Loudspeaker

Tuesday, September 13, 2011

RCF Acustica Loudspeakers Provide Sound Reinforcement For Italy’s New Juventus Stadium

Located in the “Continassa” area in Torino, Italy, the Juvenus stadium is a turning point for football venues in Italy

The newly constructed Juventus stadium in Torino, Italy, will be the center of a larger complex that will also include a 366,000-square-foot commercial mall, the first Jeventus Museum and a parking area with a capacity for 4,000 vehicles.

The new stadium, a major upgrade from the previous “Stadio Olimpico”, will provide seating for 41,000 fans and 120 executive skyboxes for VIPs. 

The Juventus Stadium complex features state of the art equipment and the latest technology including a full sound system featuring RCF loudspeaker products. Involved from the start of the project, the RCF commercial audio department provided the sound system design for the Stadium and for the other buildings in the complex.

In addition to RCF Installed Sound and Commercial Audio products, specific cluster design applications and other custom products were developed to fit the specifications of this project.

“Being part of a large scaled installation from the beginning is important for a solution partner. Our goal is to make sure that client receives exactly what they are looking for,” explains Antonio Ferrari, RCF Market Manager Audio Contractor. “The system at the new Juventus Stadium serves their needs today and for the foreseeable future – which is what we and they wanted.”

The RCF team created a special cluster design (certified in terms of safety) for the Juventus Stadium. The clusters were installed in each seating section at the stadium. Each cluster contains 2 RCF Acustica H1315WP three-way full range loudspeakers. Each cabinet is loaded with a 15” LF transducer, a 10” cone MF transducer and a 1.4” exit titanium compression driver. The WP version is weatherproof and especially designed to withstand exposure to the elements without damage or loss of function to the speakers.

The seating areas at the stadium are covered by a total of 88 pcs H1315WP (all installed in pairs). A few additional cluster systems cover the playground area as well. Several subwoofers and power amplifiers round out the system.

The RCF project department provided the documentation and acoustical simulation and measurement that the system required.

RCF

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Posted by Keith Clark on 09/13 at 12:30 PM
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Dicroic Installs L-Acoustics Into New Istrian Hotel

The Croatian distributor installed a 12XTi coaxial system in the Hotel Lone located in Rovinj, Croatia

L-Acoustics’ Croatian distributor Dicroic has installed a 12XTi coaxial system into the Hotel Lone, an exclusive new resort on the waterfront of Lone Bay, situated in the protected Monte Mulini forest, Rovinj.
 
Part of the Croatian Maistra chain of hotels and resorts, which offer high quality accommodation and leisure facilities in northwestern Istria, Hotel Lone is Croatia’s first five-star design hotel, providing a year-round leisure and business destination.

Dicroic has installed an L-Aacoustics system into the hotel’s multi-purpose conference hall, designed to host a range of conferences as well as theatrical and concert events, as well as into the hotel’s jazz club.

The 600-capacity congress hall has been installed with L-Acoustics 12XTis as a left/right system, with two 108Ps as delays and two ground stacked SB18i subwoofers, all powered by LA4 amplified controllers.

Designed to provide complete and balanced coverage for the main auditorium, the system can also be subdivided to provide sound for three smaller rooms: two 12XTis and two SB18is for the first hall, two 108Ps for the second, and two 108Ps for the third hall. 

The Hotel Lone jazz club sound system consists of two12XTis left and right in front of the stage, and two ground stacked SB18i subwoofers. At the opposite end of the room to the stage is a delay system of two L-Acoustics 108Ps.

“Using L-Acoustics’ 3D acoustical simulation program SOUNDVISION, we were able to determine the precise position of the 12XTis,” says Dicroic’s Slaven Tahirbegović. “This allowed us to get extremely good results in the hotel’s multi-purpose conference hall in terms of excellent sound coverage without reflection, with a small amount of enclosures.

“For the Hotel Lone’s jazz club, L-Acoustics has provided an outstanding listening experience with its distinctive warm and precise sound. Once again this proves to me that superior technology gives excellent results in practice.”

Dicroic has carried out many fixed installations using L-Acoustics systems, including the Sanctuary Medjugorje in Bosnia and Herzegovina, Club Equador, Club Vanilla the Croatian National Theatre in Split and Saturnus Discoteque in Zadar, and Dubrovnik Airport.

L-Acoustics
Dicroic

 

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Posted by Keith Clark on 09/13 at 07:41 AM
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Monday, September 12, 2011

Meyer Sound MINA Line Arrays Providing Reinforcement For TechCrunch Disrupt SF 2011

System design calls for dual front arrays of six-each MINA loudspeakers supplemented by a center-axis delay cluster of six MINA loudspeakers

From September 12 to 14, 2011, hundreds of technology entrepreneurs will descend on San Francisco for TechCrunch Disrupt SF 2011, a popular cyber-world forum and start-up competition.

Speakers from Turntable.fm, LinkedIn, Quora, Intuit, and Facebook will be heard through 18 MINA line array loudspeakers from Meyer Sound.

Chosen for its exceptional sonic clarity, the MINA loudspeaker system is deployed by Swank Audio Visuals of St. Louis, Mo., the event’s primary audio supplier, in the concourse of the San Francisco Design Center.

An elongated pavilion built largely of steel and glass, the concourse is a challenging space for speech reinforcement. To keep highly intelligible sound focused on the deep audience area of about 80 feet by 220 feet, the system design calls for dual front arrays of six-each MINA loudspeakers supplemented by a center-axis delay cluster of six MINA loudspeakers.

System drive is provided by a Galileo loudspeaker management system with a Galileo 616 processor.

