Wednesday, December 03, 2014
Concert Quality System Headed By d&b audiotechnik For New Arena In Russia
True concert system vital to attract international artists by cutting complicated, expensive production transport
The new Fetisov Arena in Vladivostok, Russia has been outfitted with a concert-quality sound reinforcement headed by d&b audiotechnik loudspeakers. The 7,500-capacity venue is home to the Admiral ice hockey team and also regularly hosts concerts and exhibitions.
“Like all such buildings, the Fetisov has poor acoustics and although the house system works well for hockey games, it’s simply not acceptable for concerts,” explains Boris Kosyakov, head of Accord, the company charged with developing comprehensive sound and lighting systems for the arena. “It’s easy to say the venue managers wanted a concert PA system of the highest class – who wouldn’t?
“But in this case it’s especially important,” he continues. “Because of the geographical location, the only way it’s possible to attract truly international artists to Fetisov is for them to arrive without the encumbrance and expense of bringing in full production.”
Kosyakov had extensive acoustic modifications made to the building fabric but was still not happy, and so brought in audio consultant Alexander Ashurkin of Stage Pro to advise.
“The neutral crystal clear sound, ease of rigging, and system tuning make d&b audiotechnik systems an ideal choice,” says Ashurkin, who’s the largest equipment rental provider in the region. “I pointed Boris in the direction of Alexander Soloukin from the pro audio department at Aris, the d&b partner for Russia.”
Soloukin states: “With a relatively small audience capacity for a sports arena, the potential revenues from concerts at Fetisov would never be huge, so budget was an important criteria when we made our appraisals. Ironically the tight acoustic confines of the venue proved an enabling factor.
“A design based on the d&b J-Series for main system with V-Series for front and out fills provided all the power and fidelity the venue required; the pattern control of the system is so consistent we were able to model the audience area with the minimum of loudspeakers,” he continues. “The cardioid performance of the J-SUBs and J-INFRA being especially helpful in not projecting audio energy where it was not wanted.”
Kosyakov concludes: “Believe me, the people of this remote part of the world are not easily swayed, yet even with no audience present, the performance was frankly astonishing. The system proved so efficient that surplus budget was left for Aris to supply DiGiCo desks and beyerdynamic microphones.”
Tuesday, December 02, 2014
Jean Mullor Appointed New CEO Of NEXO
Trained as a lawyer, Mullor brings considerable management experience to the position
Jean Mullor has been named as the new chief executive officer of NEXO, taking the reins from Yoshi Tsugawa, who guided the company for the past three and a half years and is now returning to Japan to take up new responsibilities as the general manager for band and orchestra products in the MI & Audio Sales and Marketing Group of Yamaha Corporation.
Mullor comes to NEXO from Yamaha Music Europe, where he has spent nearly four years as managing director of the French subsidiary, in charge of the domestic distribution of musical instruments, commercial audio products, audio/video products and music school network development.
Trained as a lawyer, Mullor brings considerable management experience to the position. A passion for music has taken him from petrochemical company Mobil to Yamaha Corporation, joining the branch in 1992. Over the years, he’s augmented his legal expertise with HR, logistics, finance, sales and marketing experience.
“It’s a remarkable opportunity to join a company that has a 30-year record of technical achievement and an industry-leading reputation,” Mullor states. “With its flagship technology making inroads at the very top of the international market, and a slate of new products scheduled for release, these are exciting times for NEXO, and I’m looking forward to being part of its talented team.”
Yamaha Commercial Audio
WorxAudio Debuts XL3i And XL3T Line Array Systems
Combined, three XL3i/XL3T modules create a 38-degree vertical system with a broad horizontal dispersion of 150 degrees
WorxAudio Technologies has introduced the new XL3i (installation) and XL3T (touring) line array systems, the latest addition to the TrueLine Series. (WorxAudio is a division of PreSonus.)
The new XL3i and XL3T provide throw capability that mark a departure from conventional line array systems of this size and class.
Combined, three XL3i or XL3T modules create a 38-degree vertical system with a broad horizontal dispersion of 150 degrees, dispersion characteristics that make them well-suited for a wide range of sound reinforcement applications.
