Article

Monday, May 21, 2012

d&b Delivers Full Spectrum At Ultrafest

The idea of an electronic music festival might send a shudder down your spine—for many it does.

Characterized by the kind of sound frequencies that make one weak at the knees, Ultrafest in Miami Florida is billed as the World’s Premiere Electronic Music Festival and it lives up to every expectation, including the earth shattering.

Beachsound based in Miami have built a reputation at this festival after providing audio for multiple stage for several years. Neil Rosenstock who heads Beachsound’s audio production team for the event has deep roots in this style of music and knows exactly how to make it sound great.

“It’s no secret really; we have been putting in d&b audiotechnik  systems at Ultrafest year after year,” Rosenstock explains. “For 2012 we used J-Series for both stages with some Q-Series and C7s for fill and delay.

“We find that if you select the appropriate system to the size of stage then d&b will always hit the spot.”

A thought qualified by many performers, Frank Voet, FoH engineer for Justice is typical “I really like the sub settings. Dance music needs to have a short kick! I’m happy!”

The subwoofer settings are not to be taken lightly (pardon the pun) as Harry Brill an independent consultant who supported Rosenstock for the event pointed out.

“Neil designed the entire PA for both d&b stages. We discussed some issues I anticipated with the sub array being very long horizontally, and addressed them together,” he adds. “Neil is a very competent engineer and system tech. I was brought in to collaborate with him and to optimize the system; I use Smaart to help with that.

“The sub array was really amazing. The d&b array modeling software makes it so easy to try things and check on the result. We wanted the coverage to be well defined without much of a power alley.”

The parkland setting of the 2012 festival made this a trickier equation than the more open site used in previous years.

“Sight lines required the J-INFRAs to be stacked only two high,” Brill continues. “At the recommended spacing for directional subs the horizontal line would have been so wide we would not have been able to open up the coverage even with the arc delay setting selected in the amplifier. I suggested we move everything in tight.

“I have used lots of directional subs and I wasn’t worried a bit. Worse case we lose some of the intentional cancelling behind the array but it honestly worked really well. Getting the boxes closer together really helped open up the pattern.

“Some say you need a certain kind of box and a certain kind of tuning for a particular type of music. I don’t really subscribe to that theory but rather believe if the system can handle the SPL requirements at all the needed frequencies then I can use it.”

Beachsound’s founder Andre Serafini plans long and hard to ensure the success of Ultrafest.

“We have increased the number of loudspeakers each year; this year on the main stage we put more J loudspeakers, as well as on the Live Stage,” explains Serafini. “Moving the festival to Bay Front Park made for a nicer crowd environment and the whole site was a lot more energetic, but it presented new challenges for audio, not least the physical obstructions like trees and fountains.

“We knew well in advance what we would be dealing with and we do other events here in the park, but it did mean segmenting the audience areas and often treating each one as a discrete audio zone; then time aligning the whole system to make it coherent.

“We also had a separate PA consisting of d&b T-Series for the VIP area, a large covered environment that although well in range of the main system, needed that extra attention, especially in the mids and highs, to give that front row listening experience. The audience areas were not consistent, we had long narrow strips to cover, and then wide areas that were not so deep. Harry Brill and Neil Rosenstock did an excellent job.”

Brill saw strategic thinking behind Serafini’s management of the event, “I’ve known Andre for over ten years and he and his Beach crew are stellar. We try to work with each other whenever possible. The d&b partnership is just one more fantastic business decision he has made over the years.

“I’ve been a big fan of d&b as well as a few other PA manufacturers for many years. I can think of only a handful of players at that level. One thing I really like about the d&b J-Series is the phase response; it’s very well behaved which equates to a good solid time response.

“What goes in comes out very much the same. I really enjoy mixing on and even tuning the PA. I generally tune the PA as neutrally as possible and let the mixing console do the work of tonally shaping the artist. This allows the mix or the music to translate better from one PA to another. Some PAs are a lot harder to get there; d&b is one of the easy ones thanks to the ArrayCalc and the R1 system management software.”

The plaudits have been raining in since the festival ended, “I love d&b! Beachsound and their staff have been awesome!” said Sean Rampton, FoH Engineer for Chase & Status.

Harry Nathan from Australian act Foniko was in the same space, “Debut gig at Ultra and this has to be the best audio visual setup I’ve ever seen; especially the sound quality which was absolutely incredible.”

The go-to performance of the festival came from Kraftwerk, a band whose name is synonymous with the birth of electronic music and whose presence on any lineup demands attention. Their production Manager Winfried Blank was unequivocal - “Thanks for your support. It was really great to work with you and your team. We were more than happy with your fantastic tuned d&b J system. As Kraftwerk’s music is very straight and powerful we like to have clear bass impact and full frequency response, even in the ultra lows below 30 Hz. I have just to say: we got what we expected and would like to do it again with Beachsound.”

d&b audiotechnik

New French President Welcomed Into Office With Eclipse

The investiture of the new French President, Francois Hollande, on May 15, was a long and solemn affair following both tradition and protocol. The official handover of power from former President Nicholas Sarkozy took place at the presidential palace of the Elysée, where President-elect Hollande was formally sworn in as head of state.

As demanded by French republication tradition, M. Hollande made his way to the Hôtel de Ville city hall, the seat of the Mairie of Paris for his first official state visit following the ceremony. There he was received with all the honour and ceremony accorded to any visiting head of state backed by a sound system featuring an Eclipse digital mixing console from Innovason.

M. Hollande was received by the mayor of Paris, Bertrand Delanoë, in front of the magnificent Hôtel de Ville where they were greeted by thousands of well-wishers. From there, the new President of the Republic and the Mayor went inside to the famous and equally spectacular “Salle des Fetes” where M. Hollande was introduced to all of the elected officials, ambassadors, corporate representatives and parliamentarians of Paris.

