Tuesday, April 09, 2013
Jersey’s Eastern High School Upgrades Stadium With Community Loudspeakers & DSP
Expanded system includes R-Series, WET Series and iBOX loudspeakers
A recent renovation of the 2,500-capacity outdoor stadium at Eastern High School, in Voorhees, NJ included a sound sytsem upgrade performed by JD Sound and Video of Laurel Springs, NJ and headed by Community Professional R-Series, WET Series and iBOX loudspeakers.
The stadium previously had four Community R-Series model R2-474 loudspeakers on light poles – two at both ends of the home team bleachers. JD Sound and Video refurbished these, usingPolar Focus brackets to re-aim them for optimal coverage.
They were joined by a new pair of WET Series W2-218s on the press box to cover the home-team bleachers, with the original R2s delayed to avoid artificial echoes. JD also added an R2-52 on the press box aimed to cover the visiting team bleachers.
For pep rallies and special events, two weatherized Community iBOX dual-15-in i215 subwoofers were installed under the bleachers to provide low-frequency support for the entire field.
“The original system was better than most high school sound systems,” states Joe DiSabatino of JD Sound and Video. “But now, the coverage is improved and the students love the subwoofers. You can really feel the music.”
Electronics are located in the press box and include a Rane mixer, Shure wireless microphone system and Crown power amplifiers. A Community dSPEC DSP loudspeaker processor was chosen to provide all equalization, delay and loudspeaker optimization.
In addition, JD added an iPod/iPhone input at trackside with a microphone input, volume control and key switch. For practices or simple events, this setup allows coaches or students to operate the system without accessing the main controls in the press box.
Phil Smart, Eastern vice principal of athletics, says the upgraded sound system is better than many college stadium systems, adding that JD was able to aim the loudspeakers to cover the bleachers and field while limiting the spill into the adjacent neighborhoods.
“The new system makes it sound like my announcers went to articulation training,” he said. “The sound is awesome – we’re the envy of South Jersey.”
Hills SVL Group Named To Distribute L-Acoustics In Australia, New Zealand
Group promoting and supporting the full product range
L-Acoustics has announced the appointment of the Hills SVL Group as its newest distributor for the Australian and New Zealand market.
The agreement between the Hills SVL Group and L-Acoustics covers Australia and New Zealand and sees the group promoting and supporting the full product range—including coaxial point source, constant curvature and variable curvature systems, plus amplified controllers—through its seven sales offices and warehouses across the territory.
Don McConnell, Hills SVL Group head of product, comments, “We’re delighted to be involved with such a respected and innovative company. The timing of the agreement is perfect with new products—including ARCS Wide, ARCS Focus and ARCS II—sure to create a lot of interest.
“This, along with respected line source products such as KIVA, KARA and KUDO, and the coaxial range, provides us with a wide yet complementary product offering. We’re looking forward to introducing the full range of products to our customers. We know they’ll be impressed.”
Tim McCall, L-Acoustics sales manager, notes, “We are excited about working with Don and the Hills SVL team to further develop the L-Acoustics brand in both Australia and New Zealand. The Hills SVL Group has a wealth of knowledge, experience and expertise, which, combined with their commitment to support, education and hands-on demonstrations, make them a natural choice for us to work with.
“L-Acoustics has had great success in the local production market thanks to key local supporters and customers, and we believe that working with Hills we can build on that success and replicate it in the contracting market. Together, we can ensure we are closer to the market and respond more quickly to the needs of our customers—both old and new.”
Laure Guymont, L-Acoustics international business supervisor, adds, “It’s clear that, with our products and technologies and Hill’s expertise, this partnership will be a long and successful one.”
Control interface is now fully integrated into the Compass 3.0 software, which supports both Mac and Windows
Meyer Sound has announced Compass RMS, a new hardware and software solution that streamlines the real-time monitoring of the company’s self-powered loudspeaker systems.
Building on Meyer Sound remote monitoring technology, the new Compass RMS system offers the RMServer, purpose-built network hardware that communicates loudspeaker performance data over Ethernet and twisted-pair network.
The control interface is now fully integrated into the Compass 3.0 software, which supports both Mac and Windows. Compass 3.0 also serves as the user interface for the Galileo loudspeaker management system and the CAL column array loudspeaker.
“By providing loudspeaker performance data in real time, remote monitoring is a tachometer that gives users a window to the status of a system. It’s an important tool that helps protect our customers’ investment,” says Luke Jenks, Meyer Sound product manager for loudspeakers. “With its redesign, Compass RMS is giving a significant boost to Meyer Sound’s monitoring capabilities.”