XL3i and XL3T line array systems incorporate three modules, each with a large-format compression driver with a 3-inch diaphragm and 1.4-inch exit coupled to a stabilized proprietary FlatWave Former (waveshaping device) that delivers high frequencies over a predictable and controlled coverage area.
The compression drivers are paired with dual 8-inch cone transducers coupled to the Acoustic Intergrading Module (A.I.M.) to minimize cone filtering and provide a fully balanced sound with a 55 Hz to 20 kHz (-3 dB) frequency range.
XL3i and XL3T enclosures are made of sturdy, multi-ply Baltic birch, heavily braced for cabinet rigidity. Protecting each enclosure is a multi-layered, two-part, polyurea ProTex finish, available in black or white. A 14-gauge, perforated, cloth-backed, powder-coated steel grill with high transmission ratio protects the transducer complement.
The system’s included EASE Focus aiming software incorporates all critical parameters, including weight, distribution, and rigging points, and provides a single-step “Auto Focus” process that details the optimum angle at which to suspend the enclosure using custom-designed TrueAim flyware.
WorxAudio Technologies’ PMD-2580 digital power amp is designed expressly for XL3i and XL3T loudspeaker systems. Housed in the rear of the enclosure, it delivers 2,500 watts for the low frequencies and 800 watts for the highs. The amp has twin digital program processors, a mute switch for each output, detented volume control, an XLR transformer with isolated I/O, and AC PowerCon switchgear I/O.
According to Hugh Sarvis, PreSonus managing director/loudspeaker division, “The new XL3i and XL3T are compact, high performance loudspeaker systems that offer a broad coverage pattern and, with the new large format compression drivers, are ideal for larger venues where higher SPLs are essential. With a clean, unobtrusive appearance that blends seamlessly into a broad range of environments and first-rate components that deliver outstanding audio quality, I’m confident these systems deliver the performance and value today’s sound reinforcement professionals are looking for.”
The new WorxAudio XL3i and XL3T line arrays are available now. Expected U.S. MSRP—XL3i-P: $9,599.95; XL3T-P: $9,699.95.
Renkus-Heinz ICONYX Brings Clarity To Landmark Massachusetts Buddhist Temple
Venue presents a number of acoustical challenges
The NMR Buddhist Meditation Center (as it is known locally) in Raynham, MA, which has grown to become the largest Thai Buddhist temple outside of Thailand, has a new sound reinforcement system in its multi-purpose hall that incorporates Renkus-Heinz loudspeakers.
Officially known as Wat Nawamintararachutis, the temple is part of a complex on 55 acres that’s a destination for Buddhists across the United States and the world, with the hall hosting spoken word presentations, musical performances, and other events.
Michael Waitt, project manager for Chicopee, MA-based systems installers Valley Communications Systems, explains that the venue presented a number of acoustical challenges.
“It’s a large, open room, about 50 feet square, with a 20-foot ceiling, tiered granite floors, and a glass wall across the back,” says Waitt. “Needless to say, it’s a very reflective environment, and the acoustics don’t lend themselves to good spoken word intelligibility.”
The new system, designed by Brian Masiello of Acentech, utilizes a pair of ICONYX IC24R-II digitally steered arrays mounted to either side of the small stage area, providing uniform coverage across the entire room. “There really isn’t an audience area, per se,” Waitt notes, “so our main objective was to steer the sound into the center of the hall, and direct it away from the walls and windows.”
He adds that temple officials have been exceptionally pleased with the system: “The IC24 columns blend in so well with the décor, they are barely noticeable, and coverage is consistent to every corner of the room.”
Monday, December 01, 2014
ALMA Presenting Essential Educational Series For Loudspeaker Professionals
Comprehensive review of numerous key loudspeaker design and specification facets
In early January 2015, ALMA International (Association of Loudspeaker Manufacturing & Acoustics) is presenting a 3-part loudspeaker educational series for product designers, engineers, marketers and management at the Tuscany Suites & Casino in Las Vegas.
Part 1, “Loudspeakers: Form, Function, Specs, Application. How It All Comes Together,” will present a practical review of loudspeaker construction, materials and how they influence loudspeaker performance.
