Wednesday, August 14, 2013
Turbosound Flashline Goes Wireless At Olympic Park
A turbosound Flashline PA was deployed by Britannia Row Productions for the Pepsi Max Stage, which also saw appearances by Calvin Harris and Tinie Tempah.
The Wireless Festival, now in its ninth consecutive year, is the quintessential urban open-air music experience, with headliners Jay-Z, Justin Timberlake, will.i.am, Snoop Dog, A Tribe Called Quest, and Rita Ora drawing record crowds to London’s Queen Elizabeth Olympic Park.
A Turbosound Flashline PA was deployed by Britannia Row Productions for the Pepsi Max Stage, which also saw appearances by Calvin Harris and Tinie Tempah.
Britannia Row Productions’ Johnny Keirle was systems tech for the event and, despite arriving in the UK from New Zealand recently, has seen plenty of Flashline action.
“I’m pretty familiar with Turbosound as I worked a lot with Oceania back in New Zealand, they have a large Flashlight and Floodlight rig that’s one of the best sounding systems around. The very first time I heard Flashline, I loved it. Since then, the more I work with Flashline the more I like it,” he says.
“Mechanically, the rigging is very well thought out. The flying and angling system is very thoughtfully laid out and labeled, making it easy and straightforward to put in the air. With four boxes to a dolly you can set the majority of angles on the ground, resulting in a quick and easy flying process.
“The flybar case is a clever design and it’s tidy and compact. Flashline is extremely easy to put in the air and equally importantly, very easy to land after a long day’s work!”
For the Pepsi Max Stage – which measured about 100 metres by 50 metres wide– Turbosound’s latest large scale line array system consisted of 10 TFS-900H high packs flown per side, with six each TFS-900B subs at left and right, plus a centre stack of six TFS-900Bs.
Extra subs were added to the original specification in order to beef up the sub-bass frequencies for will.i.am and the festival’s hugely popular and predominantly electronic-based hip-hop, RnB and rap artist line-up.
Flashline is a complete turnkey sound reinforcement system designed to deliver ultra-high quality audio to large audiences. The TFS-900H is a four-way flown line array comprising 11 discrete drive units uniquely deployed across four frequency bands, teamed up with Lab.gruppen’s industry-leading four channel DSP-based amplifiers with Lake processing in custom-designed Turbosound racks.
The TFS-900B subs are a hybrid-loaded design that makes use of energy from the rear as well as the front of the 18-inch neodymium drivers’ cones for an impressive 141dB peak output. The Flashline high packs travel pre-rigged in groups of four on custom dollies allowing a loudspeaker array to be flown quickly and easily.
An EASE Focus plot run on the morning of the festival set up day helped to determine the optimum inter-box angles, which were then implemented while still on the dollies.
“It takes only five or ten minutes to go through the configuration to make sure it’s going to look good, and once you’ve got them in the air you can trim levels accordingly from the Lake software,” explains Keirle. “We can do that because of the way the racks are configured.
“I’m running the top three cabinets on one amplifier channel, the next three on one channel, and the bottom four as two pairs. This way we have a lot of control over the directivity of the array – such as trimming the lower cabinets back quite a bit at the bottom to hit the first 30 metres, and as it’s around 100 metres to the back we’re going to push the tops to achieve that long throw. There are no delays at all, which is great from the audience’s point of view.”
Flex Array TFA-600H three-way mid/high in-fills positioned just in front of the side fills covered the front audience area. “We have this curved crowd barrier and those cabinets cover the centre really nicely, and then we have a couple more Flex Array boxes at the outside to cover the flanks,” says Keirle.
Low end was provided by a total of 18 TFA-900B subwoofers, ground stacked three high by two wide at left and right, and a centre block two high by three wide which was phase aligned appropriately to break up the power alley/power valley complications frequently encountered with widely spaced traditional left/right sub configurations.
“The subs were great in the room,” he says. “We had very even coverage for the majority of the space and easily reached the back of the tent. In fact I was running the subs at -6dB over the weekend; we had plenty of headroom there!”
According to Keirle, the coverage of the flown Flashline boxes was exceptional. “We weren’t dealing with a huge amount of boxes but achieved a great result,” he says. “Vertically (front to back) our coverage was great – I trimmed and EQ’d boxes independently to accommodate throws varying from10 metres to 100 metres in the array, but the transitions were pretty seamless across the room.
“We had no issues in the horizontal domain. The TFS-900H high packs offer a true 90° horizontal spread, and the areas closer to the stage were covered very nicely with Flex array boxes positioned where needed and delayed appropriately.”
Flashline was put through its paces with a broad range of music and was particularly impressive on the DJ sets. The commercially mastered music presented an opportunity to demonstrate the accuracy of the PA and display the responsiveness of the sub and low frequencies, as well as the articulated reproduction of high frequencies.
“During Calvin Harris’ set I was sitting at FOH, 60 odd metres from the source, and could still feel the extreme highs from 16kHz on up being pushed forcefully past my ears,” enthuses Keirle.
