Monday, November 05, 2012

d&b audiotechnik Appoints Gerhard Mayr As Head Of Sales

Takes over for Peter Tongue, who has retired after almost 14 years

Gerhard Mayr has been named head of sales for d&b audiotechnik, based at the company’s headquarters in Backnang, Germany.

Mayr takes over for Peter Tongue who, after almost 14 years with the company, has retired.

d&b made the decision to target recruitment beyond the entertainment industry. “Gerhard has skills stretching far outside the familiar toolkit,” states Simon Johnston, d&b audiotechnik marketing director.

Over the course of his career, Mayr has worked with Force Computers (Solectron), Motorola, and most recently, Garmin, playing a leading role in developing these brands internationally through engagement with new markets and the reinvention of existing ones, which has also involved spending a considerable amount of his time in Asia.

He also possesses traits familiar to d&b, and like so many within the company, he once aspired to be a musician and still maintains a passion for live music. With his roots in technology, he has also developed his own loudspeakers and amplifiers, at one time founded his own company that developed a control unit for moving lights.

“Throughout his career he has demonstrated a willingness to challenge the orthodoxy, and has educated markets to accept that quality has a significant value,” adds Johnston. “This is very d&b.” 

d&b audiotechnik

Posted by Keith Clark on 11/05 at 09:52 AM
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Harman Professional Unveils Rebate Program For Numerous Brands

Applies to select products from JBL, Soundcraft, dbx, AKG and Crown Audio

Harman Professional has launched the “Fall Into Big Savings” rebate program on a wide range of audio technologies.

The versatile program—available from November 1st, 2012 at participating retailers nationwide—rewards customers on individual Harman components from JBL, Soundcraft, dbx and AKG, or on Harman systems comprising those same brands.

Retailers can similarly benefit from the program designed with them and their customers in mind.

According to Mark Posgay, senior director of U.S. Sales for Harman Pro, the program offers deep savings such as a $40 mail-in rebate on the dbx DriveRack PX and a $50 mail-in rebate on the dbx DriveRack PA.

In addition, the program includes a $50 mail-in rebate on the JBL PRX412M and a $60 mail-in rebate on the JBL PRX415X. The new AKG WMS4500 system features a $100 mail-in rebate, and the program includes a considerable $250 savings on the Soundcraft Si Compact 16, 24 or 32 digital mixing consoles.

Finally, the rebate program also includes a $100 instant rebate on Crown XTi 4002 amplifiers and a $50 instant rebate on the Crown XTi 2002 and the Crown XLS 2500 amplifiers.

“This program is an excellent opportunity for musicians, DJs, rental companies and venues to upgrade their kit with some of the most advanced audio components in the market today,” Posgay says. “We looked closely at the components with the most appeal in retail and the end-product is a program that could amount to over $600 in system-wide savings, but there’s also the liberty to pick and choose as a customer’s needs dictate”

The Harman Professional Fall Into Big Savings rebate program runs for a limited time only, ending December 31, 2012. Customers simply fill out a form, attach the receipt and UPC code and mail by January 31, 2013 to receive a rebate check in the mail.

“We worked with our retail partners in designing this program and as a result it’s the most inclusive and versatile that we’ve ever offered,” Posgay adds. “The timing is engineered to provide a boost for retailers and to put more great gear in the hands of great engineers, artists and DJs and to equip more small and mid-sized venues with the same technologies used on the world’s great stages.”

Harman Professional

Posted by Keith Clark on 11/05 at 08:01 AM
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Meyer Sound Launches Website For New LEO Loudspeaker System

Also check out video featuring Blackhawk Audio using LEO at DeLuna Fest

Meyer Sound has launched a website (here) focusing on the new LEO loudspeaker system.

LEO marks Meyer Sound’s first live sound product packaged as a system, consisting of the self-powered LEO-M line array loudspeaker as well as the recently introduced 1100-LFC low-frequency control element (also self-powered) and Galileo Callisto loudspeaker management system.

Because of its linearity, LEO can translate a mix to the audience with precision, with sonic tonality and balance unchanged regardless of levels. As a result, the engineer can focus more on the mix rather than compensating for unpredicted behavior found in non-linear designs.

LEO-M’s REM manifold, cone and compression drivers, and the precise phase and magnitude alignment are all specifically intended to enable accurate vertical and horizontal coverage control, even at continuously high output levels. Meyer Sound also states that as a 2-way element, LEO-M has fewer crossovers and interactions between different drivers, and facilitates an even frequency response across all frequencies.

An optimally tuned, vented cabinet houses the 1100-LFC’s two linear, high-excursion 18-inch cone drivers. A 2-channel Class AB/H bridged amplifier with complementary MOSFET output stages supplies ample continuous and peak power to the drivers.