The newest and smallest member of Meyer Sound’s MILO family of self-powered line array loudspeakers (less than 20 inches wide and weighing a mere 41.2 pounds), MINA produces a robust 128 dB peak SPL over an operating frequency range of 66 Hz to 18 kHz.

TechCruch Disrupt is sponsored by the TechCrunch network of websites. Following San Francisco, the next TechCrunch Disrupt event is scheduled for Beijing in October, 2011.

Speakers and judges at the San Francisco event include the Silicon Valley’s leading venture capitalists, emerging software ventures, and representatives from companies like Google, Microsoft, and Facebook.

At the end of the event, a $50,000 grand prize is awarded to the start-up venture judged most innovative and likely to succeed.

TechCrunch Disrupt SF 2011 is being streamed live here.

Meyer Sound

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Posted by Keith Clark on 09/12 at 03:14 PM
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The Sound Of Renkus-Heinz Now At Dallas Winspear Opera House

RHAON powered loudspeakers retract into the ceiling when not in use

The AT&T Performing Arts Center in Dallas is a cultural nexus in the city’s revitalized downtown arts district.

The 2,200-seat Margot and Bill Winspear Opera House, created by architect Foster & Partners with theater design by Theater Projects Consultants and acoustician Sound Space Design, is home to the Dallas Opera and serves as an anchor in the new arts district.

The new sound reinforcement system for the Winspear Opera House, designed by Martin Van Dijk of Toronto-based Engineering Harmonics, is centered around left/right arrays of 12 Renkus-Heinz STLA/9R RHAON powered loudspeakers that retract into the ceiling when not in use. Low frequency program is provided by four Renkus-Heinz DR18-1 subwoofers on rolling dollies.

Renkus-Heinz PowerNet PN-Series loudspeakers provide additional coverage, with eight PN82/9 systems for overbalcony fill, and two PN151/4 systems flown from the venue’s soaring 60-foot-high ceiling. A separate speech system was also installed, utilizing 10 Renkus-Heinz Iconyx IC8-R and two IC16-R loudspeakers.

Just across the way from the Winspear, Annette Strauss Square is an outdoor performance venue that hosts concerts, theatrical and dance performances and festivals, with open-air seating for up to 2,400.

As Jeff Stephens, technical supervisor for the Winspear and Strauss Square explains, the square’s relatively close proximity, not only to the other venues but also to the surrounding luxury high-rise condominiums that are home to a growing number of urban professionals, created a few challenges in system design.

“Particularly with an outdoor venue in a populated area, it’s important to be good neighbors,” Stephens notes. “We worked with the city to make sure the sound could be steered and focused toward the seating, and away from the other buildings as much as possible. Having a rock concert right next to a symphony hall and an opera house could be problematic, and having it outside people’s homes would be even more so.”

The outdoor venue’s system, also designed by Martin Van Dijk, employs left and right arrays of 10 Renkus-Heinz STLA/9R loudspeakers per side, along with six DR18-2 dual 18-inch subwoofers . A ring of SG42 two-way powered loudspeakers acts as a delay fill.

“We use the delay fill so we don’t have to drive the main PA quite as hard, which helps to keep the energy off the Meyerson,” says Stephens.

“Thus far we’ve had several concerts and a dance festival, and the Square is becoming a very popular movie screening venue as well,” he reports. “We worked closely with the Opera on a performance of Don Giovanni at the Winspear, which was broadcast at Annette Strauss Square as an Opera Under the Stars event.

“It was a huge success, and we got lots of compliments on how great and clear the sound was. It was particularly gratifying, being outdoors and right next to a highway. The system performed beyond our expectations.”

Renkus-Heinz

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Posted by Keith Clark on 09/12 at 07:22 AM
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Thursday, September 08, 2011

Hosa Technology Unveils New Pro Speaker Cable Line

Both Loudspeaker and 1/4-inch TS connectors are available in the line

Hosa Technology has announced the introduction of the new Pro Speaker Cables line, combining high-quality cable for enhanced signal transmission and audio quality with REAN connectors by Neutrik AG, available at a midline price.

All cables feature 14 AWG Oxygen-Free Copper (OFC) conductors for enhanced signal clarity and a black PVC jacket for durability, flexibility, and low visibility on stage.

Both Loudspeaker and 1/4-inch TS connectors are available in the product line.

REAN Loudspeaker connectors by Neutrik incorporate silver-plated contacts for superior signal transfer, a glass-reinforced housing for reliability, a robust, twist-lock mating system for secure connectivity, and chuck-type strain relief for maximum cable retention.

The 1/4-inch TS connectors include nickel-plated contacts for efficient signal transfer and rugged durability, a zinc die-cast housing to enhance reliability, crimp-type strain relief for larger-diameter cable, and rubber boot kink protection to ensure long cable life.

“Hosa Pro Speaker Cables are engineered to deliver years of rugged, dependable performance,” notes Jonathan Pusey, Hosa Technology director of sales and marketing. “By combining REAN connectors by Neutrik AG with world-class manufacturing techniques, these cables deliver unsurpassed performance and value. I’m absolutely confident these cables will be very well received by all who audition them.”

Hosa Pro Speaker Cables are available in 3-, 5-, 10-, 25-, 50-, and 100-foot lengths and will be available in Q4, 2011. Configurations include Loudspeaker to Loudspeaker, Loudspeaker to 1/4-inch TS, and 1/4-inch TS to 1/4-inch TS.

MSRP pricing ranges from $14.40 to $169.20.

Hosa Technology

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Posted by Keith Clark on 09/08 at 06:27 AM
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Ladd Temple Named Technical Sales Manager For Renkus-Heinz

Will provide technical and sales support to the company's network of representatives and dealers throughout the western U.S.

