Thursday, December 05, 2013

Show Report: Live Sound Compact System Demo At WFX 2014

More than 650 worship production personnel and live sound operators converged on the Dallas Convention Center

More than 650 worship production personnel and live sound operators converged on the Dallas Convention Center in October to check out the third annual Live Sound Compact Systems Demo, held in conjunction with the WFX Conference & Expo.

The demo provides the opportunity to directly listen to, evaluate, and compare more than a dozen compact loudspeaker systems in a controlled listening environment. In addition, all participating companies have representatives on hand to provide technical details and pricing information.

The event is held in a full-size exhibit hall of the convention center, with a 150-foot by 150-foot demo space draped off to define the area and to help eliminate reflections. Carpet that covered the entire demo area furthered this goal.

While the 13 participating manufacturers primarily chose to highlight flown compact line arrays, others took a different approach in showing “single box” solutions, providing an excellent contrast between the types of systems available.

In each one-hour full demo session, all systems were played in a roundrobin, random format, supplied with identical audio tracks until the final round, when manufacturers had the opportunity to play their own select track through their system. Listeners move from system to system, evaluating what they’re hearing and also observing each system’s scale, components and other important details.

Each participating company also presented its own 15-minute exclusive demo sessions each day, further showcasing their technologies.

As usual, Live Sound senior contributing editor Craig Leerman served as the tech director for the event, with veteran engineer Tim Weaver of Waco, TX, at a Yamaha CL Series console managing audio for each demo session.

Gary Zandstra and Josh Maichele of Parkway Electric (Holland, MI), with more than 40 years of system integration and church tech work between them, served as emcees. Preston Gray of Morris Light & Sound (Nashville) was also on hand with a Smaart rig to monitor levels, with SPL readings visible on a large video screen.

Plans are already underway for the next compact system demo – with even more features for attendees – to be held in conjunction with next year’s WFX Expo in Dallas, September 2014. Keep an eye on ProSoundWeb for more details as they become available.

Demo Participants & Systems
Renkus-Heinz IC Live
PreSonus StudioLive 328AI
Martin Audio MLA Compact
Line 6 StageSource L3t
L-Acoustics KARAi
Elipsis Audio LA-205
Electro-Voice EVA-2082S
EAW QX596i
D.A.S. Audio AERO 40A
Danley Sound Labs SH96HO
Bose Professional RoomMatch
Alcons Audio LR14/90
Adamson Metrix-i & Metrix Wave-i

Technology Sponsors
Yamaha Commercial Audio
Link USA
Mega Systems

Images From The Live Sound Compact System Demo At WFX 2014:





Posted by Keith Clark on 12/05 at 10:11 AM
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Premiere Southern California Venue Steps It Up With Renkus-Heinz VARIA

New loudspeaker arrays help overcome venue's problematic acoustics for wide range of performances

The Gaslamp in Long Beach, one of Southern California’s best-known night spots, hosts artists ranging from hard rock and metal to punk, acoustic, and even contemporary classical performances, as well as comedy, DJs, tribute acts, karaoke, and televised sporting events. 

The Gaslamp recently upgraded its house sound system, headed by new Renkus-Heinz VARIA modular point source line arrays. As owner Mike Newfeld explains, the club’s acoustics have long been a struggle. 

“It’s a very boomy room,” says Newfeld. “It’s got high ceilings, concrete floors, and just not very good sound dispersion—a lot of pockets that are dead space or too loud. The challenge has been to find a system that would deliver consistent coverage and sound good, no matter where you are in the room.” 

Engineer Tony Purvis agrees. “It was really, really hard to get a good mix throughout the whole club - to achieve that ‘comfortable loud,’ where everyone can enjoy themselves, enjoy the music and the performance but still be able to hold a conversation.”

Purvis notes that VARIA has completely changed the equation for the club. “The experience that I’ve had with the new VARIA system has been just amazing,” he says. “The design of the system has enabled complete coverage. This system makes my life easier.”


“We couldn’t be happier with the new VARIA system,” adds Newfeld. “Our customer base noticed immediately. It’s loud, clear, and clean, without blowing people away. Thanks to the new VARIA system, we are now known as the premiere live music venue in Southern California.”


Posted by Keith Clark on 12/05 at 09:51 AM
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Wednesday, December 04, 2013

Adamson Metrix Line Arrays Give New Life To Hawthorn Town Hall

The Hawthorn Hall redevelopment includes sound reinforcement featuring Adamson Systems Metrix-I line arrays and Metrix Sub-I subwoofers.

Hawthorn Town Hall, located in a suburb of Melbourne, Australia, has taken on new life as a venue deemed integral to the artistic and cultural life of the community. Opened in 1890, the building housed the council chambers for the City of Hawthorn until 1994. Since then it has been used as a library, museum and gallery space. 