M. Delanoë then made a speech of welcome which was followed by a speech by the new President.

Technical director for the Hôtel de Ville, Dominique Dunesme, explained that the Eclipse handled all the sound for the speeches in the “Salle des Fetes” which was then broadcast outside the building for the spectators gathered in front, and then clean feeds distributed to 52 different media organizations for broadcast to radio and television stations around the world.

“The desk performed absolutely perfectly and the sound was impeccable,” confirmed Dunesme. “I was convinced that I’d made a good choice when we purchased it a year ago, and all the events we have handled to date have proved it. This, however, was by far the most important, but as usual, the Eclipse proved its caliber – easy to configure, easy to operate, easy to network and flawless results every time. What more could you want?”

CAD Debuts UHF WX100 Installation-Grade Wireless System

Introduced at InfoComm 2012, the new UHF WX100 Wireless Series from CAD Audio/Astatic provides the A/V installer with simple and intuitive form factors, ultra-reliable high performance wireless connectivity and exceptional audio bandwidth.

The WX100 was designed using the newest wireless technologies and industry-leading diversity performance to ensure the highest standards in connectivity, even in the most congested RF environments.
In addition to superior connectivity, the WX100 features a familiar and intuitive control scheme that allows easy, problem-free operation by casual non-professional users. The WX100 transmitters’ simple form factors make it easy to identify various features, operate on/off switches, change and recharge batteries.

These designs along with an array of useful accessories make the WX100 a perfect solution for A/V suites, flexible meeting spaces or any situation that requires easy to use, certain-connectivity wireless that doesn’t require a long learning curve.

Basic system components include the WX160 gooseneck desk stand transmitter and WX100 receiver, the handheld WX150 microphone and the WX155 body pack which can be used with the CAD 301 cardioid lavalier mic or CAD 302 headworn microphone for additional flexibility. The WX100 is supplied with a joining plate and rack ears for easy installation.

Key accessories for the WX100 system include Ground Plane and Paddle Antennas, an Antenna Distribution System and battery charging solutions for all transmitters.

For more information about CAD Audio, please stop by Booth #C10149 at InfoComm 2012, call 800.762.9266 or visit http://www.cadaudio.com.

CAD Audio

Fender Center Live With StudioLive From PreSonus

Located in Corona, California, the Fender Center for Music Education is a busy place. The 33,000-square foot building is home to a music school, a museum, two performance venues, and a recording studio.

Run by the nonprofit Fender Museum of Music and the Arts Foundation, the Fender Center’s main focus is to provide music education to young people at low or no cost.

As the Center’s audio engineer Kelly McGuire explains, the program has made an impact on a great many kids’ lives. As a non-profit, the Center doesn’t rely on deep corporate pockets, counting instead on the support of donors.

“Steve Miller and Paul Rogers have been really supportive,” says McGuire. “They’ve both put on benefit fundraisers for us, and companies like PreSonus have been there for us since the beginning.”

The Center utilizes a Presonus StudioLive 24.4.2 console for many of the projects that take place in their two live performance venues—an outdoor concert venue which hosts summer concerts like Steve Miller Band, and a smaller nightclub venue.

McGuire has been mixing a variety of projects on the Center’s StudioLive 24.4.2 console. “For one of our first projects, we put together a three-concert TV series starring Deana Carter.”

The project was a collaboration with nearby Lucas Oil. “They’re our neighbors here in Corona,” says McGuire, “and they have a full TV production studio that turns out about 100 shows per year. There are lots of musicians working over there, and they’re huge supporters of our program, and they came up with the idea of doing a show with us, originating from our venue, and aired on their network.”

McGuire approached Carter and her band about the idea. “When I approached Deana, Max and David about doing this show, I just had a really good feeling about it,” he says. “I said, ‘Let’s try it out because I think you’re really going to like it. The audio’s going to be good, and the video’s going to look fantastic.’ And that’s exactly how it turned out.”

As McGuire points out, the StudioLive enabled him to wear multiple hats during the shows, handling the live mix, monitors, TV feeds, and live recording. “I was able to mix the show live, mix a couple of other sources for the TV track, and run five monitor mixes for the band, and at the same time I was tracking the show to a MacBook, using Studio One to edit it later. That’s what’s so cool about the StudioLive. There is really nothing else that I can think of that makes the whole process so effortless and streamlined.”

While the initial show with Deana Carter was put together as a showcase, the response both at the Center and at Lucas Oil has been so positive that plans are already in the works for several new productions. Upcoming shows will include members of Grand Funk Railroad, .38 Special, and Jack Mack and the Heart Attack.

But the StudioLive has been busy on more than just TV shows. “I’ve also been using the console for other stuff, including some shows, some studio recording, and some projects with the kids,” says McGuire. “It’s going to be in use all summer, pretty much all the time, including some of our outdoor concerts.”

PreSonus
 

Guitar Center Opens In North Charlotte, NC

Following an eventful Q1 that saw the retailer expanding its operations in Tucson, Arizona, and Highland Park, Illinois, Guitar Center held the grand opening of its new location in North Charlotte, North Carolina, in April. 

The store is located at 8813 JW Clay Blvd., STE A, Charlotte, NC 28262-5416. Guitar Center North Charlotte is Guitar Center’s 225th retail location.

Guitar Center North Charlotte’s grand opening introduced customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience.  As with all new store openings, Guitar Center hosted a Grand Opening Weekend celebration (April 19-22) featuring exclusive savings, gear giveaways, free events and live performances catered to local musicians.

Guitar Center’s newest North Carolina location features showrooms for customers equipped with the latest products for musicians – from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment.

The new store also features Guitar Center Studios, an in-house, state-of-the-art lesson facility, which will create unrivaled opportunities for North Charlotte musicians of all ages and skill levels.