“Flashline offers a unique HF – the majority of modern line arrays have a very smooth, soft-sounding top end, whereas Flashline gives you a more in-your-face, up-front top end,” he comments. “Even when the HF needs boosting, when at a good level you can definitely feel the extreme highs pushing past you a lot more noticeably than other modern line array boxes.
“The Flashline subs definitely stand out. The large enclosure offers an extremely deep sound more reminiscent of the older 21-inch Turbosound folded horns, while retaining the tightness and responsiveness of modern double 18-inch configurations.
“The levels were running reasonably comfortably at FOH. Due to the long throw, the HF was getting more of a workout than the other elements, but overall we were sitting pretty comfortably. Our limit was just over 100dB and I’m confident we could have achieved a lot more before running out of headroom.”
Based purely on audience reaction, the public and visiting FOH engineers alike enjoyed the sound of the Flashline PA, reports Keirle. “As with every show, engineers are never afraid to ask for a little more gain, more low end, less of this or that frequency, and I always do my best to keep them happy with on-going collective improvements to the system processing.
“Over the entire weekend, we had no complaints whatsoever.”
The Britannia Row crew for the Pepsi Max stage at Wireless were Craig Ross (FOH), Alex Hore (monitors), Johnny Keirle (systems technician), Hector Rivera and Danilo Z (stage technicians), and Lez Dwight (audio coordinator).
Bag End Introduces Its New CD-12 Time-Align Loudspeaker
Bag End has introduced the CD-12 Time-Align as part of its Venus series.
The CD-12 is a full range high performance compact loudspeaker. Its multi angle enclosure allows great flexibility for installations as well as floor monitoring applications.
The loudspeaker components include the E-12F Neodymium magnet 12” cone transducer and the E-806 1.4” exit Neodymium compression high frequency driver coupled to a directivity controlled waveguide.
The Time-Align technology featured in the CD-12 assures that acoustical signals are presented to the listener in the same relationship as the electrical signal at the input terminals of the loudspeaker.
Time-Align presents the acoustical signal as a tight package of energy, with the same time relationships as the original natural sound, this allows a rapid series of transients to be heard clearly.
The CD-12 is designed for applications ranging from nightclub and auditoriums to theatrical sound reinforcement and house of worship. The speaker enclosure is made of 15mm 11-ply birch plywood and offers the flexibility of fly points, handles and a stand adapter.
The enclosure is 25.25” high, 14.5” wide, and 13.75” deep with a 14 gage black powder-coated perforated steel grille.
Malaysian Holy Light Church Chooses Meyer Sound MINA
A Meyer Sound MINA line array was installed to ensure clarity for speech and music.
Originally founded in Johor Bahru, Malaysia by Presbyterian missionaries from England, the English-speaking congregation of Holy Light Church celebrated its 60th anniversary with the completion of a gleaming white new church building. To ensure clarity for speech and music, this new worship hall has installed a Meyer Sound MINA line array loudspeaker system.
The hall’s architecture features a high-peaked ceiling and ample windows which give a feeling of natural light and open space. This design also introduces reverberation for choirs in traditional worship services, though these same acoustical conditions introduce problems for both spoken word and amplified contemporary praise bands.
To find the best solution, the church went to Danny Kinchang of Selangor, Malaysia-based First Live Sound Sdn. Bhd.
“The church’s range of worship styles coupled with its reverberant hall meant that good directional control was crucial in the loudspeakers,” says Kinchang. “That’s one reason I chose the MINA arrays. Their compact design was a perfect fit for the room, and I knew they would deliver controlled clarity throughout the congregation seating areas.”
Covering the main hall are two main arrays with five MINA loudspeakers each. Two 500-HP subwoofers provide low end, while two UPM-1P loudspeakers offer front fill. A connected low-ceilinged rear entry hall is also covered by a self-powered system comprising two each UP-4XP 48 V loudspeakers and MM-4XP self-powered loudspeakers, plus two MM-10 subwoofers.
A Galileo loudspeaker management system featuring one Galileo 408 processor supplies system drive, delay and equalization.
The Meyer Sound system is mixed on a Yamaha IM8-32 analog console, with wireless microphone systems from Shure and JTS.
“We very much wanted a system with clarity and good musical quality, not simply ‘musical noise,’” says Pastor Gan. “I trusted Danny, and he did not disappoint us.”
First Live Sound Sdn. Bhd offers sound system design and installation services along with in-depth audio education courses.
GC Pro Provides Products and Support For Phenix City First Assembly Of God
GC Pro has been a constant partner with Phenix First Assembly Of God church as it upgrades its A/V gear.
Guitar Center Professional (GC Pro) has built a strong relationship with Jonathan “JT” Thornton, the Worship Pastor at Phenix City First Assembly of God.
The “lively, upbeat, encouraging, and Spirit-led” church is led by Senior Pastor Barry Danner in Phenix City, on the Alabama-Georgia state line.
