Wednesday, February 08, 2012
Tannoy Unveils VLS Series Passive Column Array Loudspeakers
Tannoy has introduced the VLS Series passive column array loudspeakers offering a balance of performance and cost, when active beam-steering may neither be required nor affordable.
The VLS Series is the first Tannoy product to incorporate FAST (Focused Asymmetrical Shaping Technology), which delivers unique acoustic performance benefits. Central to this is its asymmetrical vertical dispersion, gently shaping the acoustic coverage towards the lower quadrant of the vertical axis. By the nature of a typical application, an “ideal” column loudspeaker should be biased in the vertical plane, toward the audience and away from reflective surfaces above (like ceilings) which are detrimental to intelligibility.
FAST also facilitates quicker, easier installation with less need for tilting or specific concern for optimal mounting height. Mounting is handled via supplied wall brackets.
Tannoy has packaged this performance in a slender and narrow profile, aesthetically refined, powder-coated aluminum chassis with curvilinear aluminum grille. Each model is available in either black or white as standard, with custom RAL finishes available at additional cost and lead-time.
Three models are available – VLS 7 (7 × 3.5-inch LF) designed for speech-only applications, VLS 15 (7 × 3.5-inch LF with 8 × 1-inch HF) and VLS 30 (14 × 3.5-inch LF and 16 × 1-inch HF), both of which are designed for more demanding full-range applications as well as speech.
All are IP64 rated for dust and water ingress and are salt spray and UV resistant as well as subject to rigorous high/low operational temperature and humidity testing.
Specification is aided by the addition of an exclusive Tannoy edition of EASE Focus v2.0 software, allowing systems to be designed with predictable results, along with the ability to specify VLS Series in conjunction with Tannoy’s existing column loudspeakers – including I Series and QFlex.
Meyer Sound Promotes Miguel Lourtie To European Technical Services Manager
Meyer Sound has announced Miguel Lourtie as its new European technical services manager, where he will supervise the company’s technical support team in Europe and assume primary responsibility for sales support and design services in the region.
“Customer support is paramount at Meyer Sound,” says John Monitto, Meyer Sound’s director of technical support worldwide. “Our customers expect an extremely high level of technical expertise and customer service. With his outstanding technical skills, customer rapport, experience in the field, and fluency in several languages, Miguel is a great fit to lead our technical group in Europe.”
Lourtie joined Meyer Sound European technical services in 2007, and has played a vital role in supporting a number of major Meyer Sound projects across the continent, including the Mantziusgården Culture Center, Montreux Jazz Festival, and the Grimaldi Forum. He also serves as a seminar instructor as part of Meyer Sound’s extensive education program.
Prior to joining Meyer Sound, Lourtie founded Lourisom, an audio consulting and distribution business in Portugal and previously a Meyer Sound distributor.
“To ensure a seamless show, high-quality audio tools and the person driving the system are equally crucial,” says Lourtie. “The Meyer Sound tech support network has some of the best sound engineers in the industry, and I look forward to working even more closely with them to help our customers get the best out of their Meyer Sound equipment.”
Lourtie will continue to be based in Lisbon, Portugal.
The Right Sonic Blend For An Electronic Ensemble & The New York Philharmonic
Reinforcing the live performance of a motion picture score at Avery Fisher Hall in Lincoln Center
The Philip Glass Ensemble, along with members of the New York Philharmonic Orchestra and the Collegiate Chorale symphonic choir, recently performed Glass’ powerful score for the 1982 landmark motion picture “Koyaanisqatsi: Life Out Of Balance” as the film screened at Avery Fisher Hall in Lincoln Center.
The two exclusive live performances (and screenings), held on consecutive nights for sold-out audiences at the 2,738-seat home venue of the Philharmonic, presented some sound reinforcement challenges.
The hall does not have a house system, yet the Philip Glass Ensemble, founded by composer Glass in the late 1960s to perform his experimental minimalist music, is always amplified when playing live.
As a result, Dan Dryden, long-time front-of-house engineer for the ensemble, worked with Audio Production Services of Amawalk, NY to design a reinforcement system to serve the unique needs of the event while fitting within the scope of the hall.
“With an event like this you want all of the instruments, acoustic and electronic, to sound like they belong together,” Dryden explains. “The sound system needs to be clean and consistent, in addition to being capable of covering the entire hall without impeding any stage site lines.”