With the control interface moved to Compass 3.0, users of Compass RMS can perform mute, solo, and wink ID functions and monitor more than a dozen parameters much more efficiently. These parameters include peak amplifier power and voltage, average amplifier power, limiting, fan speed, and heat sink temperature. Compass RMS adds the ability to automatically discover RMS-equipped loudspeakers on the network, eliminating most data entry.
Compass RMS is built on the IEEE 1722.1 open standard for communication and control. Using a standard router, Compass RMS can be controlled with a wireless computer or a tablet. RMServer works independently of Compass, and can send emergency notifications via email even when Compass is not connected.
RMServer is backwards compatible with all Meyer Sound loudspeakers equipped with an RMS module. RMS is an option for all loudspeaker models and the MPS-488HP power supply.
To deploy Compass RMS, users should purchase the correct number of RMServer units, download the free Compass 3.0 software, and perform a quick, one-time procedure to set each loudspeaker’s ID code. Each RMServer can connect up to 50 RMS-equipped Meyer Sound loudspeakers or 96 low-voltage loudspeakers using 12 RMS-equipped MPS-488HP power supplies.
Compass RMS starts shipping in May 2013. Visit the Meyer Sound stand F70 in Hall 8.0 at Prolight+Sound for a product demonstration.
Duran Audio Introduces New DDA 3.2 Software Version
Users can now build simple rooms using the 2D geometry builder, well suited for simple setups and touring applications
Duran Audio has released the latest version of its Digital Directivity Analysis software (DDA), a tool to allow sound designers to implement the company’s Digital Directivity Synthesis (DDS) algorithm.
DDS is a technology that uses FIR filters to allow sound designers to control both the near field and far field dispersion of a loudspeaker array. It has been implemented in AXYS Target line arrays and Intellivox arrays. DDS allows users to electronically aim the sound where they want it—at the listener and to excite the audience, not the room.
More than a dozen years later, Duran Audio continues to deliver AXYS Intellivox, Target and Beam Shaping subwoofer products that make use of this technology.
DDA was originally developed to generate the FIR filters required to synthesize the correct dispersion from an Intellivox or Target array. Now, DDA is a full 3D modeling and prediction environment which is intuitive and user friendly and has features to suit both lesser and more experienced users.
The prime function of DDA is to allow designers to define and visualize the directivity of their arrays; aiming the sound where they want it (at the audience) and avoiding those areas where they don’t want it (reflective back walls, etc.).
DDA also allows users to visualize and predict direct SPL, total SPL, D/R ratio, STI and delay spread. And for those wishing to carry out “Ray Tracing” using AXYS products, DDA allows exporting the directivity files to CATT Acoustic or ODEON.
Previously 3D room models could be imported into DDA from Google SketchUp, CATT Acoustic or Odeon. In new DDA 3.2, users can also build simple rooms using the 2D geometry builder, well suited for simple setups and touring applications.
In addition to the new 2D geometry builder Duran Audio has also been doing some work “under the hood” of the DDS Algorithms to improve directivity control and reduce the latency of DDS products.
The latest version of DDA will be on show at Duran Audio’s booth at Prolight & Sound 2013 in Frankfurt and is available to download from the company website (link directly below).
Harman Professional Names Mark Gander Director Of JBL Technology
Responsible for driving the growth of the Harman intellectual property portfolio
Harman Professional has appointed Mark Gander to the position of director of JBL technology, a newly created role where he will be responsible for driving the growth of the Harman intellectual property portfolio and supporting Harman’s technology leadership in the professional loudspeaker market.
Gander joined Harman in 1976 as a transducer engineer and has subsequently held key product engineering and marketing positions within JBL Professional and the Loudspeaker Strategic Business Unit.
He has held various executive and engineering positions of increasing seniority and responsibility over the course of his distinguished career, and is responsible for the design and development of some of JBL’s most significant loudspeaker technologies and products.
Mark Gander holds a Bachelor of Science from Syracuse University (Audio Technology) and a Master of Science in Electrical Engineering from Georgia Institute of Technology with a multidisciplinary certificate in Acoustical Engineering. He is a Fellow of the Audio Engineering Society, a past Governor of the AES and InfoComm, and a member of the ASA, SMPTE and IEEE.
“Mark Gander is a professional audio icon whose expertise and association with the JBL Professional brand is invaluable,” says Bryan Bradley, vice president, GM Loudspeaker Business Unit. “In this new position, we will rely on Mark to apply his experience and expertise to areas that are crucial to JBL’s success.”
