Wednesday, September 07, 2011

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.”


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.”


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.”

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

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


Margaret Sekelsky

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.

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.

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

Posted by Keith Clark on 09/05 at 10:11 AM
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Church Sound: Acoustics, Noise And Other Frustrating Distractions

It really comes back to designing worship spaces to work well for the varying elements of worship, as well as working from the outset to keep as much noise out of the space as possible

I was recently out doing a demo with the JBL VerTec rig that I often talk about.

The room was a traditional shoe box sanctuary that was very reverberant. The walls were plaster, the ceiling also plaster and had a slight smooth arch to it.

The balcony wall was glass that stretched from side to side with a flat plaster wall above the glass. One nice thing was that the reverb was relatively full frequency and smooth. 

In fact, congregational singing and the organ both sounded spectacular.

As I was setting up the system for a Thursday night rehearsal the pastor of the church came in and began turning on the air conditioning units. The air conditioning consisted of eight large wall-mounted interior units that were mounted where the walls butted up to the ceiling. 

As the pastor fired up the first unit, I immediately took notice of how loud the unit was (think of those window air conditioning units that go into houses x 10).

By the time he fired up all eight units I found myself talking with the pastor having to push my voice to get above the noise. I estimated that there was well above 70 dBa of air conditioning noise!

As I continued setting up the system I found myself thinking about a conversation I had with my friend Vance Breshears (senior consultant at Acoustic Dimensions).

A few months earlier Vance had been in town, at an “audio geek” lunch with me and several other friends, and he had talked about a class he was teaching on acoustics. Specifically, he referred to acoustics as “signal-to-noise ratio.”
I wondered just how much signal I would need in order to get the system “over” the air conditioning, and what kind of problem this would pose in the reverberant space.

It turned out to perform pretty well, providing very good intelligibility despite the background noise. I was surprised as to how good it actually sounded.

First listening to some tracks, and later mixing a live worship band, I came to the conclusion that the reason the system worked was due to signal to noise ratio.

What I was hearing in the coverage area was significantly more direct sound than reflected sound.

Additionally, with the reverberant field being relatively full frequency -  and with a smooth decay - the “noise” of the reverb was not obnoxious. 

So the next time that you’re working with sound reinforcement in a room that has loud air-handling noise, remember that you’ll need more signal than noise. Simple, right? Well, not so much.

The noise is at a constant level and the program material (spoken word and music) is not.

Another way to think of it is to look at another signal to noise situation: what happens when the pastor is preaching and someone’s cell phone goes off. The noise (the cell phone) interrupts the signal (the preaching) and turns into a distraction.

Take the same situation except that the preacher is replaced by a worship band measuring in at 85 dBa. The cell phone goes unnoticed (probably even by the owner) as the signal (the band) is louder than the noise.

Note here the obvious, that the band it playing at a relatively consistent level and there are now musical breaks in the music.

So what solutions do we have?

1) Design worship spaces with minimal external noise influence (air handling, street traffic, sound from adjacent rooms, and so on).

2) When noise can’t be contained or the room was not designed properly, get as much direct energy as possible to the listeners. (But be reasonable - 110 dBa is most likely not reasonable.)

3) Charge an extra tithe to anyone whose cell phone goes off during a service. (Am I kidding?)

It really comes back to designing worship spaces to work well for the varying elements of worship, as well as working from the outset to keep as much noise out of the space as possible.

Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.

Posted by Keith Clark on 09/05 at 07:16 AM
Church SoundFeaturePollInstallationLoudspeakerMeasurementSound Reinforcement • (0) CommentsPermalink

Brazil Central Adventist Church Redesigns Sound With Renkus-Heinz Iconyx

Carvie installed two Iconyx sub-woofers inside a wall recess to obtain a true flush mount and maintain the altar aesthetics

The Central Adventist Church of Curitiba is considered an architectural landmark in Curitiba, the capital city of the southern Brazilian province of Paraná.

A recently completed remodeling project gave the church a larger, more modern design, with enough seating for 2,200 people. The expansive sanctuary includes a ground floor and three mezzanine levels overlooking an open altar area, backed by a four-story glass wall. Live instrumental and chorale performances are a regular part of church services, and inspirational videos are often viewed on a large projection screen.

