of market-driven products.

In this newly-created role, Shulman will manage ASG support for all permanently installed sound systems, while longtime ASG resource Joe Fustolo will focus on mobile production customers.

Rocha states, “Expanding ASG and bringing in a world-class resource like Adam, who is dedicated exclusively to the installation markets, further demonstrates our commitment to supporting our customers and partners.”

Increasing global demand for ASG service, particularly in overseas markets, necessitated the expansion. Jerrold Stevens, Director, EAW Application Support Group, adds, “Adam’s experience in system design, project management, acoustics, education and publishing all further enhance the team’s capabilities, helping us meet the growing demand for our services.”

Prior to joining EAW, Adam has served as a Senior Consultant and Project Manager for SIA Acoustics (New York, Los Angeles and India) since 2003. He has provided acoustical and technical system design for a variety of projects including performing arts spaces, recording facilities, sports venues and houses of worship. Projects of note include a production facility and 3,500-seat arena for Healing Place Church in Baton Rouge, LA, Oriole Park at Camden Yards, and The Pearl at the Palms Concert Hall in Las Vegas.

In a production context, Adam has also designed and operated sound systems for live events, including Central Park SummerStage, the Madison Square Park Music series and various special events domestically and internationally. As an educator, Adam has authored numerous articles for various trade publications, and presented at Broadway Sound Master Classes, Palme Asia, ShowWay Italy and Audio Engineering Society conventions.

Shulman notes, “I feel that I can bring my past experience as a consultant to bear on the varied types of design projects ASG handles, applying my technical knowledge combined with a practical understanding of how installation projects actually work.”

Members of the EAW Application Support Group, including Stevens, Shulman and Fustolo, will be on hand at InfoComm 2012 at the EAW booth (C10139) where they will reprise their popular ASGenius Bar – a coffee bar where designers, contractors and integrators can ask questions and review plans.

EAW

Thursday, May 10, 2012

Church Sound: The Keys To Presenting Audio That Will Engage Your Congregation

Producing great sound in a worship service can seem as elusive as finding a soloist who always sings on key.

However, this doesn’t have to be so.

Many factors influence the quality of sound: room acoustics, sound-system design and performance, operator experience, and quality of musical performance.

Here are some practical tips on how to tie all of that together to get the best sound.

Understand the Basics
To get the most out of a sound system, you must first understand how it works.

Basically, acoustic energy, or the sound you make, is converted to electrical energy via a microphone, then combine with other mics or input devices, and are then “colored” or equalized via a mixer.

The mixer sends the sound through processing equipment (crossover, equalizer, signal delay, usually a single DSP box), then to amplifiers to boost the signal. Finally, the amplified signal goes to speakers, where it’s transferred back to acoustic energy.

The key components of sound-processors, amplifiers, and speakers-should be professionally designed and set in a church, then left alone. The mixing board is where you should make adjustments in tone and sound levels.

Build a Sound Team
A sound system won’t run by itself. It needs a sound crew to function to its true potential. Some ideas on recruiting and developing a good crew:

I like to recruit one-on-one, much like a hunter who goes to the woods looking for a specific target. The hunter may see ducks, squirrels, and turkeys, but he sits tight for a certain kind of deer. When he sees exactly what he’s looking for, he pursues it with vigor.

Be the same way when developing a sound team. Decide what kind of people you need, and then recruit them vigorously.

You could also try the fishing-pond approach. That means recruiting candidates from a select gathering of people.

For example, when Marty O’Connor was at Willow Creek Community Church in South Barrington, Illinois, he and his video crew offered a yearly seminar on how to make great home movies with your camcorder.

After the seminar, the crew would bring out their studio cameras and invite seminar attendees to try operating one of the “big boys.”

All the while they’d look for people in that “pond” with special aptitude for working on a video crew. Then they’d recruit them. Members of a sound crew might be found through a similar approach.

Grow A Team
The acronym TEAM - meaning “Together Everybody Achieves More” - particularly applies to a sound crew. To be truly effective, team members must grow together on the job in knowledge and experience as well as in spirit and emotion.

