Article

Thursday, May 17, 2012

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

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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

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Wednesday, May 16, 2012

Delicate Productions Steps Up With Martin Audio MLA At 20th KROQ Weenie Roast

This year’s KROQ Weenie Roast Y Fiesta was both a 20th Anniversary musical celebration and a heartfelt remembrance for the Beastie Boys’ Adam “MCA” Yauch, who passed away from cancer the day before the show.

Delicate Productions, also celebrating its 20th Anniversary of providing sound for KROQ’s annual event, upped the ante by deploying Martin Audio Multi-cellular Loudspeaker (MLA) arrays for the first time at the roast.

Held at the Verizon Amphitheatre, the event featured headliner Coldplay along with heavyweights Incubus, The Offspring, Silverspun Pickups, Pennywise, Angels & Airwaves, The Dirty Heads, Garbage, AWOLNATION, Grouplove, Of Monsters and Men and Walk The Moon.

The show also included a surprise appearance by the recently reunited Soundgarden, Coldplay capped off an exceptional set featuring their hits with a solemn piano version of “(You Gotta) Fight For Your Right (To Party)” as a tribute to Yauch and the band that broke so many musical boundaries.

The sound system incorporated 15 MLA enclosures and one MLD down fill enclosure per side for mains, joined by seven MLAs and one MLD per side for side fill, 12 MLX subwoofers (three flown and nine ground-stacked), eight W8LMs for front fill, and Martin Audio LE700 stage monitors. Delicate also provided Yamaha PM5D consoles for monitors.

Delicate’s crew for the Roast included Andy Turner (FOH tech), Brennan Houser (system tech), Steve Walsh and Manny Barajas (monitor techs), Dave Reyna (RF tech), Manny Perez and Peter Baigent (stage), and Meegan Holmes (project manager).

“It was phenomenal,” says Delicate director of touring Jason Alt of MLA. “Expectations for the system were great and it performed above and beyond. Given the variety of artists that played, whatever people put into it, they got out of it.

“Overall, every engineer that mixed on the system had a really positive experience and was blown away by the fidelity of the system.”

 
Martin Audio

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Care & Feeding: Keeping Gear In Top-Flight Shape

Reduce problems, enhance system performance, and save significant time and money in the long run

To get the most mileage out of gear, regular equipment inspections and Preventative Maintenance (a.k.a., PM) are a must.

All equipment in your inventory should have PM scheduled at least once a year, and more frequently if it goes out the shop door a lot and/or is exposed to harsh environments.

PM comes down to inspecting, testing, cleaning, lubricating and repairing to keep systems in top operating condition.

In addition to annual PM, all gear should be given a quick inspection during setup and tear down at every gig. This includes a visual inspection, placing a hand on equipment to feel operating temperature, tugging on cable ends to see if strain relief is in good shape, etc.

If irregularities are noted, further inspection should be performed and problems addressed. Not paying attention to small problems allows them to build up to big problems that are much more expensive to correct, and they can also result in a failed gig. Here I’ll share some of the PM approaches I regularly utilize with my own gear.

Electrical

PM for electrical gear like processors, amplifiers, and snake boxes always starts with a complete visual examination. Each unit’s case is opened up for visual inspection of the interior. I’m looking for loose or broken wires, unseated connectors, blown fuses, discolored circuit boards, and so on.

While the case is open, it’s a great opportunity to run a vacuum and clean out all dust and road gunk that has accumulated inside. Sometimes an air compressor, or at least some “canned air,” is used to blow out the dirt. I also remove filters and clean or replace them per the manufacturer’s instructions.

Next up is checking and cleaning signal connections. If the equipment has faders and knobs, it’s time for cleaning and lubrication (again, per the manufacturer’s recommendations).

All electrical pins and connection surfaces are evaluated for corrosion and misalignment, and input and output connectors are given a thorough cleaning with an electronic cleaner such as Deoxit from Caig Labs. If connectors need to be repaired or replaced, this is the time to do it.