The amplifier, control electronics, and power supply are integrated into a single, rear-mounted module that is field replaceable. The 1100-LFC’s operating frequency range is 28 Hz to 100 Hz.

Click here to visit the new Meyer Sound LEO website.

And click here to read exclusive ProSoundWeb/Live Sound magazine coverage about LEO on the recent concert tour by Rod Stewart.

Meyer Sound has also put together the following video featuring Blackhawk Audio using LEO at DeLuna Fest in Florida:

In addition, Meyer Sound will be presenting a webinar on ProSoundWeb on November 15 at 2 pm (U.S. Eastern time) to further discuss and explain its work on sound system linearity. Find out more about the webinar here.

Meyer Sound

Posted by Keith Clark on 11/05 at 07:51 AM
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Adamson Energia E15 Ignites Defqon1 Festival In Australia

Norwest Productions delivers Adamson-led main system for dance festival

The recent Defqon1 Festival at the Sydney International Regatta Centre in Penrith Lakes, near Sydney, Australia, offered seven stages across the island, offering dance music.

The main stage, also known as the “Red Stage,” hosted more than 22,000 people who came to dance to the beats spun by Wildstylez, Headhunterz, Frontliner, Code Black, Psyko Punkz, Toneshifterz, Zany, Max Enforcer, S Dee vs Hektic, and XDream. The event was hosted by MC Villain.

Norwest Productions provided complete sound production, while staging, lighting, and pyro were executed by LX- PRG.

Audio system design was executed by the event’s front of house engineer Scott Harrison on the new Adamson Systems Blueprint AV software, enabling the plotting of the four hangs plus a front fill.

“The prediction really matched well what we experienced on the day,” says Harrison. “And it was great being able to plot all four hangs at once, giving us a great idea of our coverage, and our expected SPL.”

The main Adamson Energia E15 hangs per side were made up of 16 boxes in each, while the outer hangs each had 10 Adamson Y18 boxes.

Tremendous low-frequency energy was delivered three groups of Adamson T21 subwoofers arrayed in two-high by four-wide configuration at each location. Front fill included stacks of three Y10s, and for DJ monitors, EAW KF730 with SB730 subs were used.

‘With an area of 80m (260ft) wide x 100m (330ft) long to cover, including a VIP viewing deck at the100m mark, we needed something that was going to have the ability to make it all the way to the back, without sacrificing clarity and SPL,” Harrison explains. “We have used the Y18 in previous years, so we knew an Adamson solution was going to do the job. From all reports about the Energia system, I was very excited to get hangs of sixteen boxes out – and give its legs a stretch.

‘It was the first time I’ve flown the E15, and after getting back from lunch, we decided to hit the two main clusters,” he continues. “It was system tech Jonathon Warren and I, and we had a 16-box hang flown to trim in 25 minutes. Most of that time was spent getting the boxes into place inside the scaffold towers. The E15 is easily the fastest and easiest rigging system I’ve seen.

“There really is nothing like having 24 T21’s really beefing up that real low end. The Q-dance end-show track has some really good sub sequences in it just waiting for a stack of 21 inch drivers to move a whole bunch of air.”

All processing was provided by Lake LM Series, with amplification by Lab.Gruppen totaling in four racks of six FP6400 for the subs, eight racks of four FP6400 and two 10000Q for all the Adamson tops, and two PLM10000Qs for the DJ monitors.The house console was a DiGiCo SD8, chosen because of its Optocore link to run the 90-odd meters to the FOH position.

‘It was great to get the E15 out and have a listen to what everyone has been talking about. I was impressed by the speed that the rig went up, and how even the sound was from the front all the way to the rear, and how the PA sounded like it was right in front of my face, even when it was 100 meters away,” concludes Harrison.

Adamson Systems

Posted by Keith Clark on 11/05 at 06:04 AM
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Friday, November 02, 2012

MythBusters Test The “Frequency Of Fear” With Meyer Sound

When Discovery Channel’s MythBusters set out to test the claim that subaudible low-frequency sounds near 19 Hz can instill feelings of discomfort, dread, and even outright terror, they turned to Meyer Sound and Dr. Roger Schwenke, the company’s staff scientist and honorary MythBuster, for assistance. The episode was aired on Discovery Channel on October 28.

When Discovery Channel’s MythBusters set out to test the claim that subaudible low-frequency sounds near 19 Hz can instill feelings of discomfort, dread, and even outright terror, they turned to Meyer Sound and Dr. Roger Schwenke, the company’s staff scientist and honorary MythBuster, for assistance. The episode was aired on Discovery Channel on October 28.

Filming for the “fear frequency” segment took place in and around four abandoned cabins at a secluded forest resort in Northern California. To test the theory, the show enlisted 10 volunteers to spend time in the cabins.

“One cabin was subjected to infrasonic sound while the other control cabins had no sound,” says Schwenke. “Although the cabins were essentially identical, the idea was to ask the participants if one cabin seemed more eerie or frightening than the others.”

