Thursday, February 25, 2010
A Journey To Contemporary Sound At Christ Memorial Church
The project abounds with clever solutions, some borne of budgetary necessity and others a continuation of long-term planning
Christ Memorial Church in Holland, MI, has always sought to be a place where all can belong, and in that spirit, began offering contemporary-style worship services in addition to continuing with traditional style services.
As a result, the 1,700-seat sanctuary, constructed in the late 1980s, needed an upgrade of its sound reinforcement system, both to accommodate the more dynamic contemporary style in addition to better serving traditional needs.
The single-level, fan-shaped main sanctuary presented some unique challenges to the sound team, including a 150-seat choir area to the left of the main front platform and a large orchestra platform right in front of the choir.
Large beams support the wood tongue and groove ceiling, and combined with brick side walls and a rear wall made up almost entirely of glass, acoustics were also a concern.
The sound system design/build firm contracted for the project, Parkway Electric & Communications of Holland, proposed that in addition to flown line array loudspeakers for coverage to the audience area, additional line arrays be installed above the orchestra platform. The goal was to provide a reinforced signal coming from the same area as the natural, acoustical signal.
Further, the design called for a portion of the main loudspeakers to also function as a “delay fill” for the choir cluster.
For this choir/orchestra application, Parkway specified four L-Acoustics KIVA line array elements, arrayed beneath a KILO low-frequency extension cabinet, with two additional KIVA down-firing behind the array to provide monitoring for the choir.
A full demo of this approach, with the loudspeakers positioned very close to the actual proposed installation location, went so well that the church gave the go ahead. The intent was to get the choir array/cluster in place and then raise additional funds to add the additional new line arrays in the coming months.
Change In Plans
Everything was moving right along, with the aging house system to be replaced with two larger KIVA/KILO arrays, until the economy began to worsen, which impacted fund raising, and the project cameto a halt.
Finally, many months later, with only a portion of the funds raised, Gary Matthews, Director of the Church Fine Arts program, and Technical Director Dave Scholten, called a meeting with Parkway to explore what options might be available.
Parkway Systems Engineer Jeff VandeHoef offered a somewhat unconventional alternative that better suited the church’s actual budget - a flown system of four L-Acoustics 115XT HiQ coaxial enclosures.
These loudspeakers, which are more traditionally utilized as stage wedges or fill loudspeakers, might be able to meet coverage needs if deployed in an “exploded cluster” above the audience area. Specifically, three of these loudspeakers would bolster house coverage, and the fourth serving as a fill loudspeaker (much like it would have been utilized in the original design).
The L-Acoustics 115XT HiQ coaxial loudspeakers that serve as the system’s new main loudspeakers, joined by the KIVA/KILO array serving the choir.
VandeHoef utilized the L-Acoustics SoundVision acoustic simulation program in mapping out the approach. One of the significant considerations was ensuring that the new loudspeakers would not interfere with the projection path of the existing video system.
The simulation program showed this not to be the case, but it would be a very close call, and all of this came as the church was looking at an upcoming presentation of Haydn’s Creation that would involve the video system.
Some of the system’s new L-Acoustics LA4 controllers joined by Crown power amplifiers retained from the previous system.
Because of the potential issue, Parkway moved up the installation date up by two weeks.
“The simulation program showed we would be clear by a few inches, but I choose to push up the priority on this part of the project in order to give us time to make any changes that might become necessary,” VandeHoef explains. “As it turned out, the loudspeaker flypoints were indeed clear of the projection path, just as SoundVision showed.”
Two SB118 subwoofers were also installed during this phase, as were L-Acoustics LA4 amplified controllers for power and processing of all of the loudspeakers. The long-term thinking is that that when funds are available, the 115XT HQs can be re-purposed as stage monitors, replaced by original design’s line arrays.
Two Designs, One Sound
A pleasant surprise to this budget-driven solution was the realization that the acoustic signatures of both the choir system and main system sounded very similar, despite being based on two disparate designs.
“Knowing that line source array and coaxial technologies are very different, I was amazed at how remarkably similar the KIVA and 115XT HiQ sounded. In fact, the chance of us putting a KIVA system in there in the next couple of years went way down because they’re really happy with how the 115XT HiQs are performing,” notes VandeHoef.