With the case still open, it’s a good ideal to double check all power cable connections, and if the unit has a fixed power cord, to make sure the strain relief is in good shape and the cord has no cuts or tears in the outer jacket. I also run my hand down the cable to feel for internal cable damage. If the unit takes batteries, they get a check, and the battery terminals are cleaned.

Before plugging in and powering anything, I make sure all cleaning fluids or solvents have dried. After a quick check to make sure the equipment is operating correctly, each component is sealed back within its case.

Rack-mount gear is a little harder to access without removing from the rack, but I strongly believe that doing maintenance is so important it’s worth the trouble. Note, however, that opening up some gear may void the factory warranty, so please read and follow all manufacturer instructions on maintenance.

Microphones

Modern microphones are pretty robust and usually don’t require a lot of attention, but they should be inspected after each use because they’re regularly dropped, exposed to liquids, etc.

Because the majority of my jobs are corporate gigs, which are usually relatively tame, I only do serious mic maintenance once a year.

But for those doing outdoor festivals and/or working with much more “raucous” forms of entertainment, there could be need to do maintenance as often as every month.

Many models allow you to remove a damaged grille/head to simply screw on a new one.

Factory replacement heads are usually available, and a few companies also make generic heads that fit popular microphone models.

And sometimes they can be fixed. For round ball-shaped grills, the handle of a large screwdriver can be used to gently pressure out dents. If a dent is a little stubborn, I place the ball on top of a folded towel and tap the screwdriver with a small wooden mallet.

Before grills are re-attached, they should be cleaned with a mix of dish soap and warm water, with a soft bristled toothbrush to help scrub out the dirt. Some folks use Listerine for cleaning, and there’s a foam-based cleaner called Microphome available as well.

Inner foam windscreens can be replaced or washed in a mix of dish soap and warm water. These should be wrung out and air dried completely before being reinstalled. For mics that don’t have removable grills, I use a dry soft bristled brush on the exterior of the grille to remove dirt and then hold the mic upside down to help loose dirt and debris fall away.

Don’t leave batteries inside mics between shows because they can leak and corrode the contacts and generally ruin the electronics. To keep these terminals (as well as mic connectors) clean, I use Deoxit, then wipe them dry with a clean cloth.

Don’t forget the clips! Mic clips should be checked for signs of cracks and missing pieces. Also evaluate the threads and the tightness of the swivel. I normally place a drop of light lubricating oil or WD40 on the threads so they’ll screw easier on to mic stands.

Loudspeakers

Safety is more important than looks or sound, so the first thing I check on loudspeaker cabinets is the rigging, making sure nothing is cracked, bent or distorted. All moving parts should be cleaned and lubricated per the manufacturer’s recommendations.

Also don’t forget to keep an eye on external hardware like handles, corners and grills, fixing anything that requires attention.

Connectors (and their panels) should always get attention as well, to make sure they’re intact and secure. For powered loudspeakers, give the power cord and amplifier a check before testing out the box.

During down times, I power up boxes and run a sweep tone through them to insure that drivers and crossover (if applicable) are O.K. For subwoofers, I usually run a kick drum sound from a drum machine as a general test, in addition to evaluating frequency tones.

Cables

Without cable and interconnect, a PA system is just a bunch of unconnected gear.

Yet cables seem to get the least attention – until they don’t work. After every usage, cables should be checked.

At the start of the wrap process, give the connector at that end the once over, to see if any pins or contacts are corroded or bent, and to confirm that the connector body is in good condition.

Make sure strain relief is tight and that the cable jacket has not pulled out of the connector body.

Then during the wrap, slide a hand along the cable, feeling for flat spots, twists or other irregularities inside the jacket. Check the outer jacket for cuts or tears.

At the end of the process, check out the other connector, then secure the cable and lay it in the proper storage case. (Don’t forget to also do this with AC extension cords.)

Cables that are obviously damaged or that need another look should be set aside. A common practice to mark a suspect cable is to put a half-hitch knot on each end, warning others not to use until it gets checked out. Another tactic is to place pieces of gaff tape over the connector ends.