He adds that, in general, he prefers the footprint of compact line arrays, and following a site review, decided that approach would work for this project as well. The choice was the compact RCF TT+ Series, with single arrays each comprised of 10 TTL31-A modules flown left and right, attached to the overhead stage grid.
A view of Avery Fischer Hall with the main RCF TTL31-A arrays flown to each side of the stage. (click to enlarge)
“When specifying systems for the ensemble I’m looking for smaller line arrays with flat frequency response,” explains Dryden. “These were perfect. The low-mid frequencies are rich and warm, and the coverage was excellent.”
The overall footprint of these arrays indeed was relatively miniscule, measuring just less than two feet wide by only about 10 feet deep. The self-powered, 2-way active line array modules are outfitted with a single-8-inch cone driver and three compression drivers feeding a horn with horizontal dispersion of 100 degrees. They proved capable of covering all four levels of seating (main and three balconies) as well as boxes.
“The arrays had no problem throwing all of the way to the back row of the top balcony without any need for delay fills. We had plenty of power for the space,” Dryden states.
The mains were joined by four RCF TTS56-A dual 21-inch subwoofers, two side-by-side on each side of the stage, and each of these sub sets hosted a single TT25 compact powered loudspeaker supplying in fill presence, particularly for higher frequencies.
The house loudspeaker complement was completed with front fill via four TT052-A low-profile 2-way loudspeakers deployed evenly along the front lip of the stage.
The ensemble, positioned centrally on stage, was comprised of eight players, including three on keyboards, three more on woodwinds, one soprano vocalist, and for this show, a bass vocalist. The orchestra’s 30-piece string section and 19-piece brass section, as well as the 40-member choir, resided in a semi-circle around them.
Each string instrument – violas, cellos and double bass – was outfitted with a DPA 4061 omnidirectional miniature clip-on microphone, while Sennheiser MD 421 II dynamic mics were stand-mounted for each trumpet, trombone, French horn, bass trombone and tuba in the brass section. Each two vocalists of the choir shared a Shure SM58 mic, also stand-mounted.
A closer look at one of the compact arrays that provided the advantage of a minimal footprint. (click to enlarge)
The ensemble feeds went directly to both front-of-house and monitor consoles, with Dryden manning a Yamaha PM5D board for house and Stephen Erb on another PM5D for monitors.
All of the orchestra and choir feeds (more than 80), meanwhile, routed to a DiGiCo D1 Live console. There, Dan Bora did a mix of the individual stems that were then supplied to the house and monitor consoles.
“One big challenge for a performance of this scale is the number of inputs,” Dryden notes. “In this case we decided to utilize a sub mix, which ended up being a very big job. Not only did Dan Bora have to make sure signal integrity and placement of each of the microphones were good, but the mixes provided to house and monitors were key to the sonic performance.”
All effects were supplied via the PM5D consoles with the exception of a Lexicon 300 reverb at front-of-house that Dryden likes to apply to certain passages or sections.
The ensemble on stage surrounded by the orchestra and choir during one of the performances of “Koyaanisqatsi.” (click to enlarge)
“The Lexicon algorithms are excellent,” he says. “I’ve used Lexicons forever – for me they’re the smoothest, best-sounding digital reverbs.”
Monitor engineer Erb fed mixes to 12 dBTechnologies DVX D12 powered 2-way loudspeakers that acted as stage monitors for the ensemble - keyboards, woodwinds, soprano vocal and bass vocal.
The strings, brass and chorus sections were served monitor mixes with stand-mounted dBTechnologies K70 multipurpose ultra-compact loudspeakers (also powered).
Dryden reports that the project produced the results he was seeking. “I think it’s always important to remember that you need to work with a room rather than try to impose your will upon it,” he concludes. “In this case, it’s a terrific room and, when equipped with the right system, it sounded fantastic. The musicians in the symphony and the chorus added so much to the ensemble’s performance. It all added up to a lot of fun.”
Julie McLean Clark is a writer and marketing consultant working who has worked in the pro audio industry for more than 15 years.
Community Delivers Sound Throughout New Salvation Army Kroc Center (Includes Video)
McDonald’s founders Ray and Joan Kroc were known for supporting a variety of charitable causes, and their legacy continues with a multi-billion dollar donation to the Salvation Army for the construction of several community centers in cities across America.