The building, along with the connecting and adjacent office annex built in the 1980s, is currently being redeveloped into the Hawthorn Art Centre.  The $17.9 million redevelopment includes new sound reinforcement systems utilizing Adamson Metrix-I line array enclosures and Metrix Sub-I dual 15-inch subwoofers in both the venue’s main hall and chandelier room.

The final system designs were created and optimized by Simon Tait of CMI, who also commissioned and tuned the systems.

Hanson and Associates, the consultant on the project, set a very stringent set of criteria for the new system in the main hall, including a minimum STI (Speech Transfer Index) of 0.6 coupled with a +/-3 dB variance between 80 Hz and 15 kHz across the entire listening area.

Installation of delay zones was not feasible for aesthetic reasons, therefore the entire throw in the room (approximately 100 feet) had to be accomplished using only the front arrays.

Tait specified main arrays each comprised of eight Metrix-I enclsoures flown left and right, with Metrix Sub-I subwoofers also provided for applications requiring enhanced low end. The only additional loudspeakers in the system are attached to the face of the stage to bolster coverage to the front seating rows. Rutledge AV installed the system under Project Manager Daniel Woodward.

“The system delivers excellent speech intelligibility, consistency of coverage and tons of headroom,” says Tait. “Subjectively, it sounds superb at every seat and is eminently suited for applications as diverse as spoken word, musical theatre and full-blown rock.”

The chandelier room is a much smaller space that accommodates up to 200 depending upon how the room is used.  Two left-right arrays, comprised of 4 Metrix-I enclosures, were installed above the small balcony in the room. The system provides the flexibility required for the variety of applications the room hosts.

The new systems are powered by MC2-T1500 amplifiers in bridged mode for the subs, MC2-T3500 for mids and MC2-T1500 for HF. Speaker management is performed by a group of four XTA-DC1048 processors.

“The diversity of both systems is the key to making sure they deliver value for money to the venue for years to come,” concludes Tait.

Adamson Systems

Posted by Julie Clark on 12/04 at 04:29 PM
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Tech Tip Of The Day: The Mystery Of Fuses

What is meant by "the continuous load on a fuse in an enclosure should not exceed what percent of it's rating"?
Provided by Sweetwater.

Q: I have what may seem like a silly question, but I’ve been racking my brain and I can’t seem to come up with the answer. Well, not really a question, really, but I keep getting confused by this:

“The continuous load on a fuse in an enclosure should not exceed what percent of its rating?”

You see, I’m doing some work, and I noticed that the above question does not indicate enclosure size, which in my experience has a profound effect, nor does it indicate whether or not the enclosure is vented.Any thoughts you have would be greatly appreciated.

A: Well, using what you’ve given me I’ll do my best. However, your question doesn’t really specify what you mean by “enclosure.” My house is an enclosure. I presume you mean loudspeaker enclosure, but even that is rather vague, as you suggest.

What size? What types of drivers? Is there a passive crossover in play? You also don’t specify the properties of the “continuous load.”

Is it DC, sine wave, uncompressed/compressed music? What exact malady are you trying to prevent? One would assume you are trying to prevent too much current/power from blowing drivers, but you could also be trying to prevent a shorted driver from harming a power amp (old amps didn’t have the protection circuitry of today’s modern designs).

A fuse wouldn’t be much good for anything else, but we still can’t really assume this.

So, since it’s unlikely I can directly answer your question, I’ll just explain what a fuse does and hopefully we’ll stumble upon the answer you need while helping everyone else a bit in the process.

All fuses respond to a characteristic known as Time versus Current Curve. Cross the curve (meaning too much current flow for too long a time) and the fuse opens, which breaks the circuit and hopefully protects some device downstream.

Generally, in a properly configured system, the fuse is there to prevent some failure from harming other equipment. The engineering question is, how fast do I need the fuse to respond to a fault condition? This is why you see slow blow and fast blow fuses.

The question of how fast they blow is just as important as how much over current makes them blow.

If your concern is speaker protection then you want to have fuses that rate a safe amount under the point at which the speaker will fail. But do you protect against brief spikes (like a dropped microphone), or do you protect against relatively long term over power events (vocalist screaming, feedback, etc.)?

The type and value of fuse used varies dramatically depending upon what exactly you are trying to accomplish. The bigger question is, why use a fuse in the first place?

There are other ways of protecting against this type of thing without inserting a device that fails and needs to be replaced. Circuit breakers and, believe it or not, light bulbs work very well to protect speakers.