Diego Brito of AMI International, the distributor providing the new sound system, explains that selecting the ideal audio solution for the newly remodeled temple presented some challenges for both AMI and the project’s audio installer, Carvie Music.

“The glass back wall creates immense reverberation, and to maintain the altar’s aesthetics we weren’t able to use the wall for mount support,” says Brito “Nothing can obstruct the view of the altar from any seat in the church.”

Originally Carvie Music had planned to install a traditional line array sound system, but soon realized it would require a substantial financial investment in acoustic treatment to achieve desired sound quality. The line array would have also left holes in sound coverage throughout the large sanctuary.

After extensive research, Carvie decided to use entirely new audio technology for Brazil - an Iconyx IC-R digitally steerable array system by Renkus-Heinz. AMI International is the first Brazilian audio distributor to offer the technology.

“The Iconyx digitally steerable array technology significantly reduced the need for acoustic treatment, and it gives them great musicality with improved voice intelligibility,” reports Brito.

Carvie installed two Iconyx sub-woofers inside a wall recess to obtain a true flush mount and maintain the altar aesthetics. Two IC16-R loudspeakers are permanently affixed to custom-designed mounts built directly into the altar.

For digital signal processing the church is using RHAON, Renkus-Heinz Audio Operation Networking DSP firmware to control the Iconyx system. Most of the equalization is handled via a Yamaha digital mixer.

“The IC-R system was a great solution for the church because of its digital control capability,” Brito reports. “The beam steering is ideal for keeping sound off the walls.”


Posted by Keith Clark on 09/05 at 07:07 AM
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Friday, September 02, 2011

Harshberger Named Senior Director, Global Operations For Harman Loudspeaker Business Unit, JBL Pro

Will be responsible for optimizing global loudspeaker operations and leveraging investments and resources across the U.S., Mexico, Brazil, China and Denmark

Harman Professional has announced the appointment of Ted Harshberger as senior director, global operations for the Harman Professional Loudspeaker Business Unit, JBL Professional.

In this newly created position, Harshberger will be responsible for optimizing global loudspeaker operations and leveraging investments and resources across the U.S., Mexico, Brazil, China and Denmark.

Harshberger is based in Harman’s Northridge, CA facility and reports to Mark Ureda, vice president and general manager, Harman Professional Loudspeaker Business Unit, JBL Professional.

“Harman Professional continues to grow on a global scale, in both mature and emerging economies,” states Ureda. “Successful growth in these markets requires regional demand planning, cost-effective global production, optimized distribution and supply-chain networks and close-knit partnerships. Ted’s experience and skills make him the ideal candidate to ensure our success in the international arena.”

Previously, Harshberger served as corporate director, strategic development at Northrop Grumman Corporation, where he focused on the company’s international growth strategy.

Before Northrop Grumman, he held a series of leadership positions at the RAND Corporation, ranging from business operations to senior program management. Harshberger holds a doctorate in policy analysis from the Pardee RAND Graduate School and has published on analysis and optimization techniques.

“The strong culture of innovation, sound quality, and engineering excellence is clear at Harman Professional, and JBL Professional is poised for a significant global expansion,” Harshberger says. “I’m excited about working with Mark and the JBL Pro team to deliver on that opportunity. We’re 100 percent focused on building, delivering, and supporting the best audio solutions for our customers anywhere around the globe—on time, at the right price, and with industry-leading performance and quality.”

Harman Professional
JBL Professional

Posted by Keith Clark on 09/02 at 01:36 PM
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A Detailed Explanation Of The Aux-Fed Subwoofer Technique

This technique has resulted in considerable benefits over a wide variety of sound reinforcement applications, but there is confusion as to what it encompasses and what it accomplishes

Over the past several years, a technique most commonly called “aux fed subs” has been developed for reducing low-frequency “muddiness” from front-of-house loudspeaker systems.

This technique has resulted in considerable benefits over a wide variety of sound reinforcement applications, but there is confusion as to what it encompasses and what it accomplishes.

Let’s clarify the details and describe the set up of an aux fed subwoofer system. We’ll also be addressing some frequently asked questions on the topic.