“In my 35-plus years with JBL, I can attest to JBL’s commitment to innovation and creativity, which is a tremendous source of pride for me and something that I look forward to continuing to contribute to in this new position,” Gander states. “I truly believe that we offer the most comprehensive range of products including the most significant innovations for the widest range of customers in the industry and I welcome these new responsibilities as JBL continues to drive the state of the art for loudspeaker technologies.”
Snider Foundation Rehabs Philly Ice Rinks With Community R-Series
Ed Snider Youth Hockey Foundation upgrades Philadelphia ice rinks with Community R1 loudspeakers.
In November of 2008, Philadelphia Mayor Michael Nutter announced that the Ed Snider Youth Hockey Foundation would take over operation and programming at three Philadelphia ice rinks that were targeted for possible closing amid the city’s budget troubles.
Snider founded the Philadelphia Flyers hockey team and is chairman of Comcast-Spectacor which owns the Flyers.
With help from the Snider Foundation, the Scanlon, Laura Sims, Simon and, later, the Tarken ice rinks have received major renovations. The rinks are now fully enclosed, operate all year and include locker rooms and computer labs.
As part of the renovations, local A/V contractor, Bruce Johnson of A.V. Rental Services, Inc., installed new sound systems with Community R1-94 loudspeaker systems. “The acoustics are horrible,” Johnson said, “but the system is awesome. Everyone can understand the announcements; the coverage is good everywhere and the music sounds great.”
Dave Howden, Community’s Director of Technical Services, says the R1s were a good choice for these ice rinks because, as an outdoor loudspeaker, they can stand up to the humidity and temperature of an ice rink.
In addition, the R1s have pattern control below 500 Hz which helps to minimize echoes and reverberation. Johnson devised custom brackets to work with the R1’s standard u-brackets and to mount the loudspeakers to the open steel framework of the buildings. The systems in all four ice rinks were designed for simple operation with a Shure mixer and microphone and music inputs.
About 2,500 inner-city kids play hockey in leagues at the rinks under the Snider Hockey Program. The program puts each child on the ice three to six days a week. Each child spends about an hour on the ice and 30 minutes each on homework and “life skills.”
96 percent of participants graduate from high school. In addition, the rinks are open two or three evenings each week for school hockey games and scrimmages. Johnson says he is proud to have played a part in this very successful program.
VUE Audiotechnik Appoints Doug Green To Expand Distribution Across Europe, Middle East & Africa
Brings more than 25 years of professional audio experience to VUE
VUE Audiotechnik has announced that DGC Worldwide, the professional audio business development consultancy owned by Doug Green, has been retained to build and manage a new distribution network for VUE Audiotechnik throughout the EMEA territories.
Green brings more than 25 years of professional audio experience to VUE, having held key executive sales and strategic business development positions at Harman Pro, TC Group, TOA US, and DMX Music. Green also worked in product management for Lab.gruppen, and managed his own U.S.-based systems integration firm after several early years as a live sound and recording engineer.
“The VUE team brings a level of experience, enthusiasm and creative innovation to the pro audio community that I’ve not seen in a very long time,” Green states. “It’s a mindset, and a commitment that I believe is particularly valid in today’s pro audio market, and I’m looking forward to using these principles as the benchmark while we build a world class distribution network.”
Jim Sides, executive vice president at VUE Audiotechnik, adds, “Doug’s track record for building and managing highly-effective sales organizations is without question. His expertise will help us to meet the growing demand for VUE products across the EMEA countries, while delivering a high level of customer support through knowledgeable, localized representation.”
Green begins immediately and will coordinate efforts on behalf of VUE from his home base in Sweden.
Behringer unveiled today the latest addition to its EUROLIVE family, the ultra-compact B1200D 500-Watt active subwoofer.
Behringer unveiled today the latest addition to its EUROLIVE family, the ultra-compact B1200D 500-Watt active subwoofer.
Based on the company’s highly successful B1500D-PRO and B1800D-PRO models, the B1200D is ideal for small to mid-sized venues, or mobile DJs and musicians who want to add massive bottom-end to existing full-range speaker systems via a more compact, easy to transport subwoofer.
Powered by a 500-Watt Class-D amplifier with comprehensive LF extension, thermal and clip limit protection, the B1200D features a high-efficiency, Class-D amplifier that not only significantly reduces overall weight, but provides the same dynamic punch and fidelity typically associated with much larger, more expensive systems.