A limiter on the front end of the power amp is a good solution too, depending upon the circumstances. This is one of those questions with many possible answers that depend upon the exact circumstances and concerns at hand.
For more tech tips go to Sweetwater.com

Posted by Keith Clark on 12/04 at 04:17 PM
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Tuesday, December 03, 2013

Outline Welcomes New Partner In Turkey

Outline Welcomes New Partner In Turkey

Outline is pleased to announce the appointment of Display Sound & Light Systems as their new official distributor for Turkey and Northern Cyprus.

Located in Istanbul and established in 1994, the company is one of Turkey’s premier professional audio companies whose portfolio of work includes sales and installations throughout the country, in a variety of applications and projects.

The diversity of their line card highlights the range of markets they serve, and already includes several major international brands. The addition of Outline actually strengthens their entire market offering as the Italian manufacturer’s product selection includes solutions for most touring and installation projects.

Outline Sales Director Chris Hinds commented, “Our ability to attract long-established market leaders like DS&LS speaks volumes about the growing recognition and market awareness Outline is enjoying now. Distributors like this are in demand among manufacturers because they are in touch with their national markets and are the best conduit for products into their territories.

“DS&LS have a proved track record with high-end loudspeaker systems in Turkey, and the combination of their credibility and our products should be a winner - we’re delighted to welcome them to the Outline family.”

Hakan Tamer, Managing Director of Display Sound and Light Systems adds, “Our new partnership with Outline shows our faith in their concepts, designs, sound quality and product innovation. We will celebrate our 20th year in 2014 and as part of the celebrations we will combine our expertise and skills with Outline’s 40 year experience and success to increase our market share in Turkey - as a result and in future, Outline’s products will feature in the highest-profile projects here.”


Posted by Julie Clark on 12/03 at 12:12 PM
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L-Acoustics Delivers “Philly Sound” For Theatre Of Living Arts

Clair Brothers Audio Systems installs ARCS II rig at intimate Live Nation venue

Although the Theatre of Living Arts (TLA) was best known in previous decades as a host for art house films and campy touring Broadway shows like Little Shop of Horrors and The Rocky Horror Picture Show, the TLA has steadily evolved into Philadelphia’s premiere small concert venue for edgy, up-and-coming artists.

Owned and operated by concert promoter Live Nation, the intimate 1000-capacity club recently bumped up its production values with the addition of a new ARCS II loudspeaker system from L-Acoustics.

The loudspeaker system, installed by Manheim-based Clair Brothers Audio Systems, Inc., replaced a large 18-year-old Clair R4/S4 house PA. The new system features left and right arrays each comprised of four ARCS II loudspeakers flanked by two flown SB18 subs per side.

For additional low-end reinforcement, four more SB18 are permanently housed under the stage and are complemented by two larger, portable SB28 subs that are kept at the ready for bass-heavy EDM shows.

A compact cluster of two ARCS FOCUS enclosures is flown between the ARCS II arrays for front-fill, while two tiny coaxial 5XT “cubes” are positioned under the acoustically shaded bar area at house left. Three LA8 and two LA4 amplified controllers power and process the entire system.

“We worked closely with L-Acoustics and Dan Schartoff, Live Nation’s VP of production, to come up with a new plan for TLA that would improve sight lines while providing better coverage and clarity,” says Dustin Goen, system designer and project manager for Clair Systems. “ARCS II’s razor-sharp directivity in the horizontal plane minimized reflections off the walls providing maximum clarity and impact for the audience, and the center ARCS FOCUS arrays eliminated the need for having any front-fills on stage.

“By flying everything, aside from the subs under the stage, we were able to remove all of the speakers from the deck and create more space on the dance floor. Plus, audiences on the far left and right sides of the room can now see everything on stage, whereas before the view was blocked by big PA stacks.”

Rob Tauscher, TLA’s production manager and FOH engineer, confirms that everyone is enjoying the new system. “A lot of bands return to play our room, so I’ve talked to dozens of engineers that have now mixed on both our old and new systems, and the response is 100 percent positive,” he says. “The audio quality here at TLA has improved almost immeasurably and they’ve been overjoyed to see and hear our new PA.”

“Clair and L-Acoustics really did a great job of spec’ing the right system for the space,” he adds. “The asymmetrical horn of the ARCS II allowed us to splay the cabinets in such a manner that coverage was maximized with very little wasted energy, and the center hang of ARCS FOCUS more than does the trick of covering the pit.

“I’ve found the ARCS Series systems to be very efficient and robust, and, combined with the flown SB18 subs, our PA acts like a three-way system plus auxiliary sub. The smooth directivity and constant tonal balance throughout the audience is really nice, and everything sounded great from the start with very minimal tuning adjustments.”

Schartoff is equally pleased with the results. “My mantra when designing systems has always been to find the gear that best suits the space, regardless of what it may be,” he says. “In this case, L-Acoustics’ ARCS Series solution is absolutely the most appropriate choice for the TLA and everyone has been thrilled with it so far.”