In a traditional loudspeaker system where subwoofers are used, the primary mix bus from the house mixing console feeds the loudspeaker system processor (either a digital device or a chain of analog processors). This provides the separate output that in turn feeds the subwoofer amplifier and loudspeakers.

The crossover parameters for the subs are derived from measurement of both the subs and the midrange drivers next up in the frequency scale of the loudspeaker system. Most often the crossover point between the subs and midrange is chosen for the best (most equal) phase response to ensure coherence through the crossover region.

Electrical delay is likely to be required to achieve this alignment due to the position of the subwoofers versus the position of the full-range loudspeakers. Once crossover points have been set, the relative gain levels (and etc.) must not be altered, because this will change both the crossover point and phase alignment of the system.

In an aux fed sub system, each input to be fed into the subwoofer system is sent through the house console’s “post-fader/post-EQ” aux send, from each selected channel. By routing through this aux send, any changes in channel fader position will result in a comparable change in the subwoofer level (just as would be the case in a traditional subwoofer system).

A properly configured and operated aux-fed subwoofer system will maintain the gain structure and the crossover relationships that have been derived from the system optimization process.

(click to enlarge)

The significance of assigning specific inputs to subwoofers lies in removing all other channels from the subwoofer mix. These channels are not just attenuated so many dB at whatever high-pass frequency you have available, they are completely removed from the subwoofers and are also attenuated (by as much as 24 dB-per-octave) below the high-pass frequency feeding the full-range loudspeakers.

This is most effective with those microphones that are not closely positioned to the source and which therefore are very likely to be picking up ambient sound - mostly LF rumble and/or leakage. Mics used for pickup of choir, horn sections and string sections are the most frequently encountered that fall into this category.

Other common microphone applications are also very good candidates for removal from the subwoofer mix, such as acoustic piano, where external low-frequency leakage is prone to be focused (by the piano body) into the microphones. Ditto male vocals using cardioid handheld microphones (with proximity effect).

For spoken-word applications and especially with cardioid lavalier microphones, the normally huge LF explosions that occur through subwoofers when the person talking uses plosive consonants (B, F, P, T, etc) are reduced dramatically.

In fact, when mixing pop music on virtually any reinforcement system, there will very likely be numerous microphone channels that have no useful information that could be enhanced by the subwoofers. For these instruments/sources it is also likely that efforts will be made to reduce the pick up of energy below (approximately) 100 Hz.

Normally, the most effective and readily available tool is the high-pass filter provided on the console’s input channels, in the form of fixed or sweepable corner frequency with (typically) a 12 dB-per-octave filter. But high-pass filters have restricted effectiveness near their corner frequency and there will remain at least some low-frequency (LF) energy that is still fed into the subwoofers.

And note that even with high-pass filters engaged, groups of microphones positioned in the same area have an accumulative and substantial amount of LF energy that is passed into the subwoofers.

The result is an almost omnipresent and collective mish-mash of LF energy that serves no useful function but has a negative impact on the clarity of those instruments that we intentionally will attempt to reinforce, or enhance, in the subwoofer frequency range.

The best example I have seen to illustrate this point: choir microphones. In almost any church featuring either contemporary praise music or gospel music, several (or more) suspended choir mics are (most) likely used.

For purposes of this discussion, let’s say we’ve got eight condenser cardioid choir mics arrayed above, and forward, of the target choir members (or sections). For the majority of experienced sound mixers it is a “no-brainer” to apply channel high-pass filters on each of these microphones to reduce the LF “rumble” that can be heard when soloing (or otherwise monitoring) these mics.

Again, the most common slope for these high pass filters is 12 dB-per-octave, and if a corner frequency of 100 Hz is chosen, this equates to the response for each mic being -3 dB at 100 Hz and –15 dB at 50 Hz (one octave lower). This looks (on paper) and sounds (when soloing) like a significant reduction in LF junk.

But think about this: these choir mics are employed in “area mic’ing” (not close) positions, suspended at least several feet from their target sources. Further, they are combined into the mix bus(s) and will combine acoustically, and to some degree even if panned through a stereo loudspeaker system.

Two choir mics, when combined in the mixer, provide +3 dB more energy than they do individually, primarily at low frequencies. (Note: two or more mics pick up more mid- and high-frequency energy as well, but at these higher frequencies there is both addition and cancellation at various frequencies and the resulting increase is likely to be less than 3 dB per doubling of microphones).