Renkus-Heinz has announced the appointment of Ladd Temple to the position of technical sales manager.

Temple comes to Renkus-Heinz after more than a decade with Peavey Electronics, where he most recently served as product development manager for the company’s Crest Audio and Architectural Acoustics divisions. Other positions he held with Peavey include plant manager and artist relations manager.

In his new position, Temple will provide technical and sales support to Renkus-Heinz’s extensive network of representatives and dealers throughout the western U.S. He will report to VP of sales and marketing Rik Kirby.

“We’re very pleased to welcome Ladd to Renkus-Heinz,” remarks Kirby. “We’re fortunate that someone with Ladd’s background and expertise came along at a time when we are in the process of growing and strengthening the technical and sales support we offer our partners.”

“Renkus-Heinz is truly one of the finest and most respected brands in our industry, and I’m excited to be joining such an amazing team,” says Temple. “No other loudspeaker company can boast such a wide range of products and innovative technologies, as proven by the number of high-profile, high-prestige projects calling on Renkus-Heinz gear.”

Temple will be based in Texas.

Renkus-Heinz

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Posted by Keith Clark on 09/08 at 04:46 AM
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Wednesday, September 07, 2011

Real World Gear: The Latest In Compact Line Arrays

Product names and marketing jargon aside, what we’re talking about is a group of products of a certain scale that meet and exceed the demands of a wide range of applications

In this Real World Gear installment, we look at “compact” line arrays, which we’ve defined as those with 8-inch (and smaller) LF drivers.

Previously we applied this designation to “small and mini” models; however, the market is evolving so quickly and dynamically that attempts to put together “like” groups of line array modules under a precisely defined criteria is fast becoming a thing of the past.

The fact is that one company’s “small” is another’s “mini” is another’s “compact” – and then that’s further modified by terms like “extremely” and “ultra” (as in “ultracompact”).

The same goes with users – what you might qualify as compact might be tagged as “medium” by the next person, and so on.

Product names and marketing jargon aside, what we’re talking about is a group of products of a certain scale that meet and exceed the demands of a wide range of applications.

As a result, we might - more generally but more accurately - define a “compact” line array as having a relatively small footprint in terms of size, weight and cost. They likely are conveniently portable due to the size/weight factor, but are suitable for installations as well.

For dynamic full-range music presentation, they are usually accompanied by a subwoofer, and further, they present a scalable solution – a few units will provide main coverage to a relatively small space, but with the addition of more boxes and arrays, their coverage capabilities and output can be easily expanded, and at an affordable level.

The great news is that the marketplace – more specifically the audio professional – is the winner. Regardless of what you call them, an ever-expanding selection of line array tools can only serve to enhance the craft. The challenge is knowing what’s available and being able to quickly differentiate them.

And that’s the real point of Real World Gear – enjoy this look at a wide range of options from around the industry.

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Posted by Keith Clark on 09/07 at 02:35 PM
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Sound Image Deploys JBL VerTec Line Arrays & Crown Amplifiers At LA Rising Music Festival

"We just put in enough PA so that all 60,000 people were covered with volume and clarity." - Mike Sprague, Sound Image

The LA Rising festival hosted more than 60,000 people and featuring a rare appearance by Rage Against the Machine in the band’s only concert of the year to date.

Held in late July at the Los Angeles Memorial Coliseum, the festival also featured performances by Muse, Rise Against, Lauryn Hill, Immortal Technique and El Gran Silencio.

Sound Image of Escondido, CA designed and deployed the sound system under the direction of director of touring Mike Sprague.

The system included 132 JBL VerTec VT4889 full-size line array elements and 110 VT4880 full-size arrayable subwoofers for the main system and for the three delay towers, along with eight VT4889 arrays and eight VT4880 subs for stage monitoring and side fill. Crown Audio I-Tech HD Series power amplifiers - 152 in total - drove the loudspeakers.

Four columns of 18 VT4889 loudspeakers and four columns of 18 VT4880 subs—eight columns total—were hung on either side of four poles that held up the roof of the stage structure (along with two poles in the back).

Two out fill arrays of 12 VT4889s were placed at the left and the right of the stage facing 90 degrees outward from the front. Two stacks of 10 VT4880 subs were placed at the foot of the left and right front of the stage along with 18 VT4880’s at the center of the stage to provide low-frequency ground-level coverage. There were three delay towers behind the front of house position, each with 12 VT4889s.

“We really didn’t face any major acoustical challenges. We just put in enough PA so that all 60,000 people were covered with volume and clarity,” says Sprague. “Getting the delay towers in the right position was a bit of a task, and getting enough AC power from the generators to run the system wasn’t easy. Ultimately we got what we needed by using 400 amps of 3-phase power for each side of the stage and 200 amps of 3-phase for the delay towers.”

“We continue to use VerTec for major events like this because our success with JBL components has been second to none, and we have a longstanding track record with them,” he adds. “We use VerTec because of the superior sound quality and reliability. The Crown amps also performed as one would expect from a very reliable amplifier provider.”

Harman
JBL Professional
Crown Audio

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Posted by Keith Clark on 09/07 at 07:06 AM
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Outline GTO Arrays Provide Flexible Solution For Concerts At Leeds Castle

GTO line-source arrays flown 12-deep at each side of the stage

Leeds Castle near Maidstone in Kent (“The Loveliest Castle In The World”) recently hosted a two-day musical event with large Outline GTO and Butterfly line arrays deployed by SRD Group to serve both concerts.