Make sure that you provide spiritual, emotional, and technical food for sound-team members.

When I was on staff at a large West Michigan Church, every week, I spent about 30 minutes in prayer and devotions with my sound crew before our hour-plus sessions in sound training. That time helped unite us and focus our work.

It’s also important to keep the team informed of what’s happening in the sound industry, such as regular visits to ProSoundWeb and reading other industry publications and sites.

Finally, to encourage ownership and 100-percent participation, every sound-crew member should be encouraged to make suggestions about the sound system. I took seriously crew member suggestions on equipment purchases.

Thank the team. Saying thanks is powerful, but showing thanks is even better. My favorite way of showing gratitude to crew members was to send thank-you notes to them and their spouses.

Aim For Consistency
“We are what we repeatedly do,” Aristotle once wrote. “Therefore, excellence is a habit not an act.”

Doing everything right with sound in a performance is hard enough, but repeating it can seem impossible, especially when different volunteers are involved.

To raise the percentage of success, standardize the layout of your mixing console, label it, and then get everyone to conform to it.

Example: I always lay out my mixing console with drums on the left, followed by bass, electric and acoustic guitar, then keyboards, and finally vocals.

The lead vocal is always in the farthest right channel next to the subgroups and masters. I’ve been doing that for the past 25 years. My technical team follows this layout consistently.

How you lay out the board doesn’t matter as long as it’s logical and everyone follows it. The advantage of such a layout is that when something goes wrong or there’s feedback, you know instinctively what to grab to fix it.

Aim for consistency also with equipment storage. Organize cables, stands, and mics so that even with last-minute changes, such as having to work with five singers instead of the four you had planned on, you can secure the proper equipment to keep a rehearsal moving.

Preparation, Preparation
When I was on staff as a technical director, I was blessed with a worship leader who provided worship-service outlines weeks in advance. I used to kid him that the Spirit moved in him two weeks before it hit the congregation.

One lesson I learned from him is that someone who is well prepared is able to respond much better to last-minute complications than someone who wings it.

I have served as a consultant to churches that supposedly had sound system problems, only to discover that the real problem was poor preparation.

Example: A sound team shows up at 8 a.m. to set up for a 9:30 a.m. service in a temporary facility. By 9 a.m. the sound system is set up, and a CD is playing. Musicians begin arriving for a last-minute rehearsal.

The service starts seven minutes late. That’s bad enough, but what’s worse is that there has been no time for sound checks and input testing. The service proceeds, accompanied by hums, cracks, pops, and a lousy sound mix.

Ninety minutes later, the sound crew is exhausted, the musicians disgusted, and the pastor fed up. He decides to call in a sound expert.

He needn’t have spent the money. Preparation would have alleviated most of the problems.

Preparation means sending information to your team well in advance of a service. Email (or post on the church’s website) the order of worship for the Sunday service to crew members early in the week so they can get a jump-start on what they’ll need to do.

Preparation also means performing sound checks with musicians prior to the service and testing all microphones. Even if the same person leads worship every week, he or she may have a cold or feel insecure about a piece of music and need their monitor turned up.

The key is to show up early, anticipate the unexpected, and be prepared. You can’t be too prepared.

Provide Technical Training
Offer ample opportunities for your team to grow in technical knowledge.

Find a sound expert you respect and hire that person to come in two to four times a year to train your crew.

Team up with other churches to sponsor a regional conference on sound, like the HOW TO seminars.

Send for brochures and guides or reprint articles on sound for your crew.

Many manufacturers, such as Shure and Crown, provide free guides, and often, these are posted online for convenient download.

Encourage your crew to participate in focused online discussions about sound with online communities such as the Church Sound Forum here on PSW.

Lead your team by example. If you want your crew to be on time, be on time yourself. If you want others to keep the sound booth and related areas organized and clean, keep your areas organized and clean.