Unbeknownst to the subjects, a U-shaped array of nine modified Meyer Sound 1100-LFC low-frequency control elements was hidden behind one of the cabins to create the ultra-low sounds.

“We used the U-shape to get the 1100-LFCs as close together as possible,” explains Schwenke, “and to direct any higher overtones away from the cabin so we could get the infrasonic level as high as possible without anything being audible.”

It turns out that nine of the potent 1100-LFC low-frequency control elements were more than needed. “We had to be careful with the level because, at around 95 dB, we started rattling the cabin walls,”
recalls Schwenke. “That would have been a dead giveaway.”

Did the MythBusters debunk or confirm the myth? Schwenke isn’t saying: “I did feel a sense of unease. You could tell when it was on even though you couldn’t hear anything. It was more of a whole-body, change-in-the-air sensation, an undefined ominous feeling.”

To find out if the myth was officially confirmed, busted, or deemed merely plausible, tune in to the Discovery Channel. The 2012 Halloween edition marks Schwenke’s seventh appearance on the phenomenally popular TV series.

In previous episodes, Schwenke applied his expertise and Meyer Sound technical resources to urban myths associated with movie gunshots and explosions, extinguishing flames with sound, the echo of a duck’s call, a human voice breaking glass, and the infamous “brown note.”

Meyer Sound

Posted by Keith Clark on 11/02 at 11:41 AM
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Thursday, November 01, 2012

Emulating What We Hear: Performing & Using The Difference Measurement

This powerful analytical tool can be emulated in the world of test and measurement

Human listeners are effective “comparators.” We are very sensitive to changes in what we hear.

When comparing loudspeakers, we are most sensitive to differences between models or brands rather than similarities. This powerful analytical tool can be emulated in the world of test and measurement.

I have long considered the “difference” measurement to be one of the most valuable tools available to the sound practitioner.

The procedure involves:

1. Performing a measurement

2. Storing it as a reference

3. Introduce a change in the measurement setup

4. Observing the difference

In this example, I will be using the iPad along with AudioTools from StudioSixDigital.com to assess the effect of a piece of grill cloth. These days, almost any mainstream measurement program can also do this and the steps are the same in principle.

Here’s how it works. I will select Transfer Function from the AudioTools home screen (Figure 1).

Figure 1.

First, set up a microphone and full-range loudspeaker at 1 to 2 meters separation and perform a transfer function measurement of the loudspeaker.

The procedure for doing this should be described in the Help files of your measurement application. The transfer function yields the magnitude and phase of the loudspeaker in the frequency domain (Figure 2).

Figure 2.

Once the transfer function is displayed, save or store the file. I have named the file “Ref” since it is my reference file.

Recall this file to the iPad screen. In the Setup section of the program, select “Difference Mode” (Figure 3).

Figure 3.

Now when you re-start the capture process, the difference between “Ref” and the current, ongoing measurement will be displayed. Since they are the same, this will be a relatively flat line in both the magnitude and phase displays (Figure 4).

Figure 4.

Now the fun begins. I placed a grill cloth sample between the mic and loudspeaker.

The response change caused by the grill cloth can now be observed (Figure 5). I can correct this with equalization if I wish to compensate for it.

Figure 5.

There are many uses for this comparison technique. These include:

1. Seeing how a cheapie measurement mic compares to an expensive one, and determining the EQ correction curve needed to match their responses.

2. Comparing the on and off-axis response of a loudspeaker.

3. Assessing the effect of a structural member on the response of a loudspeaker, answering the common question “Can we build a grill to hide the loudspeaker array?”

4. Assessing the influence of a boundary on the response of a loudspeaker.

There are many, many more. In fact, it can be stated that this “difference measurement” is very much like what humans do when they assess changes by listening.

Our ear/brain system senses the relative effects caused by changes introduced to a reference condition. It is the link between subjective impression and objective analysis. We are just formalizing the process with instrumentation.

The difference measurement is virtually independent of the response of the mic or loudspeaker used, since it is only assessing the change made to a setup that we designate as the reference. This allows detailed and accurate information about the influence of grill cloth or whatever to be obtained with a less-than-perfect microphone or loudspeaker.

These are but a few of the possible uses for this powerful measurement technique. We leave you to your own imagination in finding other uses for the difference measurement.

Pat & Brenda Brown lead SynAudCon, conducting audio seminars and workshops around the world. For more information go to www.synaudcon.com.

Posted by Keith Clark on 11/01 at 04:42 PM
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Behringer Introduces EUROLIVE B115D & B115MP3 Loudspeakers With Wireless Mic Technology

Also include an integrated dual-channel mixer, sound processor and Class-D bi-amplification

Behringer is now shipping the new EUROLIVE B115D and B115MP3 active 2-way loudspeakers outfitted with a dedicated USB-style 3.0 input that provides seamless integration with the company’s upcoming ULTRALINK Series wireless microphones

The new EUROLIVE B115D and B115MP3 also include an integrated dual-channel mixer with 2-band EQ, built-in sound processor and 1,000 watts of Class-D bi-amplification. Each weighs 38.9 pounds.