The Heritage Events Leeds Castle Open Air Classical Concert 2011 featured the Royal Philharmonic Concert Orchestra, conducted by John Rigby, playing a wide selection of popular classics.

The next day offered a complete change of pace with”‘Live At The Castle 2011” featuring top European “boy band” The Wanted alongside performances from Alexandra Burke, new “girl band” Fanfare, Stacey Solomon, Eliza Doolittle and Aggro Santos, and others.

The main left and right of the system was headed by Outline’s new flagship GTO line-source enclosure, flown 12-deep at each side of the stage. Dual delay towers, each comprising 12 Outline Butterfly elements, were also deployed and combined seamlessly with the main system to provide the necessary coverage of a very large and awkwardly-shaped audience area.

Another six ground-stacked Outline Butterfly elements per side provided front of stage fill. All loudspeakers were powered by Outline T11 amplifiers and controlled by Lake LM26 processors via Dante networks.

The first day, the primary orchestra mix of 128 channels was handled by Ian Barfoot with 10 digital stems sent to front of house, handled by Chris Beddall mixing on an Allen and Heath iLive digital console. A further iLive handled the complex on-stage monitor mix. The next day’s headliners The Wanted were mixed by Andrew Thornton on an Avid Profile, with all other acts mixed used an iLive 112 surface.

Barfoot also designed the system using Outline’s proprietary Open Array prediction software, noting, “The software predicted exactly what we consequently achieved and was flawless in its execution.”

After the show, Beddall stated, “The GTO system can certainly handle the subtleties of orchestral music as well as rock with its huge dynamic range, and has long throw capabilities without compare. I am truly impressed.”

Outline

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Posted by Keith Clark on 09/07 at 06:55 AM
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Tuesday, September 06, 2011

The Sky Is The Limit At SkyBar

SkyBar is the most impressive high-end open-air nightclub in the Middle East

SkyBar is quite simply the most impressive high-end open-air nightclub in the whole of the Middle East. Perched on a slab of reclaimed land jutting out from the port area into the Mediterranean Sea, SkyBar is truly the jewel in Beirut’s crown, attracting the hottest stars and hosting the best parties.

Not only is it a true open air club environment with all the freedom of musical enjoyment that that implies, the design of SkyBar was the work of up and coming architect Sari El Khazen to ensure that people remain in constant relation with each other no matter where they are within the venue, providing a compellingly infectious atmosphere. There are no private hideaways here; everyone is a VIP at SkyBar.

Top international broadcasters CNN and the BBC have covered the party scene at SkyBar, and as a result its reputation is truly global, making it a must-visit destination for world-class personalities visiting Beirut.

SkyBar features class A artists who make the venue hotter than any club in London, Paris or New York - 50 Cent, Kelis, Tinie Tempah and Inna are among those who dazzled the guests in 2010. And with these top performers busting rhymes and laying down funky beats, the Turbosound rig is called upon to deliver to a high level under harsh climatic conditions.

It’s fitting indeed then that SkyBar’s awesome multi-zoned sound system is courtesy of global loudspeaker brand Turbosound, with over 25 years of experience at the sharp end of dance music.

Louay Agha of Lebanon-based Thunder Electronics explains his original 2008 system design: “With SKYBAR being open to the elements I specified Turbosound’s TCS-C series of weather-resistant loudspeakers, whose qualities are vitally important.”

These qualities include marine-grade birch plywood construction with stainless steel fixings and grilles, internally sealed with a moisture-resistant compound and externally sprayed with a tough polyurethane coating, plus the loudspeaker cones are sealed with a silicone waterproofing agent.

Together with the sealed cable-entry gland and tail, this treatment gives weather-resistant TCS Compact products the most effective protection from moisture in an outdoor environment.

A total of 12 TCS-121CW 12” 2-ways, 16 TCS-081CW 8” 2-ways, eight TCS-20 double 5” 2-ways and eight TCS-215CW double 15” reflex-loaded subwoofers are installed, with control by an LMS-D24 processor and sound from CD decks and DJ mixers.

The system has seen an upgrade this year with the addition of eight TCX-12 two-way loudspeakers and six B-18 subwoofers from the Compact series, powered by Turbosound’s latest DSP-based amplifier: the RACKDP-50, which delivers an impressive 1250 watts at 2 ohms from each of its four output channels.

“SkyBar opens at 8pm each evening and functions as a chill-out lounge with food and background music,” says Agha. “Then at midnight it fires up as a nightclub, with DJ sets and occasional live performances. So the loudspeakers need to be able to cope with a variety of different kinds of music and maintain excellent sound quality at different volume levels.

“Because of our experience with outdoor installations, it was a straightforward task to ensure all the areas were covered adequately and I have had nothing but positive responses. Many people commented on how amazing the sound is for an outdoor venue.”

Turbosound

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Posted by Keith Clark on 09/06 at 11:45 AM
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L-Acoustics Tears Up The Sunset Strip

KUDO and V-DOSC flown at the fourth annual Sunset Strip Music Festival

Each year, West Hollywood’s world-famous Sunset Strip celebrates its rich musical history and influence with the Sunset Strip Music Festival (SSMF), a three-day event featuring dozens of bands performing at Key Club, The Roxy Theatre, Whisky A Go-Go, Viper Room, and House of Blues. But the biggest draw, by far, is the festival’s third day when the city closes off the four blocks between Doheny Drive and San Vicente Boulevard and a number of top-name acts converge to rock two main outdoor stages on Sunset Boulevard itself.

More than 17,000 fans packed the boulevard for the fourth annual street festival on Saturday, August 20 to catch performances from Bush, Public Enemy, Matt & Kim, Escape The Fate, The Dirty Heads, Cobra Starship, Black Veil Brides, She Wants Revenge, Tribal Seeds, and SSMF 2011 Elmer Valentine Award honorees Motley Crue who celebrated their 30th anniversary as the Strip’s native sons.