The latest Kroc Center, recently opened in North Philadelphia, is one of the largest facilities of its kind on the East Coast, with 130,000 square feet that includes a world-class aquatics center, fitness center, worship and performing arts facilities, café and culinary education center, as well as a wide range of programs for kids, adults and senior citizens.
Quality sound reinforcement was also a big part of the plan for the facility, explains Joe Zamborsky of RTS Unified Communications, which specified a selection of Community Professional Loudspeakers for the project, including R-Series, WET-Series and CLOUD6 in-ceiling systems to cover the pool areas, worship center, fitness center gymnasium and numerous other areas.
“In any major project like this one, there are a number of challenges,” says Zamborsky. Clearly, the project’s tight six-month schedule was a demanding one, as was the need to be exceptionally flexible in the face of numerous logistical challenges.
“On more than one occasion, plans had to be altered due to unforeseen surprises during the construction process. “The number one most important thing is communication,” he observes. “We maintained a daily, ongoing dialogue with everyone involved in the project, and that was key to our ability to keep things moving.”
The Community loudspeakers fit the bill on multiple levels, says Zamborsky, “particularly in the pool areas, which combined a tremendously reverberant environment with an exceptionally high humidity, the R-Series was the only choice. Not only do they look great, but they sound terrific.”
The competition pool area offered up additional challenges as well. “Aside from having to cover the pool area itself, we were tasked with creating a separate system to cover the stands, which are tucked away in their own alcove,” Zamborsky adds. “We chose the Community WET Series to cover that area, because they provided both a tight, focused coverage pattern and a high degree of intelligibility.”
Audio Video Electronics Implements Tannoy QFlex At St. Frances Basilica
Home to one of the oldest Catholic congregations in the United States, the Cathedral Basilica of St. Francis of Assisi is sometimes referred to as the heart of Santa Fe, and for good reason. Although the Cathedral Basilica was dedicated in 1887, the site has been a focal point of worship for the community since 1610.
The first church built where the current structure now stands was destroyed during the Pueblo Indian Revolt of 1680, but another was built to replace it in 1714; a portion of which still stands within the existing building – a small adobe chapel dedicated to Our Lady La Conquistadora housing the oldest representation of the Virgin Mary in the nation.
In addition to serving the spiritual needs of it’s own congregation, the Cathedral Basilica’s rich history attracts approximately 100,000 visitors annually. As beautiful as the Cathedral is, however, for some years it has had a problem, says Wanda Vint, Director, Development and Donor Relations at the Cathedral Basilica. Put bluntly: “You couldn’t clearly hear the word of God.”
With the August 2011 installation of a state of the art sound system that depends heavily on a pair of Tannoy QFlex digitally steerable column arrays that’s all changed.
The major thrust behind the project was a 2009 visit made by the Cathedral’s Rev. Monsignor Jerome Martinez y Alire to the Basilica of Saint Mary in Minneapolis. Surprised that such an old and similarly acoustically reverberant space could sound so good, he asked who had designed and installed the system and was referred to Minnesota-based, Audio Video Electronics (AVE).
The project that initially caught the Monsignor’s ear was undertaken before QFlex was available, explains Kevin Crow, AVE’s VP of sales and marketing, but both spaces had similar issues: “In the Cathedral Basilica of St. Francis of Assisi, the RT was 5 to 6 seconds in the mid frequency band.”
In order to meet the Cathedral Basilica’s needs, Stefan Svard, AVE President and system designer, specified a pair of Tannoy QFlex 40s. Placed on a pair of columns roughly 6 feet above the floor just in front of the altar, the QFlex provide coverage to approximately 75 percent of the 1200-capacity, 90 - 65 foot space. They also provide low frequency support throughout the nave, the south transept, and the Our Lady La Conquistadora chapel.
Additionally, smaller Community Entasys arrays were installed as rear fills for the nave, and to provide reinforcement for the chapel and other ancillary spaces.
Basic EQ, tuning and system commissioning was done via Tannoy’s proprietary VNET software, with the processing handled by the onboard DSP within each QFlex, Svard says, but the system also incorporates a Lectrosonics Aspen DSP to handle mic mixing for the Earthwerks FM series podium condenser microphones specified by AVE, and matrixing for both the QFlex 40 and the additional fill speakers. The Lectrosonics Aspen is controlled by an iPad, which allows users to adjust volume levels easily depending on the type of service in progress, how much of the space is in use and the number of congregants present at any given time.