So the high-passed response of two microphones is now flat at 100 Hz and –12 dB at 50 Hz. Double this for four mics and you then have +3 dB at 100 Hz and –9 dB at 50 Hz. Now double it again for eight mics and the combined response is +6 dB at 100 Hz and -6 dB at 50 Hz.

To summarize: despite the use of the high-pass filters, there is still significant bass energy that is unintentionally sent into the subwoofers. This LF energy is not only unnecessary from a musical standpoint, but it also robs power from the subwoofer system, it competes with the instruments that we are attempting to enhance with the subwoofers, and it also adds to the quagmire of destructive LF energy that is projected out into the house.

In our example, we are describing a fairly typical modern church production event or what one encounters when doing most larger-scale productions. There are many other commonly encountered scenarios that represent similar opportunities for an aux-fed subwoofer system.

Classical symphonic music reinforcement, ethnic music, jazz big band, musical theatre, outdoor shows with wind noise and others present their own unique mic applications that will benefit from this technique. Even smaller events (such as basic R&B/folk/blues) can be audibly improved by getting the vocal mics, drum overheads and horn mics completely out of the subwoofers.

As is always the case in professional sound reinforcement, one must not misapply this technique. There are events that should not be treated in this manner, such as acoustic jazz ensembles, where piano and drums mics are used “full bandwidth” because the overall LF energy is less dense and the sub-bass content from these instruments can be put to good use when enhanced through the subwoofers.

For such events, all that is required is to set the aux controls on each input at the “unity gain” position and this results in exactly the same signal content as in a traditional system.

FAQ’s About Aux-Fed Subwoofers

Question: Doesn’t an aux-fed subwoofer system alter the gain structure in the crossover/processor, and therefore, corrupt the crossover points for the FOH loudspeaker system?
Answer: No. An aux-fed subwoofer system as described in this article is set up exactly like a traditional system and those channels that are assigned to the subwoofers are operated at a set (“calibrated”) level, resulting in no change to the relative level that the subwoofers are fed. Aux-fed subwoofers should not be used by novice operators who may change the aux send settings without realization of the consequences.

Question: Some describe an aux-fed system as an “effects” system. Is this correct?
Answer: Although there are a few who employ aux-fed subwoofers as an “effect” - by altering the aux send level for specific channels here and there during the performance -the intent for the majority of aux-fed subwoofer systems is to exactly mimic that of a traditional subwoofer system and to not vary the gain of each channel’s aux send.

Any variation in the aux send levels for those channels assigned to the subwoofers will result in degradation of the balance between the subwoofers and the rest of the loudspeaker system. This will negatively impact the crossover and phase response of the system.

Question: What happens when I do a fade-out from the master faders ? Doesn’t this leave the subwoofers on?
Answer: If you do fade out the masters on the console, you must also fade out the master aux send for the subs. Consoles with VCAs obviously provide a much better means for this.

Question: Will I need an additional crossover processor for an aux-fed subwoofer system?
Answer: Perhaps. In an aux-fed subwoofer system you will need a separate crossover input and output (plus filters). Many modern digital “loudspeaker management” systems have additional inputs and outputs beyond those used for stereo bi- or tri-amping. If you don’t have this input/output available you will need an additional stand-alone crossover.

Question: What are the restrictions as far as crossover frequency between subwoofers and full-range loudspeakers?
Answer: A full-range loudspeaker system with aux-fed subwoofers must be able to function well down to the 100 Hz range. One can go as high as 12 0Hz before there is clearly an absence of reinforcement in the fundamental frequency range of most inputs. But this is not that different than in traditional subwoofer systems.

Question: What are the channels that usually get assigned to an aux-fed subwoofer system?
Answer: Bass guitar, upright acoustic bass, kick drum, floor tom(s), low mic on a grand piano, low mic on a Leslie speaker, electronic keyboards and tape/CD playback.

Question: Doesn’t this technique remove part of the natural frequency response of quite a few of the sources that are not assigned to the aux-fed subwoofers ?
Answer: In theory this may be the case with some sources But sound reinforcement has always been - and remains - a skill based on compromise. In the example case given in this article, the below-100 Hz response of the choir microphones provides no useful musical information and typically has a destructive effect if sent to the subwoofers.