A built-in active stereo crossover provides high-pass filtered outputs for full-range loudspeakers and an internal limiter provides woofer protection. The B1200D features balanced XLR inputs and outputs, as well as balanced XLR Thru jacks for connecting additional enclosures.
A Boost Frequency knob lets the user select any frequency from 45 - 90 Hz. Then, much like a “mini-parametric EQ,” engaging the Boost switch augments the selected frequency by +10 dB.
Also provided is a High Cut filter that controls the upper-corner frequency for the internal amplifier and a Level knob, which controls input gain. A Phase switch reverses the output phase for proper alignment between the B1200D and satellite speakers.
Power, Signal, and Clip LEDs show operational status at a glance for perfect monitoring. Behringer designs and manufactures all their own transducers in-house—including the powerful 12-inch long-excursion, low-frequency transducer found in the B1200D.
The EUROLIVE B1200D is covered by Behringer’s 3-Year Warranty program, is expected in U.S. stores in Q2 2013 at an approximate street price of the B1200D is $399.99 ($799.99 MSRP).
Solving the problems to produce bass devices that sound good and go really loud
It’s pretty easy to build a big woofer box. Making one that sounds good is not so easy. Making one that sounds good AND goes really loud is much more difficult. Add touring requirements to the mix—easy stacking, easy flying, moderate weight, good shape for truck pack—and it’s easy to see why there aren’t many good concert woofers available.
This note describes how I try to solve these problems in my designs.
Here’s what I think is an appropriate performance specification for a first-class concert woofer:
click to enlarge
This spec is for ordinary rock and popular music touring applications. For heavy techno and hip-hop, the lower frequency limit should be reduced to 35 or even 30 Hz.
You’ll notice that the spec gives quite low distortion values. We need ultra low distortion bass to avoid spraying ugly harmonics over the whole lower half of the spectrum, from 1 kHz down. High-distortion woofers mask and color the sound well into the midrange. For most applications, that’s not helpful. For the full rant on this topic, see Good Bass.
Maximum Acoustic Output
In the table above, I rate maximum acoustic output in acoustic watts rather than the way loudspeaker output is usually rated, as dB sound pressure level at a distance of 1 meter. The reason I use acoustic watts is that when you’re talking about large arrays of woofers sending bass all over the room, the idea of SPL at 1 meter doesn’t seem too helpful. This is especially true since the directionality of the bass arrays is strongly dependent on box arrangement and delay settings.
Maximum acoustic power output as a function of frequency is sometimes referred to as Power Bandwidth. It describes the total amount of bass energy the woofer puts out into the room, without without regard for coverage pattern.
By looking at a woofer system’s power bandwidth, you can get a good idea how it’s going to sound when things get loud. Most of the time, when the power bandwidth spec is very different from the low-level frequency response spec, it’s the power bandwidth that determines the perceived sound quality.
A Common Power Bandwidth Defect
Power bandwidth is not something that appears in many spec sheets. Usually what’s specified is low-level frequency response. That may be because the power bandwidth specification of almost every woofer looks worse than its low-level frequency response—in some cases, a lot worse. For example, here’s a graph that predicts the power bandwidth of a hypothetical double-18-in woofer, tuned for good frequency response down to about 40 Hz. For this example, I’ve chosen premium-quality 800-watt 18-in woofers worth about $800 each.
click to enlarge
The two curves show output at 1 watt and 750 watts per speaker. 20 Hz is at the left-hand edge of the graph. The left-hand axis is acoustic power output in dB above (or below) 1 acoustic watt. 0 dB is 1 acoustic watt. The blue-green parts of the upper curve indicate regions in which the loudspeaker’s output is limited by maximum cone travel.
This box has been designed for good performance at low levels, but not for good power bandwidth. The port is tuned to 35 Hz, which gives nice low bass extension. However, when things get loud, the port can’t help the woofer enough at 50 and 60 Hz. The cone moves too far, output drops, and distortion rises - a lot.
What would this woofer sound like? It would sound nice and warm and bottom-y at low levels. At high levels, though, it would sound like a big, unmusical air-blast generator. It would create lots of wooly distortion that gave some illusion of bass, but masked all the lower midrange detail of the program. In a typical stacked array, it would squirt a narrow beam of distortion forward, producing an unnatural, “bonky” sound for listeners in front of the stack. I would call it a whuffer or maybe a whonker or whacker, but definitely not a woofer.
How typical is this example? Are badly tuned woofers like this really out there? Yes. A surprisingly large number of products exhibit this problem. It’s one of the most common causes of bad bass with vented-box systems.