The unique enclosure design allows them to be pole-mounted, stacked, or placed horizontally for floor monitor wedge applications.

B115D and B115MP3’s custom-engineered 15-inch long-excursion LF driver delivers powerful bass, while a1.35-inch aluminum-diaphragm compression driver provides exceptional high-frequency reproduction.

As the name suggests, the B115MP3 also comes with a fully addressable embedded MP3 player. The 8-button user interface and high-contrast, multi-function LCD panel allows the user to instantly browse tracks and select shuffle, repeat or single-play modes.

Both models are covered by Behringer’s 3-year limited warranty.

The MUSIC Group

Posted by Keith Clark on 11/01 at 01:38 PM
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Alcons Audio Debuts BC332 Self-Powered High-Output Cardioid Subwoofer

Enables selectable cardioid low-frequency pattern control and excellent rear rejection

Alcons Audio has introduced the BC332, a self-contained, high-output cardioid subwoofer system for both permanent and portable ground-stacked applications.

Following the footsteps of its bigger brother, the BC543, the BC332 is designed to offer a directivity controlled, high output, tight and accurate sub-bass response, for low-frequency extension of any Alcons pro-ribbon loudspeaker.

By means of a front and rear located woofer configuration, in combination with dedicated processing, the BC332 enables selectable cardioid low-frequency pattern control and excellent rear rejection (up to 18 dB), without the need for additional cabinets.

The front side includes one 18-inch long-excursion woofer with 4-inch voice coil with double-spider and demodulation ring frame. It is mounted in a front-loaded configuration with proprietary X-Venting, a newly designed reflex port that takes more than 20 percent of the baffle surface and is designed to maximize the system’s breathing capacity, substantially increasing overall output while minimizing port-compression.

The rear side offers a single 15-inch long-excursion woofer with 4-inch voice-coil with double-spider and demodulation ring frame. It is also mounted in a front-loaded configuration, with proprietary Flank-Venting, a folded port design that enables optimal reflex-breathing, under minimal baffle dimensions, reducing destructive interference between speaker and reflex-vent.

The 2x 4 ohms impedance caters for optimal amplifier loading, reducing the required amplifier size and specification for full system response and maximum power output. The frequency response starts at 35 Hz (-3 dB).

The BC332 is powered and controlled by the ALC amplified loudspeaker controller; Through the integrated processor, the ALC optimally drives the BC332 with specific response optimization, protection and hybrid filtering processing. The ALC preset library contains cardioid settings for maximum rear- and side-ward attenuation.

As with all Alcons loudspeaker systems, the BC332 is SIS pre-wired for a very high damping factor (>10.000 under all loads/conditions); through the SIS (Signal Integrity Sensing) circuit, the cable-length and connector resistance between the BC332 and ALC is dynamically compensated for. The controlled cone-travel results in a very clean and tight sub and bass response.

The combination of complex internal panel lay-out and extensive bracing brings a rigid structure with a high enclosure stiffness from a relatively low-weight package.

It is finished in Durotect scratch-resistant coating and comes with a six-year limited warranty.

Alcons Audio

Posted by Keith Clark on 11/01 at 09:46 AM
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Wednesday, October 31, 2012

Sacramento Production Services Deploys Martin Audio For Charity Fall Music Festival

Main system headed by dual W8LC line arrays

For the last 26 years, the B.R. Cohn Winery and Olive Oil Company has held a Charity Fall Music Festival in the heart of the Sonoma Valley wine country.

Owner Bruce Cohn, who also manages the Doobie Brothers, is the guiding force behind this star-studded musical event that benefits a host of local charities.

This year the bill featured the Doobie Brothers with Michael McDonald and Friends, Kenny Loggins, Buddy Guy, The Turtles, Dave Mason, War, Lara Johnston and others over a two-day period.

Sacramento Production Services (SACPS) provided audio and staging for the first time this year, largely on the recommendation of John Procaccini, production manager for the festival, as well as Doobie Brothers front of house engineer Gary Hartung.

Hartung had worked with Martin Audio in the past and was familiar with W8LC line arrays, and so recommended it for the festival to provide better coverage and SPLs throughout the venue.

“The event was a real success,” says Keith Wackford of SACPS. “It’s the first time in 26 years that every act was on stage, on time. Kenny Loggins actually got onstage three minutes early. The crews and staff on both sides were great and we did a lot of hard work to make sure we had what we needed to pull this event off.”

The main loudspeaker system consisted of nine Martin Audio W8LCs per side for the main hangs, with six W8LCs per side for out fill and 14 ground-stacked W8LS subwoofers.

