Thursday, July 17, 2014

CAD Audio Headphones Contribute To Music Student Education In Cincinnati

Headphones assist them in learning how to play and record musical instruments and vocals

CAD Audio recently donated a number of sets of MH510 studio headphones to fledgling music students in Cincinnati to assist them in learning how to play and record musical instruments and vocals.

It’s a valuable contribution to their education, notes Aaron O’Keefe, a private music instructor and owner/co-owner of the Loveland, Maineville and Lebanon music academies.

“Carmen Mark ‘Squiggy’ DiGiacomo of the MAD Consulting Group contacted us about the manufacturer’s tent at the Rock On The Range Festival in Columbus where music product and audio manufacturers demonstrate their products,” O’Keefe notes. “CAD Audio was one of those companies and they were good enough to donate a number of their professional headphones to our music school programs.”

Students typically range from age six to 16, who he personally teaches piano, guitar, voice, drums, bass, double bass, vibraphone, mandolin and ukulele, to name a few. “We’ll usually take a song like ‘Heart Shaped Box’ by Nirvana or ‘Sober’ by Tool,” he explains. “I’ll teach the song individually to my drum, guitar, bass player and voice students, we’ll put them together in a band, rehearse the song, then actually record and videotape the final performance.

“These CAD headphones are going to be used in countless studio recordings,” he continues, “because too often, the kids have cheap, Walkman-style phones that don’t do the job. The Sessions MH510s are perfect for the studio because they have a closed-back design and there isn’t any bleed through into the microphones, which is really important. Plus the audio quality is exceptional. We’re using them extensively for tracking and overdubs, which is great because they’ll eventually appear in our videos. They’re the best headphones we’ve ever used.”

Knowing that his students’ version of Tool’s “46 and 2” on YouTube has had well over 6 million views to this point (view it here), appearing in their videos has added significance for supporting manufacturers such as Zildjian, Jackson, ESP, Dunlop, Kramer and CAD Audio.

CAD Audio

Posted by Keith Clark on 07/17 at 03:55 PM
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Tannoy QFlex & VLS Loudspeakers At Heart Of Upgrade At University Christian Church At TCU

Project required exceptional pattern control due to acoustical, aesthetic and architectural challenges

University Christian Church (UCC), located on the campus of Texas Christian University (TCU) in Fort Worth, recently upgraded its sound reinforcement system in a project headed by Tannoy loudspeakers.

Curt Taipale, owner of Taipale Media Systems (TMS), headquartered in Allen, TX, was tasked with designing the new system. He worked closely with SAV, a Plano-based system integration company that handled the installation.

“The existing sound reinforcement system was more than 20 years old,” explains Taipale. “I worked alongside media and technical coordinator Jack Stewart to nurse it along for a time, but it soon became clear that we needed to make an upgrade.”

The traditional cruciform design of the sanctuary has seating in the main sanctuary along with upper and lower seating in side transept areas. The last pew on the main floor is 120 feet from the main loudspeaker location, with balcony seating that extends back another 20 feet. A beautiful organ supports the choir – both are positioned behind the altar. The most logical place to put the main loudspeaker was on the truss directly over the chancel, upstage of the pulpit location.

“We needed great pattern control from the main loudspeaker,” Taipale adds. “That meant choosing a very large format horn – which would be unsightly – or some type of line array. I chose a Tannoy QFlex 48 column loudspeaker.”

Taipale arranged a demonstration of a Tannoy QFlex 40 in the sanctuary of UCC in order for the church project team to experience his recommendation first hand. Graham Hendry, VP of Tannoy’s Applications Engineering and Support (AET) division, was on site to tune the system and answer questions.

“The uninitiated tend not to believe me when I tell them that one tall, skinny column of loudspeakers can provide even sound coverage to listeners seated in the front as well as 140 feet away,” Taipale says. “The eyebrows really start to raise when I tell them that we can mount such a column vertically against the architectural truss and “steer” the sound energy down onto the listeners.”

The self-powered QFlex 48 is the largest discrete column array in the QFlex series. It consists of four connected modules for a total of sixteen 4-inch LF, sixteen 3-inch LF, and sixteen 1-inch HF drivers, each with its own discrete channel of amplification and integrated DSP (totaling 48 channels).

Once the project team gave the approval, Taipale built the acoustical model using EASE. In order to minimize how far the QFlex 48 protruded below the truss, it was mounted as high as possible, and as a result, the next truss out in front of the QFlex 48 blocked the HF section for listeners seated in the last six pews on the main floor. Taipale resolved that issue with the placement of a single Tannoy VLS 15 loudspeaker on a nearby truss that was aimed to cover those last few rows.

“In fact, we used a total of 14 Tannoy VLS 15s in the project,” Taipale continues. “Most of them cover the lower and upper side transept seating areas with two more to cover the choir behind the pulpit and another covers the balcony at the back of the sanctuary.”

VLS Series is the first Tannoy product to incorporate proprietary FAST (Focused Asymmetrical Shaping Technology), which delivers asymmetrical vertical dispersion, gently shaping the coverage towards the lower quadrant of the vertical axis.