Goen, Schartoff and Tauscher note that TLA’s entire install and commissioning process was competed in only three days—from load-in to load-out, including moving the FOH mix position forward to just under the font edge of the balcony. A few of the very first acts to benefit from the new system included Hole’s Courtney Love, J. Cole, Glee’s Darren Criss, and Brothers In Arms, a new side project featuring D’Angelo and ?uestlove.


Posted by Julie Clark on 12/03 at 11:15 AM
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Monday, December 02, 2013

Cerwin-Vega! Provides Audio Upgrade To San Fernando Valley’s Fonogenic Studios

Fonogenic studios upgrades performance space with Cerwin-Vega! loudspeakers.

Fonogenic Studios, a recording studio and live music venue located in the heart of the San Fernando Valley, recently upgraded its sound system with Cerwin-Vega! P-Series Professional PA system and classic CVA Active Series Speakers.

The new system has received numerous compliments from both A-list musicians and audiences about the superior sound quality of the live venue.

The studio’s owners, Rami Jaffee, founding member of the The Wallflowers and now keyboardist for the Foo Fighters, and music producer Ran Pink, who has produced for PiNk & NoSeWoRthY and has composed for TV shows such as Happily Divorced and The Fran Drescher Tawk Show, are thrilled with the new system.

Together Jaffee and Pink operate half of the building as a recording studio and the other half, which features a big sound stage, as a live performance space.

“We’ve hosted crazy parties, with performances by big-name musicians, ever since our launch,” says Jaffee. “Now, we’ve been doing it more frequently, with parties every two weeks. We even live-stream the concerts to the web.

“We wanted Fonogenic to be an environment where artists felt comfortable emotionally investing in their music. We’re a family here and we want our clients to feel like this is their home too. We want it to be a creative haven for them. They shouldn’t have to worry about the sound quality we’re providing them.”

To ensure adequate sound coverage at the space, Jaffee and Pink hung four Cerwin-Vega! P-Series P1500X speakers from the ceiling and positioned two additional speakers as center-stage monitors.

The setup was completed with CVA-118 subs for front-of-house and CVA-115 subs for the drums.

“When we compare our previous arrangement to our P-Series setup, it’s like night and day,” says Pink. “Getting the levels of the vocals and of the mixes of the music just right used to be a challenge for us because of the elongated shape of the room.

“But now, since we deadened the room and installed the larger P-Series system, we’ve had no problems.”

Fonogenic Studios visitors, including top-notch producers and such renowned musicians as Stevie Wonder, often remark on the space’s flawless sound quality, which Jaffee and Pink attribute to Cerwin-Vega!.

“It’s just such a great feeling to hear all these music heroes mention how incredible the sound is right from the get-go,” continues Pink. “That’s the most satisfying feeling you can get, and it’s thanks to the P-Series.”

“Ross Hogarth, one of the biggest producers of our time, watched a band here at one of our events, and said the sound was just superb,” adds Jaffee. “And Foo Fighters guitarist Chris Shiflett had his side project band play one of our parties.

“He said he’d never heard stage sound that amazing in his entire life. In fact, when artists play at our venue now, they worry about living up to the sound quality, because it reflects the true sound of their music.”

A sound system that boasts exceptional clarity, the Cerwin-Vega! P-Series delivers power and bass punch for sound quality suited to any sound reinforcement application. The P1500X speaker employs a 15-inch woofer and high-frequency compression driver, powered by a custom 1500W Class-D amp.

Overall, the compact size and clarity of the P-Series speakers make them ideal for everything from permanent installations to on-the-go rehearsals. In fact, Jaffee himself trusts the speakers so much that he even takes them on the road with him.

Additionally, the CVA Active Series Speakers deliver tremendous power output and exceptional full-frequency response. The striking aluminum grills on the subwoofers minimize power compression and optimize driver performance.

Jaffee and Pink started Fonogenic Studios six years ago as a place for musicians to record their albums, rehearse and perform live sets. In addition to Wonder, Shiflett and Hogarth, Fonogenic has also hosted artists such as Allan Parsons and Minnie Driver, as well as The Foo Fighters and The Wallflowers band members.

View a video tour of the venue:



Posted by Julie Clark on 12/02 at 10:39 AM
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World Renowned Cathedral Gets World Class Sound With Iconyx From Renkus-Heinz

Iconyx loudspeakers from Renkus-Heinz provide sound reinforcement solution for highly reverberant cathedral in St. Louis.

Completed in 1914, the Cathedral Basilica of Saint Louis is renowned for its breathtaking mosaic works - one of the largest in the world. Comprising more than 41.5 million pieces, and covering 83,000 square feet, the mosaics display took more than 75 years to complete, and draws visitors from throughout the world.