One of the cool things about an aux-fed subwoofer system is that any input channel can be assigned to the subwoofers at the whim of the sound mixers. So experimentation can be conducted for those sources you may have reservations about.

Again, as long as the calibrated level on the aux send is maintained, there will be no adverse effects on the crossover alignment of the system.

Tom Young is principal consultant at Electroacoustic Design Services in Connecticut and is the moderator of the ProSoundWeb Church Sound Forum.

Posted by Keith Clark on 09/02 at 04:49 AM
Live SoundFeaturePollLoudspeakerProcessorSubwooferPermalink

Monday, August 29, 2011

D.A.S. Audio Aero 2 Series The Solution For New Cendera Center In Ft. Worth

"Since the loudspeakers get moved to best accommodate the nature of the event, their compact footprint was a huge consideration." - Mike Horn, American Audio Visual

The recently opened Cendera Center is a multipurpose facility designed to accommodate a wide range of functions, including fine arts performances, meetings, training sessions / presentations, boxing events, parties, and more.

With such a varied agenda, selecting a sound reinforcement system capable of providing pristine music reproduction characteristics as well as a high level of speech intelligibility was a paramount issue during the venue’s planning stages.

After evaluating a variety of systems, the consultants and client agreed on Valencia, Spain-based D.A.S. Audio Aero Series 2 components.

Fort Worth-based Sowden and Associates, an acoustics and entertainment technologies consultancy, and American Audio Visual (also of Ft. Worth), a design/build firm that, in addition to its installation business, operates a rental house for the special events market, pooled their efforts in the design of Cendera Center’s new sound reinforcement setup.

Ultimately, Christopher “Topper” Sowden, principal consultant of Sowden and Associates, and Mike Horn, president of American Audio Visual, demonstrated systems to Cendera Center personnel comprised of D.A.S. Audio Aero 8A and Aero 12A line array elements, accompanied by Aero LX-215RA sub bass enclosures.

“Cendera Center was designed to accommodate a broad assortment of activities,” Horn explains, “and, as such, it was critical for the system to not only provide first-class sound quality, it also needed to be relatively compact so as to facilitate the resulting three stage positions in Cendera Hall, which is the primary entertainment space at Cendera Center.

“Since the loudspeakers get moved to best accommodate the nature of the event, their compact footprint was a huge consideration. Similarly, the system’s self-powered design was equally important, as it virtually eliminates the necessity of housing separate power amplifiers. Since the power amplification is integrated right into the loudspeaker enclosures, this also streamlines system cabling.”

Sowden adds, “This approach resulted in a reduction in overall system cost while maintaining the quality of the system, which Cendera representatives indicated was most important.”

The main sound reinforcement system at Cendera Center consists of two primary clusters—each consisting of five Aero 12A mid-high line array elements.

These two flown clusters are augmented by two D.A.S. Aero LX-215RA band-pass subwoofers per side, which reside behind the Aero 12As. Additionally, a pair of Aero 12As is used for sidefill purposes.

Six D.A.S. Aero 8A compact 2-way line array elements complete the system, used in side fill, front fill, and delay capacities. A single Aero 8A is deployed to the extreme left and right sides of the house mains to provide coverage for the far sides of the hall.

Another two Aero 8As are typically placed for frontfill, and the remaining two enclosures are deployed roughly 35 feet out into the room—one each left and right—for delay purposes.

“This combination of loudspeakers gives Cendera Center a truly versatile setup that can be tailored to the nature of the event,” says Horn. “The sound quality is consistent from front to rear and side to side and the system’s rigging hardware facilitates re-positioning the loudspeakers easily. I honestly don’t believe there’s another loudspeaker system available that offers the performance and functionality of D.A.S. Audio’s Aero 12A.”

Since its completion in July, Cendera Center’s new sound reinforcement system is winning praise from visitors and the center’s staff alike. Brain Collins, Cendera Center president, states, “We’ve been very pleased with the new sound system’s performance. The audio quality is everything I had envisioned for the room and the versatility of the system is quite impressive.

“We’ve received numerous positive comments from our clients. The combined efforts of ‘Topper’ Sowden and Mike Horn have resulted in a system that delivers upon the promise of superior sound quality for all the events that take place here.”