After the first system was deployed the church membership were complete agreement that the system was performing at a high level. “The project team, church leaders and church membership were beyond happy,” concludes Taipale. “They had not heard services so clearly in quite some time.”

Taipale Media Systems

Posted by Keith Clark on 07/17 at 01:32 PM
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How Far Will That Loudspeaker “Throw”?

This article provided by One Systems

Sound reinforcement systems are characterized by a wide variety of technical specifications. Although the term “throw” is not a technical specification, it’s frequently used to describe a specific performance parameter.

A frequent question is “how far will this loudspeaker ‘throw’?” Unfortunately, the answer requires additional information before it can be properly answered.

The “throw” question is asked in order to try and understand a loudspeaker’s ability to project some specific sound pressure level (SPL) over some distance. There are specific system performance parameters that must be considered, such as the loudspeaker’s 1 watt at 1 meter (1W/1m) sensitivity and power handling.

The 1W/1m specification can be a function of the loudspeaker’s directivity factor (or Q), and to that extent, the term “throw” and the Q are related but not identical (i.e., a customer’s request for a high Q/long-throw design.) Two loudspeaker systems, both with the same Q, will only have the same “throw” if the on-axis 1W/1m sensitivity and power handling are also identical. A loudspeaker system with a lower Q but higher 1W/1m sensitivity and higher power handling will actually “throw” farther then the “high Q” system! 

Therefore, it’s important to make the distinction between “high Q” as it relates to a loudspeaker’s coverage angle and on-axis sensitivity.

On-axis sensitivity is a combination of the loudspeaker’s low-frequency (LF) device and high-frequency (HF) device (as well as a mid-frequency device when applicable), and the levels are matched to achieve smooth (or flat) frequency response.

The HF device (a compression driver feeding a horn) is usually the most efficient, and needs to be padded down to match the level of the LF device. If the HF device is high Q, it simply means that there is more pad required to achieve an acoustic match with the LF device. This can certainly be confusing, but the important concept here is that loudspeaker Q and coverage angles, although related, do not necessarily determine how far a loudspeaker will “throw.” Thus a “high Q” loudspeaker doesn’t necessarily translate to longer “{hrow."

In addition to the performance parameters, the desired SPL at a specific distance is required to properly answer the question. So in reality, what is really being asked is "how loud will the loudspeaker be at a specific distance?"

An example may help:

Customer Question: “How far will your loudspeaker throw”?

Engineer Answer (with a question unfortunately): “What SPL do you require”?

The reason the second question is asked is to determine the performance requirements for the venue.

Customer: “This is a softball field and we have measured crowd sound pressure levels at 90 dB, and the crowd is 75 feet from the location of the loudspeaker mounting position.”

Engineer: “Great! The loudspeaker is rated at 1 watt at 1 meter to produce a sound pressure level of 99 dB, and it has AES rated power handling of 1,000 watts continuous. So, 75 feet is 22.8 meters, and that means that at 1 watt of input, the SPL will be reduced by 27.1 dB (spherical spreading loss only;  i.e., a 6 dB loss for every doubling of distance, and no atmospheric losses are assumed at this distance, although there may be some based on actual wind and humidity conditions).

Now, if we take the 1 watt at 1 meter level of 99 dB and reduce it by the distance of 75 feet, we see that this loudspeaker will produce a sound pressure level of 71.9 dB with a 1 watt input (99 dB minus 27.1 dB).

The customer has specified the crowd level of 90 dBA (this is loud, but typical for many sporting venues) and since we would like to have 3 dB or more level above the crowd in order to make our announcement, play music, or make other program material intelligible, we calculate that we will need approximately 93 dB of SPL. This will require a power input to the loudspeaker of 132 watts.

The loudspeaker will “throw” 75 feet, but we only know this because we know what SPL we need to achieve at this distance (without knowing the necessary SPL, we have no way of answering the question).

Customer Question: “But we also have a baseball field where we have to mount the loudspeaker on the scoreboard in center field and we need to have good intelligibility at the back of the stands behind home plate…So, will this loudspeaker ‘throw’ 450 feet?”

Engineer Answer: “Will the crowd be talking at normal speech levels or screaming?”

Customer: “What’s the difference?”

Engineer: “Well, let’s see…Assuming spherical spreading only (6 dB loss for every doubling of distance), the SPL at 450 feet (137 meters) will be reduced by almost 43 dB (42.7 dB to be exact), so the SPL at 1 watt of power input to the loudspeaker will be only 56.3 dB.

“Now let’s add some power and see what happens. If we’re trying to get 3 dB above average speech levels, we will need about 63 dB since normal “talking” is about 60 dB. That means we would need 4.7 watts of power…No problem, the loudspeaker will “throw” 450 feet without any issues.”

Customer: “But you silly engineer, this is a sporting event, we need to get louder than that!”

Engineer: “OK, let’s see what we can do at 85 dB SPL…We need 741 watts. This can be done, but we’re getting very close to the rated continuous power handling of the loudspeaker (1,000 watts). A good practice is to look at half the rated continuous power handling of the loudspeaker. Designing a system at full rated power is frequently done, but is not good practice.