Thornton has been working closely with Brad Lyons, his Account Manager at the GC Pro office in Atlanta. “I need a trusting relationship with someone who can help me take my church forward, Thornton states. “I found that with GC Pro.”
Brad Lyons and his team have worked with Thornton over the two years he’s been at the First Assembly of God church, helping him choose an entire new PA system for the main sanctuary, new projectors for the space’s video, and even two Yamaha keyboards for the church’s 10-piece praise band.
GC Pro sourced a Yamaha LS9 console, an entire JBL VRX line array system, an Ashly Audio NE24.24 8 X 12 processor, Crown XTi power amplifiers and upgrades to the church’s existing Sennheiser evolution wireless microphone system, as well as BenQ SH960 6,000 lumen Projectors, Kramer VP728 Video Scaler/Switcher and Lyntec PDS-10 Power Sequencing system.
Thornton says there are two key principles that guide him: the need to find the equipment that best fits the church’s needs and that also best fits its budgets.
“You need to have the quality that stands up over time and that keeps the church’s AV systems current for as long as possible, but I also have to be a steward of the church’s resources, to allow the technology to best further its evangelical goals in the community,” he explains. “To do that, I need a relationship with someone whom I trust who also knows what our goals are, knows the rooms we have to work in and understands our budget concerns.”
The collaboration with GC Pro has been a good one so far, and Thornton says some additional upgrades are under consideration, including possibly adding in-ear monitoring for the sanctuary stage.
“I do have to do my due diligence and check out different options for equipment,” says Thornton. “You can call around and get quotes all day, but ultimately there are certain people you trust, and for me that someone has been Brad at GC Pro.”
Guitar Center Professional
Stagelight Expands Adamson Inventory With Energia E15 Line Arrays
Stagelight adds Adamson E15 line arrays to inventory.
Adamson Systems Engineering has announced that Stagelight, based in The Netherlands, has joined the Energia Partner program.
Stagelight’s Audio Manager Robert de Lorijn first used Adamson’s Y-Axis line arrays in 2005 while a FOH-tech for Eagles of Death Metal at Pukkelpop & Rock Werchter.
Stagelight-owner Jacco van der Heijden was introduced to the brand when Stagelight provided European support for the 2006 Simple Minds tour.
The sound production company purchased their first Y10-system in 2008 and added Spektrix line source arrays in 2010 and 2012. They recently added Energia E15 line arrays to their Adamson arsenal.
“The Energia E15s are incredible,” explains Stagelight owner Jacco van der Heijden. “The sound quality is very clear and direct with many musical characteristics.”
“We are delighted that Stagelight has added the Energia line array to their inventory,” adds James Oliver, Adamson Systems. “It is terrific to have another strong production company become an Energia Partner.”
Stagelight used 24 E15-cabinets – 12 per hang – along with T21-subs and Spektrix fills at the recent ANWB Open Air Festival in Malieveld in The Hague. 20,000 people were in attendance to hear headliners Kane and Direct, and everyone left raving about the sound quality.
“From that point forward we knew that this was the perfect system for us to use for mid- to big-sized venues,” adds van der Heijden. “It covers large areas easily, has tremendous headroom and sounds great even in the last seat in the house. It’s terrific.”
Recently Stagelight deployed more than 150 Adamson line array cabinets – including the E15 boxes – for a multi-stage event honoring royal couple King Willem Alexander and Queen Maxima in the historic city center of ‘s-Hertogenbosch.
Six separate stages utilized multiple line arrays in order to cover the entire square from any stage. The Adamson E15s were flown for the main PA for the closing act, famous Dutch singer Guus Meeuwis.
Stagelight powers the Energia system with Lab.gruppen PLM20000 amplifiers along with Lake LM44 processing. The Spektrix- and Y10-systems are powered by Lab.gruppen FP10000- and FP7000-amplifiers.
Tuesday, August 13, 2013
Q-Sys Integrated Cores Unlock New Scottish Markets For QSC Audio
QSC Powers Black Light Installations In Central Scotland
Since the launch in early 2012 of the QSC Q-Sys Core 250i, Scottish audio visual integrator Black Light has designed and installed several QSC audio routing and processing systems based around this latest addition to the Q-Sys product family.
Recent Core 250i-based Q-Sys installations carried out by Edinburgh-based Black Light have ranged from simple systems in which the Q-Sys Core manages and routes audio to loudspeakers and amplifiers from third-party manufacturers, to projects comprised solely of QSC equipment.
One such recently completed installation is the new PA system at the Dundee Ice Arena in Scotland, where the integrated Core 250i serves audio to two loudspeaker arrays, each comprising two KLA12 Active Line Array elements and one KLA181 subwoofer.
The KLA arrays are positioned over the ice rink and are the main PA loudspeakers at the arena. Additional angled AD-S82H passive speakers are mounted near the ceiling, acting as fills for the audience seating areas around the edge of the arena; these are driven by a pair of QSC CX702 amplifiers. The passive speakers and the CX amps are also fed by the Q-Sys Core 250i.