This sort of mistuning isn’t the only power bandwidth defect we see. In general, many concert woofers operating at high power exhibit one or more of the following problems: —Blurry sound and/or chuffing noise from air turbulence in cabinet ports. —Severe output limiting in the extreme low frequencies, due to energy losses (“port compression”) in cabinet ports. —General compression (thermal compression) and lack of impact at high levels, due to excessive voice coil heating. —Nasty droning or honking sounds emanating from cabinet ports. —Rough, distorted tone quality. —And more.
Kinds of Woofers
In the audio world, there are many woofer box styles, but only about four of them are usable for concert touring. These are:
Although capable of high output, these have so many artifacts that it may be impossible to get them sounding right.
click to enlarge
While often rough-sounding for subs, these can be very musical when used for upper bass, above 80 Hz - as Jasonaudio did very successfully a long time ago (in a galaxy far, far away, etc.) .
These can work well quite well with the high-power, high-linearity transducers available now, as long as port turbulence is looked after - which it isn’t in many designs. In fact, port turbulence is a big issue, even with medium-power designs. To avoid turbulence, a port should be round or square (not a narrow slot or a triangle), should have a large cross-sectional area, and should have gently rounded corners at both entry (i.e. inside the box) and exit (outside the box). A single large port is better than two smaller ports. The idea is to keep port air velocity down (hence the large area) and minimize the moving air’s contact with sharp corners and other shapes that would cause irregular air movement.
Unfortunately, shapes such as these aren’t easy to accommodate in typical subwoofer box designs, where almost the entire frontal area is usually taken up by speaker cones. You’d think that putting the port on the rear of the box might be a solution, but rear ports don’t work very well in sound reinforcement applications, particularly for large arrays.
Large ports require long ducts to get the box tuned to the right frequency. Longer ducts take up more interior space, too, so the box has to have a larger cubic volume. What’s more, long ducts tend to act like organ pipes, and exhibit resonances in the 400 Hz to 1 kHz range. Such resonances are excited by nearby speakers and by distortion harmonics from the subwoofer transducers themselves. When they occur, they tend to give a blurry, unmusical, and sometimes wooly quality to the lower midrange - and there’s no way to equalize them out.
Some very powerful and musical double-chamber bandpass designs (ported chambers both behind and in front of the transducer) have been fielded in recent years. Some very bad ones - boomboxes - have been offered as well.
Box rigidity is a huge issue with today’s high-power designs. Wall thickness, wall material, and internal bracing are all critical issues for best sound. It’s not as easy as it looks.
Jeff Berryman served as the director of Jasonaudio, a touring sound company based in Canada, and is a senior scientist with Electro-Voice.
Ever had a comment from a worshipper, whether positive or negative, regarding the live sound experience – and it differs totally from what you thought you just heard and mixed?
Large room acoustics (particularly room modes), loudspeaker selection / orientation / optimization, audience size and participation, and several other factors all contribute to the fact that the live sound experience is different in every seat in your worship space.
If it is a great room with proper system design and installation, those variations may be minor. In many instances, they are not minor.
Either way, they do exist, and the FOH mixer must realize that he or she is only listening to (and mixing to) one position’s perspective when standing behind the mixing console.
During worship, only one of all those factors is under his control – the mix. The best the mixer can do is understand the other factors and learn to mix within that particular environment.
There are some worship facilities where consistency has been achieved across most of the audience area through excellent design and integration…but for the vast majority of venues, it’s one thing to create a brilliant mix for the mix position and another thing to translate that across the whole house.
So it is critical to walk the audience area whenever possible to hear the perspectives of the audience areas (especially if there is a trustworthy A2 to drive the console for a few minutes at a time). Tonality may be noticeably different in some locations.
For instance, it may be discovered that the majority of the house hears a little more bass thump than the mix position does. The mixer that notices this can take it into account in the mixing process. That would never be noticed, and compensated for, without walking away from the mix position.
In addition to tonal variations, it is not uncommon that loudness changes with position as well. If the loudest locations are in the front rows, that may be ok.
Wouldn’t even the least technical worshipper expect a bit of a louder experience when choosing a front row seat? Consider that the overall worship level should be mixed for the loudest location in the house. If that is not the mix position, then periodic walks are necessary to ensure excessive loudness does not occur at any seat (or the complaints that follow).
If the mixer can only walk the house during sound check or review, ok. If he can walk the house discreetly during the live service, even better. Not only does the presence of the audience acoustically affect the result, but an audience participating in corporate worship (singing) markedly affects the overall sonic experience.
For this author, nothing replaces the value of briefly walk-checking the house during the live worship mixing experience.