It really only takes an extra second or two per cable to check them as they’re wrapped, but the extra seconds spent can save minutes (or hours) of chasing down problems at the next gig.

All cables should also get a more extensive yearly check and some PM, including signal check with a cable tester and a thorough cleaning. When using a cable tester, check for intermittent signals by wiggling the cable where it joins the connector, and also flex the cable at any suspect spots to see if there is a break.

Many times a cable may have a break in one or more of the conductors, but the problem won’t rear its head until it’s flexed or wiggled.

With analog snakes, check the strain reliefs, and also open up the stage boxes to check the internal connections. Clean and lubricate snake reels per the maker’s instructions, and ditto for both fiber optic cabling and reels.

For general cleaning of outer cable jackets, I use a cleaner/degreaser called Simple Green. For removing sticky taperesidue (and this applies to other gear as well), I turn toGoo Gone, a Citrus-based cleaner.

When that won’t cut it, I switch to a stronger solvent called Goof Off, which contains acetone, so caution is strongly advised. It will eat through many materials, so just use enough to get rid of the gunk in the affected area, and then thoroughly wash the area clean of any remaining solvent.

Stands

Ubiquitous and ever supporting, stands are often forgotten about until something breaks. Mechanical stands need maintenance just as much as sound reinforcement equipment.

On mic stands, check the clutch regularly to make sure it operates smoothly. Replacement parts are available from manufacturers to rebuild a loose clutch mechanism. I also remove gaff tape residue (Goo Gone or Goof Off ), dry the tubes with a rag, then work a few drops of oil into the end threads so they screw into the bases and clips easily.

If I spot any damaged threads, I “chase” them (running a thread cutting die over a section to try to repair the threads) or simply cut off the end with a pipe cutting tool and make new threads on the fresh section of pipe.

Evaluate the stand’s base and replace any rubber isolation feet as needed. For tripod stands, check the legs and lubricate the hinge joint with a silicone- or Teflon-based lubricant. For loudspeaker stands, the process is similar, and also address rivets that hold the leg hinges as well as any safety stops on the stands.

Last month I focused on racks and cases (here), and these items also require scheduled maintenance. Check all hardware in general, and make sure rack rails are firmly bolted to the rack shell. Clean and lubricate the handles and hasps with a silicone or teflon lubricant, and clean and grease the castors as per the caster manufacturer’s recommendations.

While it may seem like a large outlay of effort, keeping up with regular PM can reduce problems, enhance system performance, and save significant time and money in the long run.

Craig Leerman is senior contributing editor for Live Sound International and ProSoundWeb, and is the owner of Tech Works, a production company based in Las Vegas.

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Church At Former Harley Davidson Factory Outfitted With NEXO Loudspeakers

When LifePointe Christian Church in Elk Grove, CA was looking for a sound system to compliment a new location—a converted Harley Davidson showroom—it turned to the expertise of CCI Solutions of Olympia, WA, with project manager David McLain recommending NEXO PS15 loudspeakers for the 400-seat church.

Specifically, the new system includes three PS15s and a flown NEXO CD18 subwoofer, all driven and controlled via a 4x4 NXAMP.

“Pastor Chris Delfs sought out a new location where they would not only own their space but could create a unique, new culture,” states McLain. “They weren’t looking for a NEXO system per se, but were looking for good advice. At only 60 feet deep, with less than 20 feet of trim, a line array would not have been the best tool, whereas, the asymmetrical horn pattern of a PS15 reaches the back rows with ease.”

“David actually discouraged a line array approach in this case, and if you look at how much the HVAC and lighting impacts the trim height, the PS solution was much better,” notes Steve Armstrong of PROS Inc.,an iindependent rep firm for NEXO.

“I’d been hearing a lot of talk about NEXO speakers over the past few years,” and have listened to various models and I was impressed enough to recommend them for a couple of rooms, particularly given the outstanding support I’ve been receiving from Yamaha Commercial Audio Systems,” says McLain. “I didn’t really know the extent of the NEXO lineup until I had opportunity to listen critically and extensively to their whole selection of speakers at a demo at the Cerritos Performing Arts Center in California.