“Now, if you only need 82 dB (still fairly loud), we need 370 watts…Easy to do. But if you need 88 dB, you will need 1,482 watts…This is NOT recommended!”

Customer: “What if I use a high Q loudspeaker, like a 60 x 40-degree dispersion instead of a 90 x40-degree dispersion? The 60 x 40-degree disperion is ‘higher Q and longer throw,’ right? I need 93 dB.”

Engineer: “What determines the ‘throw’ is the loudspeaker’s 1 watt at 1 meter rating and the power handing. In a loudspeaker, the Q of the horn will certainly alter the coverage angles but will not provide additional throw unless the 1 watt at 1 meter rating of the loudspeaker is also higher. So you will need a loudspeaker with a higher 1 watt at 1 meter rating, or higher power handling, or more loudspeakers, if you wish to get to 93 dB at 450 feet.”

Based on the examples above, the specific loudspeaker will “throw” 450 feet, no problem, or maybe a problem, or not at all. It depends on what SPL is required at a specified distance, as well as what power level is available and safe for the loudspeaker. These calculations apply to all manufacturers and to all loudspeakers.

Do some loudspeakers throw farther than others? Of course they do, and it’s easy to compare two loudspeakers based solely on the 1 watt at 1 meter sensitivity and power handling specifications.

However, asking “how far will the loudspeaker throw” (again, any loudspeaker from any manufacturer) can only be answered by asking more about the acoustic requirements of the loudspeaker and then running calculations based on those requirements and the loudspeaker’s sensitivity.

When manufacturers specifiy a “throw” distance for a loudspeaker without asking the required SPL, they’re providing incomplete or misleading information. It’s unfortunate that the term “throw” exists at all, as it frequently leads to system installations where inappropriate loudspeakers are specified for the acoustic space.

A far better question: “what SPL can I achieve at ‘X’ distance with this system and at what input power level”?

Mike O’Neill is chief engineer at One Systems and holds several patents in loudspeaker and transducer designs.

Posted by Keith Clark on 07/17 at 12:44 PM
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Adamson Systems Launches New & Improved Website

Offers an updated look and feel as well as easy-to-navigate product information, technical support and company news

Adamson Systems has unveiled a new, revamped website with an updated look and feel as well as easy-to-navigate product information, technical support and company news. (Check it out here.)

Energía Partners can utilize the Blueprint AVTM login to store account information, serial numbers and download the latest releases of the 3D modeling software for both PC and Mac.

“We’ve been developing the new website for a while,” explains James Oliver, director of marketing and sales. “The timing is perfect as it facilitates the release of Blueprint AV as well as information about the complete Energía family of loudspeakers.”

A straightforward product drop-down makes it simple to find the right Adamson gear for any touring, installation or house of worship application. The support section provides easy access to presets, user manuals and pin configurations.

In addition, clear links to the Adamson Systems Facebook, YouTube and Linked In pages are available. A newsletter sign-up encourages audio professionals to sign up to receive Adamson information directly to their inbox via a monthly newsletter.

“Our goal is to make getting information about Adamson products and technology as easy as possible,” Oliver adds. “Educational opportunities, application support and software updates are just a few of the benefits the new site offers our customers.”

Adamson Systems

Posted by Keith Clark on 07/17 at 09:25 AM
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Thunder Audio Expands Inventory With L-Acoustics K1 System

Detroit/Nashville sound company purchases system after taking K2 on Vampire Weekend tour

After putting an L-Acoustics K2 loudspeaker system through its paces, including a recent trek on Vampire Weekend’s North American tour leg, Thunder Audio has expanded its inventory with a large-format K1 system.

According to Thunder Audio business development manager Greg Snyder, the company is currently taking delivery of 48 K1 enclosures, as well as bringing the rest of its total L-Acoustics inventory up to 36 K2 and 24 KARA elements, 18 K1-SB and 34 SB28 subs, six ARCS II and 22 LA-RAK, each loaded with three LA8 amplified controllers. An additional 48 K2 are also on order for the first quarter of 2015.

“K1 has become the industry’s first choice for live audio reinforcement systems, but K2 is the reason we finally became a member of the L-Acoustics family,” says Snyder. “It’s a stellar system for arena tours, like Vampire Weekend, as well as the perfect support box for K1 on larger stadium and festival shows. We are thrilled with the linearity in performance across L-Acoustics’ entire product range and excited about the solutions that these systems will provide for our clients.”

Neil Heal, Vampire Weekend’s FOH engineer since late-2007, comments on his use of Thunder Audio’s K2 rig. “The typical configuration on our most recent American tour leg was left and right arrays of 14 K2, plus eight KARA out fills and four SB28 per side, all of which sounded fantastic. It seemed odd to be using so few subs, but more than that would have been overkill with K2, which is such a full range enclosure with a really nice usable low end. Vampire Weekend’s mix is all about vocal and instrumental clarity, and I could literally run the rig without subs in most arenas, but having just a few of them more than adequately filled out the low end.