Naturally, the Cathedral Basilica’s atmosphere had an impact on the choice of QFlex, as did the ability to diagnose any issues the church might have using the QFlex array’s remote monitoring capabilities. But the main reason for choosing QFlex, Svard says, was experience. When he first heard QFlex he was cautious in his assessment. After a shootout with a competitor’s product in a St. Cloud, Minnesota house of worship, however, his opinion changed.
“We’ve done a number of Catholic churches, going back 6 or 7 years, using various steerable array products. Every product has strong points and weak points, but in that case, Tannoy’s QFlex was the clear winner.”
“If I’m in the front, middle or back of a room, the EQ that I need to correct is the same,” he continues. “Other products I’ve used shift in character. QFlex is the only product of its kind that retains its frequency response – its spectral consistency – across its coverage pattern.”
The result is a dramatic improvement in speech intelligibility and the sound quality of both background music and live performances by the Cathedral Basilica’s choir. Still, Vint was concerned some parishioners would not welcome the technology, particularly those who were uncertain they needed a new system, or that it might detract from the church’s historic atmosphere. “But the sound is so clear, we haven’t had any complaints at all.”
Monsignor Jerome Martinez y Alire is equally satisfied: “The sound quality is incredible, as is the appearance of the loudspeakers themselves. We were concerned about how modern speakers would look in such an old, historic church – with custom paint finish to match our walls they all but disappear. The clear, audible sound is a gift to our parishioners and visitors alike.”
Peavey Debuts Expansion Modules For Powered Loudspeakers
New Peavey Expansion Modules expand the capabilities of the company’s EU Series, Impulse 12D, and the new PVXp powered loudspeakers.
The new 9-Band Graphic EQ Expansion Module aids users in controlling feedback using the built-in, proprietary FLS Feedback Location System, which makes accurate feedback elimination simple and intuitive.
The 9-Band module gives users greater control over shaping and accenting live or recorded vocals and live instruments, as well as increases control over general sound equalization, and removes 60 Hz AC hum.
Meanwhile, the new 3-Band Parametric EQ Expansion Module provides fine-tuning capabilities with gain, frequency and bandwidth (Q) control.
Finally, the new 3-Channel Mixer Expansion Module expands the powered enclosure’s input options by three input channels, with each channel featuring level control, high and low equalization control, and a combination XLR and 1/4-inch input.
9-Band Graphic EQ Expansion Module specifics: —Nine frequency bands: 63, 125, 250, 500, 2k, 4k, 8k, 16kHz —FLS Feedback Locating System —+/- 15 dB boost and cut —U.S. MSRP $59.99
3-Band Parametric EQ Expansion Module specifics —Three frequency bands: Low 40 to 800Hz; Mid 200 to 4kHz; High 1kHz to 20kHz —+/- 12 dB boost and cut on each frequency band —Q adjustable from 0.1 to 1 on each frequency band —Hard-wire bypass —U.S. MSRP $49.99
3-Channel Mixer Expansion Module specifics —Three channels of additional inputs —Combination XLR female and ¼” TRS input —Microphone and line-level input range —Two-band EQ on each channel —Switchable phantom power global for all three channels —U.S. MSRP $79.99
The new Peavey Expansion Modules for powered loudspeakers are made in the USA will be available in Q2 2012 from authorized retailers.
The KARA loudspeakers are powered by L-Acoustics LA-RAK amplified controllers and supplemented with SB18 subwoofers.
“KARA has a flexibility that will enable us to use the system for pretty much all venues in Norway,” says Paal Klaastad of Oslo Audio. “For us the audio performance of the KARA system was never in question. As a long-time L-Acoustics user, we are confident that the sound quality is first class. The reputation of the brand ensures that the end users are also confident of the system’s performance.
“The scalability of the system, its integration with the LA-RAK platform and the ease of rigging and handling makes us confident that this will provide a good return on investment for years to come. We look forward to putting the system to use, and to collaborating with other network agents in Scandinavia.”
Oslo Audio’s new KARA loudspeakers were used for the first time at the 10-year anniversary concert of Crystal Canyon Studios, with a lineup of Kåre & The Cavemen, Ulver, Paperboys, Kitchie Kitchie Ki Me O and André Holstad.