“Since it was introduced, Q-Sys has offered the twin advantage of being more powerful and friendlier to end-users than competing audio management systems — it’s very easy to design systems that can be operated by non-technical staff,” comments Phil Haldane, Business Development Manager at Black Light. “Until now, Q-Sys was usually more expensive than the other systems on the market, but the arrival of the integrated Cores, the 250i and the 500i, has changed that.
“It’s opened up different markets, for example churches and local authority venues like schools that probably wouldn’t have considered Q Sys in the past.”
Recent installations carried out by Black Light underscore Haldane’s point. The Dundee Ice Arena PA system was a local authority project (the venue is owned by Dundee City Council) and the integrator has completed two other Q-Sys installations based around Core 250i processors in the local education sector in the last six months, as well as another Core 250i-based installation in a central Edinburgh church.
“Q-Sys has much to offer in terms of raw firepower and overall system integration, but is also very cost-efficient with the Core 250i,” adds Haldane. “That was definitely a factor in winning the tender for the Dundee Ice Arena, and it’s continuing to secure us new business.”
All of the QSC systems mentioned were supplied by Shure Distribution UK (SDUK), the QSC distributor in the United Kingdom.
“The Q-Sys Core 250i and 500i offer integrators an easy way to build powerful, flexible audio networks at a low cost, which is attractive to clients,” adds SDUK’s Dave Phillips. “Black Light’s recent successes with Q-Sys are typical of the opportunities brought about by these new integrated Core processors.”
BASSMAXX Announces Compact SSP215 Subwoofer
New BASSMAXX SSP215 Profundo Subwoofer Delivers Output Comparable to Many Double 18” Subs from a Compact Double-15” Cabinet
BASSMAXX announces their new SSP215 Profundo Subwoofer , a dual 15-inch loudspeaker powered by a 4000W amplifier with comprehensive onboard DSP.
With a low height of only 17.5 inches, this powerful subwoofer can be placed under low stages and ceilings, and in tight corners where larger boxes won’t fit.
Its largest dimension is 48 inches wide, which, when turned on end, makes the box an excellent stack platform for getting top boxes above the heads of the audience. The depth is a mere 22.5 inches, allowing it to be placed in front of stages with minimal loss of audience area. In addition, it’s compact size makes the SSP215 a perfect truck-pack size.
It also can serve as a drum monitor sub that minimizes space but maximizes impact.
The SSP215 is ideal for the mobile professional who needs substantial bass output but has limited transport space. For installations in lounges or restaurants where sound quality is a priority and space is limited, the SSP215 will comfortably take the place of double 18 inch boxes without loss of output or diminished frequency range while taking significantly less floor space.
The SSP215 is tuned low, providing linear response down to 35Hz (±3 dB) for use as a real subwoofer, with long-excursion, low distortion 15 inch woofers. Thanks to the lower mass of the 15 inch cones, it delivers a tight, punchy sound as well as the deep, rolling bass.
The included amplifier provides 2400W to the on-board woofers. In addition, the amplifier can power a second matching cabinet, providing a total of 4000W.
The SSP215 is a 4800W program rated double 15. The woofers have 4-inch voice coils and a power handling rating of 1200W rms and 2400W program each. The DSP features 96 hz, 24 bit processing, and provides high-pass and low-pass filtering, limiting and time alignment functions.
Controls include an input attenuator and mute button. Touring options include a 4-wheel transport cart with locking casters and covers for one, two or three cabinets on a cart. Installation versions are available with 16 x 3/8” threaded flypoints, and the included amplification and processing package can be ordered in a 2-space rack chassis.
All BASSMAXX products come with the BASSMAXX “Sound Defense” warranty that covers failed drivers, including burned voice coils, for two years. If a voice coil, or any other part, fails within the warranty period, replacement parts will be provided without charge.
The SSP215 Profundo Subwoofer is $5148.00 MSRP.
When sold as a powered-passive combination of two subs as the PowerBASS Pair they are $3905.00 each MSRP.
Renkus-Heinz Unveils New Website
New look and feel, along with better navigation and a dramatically different user interface
Renkus-Heinz has announced the debut of a new, modernized website. The long-awaited redesign offers up a new look and feel, along with better navigation and a dramatically different user interface. Check it out here.
The new Renkus-Heinz.com delivers easy, streamlined access to information on Renkus-Heinz products and technologies like ICONYX, IC2, and VARIA, including detailed specifications and technical data. It also offers up a brand new International News feed and expanded company info.
“In recent years, our product lines have grown and our technologies have progressed,” remarked VP of Sales and Marketing Rik Kirby. “We’ve grown immensely as a company, but our website hasn’t reflected that. The new website speaks to what Renkus-Heinz is today as a company, and we feel it offers a more personal connection to our customers.”
Monday, August 12, 2013
“Caviar” Cross Steps Up With ADAM Audio For Cee Lo’s Goodie Mob
Busy producer/musician also using ADAM monitors on a variety of other projects
Despite the fact that producer/writer/musician/rapper Kannon “Caviar” Cross is currently quite busy with a number of studio projects, his primary focus these days is on Cee Lo Green’s latest recording.