In addition, the course will examine a variety of measurements and specifications, and how they can relate to both predictive performance and practical output measurement.
And, it will cover what to look for when evaluating loudspeakers for specific applications, and how to perform tests without extensive test equipment.
This course is being presented Saturday, January 3, 2015, starting at 9 am.
Part 2, “Valuable Lessons and Tools They Didn’t Teach You In School,” looks at loudspeaker education and related issues.
There is no current degree or certification for loudspeaker engineering, with college graduates are often called upon to play “catch up” when hired by loudspeaker manufacturers or design firms. This wastes time, productivity, and can be costly in terms of design time and product performance.
A veteran panel will be addressing this issue, including Tim Gladwin of Warkwyn Associates, Alan Babb of Bosch, Peter Larsen of LOUDsoft, John Busenitz of Bose, and Richard Little of Sonos.
This course is being presented on Sunday, January 4, 2015, starting at 8 am.
Part 3, “Loudspeaker Design: Concept to Product,” will introduce the basic concepts of loudspeakers and walk through several complete loudspeaker system designs. Topics to be covered include:
—Equivalent circuits, impedance and Thiele-Small parameters
—Inherent driver nonlinearities
—The effects of modal behavior and cone breakup
—Closed box and ported box system analysis, with several design examples worked through with both hand calculations and CAD
—Passive radiator, band pass, and transmission line systems
—Issues of multiple drivers and cabinet construction.
—Directivity and diffraction effects
—Crossover network design fundamentals
—Room acoustic effects on loudspeakers
This course is being presented on Sunday, January 4, 2015, starting at 2 pm.
Go here for more information and to register.
d&b audiotechnik V-Series Expands Possibilities At L’Auditori de Barcelona In Spain
Previously all classical venue expands program offering, requiring a system to meet rider demands of touring pop/rock artists
Originally designed for classical music, L’Auditori de Barcelona in Spain has turned to a more inclusive program, even welcoming
international pop stars to its stage, with the expanded programming requiring more extensive sound reinforcement capability.
“We already had a point source solution, and some delays due to the long size of the auditorium,” explains head of sound Toni Vila. “Yet for international artists this system was far away from actual rider expectations and could not provide the immediacy audiences expect in such type of shows.”
At the outset of the upgrade process, the venue set aside three days for evaluations, inviting demonstrations from the three brands that appeared most regularly on audio riders.
“The tests were exhaustive,” states Enric Esteve of Imaginamusica (a local d&b audiotechnik sales partner). “We were asked to
demonstrate a system using sung vocals with handheld and lavalier mics, a woodwind section, and playback material from contemporary artists.
“The room is long and lively,” Esteve continues, “so as a partner company we consulted with d&b audiotechnik Spain, with Juanma deCasas providing his always excellent technical support. Juanma determined a left/right V-Series system, with V-SUBs flown between the main V8 / V12 arrays, and joined by T10s in point source mode for front fills. All were configured to provide the most contained directivity control.”
The primary priority was keeping energy off the walls while still being able to deliver the presence, power and musicality demanded of contemporary artists. Esteve and de Casas also added a discrete pair of outfill V12s rigged upstage behind the mains and subs.
“There are some very lateral balconies relative to the stage, we could never cover these seats before,” notes Vila. “That and the well-behaved cardioid performance of the flown subs has transformed the listening experience.”
Josep Andrada, technical director for L’Auditori, listened to the decisions of his sound team, and following the tests in July 2013, a one-off live show was undertaken with David Byrne and his band in September.
“Both the demo day, and that live show test with David Byrne were very tight schedules,” says de Casas. “With a mix of line arrays and point source, aligning and correctly EQing such a system can be time consuming, but the simple workflow of using d&b ArrayCalc at the planning stage, and then being able to convert this quickly and easily to a full system setup in the
D80 amplifiers via the d&b R1 Remote control software, meant that we could have the rig running and tuned almost immediately on both days after it was rigged.”
“Imaginamusica made a permanent installation in July of 2014. “The consistency of voice through to the far-field, and the fact we
no-longer need any delays to reach there are a real benefit,” Vila concludes. “They also arranged for myself and my colleague ‘Tole’ to attend a line array workshop at d&b in Backnang, Germany, before commissioning. As such we were able to
manage our first concert ‘flying solo’ with U.S. legends Chicago, who played shortly thereafter.”