That system consisted of the 24 KARA cabinets with 12 SB118 subs and six 115XT HiQ coaxial monitors, powered by LA-RAKs.
AED Rent First Adopter Of JBL Professional VTX VT25 Line Array Loudspeakers
Belgium-based AV rental system provider AED Rent has signed on as the first adopter of the just-introduced JBL Professional VTX V25 line array loudspeaker, as well as a strategic partner in the VTX Network.
AED Rent is known in Europe as a market leader and a total system provider.
“Our mission statement is quite simple: To develop and maintain a flexible group of companies on a Pan-European base that offers a total solution for the professional in the AV industry,” says Glenn Roggeman, CEO of the AED group. “AED Rent is not just a rental company but an equipment bank, not only in sound, but also in lighting, rigging and video equipment. What makes this business quite unique is large quantities, industry standards, state-of-the-art products, and a young rental fleet with fast and accurate service.”
“We chose to purchase the JBL V25 because I think JBL has it spot-on for the future,” he adds. “JBL has always been known as the best component builder. Today, thanks to Paul Bauman, they not only have the components, but also the speaker boxes to make a terrific system.”
The VTX V25 is a full-size, 3-way, high-directivity line array element. The VTX V25 features two 2000-watt, 15-inch Differential Drive woofers mounted in die-cast aluminum baffles, with four 8-inch Differential Drive mid-range transducers and three of the revolutionary new D2 dual-diaphragm dual-voice-coil compression drivers mounted on a 3rd generation waveguide and patented RBI Radiation Boundary Integrator assembly.
“The technology JBL is using in the V25 is on the cutting edge,” Roggeman states. “If you see how much power the system is driving, it’s way above any competition. If you see the weight of the cabinets—82 kg—this is another attractive element, because in the future, environmental issues will play a bigger role in our business. A cabinet of 110 kg that needs to be transported will be more expensive than a cabinet of 82 kg.”
“We are thrilled that AED Rent has chosen to support the groundbreaking VTX V25 product,” says Paul Bauman, senior manager, Tour Sound, JBL Professional. “AED Rent’s technical expertise and leading position in the industry will be tremendous assets in our introduction of the V25 to the market.”
Soundworks Installs dBTechnologies In UW-Stevens Point Arena
A basketball arena at the University of Wisconsin - Stevens Point has been decked with 20 dBTechnologies Arena 15 loudspeakers. Beside sporting events, Quandt Fieldhouse is also the venue for commencement ceremonies and hosts a multitude of concerts and assemblies—which can ask a lot of the sound system and the design/build team.
Brian Baumann and Kent Laabs of Soundworks Systems Inc. handled the design and installation.
They explain, “The audio system needed to be capable of high SPL’s for UWSP Pointer basketball games and other athletic events. It needed to be capable of clear music reproduction whilst maintaining high speech intelligibility for both low and high SPL events. On top of all that, budget was a factor.
“The room itself presented acoustic challenges which included its mezzanine type area with tiered seating and a plexiglass-faced guard rail system. We needed to mitigate unwanted reflections from the maple floor, painted block walls and especially the plexiglass. We divided the room into 8 zones in order to accommodate the permanent seating, temporary bleachers and floor seating with delay and zone presets.
“We researched various loudspeakers from multiple manufacturers before deciding on the db Technologies Arena 15. We had used other Arena series products on previous installations and were familiar with their performance. We designed and bid the system utilizing the Arena 15 based on the available horn pattern, sensitivity, power handling and price point.”
The two way passive Arena 15 boasts powerful low frequency reproduction and a compression driver with a 1.4” voice coil, giving it the flexibility to handle a full range of applications. With a high SPL of 129dB and weighing in at only 23.7kg, it also guarantees easy installation.
“Rotatable horns, M10 rigging points and their lightweight design made them very easy to install from the structure steel,” confirms Baumann. “When it came time to tune the system, we were again amazed at their smooth and articulate response without processing. Final tuning of the system was a breeze. Now that the system is in and has been used for many athletic events and winter commencement ceremonies, it only confirms that our choice in loudspeakers was spot on and consistent with the high level of quality that our reputation is built upon.”