“Right now we’re in the final stages of the Goodie Mob album with Cee Lo Green, Age Against The Machine, which is due out in late August,” Kross says. “Goodie Mob was Cee Lo’s original group and they’re reunited on their first studio album in over 10 years.
“The music is definitely an eclectic, futuristic piece of work that will stand the test of time,” he adds. ”They’ve gone back and reinvented themselves with a whole new style of music that’s an infusion of hip-hop and very infectious pop grooves. It’s a perfect mix of wanting to rebel and feel good at the same time, and I’m one of the main producers on the album along with Cee Lo.”
Cross has been using ADAM Audio monitors for Goodie Mob and a number of other projects such as his own album, The Million Dollar Bill, which features Macy Gray, Cee Lo and other favorite collaborators.
“I’ve had ADAM for about a year and it’s the best thing that could have happened to my career because, after many years of doing this, I finally found a pair of speakers that fit me, my lifestyle and the music that I make,” Cross states. “I’m working with the ADAM S3XH’s right now on all my projects—they’re elegant, look nice and sound incredible.
“ADAM is taking my sound to the next level. It’s helping me to know when I’m making tracks that these are the TRUTH. And I’m not just saying it, because I’ve used a lot of speakers and wouldn’t put my name behind something and endorse it so seriously if it didn’t have the sound that I needed and ADAM really does.
“Every artist coming into the studio leaves happy and is ecstatic about the sound. Goodie Mob loves the speakers, and so do Snoop Lion and DMX, to name a few. I just got the S4XH’s and they look so serious. My engineers, Ekzakt Precision and Sean Sauce, and me are looking forward to working with these speakers. We are going to redesign my entire studio and build new stands for them.”
His infectious enthusiasm for his work and ADAM explains the energy that allows him to be working with so many different artists at the same time. Besides Goodie Mob and his own record, he’s also developing one of Snoop Lion’s new artists: “I’m investing some of my time and energy into one of Snoop’s protégées, Mac Lucci, who is not your typical Gangsta rapper.
“I started my own label KANNON ENTERTAINMENT, with a lot of incredible talent. I just signed a rapper from Compton, N3RD, another young MC named Pablo tha Capo, and a female singer from the Middle East, SavanWest.”
And if that wasn’t enough, Cross adds, “I’m working on two upcoming R&B albums for Ginuwine and actor/singer Keith Robinson, along with E40’s new album as we speak. After that, I’m going to be co-writing and co-producing a new movie soundtrack with Mike Epps and Ice Cube along with Mike’s hip-hip parody album.
“I’m also recording back with Timbaland through his artist and a mutual friend of ours, BK Brasco. I first worked with Timbaland in 1999/2000 on the Romeo Must Die/Exit Wounds soundtracks at Virgin, and then later in 2003, he produced my first single on my Masterpiece album, titled “Bouncin Down the Blvd”, which he was also featured on.
“Now in 2013, I’m doing a bunch of commercials/license work, for example, for Bravo with Macy Gray; and, we just landed a Chobani Yogurt commercial which has been getting a lot of play.”
Now working closely with his ADAM monitors, Cross is looking forward to more career highlights with his production team, The Secret Specialist, OZ and G Sparkz. “I’m really excited about all the opportunities that have come up in the last year since I’ve been working with the ADAM speakers, and they just keep rolling in like an avalanche. I couldn’t be happier about how things are going,” he concludes.
Posted by Keith Clark on 08/12 at 03:37 PM
Friday, August 09, 2013
Renkus-Heinz Iconyx Welcomes You To Las Vegas At McCarran International
Meets needs for high speech intelligibility and flexible zoning and directing
Along with the recent opening of the new 1.9 million square foot Terminal 3, McCarran International Airport in Las Vegas also now offers a revamped and renovated the original Terminal 1, including an updated sound system featuring dozens of Renkus-Heinz Iconyx digitally steerable array loudspeakers.
“Terminal 1 was not designed with a dedicated paging system,” explains Edouard Charland, vice president of Lenexa, KS-based Coffeen Fricke & Associates (CFA). “The airport was using the fire alarm systems for paging, and most of the terminal-wide announcements were originating from a paging office that was using the telephone system to originate those announcements.
“This approach produced low levels of speech intelligibility and offered very little flexibility for zoning and directing announcements.”
Based on their involvement in the Terminal 3 project, CFA was called in to offer suggestions for the ailing audio issues at Terminal 1. One of the most challenging areas was the expansive baggage claim area.
As Charland explains, in addition to the typical acoustical issues inherent in large spaces, there was something uniquely Vegas. “All around the carousel area there are numerous large screens playing video advertisements for local casinos and night clubs. The audio systems for those screens are fairly loud. They’re running pretty much non-stop 24/7, and they’re only overridden for emergency announcements.”