Community Professional ENTASYS Helps Revitalize Union Station In St. Paul
Brings intelligible voice announcements and clear sound reinforcement to the depot’s transit services and many public events
A recent renovation restoring Union Depot in St. Paul, MN to its original 1920s splendor includes a new sound system with Community Professional ENTASYS loudspeakers to bring intelligible voice announcements and clear sound reinforcement to the depot’s transit services and many public events.
Union Depot served as many as 300 trains and 20,000 passengers each day. But as passenger rail travel declined, the last train left the depot in 1971 and the historic structure became home to restaurants, offices, and condominiums.
Now, after its renovation, the depot again serves both light and long-distance rail (Amtrak), local and intercity bus travel and automotive, bicycle and pedestrian traffic. In addition, the depot hosts concerts and art shows as well as banquets and other events.
As the building architect and engineer of record, HGA Architects and Engineers worked with the Ramsey County Regional Rail Authority (RCRRA), and the project engineers and construction companies to carefully restore the building’s beautiful interior which is finished in brick, plaster, marble and terrazzo.
HGA’s Joe Wetternach, P.E., says the depot’s historic interior displays the best of 1920s architecture and craftsmanship but the large open spaces and hard surfaces produce “terrible acoustics”. And, due to Union Depot’s listing on the National Register of Historic Places, no acoustic treatment was allowed in the restoration.
Despite these challenges, one of the project’s goals was a sound system that would provide clear, intelligible voice paging for transit passengers and add important supplemental voice evacuation functions to the facility’s fire alarm. In addition, the system needed to offer sound reinforcement services for the frequent banquets, art shows and other events hosted by the depot. Finally, the system needed to have minimal visual impact on the newly restored interior.
Wetternach chose a distributed system design based on Community ENTASYS column line arrays placed along the walls and aimed into the public spaces.
“The way to treat a problem like this is to not create a problem in the first place,” he states. This was achieved by placing double-stacked ENTASYS loudspeakers at the “people space” height which provides even coverage within ±3 dB while keeping sound out of the high arched ceilings and minimizing reverberation. The result is a system that meets its intelligibility goals with clear announcements and natural sounding voice reinforcement for events.
The ENTASYS loudspeakers were custom painted by Community to blend with the depot’s interior and were supplemented by Community CLOUD4 ceiling loudspeakers in low-ceiling areas and I/O-5 surface-mount loudspeakers in outdoor areas. “We really honed in on the ENTASYS,” says Wetternach. “For this project, it provided just the right balance of performance to value.”
A Biamp Vocia system provides DSP, mixing, zoning and amplification and includes ambient noise compensation to maintain a suitable system level with varying crowd and transit noise. The Vocia also provides fault monitoring and an interface to the facility fire alarm for use in voice evacuation.
K-array KR102 Compact Loudspeakers A Great Fit For Side Door Jazz Club
KR102s highlight more subtle instruments within intimate listening environment
The Side Door, a recently-opened small jazz club tucked away in Old Lyme, CT, hosts a roster of top musicians that are reinforced with compact K-array active loudspeaker systems.
The club is the brainchild of owner Kenneth Kitchings, a jazz devotee who has now realized a long-cherished dream.
“He (Kitchings) couldn’t fail,” states George Wein, a pianist and the founder of the Newport Jazz Festival. “He’s not an owner who’s looking to make money. He loves jazz and gets more enjoyment from it than his customers do.”
The K-array KR102s providing reinforcement at the club are a great fit for venues and applications of this scope. The Side Door, with seating for only 75 people or so, offers an intimate listening experience, with the KR102s able to highlight more subtle instruments, blending them with louder elements on stage such as the drums.
Wein kick-started the club’s opening, making a rare appearance with clarinetist Anat Cohen and tenor saxophonist Lew Tabackin, word has since spread among the jazz community.
“It’s the perfect room because of the intimacy,” states alto saxophonist Steve Wilson, who’s already played there twice. “Acoustically, you don’t need a lot of amplification, if any. And the audience can be completely engaged. All the energy stays right there; it doesn’t get dispersed.”