Swing House Hollywood and BIG Productions coordinated the technical requirements for the outdoor shows again this year, once again turning to North Hollywood’s US Audio and Lighting to supply concert sound systems for the event’s East and West Stages.

According to US Audio and Lighting Manager Brian Murray, the larger West Stage, located in front of Key Club, featured nine L-Acoustics V-DOSC plus three dV-DOSC downfills per side. Low frequency reinforcement was delivered via 11 SB28 subs per side, and all systems were driven by a total of 18 LA8 amplified controllers.

The East Stage, just outside the Whiskey A Go-Go, flew four LA8-powered KUDO per side with a combined total of eight SB28 set up below in two cardioid stacks. Sidefills on each side of the stage were comprised of an ARCS cabinet atop an SB28, while two 115XT HiQ coaxial wedges and an SB28 provided drum monitoring. Furthermore, an impressive total of 14 self-powered 112P coaxial wedges were on hand for stage monitoring as required.

“As expected, the KUDO, V-DOSC and other systems all performed flawlessly at the festival again this year,” says Murray. “Our loudspeaker inventory is now 100 percent L-ACOUSTICS and we absolutely love them for their total reliability and amazing fidelity. With the LA8’s comprehensive limiting and EQ features, I never have to worry about blowing components or getting a bad sound, which I don’t think is even possible with L-ACOUSTICS because we can fly their cabinets without EQing them in a pinch and everything still sounds amazing. I can’t say enough good things about them.”

L-Acoustics
US Audio and Lighting
For more information on the 2011 Sunset Strip Music Festival

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Posted by Keith Clark on 09/06 at 10:01 AM
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Monday, September 05, 2011

QSC WideLine Series Line Arrays Utilized For Wide Range Of Summer Concert Series

“The WideLine is by far one of the best sounding boxes out there. It packs a wallop and doesn’t weigh very much." - Gary Sanguinet, Sound Image

From Southern California to Eastern Pennsylvania, a number of this summer’s concert series sound providers have utilized the QSC Audio WideLine Series line array to meet the sound reinforcement requirements presented by unique and challenging venues.

The Pechanga Amphitheater in Temecula, CA, which ranks among the top Southern California performance venues, hosted headliners this summer including Matchbox Twenty, Lady Antebellum, Alan Jackson, Daughtry and many others.

This 4,500-seat outdoor venue, which features a combination of assigned floor seating, raised seating and bleacher seating. Star Way Productions of Murrieta, CA handles the sound for the summer concert series at Pechanga and chose QSC WideLine-10s to head the system.

“The WideLine system has become the widely accepted choice by the many national acts performing here,” says Austin Hill, senior audio engineer at Star Way. “The system and its components are extremely versatile and handle our shows of every size— from 6 boxes to 60—and we get consistent clean, clear sound every time.” 

Star Way Productions also used the WideLine Series for the annual Temecula Balloon and Wine Festival, featuring two stages, one of which is sponsored by Pechanga. This summer’s system is comprised of: 20 WL2102 boxes per side (left and ight), 10 WL2102 boxes as a center vocal hang, eight WL218-sw subs per side flown, plus 10 WL218-sw subwoofers per side, stacked.

In addition, Star Way deployed six QSC K Series loudspeakers across the lip of the stage for front fill, and finally, QSC Basis to control, what Hill says is “a whole lot of QSC power going on. “

Meanwhile, at Costa Mesa’s Pacific Amphitheatre, the WideLine Series have been in place for the 2011 summer season, with acts like Bob Dylan, Chris Isaak, Steve Miller Band, Melissa Etheridge, Selena Gomez, and Justin Beiber taking the stage. Escondido-based Sound Image has handled the summer concert series here for nearly a decade.

With the Pacific Amphitheater’s 15,000 outdoor spectator capacity stretched across the entire lawn area, Sound Image uses the WideLine Line array for its sound quality, light weight and ability to cover a wide area.

“The WideLine is by far one of the best sounding boxes out there. It packs a wallop and doesn’t weigh very much,“ says Gary Sanguinet, audio engineer at Sound Image. “This is an extremely wide venue and the WideLine is perfect as the center array, because they are low profile and small, and have 140-degree dispersion, so they cover the width that we need as well as the distance.”

On the east coast, WideLine is also the array of choice for Philadephia’s Mann Performing Arts Center. For the past four years, Clear Sound of Yeadon, PA has been providing QSC WideLine-10 Arrays for the summer concert series at the Mann Center.

“We actually got the contract at as the result of a shootout where we put our WideLines against a competitor, and the folks at the Mann Center chose the WideLines,” says Clear Sound owner and president Chris Dietze. “Sound quality and the size were the big factors. The house at Mann has front suspension points which are limited to 1,000 pounds each; the WideLine is the only system that can reach all the seats with good coverage and still meet the weight limit. And they sound great.”

Clear Sound also uses the WideLine-10s for the summer concert series at the Dell Music Center (formerly Robin Hood Dell East), Mann’s sister amphitheatre. An uncovered amphitheatre with fixed seating for 5,000 plus lawn seating for 500, the Dell has featured a number of top acts this summer, with artists like Nancy Wilson, George Clinton, P Funk, Stephanie Mills and the Stylistics taking the stage. As Dietze explains, many of the artists themselves are impressed by the power of the system.

“At the Dell, we always have artists who arrive and expect to see a large PA, and they are looking all around for it. We have to point out where the WideLine is, “adds Dietze. “Then they are always astonished when they hear the sound that comes out of them.”