“We used K2 both indoors and outdoors, with arrays ranging between eight and 14 boxes per side, and I’m very impressed with the sonic consistency we got from night to night,” he continues. “K2’s ‘steerability’ with Panflex is also really nice in the event that Jonny [Winkler, Thunder Audio FOH systems engineer] had to hang the arrays near a glass wall or whatever; we could aim the top end away from it, which is great.”

Thunder Audio’s Winkler appreciates not only the fidelity of K2, but also the ease with which the system flies and strikes. “We flew the rig so fast each day that the lighting guys and carpenters were angry with me,” he notes. “It takes longer to get the pins pre-set than it does to fly it, and that doesn’t even take that long. We have several other manufacturer’s boxes in our inventory here at Thunder Audio, and this is by far the fastest and easiest. I’ve flown an entire K2 rig totally by myself in less than four hours.”

Thunder Audio vice president Paul Owen sums up by adding, “This was a huge undertaking by Tony [Villarreal, President] and I, and we had to take a lot into consideration before moving forward with K1 and K2: popularity, demand and, of course, availability. K1 is the first choice on the majority of riders that we handle and the predominant system when it comes to festivals. There’s no denying its sheer power and quality. We feel that K1 and K2 are our best venture to date for attracting new customers and facilitating old ones, and we’re very excited for what these systems can do for our clients and company’s future.”

Thunder Audio

Posted by Keith Clark on 07/17 at 08:35 AM
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And They’re Off…An Audio Makeover At Churchill Downs

Churchill Downs in Louisville, site of the Kentucky Derby since 1875, received a significant sound reinforcement system upgrade in time for the 2014 season to accompany the addition of the largest 4k video board (171 by 90 feet) in the world.

Marsh/PMK International of Richardson, TX, worked with Kentucky-based Encompass Develop, Design & Construct to successfully complete the challenging project.

Unlike baseball and football stadiums, the grandstand at Churchill Downs has seating tiers that are stacked vertically, straight up and down. In addition, various expansions over the years have added sections on either side of the historic “twin spires,” and all of these sections have slightly different profiles. Further, there are varying ceiling heights, seating depths and column spacing.

It’s a unique situation requiring careful planning, and unfortunately, Churchill Downs did not have CAD drawings of the facility. Further, PDF drawings provided to Marsh/PMK trickled in over a period of weeks, and none were to scale. Tim Lindstron and Melvin Saunders of the sound team worked together on a solution.

Lindstrom used dimensions obtained during the initial site survey to create re-scaled PDFs, while Saunders took to Google Earth to confirm/correct the dimensions and then created a SketchUp model of the grandstands. The SketchUp model was then imported into EASE, which allowed Dave Stearns of Encompass to get into the detailed loudspeaker design.

A view of the venerable Grandstand filled for this year’s Kentucky Derby.

Two basic cluster types alternate along the length of the grandstand, just under the front edge of the Level 300 ceiling. There are nearly 60 clusters in total.

The first type includes a Danley Sound Labs SH50 Synergy Horn long-throw loudspeaker and a companion TH212 subwoofer. The SH50 covers seating in front of the grandstand building all the way out to the edge of the track. The second type utilizes Danley SM96 compact loudspeakers to provide near coverage in between the horizontal cut-off angles of the SH50s in the adjacent clusters.

Both cluster types also include a rear-firing full-range Danley SM60F aimed toward the top of the Level 300 seating tier and a “more-or-less down-firing” SM96 with its woofer removed.

Marsh/PMK’s Dave Marsh (left) and Dave Stearns at Churchill Downs.

“Danley had slightly greater vertical coverage patterns in similar box sizes [to those of the other manufacturer considered for the project], which allowed us to modify our design to use one less box per cluster,” notes Dave Marsh, owner of Marsh/PMK. “That would ultimately be a cost savings. And Danley emphatically stated that the boxes would be delivered on time and that sealed the deal. They made good on their promise.”

Renkus-Heinz and QSC Audio loudspeakers were re-purposed and added as necessary to improve coverage on the “porches” in front of upper level suites and in other areas. Existing Community loudspeakers were also re-purposed and added as necessary on poles to cover seating that extends beyond the building as well as the track infield, the entry plaza and the paddock area. The existing QSC Audio Q-Sys DSP, networking and routing infrastructure was expanded to handle the new requirements, accompanied by increased QSC power amplification.

“Re-use of existing equipment where possible was a goal of our design, but Danley now provides the major audio horsepower for the grandstands at Churchill Downs,” Marsh concludes, claiming no pun intended.

Posted by Keith Clark on 07/17 at 07:57 AM
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Wednesday, July 16, 2014

BSS Audio, Crown Audio & JBL Professional Play For The Majors In San Diego

Retrofit project by Daktronics includes stadium and numerous specialty suites and areas

Petco Park, home to Major League Baseball’s San Diego Padres, recently took a step toward delivering on its dedication to “Creating Major League Memories” with systems integrator Daktronics performing an audio retrofit headed by Harman Professional components.