DSI Event Group Installs Outline GTO To Head New System At Denver’s Summit Music Hall
Arrays provide necessary clarity and power without exceeding flying-rig weight limits of the building’s ceiling
Outline GTO C-12 line source loudspeakers were recently installed by DSI Event Group as the key components in a new sound reinforcement system at Summit Music Hall in Denver.
The 1,100-seat venue, purchased by Soda Jerk Presents in 2010, regularly hosts performances by a diverse range of top musical arists, with the GTO C-12 arrays providing the necessary clarity and power without exceeding the flying-rig weight limits of the building’s ceiling.
“We had been shopping for a line array since we first acquired the building,” says Michael Barsch, owner of Soda Jerk Presents. “We looked at a lot of different brands, focusing on systems that could deliver the high-energy sound quality we needed yet stay within the amount of weight we could hang from our roof.
“The specs of the C-12 rivaled, if not exceeded, those of the other brands, and having heard the full-sized GTO rig in the past and implicitly trusting the recommendations of [DSI Event Group founder and audio engineer] Bret Dowlen, I had a good feeling about the C-12 system. We were not disappointed. This rig crushes! It delivers crystal-clear sound and tons of headroom.”
Barsch and company own and operate two other venues in the Denver area, The Black Sheep in Colorado Springs and the Marquis Theater in Denver proper, with each offering a seating capacity of approximately 500. The move into Summit Music Hall gave Soda Jerk Presents a next-step-up seating capacity for groups that have outgrown the smaller venues. Having the right sound system to support this strategy was imperative.
“While we are primarily a rock club, we program everything from punk and metal to hip hop, DJs and 1980s new-wave icons,” adds Barsch. “Our presentations are mainly national acts from all over the world. For the sound system to accommodate this range of musical styles and fill the main seating area and balcony, we went with seven GTO C-12s and one GTO DF down fill per side. When we did the initial testing of the entire system, we ran the C-12 system first, without the subwoofers, and we were all amazed by how full and rich the sound was. It was so good you could probably run a show without the subwoofers. This system is very clear, very precise, really punchy and very loud. The engineers who come in with the different groups love the sound.”
DSI Event Group took two days to complete the install, and it marks the first Outline C-12 application in the Rocky Mountain region. All of the amplifier racks and looms were set up off site to reduce the install time. In addition to the new system, and some fabrication that was needed on the roof from the engineering team for additional safety measures, the existing PA system was re-purposed as side fills.
“We looked into several options for Summit Music Hall and had to take in various considerations, such as the ceiling capacity and even the altitude in this area,” says Dowlen. “The Outline C-12s not only met the physical requirements for this space but also packs some serious punch, as they have the same sonic signature of the Outline GTOs but in a smaller form factor. This system is tremendous; it is far superior to anything I have ever heard except GTO senior, of course.”
DSI Event Group
Conservatory Of Recording Arts & Sciences Chooses ATC SCM25A Reference Monitors
SCM25As provided by TransAudio Group in two new control rooms at audio education school
Two new control rooms at the Conservatory of Recording Arts and Sciences (CRAS), a top-tier technical school in Gilbert, AZ that’s dedicated to placing its students in entry-level pro audio positions, are outfitted with ATC SCM25A Pro reference monitors, distributed in the U.S. by TransAudio Group.
“Our rooms reflect reality in the industry,” says Tony Nunes, music production instructor and manufacture liaison at CRAS. Nunes, together with Mike Jones, director of education, travels to trade shows, recording studios, and post-production facilities around the country to keep CRAS’s facilities and instruction in perfect synchrony with the latest (and enduring) industry standards.
“We sculpt our technology and instruction to remain always at the current standards in the industry,” he continues. “Two years ago at AES in New York City, we visited a lot of the big studios in town, like Stadium Red and Electric Ladyland, and talked with our grads who worked there. A consistent theme that studio managers/staff stressed was the persistent requests they received for ATC monitors; so persistent, in fact, that most studios invested in their own ATCs.”
The ATC SCM25As at CRAS join Pro Tools HDX rigs with Apogee converters, [soundBlade HD] rigs with Mytek converters, and SSL AWS 948 combined console and control surfaces.