Guitar Center Studios is now the most modern and affordable lessons facility in the area. Guitar Center North Charlotte also features GC Garage, Guitar Center’s on site guitar repair service. Musicians could try out the GC Garage for free on Grand Opening night, and with a guitar purchase, customers could also receive a free, 22-point personalized set-up.

As part of Guitar Center’s ongoing initiatives designed to educate and inspire artists nationwide, Guitar Center North Charlotte will offer unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry will be able to come to the store to interact with and pick the brains of several industry leaders.

North Charlotte shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless isle” include North Charlotte inventory, but it also provides easy access to $400 million in new and used inventory located in hundreds of stores and warehouses across the nation.

Customers have the ability to combine a myriad of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience. Free Recording Made Easy classes are also conducted every Saturday from 10:00 to 11:00 am for anyone who wants to make the exciting journey into recording their music.

In addition to special programs at the new North Charlotte store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. North Charlotte residents will now be able to participate in these ongoing national events from their hometown:

•        Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crue, KISS and Jane’s Addiction.

•        Guitar Center Singer-Songwriter is an artist discovery program which aims to find the nation’s best unsigned singer-songwriter. The winner receives a career-altering prize package including recording 3 songs with accomplished GRAMMY® Award-winning Producer John Shanks, recording time at Converse Rubber Tracks studio and $10,000 cash. The grand finale takes place in Los Angeles on Feb. 18.

•        Guitar Center’s Battle of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Jonathon “Boogie” Long, performed alongside GRAMMY-winning guitarist Warren Haynes at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.

•        Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

Guitar Center North Charlotte is open seven days a week. Store hours are 11:00 a.m. – 9:00 p.m. Monday-Thursday; 10:00 a.m. – 9:00 p.m. Friday; 10:00 a.m. – 8:00 p.m. Saturday; and 12:00 p.m. – 6:00 p.m. Sunday.

Guitar Center

Friday, May 18, 2012

IK Multimedia iRig MIX Now Shipping

IK Multimedia is proud to announce that iRig MIX, the first ultra-compact DJ and audio mixer for the iPad, iPhone, and the iPod touch is now shipping.

When used with an iPad, iPhone or iPod touch, IK’s included* DJ Rig FREE app and other DJ apps, it is a complete, highly portable DJ system for practicing, rehearsing, performing and recording.

With its unique miniaturized form factor and exclusive features, designed to be used with the entire range of portable iOS devices, iRig MIX brings a new meaning to the concept of mobile DJ-ing.

iRig MIX has everything a pro DJ needs, including full EQ adjustment, crossfader, headphone cue and a mic input.  Using DJ Rig or other popular DJ apps, users can record their performance and share with friends, publish or distribute at the event. DJs can choose either a traditional setup with two devices (one plugged into each of the independent channels) OR a single iOS device.

This flexibility, combined with iRig MIX’s portability gives aspiring and pro DJs a compact system that can be used everywhere… anytime. House parties or in the yard, after-parties, and impromptu dances are perfect environments for the iRig MIX. Planes, trains and automobiles used to mean that your DJ gear was inaccessible and unusable.  Now, no matter where you are or where you are going, you can mix and rehearse sets.

Plus - for the first time on any mixer - iRig MIX can be used for mixing any type of audio source (coming from mp3 players, CD players, etc.) with an iOS device using automatic tempo matching and beat syncing. This is accomplished with X-Sync, a feature that works in combination with the DJ Rig FREE app from IK Multimedia that is included* with iRig MIX.

Maximum Portability
With its slim, lightweight form factor iRig MIX is considerably smaller than traditional DJ mixers and can be carried anywhere you take your iPhone or iPad, is easy to stow and perfect for performers on the go. The iRig MIX also has minimal power requirements allowing it to be powered not only by the included power supply but also by a suitable USB battery pack or a laptop USB port for maximum mobility to mix anywhere.

Not just for DJs
iRig MIX is also versatile enough to provide the perfect mixing solution for solo musicians or small ensembles that use one or more iOS devices to play live. It features an extra guitar/microphone input that can be processed with other IK popular apps like AmpliTube and VocaLive or any other app that offers real-time audio processing. Its standard RCA output connectors provide easy, direct connection to PA systems or powered speakers.

iRig MIX includes* 4 free apps: DJ Rig, the new professional DJ mixing app from IK, AmpliTube, the most popular iOS guitar amp and effects app, VocaLive the processing app for singers and vocalists, and GrooveMaker®, the loop-based beat and groove making app.

iRig MIX features
-2 stereo inputs with gain, bass, treble and volume controls, independent cue on each channel with LED indication and channel crossfader
-Instrument/microphone extra input, with volume control, can be processed by iOS real-time effects apps (such as AmpliTube, VocaLive)
-Stereo output with RCA connectors, master level and LED meters
-High quality, pristine sound
-Quality headphone output for master or cue monitoring with independent volume control
-Input switch splits Input 1 into dual-mono for use with DJ mixing apps on a single iOS device
-“X-Sync” mode allows auto-sync with any audio source using the included DJ Rig free app
-Can be powered with the included AC adapter, battery pack and laptop USB ports
-Includes 4 free apps: DJ Rig, AmpliTube, VocaLive, GrooveMaker

iRig MIX costs $99.99 (excluding taxes) and is available from electronic and music retailers around the world.

IK Multimedia

Countryman E6 Omni Earset Microphone Works Magic

Tradeshows are a great place to discover the latest, greatest products. While many manufacturers use models or product specialists to present their wares, others want something a bit more unique—and that’s where tradeshow magician Scott Tokar comes in.

Outfitted with his trusty Countryman E6 Omni Earset Microphone, he consistently puts a fresh spin on tradeshow presentations.

Tokar is not only a magician; he is the founder of Corporate-Fx, a firm dedicated to maximizing a company’s tradeshow visibility by attracting prospective customers through the use of magic.

The ability to communicate clearly and effectively while pitching a company’s products or services is paramount to Tokar’s business, as is the freedom to use both hands.