The facility, which opened in 2004, seats 42,445 and calls itself “The World’s Best Ballpark in America’s Finest City,” is now equipped with JBL Professional loudspeakers, Crown Audio amplifiers and BSS Audio processing.

Audio project engineer David Sturzenbecher and the Daktronics Audio team’s first step in the extensive Petco Park audio retrofit was evaluating the state of the previous system by testing every amplifier’s voltage gain and frequency response. Petco Park has two large amplifier rooms, each with 80 amplifiers, and up to 30 amplifiers in each of six smaller rooms.

Daktronics Audio replaced each of the older amplifiers in the smaller rooms with Crown DCi amplifiers; the upgrade to the Crown DCi amplifiers in the larger rooms is ongoing. Outfitted with proprietary DriveCore technology, DCi is powerful yet energy efficient in a package just 2RU high. 

For loudspeaker testing, Sturzenbecher along with field engineer Doug Dodge took impedance measurements of each unit run from the amplifier rooms and listened to every passband of every loudspeaker. Once the needs were determined, JBL loudspeakers were selected.

“The stadium is located only a quarter mile from the ocean, and the loudspeakers on the upper deck are quite exposed and only accessible via scaffolding,” Sturzenbecher says. “So in addition to superior sound quality, we selected the JBL PD and AM weatherized boxes because we knew they would be able to handle these conditions without the need for additional service.”

While the sound requirements for most of Petco Park are on a large scale, the facility does have a number of restaurants and bars that called for a lighter touch. To accommodate those areas, Sturzenbecher augmented the BSS Audio BLU-800 processers already installed throughout the venue by adding BLU-320 devices in the park’s more compact sections.

“The BLU-320 provides the preamps for local audio input, but also provides the BLU link source for each local amplifier room,” he notes. “The Soundweb London processors were programmed so that mix engineers can monitor any audio signal in the park from the control room.”

In the Bud Patio area, Daktronics installed three JBL Control 29AV-1 loudspeakers and, for Hodad’s Restaurant, eight JBL C29AV-WH-1 70V loudspeakers. The lodge, restaurant, pier and Hall of Fame bars use Crown DCi 2I600N amplifiers.

The equipment inventory of Harman products that Daktronics installed in various areas of the park is extensive. On the Toyota Terrace, 19 JBL PD5322/95-WRX-WH weather-protected loudspeakers were installed. For the outer concourse, Sturzenbecher selected 30 JBL AWC129 all-weather loudspeakers with 70V transformers and two Crown DCi 2I1250N amplifiers.

To fill in gaps in the concourse, two JBL PD5322/43-H-WRX weather-protected loudspeakers, two JBL AM5215/66-H-WRX weather-protected loudspeakers, powered with four Crown DCi 2I1250N amplifiers.

On the park’s upper deck, Daktronics installed a complete replacement, including 26 JBL PD5322/64 WRX-H-WH weather-protected loudspeakers, 26 JBL AM5215/26-H-WRX weather-protected loudspeakers, 26 AM5215/95-H-WRX weather-protected loudspeakers and 23 JBL AM5215/00-H-WRX weather-protected loudspeakers.

T he Right Field Budweiser Scoreboard and Budweiser Patio Addition is outfitted with four JBL PD5322/64-WRX-H-WH weather-protected loudspeakers, five JBL AM5215/26-H-WRX weather-protected loudspeakers, one JBL PD5215/95-WRX-H-WH weather-protected loudspeaker and, for the right outfield rear fill, seven JBL C29AV-WH-1 loudspeakers; the area is powered with a Crown DCi2I1250N two-channel amplifier. For the owners’ suites, Daktronics installed 12 JBL C29AV-WH-I weather-protected loudspeakers.

This deployment is also one of the largest to date of HARMAN HiQnet Audio Architect audio system design and configuration software, which retains the workflow-centered philosophy first introduced in HiQnet System Architect but also incorporates the BSS Audio Soundweb London DSP functionality.

By uniting HiQnet System Architect and Soundweb London, Harman believes that HiQnet Audio Architect represents the next stage in the evolution of audio systems design software. Sturzenbecher agrees: “HiQnet Audio Architect lets us combine programs and provide intuitive custom panels on a large touchscreen for the operators. We have more than 200 HiQnet devices on the network, and the status of all of them can be seen by simply glancing at the software.”

The Harman lineup also helped address one of the unique acoustic challenges of Petco Park, which is the “Park at the Park” area just outside the stadium where fans can watch the game with their pets. “The main complaint from people in that area was that the sound was unintelligible,” Sturzenbecher says. “So we replaced about a dozen loudspeakers with two JBL CBT 70J+E column loudspeakers. The coverage throughout the park is great and the vocals are very clear.” 

JBL Professional
Crown Audio
BSS Audio
Harman Professional

Posted by Keith Clark on 07/16 at 03:56 PM
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Community Professional Launches New Brand Identity

New look for the brand while I SERIES, a new family of point source loudspeakers signals new direction for the company’s product design language

Community Professional Loudspeakers has unveiled a new corporate brand identity, launched at the 2014 InfoComm show in Las Vegas last month, where the company’s booth and demo room showcased the new look of the brand while I SERIES, a new family of premium point source loudspeakers, signaled a new direction for the company’s product design language.