The project abounds with other clever solutions, some borne of budgetary necessity and others a continuation of long-term planning. The main system’s Yamaha M7CL-47 digital audio mixing console, which had been added earlier, was outfitted with CobraNet cards to add 32 channels of digital audio to the system.
Twenty-four of these channels route to the recording and video production room. The other eight channels go to Biamp Audia digital units that provide cross-matrixing capability for the choir array.
From there, digital audio goes on to the LA4 amplified controllers providing power and processing to all main system loudspeakers.
Plenty of wireless microphones on hand for a performance of Haydn’s Creation.
An Aviom16/o-Y1 A-Net card was also added to the MC7L console, providing increased functionality with the church’s existing Aviom multizone stage monitor mixing system utilized by musicians.
One specific upgrade in this regard is that the card allows the house sound operator to assign audio outputs directly from Yamaha console interface.
A feed from the Aviom system is also fed to Crown amplifiers retained from the previous system that provide feeds to several stage pockets on the platform where Renkus-Heinz CFX121M monitor wedges can be plugged in as needed.
Several Neumann KM 184 small-diaphragm condenser microphones are suspended above the choir, installed in an earlier upgrade, with a predominance of Shure SM57 mics utilized for a wide range of applications on the platform. Dual Shure SM81 unidirectional condenser mics handle the acoustic piano.
The church also took advantage of Shure’s $1,000-per-unit rebate program to add five UR124S combo wireless microphone systems with SM58 handheld transmitters and UR1 bodypack transmitters. Pastors utilize Countryman E6 omni earset mics with the bodypacks.
In spite of the numerous and sometimes unique challenges the project presented along the way, the end result is a satisfied client.
According to Matthews, “We are absolutely thrilled with the results. The musical style in our arts ministry can greatly vary from a full orchestra and choir performing Haydn’s Creation to our contemporary style of worship - all in the same room - so we needed a system that sounded great and was highly versatile. This setup has been a ‘win’ for all that we do.”
Wednesday, February 24, 2010
JBL VerTec Line Arrays And Grupo Zonico Rock Venezuela’s Solid Fest
JBL VerTec line arrays comprised the main PA system for the 4-day event, which included performances by leading international and local artists for crowds averaging 20,000 persons per day.
In one of Venezuela’s largest annual live music events, rental sound company Grupo Zonico provided an extensive audio system for Coca-Cola Solid Fest 2010 at Hipdromo La Rinconada in Caracas.
JBL VerTec line arrays comprised the main PA system for the 4-day event, which included performances by leading international and local artists for crowds averaging 20,000 persons per day.
With separate themed event days presenting rock, urban and Latin artists, performers at the festival included Korn, OscarD Leon and Luis Fonsi.
Grupo Zonico deployed a main PA system featuring two array hangs, each comprising 15 VerTec VT4889-1 full-size line array elements and three VT4887ADP compact powered line array elements with DrivePack technology.
The system also included 26 VT4880A full-size arrayable subwoofers, with an additional 12 VT4887ADP loudspeakers provided for front fill. Crown I-Tech HD12000 and HD9000 amplifiers powered the main suspended arrays, while I-Tech 8000 amplifiers powered the subwoofers.
Grupo Zonico also set up a supplemental tower featuring 12 VerTec VT4888DP midsize powered line array elements. The overall system was configured and remotely controlled and monitored with Harman HiQnet System Architect software.
According to Jose Vallenotti, System Engineer for Grupo Zonico, the system performed beyond the company’s expectations.
“The level of total system control we achieve through System Architect makes the job easier as no other manufacturer in the audio industry can provide anything similar.”
“I feel very proud and satisfied to provide a sound system so efficient that it meets and exceeds the expectations of the different engineers that have used it in terms of high SPL, sound quality and effectiveness,” said Hugo Morillo, Director of Operations, Grupo Zonico.
“Harman Pro’s support, along with local support from Harman’s distributor Media CA, is a key element in our success as leaders in the production industry.”
The compliments on the audio system were not limited to Grupo Zonico, as noted by a variety of front-of-house engineers who mixed the live sound for different artists.
“This was the best VERTEC system I’ve ever used in my 15 years in the audio industry,” observed Juan Luis Pedor, FOH Sound Engineer for Wsisin and Yandel, Franco El Gorila, and Joel and Randy.