Encourage Relationships
To do its work well, a sound crew must work in harmony with musicians and pastors.

All too often there’s friction between sound technicians and performing artists. Some of that could be eased organizationally by including sound technicians in the church’s fine arts or music ministry.

The lead person of the technical team would report directly to the worship leader or minister of music—no one else. They would work things out, striving for communication and harmony.

Example: I saw how that could work at a recent sound seminar. A local worship leader and his worship team participated in a session I led titled “Mixing a Worship Team: A Live Demonstration.”

We purposefully had no rehearsal or sound check before the seminar. We merely tested the inputs to make sure they were working.

During the seminar, a conflict arose between the piano and keyboard players. The keyboard player wanted more of him in the monitor, and the piano player wanted less. The problem: they were sharing a monitor mix.

The worship leader let me know about the problem, and I told the players that since there were no more monitor mixes available, they should work out a solution together.

He led the players through a quick trial on the monitor until the players reached agreement. They reached harmony in less than three minutes.

Tip: The key was the worship leader’s willingness to tell me about the problem, and the opportunity I had to explain the setup limitations to the players.

I’ve discovered that when technical people are given the opportunity to explain a problem, performers are very cooperative.

Of course, technicians must never abuse that trust by blaming their mistakes or ignorance on equipment, or by refusing to listen to a musician who needs adjustments in a monitor.

Trust can also be destroyed by performers or technicians whose egos get in the way of working with others. In the sound booth or in front of a mic, the motto should be: “Check your ego at the door.”

I also know how important a good relationship can be between a technician and artist. I spent four years working with the same worship leader.

We had such rapport that we could communicate from sound booth to platform via hand signals.

When the worship leader put two hands on the mic, I knew I had to put more piano level in the monitor. Two hands with a raised index finger meant he wanted more voice. A step back from the monitor meant it was too loud.

The signals worked well because I kept my eyes on the platform, and the worship leader always made eye contact before signaling.

Serve Others First
If we serve others first, we have far less friction between sound technicians and performers. Here are some ways sound people can serve others to enhance their ministry to the church:

Show up early to set the sound equipment with enough time left to pray with speakers and singers before a service.

Provide little extras for platform participants, such as a glass of fresh, cold water near the lectern.

Take the pastor and/or worship leader out to lunch in appreciation for their support. Tell them how much you value their contribution.

Explain to singers or speakers what you’re doing to adjust their sound and why.

For example, tell them you’re moving a monitor two feet to the left so that the sound from the monitor is in the non-pickup area of the microphone and will thus give them a purer sound with less risk of feedback.

The Ultimate Goal
The sound ministry is like custodial service. When it’s done well, few will notice. When done poorly, everyone will notice.

Work as a respectful team, and you’ll find that your sound is consistently excellent, and you’ll have a great time to boot!

Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.

Upgraded Audio At Riverside Casino Events Center Led By Renkus-Heinz Arrays

The Riverside Casino & Golf Resort, located just south of Iowa City, is also home to a multipurpose Events Center that offers a busy schedule of top name entertainment featuring artists like Big & Rich, Peter Frampton, The Robert Cray Band, and Tony Orlando, as well as hosting corporate, community and private functions.

The resort has recently upgraded its in-house audio capabilities with the installation of four Renkus-Heinz CF101LA modular point source array loudspeakers. Marvin Smejkal, owner of Sound Concepts, a production sound installation and rental company with offices in Iowa, Missouri and Florida, notes that the project presented a number of challenges.

“The original in-house, distributed voice reinforcement system was insufficient for many of the venue’s functions, but it was generally cost prohibitive to bring in a larger rental rig,” says Smejkal, adding that the self-powered CF101LA loudspeakers serve a dual purpose, both as a primary voice reinforcement system for smaller events and as center in-fill for larger PA rental rigs.

“The venue has unique requirements due to an exceptionally wide stage,” he continues, “and when we bring in a large PA for concerts, the speakers have to be positioned in a wide configuration, making a center-fill necessary. It was costly and time-prohibitive to set up and tear down a flown center cluster on a show-by-show basis. Now, the CF101LA system can be used as the primary PA for small and mid-sized events, and as a center fill to augment a larger PA systems for big concerts.”