“The ATCs are certainly the most transparent monitors we have at CRAS,” states Nunes. “Students don’t get to studios F and G until they are a little ways into the program. By that time, they can really appreciate the details that the ATCs reveal. For example, when we’re tracking in those control rooms, students will notice the smallest details, like fret buzz on the bass.
“One time we had a vocalist who was struggling with an allergy and sinus problem. After he rested and had some tea, he came back and all the students could really hear the physicality of the difference. One student said it was like he could see the vocal cords in the ATCs. They’re a really great tool.”
Because students use the ATC SCM25A Pros later in the program, they get an opportunity to scrutinize their earlier projects. “They know so much more six months later, and now they’ve got these great monitors that reveal so much; it can often be a painful experience,” Nunes explains. “But we turn it into a learning experience. We find and analyze the mistakes, and then students may remix their projects. Every time, they come back happy with the results. Because the new mixes pass the test on the ATCs, they translate everywhere else, like students’ cars, apartments and computers.”
Conservatory of Recording Arts and Sciences (CRAS)
Firehouse Productions Scores Big NFL Kickoff Event With JBL VTX & Crown I-Tech
Sound team challenged with city restrictions on decibel levels as well as customary Seattle rain
With performances by Pharrell Williams and Soundgarden, the 2014 NFL Kickoff Event held outside of Seattle’s CenturyLink Field scored big with sonic capabilities delivered by New York-based Firehouse Productions, which supplied a main sound reinforcement system headed by Harman’s JBL Professional VTX line arrays and Crown Audio I-Tech HD amplifiers.
“This was a good, straightforward show for us because we knew we were only going to be dealing with just two performers,” notes Mark Dittmar, VP of design and engineering for Firehouse Productions.
Dittmar and his team were challenged with city restrictions on decibel levels, as well as the customary Seattle rain. The team relied on JBL VTX line arrays as well as several delay towers with JBL VerTec line arrays to manage the sound coverage within the outdoor space.
The main hang at the stage included left-right hangs of 14 JBL VTX V25 line array elements, while 12 VerTec VT4889 array modules deployed for side hangs on either side of the stage. Firehouse also utilized two clusters of six VT4889s for rear fill and 12 VT4889s for the delay towers. Low end was supplied by VTX G28 and VT4880A subwoofers.
All loudspeakers were powered by 90 Crown I-Tech 12000HD amplifiers, and the system was monitored and controlled with JBL’s HiQnet Performance Manager software.
“The VTX line arrays are very capable and deliver a ton of power,” says Dittmar. “I don’t have to hang as many to get the same SPL when compared to hanging other rigs. Additionally, the reduced weight adds to the flexibility of design, and makes my job a lot easier when trying to integrate the system in a challenging space. In addition, the quality of the sound, especially the high-end, is absolutely amazing.”
“We’ve been using Crown since the beginning,” he adds. “They give us so much power in such a small package. One of our favorite aspects about Crown is the ability to build a custom library of presets that enable us to control any speaker in our inventory with the proper power and optimize their EQ, delay and other parameters.”
Event Enterprises Bolsters NEXO Inventory, Adds Yamaha QL5 & DSR Loudspeakers
Company's inventory of NEXO loudspeakers reaches 80; QL5 console for both staff engineer and rental applications
Event Enterprises, a full-service production company with offices in Cincinnati and Bellevue, KY, recently took delivery of 12 NEXO STM M28 loudspeakers to augment its existing NEXO inventory, which has now grown to 80.
“We were looking to increase our PA inventory to accommodate the demand of multiple festivals/stages/jobs happening simultaneously and were looking to dive into something with a little hotter output and farther throw than the NEXO GEO S12,” states Grant Cambridge, managing director of Event Enterprises. “The M28s could provide us with that need and seemed to make logistical sense for most of our applications.
“Financially, they also allowed us to make a comfortable initial investment into the STM franchise with the ability to ‘add on’ and grow the rig with the additions of any B112s or M46s in the future,” he continues. “Our maiden voyage with the new boxes was a country show with headliners Dustin Lynch and Frankie Ballard, and out of the box, both front of house guest engineers enjoyed their day with them.”