In addition, two W2s handled front fill, while two WT3s supplied drum fill. A pair of W8Cs with S218X subwoofers per side delivered front fill. Finally, the stage was outfitted with 14 LE12J stage monitors.

Loudepakers were driven by several racks of Lab.gruppen PLM 20000Q power amplifiers. Consoles included a pair of Yamaha PM5Ds for front of house and a pair of PM5Ds for monitors.

Crew for SACPS included Keith Wackford (FOH), Dwayne Wise (system engineer), Rick Stansby (monitor engineer), and Evan Drath (assistant monitor engineer). Rick Santell (Huey Lewis) served as stage manager.

“Everyone loved it,” Wackford says of the system and its performance. “Fans at the Festival thought this was the best sounding year ever. The Doobie Brothers house engineer and production manager said it was one their best years yet. At the end of the night when the trucks were loaded, John Procaccini said ‘you hit the ball out of the park’.”

Martin Audio

Posted by Keith Clark on 10/31 at 03:07 PM
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Sweden’s Leading Cathedral Expands With Iconyx

Lund Cathedral in Sweden, the country's oldest and largest church and which dates back to 1080, has expanded its permanently installed Renkus-Heinz RHAON-equipped Iconyx digitally steerable system with the addition of a further IC16/8-R-II active array above its altar.

Lund Cathedral in Sweden, the country’s oldest and largest church and which dates back to 1080, has expanded its permanently installed Renkus-Heinz RHAON-equipped Iconyx digitally steerable system with the addition of a further IC16/8-R-II active array above its altar.

The cathedral’s size—in normal use it seats 1,800 but can accommodate an extra 800 during major events that are frequently televised—reflects its historical status as the Seat of the Archbishop for the whole of northern Sweden and the other Nordic countries.

Its cavernous nave had long proved a challenge for bishops whose voices would become hoarse trying to project down such a long space. Many years ago a sound system was installed to help, originally with four wired microphones and a conventional loudspeaker system.

The last time it was replaced was 1987, when the church felt it was time for something more capable - as well as increasing the microphone count to 20, including two that relay the sound of the church towers’ bells inside the church. Many of the congregation had been unable to hear the bells over the level of conversation or a sermon.

The Cathedral recently invested in Renkus-Heinz Iconyx, says the Cathedral’s Lars Jonven, because the existing PA was inadequate in both audio distribution and quality - including the fact that audio control was limited to a single volume knob.

Having had the space acoustically analyzed, the cathedral’s architect decided that the speakers should be mounted flat on the wall rather than tilted forward. A couple of brands with that capability were examined, but it was the Renkus-Heinz Iconyx that was chosen by installer Björn Carlsson with Svensk Musik TTS AB.

It also had the effect of reducing the number of loudspeakers in the church from over 40 to just 14, including the crypt.

“They came to us because they wanted an intelligent, efficient solution that wouldn’t need to be changed every few years,” says Carlsson. “The main issue with the new sound system is that Renkus-Heinz won on sound quality, proven technology and its very special directivity control.”

The addition this fall of an extra IC16/8-R-II, finished in a special architecturally matched colour, provides additional projection of sound to the congregation.

“We looked at a couple of other brands and their solutions involved installing many more speakers, actually more than they had in the old system. And then there was another request for us to distribute the system digitally as far as possible.

“So actually the only part in the whole system that’s analogue is the microphones; everything else is distributed by MediaMatrix and CobraNet direct to the loudspeakers. So that was another big feature.”

In another nod to modernity, the cathedral is also the proud owner of an iPad remote control for the NION system. A controller is installed to the side of the nave, which remains where it is, but TTS also supplied a wireless iPad.

This allows an operator to control sound from, for example, a service in the crypt, from where the fixed controller would be unreachable.

The same goes for christenings, which are held in the Northern Chapel, which is also invisible from the normal mix position. Once again the iPad allows remote control from the chapel area itself - and is much appreciated by the church for its flexibility.

The large space also allows the church to be used in different areas simultaneously; the system is designed to allow split feeds and zones.

A pair of IC24-R arrays covers the central area of the nave, each delivering four separate beams of sound, while a combination of IC16-R and IC8-R arrays cover other areas with an IC7 in the crypt.

The IC16/8-RII incorporates the latest coaxial transducers with triple tweeter arrays driven by multichannel audiophile high-current amplifiers, allowing up to eight individually steerable multiple beams from each unit. The triple tweeter “array within an array” design reduces the distance between HF sources for greatly improved high frequency performance with consistent broad horizontal dispersion and reduced grating lobes.

“The whole system gives us much better sound naturally,” says Carlsson. “Each priest has their own headset and there are presets that adjust the EQ to their individual timbre and volume. It’s a fantastic solution.”