After trying a variety of microphone types, Tokar quickly realized the lightweight, robust performance of the Countryman E6 microphone made it the right tool for the job.

“I’ve been using the E6 for several years,” Tokar reports. “The firm actually owns two units so that other magicians working under the Corporate-Fx brand can also use them.

“The sound quality of this microphone is terrific and I know I can count on the E6 to help me communicate clearly to my audience. I never worry about not being able to be understood while speaking.”

“I also find the microphone’s rugged, reliable build quality to be first rate,” he continued. “I regularly wear this mic eight hours a day and I frequently remove it from my ear and place it in my shirt pocket between demonstrations. I know I can count on the E6 to retain its shape so that I don’t have to constantly adjust it to fit my face.

“I have the mic set the way I like it positioned and each time I put it back on, it goes right to the position I want. I never worry about the mic shifting position and audio quality remains consistent the entire time I’m working. My E6 is never distracting and, as a magician who needs to use both hands, it enables me to focus on communicating with my audience.”

Because his E6 is constantly being taken off, placed in a pocket, and later placed back on his face, the cable encounters a lot of pulling and tugging.

“I use the thicker, 2 mm cable with my system,” Tokar explained. “I find this cable is extremely robust for my type of working conditions. For me, this is one of the E6’s most important features.”

Because the E6 uses replaceable cables to interface with a variety of wireless systems, Tokar knows he can use his microphone just about anywhere.

“I normally use my E6 with a Sennheiser ew 100 wireless system,” he says, “but I also have several cables for use with other manufacturer’s wireless equipment. I never worry about working a site where I go through the house system because the interchangeable cables enable me to easily adapt the microphone to a variety of wireless makes and models. This capability has saved me a lot of headache over the years.”

In addition to the E6’s solid performance attributes, Tokar is equally enthusiastic about Countryman Associates’ customer service. After being a bit careless with the mic, someone actually stepped on it and crushed the mic element. After contacting Countryman customer service they replaced the mic element very quickly.

“I was extremely impressed with the turnaround speed and professionalism of the company’s customer service group,” he adds. “They were a pleasure to deal with.”

Before directing his attention to an upcoming appearance, Tokar summarized his experience with his Countryman E6, “I use this mic as a regular part of my work. To me, it’s as personal as a toothbrush or anything else that you use daily. I somewhat feel as though I’m not fully dressed if I go out on stage without my E6. It is a very trusted business tool.”

Countryman

New Electro-Voice System For Iconic Minneapolis Venue

According to a recent survey by Gibson Guitars, First Avenue in Minneapolis, Minnesota is “one of the ten greatest rock venues of all time.”

Touring artists consistently rank it one of the best places to play, both in the U.S and anywhere in the world. Between its authentic rock ‘n’ roll vibe, sightline-friendly layout, and iconic status as the concert venue in “Purple Rain,” First Avenue has everything a great live performance space should offer … including an exceptional sound system.

Having had an Electro-Voice PA in place for around 20 years, First Ave recently decided to upgrade to new, more efficient technology, and chose to stick with EV to ensure its reputation for superb audio remains intact.

“We are both thrilled and honored to be providing the new sound system for First Avenue,” says Michael Doucot of Electro-Voice, who worked closely with the First Avenue team and St. Paul-based Electro-Voice dealers and installation specialists Metro Sound and Lighting on specifying and installing the new main room sound system.

Doucot adds, “It was time to update the Electro-Voice X-Array loudspeaker system that has reliably served the main room night after night for the past two decades, upgrading to one of EV’s state-of-the-art XLC line-array systems. The old system was still going strong and sounding great, but it will now be repurposed for stage-fill sound rather than main front-of-house duties.”

“This is a new chapter in a relationship that makes sense for many reasons,” Doucot continues. “Like First Ave, Electro-Voice is very proud of the Twin Cities home base upon which its global reputation is built. We design and engineer our microphones, electronics, and loudspeaker systems here in Burnsville, and the touring artists that perform on the mainroom stage – and the audiences at their shows – can continue to expect the best club sound anywhere when they come to First Ave.

“We work well together, and it feels good to extend this local partnership with a new system that features our latest audio innovations, such as NetMax/IRIS-Net signal processing, which all add up to take the First Ave experience to the next level.”

Not only does the new XLC line-array system more precisely address the main room for more even coverage and intelligibility, it’s also driven by the latest Tour Grade series amplifiers, which are both significantly more powerful and more energy efficient than their predecessors – approximately 40% more. Another big change is that there are now loudspeakers covering hard-to-reach spots like the under-balcony areas. These new additions – from the EVF line – will help provide more seamless audio throughout the venue.

Doucot adds: “This was a great team effort: Randy Keeley and his colleagues from Metro, Brad Hertko and the First Ave crew, and our own George Georgallis and Stu Schatz really did an exemplary job installing all the components and fine-tuning the system on a tight deadline – it’s turned out to be one of the best-looking and best-sounding installs any of us have seen.

“The mainroom has always sounded great, but this new PA is in a league of its own – people are going to be blown away by how good it sounds in there!”

Electro-Voice

Thursday, May 17, 2012

Ford AV And WJHW Collaborate On Harman System For BBVA Compass Stadium

Founded in 2005, the Houston Dynamo is a professional soccer team that competes in Major League Soccer (MLS).

After playing its first few seasons at the University of Houston’s Robertson Stadium, the team needed a home of its own and will be moving to the newly completed BBVA Compass Stadium on May 12, 2012.

The 30,000-seat stadium will offer the latest in facilities and amenities—including a Harman sound system that boasts more than 200 JBL loudspeakers, 50 Crown amplifiers and an extensive BSS Audio distribution and control system.

Wrightson, Johnson, Haddon and Williams, Inc. of Dallas, TX handled the audio system design, led by Senior Associate Gary White. Ford AV of Oklahoma City, Oklahoma was the audio/video contractor for the project.