QSC Audio

The QSC WideLine-10 is a full range 3-way line array loudspeaker system designed for use in a wide variety of venues, ranging from ballrooms, theaters and nightclubs to concert halls, houses of worship and arenas. WideLine-10 features an open, natural sound quality and exceptionally wide 140° horizontal coverage pattern - the widest of any line array system currently available. Both Wideline-10 and Wideline-8 Systems feature QSC’s patented multiple aperture diffraction slot waveguide to achieve their broad horizontal coverage and a nearly ideal vertical line source.

About QSC Audio

QSC Audio Products, LLC is a leading manufacturer of power amplifiers, loudspeakers, signal processing, digital signal transport, and computer control systems for professional audio markets worldwide. For more information, contact QSC Audio Products, LLC, 1675 MacArthur Blvd., Costa Mesa, CA 92626 USA.  Phone: 800-854-4079 (USA only) or 714-754-6175.  Fax:  714-754-6174.  E-mail:  .(JavaScript must be enabled to view this email address), or visit

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Margaret Sekelsky

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Posted by Keith Clark on 09/05 at 01:01 PM
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Understanding Passive Loudspeaker Crossovers

They're passive but not quite so simple
This article is provided by Lenard Audio.

 
Read John’s introduction to crossovers here.

Loudspeaker systems made up of woofer, mid cone and compression driver/tweeter driven by one amplifier are called passive. 

Passive refers to the components (inductor and capacitor) between the amplifier and loudspeakers. These components separate the frequencies so bass goes to the woofer and high frequencies to the tweeter.

The capacitor and inductor can be in simple or complex arrangements. Passive crossovers are effective but not accurate, requiring energy from the amplifier to function (insertion loss) they reduce efficiency of the loudspeaker system and contribute distortion especially at high power.

L Inductor mH—(a coil of wire) limits high frequencies going to the woofer.
C Capacitor μF—(like a small instant re-chargeable battery) limits low frequencies to the tweeter.

A single Inductor and Capacitor (6 dB/octave) are used for cheap 2-way speaker systems but does not give sufficient control to accurately manage quality loudspeakers.

An Inductor and Capacitor shifts phase 90 degrees to the loudspeakers in opposite directions.

Simple passive 2-way 6 dB/octave crossover.

What is an L-pad?
L-Pad is a level control used in passive loudspeaker systems to attenuate (reduce) power to the tweeter in a 2-way system as well as the mid cone in a 3-way system. 

L-pads can be purchased as variable control (single or dual).

Most mid-range cones and tweeters are approx +6 dB more efficient than woofers. Inside the L-Pad is 2-wire wound elements which are arranged to maintain a constant impedance of 8R to the amplifier.

An L-pad can be purchased as a variable control (single or dual). But variable L-pads are for 8R loudspeakers only. For 4R loudspeakers, use a dual 8R variable L-pad with both sections in parallel. L-pads can also be made with fixed values of large wire wound Resistors. For 4R speakers the value of the Resistors is 1/2.

L-pad fire warning: an L-pad adjusted to attenuate power by -3 dB, will allow 1/2 power to the loudspeaker and the other 1/2 power as heat in the L-pad resistors. The Resistors should be as higher power rating as possible. Not less than 20 watts.

How does a 3-way passive crossover work?
L Inductor (mH milli-Henry) approaches being a short circuit at low frequencies and an open circuit at high frequencies.

C Capacitor (μF micro-Farad) approaches being an open circuit at low frequencies and a short circuit at high frequencies. 

The impedance of L and C (expressed as resistance they represent) at any one frequency, is called Reactance, symbolized by the letter X.

This Reactance changes x 2 or 1/2 for each double of half the frequency (6 dB/octave).

The Reactance XL and XC, reduces power by shifting the phase, between volts and amperes (of the signal) in opposite directions. The phase shifting of the signal at the crossover point has to be compensated by reversing connections to one of the speakers or by other means. 

A physical experience of phase shift is being in a motor vehicle that is accelerating or breaking, being thrust forward or backward.

12 dB/octave—A 3-way passive crossover provides effective management of loudspeakers. To extend a 3-way passive system to 4-way the bass (sub-bass) should be active because sub-bass speakers are inefficient and require extra amplified power.

3-way 12 dB/octave crossover with L pads.

Bass (low pass) —The Inductor L1 in series with the bass speaker approaches being an open circuit at high frequencies (6dB/octave). The Capacitor C1 across the bass speaker approaches being a short circuit at high frequencies (6dB/octave). The Inductor and Capacitor combined limit high frequencies getting to the woofer at -12 dB/octave.

Bass to Mid range (band pass)—The second Capacitor C1 in series with the mid range and approaches being an open circuit at low frequencies (6 dB/octave). The Inductor L1 across the mid range approaches being a short circuit at low frequencies (6 dB/octave). The Inductor and Capacitor combined limit low frequencies getting to the mid range at -12 dB/octave.

Mid range (band pass)—The Inductor L2 in series with the mid range loudspeaker, approaches being an open circuit at high frequencies (6 dB/octave). The Capacitor C2 across the mid range speaker approaches being a short circuit at high frequencies (6 dB/octave). The Inductor and Capacitor combined, limit high frequencies getting to the mid range loudspeaker at -12 dB/octave.

Tweeter (high pass)—The Capacitor C2 in series with the tweeter, approaches being an open circuit at low frequencies (6 dB/octave). The Inductor L2 across the tweeter, approaches being a short circuit at low frequencies (6 dB/octave). The Inductor and Capacitor combined, limit low frequencies getting to the tweeter at -12 dB/octave.