“The high and low sections of the VT4889-1 were very impressive due to the OmnidriveHD signal processing, and the system didn’t seem to have a limit to its performance capabilities.”
“The system sounded amazing and JBL’s V4 signal processing was incredible,” offered Jose Lehardy, FOH Sound Engineer for Gilberto Santarrosa.
“The system sounded very clear with crisp vocals and lots of headroom,” said Pedro Collado, FOH Sound Engineer for Lusi Fonsi.
Guillermo Sanchez, Business Development Manager, Latin America, Crown Audio, noted that the system’s performance and reliability allowed Grupo Zonico to focus on its main task: pleasing the artists and engineers.
“The power and vocal clarity outperforms any other system available in the market and the benefit that Grupo Zonico is receiving from JBL VerTec line arrays with Crown I-Tech HD amplification is priceless,” he said.
“As Solid Fest is a festival with so many international performers in such a short time, it is usually difficult to please everybody as there are so many different music styles, but as a high-profile company, we strive to provide the highest standard in the audio Industry in Venezuela.
“That is ultimately why we have chosen Harman as our equipment supplier,” said Sheila Perestrelo, Director of Marketing and Public Relations, Grupo Zonico.
Tuesday, February 23, 2010
HOW-TO Sound Workshops Announces Upcoming Training Schedule For March
Sessions feature a hands-on approach, joined by real-world examples that help sound volunteers retain the maximum amount of information in the minimum time. Coming to Kentucky and Virginia in March.
HOW-TO Sound Workshops, dedicated to growing ministries through real-world audio education and applied technology, has announced its schedule of training sessions for March.
Upcoming dates include:
March 6: Crossroads UPCI Church, Radcliff, KY
March 13: Mt. Olivet UMC, Arllington, VA
March 20: Resurrection Lutheran, Newport News, VA
Each session runs from 9 am to 6 pm.
HOW-TO Sound Workshops are designed with your entire praise team and media volunteers in mind.
Taught by instructors with extensive background in audio education at all technical levels, everyone from new volunteers to seasoned professionals will learn how to deliver their worship message in the best way possible.
Sessions feature a hands-on approach, joined by real-world examples that help sound volunteers retain the maximum amount of information in the minimum time.
Topics covered in each session include:
—Microphones and Inputs
—Amplifiers and Loudspeakers
—Mixing and Recording Techniques
—Loudspeaker Setup, Alignment, and Processors
—AC/Electrical Power Issues
HOW-TO Chief Instructor Mike Sokol has been a live-sound, recording, and design engineer for over 38 years as well as a musician for 50 years who has run sound for thousands of Worship, Music, and Political events.
During the past 10 years, Sokol has presented over 600 seminars and Hands-On Workshops across North America at churches, recording schools, universities, and professional audio organizations such as the Audio Engineering Society, the Society of Broadcast Engineers and NARAS (Grammy Awards Group).
Find out more about HOW-TO Workshops here.
To register, go here
HOW-TO Sound Workshops Website
Friday, February 19, 2010
South Africa-Based Northwind Recording Selects EAW Loudspeakers For CTMI Church
EAW AX Series models are arranged in a low-profile, aesthetically pleasing design in two arcs following the contour of the church
EAW loudspeakers were recently chosen for a house-of-worship installation at CTMI Church in the town of Trianon, near Port Louis in the island nation of Mauritius.
Durban, South Africa-based Northwind Recording provided the system design, analyzed the space’s acoustics and performed the installation. EAW’s South African distributor Surgesound supplied the equipment and managed all processing and system alignment.
Further consultation was provided by EAW’s Whitinsville, Massachusetts-based Application Support Group (ASG), under the management of Joe Fustolo.
EAW loudspeakers selected for the space included 15 EAW AX366 and AX344 arrayable install loudspeakers, six EAW JF50S compact full-range loudspeakers, eight EAW SB1000z large format subwoofers, five EAW MW12 MicroWedge stage monitors and two EAW UX8800 digital signal processors.
Amplification was provided by ten Lab.gruppen FP+ Series amplifiers and one Lab.gruppen PLM 10000Q powered loudspeaker management system.
The EAW AX Series models are arranged in a low-profile, aesthetically pleasing design in two arcs following the contour of the church. The JF50S units are used as lip fill.