Event Enterprises also upped its Yamaha DSR inventory to 24, utilizing the loudspeakers for a variety of applications. “While the DSRs do see a lot of smaller ‘speaker on stick’ gigs as well as corporate applications, we use them just as frequently for wedges as mains,” Cambridge explains. We do so many 5k, 10k, half/full marathon events where we line up the streets at the start and finish lines that the DSRs work perfectly for.
:We recently did a half marathon event earlier this month based around Veterans Day, and on a very cold Saturday morning we deployed DSRs down the start/finish line for 400 feet, and in 18-degree temperatures, they worked flawlessly for five hours in the elements.”
Cambridge adds that a new Yamaha QL5 digital console was purchased primarily for the company’s rental inventory and in-house engineers to utilize in the field.
“We have all taken a liking to Yamaha digital desks at our company and thought this was a nice “next step” for us, having gotten a lot of miles out of LS9s and M7s,” he says. “Because of our familiarity with the Yamaha OS and internal workings within their digital desks and the direct functionality with the Dante network, we thought this would be a wise investment moving forward. The QL was put to use the minute it arrived, both by our own guys’ use well as fulfilling rider requests.”
Yamaha & NEXO
Howling With The Dawgs: Danley Heads New Powerhouse System At Sanford Stadium
Jericho Horns key to end-fired system design approach to cover 10th largest stadium in the U.S.
Sanford Stadium at the University of Georgia in Athens, home of the Georgia Bulldogs football program that’s annually at the top of the rankings, can accommodate just shy of 93,000, making it the 10th largest stadium in the U.S.
In response to new rules allowing more recorded music to play during games, and to upgrade the overall sound reinforcement experience, the university commissioned an overhaul of the venue’s system, headed by Danley Sound Labs loudspeakers.
“There is increasing recognition that the stadium itself, including its sound and video systems, is a critical tool in keeping the momentum on the field going in the right direction,” states Pete Dugas, president and founder of TSAV, the Athens-based firm that installed the system.
TSAV looked at a range of design options, including distributed and end-fired systems. Converging on an end-fired approach, the company’s engineers collaborated on the design with Mike Hedden, Danley Sound Labs president. But in the spirit of due diligence, Dugas asked Hedden to come up with his own design separate of the one his team developed.
“The differences between Mike’s independent design and our own were small, indicating that our plans were sensible,” Dugas notes. “Not only would the new system meet the university’s performance goals, it would do it without straining their budget.”
Five Danley J3 Jericho Horns stationed in the scoreboard provide main coverage of the opposite end zone and both adjacent sides, while three Danley OS-80 loudspeakers provide down fill for the end zone seating immediately below the scoreboard. Both loudspeaker models incorporate proprietary Synergy Horn technology, which delivers full-range content from a single horn, boosting intelligibility, fidelity, and pattern control.
In fact, the pattern control keeps energy off the field so that the referees can speak without feedback, a situation that had caused considerable problems with the old system. Two of Danley’s new SBH-10 column loudspeakers provide additional side fill coverage below the scoreboard. Mounted horizontally, they deliver 10- by 100-degree dispersion from a single horn.
Four Danley BC-415 subwoofers (four 15-inch woofers into a single exit), configured in an end fire configuration, generate tremendous low end. All power amplification is supplied by Danley EDA 12000D amplifiers with built-in DSP and remote monitoring capability.
During commissioning, the new system was measured using a 2-channel FFT analyzer at several hundred locations, confirming a variance of better than +/–2 dB; in comparison, the old system had been measured with +/–10 dB swings, and further, it offered no content below 70 Hz.
“We’re happy with the results, and the performance is close to model projections,” Dugas says. “There were adjustments to make, of course. The new low end rattled the scoreboard, which we had to fix, along with too much low end by the university president’s suite. That was easy to adjust. It was nice to see how it all came together with everyone working so cooperatively. The SPL is now 26 dB greater than it was before, and the fact that everything is point source has improved fidelity tremendously. A Bulldogs fan myself, I’m looking forward to enjoying the system at every home game.”