The loudspeaker complement for BBVA Compass Stadium main bowl includes a combination of 90 JBL AE Series and PD Series speakers. Models include JBL’s AM7215/95-WRX and AM7215/26-WRX full-range 2-way 15-inch speakers, and PD5212/95-WRX and PD5212/64-WRX 2-way 12-inch high-output speakers.

All of the speakers have JBL’s WRX extreme weather protection treatment and are used in the main seating bowl of the stadium. In addition, 113 JBL Control Contractor speakers are installed throughout the facility, including the Control 26CT and 24CT in-ceiling speakers and Control 25T and 28T-60 indoor/outdoor speakers, along with a pair of JRX112M monitors.

The speakers are powered by 45 Crown CTs Series CTs-3000-LITE and seven CTs-2000-LITE amplifiers.

The audio system is networked together by an extensive complement of BSS Audio Soundweb London components, including 16 BLU-800 devices with CobraNet, three BLU-160 devices, three BLU-120 I/O expansion devices, a BLU-80 device with CobraNet, seven 9015US Wall Panels, 12 BLUCARD-IN input cards and 29 BLUCARD-OUT output cards.

“BBVA Compass Stadium required a multi-purpose sound system that could handle public address and music throughout the facility,” noted Gary White. “We’ve had great success with Harman products in the past and AEG (Anschutz Entertainment Group), one of the major promoters of Major League Soccer, has a partnership with Harman so it was a good fit all around.”

The stadium’s audio system has numerous zones including the main bowl area, the entrances, 34 private suites, the restrooms and other locations. In addition, separate dedicated sound systems are installed in the stadium’s Premium Club, the press room and the post-game interview room.

“The BSS Soundweb London components were absolutely essential in getting all of the different audio signals properly routed to all these diverse areas,” White pointed out. “They make what could have been an overly complex system extremely manageable.”

“The JBL AM7215 and PD5212 models are ideal for the main stadium area,” said White. “They deliver high SPL and their rotatable waveguides enable optimum positioning and the ability to orient the speakers either horizontally or vertically.

“They are also weatherproofed and durable, which is almost as important a consideration as their sound quality and coverage pattern in a city like Houston with its extremes of weather and temperature.”

Jason Werle, Project Manager for Ford AV’s Dallas Division explained some of the challenges behind this installation.

“In order to meet a deadline of when the lifts were no longer [allowed] on the field, our first task was to install all of the bowl speakers. At the time, the field was highly populated and made it challenging to navigate around the bowl. We installed all these speakers from the field level using an articulating boom and chain hoists. Any project of this size will have difficult cable pulls and Dynamo was no exception.”

“We went with the JBL Control in-ceiling and outdoor speakers in the other areas of BBVA Compass Stadium because they are compact and can be installed inconspicuously, yet deliver powerful sound,” noted White.

Harman
JBL

Solotech Provides L-Acoustics Systems For Bruce Springsteen

Bruce Springsteen’s Wrecking Ball tour kicked off at Atlanta’s Phillips Arena in mid-March, with an L-Acoustics K1/KUDO WST line source system provided by Solotech US Corp of Las Vegas.

Harnessing the power of Springsteen and his 17-piece band is FOH engineer, mix veteran John Cooper, who has provided mixing services for the Boss for the past 10 years and also performs mixing duties for artists including Sheryl Crow, Wynonna Judd, Ringo Starr and Lionel Richie.
 
The K1/KUDO system provided for the Wrecking Ball tour consists of 60 K1 enclosures, 16 K1-SB subwoofers, 24 KARAs, 48 KUDOs, and eight SB28 subs. In many venues, the audience is in 360 degrees as the set design allows for unobstructed views from the rear. Sixteen V-DOSC cabinets are also brought along to provide delay fill in venues when necessary. All L-Acoustics speakers are processed and powered via the LA8 4-channel amplified controller and all LA8s are contained and interconnected via the LA-RAK. The tour also boasts the first wide-scale use of L-Acoustics’ NetworkManager 2 software, providing advanced control and monitoring of more than 76 LA8 controllers.

“Solotech personnel have been outstanding; they show a great attention to details,” says Cooper. “At this point in time I have not heard a more refined, more accurate and musical sound system.”

Springsteen’s first concert tour since 2009 is presently scheduled to play dates in North America and Europe through September, with stadium dates recently added for Boston, Vernon New York, Chicago, Washington DC, Toronto, Moncton, New Jersey and Philadelphia. Solotech is providing full audio production services for the entire US Wrecking Ball tour.

L-Acoustics

Alcons Audio Establishes Offices In India

Alcons Audio has opened a direct office presence in India, offering customers full factory support. The company will be operating out of Mumbai and Bangalore initially, with expansion planned to other cities in the near future. 

“Alcons is installing systems around the world and it was high time we entered an important market like India,” says co-founder and managing director Tom Back. “Having successfully established our American presence, India is the next step. It is an important growth market - like Brazil, China, US and Europe - and since we didn’t have a distribution presence here we have set up a direct office.”

“A quality brand like Alcons requires direct factory support so that we can give reliable and sustainable technical advice and customer support,” adds Alcons Audio India MD John-Paul Douma. “It is a commitment to our brand and to India, saying: we’re here and we’re here to stay.”

The initial hires for the Alcons India team include sound professionals Dhaval Mastakar (sales manager) and Amesh Sharma (technical support manager), both ex-Harman. Akshata Sirsikar, who has a background in the Indian music industry, completes the team as head of marketing.

Alcons made its entry into the Indian market in 2011 at the PALM Expo and will return this June in Mumbai at Stall I29 – 36. Back will also be conducting a seminar on ‘The Sound Characteristics of the Pro Ribbon Driver’ which will take place on June 1, which is day 2 of the expo (Mezzanine Floor at Hall No. 1).