“The Cerritos Center is an awesome building. We used their beautiful main room to try out the NEXO speakers. I spent the first demo day designing speaker systems for rooms using various software, and I liked the way the NEXO speakers worked in the planning, and also liked what I saw in the computer models. The NS-1 software was easy to work with, so I imported some real-world rooms, like LifePointe, that I’d been working on. It appeared the NEXO PS Series would provide excellent coverage.

“I have to admit, there’s a fair bit of skeptic in me,” he continues. “A box that promises a rectangular coverage pattern had better do more than just advertise well! It needs to offer an actual rectangular coverage pattern. And more importantly, it needs to sound good! In the next day’s listening tests, I measured 112 dB at the back of the listening room, and I have to say, it sure didn’t feel like 112 dB. In fact, it didn’t sound like a PA playing. It sounded like a woman was right there singing to me.

“Yamaha brought in a live jazz drummer and they just sounded louder, like there was no PA in between. Even the little NEXO PS8 two-way sounded way bigger than its small size. And, all of the subwoofers for the line arrays – which were shaking my pant legs at 100 feet – are cardioid subs. Even during the ‘fairly loud’ cuts (think aggressive Sunday morning volume), we could easily hold a conversation on the stage behind the subwoofers.”

CCI Solutions
NEXO/Yamaha Commercial Audio

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Tuesday, May 15, 2012

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

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Basic Principles For Suspending Loudspeaker Systems

A few terms and techniques for hanging loudspeakers

Excerpted from JBL Professional Technical Note Volume 1, Number 14: “Basic Principles for Suspending Loudspeaker Systems.”

Design Factor
Design factor is a term used by the rigging industry to denote theoretical reserve capability.

The rated capacity / of all lifting and hanging equipment b based upon the nominal strength of the equipment reduced by the design factor.

Design factor is a number representing the fraction of equipment nominal strength chosen to be appropriate for the particular application.

Rated Capacity = Nominal Strength / Design Factor

Example: Design factor = 5. The rated capacity of equipment is only l/5 of its nominal strength.

Minimum design factors vary according to the application, and may be regulated from location-to-location.

No design factor discussed herein should be assumed to represent a recommendation on the part of JBL.

Users must assume all responsibility for the determination of design factors suitable for local conditions.

Shock Loading
When a load is suddenly moved or stopped, its weight may be magnified many times the original value. This is known as shock loading. Shock loading of lifting equipment should be avoided at all times.

Shock loads will usually be instantaneous and may go undetected unless equipment is visibly damaged. No equipment is designed to compensate for poor rigging practices or foolish planning, however.

Every tool and piece of equipment has limitations. Safe working practices demand that these limitations he known and fully understood, and that they never be intentionally exceeded.

A 900 pound loudspeaker cluster dropped four inches cod cause a shock load of 4500 pounds if the rigging were attached to rigid structures and of a material that would not stretch.

However, because all rigging will stretch under shock loading, the exact shock load on a piece of equipment isn’t easily predicted.

To protect people and property, all tools and equipment should be limited to stresses that are several times smaller than their minimum breaking strengths.

Although shock loading of equipment and structure is usually confined to lifting and installation, it should also be recognized that other forces (such as earthquakes) can impose shock loads upon structures many times that of the static load.

It is therefore imperative that hardware and structures be capable of supporting several times the weight of the equipment being hung.

Center of Gravity
The center of gravity of an object is the point at which the weight of the object acts as though it were concentrated. It is the point at which the object may be completely supported or balanced by a single force.

The center of gravity of a regularly shaped object may be estimated fairly accurately by determining its approximate center.

Finding the center of gravity of irregularly-shaped objects can be more difficult, but it is necessary, nevertheless. A load will always hang from its attachment point through the center of gravity. It is important to visualize this before making a lift.