Four SB1000z subs are ground stacked, and the remaining four were flown, using different high pass filter (HPF), low pass filter (LPF) and delays to create a constant low frequency response throughout the church. The MicroWedge 12 monitors are spaced along the edge of the stage.
Northwind Recording principal Niklas Fairclough is a firm supporter of the EAW brand, having completed three previous installations in South Africa using EAW AX Series Arrayable Install Loudspeakers.
Fairclough notes, “When we tested the system, we were blown away. With an SPL of 110 dB at the front-of-house position, the system sounded superb and very clean, and we still had massive headroom available.”
Ruan Joubert from Surgesound, distributor of EAW in South Africa, was at the final stages of the installation to act as the System Engineer and represent EAW South Africa.
After using Smaart to make fine-tune adjustments to the system, he comments, “With the combination of detailed acoustic design, carefully planned EAW Model selections, the pre-install planning and system design with help of EAW ASG, everything came together, culminating in very a successful project with outstanding audio performance, which exceeded all the client’s expectations.”
Thursday, February 18, 2010
QSC Audio Donates Sound Reinforcement Support To Star-Studded Haiti Fundraiser
More than $200K raised to assist earthquake-ravaged nation
QSC Audio was integral to a recent star-studded charity event that raised much needed funds to assist the people of earthquake ravaged Haiti, donating all audio support, with the assistance of West Coast Sound providing supplemental equipment and crew, to the Haiti Food Project: A Second Aid Benefit Concert.
Held at the American Jewish University in Bel Air, California, the event was held in collaboration with Mazon: A Jewish Response to Hunger, which since 1985 has granted over $50 million to prevent and alleviate hunger among people of all faiths and backgrounds, and The Board of Rabbis of Southern California.
The event was attended by a bevy of leading personalities, entertainers and politicians, including Deepak Chopra, Her Excellency Geri Benoit, Haiti’s Ambassador to the UN World Food Program and Former First Lady of Haiti, Robert Wexler, Beverly Todd, Lou Gossett Jr., Brenda Russell and many others.
According to Evan MacKenzie, QSC Audio Director of Marketing & Communications, “When my colleagues at Innovation Protocol, the event’s branding and marketing strategy agency, called me about this need, no one at QSC hesitated for one moment about getting involved.
“It’s impossible to be passive when such devastating events take a tremendous toll on other nations. This is a privilege to donate our services and lend equipment to an event whose sole purpose is to relieve the suffering of others. It was a team effort and an honor everyone at Innovation Protocol, Mazon and QSC Audio, can be proud of.”
Brian English, QSC Audio Director of Concert System Solutions, an accomplished and talented soundman in his own right, lent his time and talent to run the PM5D console for front-of-house sound and David Cepeda, another QSC live sound engineer, who ran the M7 console for monitors.
The QSC Audio Wideline 8 system, consisting of six cabinets per side, augmented with two QSC Wideline WL212 dual-12 subwoofers and GP218 dual-18 ground support subs per side, provided clear and articulate audio for the diverse program material of live musical performances by Dave Koz to spoken-word by Deepak Chopra and others.
A mix of QSC active loudspeakers provided foldback for entertainers and musicians, including two HPR153i 3-way loudspeakers for side fills, four HPR 122 12-inch two-way loudspeakers, one HPR181 subwoofer to augment low-end for the drummer, two K-10s and a wide range of QSC’s new Concert Stage Monitors.
All passive loudspeakers were driven by two racks of QSC Audio PL-340 and PL-380 power amps.
According to Steve Addison, Event Producer, “QSC’s sound system literally made the show. To have world class sound and engineers for the event took it from being just good to being absolutely magic.”
Dr. Eric Schockman, President of MAZON, creator of the event and program, stated, “The sound was breathtaking, and brought the crowd completely into the performances, giving us so many powerful moments that wouldn’t have been possible without it.”
12 x WideLine 8s (6 per side stacked)
4 x WL212 subs (2 per side)
4 x GP218 subs (2 per side)
Amp Racks A & B with QSC PL-340 & Pl-380 amps (for house)
2 x Monitor amp racks QSC PL-340 & Pl-380 amps (8 bi-amp mixes)
AC Power Distro (Plus drops for stage power)
All CSM monitors.