“Soundworks Systems Inc. provided us with an excellent solution for our space,” said Mitch Capelle, Assistant Athletic Director for Media Relations at the University of Wisconsin-Stevens Point. “The space, with its wide variety of uses, needed a system that could provide us with this kind of versatility. Soundworks Systems Inc. perfectly tailored this system to the multiple uses of this showcase facility on our campus to improve the spectator experience, no matter the event in the space.”
Based in Wisconsin, Soundworks Systems Inc. designs and installs audio, video and lighting in a variety of venues including, but not limited to, theatres, houses of worship, indoor and outdoor athletic stadia, schools, boardrooms and local government facilities. In addition, the company provides live production for touring acts and corporate events.
“We have years of experience in the pro audio field, and the dBTechnologies loudspeakers are impressive,” says Baumann, who has since used Arena 8s in a multi media room at the Amherst High School (Amherst, WI), and specified more Arena 15s in a local elementary school gymnasium. “I don’t think the performance of these boxes can be beat at their price point.”
Technomad Upgrades Audio Presence at Club Med Sandpiper
Systems integration firm Axxentos of Fort Lauderdale, Florida turned to Technomad upon evaluating the outdoor audio needs of Club Med Sandpiper in nearby Port St. Lucie. The new outdoor audio systems, featuring 14 Technomad weatherproof loudspeakers, comprise part of a property-wide renovation alongside indoor AV upgrades and general construction projects.
Club Med Sandpiper’s 400-square-mile resort property exists in southern Florida’s sweltering climate, requiring durable outdoor audio systems that can withstand the year-round heat, humidity and moisture. The resort also required high-quality loudspeakers that could power full-range, high-volume audio over long distances, and reproduce soothing background music at clearly audible levels.
“I’ve learned what gear can survive in harsh environments over the years, and from all the outdoor installations I have done, only one company reliably endures the elements — and that is Technomad,” said Olivier De Kegel, owner and president of Axxentos. “They also produce great sounding audio.”
The external pool system proved the biggest challenge as De Kegel had little guidance from the resort, other than that management wanted a nice-sounding background music system during the afternoon and a louder system in the evenings. He installed two Technomad Berlin loudspeakers, the largest loudspeaker in the company’s range, to handle both requests with one system. The Berlins accommodate every activity from Bingo to full-blown nightclub-style events.
Axxentos installed a 70-volt infrastructure to accommodate long cable runs from a new central audio headend to various areas, including the bar. Ten Technomad Vernal 70-volt loudspeakers power the bar zone, delivering music and entertainment to guests enjoying daytime activities and the nightlife.
Two Technomad Noho loudspeakers also welcome guests with high-energy music audio at the entrance as they check in, with lower-volume background music playing in between arrivals.
“The resort wanted a system they could easily manipulate at the welcome area to balance loud and soft audio, and the Nohos offer power that is closer to the Berlin but compact enough for installation at the entrance,” said De Kegel.
Elsewhere, Axxentos installed AV systems in new conference rooms, built a mobile DJ unit and renovated a large theater system, merging existing equipment with some new components. But the outdoor audio systems remain the crown jewel of the resort upgrades.
“This was my largest installation to date, with some interesting upgrades and unique challenges,” said De Kegel. “They went from being fully analog to a more digital, centralized model. There won’t be any dull nights with the high-quality audio systems they have, and the durability of the Technomads ensure they won’t have to replace the outdoor systems every two years.”
Alto Professional Unveils TRUESONIC Wireless, Powered Loudspeakers
At the NAMM 2012 Show, Alto Professional unveiled two new powered, wireless loudspeakers, the TRUESONIC Wireless TS112W and TS115W.
Both models provide clean, transparent sound from wired or wireless sources. .
The TS112W and TS115W are two-way, 12-inch and 15-inch models, respectively. They are outfitted with 800 watts of Class D power and are specified to provide SPL of 125 dB for the TS112W and 126 dB for the TS115W.
The TRUESONIC Wireless line simplifies the connection to multiple devices with the ability to play audio from any Bluetooth audio-equipped device such as an iPad, iPod touch, iPhone or other smart phone.
In addition, both TS112W and TS115W include two Mic/Line Female XLR - 1/4-inch combo inputs with independent gain controls so it’s easy to get up and running with just about any audio source.
“TRUESONIC speakers are already established as the most powerful in their class,” said Jay Schlabs, executive director of Alto Professional. “With wireless capability, the TRUESONIC series is now one of the most versatile speaker lines on the planet.”