All loads to be lifted should be rigged above the center of gravity in order to prevent tipping and possible hazards to equipment and workers. The lifting force should always be located above the center of gravity and exert a straight vertical pull to prevent swinging of the load.

Ropes
Before discussing actual rigging hardware and systems, it is appropriate to examine ropes and their proper use. Ropes are used for many rigging functions.

Although synthetic ropes of great strength are available, most codes prohibit their permanent use in rigging for a variety of good reasons. Nevertheless, ropes are necessary to lift approved cables, fixtures, tools and equipment into position.

In the interest of safety it is important that ground workers be familiar with the proper use of rope and a few basic knots used in rigging.

Rope Terminology:
1. The Standing Part is the end of the rope which is inactive.

2. The End is the part of the rope that is free—typically the part in which knots are tied.

3. A Bight is the central part of the rope between the standing part and the working end.

4. An Overhand Loop is formed by crossing the end over the standing part.

5. An Underhand Loop is made by crossing the end under the standing part.

6. Tightening. Once formed, a knot must be tightened slowly and with care. Failure to do so could result in a tangle, or an untrustworthy knot.

Knot Efficiency
Knot efficiency is the approximate strength of a rope with a knot as compared to the full strength of the rope.

It is expressed at a percentage of the ropes rated capacity, and refers to the stresses that the knot imposes upon the rope.

When a knot is tied in a good rope, failure under stress is certain to occur at the knot. This is because bends result in uneven stresses upon the fibers, with the outsides of the bends taking a greater share of the load.

lt follows that the tighter the knot, the greater the percentage of the total load that is carried on fewer fibers.

Bends
Bends are used to join two pieces of rope, usually temporarily. Typical knot efficiency is 56%. Bends offer some advantage over binding knots, as they resist untying when slackened or jerked.

The Sheet Bend is a simple knot to tie, consisting of an overhand loop on one piece, with the second rope end fed up through the loop from behind, around the standing part of the first rope and back down through the loop from the front.

Binding Knots
Binding knots are also used to join two pieces of rope. In general, binding knots have a knot efficiency of 50%, but can untie easily when a free end is jerked.

In the square knot, the end and the standing part of each line tie together through the bight of the other. In the untrustworthy granny knot, the end and the standing part are separated by the bight.

The granny knot is particularly treacherous in that it will appear to be secure-only to slip under load. The thief knot is deceptively similar to the square knot, but has the two loose ends coming out of the opposite sides, instead of from the same side as in the square knot.

This knot is almost certain to fail under load.
Loop Knots
Loop knots are used to hold objects where security is of paramount importance. The bowline, widely used in rigging, won’t slip, yet is easily tied and untied.

It may be tied in the hand or used as a hitch and tied around an object, usually for lifting purposes (Figure 2 in the PDF below).

Hitches
Hitches are used for temporary fastenings that untie readily. They are generally tied directly around the object instead of first being tied in the hand and then placed over the object.

Hitches must be drawn up tight, as they have a tendency to slip if loose.

The clove hitch (Figure 3 in the PDF below) consists of two underhand loops, which may be tied in the hand and slid over an object at any point along the length of a rope. Knot efficiency is 60%.

Wire Rope
Vast wire ropes are constructed from plow steel, improved plow steel, or extra improved plow steel wire. The wires are woven into strands, which are woven to form the wire rope.

Typical wire rope may consist of six strands wound around a central core. The central core supports the outer strands and helps to prevent the rope from crushing under stress.

Wire rope core materials may be fiber (abbreviated FC), independent wire rope (abbreviated IWRC), or wire strand (abbreviated WSC).

Wire rope is classified by diameter, number of strands, number of wires making up each strand and core material construction.

Rope diameter is measured at its widest dimension. Wire rope is also classified according to the direction the strands and wires are twisted. The distance along the rope required for a strand to make one full revolution is one Lay.

In Right Regular Lay construction, strands twist to the right, wires twist to the left.

Right Lang Lay construction finds both strands and wires twisting to the right.