Danger: The reactance (X) of L and C, shift phase between volts and amperes therefore reducing power (watts). L and C are in series, and phase is shifted in opposite directions between them. This is called a “series resonant” circuit.

12 dB/octave passive crossover design.

If the loudspeaker is not connected to the crossover, or the loudspeaker has been destroyed (open circuit), the LC “series resonance” without a load behaves as short circuit at the crossover frequency only. The amplifier can easily be destroyed.

At the crossover frequency, XL and XC, must = root 2 (1.414) of the loudspeaker Impedance.

L Inductors may have approx 150 - 300 turns of 1 mm wire.

The resistance of the wire can be between 0.5R - 1R. This can be included in the calculations.

Capacitors may be between 4.7μF - 47μF.

Capacitors should be non-polarized and ≥ 100-volt rating.

Loudspeaker Impedance should be measured at the crossover frequency. The specified Impedance will be accurate for the majority of dome tweeters, bullet tweeters and compression drivers. Most cone speakers will be accurate between 200 Hz - 600 Hz. 

An 8R loudspeaker will be 8R, a 4R loudspeaker will be 4R. But from 600 Hz and above (upper voice), most cone loudspeakers will have a higher Impedance than specified.

—R or Ω, measured in ohms, is constant Resistance over frequency

—XC Capacitive Reactance, measured in micro-Farads (μF), is variable Impedance over frequency. (amperes leads volts 90deg)

—XL Inductive Reactance, measured in milli-Henry (mH), is variable Impedance over frequency. (volts leads amperes 90deg)

—Z Impedance, measured in ohms, is variable Resistance over frequency with any combinations of (R - XL - XC)

Some designers go into extraordinary detail to adjust for the rising Impedance of the mid loudspeaker. Adjustment for this rising impedance does make the crossover technically accurate. This correction has little effect on musical performance and no effect on reliability of loudspeaker or amplifier. Often, only the designer can hear the difference and if you are the designer you can choose to do it.

The Exceptions: 18 dB/octave passive crossovers are essential in professional systems for stopping low frequencies getting into compression drivers. These drivers are expensive and can easily be destroyed with a few watts of power at low frequency. Many of these systems are small, portable 2-way passive loudspeaker boxes (12-in or 15-in and horn).

Passive Crossover Danger: The Reactance (X) of L and C, shift phase between volts and amperes, therefore reducing power (watts). L and C are in series and phase is shifted in opposite directions between them.

This is called a “series resonant” circuit. If the loudspeaker is not connected to the crossover or the loudspeaker has blown up the LC “series resonance” becomes a short circuit at the crossover point. The amplifier can easily be destroyed.

There are many excellent books, web sites and software programs that give precise construction detail and formulas for passive crossover design. But they require good math and basic electronic knowledge.

Magical Passive Crossovers
Passive crossovers of higher order than 12 dB/octave can be made but are difficult to construct.

Most are inefficient and inaccurate, regardless of the academic theory that describes them as being superior. 

The more complex a passive crossover, the more energy is required from the amplifier for it to function. This increases insertion loss which generates distortion that often outweighs the benefits.

Early research, referred to “transient distortion” as the major problem of passive crossovers greater than 12 dB/octave.

Early audiophiles only accepted first order crossovers, claiming this has least effect on coloring the music. Their descriptions were “1st- and 2nd-order crossovers allow the sound to be open whereas higher order crossovers cause the sound to be closed.”

Recent audiophile trends are for very complex passive crossovers, greater than 12 dB/octave that use magical Capacitors. The larger the number of magical Capacitors, the more magical the sound becomes.

These passive crossovers attempt to adjust for time alignment and Impedance variations within each loudspeaker. 

Often only the designer can hear the difference which becomes self perpetuating to justify the design time spent and the cost of magical components. 

In almost every case (there are exceptions) where these magical crossovers are replaced with a straightforward 12 dB/octave crossover, the system springs to life. However active crossovers cannot be generalized in this way.

John Lenard Burnett is the founder of and product designer at Lenard Audio, a design and consulting company specializing in electro-acoustic engineering. He also has created the Lenard Audio Institute, an on-line educational resource.

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Posted by Keith Clark on 09/05 at 12:01 PM
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The Old Soundman: Club Restrictions

Too many boneheads running the board?

Here’s one of those situations that make you wonder about your career choice or where you are in your life path.

Pay close attention, our buddy Brian is showing us how to keep the disgustedness in check and not resort to a brick through the front window of this fine establishment…

Dear OSM:

O.K., try this one out…

Hit me with it, Bri! Let me have it!

You just found out the band you regularly mix for has a gig at a “new” or “never played there before” club…

Surely this is not an unknown experience for you.

So you lock out the night for the gig, then the band calls back and says “uh, the club guy says ‘no outside soundman touches the board’ but you can stand next to him and assist.”

Ah, that’s brutal, Brian! I can see why you’re ticked off. But don’t freak out if I tell you that this is exactly what happens if you and your band go on Conan or Letterman or “The Tonight Show” or any of the 99,000 awards shows.

So in a weird way, what you’re faced with is good training for the big time! Although those broadcast mixers usually have a conscience and spend a little time studying the record.

I’m actually going to have my own awards show next year! It’s going to be called “The People’s Radio Scene Superstar Vibe-A-Thon For Players and Soundpeople.”

All of the servile tools-of-the-manufacturers audio mags are going to cover it, and my co-hosts will be Ann Wilson of Heart, Martha Davis of the Motels and the new chick from Evanescence.

I’m pretty sure she has a “thing” for me! (But don’t tell the Old Soundwoman.)