The baggage claim area is covered by 32 Iconyx IC16-R-II steered arrays, mounted on opposite sides of each carousel’s pillar to provide 360 degrees of coverage.
As CFA’s senior vice president Robert Ledo points out, the arrangement provided an unprecedented degree of control. “Typically, an airport will be zoned so that all of baggage claim is a single zone, or possibly a couple of zones. But this arrangement also enables them to address each individual carousel - this was an airport directive.”
“The Iconyx system actually enabled us to provide better intelligibility than something like an overhead distribution scheme,” Ledo adds. “It can concentrate the energy right at the people, and cut through the background noise.”
Another area where the Iconyx steered beam technology has proven beneficial is in the lengthy ticketing lobby, where the building’s unique architecture presented its own set of challenges.
“The ticketing lobby’s design looks like an airplane wing,” says Charland. “So the horizontal coverage pattern varies as you go further down toward the narrower taper of the wing. Using the Iconyx provided us a way to cover the entire space not only horizontally but also to change the front and back coverage distance as the dimensions change.”
Twenty-two IC16-R-II columns are mounted about every 50 feet along the second floor walkway overlooking the main ticketing lobby. Custom brackets and fittings include metal wedges on the top of each cabinet to prevent their being mistaken for cup holders.
“The beams are steered downward, each one a bit differently depending on the dimensions of the coverage area,” says Ledo. “It also provides a bit of a buffer zone right below the speakers in the ticketing counters themselves. You don’t want to bombard the ticketing counter itself with sound because agents are trying to talk to passengers. So being able to steer and direct the sound to where it needs to be helps provide that buffer.”
In both the ticketing lobby and baggage claim, the entire system is linked via RHAON networking, allowing for complex DSP programming to custom-steer each array independently using multiple beams. The RHAON software and on-board contact closures are also used to monitor each array for proper operation.
Charland concludes, “The Iconyx systems enabled us to create customized coverage patterns to fit each space, and afforded us a degree of control and monitoring over the systems that a facility like McCarran International Airport demands.”
Extron Now Shipping New SpeedMount Ceiling Speaker System
Plenum-rated two-piece ceiling tile loudspeaker system for division-of-labor installations
Extron Electronics has announced the immediate availability of the SpeedMount Ceiling Speaker System, a patented low-profile, plenum-rated, two-piece ceiling tile loudspeaker system for division-of-labor installations.
The CS 1226T SpeedMount offers a unique design that simplifies ceiling loudspeaker installation and delivers significant time and cost savings.
The two-piece system consists of the CS 120P plenum rated enclosure and a CS 26T two-way loudspeaker cartridge. A low-voltage contractor places the CS 120P enclosure directly on the ceiling grid without the need for a tile bridge, C-ring, or tile rails. Signal wiring is then routed to the enclosure.
Later, an AV technician can quickly complete installation by connecting the CS 26T loudspeaker cartridge to the wiring and securing it into the enclosure.
“Extron continues to lead the AV industry with exclusive innovations in speaker technologies that deliver tangible cost-saving benefits for AV integrators, from a growing product family that includes our Flat Field ceiling tile speakers, the SM 3 SpeedMount surface mount speaker, and the new CS 1226T SpeedMount ceiling speaker system,” says Casey Hall, vice president of sales and marketing for Extron. “Installing ceiling speakers is often a laborious and time-consuming process involving several parts – the CS 1226T includes just two pieces, which makes installation much quicker and simpler.”
The CS 1226T is available as a complete assembly including a pair of CS 120P enclosures and a pair of CS 26T loudspeaker cartridges. The enclosures and speaker cartridges can also be purchased in pairs separately, so they can be delivered to low-voltage and AV system contractors.
The CS 120P plenum enclosure installs quickly into 2 x 2 foot (or metric 600 mm x 600 mm) suspended ceiling grids. It has a shallow 5-in (12.7 cm) profile, which simplifies installation into congested ceiling spaces around piping and ducts.
The integrated tile bridge of the enclosure rests on the ceiling tile above the grid, evenly distributing the weight of the CS 120P and the CS 26T loudspeaker cartridge. This avoids the need to assemble V-rails and C-rings, greatly reducing the number of installation steps and the chances of losing installation hardware.
The CS 26T loudspeaker cartridge has a 6.5-in (16.5 cm) woofer and a 3/4-in (1.9 cm) tweeter in a coaxial design, and can be used in 70/100 volt or 8 ohm operation.
It installs quickly and easily into the CS 120P enclosure, and delivers high performance, full-range audio reproduction with a frequency response of 70 Hz to 20 kHz, and is optimized for a wide range of audio presentation applications for music, program, and voice.
The CS 26T has a power rating of 30 watts continuous pink noise and 60 watts continuous program capacity, and offers both direct 8 ohm or 70/100 volt operation with a behind-the-grille, six position power selector switch.
It comes with a magnetically attached grille and a thin-edged bezel for a refined appearance on the ceiling.