Founded in 1968, Community has a long record of innovation and longevity. The new brand identity and product design language are key elements of a branding initiative which reinforces the company’s focus on the installation market and its commitment to product design.

“The revised corporate identity is a vibrant and engaging new expression of the Community brand legacy – past, present and future,” explains Steve Johnson, CEO of Community Professional. “The design of our new symbol and logotype suggest precision and elegance, two important attributes of our products and engineering.” 

He describes how the branding initiative guided the development of the new I SERIES of high-power installation loudspeakers. “The forward-thinking design of I SERIES demonstrates the kind of fresh and contemporary industrial design you’ll see in future products from Community. And its installed-system focus, including some very clever rigging hardware, evidences our commitment to our core customers.” 

“Community’s brand has always been highly respected throughout the pro audio industry,” he concludes. “With this new corporate brand identity, we’re modernizing the way we present our company to the world while building on our past strengths and renewing our commitment to our customers.”

Community Professional

Posted by Keith Clark on 07/16 at 07:50 AM
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Tuesday, July 15, 2014

Mackie Unveils Creative Reference Multimedia Monitor Series

Two models designed to provide deep, punchy low end and smooth highs with even dispersion

Mackie has introduced the Creative Reference Multimedia Monitor series, designed to deliver studio-quality sound and performance in desktop-friendly, compact designs that are affordable.

The series includes two models—the CR3 and CR4—with 3-inch or 4-inch woofers that are devised to provide deep, punchy low end and 3/4-inch silk-dome tweeters to supply smooth, articulate highs. CR monitors also are outfitted with a sleek, curved high-frequency waveguide for wide, even dispersion and a well-defined stereo image.

In addition, all-wood cabinets and custom-tuned rear ports provide a natural warmth to the sound.

“When mixing audio or creating media, it’s critical that your audio translate across all the various speakers and headphones listeners will use,” says Matt Redmon, Mackie senior product manager. “Even if you are just enjoying a video or music, our new Creative Reference monitors will let you hear every nuance and detail the producer intended.”

Creative Reference monitors offer convenient features that deliver flexibility. A left/right loudspeaker placement switch allows users to locate the volume control on the left or right of their workstation. The front panel includes a on/off/volume knob with a lit power indication ring that will also control the volume of headphones, which can be plugged directly into the front of the monitors. There’s also a front-panel aux input for simple connection of a media device.

“With smartphones always at our side, you can easily find yourself creating professional multimedia one minute and streaming a video the next,” notes Redmon. “With our new Creative Reference monitors, you get the best of both worlds…studio-quality performance, an extremely compact design ideal for smaller workstations and smart features perfect creativity on any level.”

Creative Reference monitors come with all the connecting cables needed for the user to get started immediately. A pair of acoustic isolation pads are also included that can be used to minimize unwanted bass buildup that can muddy a mix. In addition, the pads have an angled design that allows the user to tilt the monitors slightly up or down for more focused listening depending on their setup.

“Whether you’re a seasoned pro looking for a compact pair of accurate, articulate monitors for work or just looking for a pair of amazing-sounding speakers for entertainment, Mackie’s new Creative Reference monitors are an affordable solution that deliver professional results in our most compact form factor to date,” concludes Redmon.

The new Mackie CR3 and CR4 Creative Reference monitors will be available worldwide beginning August, 2014. Sold in pairs, CR3 monitors will have a U.S. MSRP of $129.99 and CR4 monitors will have a U.S. MSRP of $199.99.


Posted by Keith Clark on 07/15 at 02:44 PM
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Meyer Sound Launches User Training Videos For LYON Line Array System (Includes Video)

Covering topics that range from system design and rigging to optimization

Meyer Sound has released four online video tutorials to support users of the LYON linear sound reinforcement system, the newest addition to its LEO Family of line array products.

Covering topics that range from system design and rigging to optimization, the video modules are available for viewing on the company’s video page (here).

Video modules include:

LYON Product Introduction: A comprehensive overview outlining the system’s coverage patterns, rigging features, connections, and integration with the 1100-LFC low-frequency control element and the Galileo Callisto loudspeaker management system. (View this video below.)

LYON Array Assembly: Provides a step-by-step tutorial for presetting splay angles, lifting and locking an array, and pullback techniques. It also shows the rigging calculator features in the MAPP Online XT acoustic prediction software.

LYON Compass Presets and Controls: Shows the user workflow for optimizing a LYON loudspeaker array, featuring presets in the virtual Galileo Callisto array processor, array configuration in zones, integration of 1100-LFC loudspeakers, and the U-Shaping™ filters for output equalization.

Using Array Correction and Delay Integration: Demonstrates the use of array processing and correction and delay integration for Meyer Sound line array systems.

These training resources complement Meyer Sound’s education program, which includes in-person seminars and online resources for all aspects of sound reinforcement, from audio theory and mixing workshops to in-depth courses on the design and optimization of complex systems. Learn more about the Meyer Sound education program here.


LYON: Product Introduction from Meyer Sound on Vimeo.