The TRUESONIC TS112W and TS115W are expected to arrive at pro audio and live sound retailers in Q2-2012 with an MSRP of $549 (TS115W) and $499 (TS112W) and estimated street prices of $449 (TS115W) and $399 (TS112W).
Grant, who will be based at the company’s headquarters, will apply his experience in tour and production management as well as front of house and monitor systems/mixing to the technical sales and support departments.
Working directly with such acts as Hawksley Workman, Great Big Sea, Our Lady Peace, and Sloan, as well as hire companies Sound Plus Show Systems and Towers Productions (Now part of Clair Global), Grant has more than 10 years of experience on the road, and is an honors graduate of the Harris Institute for the Arts.
Director of marketing and sales Jesse Adamson states, ” The response to Project Energia in Phase One has been met with enthusiasm on all fronts and we are preparing for the unveiling of Phase Two. We selected Ryan to help support the building momentum with Energia after careful consideration. He brings a broad range of experience from of our industry and this is a great fit for our firm.”
Grand adds, “I have long requested Adamson products on my technical rider and I’m looking forward to being a part of this very energetic and passionate team. The new generation of technology that we are about to unveil offers touring solutions that are second to none.”
Martin Audio MLA Boosts Brixton Academy For Chickenfoot In Concert
When Brixton Academy was built in art deco style during the cinema boom of the late 1920s, it was never expected to be hosting concerts for high-octane rock bands like supergroup Chickenfoot (led by former Van Halen legend Sammy Hagar).
Ghosts of Brixton’s cinema past remain within this Grade II-listed building, and the bulging balcony facade has proved the downfall of many a sound system, returning the firepower off the stage and bouncing the sound waves back at the band.
But Martin Audio was able to pull off a rare feat when the Multi-cellular Loudspeaker Array (MLA) made its debut there, provided by Capital Sound.
To the benefit of front of house engineer Michael “Ace” Baker, Martin Audio R&D director Jason Baird and system tech Mark Edwards simply notched out this chunk of the coverage pattern in the dedicated optimization software.
“Chickenfoot is one of the loudest bands that have played through the system, so we stood onstage and switched the MLA’s DSP from a setting that didn’t notch it out to one that did, using the tablet PC over the WiFi link,” explains Baird. The difference was plain to hear, with an obvious reduction in reflections off that deep balcony front.
Baker had wanted to pilot the MLA since hearing it in demo Las Vegas last summer. Knowing that his monitor engineer Jim Jorgensen was about to join Martin Audio he applied pressure, so that by the time production arrived in Brixton, there were nine MLA elements and an MLD downfill ready to be rigged each side, with six MLX subwoofers ground stacked on either flank.
“I had been hugely impressed with MLA and could see the math behind it, but there’s only so much you can learn under demonstration conditions. I had to get the system out there,” Baker says. “Some people were doubting whether this was a true rock ‘n’ roll box––but this is one of the most rocking boxes I have ever mixed through.
“In fact it is a true concert arena PA, capable of producing a ‘big’ PA sound rather than just pumping out pure volume. I noticed it particularly around the kick drums and toms and yet I’m barely tickling it, there’s just so much headroom.”
He was also impressed that despite the consistency of coverage in the house, none of it was blowing back at the band onstage. “That’s what got me so excited. Initially, all that computer stuff looked like something I wouldn’t be able to handle, but then Mark showed me how simple it was––all you need to be able to do is measure correctly and you are done.”
Baker says that MLA has given him the freedom to exploit “extra places where it can go, the incredible spatial and panning effects that I was running through.”
The engineer started working with rock legend Sammy Hagar four years ago––who in this configuration was fronting a top line-up comprising Joe Satriani (guitars), Michael Anthony (bass, vocals) and drummer Kenny Aronoff (filling in for Chad Smith, who was off with the Red Hot Chili Peppers).
At Brixton, he was able to mix the sound flat on a Yamaha PM5D and that, according to Mark Edwards, is because MLA sets itself up to produce a neutral, balanced sound. “Because the system is so responsive to system EQ, if there’s a bit too much sub in the room it is easy to notch a tiny bit out.”
“There are a lot of good systems out there but only a few have been truly groundbreaking;” Baker concludes. “Right now, this is the one that has everyone talking about it. There will be a lot of touring ahead this year and MLA is the system I want to use from now on.”