Danley Sound Labs
AKG Mics & Headphones Make For Smooth Translation Capability At Beijing Service Center
Help enable seamless translation and interpretation capabilities as well as improve voice clarity during meetings
Breaking down language barriers for international guest speakers and officials, the 300-seat roundtable conference hall at the Beijing Workers’ Service Center in China was recently equipped with a Harman’s AKG CS5 conferencing system and K99 Perception headphones.
Audio supplier and integrator Beijing Respectful Electronic Technology Company specified and installed the components, which help enable seamless translation and interpretation capabilities as well as improve voice clarity during meetings.
The conferencing system includes two AKG CS5 VU voting units, 39 CS5 DU delegate units, three CS5IU interpreter units, one CS5 BU base unit, five CS5 CU50 charging and storage units, 10 CS5 IRT1 infrared transmitters, 250 CS5 IRR7 infrared receivers and 41 GN30 and CK31 microphone capsules. In addition, 253 AKG K99 high-performance Perception headphones were provided for accurate sound output.
“When tasked with this project, we were looking for stable system performance, simultaneous translation into seven different languages and clear sound input. With the AKG CS5 conferencing system, I believe we have found what we were looking for,” said Yin Wang, technician at Beijing Respectful Electronic Technology Company. “This system really gives us great voice clarity and stability, so conferences can continue smoothly and uninterrupted.”
After distributing the infrared receivers evenly across the room, Wang made sure that the IR signals were uniform and stable. The CS5 system meets the stringent requirements of international conferences, and to ensure that conference participants have no trouble hearing all communications within the room, he again turned to AKG.
“We needed multilingual translation capabilities, because the conference room is often used for international meetings, but we also needed good headphones so that voices remain clear,” says Wang.“The AKG K99 Perception headphones performed reliably throughout all the meetings so far.”
Friday, November 28, 2014
Meyer Sound LEO Supports Ceremonies For 25th Anniversary Of Fall Of Berlin Wall
Reinforced speeches, Peter Gabriel and the Staatskapelle Berlin orchestra for more than 100,000 at Brandenburg Gate
A recent ceremony to commemorate 25 years since the fall of the Berlin Wall attracted more than 100,000 to the Brandenburg Gate, supported by a Meyer Sound LEO linear reinforcement system.
“LEO has a slim profile, yet it has a massive sound and incredible output,” notes Marcus Mechelhoff, production manager at Berlin-based event company mediapool, which designed and coordinated all lighting, video, and pyrotechnics for the event. “It was the perfect tool for every requirement.
“Speeches were clearly heard everywhere, while rock, pop, and classical music were perfectly reproduced,” he continues. “I received only positive feedback about the sound quality from the front of house engineers for very different musical artists.”
The festivities included German chancellor Angela Merkel, rock legend Peter Gabriel and the Staatskapelle Berlin orchestra in a celebratory spectacle.To cover a crowd spread across a 150-by-500-meter area, four arrays of 12-each LEO-M line array loudspeakers and 34 1100-LFC low-frequency control elements were configured.
In addition, four delay towers comprised a total of 16 MILO and 16 MICA line array loudspeakers, with 12 UPQ-1P loudspeakers as near fills. Twelve MJF-212A stage monitors and 12 CQ-1 and four UPA-1P loudspeakers provided onstage foldback. A Galileo Callisto loudspeaker management system with one Galileo AES 616 and four Galileo Callisto 616 array processors supplied system drive and optimization.
Sound system configuration and equipment supply were handled by POOLgroup of Emsdetten, Germany, a full-service production provider that has supported other high-profile events including two German visits by President Obama and a G8 Summit.
“With such a massive crowd, LEO’s extraordinary long-throw capability was much appreciated by the production,” says Tim Humpe of POOLgroup, who served as project manager for the event. “LEO once again proved to be the ideal solution for a high-caliber multimedia event.”
POOLgroup also provided a DiGiCo SD7 and two Soundcraft Vi4 digital mixing consoles, 16 channels of Shure UR4D wireless microphones systems with KSM9 handhelds, and 14 channels of Shure PSM 1000 in-ear monitoring.
Audio reinforcement specification for the tender was commissioned by mediapool to Ivo König and Til Schwartz from Berlin’s IT AUDIO. Schwartz also served as audio coordinator for the worldwide television broadcast.