The varying parameters discussed above, within which we must operate, are mostly results of room design and system design or optimization missing their marks.
But rather than blame those factors, learn them, and mix around them.
If they are to be addressed and improved, that is for another time (and is off topic here).
So, next time you receive a comment regarding the sound experience in worship, whether positive or negative, make sure you ask where the person was sitting.
That can help greatly in understanding and interpreting various perspectives.
And for those mixing on a “stereo” or other multi-channel format PA, here are a few additional tips:
Imaging and Localization
The majority of PA systems in our nation’s churches are not stereo, including a number that are actually described as such. Some claiming to be of the stereo format are actually mono, dual mono, or something else.
Successfully implemented stereo and LCR (left-center-right) systems are wonderful and, while the definite minority, are slowly becoming more common in the worship community.
But whatever the format, if you mix worship on a PA system where the “pan-pot” control on your console does affect the positioning of the sources in some way, even pseudo stereo or some other multi-channel format, it becomes incredibly important to walk the entire house while considering imaging and localization.
For instance, what happens if you pan the floor tom “hard left”? Do all the seats hear it hard left from their perspectives, or from some other direction?
Do they hear it at all?!
Walking the house is no longer just for level, tone, and balance checks.
Good imaging in a mix can be a splendid enhancement for the worshipper. But mixing multi-channel sound reinforcement requires knowledge of how imaging is being conveyed at every seat in the house.
Localization should be carefully preserved (the brain naturally wants to hear and see a source from the same direction).
For instance, an interesting stereo effect created (and listened to) at the mixing booth may be impressive - but may also be a sonic disaster at other locations in the house! Know your system.
On a multi-channel PA system the mixer has some control over image and this comes with added responsibility (and by the way, multi-miking tricks take on a new role).
Just as with loudness and tonal variations, walking is the way to understanding how panning decisions are translated to the majority of listeners.
Bob McCarthy Returns To Meyer Sound As Director Of System Optimization
Will be a part of the R&D department with a mission to advance networked audio solutions
Meyer Sound has appointed Bob McCarthy to the newly created position of director of system optimization.
An international authority in sound system design and optimization, educator, and published writer, McCarthy will be a part of the R&D department with a mission to advance networked audio solutions. In addition, he will remain an active instructor in the Meyer Sound education program, and support the design and commissioning of new Meyer Sound installations.
McCarthy’s work with Meyer Sound began long before joining the company full-time as director of system optimization. He was one of the earliest users of Meyer Sound products in the 1980s, and has been a pivotal figure in the development of all three generations of the SIM source independent measurement system.
In the mid 1980s, he taught the first “SIM School” which later evolved into the Meyer Sound worldwide education program. McCarthy’s book, Sound Systems: Design and Optimization (Focal Press, 2006), is considered a definitive work in audio education.
“Bob has played many roles with Meyer Sound in the past three decades,” says John McMahon, executive director of operations & digital products. “As he returns as a full-time employee, he’s bringing with him an unmatched wealth of audio knowledge and experience with Meyer Sound systems. This is great news for our R&D department as well as our many customers who count on Meyer Sound solutions to tackle the most difficult acoustic challenges.”
An independent audio consultant for more than 15 years, McCarthy has built a rich project portfolio. Installations he has worked on include stadiums and arenas such as Ohio State University and SBC Arena in San Antonio, Texas; performance halls such as Harpa concert hall in Iceland, Orchestre symphonique de Montréal, and Arts Centre Melbourne; five of the world’s largest theme parks; and more than 10 Cirque du Soleil productions.
“It’s a privilege to join a company that is shaping the future of sound reinforcement,” says McCarthy. “From building loudspeaker systems with dedicated Control Electronics Units (CEUs) in the late 1970s to now integrating room optimization and audio distribution, Meyer Sound has always been at the forefront of building total systems. By working in the field with other users of Meyer Sound equipment, I aim to further our understanding of complete system implementation to benefit our R&D and education efforts.”
Line 6 StageSource & StageScape A Great Fit For Mobile Church
Plenty of capability and scalability for the church's numerous applications
Casa de Oracion de Fullerton, a Disciples of Christ church in Southern California, faced several challenges when it came to upgrading its sound reinforcement.
Because the congregation meets in a shared space, they needed a solution that would provide easy and quick setup, great sound quality and, above all else, an increase in clarity and coverage. According to church chairman Jose Vazquez, the congregation found a solution to these needs with a Line 6 StageScape M20d mixer and StageSource loudspeakers.