The 2000-seat cathedral’s architecture is as exquisite as it is acoustically challenging, capped with a massive dome that soars to 150 feet high at its center. “It’s an exceptionally challenging environment,” explains Gary Haselhorst, President of Valley Park, MO-based Cignal Systems.

“There are so many concave surfaces, with 360 degrees of windows, and the dome just exacerbates everything. There’s not a soft surface in there - marble floors, hard pews - and there are transepts on either side that create even more reflections.” 

Not surprisingly, the Cathedral has struggled to find a sound system that could cope with such a challenging space.

“The old system was simply ineffective,” says Haselhorst. “They had about twenty 12-inch two-way cabinets around the perimeter, hung at about 30 feet in the air. There was a very fine line between enough volume and too much volume. If we brought up the direct feed too high the room would go into feedback.”

The solution presented itself in the form of Iconyx digitally steerable column arrays from Renkus-Heinz. A pair of Iconyx IC32-R-II columns are installed left and right of the altar platform. As Haselhorst explains, the Iconyx was a clear and obvious solution.

“As proof of concept, we took a single Iconyx 32 into the Cathedral, put it stage right of the altar sanctuary area, and steered the beam away from the reflective surfaces. Even with one speaker, we were miles beyond the existing sound system.”

Haselhorst adds that the 32-element column was exactly what was needed in this reflective space. “We didn’t need the SPL, but we needed the low frequency control. Below 250 Hz, the RT in that room is unmanageable.”

A second set of Iconyx IC16-R-II columns are mounted midway back in the room as delays.

“We could have easily hit the back of the room with the mains, but the transepts created another issue. If we aimed the beam high enough to hit the back of the room, we were hitting the transepts too. Using the IC16 columns as a delay kept us from having to push the front elements too hard and hitting the transept walls.” Time alignment is handled within the Iconyx software. A pair of Symetrix Radius units provides additional signal processing.

The Iconyx also offered a low-profile, streamlined design that blended well with the decor. “We custom painted them to match the walls,” says Haselhorst.

The new system has made an immense difference, says Haselhorst.  “We took down twenty loudspeakers that were aimed all over the place, and replaced them with four sources that are aimed with precision. You can hear someone now as if you were talking to them ten feet away.”

Haselhorst says the best compliment was from the archbishop himself. “He said that now he can pull up his old sermons and reuse them, and this time people will be able to hear them.”


Posted by Julie Clark on 12/02 at 09:51 AM
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Wednesday, November 27, 2013

Free Pre-Concert Sound Workshops On Current Shane & Shane/Phil Wickham Tour

Workshops hosted by mix engineer Travis Brockway, who is utilizing PreSonus AI loudspeakers and mixers

On the current Christman 2013 tour by noted Christan praise and worship band Shane & Shane as well as Phil Wickham, which utilizes PreSonus Active Intregration (AI) loudspeakers and mixers, mix engineer Travis Brockway is hosting free behind-the-scenes workshops.

Highlights include:
• Microphone placement techniques for both groups
• “Shooting the Room” with Smaart and StudioLive Remote for iPad
• Virtual soundcheck with Capture 2 and the StudioLive 32.4.2AI mixer
• How he uses the StudioLive AI double Fat Channel signal processors
• Loading and storing presets from Virtual StudioLive
• How Shane, Shane, and Phil use QMix to control their in-ear monitor system
• Audience Q&A

The workshop begins before the scheduled Shane & Shane/Phil Wickham concert at each location. Attendees must purchase a ticket to attend the concert.

Workshop Dates

Charlotte, NC; December 3, 4:30 PM. CharlotteONE
Senatobia, MS; December 4, 4:30 PM. Lifepoint Church
Shreveport, LA; December 5, 4:30 PM. Church at Red River
Baton Rouge, LA; December 6, 4:30 PM. Woodlawn Baptist Church
Benton, AR; December 7, 4:30 PM. First Baptist Church of Benton
Deer Park, TX; December 8, 4:00 PM. Central Baptist Church
Albuquerque, NM; December 11, 4:30 PM. Calvary Chapel Of Albuquerque
Prescott, AZ; December 12, 4:30 PM. Heights Church
Fontana, CA; December 13, 4:30 PM. Water of Life Community Church

Visit CCI Solutions for more information.

Posted by Keith Clark on 11/27 at 01:33 PM
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Meyer Sound Introduces The MJF-210, Its Lightest Self-Powered Stage Monitor

Offers the same sonic performance of the MJF-212A stage monitor, which has been used by Metallica, Usher, Judas Priest, and Michael Bublé.

Meyer Sound has introduced the new self-powered MJF-210, a low-profile high-power stage monitor that’s the lightest stage monitor in the company product line.