Posted by Keith Clark on 10/31 at 11:56 AM
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PSW Webinar Coming Up: Understanding Linearity In Sound Systems

Clarifying the definition of linearity and how it applies to audio reproduction

Be sure to join ProSoundWeb and Meyer Sound for an exclusive webinar entitled “Understanding Linearity In Sound Systems,” to be held Thursday, November 15, 2012, at 2 pm U.S. Eastern time.

Register to attend the webinar here.

Linearity is a term that is commonly applied in discussions of sound systems, however. the concept and definition of “What is a Linearity?” is not entirely understood by many technicians. This presentation by Meyer Sound and ProSoundWeb will clarify the definition of linearity and how it applies to audio reproduction.

Additionally, the presentation will provide attendees with a comprehensive look at different terminologies associated with linearity, and explore means of testing and evaluating the linearity of audio systems.

It will all be followed up by a Q&A session where you’ll have the chance to get answers to your specific questions.

The webinar will feature a presented by two systems professionals offering decades of real-world experience: Gavin Canaan, Meyer Sound education manager, and Steve Bush, Meyer Sound instructor. Keith Clark, editor of ProSoundWeb and Live Sound International, will serve as moderator.

Register to attend the webinar here.

Meyer Sound

Posted by Keith Clark on 10/31 at 08:53 AM
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Tuesday, October 30, 2012

Keyboardist Ed Roth Joins The QSC K For Musicians Family

QSC Audio Products LLC is pleased to welcome keyboardist Ed Roth to their K for Musicians family, coinciding with the release of his self-titled debut album this week. Roth’s first single on the album, “Summertime,” spent 8 weeks in the Smooth Jazz Billboard Top 40 charts.

QSC Audio Products, LLC is pleased to welcome keyboardist Ed Roth to their K for Musicians family, coinciding with the release of his self-titled debut album this week. Roth’s first single on the album, “Summertime,” spent 8 weeks in the Smooth Jazz Billboard Top 40 charts.

“I really set out to make a strong, musical record and I am proud of the album.  With the help and encouragement of Warrior Records, and a lot of great musician friends playing on it for me and two top engineers, Ryan Hewitt and Joel Numa,  recording and mixing it, I feel like we made something that will still sound great in 10 years,” says Roth.

“We picked out some interesting and unusual covers to add to my original songs on the album. In the old school tradition of rearranging covers, I really tried to flip these classic tunes with reharmonizations and new grooves.”

Whether recording or playing live, Roth’s attention to how his music sounds influenced his decision to go with the K Series. 

“First, the K Series speakers are warm and smooth, very musical to play through, yet they are able to cut through a mix. It’s great to be heard without the usual harshness of most powered speakers,” says Roth. “Second, as a keyboard player, you need headroom and power to be able to play with dynamics. You have to have that power to play tastefully, whether you are playing piano or Rhodes under a vocalist, or soloing on a fusion gig.”

Roth has recorded with artists ranging from Coolio to Rob Halford to Tom Morello. He is a member of both the Bombastic Meatbats (with Red Hot Chili Peppers drummer Chad Smith) and CTA (with former Chicago founder/drummer Danny Seraphine). Roth co-produced Kristine W’s #1 iTunes jazz single, “What I Like About You.” 

This past year, Roth was a session keyboard player on records with artists including the Avett Brothers, Sophie B Hawkins, Maia Sharp, and Nathan Maxwell (of Flogging Molly).

And according to Roth, the K Series has helped him keep connected to his sound.

“As a keyboard player, you need to have warm, rich tone with headroom, but you also need to feel connected to your sound through your speakers. I play a lot of piano and Rhodes, and picked the Roland RD 700 as my main keyboard not only for the way it sounds with those instruments, but because it feels like I am connected to those instruments,” says Roth. “Your speakers are as big a part of your sound—and they also must do that in order for you to play musically – the K Series achieves that for me.”

QSC Audio

Posted by Keith Clark on 10/30 at 10:44 AM
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Monday, October 29, 2012

Community Brings Custom Sounds To Trendy Z Hotel In NYC

The basement venue is outfitted with a distributed system featuring Community Loudspeaker VERIS 26 two-way, dual 6-inch full-range systems, with VERIS 212S dual 12-inch subwoofers for added low-end punch.

New York is the city that never sleeps, and the tiny island of Manhattan has never been able to contain the city’s buzz.

New York’s newest peripheral gem is Long Island City. Just a subway stop away in Queens, this aging warehouse district is now abuzz with nightlife, eateries, and fashionable hotels.

The Z Hotel is a prime example: within months of its grand opening, the hotel boasts a 90 per cent occupancy.

This former factory has been redesigned from the ground up, with chic décor from its airy rooftop bar to the intimate basement lounge and restaurant. Both venues feature sleek sound systems featuring Community Loudspeakers designed and installed by El Media Group, a Manhattan-based company that provides high-end boutique hotels and restaurants with both custom music and the sound systems to accompany it.