And I reply, “Did you mention to the club I’m a ‘professional’ and do this for a living, know the band’s material backward and forward, and have special cues for each song?”

Of course your pals did! Didn’t they?

They reply, “Sorry, we get too many boneheads running the board and screwing things up.” (Gee thanks, boneheads.)

Yeah, thanks a lot, boneheads!

So at the gig, I’m supposed to tell the house guy, “O.K., on this next chorus, hit the lead vocal with a 360 ms delay to trail off on his last note, then a big snare hit, followed by a guitar solo… ?”

May I make a suggestion, Brian? Go to this club as a customer one night, and strike up a conversation with the soundman.

Tell him exactly who you are. Have a couple beers with the guy, and tell each other some tales of the soundman life.

Of course, if the club is far from your home, this may not be practical. But if it’s nearby, go ahead and do your best to make friends with this individual who you’re busy demonizing, just as he is demonizing you.

Because, really, we all know he has a point – there are so many boneheads out there running around ruining sonic life for everyone within earshot of their ham-handed hijinks.

But – he is taking it pretty far. After all, he’s not controlling a major network program going out to millions of people every night.

Ahh, forget it – I’d rather stay home and watch reruns of “The Twilight Zone.”

Brian W

Can I come over and watch with you? How about the one with William Shatner as the nut who sees the ape out on the wing of the old airliner?

Yeah, you know exactly what I’m talkin’ about! You’ve now established yourself as a soundman of great taste and discernment.

I’m sure this is only a tiny, momentary stumbling block in your rampage to greatness!

Luv –

The Old Soundman

There’s simply no denying the love. Read more from the Old Soundman here.

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Posted by admin on 09/05 at 10:37 AM
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Single Danley Jericho Horn Provides Venue-Wide Coverage At Montana State University Stadium

A pair of Danley SH-46 full-range loudspeakers provide fill for seats immediately adjacent to the scoreboard

The Montana State University football team first took the field in 1897 and with capacity crowds squeezing into the 12,000-seat Bobcat Stadium in recent seasons, the school funded a plan to upgrade the facility, including the addition of 5,200 seats as well as a sophisticated new scoreboard and a new sound reinforcement system.

The system is headed by a Danley Sound Labs Jericho Horn JH-90, which throws “near-field quality” audio up to 400 feet from its position on the new Bobcat Stadium scoreboard. In fact, the Jericho can deliver up to twice this distance.

The old sound reinforcement system suffered from poor coverage and a noticeably uneven frequency response.

“Before the renovation, Bobcat Stadium was very obviously built on a ‘home side vs. away side’ plan,” says Steven Shewlakow, lead designer at Michael Garrison Associates (MGA), the company that designed the new audio system. “The PA was attached to the press boxes on the home side. It provided coverage both for the home side, which ended up being too loud, and for the away side, which ended up too quiet.”

The university did not want a new distributed system, so before MGA began participating on the project, the only solutions being considered were typical for scoreboard systems: multiple “arrayable” loudspeaker boxes.

“It was very, very far from ideal,” comments MGA principal Michael Garrison. “The available space within the scoreboard cabinet was limited, so no matter how many traditional boxes you could manage to cram in, the lack of coherency and limited maximum output would ensure poor sound quality, inadequate levels and even worse uniformity of coverage.”

“Line array technology could theoretically deliver the desired sound levels and sonic quality,” Garrison continues. “But, besides the fact that there was far too little physical space to contain such a system, there was also far too little budget. Furthermore, though I would not presume to challenge the science behind the much-advertised coherent summation between line array elements, in my admittedly limited experience, I’ve only ever heard a lot of beaming and sonic variation; quite disappointing, especially given the cost of these types of systems.”

Officials from Montana State University traveled to the University of Arizona, where a Jericho Horn demonstration had been arranged, and came back impressed.

“In this industry, there is room for differing opinions and preferences, and I would never claim that our way is the ‘best’ or ‘only’ way to get it right,” says Garrison. “But, we greatly prefer the sonic purity and relative uniformity of coverage that we achieve with true point-source-based loudspeaker systems. Therefore, the unique design of the Jericho Horn definitely intrigued us. And after hearing its performance at Bobcat Stadium, we are convinced that it is inherently a superior solution for stadium and other large format applications.”

Advanced Electronic Designs of Bozeman, led by owner Bryan Robertus, was responsible for performing most of the audio system installation. MGA did the final aiming, setup, programming and tuning.

A single Danley Jericho Horn JH-90 end-fires from the scoreboard to cover both sides of the field, the seating across the field, and the field itself. A pair of Danley SH-46 full-range loudspeakers provide fill for seats immediately adjacent to the scoreboard.

A Lab.gruppen ST6000Q and two Lab.gruppen ST10000Q amplifiers provide audio power, with a BSS London processor providing overall system balancing, as well as time delay settings for the SH-46s, and input mixing. A Danley DSLP48 provides turnkey processing for the Jericho Horn JH-90.

“We had heard demos of the Jericho Horn and we knew it was going to work well,” says Shewlakow. “But it was still impressive to actually hear it in Bobcat Stadium. The coverage was surprisingly consistent, both in terms of fidelity and volume.”

Garrison adds, “Even before we had the system tuned, the head of the athletic department and the other dignitaries on hand were ecstatic about the fidelity they were hearing. The whole experience was great. It turns out that the Jericho Horn JH-90 is a very cost-effective solution. When you consider what it would require from other manufacturers to even approach that level of performance, it’s obvious that any other system would cost way more money and take up way more space.”

Danley Sound Labs

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Posted by Keith Clark on 09/05 at 10:11 AM
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