2 x HPR 153 (side-fills)
1 x HPR 181 (drum sub)
4 x HPR 122s
2 x K10s
Red FOH rack (playback & drive)
AC cable trunk
Speaker cable trunk
From West Coast Sound
PM5D for FOH
M7 for monitors
FOH AC run
Snake & splitter
Full mic package with a wireless package
Full mic stand package
All mic cables & stage boxes
Com between FOH & monitors
AC feeder cable
QSC Audio Website
Wednesday, February 17, 2010
Northwest Global Entertainment Deploys Martin Audio Line Arrays For Olympic Welcome Party
System also included Martin subwoofers, power amplifiers, loudspeaker processors, and monitors
Kelowna, British Columbia production company Northwest Global Entertainment (NWGE) provided sound reinforcement for Panasonic’s Olympic Welcome Party as part of the kick-off of the 2010 Winter Olympics in the Vancouver region, utilizing a range of Martin Audio components.
Held at the Rocky Mountaineer Station and produced by The Brand Live Group in Vancouver, the Welcome Party was a corporate dinner and show featuring a special performance by Sarah Brightman.
NWGE designed a system consisting of 14 Martin Audio W8LM mini line arrays with two W8LMD downfill mini line arrays, four Martin WSX subwoofers, four Martin MA 2.8S and two MA4.2S power amplifiers, and Martin DX2 loudspeaker management processors.
Monitors and side fills consisted of eight Martin Audio LE1200 monitors powered by Martin Audio MA 4.8Q power amplifiers. Consoles included Yamaha LS9-32 for the main system and a Yamaha PM5D-RH for monitors.
The event crew included NWGE Front of House Engineer, Kevin Feres, Sarah Brightman’s Front of House Engineer Derrick Zieba, Sarah Brightman’s Monitor Engineer Seamus Fenton and NWGE System Techs Perry MacDonald and Steve Williams.
NWGE President Steve Williams said, “The client and venue required the very best sound possible with maximum yet smooth coverage throughout the venue. The headliner was very familiar with the performance of Martin Audio and wanted this system for this event.
“W8LM mini line arrays provided exceptional coverage and output,” Williams continued, “yet were extremely unobtrusive and allowed for clear sight lines for the audience and the visual presentations for the client.
“Our client was extremely particular about the caliber of the audio system for this gala event and Sarah Brightman’s touring engineers were extremely pleased with the performance and clarity of the Martin Audio system.
“The Martin Audio speakers rigged quickly and easily and were perfect for this job. The small profile of the array hang and exceptional coverage that it provided clearly confirmed what we have known for some time. Martin Audio rocks! We are always amazed by the performance we get from these little boxes. They are like the “Swiss army knife” in our speaker inventory. We were very happy with the results of this system.”
Martin Audio Website
Northwest Global Entertainment Website
JBL Professional Studio Monitors and Loudspeakers At The 52nd Annual Grammy Awards
JBL LSR6300 Series studio monitors for critical monitoring; VerTec line arrays for the audience at the Staples Center
JBL Professional loudspeakers were used in both the arena and the critical listening room of the recent 52nd Annual Grammy Awards at the Staples Center in Los Angeles, broadcast live in HDTV and 5.1 surround sound on the CBS Television Network
Key members of The Recording Academy’s Producers & Engineers Wing used JBL LSR6300 Series studio monitors for critical monitoring during the awards telecast.
“As always, attention to detail is essential for the Grammy telecasts, and this year’s awards were no different,” said Michael Abbott, Audio Director. “To that end, we once again chose a 5.1 JBL LSR6300 Series studio monitor system to pick up every nuance of the performances, and they gave us exactly what we needed.”
In addition, audio systems provider ATK/Audiotek supplied the main live audio system at the Staples Center, deploying a total of 70 JBL VerTec VT4889 full-size line array elements, with 48 serving as main left/center/right suspended arrays and the rest as signal-delayed arrays farther back in the venue.
ATK/Audiotek also suspended twin 6-box subwoofer clusters overhead, using JBL VT4880A ultra-long excursion arrayable subwoofers. Also in use were 16 JBL VT4887 compact line array elements for auxiliary fill arrays, and 12 JBL VRX932LA compact constant-curvature loudspeakers for VIP front fill positions.