The rooftop lounge area is served by more than a dozen Community WET Series W2-218 all-weather two-way systems. “We opted for the WET Series mainly for their weather resistance,” explains El Media’s Andrew Mitchel. “But we were pleased to find that they have a nice tight coverage pattern as well.

“Even though the rooftop is 20 stories up and there are not a lot of immediate neighbors, we wanted to make sure that there wasn’t a lot of sound spilling over into the neighborhood.”

Lab Gruppen C-Series amplifiers power the system.

Community’s VERIS Series covers the downstairs restaurant and lounge. The basement venue is outfitted with a distributed system featuring Community VERIS 26 two-way, dual 6-inch full-range systems, with VERIS 212S dual 12-inch subwoofers for added low-end punch. The loudspeakers are powered by Lab Gruppen C- and FP-Series amplification, with Symetrix Jupiter DSP providing system drive and processing.

“It’s a pretty nice sounding space,” says Mitchel. “It’s not very wide, but the room is pretty friendly - not a lot of parallel walls or reflective surfaces, plenty of soft seating and cushions, and the ceiling’s not too low like a lot of basement spaces. It’s a nice looking place too - they’ve opened up a large part of the space to the level above, so they’ve got a lot of natural light coming in. It’s a really nice room, and the VERIS speakers sound great in there.”

Community Loudspeakers

Posted by Keith Clark on 10/29 at 08:16 PM
AVNewsProductionAudioInstallationLoudspeakerSound ReinforcementPermalink

Friday, October 26, 2012

Lynx Pro Audio Names Event Systems Group Exclusive Distributor For North America

Valencia, Spain based loudspeaker manufacturer Lynx Pro Audio S.L. has entered into a distribution agreement with new US pro audio and entertainment technologies firm Event Systems Group, Inc.

Valencia, Spain based loudspeaker manufacturer Lynx Pro Audio S.L. has entered into a distribution agreement with new US pro audio and entertainment technologies firm Event Systems Group, Inc.

The agreement gives Event Systems Group exclusive distribution of the brand throughout the entire U.S. and Canada, and represents an exciting new venture for both companies.

For Lynx Pro Audio, the long awaited introduction to the North American market means a new realm of possibility for a brand that has seen great success in other countries.

As a new player in the professional audio marketplace, Lynx Pro Audio has already launched a product line that is quickly gaining recognition as a major player on a global scale.

Event Systems Group was created by a small group of previous sound company owners and successful entrepreneurs interested in bringing new products (such as Lynx Pro Audio) into the North American market.

“Event Systems came to Spain and spent the entire week with us listening to all our systems,” explains Ben Sinclair - Lynx Pro Audio Export Manager. “They spent valuable time with the engineers and by the end of the week we were confident that they were the right guys to represent us in North America.

“You could see they really knew about professional audio and that they were enthusiastic about the Lynx portfolio.”

The general sales model for Event Systems Group is to setup dealer networks for the brands it distributes and focus primarily on support of those networks. The company principles feel that their experience dealing with products as dealers, a role that most are familiar with, gives them a leg up in their endeavour to become a top sales and support company.

“Our team is passionate about pro audio and the entertainment technology industry,” adds Greg Stevens – President of Event Systems Group. “We have spent many years designing, installing and doing production ourselves so when we discovered Lynx Pro Audio we were intrigued to know more about the brand and the people behind it.

“After a visit to Spain, we knew that Lynx could fill a niche in North America and we were both grateful for and enthusiastic about the opportunity to represent them. There are truly good people behind this brand producing great product!”

While both companies are relatively young, their combined and well-versed experience in the pro audio industry promises some exciting new developments in this fast-paced vertical market.

Event Systems Group
Lynx Pro Audio

Posted by Keith Clark on 10/26 at 07:18 AM
Live SoundChurch SoundNewsInstallationLoudspeakerSound ReinforcementAudioPermalink

Nightlife Consultancy Equips U.K. Nightclub With RCF

Fast growing leisure operators No Saints have converted a former nightclub in Milton Keynes, the centerpiece of the Xscape Entertainment hub, into the surreal environment known as Wonderworld. The nightclub features multiple sound reinforcement systems designed around RCF loudspeakers.

Fast growing leisure operators No Saints have converted a former nightclub in Milton Keynes, the centerpiece of the Xscape Entertainment hub, into the surreal environment known as Wonderworld.

This new 1800 capacity themed venue has been designed into a nightclub twin-scene, respectively named ‘Tomorrow’ and ‘Yesterday’ — set around a Secret Garden’ (set behind wrought iron gates) and a resplendent red VIP lounge.

Working with main contractor, Optik Leisure, installation company Nightlife Consultancy has equipped all these zones with RCF loudspeakers, part of a complete multimedia integration.