View the rest of the videos here.
Meyer Sound

Posted by Keith Clark on 07/15 at 02:23 PM
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Guitar Tech André Cholmondeley Utilizes Bose Pro L1 System For Greg Lake & Adrian Belew

Portable loudspeaker system with B2 bass module serves both guitarists well on the road

André Cholmondeley knows guitars and he knows the road, and he’s applied that knowledge and tour management to the benefit of a throng of guitar greats over the years, including Al Di Meola, Derek Trucks, Greg Lake (Emerson, Lake & Palmer) and multi-instrumentalist Adrian Belew (Frank Zappa, King Crimson, others).

Recently Cholmondeley (pronounced “CHUM-lee”) has employed the L1 Model II portable loudspeaker system with B2 bass module from Bose Professional with great success for both Belew and Lake.

“I love all kinds of music, but in my tour work I really do skew towards prog-rock, as you can see,” says Cholmondeley, referring to his resume filled with bands that defined the progressive-rock genre of the 1970s and ‘80s. “I really love listening to the progressive players and bands, and I’ve been lucky to get to work with several of them.”

He recalls that his stepfather had a pair of large Bose stereo loudspeakers in the house when he was growing up, through which he first encountered many of the guitar greats that he would one day come to work with.  So it wasn’t surprising that when he was to go on the road with both Lake and Belew on separate tours in recent years, Cholmondeley recommended that they take the Bose L1 on the road with them, on tours that spanned North America, Japan, Europe and the U.K.
“First, the system sounds great,” he says. “Everyone agrees on that point. Greg is a master producer and he knows what guitars are supposed to sound like. When he plugs his Gibson J-200 acoustic into the L1 system, what he gets is amazing. PA systems can often pull the mids and the lows out of acoustics, but the L1 system gives you a full spectrum of what an acoustic guitar has. Greg loves the sense of ‘depth’ that the L1 system adds to his stage sound.” 

He continues, “For Adrian Belew’s electric guitars, the L1 system gives him that absolute silence he needs, and gives him all the fidelity he wants for all of his effects and samples. He’s especially happy with how synth sounds are handled with ease by the L1 subs. Then there’s the portability, which is my personal favorite feature.

“We often play clubs and small theaters, and the L1 system loads in and sets up fast and easily; I can quickly tell a couple of stage hands what to do, and they have it up and running within minutes. And it interfaces with the house PA systems so easily when we want it to – just run a cable to the quarter-inch input and we’re ready to go.” 

Cholmondeley will go back on tour with Greg Lake this year, and may rejoin the Belew tour in the future. In both cases the Bose L1 system will be back out with them. “No way I can ever leave that behind,” he says.

Bose Professional

Posted by Keith Clark on 07/15 at 12:32 PM
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Genelec Now Shipping 8010 Compact Active Monitor

Smallest member of the 8000 product range that is widely used in pro audio, mastering, post-production and broadcast

Genelec is now shipping the 8010 compact active monitor, the smallest member of the 8000 product range that is widely used in professional audio, mastering, post-production and broadcast market sectors around the world.

Suitable for professional work in small studios, the new 8010 offers accurate monitoring capability with ease of installation. It’s sound quality makes it a choice for small editorial studios and OB vans, as well as a companion for portable recording devices and other mobile production work. 

Outfitted with a balanced XLR input, 3-inch bass driver, 3/4-inch tweeter and Class D power amplifiers – one for each driver – the 8010 produces more sound pressure level than might be expected from a monitor of this size.

The Intelligent Signal Sensing ISS circuitry saves energy by automatically putting the monitor to sleep when the audio signal has been absent for a period of time. Once a signal is detected again, the monitor wakes up automatically. This circuitry can be bypassed when the automatic standby function is not desired. 

A range of accessories is available for the 8010 to cover all mounting needs. For example, an L-shaped table stand can be used to optimize monitor orientation toward the listening position and to minimize undesired sound reflections.
The 8010 compact active monitor is now available at a U.S. MSRP of $440 each. 


Posted by Keith Clark on 07/15 at 09:45 AM
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Enter The PSW Sweepstakes To Win Electro-Voice Loudspeakers

Prize still to be awarded in July

Enter to win Electro-Voice portable loudspeakers in the latest PSW Sweepstakes.

The May and June prizes have already been awarded, but in July 2014, ProSoundWeb is giving away a pair of ETX-15P two-way powered loudspeakers.

The prize will be awarded after the conclusion of the month of July.

Go here to enter the latest PSW Sweepstakes.

Posted by Keith Clark on 07/15 at 09:35 AM
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Monday, July 14, 2014

Martin Audio MLA Breaks Record At Glastonbury

Delivered the highest sound levels to the audience without exceeding noise pollution levels beyond the perimete

A Martin Audio Multi-Cellular Loudspeaker Array (MLA) system deployed by RG Jones Sound Engineering recently made Glastonbury history by delivering the highest measured sound levels to the audience without exceeding noise pollution levels beyond the perimeter.