D.A.S. Audio

Posted by Keith Clark on 08/29 at 04:36 PM
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Meyer Sound MICA Arrays Support Chapel Services At Oral Roberts University

Drive and processing is provided by a Galileo loudspeaker management system with Galileo 616 and 408 processors

Held in the 3,500-seat Christ’s Chapel, the twice-weekly student chapel services are the heartbeat of spiritual life at Oral Roberts University (ORU) in Tulsa, OK. After years of struggling with mediocre audio, a recent upgrade to Meyer Sound MICA line arrays has brought a revival of musical impact—and spoken word clarity—to chapel services as well as other events in the chapel.

“I sang through the old system for almost a year, and I can tell you it was time for it to go,” says Wayne Lee, Jr., recently appointed as ORU’s director of student worship and media production. “This new Meyer system now gives us a sweet sound that extends to every seat in the building. You feel the energy of our contemporary worship, but there’s no place in the room where your ears hurt.”

Installation of a new Meyer Sound system was due, in large part, to the selection of Mark Rutland, ORU’s new president. When Rutland came to the Tulsa school from Southeastern University in Florida, he convinced Lee—who had held a similar post there—to come with him.

Both were familiar with Meyer Sound, as Southeastern had benefited from Meyer Sound systems installed earlier by Mabe Production and Installation of Lakeland, FL.

“They did consider another system option for Christ’s Chapel,” says Harvey Mabe of Mabe Production and Installation, “which would have come in a bit less. But in the end, the quality of the product tipped the balance. They knew this was a critical long-term investment.”

Installed by Mabe, the new system comprises main left and right clusters of nine-each MICA line array loudspeakers, augmented in the center by a single UPQ-2P loudspeaker. Completing the system are 700-HP subwoofers, eight MM-4XP miniature loudspeakers for front-fills, and eight UP-4XP loudspeakers as under-balcony fill.

Drive and processing is provided by a Galileo loudspeaker management system with Galileo 616 and 408 processors.

“With the Meyer speakers you clearly hear each and every instrument,” says Lee. “Some other loudspeakers will emphasize one frequency range or the other, but with the Meyers you just don’t have that. You have a balance from high to low, so every frequency range has full power and clarity.”

The new system perfectly complements the new team at ORU, observes Mabe. “Wayne is a very energetic worship leader who likes to feel the music and Dr. Rutland is an eloquent speaker, so the intelligibility needs to be there. Using the MICA-based system, we were able to give them everything they needed.”

Meyer Sound

Posted by Keith Clark on 08/29 at 02:35 PM
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Friday, August 26, 2011

JBL VerTec Line Arrays To The Fore At Serbia’s Exit Festival

JBL VerTec line arrays were out in force at this year’s 4-day Exit 2011 Festival in Serbia, which saw bands such as Arcade Fire, Jamiroquai, Pulp, Portishead and Grinderman among the headliners

JBL VerTec line arrays were out in force at this year’s 4-day Exit 2011 Festival in Serbia, which saw bands such as Arcade Fire, Jamiroquai, Pulp, Portishead and Grinderman among the headliners.

Held at the picturesque 18th century Petrovaradin Fortress of Novi Sad, on the banks of the Danube, Studio Berar’s long-standing and highly experienced rental department has been servicing this event since its inception in 2000.

The 100,000 people who attended this year’s Exit Festival enjoyed performances by numerous major international artists, presented with top-quality sound and lighting. This year’s event honored the 2,000,000th visitor since the festival began; the lucky music fan was presented with a 10-year free ticket.

The main stage was equipped with 32 JBL VerTec VT4889 fullsize line array elements (hung 16 per side), with VT4888 midsize line array elements providing out fill coverage and 36 VT4880 fullsize arrayable subwoofers, distributed stage left and right. The overall system design was pre-determined using JBL’s LAC II (Line Array Calculator) software. A dbx DriveRack 4800 Loudspeaker Management System, driving over 40 Crown I-Tech power amplifiers, provided EQ and routing functions. A pair of Soundcraft Vi6 digital consoles was provided for the visiting sound engineers.