JBL Professional Website
Tuesday, February 16, 2010
Meyer Constellation Provides Flexible Acoustics For Nokia Concert Hall At Estonia’s Solaris Ce
Since the wide range of events requires different acoustical characteristics, the hall relies on the flexible active acoustics of Constellation to provide acoustical environments ideal for each production
Located in Estonia’s capital of Tallinn, the Solaris Cultural and Leisure Centre - a new arts, retail, and cinema complex - that also hosts the 1,829-seat Nokia Concert Hall that features a Meyer Sound Constellation acoustic system and sound reinforcement loudspeakers.
The Nokia Concert Hall was envisioned from the outset as a multi-use venue for hosting a broad range of events, spanning everything from plays, corporate presentations, and rock concerts to opera, chamber music, and symphony orchestras.
Since the wide range of events requires different acoustical characteristics, the hall relies on the flexible active acoustics of Constellation to provide acoustical environments ideal for each production.
Operators may select one of the five pre-programmed Constellation presets to create frequency-balanced, natural reverberation with decay times spaced between one second (off) for amplified concerts and two seconds for choral and organ music performances.
The variable acoustics have greatly expanded the hall’s programming and audience. “I think it is fair to say that Constellation is so flexible that it benefits almost every event we’ve had here since we opened,” states Aivar Sirelpuu, general manager for the Nokia Concert Hall.
Linda Madalik, the acoustical consultant for the concert hall, concurs: “The sound in the Nokia Concert Hall is very natural. There are no zones of poor acoustic quality anywhere in the audience seating area. The acoustical conditions on stage are also perfect.”
The installed system comprises Constellation and VRAS processors, 72 precision-calibrated omnidirectional and cardioid microphones, and 274 discreet loudspeakers, with Meyer Sound models that include Stella-4C , Stella-8C , UP-4XP, UPM-1P, and UPJunior VariO loudspeakers, and UMS-1P subwoofers.
A Lemur touch-screen controller serves as the control interface for selecting the appropriate setting from the presets.
For amplified events, the hall is ready with a Meyer Sound reinforcement system that works hand-in-glove with the hall’s acoustics.
Anchored by a total of 30 MICA and M’elodie line array loudspeakers in a LCR configuration, the system also includes M1D line array and UPA-1P loudspeakers, 700-HP subwoofers, and a Galileo loudspeaker management system.
“During our first two months of operation, we have hosted plays and ballet, conferences, jazz, musical theatre, as well as choral, symphony, pop, and rock concerts,” says Priit Rebane of the Baltic Development Group (BDG), the managing partner of the Solaris Centre.
“The Meyer Sound systems have worked well on all of them. We have found Constellation to be a great tool not only for acoustic performances, but it also works in combination with the main reinforcement system to enhance jazz and musical shows.”
Although Constellation is normally turned off for high-volume rock music, an intermediate Constellation setting is often applied at minimally amplified concerts to add a “live” feel to the hall. This was the case for a concert by noted jazz singer Nino Katamadze.
“Nokia Concert Hall has been one of the best venues we have ever had the pleasure to perform at,” Katamadze says. “We were amazed by the quality of the light and sound systems. The acoustics were sensational. We can’t wait to perform there again!”
In addition to Constellation, the Solaris Centre also features Meyer Sound’s Cinema Experience in nine of its movie theatres.
The principal designer of all audio systems at Solaris Centre was San Francisco-based Dave Dennison, with installation by Tallinn-based Eventech under the direction of managing director Tonu Susi.
Meyer Sound Website
Monday, February 15, 2010
Outline Butterflies Head Up Sound Reinforcement At The Global Competitiveness Forum
Sound provider Events AVP brought the necessary experience for multiple applications presented by the forum
Outline Butterfly line arrays headed up the sound reinforcement system for the recent 2010 edition of the Global Competitiveness Forum, held at the Four Seasons Hotel, in the Kingdom Center, Riyadh, Saudi Arabia.
Founded by the Saudi Arabian General Investment Authority (SAGIA) in 2006, the annual Global Competitiveness Forum features eminent political leaders, CEOs and others from around the world who meet and exchange ideas.
This year’s event featured Former UK Prime Minister Tony Blair, Michael Dell, Founder/CEO of Dell, John Chambers, Chairman/CEO of Cisco Systems, James Wolfensohn, President of the World Bank Group, Robert Greifeld, Chief Executive Officer of NASDAQ, among many others.
Events AVP, the Outline distributor for Jordan that is chaired by Sharif Tabbara, was selected to provide sound reinforcement, bringing the necessary experience for the multiple applications required in situations of this type.