Smejkal designed and installed a basic four-loudspeaker setup requiring no additional processing or EQ. “The venue has a portable audio/visual mixer for breakout rooms, which can simply plug into an XLR in for smaller events. The CF101LA speakers are incorporated into every large show; when we come in we have a program to add them into our rental system.

“The self-powered speakers are a cost-effective option when there is limited space to permanently install additional equipment in a venue. “The CF101LAs are convenient, and are fulfilling a wide variety of needs, both as a stand-alone system for the venue’s day-to-day needs, and in the demanding role of center fills when larger line arrays are widely spread for larger events.”

The CF101LA speakers proved to be a unique problem solver, he concludes. “Those speakers deliver at that price point. We will use them again.”

Renkus-Heinz

Wednesday, May 09, 2012

What Benefits Do Digital Consoles Hold For Clubs?

It’s common for live music clubs to economize with second-hand sound equipment, and some value can be found in older loudspeakers and analog desks which are no longer rider-friendly enough for their original owners.

Used analog consoles cost a fraction of their original price, so it’s not unusual to find club equipment older than the engineer running it.

However, concert sound production is accustomed to the benefits that digital consoles provide.

Let’s see what those benefits bring to live music clubs.

1) A multi-band night can be as simple as peeling off stacked backline, swapping drum kits and moving a few mics, which takes longer than recalling the correct console file.

“Charting” consoles to preserve their settings or using separate inputs for each act becomes unnecessary.

When sharing inputs, a 24-channel console is often plenty and the next act’s settings are recalled faster than the previous band’s gear can be carted off the stage.

2) Saving scenes for acts that return regularly, especially when they have to travel from out-of-town, makes it easy to quickly set-up and get sound checked when time is short, perhaps even after the opening act has finished.

Popular acts that return regularly can afford to skip soundcheck, making it possible for them to arrive later in the day, a great benefit when they must travel long distances. Off-line editors allow new acts to email their console settings ahead of time.

3) Custom input libraries for the house microphone inventory speeds and simplifies console programming.

Most clubs have a limited mic inventory, but writing and storing specific settings for the house mics allows sound check to get started in a few minutes by inserting the right files in the corresponding channels.

4) Application-specific settings for dynamics and effects also make it easier to program a digital console.

Meaningful, logical names for library settings – like “Tom Gate,” “Bass Comp” and “Vocal Verb” – can make it simple to find and load a file for a gate, compressor or reverb that is pre-tweaked for a particular application.

5) Output EQ for specific combinations of loudspeakers and vocal mics (and even music style) can make the chore of tuning the mains and monitors much easier. Different vocal mic and wedge combinations require different output EQ settings.

The same vocal mic with a double wedge would require more drastic cuts than a single wedge. Output EQ for the main loudspeakers often need to be adjusted for different types of music, especially for different levels of SPL.

Settings like “Double Wedge 58” or “Reggae Mains.” can save time before every show.

6) Having entire generic “festival” scenes for different types of bands can make it effortless to get a band’s sound check started, rather than starting from scratch with a zeroed console.

Just having the inputs named, initial input gains, EQ’s, dynamics and effects loaded saves time, and the time spent tweaking those settings can result in a better sounding mix.

A simple four-piece of drums, bass, guitar and keyboard setup with a vocal input for each musician could save an hour.

7) Templates for special functions in the room, such as DJ’s, singer-songwriter night, karaoke or wedding receptions can relieve your lead sound engineer from having to be at every function that occurs in the club.

The ability of every club staff member to call up a preset and easily get a couple mics and a playback source to work can help better utilize the venue outside of weekend evening “prime time.”

8) Security features that lock out certain functions can keep a fairly complicated console from being intimidating and dangerous in the hands of novice engineers.