Making its Glastonbury debut, the system deployed on the Pyramid Stage employed cabinets from the entire MLA range of loudspeakers. This comprised a total of 72 MLA for the main hangs, eight MLA Compact for stereo in fill at the pit barrier and four delay positions of 14 MLA each.

The latest addition to the range, the MLA Mini was also utilized, providing stereo infill behind the FOH control structure and onstage coverage of artists’ guest viewing platforms. A massive broadside array of 38 MLX stretched across the entire width of the stage to provide sub-bass support to the entire system. 

MLA technology was designed to enable fine control of how each array covers its designated audience area. Their own amplifier and DSP channel, a total of six in each MLA, independently control acoustic cells housed within each cabinet. This control allowed RG Jones system engineer Mark Edwards to specify exactly what SPL and frequency response was required across the audience, with the software automatically controlling the array to produce that result. This amounted to just a 6 dB drop off over the 985-foot-long audience area, with even frequency response.

“We used our proprietary computer software to figure out how to drive each cell in each array to direct sound just at the audience, and then cut it off sharply just beyond the audience to dramatically reduce noise pollution,” says Martin Audio R&D director Jason Baird. “As a result, headliners including Arcade Fire and Metallica could play at 104-105dBA – this is the first time such high levels have been achieved in the history of Glastonbury as noise limits are really strict.”

More than 150,000 fans listened to headline acts Metallica, Arcade Fire, and Kasabian, as well as The 1975, Elbow, Rudimental, Nitin Sawhney, and Dolly Parton, on the system. 

Having persuaded the festival production in 2007 that RG Jones was the right company to run audio services on the Pyramid Stage, senior project manager Simon Honywill says, “I believed that MLA was the right system for the Pyramid since I first heard its extraordinary fidelity and learned about its unique abilities. Having used it at the past two Glastonbury Abbey shows, it was natural to suggest to Dick Tee and his team that it should take its rightful place on this iconic stage. I think it has more than proved itself here – I spent a considerable amount of time out in the audience and have never heard the field covered so well. And people in the crowd were openly complimentary about the volume and clarity too.”

There was praise from the stream of FOH engineers over the weekend. One of the biggest draws of the weekend was Metallica, engineered by Mick Hughes: “MLA is a new system to me, a new experience. I was surprised how easy it was to get the mix I wanted out of it. When I first used it I thought ‘whoa’ there’s some serious horsepower here. It just sounded really alive; I wouldn’t shy away from using it again.”

One of the most enigmatic performances was from Lana Del Ray, engineered by Max Bisgrove: “In half a song, I could get out what I needed from the MLA system. Great clarity, great power, it’s by far my favorite Glastonbury mixing experience so far.”

Dave McEwan, FOH sound engineer for Nitin Sawhney, remarks: “Glastonbury was the first time I’ve used the big MLA, and I’m really impressed - great imaging, 3D, even 4D sound. You can dive in and enjoy, it’s another sort of PA! I’m hoping to use this at the Royal Albert Hall for Nitin in September. I love it; it’s a great product, a super sounding system, lush and hi-fi, with lots of depth.”

The 1975’s engineer, Jamie McLuckie, adds: “At some festivals you have to tweak the bottom end, but MLA was nice and easy. The system sounded fat, with nice clarity and nice high end too. I couldn’t really fault it.”

For John Carroll, MD of RG Jones, Glastonbury has been the affirmation of what he’s known for some time: “Martin Audio’s MLA is the next generation and there’s nothing out there to match it. Our continued support from Martin Audio is second to none.”



RG Jones Sound Engineering
Martin Audio



Posted by Keith Clark on 07/14 at 04:04 PM
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Meyer Sound Adds Oskar Meijer To European Technical Support Team

Supporting company's European customers in the design and optimization of loudspeaker and digital audio systems, on-site project commissioning, and after-sale customer training

Meyer Sound has bolstered its European technical services with the appointment of Oskar Meijer as senior technical support specialist.

In his new position, Meijer will support Meyer Sound’s European customers in the design and optimization of loudspeaker and digital audio systems, on-site project commissioning, and after-sale customer training, working closely with the technical support teams in Europe and at the company’s Berkeley, CA headquarters.

Meijer brings a wealth of field experience working with Meyer Sound products, including the newest LEO Family of line array systems. Further, he has more than 20 years of experience in the design, configuration, and commissioning of complex audio systems, and has worked as a stage technician, ground rigger, and project manager. He has served as a lead systems technician at major European festivals such as Way Out West, Stockholm Music & Arts, and Kollenfest, as well as concerts by Ozzy Osbourne, Andrea Bocelli, John Fogerty, and Metallica.

“I have enjoyed using Meyer Sound equipment in my career, and have been a beneficiary of the company’s amazing technical support,” says Meijer. “From my experience working with LEO in the past two years, it is my honest opinion that there is no better tool in the market today when it comes to large-scale reinforcement. I look forward to bringing what I have learned to help other Meyer Sound users get the most out of their systems.”

Meijer is based in Lund, Sweden, and can be reached at .(JavaScript must be enabled to view this email address).

Meyer Sound

Posted by Keith Clark on 07/14 at 01:14 PM
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