Left Regular Lay ropes are constructed with strands twisted left and wires twisted right.

The Left Lang Lay configuration twists both strands and wires left.

Regular lay ropes are less susceptible to crushing and deformation because the wires lie nearly parallel to the rope. Lang lay ropes twist the wires across the direction of the rope, and are therefore more flexible and resistant to abrasion damage. If both ends of a lang lay rope are not fixed, however, it will rotate severely when under load.

Most sound and stage rigging requirements are easily handled by two wire ropes: 3/V and l/2” 6 X 19 IWRC classification.

These ropes in improved plow steel have a nominal strength of 13120 pounds and 23000 pounds, respectively. If we assume a design factor of 5, rated capacities become 2600 and 4600 pounds.

Just as knotting a fiber rope reduces the nominal strength of the rope, bending of a wire rope also results in a reduction in its nominal strength.

The tighter the radius of the bend in the rope, the greater percentage of the load is concentrated on fewer wires and strands. This results in a reduction in the rope’s nominal strength and rated capacity.

Experienced riggers always pad beam edges with softeners before wrapping the beam with a sling, and avoid sharp or jagged edges that could possibly injure the wire rope or sling. Heavy burlap or thick polyester is usually used for this purpose.

Excerpted from JBL Professional Technical Note Volume 1, Number 14: “Basic Principles for Suspending Loudspeaker Systems.” Copyright and courtesy of JBL Professional. To continue reading and to see he referenced diagrams, feel free to download the PDF.

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Monday, May 14, 2012

Fill-osophy 101: Using Fill Loudspeakers To Optimize Coverage, Localization & More

The majority of successful sound system designs rely on at least one type of fill loudspeaker.

A well-designed main/primary loudspeaker system is expected to provide clear and intelligible sound to the entire audience.

Over the years our industry has benefitted from a steadily growing selection of types and configurations of primary loudspeakers to do this; they possess the specific characteristics (performance and physical) that we need in our base inventory, or for a given project, or to solve a specific problem.

Many of these varied types of products are also available over a wide range of size, quality and price options.

Yet more often than not when we deploy primary loudspeaker devices - singly or in all manner of arrays - there still may be holes in the coverage. This occurs for a number of valid reasons:

• Not enough primary loudspeakers for the specific venue;
• The need to avoid aiming primary loudspeakers to cover all of the front seats (at high frequencies) due to the low and mid frequency energy that ends up on stage or in the orchestra pit;
• Box seats that are located close to the stage (proscenium) that can’t be covered by the primary loudspeakers due to their close proximity;
• Architectural elements, including balconies and columns, that may shadow the sound projected from the primary system;
• The depth of seating (indoors and outdoors) can require additional devices, located further into the seating area, to “kick it up” a bit; 
• The need to provide sound to contained areas to the sides of the stage.

And the list goes on.

Coverage is an absolutely critical performance characteristic, at the very heart of what we must provide. The challenge to be met is supplying the correct number of fill loudspeakers that individually, or collectively, insure the coverage needed to fill the existing hole(s) and to ensure minimal overlap into the coverage that is already provided.

Few low-profile fill loudspeakers exhibit narrow coverage patterns across a wide frequency range and are also inherently restricted in acoustic output. Therefore their throw is restricted, although this actually may be of benefit in some cases.

Further, in many cases, clear and intelligible coverage is not our only concern. There often is an equally important need to provide or maintain localization to the source, and for as many seats as possible.

Localization is defined as the aural perception that the sound is coming from the apparent point of origin (where we locate the source visually, usually on the stage or platform) or, in larger venues and specifically for those seated further away, from the stage itself. 

The need for localization is no more prevalent than in sound reinforcement for musical theater, but in many other venues and types of productions there may be just as much desire to provide realistic imaging. This can be accomplished (or improved) using fill loudspeakers plus various processing functions, measurement and our ears.

We see these challenges often, usually when someone has misinformed us, or forgotten to mention key information, or has “changed their mind” on seating location/configuration.