Remote monitoring of console by an outside vendor can help with troubleshooting in the case of an emergency, perhaps saving the trouble and expense of an on-site service call.

Routine backup of the console’s files helps recovery from accidental or malicious catastrophes, such as the entire memory of the console being wiped out.

Mark Frink is editorial director of Live Sound International.

First Baptist Church Upgrades With Stereo Pair Of Danley Jericho Loudspeakers

The parishioners at First Baptist Church of Goodlettsville, Tennessee are the first churchgoers to enjoy the fidelity, power, and clean, even coverage of a pair of Danley Sound Labs Jericho JH-90 full-range, point-source loudspeakers utilized in their new sanctuary sound system.

Professional Audio Solutions, Inc. designed and installed the first-of-its-kind project under the leadership of Scott Oliver, director of contracting and engineering. Once Oliver included the costs of labor and amplifier channels, he discovered that purchasing and installing a stereo pair of Jericho JH-90s would be less expensive – and far better sounding – than a conventional multi-box solution.

Like many churches, Goodlettsville FBC transitioned over the years from having only traditional services to offering a mix of traditional and contemporary services. Its old PA system consisted of a pair of two-way cabinets perched up among the organ registers, a location of convenience – not of ideal coverage.

“For a contemporary service, Goodlettsville was terribly under-powered,” observed Oliver. “You might say they didn’t really have a sound reinforcement system at all.”

Most of the direct sound from the instruments on stage came from their amplifiers or, for drums, the acoustic sound itself. Professional Audio Solutions won the bid based on its demonstrable record supplying churches with dimensional, engaging sound reinforcement systems.

Oliver had heard the Danley Jericho JH-90 output on several occasions, including demonstrations in a gym, in a sanctuary, and outdoors.

“The interesting thing that I noticed each time was that its clarity and depth gave me the impression of stereo vitality even when only one Jericho was in use,” he said.

Rather than approach a church sanctuary project as a live sound application, Oliver takes a different tack. He considers the sanctuary to be a critical listening environment, analogous to a studio control room or an audiophile home theater. Consistent with that, he almost always designs stereo systems, and he minimizes response-destroying interactions by using the minimum number of loudspeaker elements.

“People always ask why we install stereo systems,” he said. “To me, it’s like, why wouldn’t we? You enjoy stereo in a studio control room. You enjoy stereo in your car. Your television is stereo. Of course your iPod is stereo. Why would church be the only place you don’t get stereo?

“People rightfully point out that you can’t deliver stereo to every seat in the house. True enough, but if we can deliver stereo to eighty percent of the congregation and the remaining twenty percent doesn’t suffer for it, then why not? Stereo music makes for a decidedly more engaging worship experience.”

Goodlettsville FBC’s sanctuary is approximately 65-feet wide by 90-feet deep and 22-feet tall with a balcony in the back. Oliver modeled the room in EASE and considered a range of scenarios consistent with the “critical listening environment” perspective. There were a lot of good solutions, but the simplest and least expensive to install would be a pair of Jericho JH-90s.

“The Jericho is a truly full-range box,” he said. “No subwoofer is needed except when the music format calls for sub 30Hz extension. We were able to install the entire system in just a day-and-a-half, and because the Jericho is a true point-source box, we didn’t have to fuss with precise angles. It was simple, and the client was able to sink money into the product, not the black hole of labor.”

Six Crest Pro 200-Series amplifiers power the system, with DSP provided by a Xilica XP 4080. In addition, Oliver used a pair of Danley’s smallest speakers the, SH-Minis, for choir monitors.

Measurements of the installed system confirm the EASE predictions. The coverage is even from the front to the back and from wall to wall.

“The Danley Jericho delivers the motivating requirement of the line array system – even SPLs front to back – but because it is a point source, it achieves that even coverage without the fidelity-destroying interference typical of line array components,” explained Oliver. “It has 100dB of clean dynamic range and absolutely phenomenal fidelity. It’s like sitting behind an SSL console and listening to a perfectly aligned pair of Westlake in-wall reference monitors. The pastor’s voice is right in front of you. You can almost see the image of an acoustic guitar floating five feet away, fret noise included.”