The company will be pitching its “Evolutionary Audio Solutions” in India primarily to the touring systems, installed sound and cinema market segments. At the same time, the company will also be promoting its range of line arrays for touring systems that includes the newly announced LR24 mid-size line-array for large concerts and events requiring professional sound systems.

“Apart from being a growth market, India has a rich cinema tradition and we have the optimal products for this,” states Back. “Developments like 3D and Digital cinema have enhanced the cinematic experience and Alcons’ Cinemarray cinema systems generate a sound quality equally superior, “ he added. “Together they create a whole new level of cinematic experience.”

Alcons Audio

Turbosound NuQ System Makes Amber Leigh A Self-Contained Success

All the arrows are pointing upward for young country star Amber Leigh. Recently named south Florida’s female artist of the year, this hard-working multi-instrumentalist has built an impressive fan base by doing about 200 gigs per year.

As an independent artist, Leigh has built a self-contained organization to assure the same high quality shows no matter where the road might take her. Recently, the band added a Turbosound NuQ portable PA system to their touring operation.

“The idea is to be truly independent without sacrificing quality,” notes Holland Ryan, sound engineer for Amber Leigh Band. “So we got a small NuQ system from Turbosound. It’s compact, lightweight, and sounds incredible. So if the venue we’re playing doesn’t have their own sound system, like an outdoor festival or a hotel ballroom, we can still put on a quality show. It’s been amazing.”

Amber Leigh agrees. “With Turbosound speakers, each night I step on stage, I know my performance will sound terrific, and the audience will get to hear the show the way it should sound every time,” she says.

The Turbosound NuQ system employed by Amber Leigh Band includes four NuQ-12DP mains, supported by four NuQ B-15DP subwoofers. All are self-powered, eliminating the need for an amp rack. Typically Ryan double-stacks a pair of the B-15DP subwoofers on either side of the stage, with one NuQ-12DP on a pole mount above them. A second NuQ-12DP is then mounted on a tripod stand to the side, aimed as needed depending on stage width and the shape of the venue.

“Having the NuQ system has been fantastic for us. It’s extremely flexible and easy to use,” says Holland Ryan. “I can use all of it or part of it and provide great sound for anywhere from 100 to 1,500 people. The subs are under 100 pounds and are on wheels, so I can set the whole thing up by myself if I have to. And with the on-board DSP, I can optimize the performance for any situation. All I need is a power source and we’re good to go.”

For an independent artist like Amber Leigh, a self-contained rig like the Turbosound NuQ system helps ensure consistent sound regardless of the venue. “That’s always been our goal,” notes Ryan. “We could be playing a gymnasium, an outdoor park, small club or a hotel, and know that we’re going to sound good. Everyone who hears it is intrigued at how compact the setup is, and how polished and professional it all sounds and looks. It’s the kind of thing that gets you invited back.”

For gigs around their home base in Delray Beach, the Amber Leigh Band travels by van, carrying everything they need in a 6x10-foot trailer. The Turbosound NuQ comprises the PA system while a rack of in-ear systems provides monitors for the five-piece group, with Holland Ryan controlling it all from a single Allen & Heath iLive-T112 console. “The simple fact is, you can’t always afford to hire a full PA and crew for every gig,” he explains. “Being self-contained means we can do more gigs and know that the audience is getting great sound, no matter what kind of venue it is.”

Having used the Turbosound NuQ system for a couple months now, Holland Ryan is convinced the band made a smart choice. “The NuQ is the cleanest, clearest, flattest sounding box I’ve heard in a very long time,” he concludes. “The output they provide in such a compact size is almost insane. I can produce sound in the mid-90s decibels for over 1,000 people and still have plenty of headroom to spare. And when I push the system close to its limits at big shows, it doesn’t get distorted, and it stays accurate, with none of the midrange honk you get from a lot of other systems. It’s really amazing.”

Turbosound

Outline GTO Line Array Deliver The Word For Joel Osteen

Outline Grand Touring Outline (GTO) Line Array Speakers were used exclusively by Special Event Services (SES) to supply front-of-house sound for the recent Joel Osteen Ministries America’s Night of Hope 2012 event.

The program, featuring musical presentations and inspirational speeches, took place at Nationals Park in Washington, D.C., home to the Washington Nationals baseball team, and featured 12 stacks of six GTO speakers each, mounted on specially designed mobile speaker carts for easy “wheel-in” setup.

Sound for the event was run from the ground level with sonic accuracy, clarity and punch delivered by the GTO cabinets. Attendees enjoyed crystal-clear, loud, full-range sound from any vantage point in the stadium.

“For this event, we were asked to shoot all the audio up from the ground,” says Jason Farah, owner of SES. “The stadium seats 41,487, with the elevation of the top seats at 115 feet in the air and 250 feet back from the GTO speaker stack—that’s almost a football field away—and the sound was simply incredible.

“The band sounded full, rich, beautiful and clear. You could hear and feel every note. But when Pastor Osteen came out to deliver one of his messages, people in the farthest corner of the stadium, in the back row of the third seating deck behind the foul-line pole, were responding as enthusiastically as the audience behind home plate. GTO presented an amazing sonic experience.”

Reed Hall, senior director, audio and technical production for Lakewood Church Joel Osteen Ministries, was also impressed with the GTO setup.

“During our event in Washington D.C.‘s Nationals Park, I had the opportunity to walk the entire stadium during sound check and the actual event,” he says. “The frequency response and clarity were incredible. At extreme edges of the park the sound was clear, concise and had an impressive amount of low-end, considering the distance from the loudspeakers.

“For the past year I have had the pleasure of using this Outline rig in venues across the country and have been very impressed from day one. They just sound great out of the box, with no tuning and no subs. When Jason Farah from SES hands the Outline PA over in the afternoons, an 18,000-seat arena sounds like a 3,500-seat auditorium. SES has a little secret called GTO that puts them way ahead of the competition.”