QSC Audio Q-Sys Integrates Audio With Video At Indian Statistical Institute
Provides echo-free video conferencing at Key Institute of National Importance in Astarget="_blank"sam
A QSC Audio Q-Sys audio management system, based around a Core 250i integrated processor, has been installed at the Tezpur centre of the Indian Statistical Institute (ISI) in Assam, northeast India, as part of a conference room refurbishment designed to provide improved audio input to an existing video conferencing system.
The new system, supplied by Pro Visual Audio, the QSC distributor in India, and installed by the Assam-based QSC System Integration Partner Cineworth Sales and Services, now offers ISI staff clear, echo-free conferencing facilities due to the inclusion of AEC, the Acoustic Echo Cancellation algorithm.
A standard feature in Q-Sys Designer Release 3.0 (and subsequent releases) and available for all Q-Sys Cores, AEC helps insure that audio feedback is not introduced into the system to the detriment of speech quality and comprehensibility.
According to Biplob Saha, deputy general manager – sales at Pro Visual Audio, ISI staff were using an existing video conferencing system, but were unhappy with the clarity and comprehensibility of the audio.
“They wanted an open system that could be expanded in the future, and so Cineworth suggested Q-Sys,” Saha says. “ISI also considered an alternative system from Bose, but in the end they liked the future-ready nature of the Q-Sys platform, and the fact that it’s based on industry-standard Layer 3 networking technology. They were also impressed by the AEC algorithm and that helped the QSC solution score over the competition.”
The new system accepts input from various Audio Technica microphones placed around the conference room and then passes the feeds into the QSC Core 250i processor.
Audio from the connected parties on the conference system is played back through four QSC AD-S82H speakers placed around the room and driven by a QSC CX302 amplifier.
Upon completion of the installation, Deepak Gracias, general manager – technical at Pro Visual Audio, who helped Cineworth in programming the Core 250i, explains that he could program the whole system very quickly and the sound from the QSC ADS-82H loudspeakers was pristine.
RMB Audio Deploys Martin Audio MLA Compact To Keep Sound Inside Urban Amphitheater
System helps venue stay within rigorous city noise limits
The Red Hat Amphitheater is located in downtown Raleigh, NC, with the stage facing a large convention center covered with reflective surfaces located next to a parking deck. Just a few blocks to the rear of the stage are residential neighborhoods.
Home to a summer-long series of concerts, the venue is a challenging environment for shows in terms of controlling noise levels.
Cooper Cannady of RMB Audio in Raleigh has produced several shows there and knows those problems well: “The city contracted a large study at multiple sites around the venue and came up with an SPL limitation of maximum 95dB SPL for one minute at given test points. And that’s tough when you’re doing a show there. Someone like Dylan is manageable, but Smashing Pumpkins and a Snoop Dogg performance is a real challenge to the sound ordinance.
RMB used its Martin Audio MLA Compact system for a recent show featuring American Aquarium, Cravin Melon and the Chris Hendricks band.
“We put our MLA Compact rig in there and made a presentation to the city how the system’s new software algorithms functioned,” Cooper explains. “We wanted to bring the sound closer to the audience, avoid the reflections from the building and back it off at the stop points we had selected.
“So we kept working on the sound with the software and finally got it to where there’s no reflection coming off the building. Only people with the MLA Compact can get that kind of control. Everyone else is going to have sound washing over those surfaces and throw it everywhere.
“The wonderful part about MLA is that the coherence of the system actually makes it sound louder than the SPL meter says it is,” Cooper adds, “which is a real benefit for the audience and the promoters. The city told us we couldn’t have any flags at the 95dB test point and we were able to do that without any problems whatsoever.”
RMB’s setup for the show consisted of 12 MLA Compact enclosures per side, with six DSX subs a side stacked on the wings of the stage. The side fills consisted of two Martin Audio W8Ts and two WS218 subs a side, with WS18X subs for drums, and four W8LMs for lip-fills across the front of the stage. LE1200s were used for on stage monitoring.
From of house engineer Wayne Sowder mixed for Cravin Melon, and notes, “It was my first chance to mix on the MLA Compact. It was unlike any system I’ve ever mixed on––incredible clarity yet very natural, warm sounding and powerful. The software was also a major plus in helping the system techs refine the system performance based on temperature and humidity in the venue as well as changing the start and stop points without re-hanging boxes. It’s a very powerful tool in the hands of skilled technicians.”
Cooper adds, “The city thought the MLA Compact system sounded excellent and that the system was consistent throughout the audience area and had greatly reduced SPL beyond the audience space. I sent one of my staff with a representative from the city with an SPL meter across the street from the park and the sound was diving 10 to 15 dB. And if they walked a little further out, the decrease in SPL continued. Once that happened, they actually got it.
“The MLA Compact has been a lifesaver for this venue. This is the answer for an urban area with residences in close proximity. We’ve been able to make everybody happy––the audience, the acts, the city and the neighborhood. MLA has been a real unifying experience. Not many people can deal with those kinds of restrictions and say they did OK, and we did smashingly well.”