So we grab what we can (assuming that we can) and set it/them up to fill any holes. It might be sloppy but it usually solves or reduces the immediate problem.

Similar Behavior
When faced with advanced knowledge of the need to fill holes in coverage or improve imaging, etc,. the type of loudspeaker we use requires just as much thought as we (hopefully) apply to the primary system devices.

Ideally, we’re able to utilize loudspeaker(s) made by the same manufacturer as the primary loudspeakers so that there is sonic consistency throughout the system.

Most reputable loudspeaker manufacturers go to great length to ensure that the various devices within a model line, if not their entire catalog, sound alike and exhibit similar behavior across their pass bands.

This can help to save time during measurement and optimization and may be more appealing and/or visually reassuring.

We must also provide appropriately sized fill loudspeakers. Too big may look bad (and may block sight lines) and too small may run out of gas (including potential damage to drivers) in addition to not providing the required pattern control.

The word “throw” relates to the distance a loudspeaker is able to project sound to a specific (targeted) seating area, and at the required sound pressure level (SPL).

Let’s look at a hypothetical example that’s quite common in the real world of permanently installed (and some touring) point-source array systems.

At the top of the array, there are “long throw” loudspeakers.

These 2-way, horn-loaded loudspeakers provide 40-degree (horizontal) by 20-degrees(vertical) dispersion, projecting sound to the most rear seating areas at sufficient SPL, without scattering sound on to the walls or ceiling.

Below that are “medium throw” loudspeakers supplying 65-degree (h) by 40-degree (v) coverage to the “heart” of the coverage area, and below that are 80-degree (h) by 50-degree (v) devices employed as “short throw” to cover seats in the nearer field.

When aimed and combined correctly, arrays of this type can provide complete, fairly seamless (including even levels) vertical and horizontal coverage.

A Necessary Part
Note that only a few of the multiband line array systems offer optional narrow horizontal coverage devices intended to sit at the top of the array for what we would consider to be long-throw duty.

But in the far more common line arrays with duplicate/like devices, the elements are aimed and gain adjusted for the desired characteristic of providing even SPL from front to back, and we would therefore categorize the collective elements at the top as “long throw.”

Properly designed (shaped) and configured J-arrays consist of elements or sections that we would categorize as long, medium and short throw.

But be it line arrays, point-source clusters or any other approach to mains, fill loudspeakers have remained a necessary part of what we do for decades.

We may need just one, a few, or many, but the majority of successful sound system designs rely on at least one type of fill loudspeaker to achieve complete coverage and/or for localization.

Over the decades we’ve assigned names to categorize fill applications: front, in, out, under balcony, over balcony, delay, box seat, lawn, down, overflow, stage, and so on.

Most of the time a device to meet a specific need is available, but once in a while, a new, specialized “custom” loudspeaker may need to be developed.

While there are numerous passing references to fill loudspeakers in articles and on manufacturer websites, and a book that discusses the alignment and equalization of them within larger systems, my research indicates that there’s nothing readily available that thoroughly details applications faced by live sound practitioners on a regular basis.

So next time out, I’ll begin a two-part series looking at specific fill design approaches and practices, as well as the basics of fill system optimization. 

Tom Young is a senior engineer at Altel Systems, Inc., a metro-NYC contracting firm. Recent projects include The Juilliard School and WaMu Theater at Madison Square Garden. He is also principal consultant at Electroacoustic Design Services in Connecticut and recently measured/optimized loudspeaker systems at a recital hall, a swimming pool complex and several churches. In addition, he is the moderator of the ProSoundWeb Church Sound Forum.

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Powersoft Welcomes Matrix Sales As New Distributor For Denmark

The company Matrix Sales has been appointed as the new Powersoft distributor for Denmark.

Matrix Sales is part of the newly formed Matrix Group, made up of several well established companies working together to provide complete solutions for the touring, permanent installation and MI markets.

The Matrix product portfolio covers everything from high end professional audio, concert lighting, staging, cables and accessories and features brands of the calibre of Midas, L’Acoustics, Shure, DB Technologies, Coemar, Proel and Aviom.