The GTO series of line array speakers, offering a unique combination of high-power output in a compact and relatively lightweight cabinet, feature Outline’s patented Butterfly design. The cabinets deliver clear, non-colored, high-SPL audio capable of bringing listening environment quality to the live event experience. When coupled in an array, GTO’s unique V-shaped front baffle allows individual sound sources to be positioned much closer together than in conventional line-source systems.

This facilitates superior acoustical coupling between high-frequency modules, thus producing a smooth yet extended HF response. It also creates the ideal “unbroken baffle” shape through an array, which minimizes diffraction and deterioration of the mid-high frequencies, contributing to the far-field performance of the system. A GTO line array system is capable of delivering a true visceral response to the audience while maintaining clarity.

Outline

Wednesday, May 16, 2012

NAMM Foundation Awards $445,000 To Support Music Learning Programs

The NAMM Foundation has announced the 21 recipients of the NAMM Foundation’s 2012-2013 program grants, allocating $445,000 in funding.

The grants support innovative community-based music learning programs that expand access to active music making and its many benefits.

The new grants, while only a small portion of the National Association of Music Merchant’s (NAMM) overall annual multimillion-dollar-reinvestment into the music products industry, help organizations operate programs designed to increase interest and participation in making music among teachers, seniors, college students and school-aged children.

Since 1994, the NAMM Foundation has supported worthy U.S. and international music-making programs with more than $13.7 million in grant-making support.

“Through its support of these community programs, the NAMM Foundation supports music-making opportunities to people of all ages and backgrounds, allowing them to experience the many benefits of playing music,” said Mary Luehrsen, executive director of the NAMM Foundation. “NAMM members through their involvement at the annual NAMM Show and membership in NAMM allow these programs to flourish.”

During the recent National Association of Music Merchants’ (NAMM) Board of Directors’ meeting, the following programs received approval:

Australian Music Association
The Australian Music Association is the trade body for the music products industry, representing wholesalers, manufacturers, retailers and associated services for musical instruments, pro audio, print music, lighting and computer music products. NAMM Foundation funding supports the expansion of Wider Opportunities Whole Class Instrumental Program, providing professional development for instrumental teachers, classroom teachers and community musicians.

Carolina Studios Corp.
Carolina Studios Corp’s mission is to provide youth a safe after-school and summer environment that promotes productive use of time through music technology and other media arts enhancing creative, educational and career-focused initiatives. NAMM Foundation funding supports the expansion of its Music Technology Program, to include a “Mobile Studio” that will visit six Title 1 middle/high schools and the Windwood Farm Home for abused and neglected children.

Coalition for Music Education in Canada
The Coalition for Music Education in Canada’s mission is to raise the awareness and understanding of the role that music education plays in Canadian culture, and to promote the benefits that music education brings to young people. NAMM Foundation funding supports the expansion of its Music Monday program, a public awareness initiative that engages thousands of music makers and the media in the opportunity to celebrate music making’s vital role in school and in life and to launch their Wise Voices for Music® program. The Wise Voices for Music program provides opportunities for Canadian youth to express their passion for music.

Dallas Wind Symphony
The Dallas Wind Symphony is the leading professional civic wind band in the United States today. Comprised of 50 woodwind, brass and percussion players, the band performs an eclectic blend of musical styles ranging from Bach to Bernstein and Sousa to Strauss. NAMM Foundation funding will help expand its Strike Up The Band youth concerts recruitment initiative, which supports the Dallas Independent School District’s sixth grade band recruitment efforts and creates visibility for the program and its Summer Music Institute, which consists of two-week long band camps designed to give low-income urban Dallas band students intensive training in a fun, friendly atmosphere, under the guidance of musicians from the Dallas Symphony.

Guitars and Accessories Marketing Association
The Guitar and Accessories Marketing Association (GAMA) is a trade association comprising of guitar product manufacturers and distributors. NAMM Foundation funding supports the expansion of Teacher Guitar Workshop, a professional development program providing music educators with the basic skills and tools necessary to introduce and teach group guitar instruction in schools.

Guitars In the Classroom
Guitars in the Classroom (GITC) trains and equips classroom teachers to integrate singing and playing guitar into children’s daily school experiences. By providing instruction, access to instruments, resource materials, and program supervision, GITC empowers educators to transform classrooms into musical environments that bring out the best in every student, engaging them in studies across the curriculum. NAMM Foundation funding supports the expansion of The AMIGO Project: Achievement through Music Integration, to include early childhood education (ECE) and in-classroom coaching based on last year’s pilot.

Latino Arts
Latino Arts, Inc. is a 501(c)(3) non-profit dedicated to bringing cultural awareness, artistic educational experiences, and high-quality programming to the Milwaukee and southeastern Wisconsin communities featuring Hispanic artists. NAMM Foundation funding supports the expansion of the Latino Arts String program, an in-school and after-school music education program serving students ages 4 to 17 where students learn classical musical skills while learning and incorporating Latino music and traditions.

Litchfield Performing Arts
Litchfield Performing Arts’ mission is to enhance the achievement of students and music educators of all ages and skill levels by providing instruction from jazz professionals in a non-competitive environment. NAMM Foundation funding supports the organizations’ emerging teacher training program Litchfield Jazz Camp & the “Road Tour” Mentoring program where selected students become Resident/Teaching Assistants.

Little Kids Rock
Little Kids Rock’s mission is to restore and revitalize music education in U.S. public schools. It provides free musical instruments and music instruction to underserved schools across the country. NAMM Foundation funding supports the expansion of its Modern Band program to Atlanta and Nashville. The program will bring instruments such as keyboards, drums, electric basses and guitars, microphones and amplifiers—as well as curricula, song charts, and instructional videos—to at-risk students and their teachers.