Thursday, August 08, 2013
Mackie Launches New MRmk3 Studio Monitors (Includes Video)
Offering music-centric voice and expanded lineup
Mackie has announced a complete redesign of its popular powered studio monitor series, the MRmk3, which are acoustically optimized at all stages to enhance the mixing, monitoring and multimedia experience in any home or project studio.
The MRmk3 line not only fully replaces the previous generation of monitors with the MR5mk3 and MR8mk3, but expands the range with the 6.5-inch MR6mk3 full-range monitor and MR10Smk3 subwoofer.
“Our design philosophy and process are centered on the idea that music is all that matters,” states Matt Redmon, Mackie product manager. “To that end, MRmk3 studio monitors are designed to enhance your sonic experience at every level.”
A newly-designed minimum-diffraction waveguide not only provides seamless transition from highs to lows, but also creates a wider sweet spot and an open feel that better connects the user to the music. The power amplifiers and transducers are also custom-matched for increased performance.
All MRmk3 cabinets are rear ported, providing added punch and bass extension and packed with acoustic absorption material for a tighter sound. A range of I/O options deliver the connection types needed for easy studio integration.
There are also customizable acoustic controls to tailor sound for the space. The low frequencies can be boosted by up to 4dB and the highs can be both cut and boosted depending on the user’s needs.
“All studio spaces are different and having precision control over the sound is critical,” adds Redmon. “With MRmk3, you get the control you need to dial in exactly the sound you want. The MRmk3 Series is perfect for anybody ready to take their mixes to the next level.”
The MR10Smk3 subwoofer delivers powerful, deep low end needed for genres like hip-hop and EDM. The low-profile enclosure is rear-ported to provide smooth, even bass and features vibration-absorbing rubber feet to minimize unwanted resonances.
Optimizing features include an adjustable crossover to dial in the right amount of low end for the application plus a polarity switch to make sure the mix is always in phase.
The new Mackie MRmk3 Series powered studio monitors will be available in August, 2013. For more specific information, go here.
Meyer Sound LEO Faithfully Reproduces Michael Bublé Performances At London’s O2 Arena
10 consecutive sellout performances of 16,000-plus receive blanket coverage
For Michael Bublé’s 10 consecutive sellouts recently at London’s O2 Arena, front of engineer Craig Doubet delivered his mixes to 16,000 fans per night on Meyer Sound LEO linear large-scale line arrays. The system was provided by Montreal-based Solotech.
“The fact that I can cover a huge arena like this without setting up delays or tapping into the house system is just astonishing,” says Doubet, Bublé’s FOH engineer since 2007. “The furthest seat is 350 feet from the arrays, but when I turn around I see people way in the back dancing and partying, so I know it’s working up there.”
Sound reinforcement was built around main hangs of 14 LEO-M line array loudspeakers, with underhangs of four-each MICA line array loudspeakers.
Out fill arrays comprised 14 MICA per side, 10 M’elodie line array loudspeakers supplied front fill, and six JM-1P arrayable loudspeakers were flown as upstage corner and front center fills. Low end was supplied by cardioid arrays of eight 1100-LFC low-frequency control elements per side, plus six 700-HP subwoofers on the deck.
A Galileo Callisto loudspeaker management system featuring three Galileo Callisto and one Galileo 616 AES processors optimized performance. Foldback was provided by seven MJF-212A stage monitors and twin side fills of six-each M’elodie loudspeakers.
“I’m very impressed with the MJF-212A monitors,” says Matt Napier, monitor engineer for Bublé. “Most of the acts I work with use exclusively in-ear monitors (IEM), but Michael likes to work without IEM on occasion. With its high SPL, vocal clarity, and small footprint, the MJF-212A allows me to keep both the artist and visual departments happy.”
“LEO’s voice quality is exceptional, but I also like the way I can hit the system dynamically,” says Doubet. “The band and seven singers are augmented by an eight-piece horn section or an eight-piece string section, and the sound can go from very soft to quite loud. But with LEO’s huge power reserves, I can mix the system like it’s a fine studio monitor.
“The whole LEO rig has a very muscular sound, and is amazingly well controlled—the stage is dead quiet,” Doubet continues. “People come on stage and ask, ‘Is the PA on?’ That’s because everything is going forward, not downward.”
Doubet mixed with an Avid VENUE Profile console with its 96 inputs nearly filled to capacity. Console plug-ins were supplemented with Lexicon PCM92 and 480L effects units, and two BSS DPR-901 dynamic equalizers.
Napier used a DiGiCo SD7 console, while Bublé sang through a Neumann KMS 104 microphone, and DPA microphones were used for piano, strings, and horns.
The full system was designed by Doubet in collaboration with David Brazeau, Solotech technical advisor and Louis-Phillippe Maziade, tour systems tech.
After the London run, the LEO array set was scaled down slightly for five shows at Dublin’s O2 Arena. Beginning in early September, Solotech’s LEO system will accompany Bublé on an extensive tour of large arenas across America, with at least 37 shows slated through the end of November.