In the separate Dance Arena performance area, international artists such as Underworld, Deadmau5, Groove Armada and James Zabiela headed up an all-star cast. Here, the sound reinforcement system featured two hangs each of 24 VT4888 loudspeakers and VT4880 subwoofers, driven by a dbx DriveRack 4800 and Crown CTs3000 power amplifiers. Soundcraft MH3 and MH4 analog consoles were provided for the FOH and monitor positions.

Finally, the smaller Fusion Stage, featuring numerous regional acts, was equipped with 12 VerTec VT4888 enclosures per side, with six VT4880 subs. A 48-channel Soundcraft Series FIVE at front of house was complemented by a classic SM20 monitor desk on the stage.

For Studio Berar, system management was overseen by sound engineer Aleksandar Pejin. Studio Berar marketing manager, Lazar Josanov, stated, “We found that our design approach provided excellent control and clear, strong well-defined sound. The V4 preset for VerTec sounds perfect, and in combination with JBL’s LAC II software and Harman HiQnet for system setup, we were able to provide a secure, well-protected festival solution.”

Studio Berar

Posted by Keith Clark on 08/26 at 11:45 AM
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Gateway Church Opts For Comprehensive Meyer Sound Solution At New Campus

The new 4,000-seat sanctuary is equipped with cutting-edge technical facilities, including a powerful reinforcement system based on Meyer Sound MILO line array loudspeakers

With weekly worship attendance nearing 20,000 across three sites in the Dallas-Fort Worth area, Gateway Church ranks as one of the fastest-growing congregations in the country. Having outgrown its original main campus in Southlake, Gateway opened a new 200,000-plus-square-foot facility a few miles away. The 4,000-seat sanctuary, at the heart of the campus, is equipped with cutting-edge technical facilities, including a powerful reinforcement system based on Meyer Sound MILO line array loudspeakers.

The Dallas-based consulting firm, Acoustic Dimensions, was given responsibility for an integrated design incorporating architectural acoustics, audio, video, lighting, theatrical rigging, and broadcast facilities. For the design of the sound reinforcement systems, Acoustic Dimensions collaborated with Mike Walker of the 709 Agency, also in Southlake, as well as Meyer Sound Design Services.

Aware that client involvement was important for long-term satisfaction, early on Acoustic Dimensions staged a listening session at an area theater, inviting church technical staff to compare loudspeakers from different makers.

“I brought all our engineers, and we played our senior pastor’s voice plus all kinds of music,” recalls David Leuschner, Gateway’s executive director of technical arts, who played an active role in steering the project. “In the end Meyer was our consensus choice.”

Also, adds Leuschner, the church was already aware of the ongoing support they could expect from Meyer Sound, based on prior experience with a M’elodie line array loudspeaker system installed earlier at Gateway’s North Richland Hills campus.

As completed, the main auditorium system covers most of the expansive seating area with three arrays of nine MILO loudspeakers each, with bass augmented by 14 700-HP subwoofers. Side fill (upper and lower), front fill, effects, under-balcony and over-balcony coverage is supplied by 54 Meyer Sound loudspeakers that include MSL-4, CQ-1, UPQ-1P, DF-4 downfill, and UPJ-1P and UPJunior VariO loudspeakers.

In addition, seven UPJunior loudspeakers are flown overhead as stage monitors, and a Galileo loudspeaker management system provides drive and signal optimization. All audio and video systems were integrated by Pro Sound and Video of Florida and California under the supervision of Kelly Prince.

“My long experience with Meyer really sold me on their products,” attests David Leuschner. “In my opinion, their systems have the cleanest sound to the human ear. They can be deceptive, because you can run them loud, but people don’t complain about it being too loud because there’s no distortion.”

To maintain consistent quality, 12 other Meyer Sound UPJunior loudspeakers are at work in five classrooms on the campus. “From speech to music, in a big room or a small room, the Meyer boxes deliver sound that works for us,” adds Leuschner.

With an eye toward long-term costs, Leuschner cites customer support as another critical factor in selecting the audio systems. “Meyer Sound customer service is through the roof,” he says. “I can call them at any time and know that I will get through to somebody and get a response. They are 110% for you, all the time. You don’t find that in a lot of companies.”

Meyer Sound

Posted by Keith Clark on 08/26 at 10:15 AM
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