The new MJF-210 offers the same sonic performance of the MJF-212A stage monitor, which has been used by Metallica, Usher, Judas Priest, and Michael Bublé.

“The MJF-210 started with a customer’s request to bring the intelligibility and power of the MJF-212A into a more production-friendly package,” says Pablo Espinosa, chief loudspeaker designer and vice president of R&D. “The end result is a product that reflects users’ needs in the field, and its small footprint also offers more flexibility in bringing the myriad self-powered advantages to the stage.”

The MJF-210 offers a low-profile design with an impressive power-to-size ratio, and very low distortion. Each monitor measures less than 14 inches high and weighs 67 pounds.

In addition, it provides the sonic and practical advantages of a self-powered system, including reliability, low distortion, and ease of setup and configuration. With the amplifier built into the cabinet, the MJF-210 eliminates amplifier racks and saves backstage and truck space.

The front of the MJF-210 slopes at an optimal 40 degrees from the stage, while the well-behaved constant directivity horn (50 degrees H x 70 degrees V) gives the performer more freedom to move on stage while staying within the wide vertical coverage. The drivers are powered by a 3-channel class D amplifier.

For real-time monitoring of loudspeaker parameters, the MJF-210 can be integrated into the Compass RMS remote monitoring system using the optional RMS module. Compass RMS features the RMServer and can be controlled in the Compass software.


Meyer Sound

Posted by Keith Clark on 11/27 at 08:33 AM
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Tuesday, November 26, 2013

Princeton’s Frist Theatre Gets Audio Upgrade With VUE al-4 Line Array

New arrays bolster live music performances as well as providing a solution for quality cinema sound

The Frist Campus Center is a focal point for social activities on the Princeton University campus, and among its more popular hotspots is the Film and Performance Theatre, which recently unveiled new VUE audiotechnik al-4 line arrays as part of a major audio system upgrade designed to better facilitate live music at the popular campus destination.

With fixed seating for 197 on the main level and 42 on the balcony, the Film and Performance Theatre features a small stage, as well as projection screen and capabilities for 35mm, 16mm and DVD films. An existing surround sound system provides sufficient sound for dance performances and film viewing, but until recently the venue lacked a suitable sound reinforcement solution for live music performances.

Recognizing a need to expand the theatre’s capabilities, Film and Performance Theatre production manager Jim Streeter and his colleague James Allington, audio engineer at the university’s nearby Richardson Auditorium, teamed up with New Jersey-based PanAVid to design and install a more capable solution.

“Prior to the Frist project, James [Allington] invited us to facilitate a loudspeaker shootout for a new balcony system in Princeton’s Richardson Auditorium,” explains PanAVid’s Dennis Mitchell. “We brought systems from most of the big name manufacturers, including a pair of VUE i-2x4.5 boxes. The VUE’s literally blew everyone else out of the water, and ultimately won the gig.”

Mitchell continues, “A few months later when James contacted us about working with them on the Film and Performance Theatre at the Frist Center, he specifically asked for the VUE al-4 line array system, so we made arrangements to bring one in for a trial run.”

PanAVid opted for a fairly straightforward configuration. Dual, four-element al-4 arrays were yoke-mounted on poles atop a pair of VUE hs-25 powered subwoofers located at the left and right of the forward stage. A single VUE V4 systems engine provided power and processing for the eight al-4 elements.

“We were initially concerned about getting even coverage throughout the room,” notes Streeter. “The al-4 not only delivered exceptional coverage and sound quality, but it did so with almost no tweaking. We literally had it set up and playing within a few minutes, and the coverage was spot on right out of the box. I’ve never experienced a line array as predictable and consistent as the al-4.”

In addition to sound quality, portability was also on the list of critical objectives for the Princeton and PanAVid teams.

“We support other events throughout the Frist Campus Center,” says Streeter. “The al-4’s compact size and ability to scale up and down, or drop in and out of a road case in pre-assembled stacks, makes it extremely easy to work with. It’s really the perfect balance of line array performance and single-box simplicity.”

So effective was the al-4 demonstration that Allington and Streeter opted to purchase the very system brought in for the trial run. And with its portability proven during set-up, the exact configuration, including the al-4 yoke mounts and the hs-25 subwoofers, was retained as part of the final design.

“The hs-25 subwoofers are really the perfect match for the al-4,” adds Mitchell. “Bass is exceptionally musical and tight, and it blends perfectly with the clarity and presence of the line array.”

An Avid VENUE S3L console handles the mix, and rounds out the new “live worthy” system. And while it’s only been online for a few weeks, early reports are that Streeter and Allington couldn’t be happier with the results.

“During our very first use of the al-4, everyone from the talent to audience members commented on how clear and clean the audio was,” concluded Streeter. “It’s a very impressive little system.”