Oliver enjoyed a lot back slapping and hand shaking after the first service with the new Jericho Horns. Already, Oliver is working with another church near Atlanta that wants the same system.

“A pair of Danley Jericho Horns will ably cover sanctuaries of 1,000 seats all the way up to 10,000,” he said. “We’re looking forward to making this a new model for churches that really want great audio performance. A system with just two Danley Jericho JH-90s is easy to design, straightforward to install, and, given its phenomenal performance, surprisingly affordable.”

Danley Sound Labs

Western Carolina University Upgrades Ramsey Activity Center With JBL Loudspeakers

Western Carolina University’s Liston B. Ramsey Regional Activity Center hosts the University’s basketball and volleyball teams as well as a variety of special events and concerts.

Although rich in tradition, WCU’s administrators recently recognized that older isn’t always better, calling on consulting firm Acoustical Design Group to help upgrade the sound system at the Ramsey Center with JBL loudspeakers.

Acoustical Design Group worked directly with WCU to come up with an ideal audio system for the Center, which was installed by Raleigh, North Carolina-based contractor Strategic Connections. “Right from the start, we were able to talk with the University about the best products for the new system,” said Ian Wolfe of Acoustical Design Group. “It was apparent the University had a preference for JBL loudspeakers, as did we.”

The system upgrade began with replacing the center cluster with JBL PD5212/95 loudspeakers in a 360-degree arrangement. “The PD5212/95 is ideal for this purpose because it delivers high output with excellent pattern control,” Wolfe said. “Because the University wanted to maintain this center cluster for its basketball and volleyball games, we used the existing framework and winching system.”

Because the center cluster is near the scoreboard above the middle of the court, supplemental PD5212/95 loudspeakers were added to fill in the acoustic shadow created by the scoreboard, along with several JBL AM7212 loudspeakers for additional downfill.

The system upgrade went beyond replacing the existing center cluster, however. “WCU wanted a system that would accommodate University-based activities such as convocations and conferences along with concerts by regional artists who previously had to bring in rental systems,” Wolfe noted.

Wolfe and his team decided on JBL VERTEC® VT4887A compact line array elements, along with a stack of six ASB6128 subwoofers. “This system does double duty—when it’s not used for concerts, it can be moved to a different location for sporting events,” Wolfe said. “We had Strategic Connections rig the speakers to a system of chain motors and cables that allow the staff to move them to the required location without having to bring in riggers.”

In addition to concerts, sporting events, and conferences, the Ramsey Activity Center hosts student orientations at the beginning of each school year. “For orientations, WCU places a stage on the floor to create a ‘mini auditorium.’ For this application, the full VERTEC system would be overkill, so two JBL CBT 100LA column speakers mounted right into the existing lighting truss provide adequate coverage for about 1,000 people,” Wolfe added.

To complete the installation, JBL Control 26CT in-ceiling speakers were placed throughout the concourse. “WCU wanted the ability to send an independent audio feed to this area for trade shows, banquets and other activities,” Wolfe said. “The concourse also overlooks the football stadium and, during games, some spectators are seated in the concourse area. The concourse loudspeakers provide stadium sound during those games.”

“We’re very happy with the sound as is WCU, and Strategic Connections did a great job in keeping everything within budget and installing everything exactly according to plan,” Wolfe concluded.

This past March WCU installed its newest Chancellor using the “RAC” as the location for the ceremony. The show consisted of a 60-piece orchestra, 30-voice choir, brass quintet, regimental drum recessional, podium mics, national anthem mic, and three wireless lapel microphones. This, to many at WCU, was the most important event to occur on campus in 17 years (since the last installation ceremony).  Ryan Fisher of WCU reported, “The arena sounded like a digital cinema soundtrack.  Everyone was thrilled and there were plenty of compliments. The system performed absolutely perfectly.” 

JBL
Harman