Mr. Holland’s Opus Foundation
Mr. Holland’s Opus Foundation is a non-profit organization dedicated to promoting music through donations of musical instruments to young musicians. NAMM Foundation funding supports its Instrument Donation program, which helps after-school programs serving underserved youth primarily attending Title 1 schools. Funding will support the purchase of new instruments and/or repairing of damaged instruments in the programs’ inventory for one of two title 1 schools.

Music For All
Music For All/UK is the charity for the UK musical instrument industry whose mission is “Making More Musicians!” NAMM Foundation funding supports the expansion of the travelling Learn To Play Stand School Tour, introducing thousands of children to a variety of musical instruments in schools in the United Kingdom and supporting music instruction programs.  This effort is done in collaboration with the music dealer network in the UK.

Music Haven
Music Haven’s mission is to imbed as a professional string quartet in an urban community and contribute to community development goals through performance and music education, empowering young people, their families, and professional musicians. NAMM Foundation funding supports the expansion of the organization’s After-School Lesson program, providing a creative outlet for youth and families who have little or no access to high-quality music education, mostly due to economic circumstances, time and transportation limitations.

National Piano Foundation
PianoNet is the official site for the National Piano Foundation, a comprehensive guide to pianos, including the history, manufacturing, related noted artists, important publications, and more. NAMM Foundation funding supports its Teacher Scholarship program to help train piano teachers to create and grow a successful RMM program.

National String Project Consortium
The National String Project Consortium (NSPC) is a coalition of String Project sites based at colleges and universities across the United States. The NSPC is dedicated to increasing the number of children playing stringed instruments, and addressing the critical shortage of string teachers in the United States. NAMM Foundation funding supports the expansion of the Nurturing and Sustaining Six String Projects program to support the fifth and final year for four more sites. 

Orchestre A L’Ecole
Orchestre A L’Ecole, a non-profit music trade association in France, aims to develop the musical abilities of young people in schools in disadvantaged areas. NAMM Foundation funding supports the expansion of the Orchestre A L’Ecole, a music education and training program that was created by the association.

Percussion Marketing Council
The Percussion Marketing Council’s mission is to provide professional marketing and advertising campaigns, programs and activities that bring increased public awareness to drumming, thus increasing the number of people playing all types of drums. NAMM Foundation funding supports the expansion of the Roots of Rhythm interdisciplinary music education program and the Percussion in the Schools assembly program to serve schools throughout the United States

Percussive Arts Society
Percussive Arts Society (PAS) is a non-profit, music service organization. Its mission is to promote percussion education, research, performance and appreciation throughout the world. NAMM Foundation funding supports the Find Your Rhythm! Community Outreach program designed to engage fourth and fifth grade students in active music making using rhythm-based instruments. The program serves low-income youth from Indianapolis city schools.

San Diego Youth Symphony and Conservatory
The San Diego Youth Symphony and Conservatory instills excellence in the musical and personal development of students through rigorous and inspiring musical training experiences. NAMM Foundation funding supports the expansion of the Community Opus Project, providing community-based music programs for at-risk youth in San Diego County and efforts to work community-wide to reinstate music education programs.

Street-Level Youth Media
Street-Level Youth Media educates Chicago’s urban youth in media arts and emerging technologies for use in self-expression, communication, and social change. NAMM Foundation funding supports the expansion of its Audio/Music Production program, which includes beginning- to advanced-level music and sound technology workshops in community- and school-based sites during after-school hours, as well as media arts integrated workshops.

Technology Institute for Music Educators
The Technology Institute for Music Educators (TI:ME) is a non-profit organization with a mission to assist music educators in applying technology to improve teaching and learning in music. NAMM Foundation funding supports the expansion of TI:ME’s Technology Leadership Academy, a program for pre-service music education majors focusing attention on the emerging interest to reach non-traditional music students with technology-based music programs.

Youth Radio
Youth Radio promotes young people’s intellectual, creative, and professional growth through education and access to media. NAMM Foundation funding supports the expansion of the D.S.S.C.O: DJ Sound System for Community Outreach program, a teen and young adult program that engages local DJs as guest instructors to train students in technology and music making.

NAMM Foundation

Black Box Analog Design Introduces New “Black Box” Microphone Preamp

Black Box Analog Design, an engineer-led design firm dedicated to handcrafted, American-made audio equipment, has announced the official release of the Black Box microphone preamp.

The company has selected Vintage King Audio as its distributor, and is currently taking orders worldwide.

Designers Eric Racy and Robert Wainscott have created versatile piece of gear that enables users to uniquely shape their sound by implementing unconventional methods and such features as an entirely analog audio path, custom, hand wound Cinemag input and output transformers, hand soldered point-to-point wiring, independently controlled Pentode and Triode tube stages (as well as independent Pentode/Triode “Tone Boost” switches), 350-volt linear power supply and the ability to shape the frequency response without the use of an EQ. (Specifications here.)

“As studio owners and engineers, Robert and I collected over 19 types of preamps, ranging from vintage to brand new, in search of a high-end preamp versatile enough to bring out the best in many types of sources and allow us to capture sounds in a way that didn’t require an excess of processing at mix time,” says Racy. “We felt there had to be a better design, which set us down the path of creating it for ourselves. Using our ears to guide us, we created a unit capable of things a conventionally designed preamp isn’t made for, yet maintained a user-friendly interface.”

“I approached the design of the Black Box microphone preamp in the same manner I would set up for a mix session,” adds Wainscott. “I mixed a single tube with everything plugged into a ‘patchbay’ and all the values that shape how the tube works were fluid. Everything from plate voltage to blocking capacitors could be changed in real time, which afforded me the room to perfect the mic pre’s design, resulting in the unit we have today.”

The Black Box microphone preamp (MSRP $2,500 USD) is now available through Vintage King Audio at an introductory MAP price of $1,995 USD.

Black Box Analog Design
Vintage King Audio