VUE Audiotechnik

Posted by Keith Clark on 11/26 at 06:25 PM
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Martin Audio MLA Mini Makes Its First Commercial Outing

New line arrays deployed in challenging Westpoint environment for annual conference of major UK retail company

In October, the Martin Audio MLA Mini stepped out onto the world stage in its first commercial outing, and at a challenging venue.

The event was the annual conference of the UK retail company SPAR, and the venue was Westpoint, otherwise known to those in the sound community as a “soulless shed” located just off the M5 in Exeter.

While Westpoint offers acres of space for trucks, and therefore easy load in, the venue itself, originally designed for the trading of Devon’s finest livestock, is known for having a reverberation time of at least seven seconds. Both MLA and MLA Compact have previously taken on this challenging space with great results, and this time it was the MLA Mini’s turn.

The event is a also major cornerstone in the calendar of Plymouth-based Pyramid AV, under the directorship of Nic Black, which deployed 24 new MLA Mini enclosures, six MSX subs and three flying frames.

The system was deployed in three hangs, with two main purposes––one was full range, intelligible coverage of speech and music for the seated conference area at one end of the hall, and the other was coverage of the entire hall for general announcements throughout an exhibition––measuring approximately 260 x 160 feet. 

Front of house engineer Simon Honywill and Martin Audio applications engineer Andy Davies opted for an eight-deep, left/right configuration for the conference, which was flown upstage of a thrust where all presentations would take place, and a central third hang of eight approximately 100 feet out into the hall. 

The third hang was optimized to cover approximately 165 feet to the far end of the hall, and the left/right was loaded with two optimizations, one to cover just the seated conference and the second to work with the central hang to cover the entire hall.

“I would go so far as to say that Westpoint has never sounded so good,” Honywill states. “It was actually gorgeous to behold. This little system has something that I have never heard in a small format line array before, real depth and control across the entire spectrum, and a genuine ability to throw some distance.

“It is warm, smooth and extremely well behaved, requiring little or no EQ on all the head mics, except for a bit of LF roll-off,” he continues. “There was loads of gain before feedback, and I was actually enjoying the very simple task of mixing a little playback, speech and VT––everything sat just right.”

Pyramid AV’s Black adds, “Having the Mini MLA system at Westpoint this year reaffirmed that it is possible to have beautiful sound in a challenging space. It was a great opportunity to have demonstrated the simple fact that well engineered audio can enhance the experience of the listener. We have had much positive and complimentary feedback regarding the sound and it was without doubt the best we have had.”

Martin Audio

Posted by Keith Clark on 11/26 at 03:18 PM
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New Mackie SRM Series Pumps Up Premier New England Rock Venue

Revitalizing the stage setup at a hard rock venue

Jim Roese, owner of audio company RPM Dynamics and production manager/monitor engineer for Blondie, recently specified Mackie SRM loudspeakers in upgrading the stage setup at Bernie’s Bar, a live performance venue in Nashua, NH.

Previously, hard rock and punk bands like Dop, The Misfits and Soil playing at Bernie’s were having a hard time with the club’s mix-and-match stage monitoring setup. For loud acts, stage volume is a primary concern, and the artists weren’t happy. At the same time, for owner/booker Bernie Goulet, matching price to product was a primary concern.

Roese ordered 10 new Mackie SRM650 compact loudspeakers for the project, sight unseen. “I’ve been using Mackie gear for many, many years,” he explains, “including the SRM450 and the DL1608 mixer. The SRM450s in particular always sounded great, and never had a problem. So I was pretty confident the SRM650 would be a quality product.”

He adds, “I looked at the specs, and saw this all-wood box, with a list price of around $900. Knowing Mackie, I knew it would be built like a tank, and would compete with boxes selling for twice that much. And we were right…Mackie delivered.”

The next evolution of Mackie’s SRM line, the self-powered SRM650 is driven by up to 1,600 watts in an all-wood frame with an 18-gauge steel grill. Further, Roese added other players in the Mackie line, including an SRM1850 as a drum sub and a pair of the SRM550s.

“Mackie has always built a great product,” Roese concludes. “Their stuff works, and it sounds great. I wanted Bernie’s to get great quality gear that fit their budget, and I placed my confidence in Mackie, knowing that their new products would be as good as they say. So we purchased it, put it in the club, and everyone loves it.”

RPM Dynamics

Posted by Keith Clark on 11/26 at 01:03 PM
AVLive SoundNewsAVLoudspeakerMonitoringPowerSound ReinforcementStagePermalink

Monday, November 25, 2013

Meyer Sound MINA Covers All Sonic Subtleties For Polish Musical Theatre

The 900-seat Musical Theatre ROMA in Warsaw, Poland has installed Meyer Sound MINA line array loudspeakers to support its repertoire of musical productions.