They were selected for their high performance, evenness of coverage and unobtrusive footprint. Their product selection ranges from the strident TT+ subs, set on the truss over the main Tomorrow dancefloor to the stylish, powered Art enclosures, playing background music in the private boutique Mind, Soul & Body rooms. All passive elements of the system are powered by dedicated RCF amplification.

Having worked with the brand back in Monitor 5 days, system designer Mark Dorney was familiar with RCF’s pedigree and chose it primarily for the clarity it delivered from different sound sources; this includes live bands, hard dance tracks from the DJ’s brace of Pioneer CDJ 2000’s, and background music from MP3 players.

He said he always knew RCF drivers sounded “fabulous” — and again it has lived up to expectations.

Working within an ‘enchanted’ environment sensitively conceived by Terri Naylor of Dakota Design, he designed a digital network architecture, based around a dbx SC-32 digital matrix.

For general purpose he chose RCF’s Acustica C3108 compact, wide-dispersion, low visibility speakers. Six of these distributed in the Secret Garden, accompanied by three complementary S4012 subs, set discreetly behind unobtrusive grilles, will take any of the above feeds — selected locally from the remote ZC-1 zone control wall panels.

The DSP itself contains several EQ scene presets including: Main club scene; Fire evacuation; Conference mode; DJ stage and live band mode.

Stroll through the labyrinth of corridors and walkways, past disorienting infinity mirrors, fibre glowing ‘oak’ trees and astroturfed walls, and into the toilets, and the aural experience will be forever delivered via large quantities of RCF’s PL60FD flush-mount 100V line ceiling speakers.

Three of the most coveted spaces are the themed private lounges, with Regency styled chairs, named Mind, Body & Soul, complete with their own 46” HD TVs, controllable from an Android tablet, and minibars.

Customers can choose their own sound source and in these bijou spaces Nightlife has sited a pair of RCF ART 408-A MII enclosures, accompanied by Ayra 10 active subwoofer.

“This is a lovely sounding box,” states Mark Dorney of the latter. “The 10in box remains discreet but has a lot more juice than the Ayra 8 — and this is vital if they want to hold a karaoke session.”

The journey through time continues into the large nightclub, named ‘Tomorrow’ (dubbed ‘The Playground of the Future’). Around the periphery of the dancefloor Dorney has chosen six of RCF’s C3110 full range speakers, with rotatable horns, set in portrait mode — and it was this flexibility of of orientation that drove his decision.

But his carefully worked system design hit a roadblock when he was prevented from floor standing the subs he had earmarked. “It was also impractical to put them in the bulkhead so we had to fly them from the circular Prolyte overhead truss,” he reports.

As a result, Dorney turned to RCF’s TT+ (Touring & Theatre) range — selecting six TTS28 direct radiating, large format subwoofers, using flyware from Rope Assemblies.

Interspersed between are six RCF Acustica H1312 three way horn loaded controlled dispersion enclosures — chosen for their combination of low weight and “punchy crispness.”

Some near fills provide extra presence at the stage, where a stylish DJ workstation has been bespoke manufactured by Nightlife Consultancy to house all the CDJ’s, DJM-2000 mixer and Soundcraft MFX20 band mixer.

Concealed behind a faux bookcase is a door leading to the VIP Lounge, alive with LED and red furnishing, which contains six further RCF C3108s in landscape format and two S4012 subs in each corner.

Finally, upstairs in the monochromatic black, chrome and stainless steel world of ‘Yesterday’ six C3108’s take care of the peripheral sound, while on the high-energy dancefloor two RCF S8028 (2 x 18) subs provide LF extension to the six low profile C4128 (2 x 8) boxes — flown horizontally — a perfect footprint for the low-clad ceiling and for the directional punchiness required, according to Mark Dorney.

The entire assembly of passive speakers is driven by RCF matched amps, with Nightlife Consultancy designing plenty of headroom into the system.

Assigned to Tomorrow are eight RCF DPS 3000’s, run in bridge mode, with one amp per sub. For the full range enclosures, three RCF HPS 2500, bridged in 4-ohm pairs, run the 12in LF section while the mids and high end are assigned to two HPS 1500s.

Adastra 1U mixer amps run the distributed PL60 ceiling speakers while for ‘Yesterday’ (and the remainder of the venue) a DPS 3000, three HPS 2500s and two HPS 1500s have been specified — with UPS provided as back-up power supply.

Wonderworld general manager Jay Davidson, says the venue’s technology is a vast improvement on its predecessor, and credits Nightlife for the immense amount of work conducted in a short space of time. “The sound system is now phenomenal,” he says “The atmosphere has been transformed.”


Posted by Keith Clark on 10/26 at 07:07 AM
Live SoundNewsConcertLoudspeakerSound ReinforcementSubwooferAudioPermalink
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