Meyer Sound Expands Low-Voltage Line With Three New Loudspeakers (Includes Video)
The Meyer Sound line of self-powered, low-voltage audio products has grown with the addition of three new 48-volt, DC-powered loudspeakers that offer the same performance as their AC-powered counterparts.
The new UPM-1XP 48 V DC ultracompact wide-coverage loudspeaker is the low-voltage version of the UPM-1P ultracompact three-way loudspeaker. The UPM-1XP is capable of 123 dB peak SPL over an operating frequency range of 75 Hz to 20 kHz.
The new UPJunior-XP 48 V DC ultracompact VariO loudspeaker combines the distinct advantages of the low-voltage, self-powered concept with the versatility of the VariO constant directivity horn. Its 80 x 50-degree dispersion pattern can be changed from horizontal to vertical orientation. Power output is 126 dB peak over a 70 Hz to 20 kHz operating range.
The new UMS-1XP 48 V DC ultracompact subwoofer extends low-voltage system response to an operating frequency range of 25 Hz – 160 Hz and a peak SPL of 127 dB at 1 meter. Visceral impact is provided by dual 10-inch cone drivers.
“Ourlow-voltage systems are the answer to installations where AC cannot be run to loudspeaker positions yet the low-distortion audio quality and power in Meyer Sound self-powered products are essential,” states Luke Jenks, Meyer Sound product manager for loudspeaker products. “These new products can provide a level of sonic bandwidth and speech intelligibility to raise the bar for discreet, easy-to-install systems for environments that include museums, restaurants, bars, and convention centers.”
Meyer Sound self-powered low-voltage systems incorporate on-board amplifiers and signal processing. Unlike their AC-powered cousins, the UPM-1XP, UPJunior-XP, and UMS-1XP draw DC power from a remote rack-mount power supply. The loudspeakers receive 48-volt DC power and balanced audio via a five-pin connector.
These loudspeakers can be installed using Class 2 wiring without using conduit, resulting in reduced installation time and cost. Amplifier circuits are specifically designed to store power for peak demands, allowing the flexibility of lengthy cable runs while still preserving the advantages of self-powered systems.
Proprietary RMS remote monitoring system is available for comprehensive monitoring of all critical loudspeaker and amplifier parameters as well as individual loudspeaker muting.
In addition to the newly announced systems, which will begin shipping in April 2012, Meyer Sound’s low-voltage, DC-powered product line also includes the UP-4XP ultracompact loudspeaker, MM-4XP miniature self-powered loudspeaker, MM-4XPD directional miniature loudspeaker, and the MM-10 miniature subwoofer. All of these products can be ordered with custom colors to match any decor.
On Point Audio Debuts OPA28 NP High-Output, Dual 8-Inch Loudspeaker
At the NAMM 2012 Show, On Point Audio premiered the new OPA28 NP, a very compact dual-8-inch coaxial loudspeaker.
The high-output OPA28 NP measures 18.4 inches high, 7.3 inches wide and 8.1 inches deep. It’s diminutive size is made possible by On Point Audio’s proprietary Narrow-Profile 8-inch drivers, which are actually only 6.8 inches (172.72 mm) in diameter.
The loudspeaker also employs a coaxially mounted 1.35-inch / 34.3 mm pure titanium compression driver with 80-degree conical radiation so that the loudspeaker can be placed horizontally or vertically without changing its coverage pattern.
The OPA28 NP is specified as capable of delivering 127 dB maximum output, with 400-watt continuous, 1,600-watt peak power handling and high sensitivity.
The OPA28 NP’s enclosure is made of rigidly braced 12 mm birch plywood and is equipped with 14 x M8 metal reinforced suspension points that enable use of eyebolts, a pivoting U-Bracket and other optional suspension hardware for specialized applications.
The enclosure is coated with On Point Audio’s PowerCoat rugged external finish and is equipped with a heavy-gauge, CNC steel grille. The input section offers two Neutrik Speakon connectors and a 4-position barrier strip.
“The OPA28 NP’s unique combination of pristine sound, superb power handling, high output capability, incredible flexibility and slim, elegant enclosure is unmatched. Our dealers and customers will be thrilled by this competitively unique, high-value product,” says On Point Audio president and founder Doug MacCallum.
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