Three separate denominations share the same sanctuary in Fullerton, each providing its own sound system. Casa de Oracion offers a contemporary music presentation with drums, bass, electric and acoustic guitar, keyboards, and up to five vocalists. The combination of StageSource loudspeakers and StageScape mixer offers the right blend of portability, power and truly superior sound quality.
“First, we did a demo of the speakers. We tried several brands, but Line 6 sounded the best. We bought two of them, because they were such a big improvement compared to our old system,” says Vazquez. “We got lots of compliments. Then the people from Jim’s Music in Tustin, CA came out and demonstrated the M20d mixer. We liked everything about it, with the touchscreen control and easy, digital scene recall. It also had more channels than the little mixer we had before, plus it can be controlled from an iPad. That was important to us.”
The church invested in the StageScape M20d mixer and added two more loudspeakers: one L3t for use as a monitor, and one L3s subwoofer. When he set the system up for the first time, Vasquez grasped the total capabilities and scalability of the Line 6 system.
“The mixer knows what speakers are plugged into it, and how they are being used—subwoofer, for PA or for monitors,” he notes. “And the scene even tells you what channels to plug the instruments into. That is very convenient when you only have a half hour to set up. It also has automatic feedback control. But the best part is how easy it is to get a good mix.”
StageScape M20d offers a full-color touchscreen interface that enables users to quickly and easily increase qualities like brightness and clarity. “You hear the result instantly when you drag your finger on the screen, which makes it much easier for somebody who doesn’t use a mixer very much,” says Vazquez. “For me, learning to use the system was very fast, and having different scenes set up and ready for different services and events is a big help.”
The free iPad app and integrated multi-track recording functionality also appealed to Casa de Oracion. “Our mixing position is not in the sanctuary, so it is very hard to know what the mix sounds like in the audience. The StageScape iPad app lets me do all my adjustments from inside the room, with no need to run a snake through the room. That is a big improvement for us,” says Vazquez. “And to record our services is something we did not think we could get with our small budget. But all you need is an SD card, right inside the StageScape mixer. Push one button and you can record everything.”
According to Vazquez, the upgrade to the Line 6 StageScape M20d digital mixer and StageSource loudspeakers has been a total success. “For a growing church like ours, this is an excellent product. Everything is very fast to set up, very easy to use, and the sound is a big improvement over our old system. We are very pleased with the Line 6 sound system.”
Bose RoomMatch Loudspeakers Control Sound For Austin’s Cedar Street Courtyard
Venue in the nation’s live-music capital was set to clash with its residential neighbors, but Bose’s highly configurable RoomMatch system was able to provide extremely precise pattern control for great-sounding audio
In the weeks leading up to the opening of the Cedar Street Courtyard music venue in Austin, Texas, the venue was already drawing noise concerns.
Due to its close proximity to residences and other establishments, Cedar Street Courtyard was looking for a system that would minimize the problem. RoomMatch loudspeakers and PowerMatch amplifiers from Bose Professional Systems Division were able to solve these issues by controlling the sound with extraordinary precision.
Nashville-based consultant Steve Durr was called in to recommend a sound system whose sonic quality would keep it competitive with the city’s many other music venues, while at the same time keeping the sound highly controlled, away from reflective surfaces, and keep the energy channeled within the venue and away from neighboring residences.
The Bose technology was exactly what was needed. Big House Sound was selected to install the system, which consisted of four RoomMatch loudspeakers: one RoomMatch RM7020 and RM7040 array module per side, each chosen specifically for the Cedar Street Courtyard’s dimensions, along with four Bose MB24 WR (weather-resistant) Modular Bass loudspeakers, all powered by three PowerMatch PM8500 amplifiers, all delivering 500 watts to each of their eight channels.
“The results were amazing,” observes Zach Richards, Director of Installation at Big House Sound. “The sound inside the outdoor music space is perfectly aimed at the audience and away from reflective surfaces that would let it spill out into the surrounding area.
“The situation that this venue, this neighborhood, and this city found itself in is what made the Bose system a good solution. There are lots of new areas popping up where you now find clubs and homes in what was once a warehouse district, so there have to be ways to let them coexist. That’s what the Bose technology does – it lets us build a system that can help contain the sound without compromising its quality.
“The low-frequency control approach that Bose uses, along with the choice of 20 very specific coverage patterns in the RoomMatch line, lets us tailor the sound system to the venue very precisely. That means we can control the sound very effectively, and not just in the upper frequencies but well down into the mid-low frequency ranges.