The 900-seat Musical Theatre ROMA in Warsaw, Poland has installed Meyer Sound MINA line array loudspeakers to support its repertoire of musical productions.

Designed and supplied by Warsaw-based Polsound, the new system was installed in the historic, early-20th century auditorium just prior to the opening of its latest production, Singing in the Rain.

“Our goal for many years has been to install a Meyer Sound system, and we simply love it,” says Wlodek Kowalczyk, the venue’s principal sound engineer. “The MINA system delivers sparkling definition, and a dynamic range that covers all the subtleties of sound in musical theatre. It responds to what I wish to achieve, without compromises.”

The main FOH system comprises 28 MINA loudspeakers, which include twin left and right hangs of 11 each and a center cluster of six. Four 1100-LFC low-frequency control elements are deployed as dual end-fired arrays. Completing the Meyer Sound system are eight UPM-1P loudspeakers for front fill, two UPA-1P loudspeakers for corner fill, and a Galileo® loudspeaker management system with two Galileo 616 processors for system drive and alignment.

Polsound has also provided 24 channels of Shure ULX-D digital wireless microphones and a Shure PSM 900 in-ear monitoring system.

“The new MINA system fits the venue perfectly,” says Pawel Danikiewicz, commercial director for Polsound. “It’s surprisingly powerful, yet smaller than what was installed before. MINA sounds like a big hi-fi system.”

Originally built in 1935 as a “Catholic House” in the classic style reminiscent of Italian opera halls, the Musical Theatre ROMA auditorium was one of the few buildings in Warsaw to survive World War II. It was home to the Polish National Opera from the post-war era through 1963. Past productions at the venue include Cats, Grease, Miss Saigon, The Phantom of the Opera, and Les Misérables.

Since introduced in 2010, the MINA loudspeaker has won rapid acceptance in Poland.  In addition to Musical Theatre ROMA, Polsound has recently installed other MINA systems at Malopolski Ogrod Sztuki [Garden of Art in Malopolska] in Cracow, CK Zamek [Poznan Castle] in Poznan, and Teatr Studio in Warsaw.

Meyer Sound

Posted by Julie Clark on 11/25 at 01:13 PM
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C. Vilar Rolls Out Adamson E15s For Justin Bieber Colombia Concert

C. Vilar provides Adamson Energia E15 PA for Justin Bieber concert in Bogota Colombia.

Sound company C. Vilar was recently tapped to provide sound reinforcement for the Justin Bieber concert held at Estadio Menesio Camacho El Campin in Bogota, Colombia.

One of many dates on Bieber’s “Believe Tour”, the artist performed for a crowd of 40,000 in the outdoor venue. 

“Gordon Mack, the FOH engineer on the tour was given the choice between a d&b audiotechnik, Meyer or Adamson E15 system for the concert and he chose the E15,” explains Mauricio Vilar, owner of C. Vilar. “He has traveled all over the world on this tour, using a variety of systems but when given a choice he chose Adamson – I think that speaks volumes for the Energia system.”

C. Vilar provided left-right line arrays for the house PA, each consisting of 15 E15s and 4 SpekTrix. Outfill hangs of 24 Y18s covered seating on each side of the stage. Front fill was handled by 16 SpekTrix spread out across the lip of the stage. Adamson M15 monitors – 12 in total – were in use on stage.

Low end was driven by two left-right clusters – groundstacked below each array – comprised of 7 Adamson T21 subwoofers, along with four additional subs for outfill. 

Left-right delay mains covered the elevated seating in the back of the arena roughly 150 meters away from the stage. Each array consisted of 12 Adamson Y10 enclosures . Two hangs of 8 Y10 enclosures were employed for outfill delays to cover remote upper balcony side seating.

“After using the Adamson P.A in Colombia I was blown away,” adds Gordon Mack, FOH engineer. “The P.A had balls, in your face-ness, and cutting vocal clarity. It was absolutely awesome.”

The C. Vilar team along with Adamson representatives on site utilized both the Adamson Shooter and Blueprint software. “The accuracy of the Blueprint software in terms of calculating 3D coverage of all arrays present was instrumental in landing the account,” adds Vilar.

The system was powered by an assortment of Lab.gruppen fP 3400, fP 6400 and PLM 20,000Q amplifiers. Lake LM26 processing offered the flexibility to drive the E15 systems along with monitoring and control.

“Since we added the E15 system to our inventory we have heard nothing but positive reviews from everyone that has used it,” concludes Vilar. “Once again the people involved in the event were absolutely thrilled – it was another successful Energia event.”

Adamson Systems

Posted by Julie Clark on 11/25 at 12:19 PM
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