The group is also related to some of the most established rental companies in the region.
“We are happy to welcome Matrix Sales into our ever growing team of international distributors.”  - says Steve Smith, Powersoft’s Touring Account Manager – “Matrix is an interesting proposal for us, having the drive and enthusiasm of fresh, growing company while featuring some highly experienced and well established elements.

“We are considering this to be a re-boot for us in the Danish market and through this powerful partnership expect 2012 to bring some excellent results.”

Kenneth Bremer, CEO at the Matrix Group states, “One of our key issues at Matrix is quality, both in terms of sales, service and the products we work with - to offer customers the right solutions and ensure a continuously high standard is the backbone of our company.

“Powersoft has precisely these properties and offer highly sophisticated products enhanced with proprietary technology. Powersoft is a strong brand and fits perfectly in our portfolio. It really is Italian engineering at its best and we look forward to offering our customers spicy Italian amplifier power!”

Morten Uldbaek, Pro-Audio Sales Manager at Matrix Sales added “It is a pleasure to be able to add Powersoft to our product portfolio. Saving space, lowering power consumption and the possibility to have complete software control and protection are some of the key features that will enable us to meet the high demands of the touring and install markets.”
The official launch of the new partnership will be at the Monitor Expo show in Copenhagen from the 30th of May to the 1st of June. Both Powersoft and Matrix will be present at the show to showcase the complete range of Powersoft amplifiers together with the Armonía software.

Powersoft
Matrix Group

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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

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Total Events Supplies Harman-Based System For Davis Cup In Australia

Total Events, based in Geelong Victoria, supplied a Harman-based audio system for background music, MC and umpires at the Geelong Lawn Tennis Club stands for the recent Davis Cup tennis tournament in Australia.

The main challenge for Total Events was keeping a minimal layout without obscuring sightlines and the company’s stock of JBL Professional VRX Constant Curvature loudspeakers was well-suited for the application due to their low visual impact.

Six JBL VRX918S powered subwoofers and 12 JBL VRX932LA loudspeakers were deployed, powered by six Crown Audio IT8000 amplifiers all networked along with a Soundcraft Si Compact 32 digital console.

“The VRX cabinets are discreet so you can point and shoot without obscuring the view of the tennis action,” notes Bill Busbridge, managing director of Total Events. “They have a nice high power output and it’s good to be able to network the amplifiers so I can control remotely and time align.”

“I absolutely love the Soundcraft Si Compact console,” Busbridge adds. “I have two of them in hire and I have also sold a couple. I really enjoy using them and we’re using them a lot on our shows and events. I really like that you can move channels to any layer is great. The small footprint is a bonus and it’s just so easy to grab it and use. We find a lot of walk-in engineers who are familiar with the console.”

The system was sold through Jands, JBL and Soundcraft’s Australian distributor.

Harman
Crown Audio
JBL Professional
Soundcraft
Total Events

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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

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Renkus-Heinz Continues To Expand Engineering Department

Renkus-Heinz has announced the continued expansion of its engineering department with the addition of Alejandro Fidalgo.

Fidalgo will work within the engineering group to continue to develop advanced digital processing and transport technologies for Renkus-Heinz products.

He will report to engineering manager Tim Shuttleworth and will be based at the company’s Foothill Ranch, CA headquarters.

Fidalgo joins Renkus-Heinz after working in audio electronics firmware and hardware development at Isaac Daniel Group in Burbank, CA. He holds a degree from the University of California, Santa Cruz.

“We’re very happy to welcome Alejandro to Renkus-Heinz engineering,” says Tim Shuttleworth. “His expertise in developing complex digital audio technologies is a great fit for our team.”

“I’m thrilled to be working with a company like Renkus-Heinz,” Fidalgo adds. “This company has such a long history of making great products, and I’m really excited to be able to contribute to the next generation of Renkus-Heinz technologies.”

Renkus-Heinz

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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

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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

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