“The Bose RoomMatch systems are incredible tools for the sound control and noise mitigation issues that are becoming increasingly common in cities, and especially in areas where you can have music outdoors 365 days a year, like Austin. Cedar Street Courtyard is now a flagship example of how this can be made to work in a way that helps make everyone happy.”
The Bose RoomMatch series offers a progressive directivity array which provides both concert-quality sound for live music and clear vocals for spoken word, with tonal balance consistency for installed sound systems.
The full-range modules are available in 20 different combinations with horizontal coverage patterns of 55, 70, 90 or 120 degrees, and vertical coverage patterns of 5, 10, 20, 40 or 60 degrees.
The progressive directivity array offers the ability to vary both the horizontal and vertical coverage patterns for each module in the array based on the room dimensions. More precise coverage control helps sound system designers ensure good intelligibility with spoken-word program material, especially in reverberant rooms, as well as the best possible tonal balance throughout the listening area.
Adamson Systems Adds Brian Fraser As Applications Engineer
Brings more than a decade of experience working in the live, touring and installation markets to the company
Adamson Systems has announced the addition of Brian Fraser as applications engineer, based at the company’s headquarters in Port Perry, Ontario, Canada.
Fraser brings more than a decade of experience working in the live, touring and installation markets to Adamson, with experience in production management, front of house, monitors, technical sales and support.
He’s worked in a broad range of environments, ranging from small clubs to arena-size venues with artists such as Lynyrd Skynyrd and Rick Springfield.
Adamson Systems VP Jesse Adamson states, “Brian has a wealth of hands-on experience in the industry. We brought him on because of his ability to navigate through complex technical proposals with very clear and pragmatic direction. He will be a strong technical addition to our team.”
“I’m pretty excited to be a part of the Adamson team,” Fraser notes. “They are a dynamic, energetic organization that strives to build technology that is second to none. Most engineers know that the Energia series is very high-performance, but I’m also looking forward to getting the new Point Concentric series out there. These cabinets sound amazing and can cover such a wide variety of applications.”
2013 Winter Jam Tour Sells Out With Meyer Sound MILO
This year’s Winter Jam Tour has had upwards of 300,000 attendees and sold out 23 arena shows to date. Headlined by TobyMac, the 10-artist, 44-city concert tour is powered by a potent system built around the Meyer Sound MILO® line array supplied by Blackhawk Audio of Whitehouse, Tenn.
This year’s Winter Jam Tour has had upwards of 300,000 attendees and sold out 23 arena shows to date. Headlined by TobyMac, the 10-artist, 44-city concert tour is powered by a potent system built around the Meyer Sound MILO line array supplied by Blackhawk Audio of Whitehouse, Tenn.
Winter Jam serves up a wide range of music styles—from the dub step of the Capital Kings to the acoustic pop of Jamie Grace, the guitar rock of Red and the rap of headliner TobyMac.
“It’s a challenge for the PA because you can’t simply tune it for a certain style,” says Jerry Holcomb, production manager and one of the FOH engineers on the tour. “Fortunately, the Meyer system shines on all of them. It’s a very musical PA at any level. It doesn’t have to be loud. The lighter bands early on all sound great, and by the time TobyMac comes on it’s still very high fidelity—only much louder.”
The tour’s main front arrays are 14 MILO loudspeakers each, with seven more MILO loudspeakers flown per side as out fills. Although an end-stage configuration, seating is sold behind the stage, so two additional exploded point-source clusters with 10 MSL-4, two CQ-1, and one CQ-2 loudspeaker each are rigged for rear coverage. Front and side fill is assigned to four UPA-1P and four JM-1P arrayable loudspeakers, with bass punch delivered through 20 700-HP subwoofers. A Galileo loudspeaker management system with two Galileo 616 processors ensures fast and accurate system tuning.
“Nearly all of the shows are back-to-back one-nighters, and they open the doors at 4:30,” says Jamie Nixon of Blackhawk Audio. “That means the system has to get up and get tuned fast. The self-powered Meyer system helps because there are no amp racks to hook up, and Galileo loudspeaker processing has all the tools for dialing in the sound as fast as possible.”
Holcomb and four other FOH engineers mix behind an Avid Profile console, with another Profile at work in monitoring. The wireless systems are all from Shure, with PSM-1000 systems for in-ear monitors and UHF-R for the handheld microphones.
Sponsored by World Vision and presented by Newsong, the tour also features Matthew West, Newsong, Sidewalk Prophets, Royal Tailor, Jason Castro, and OBB plus an inspirational message from Nick Hall. The tour
schedule lists 44 arenas with venue capacities from just under 9,000 to over 20,000.
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