Sound reinforcement in the conference hall (50 x 40 x 9 metres), involved the use of dual arrays (six modules each) of Outline Butterfly Hi-Packs, flown to each side of the main stage, joined on the deck by four Outline Subtech 218 SP subwoofers.
Loudspeakers and subwoofers were driven by Outline T Series power amplifiers and XTA processing, with a Yamaha M7CL digital console provided for mixing and control.
Dual compact Outline Micra II SP enclosures provided stage monitoring, and six more of these units provided front fill coverage to the first few rows of seats. The broadcast interview room was also outfitted with six Micra II SP loudspeakers, and four Outline DVS 12 enclosures (in pairs) were used to reinforce the sound in other two halls (each seating 60).
Audio Chief and Front Of House Engineer Carlo Gennaro notes, “In this case, there was no need to work at 135 dB, but to cover the audience perfectly with a very ‘well-mannered’ SPL. There again, we had no alternative, considering the position of the microphones compared to the PA.
“But, as I’ve repeated for years, with a minimum of energy, the Butterfly gives a wonderful intelligibility – it almost seems to ‘breathe’, and it doesn’t matter at what distance. It goes exactly where I point it and you can feel the sound ‘in your face’. I give the merit for this to its waveguide, one of the few that works superbly.”
Friday, February 12, 2010
QSC Extends AcousticDesign Ceiling Loudspeaker Range With Two New High-Output Models
Both embrace the AD Series philosophy by bringing versatility and reliability to high-ceiling applications
QSC Audio has announced an extension to the AcousticDesign ceiling loudspeaker range with the release of two new high-output models: the AD-C1200 and AD-C820/C821.
The AD-C1200 features 12-inch low frequency woofer, 1.75-inch diaphragm compression driver, 300-watt continuous power rating, and a 70-volt/100-volt multi-tap transformer (enabling the system to operate in distributed or low-impedance mode).
The AD-C1200 has been designed for music playback, public address and distributed audio in applications that require high output from a ceiling mounted loudspeaker.
Utilizing custom designed transducers and crossover networks, in combination with an acoustically optimized enclosure (AD-C1200BB), the AD-C1200 embraces the AD Series philosophy by bringing versatility and reliability to high-ceiling applications.
Each AD-C1200 includes the coaxial transducers, a transformer and a crossover network, factory mounted on a steel baffle. The baffle is designed to mount to the QSC enclosure or to any ~2.5 ft3 enclosure using industry standard transducer mounting dimensions. A square grille (AD-C1200SG) is available to complete the installation.
The 12-inch woofer is made with a treated paper cone on a steel frame. In the optimized enclosure the usable low frequency of the system extends to 37 Hz.
The 1.75-inch compression driver fires through the center of the woofer and is acoustically mated to the woofer for a smooth transition at crossover. The system achieves 85-degree axisymmetric coverage.
High-current, low tolerance network components provide smooth full-range, passive performance. The included 70-volt/100-volt custom designed transformer is optimized for low line loss as well as accurate and transparent acoustic performance.
The AD-C1200 loudspeaker system measures 93 dB sensitivity (1W/1m) and at full continuous power is capable of producing 117 dB SPL (1W/1m) output.
The AD-C1200 is complemented by the AD-C820/C821, which features 8-inch low frequency woofer, 1.75-inch diaphragm compression driver, 200-watt continuous power rating, 70-volt/100-volt multi-tap transformer (enabling the system to operate in distributed or low-impedance mode) and AD-C820 transducer/baffle assembly for separated backcan installation.
The AD-C821 has been designed as a fully integrated blind-mount system.
The AD-C820 and AD-C821 are acoustically identical and designed for music playback, public address and distributed audio in applications that require high output from a ceiling mounted loudspeaker.
Both models use custom designed transducers and crossover networks, in combination with an acoustically optimized enclosure (AD-C800BB), or as a fully integrated, sealed system (AD-C821).
Each AD-C820 includes the coaxial transducers, a transformer and a crossover network, factory mounted on a steel baffle. The baffle is designed to mount to the QSC enclosure.
The AD-C821 is a fully integrated, factory sealed system using a ‘dog ear’-style mounting scheme.
An optional round (AD-C800RG) or square (AD-C800SG) grille is available to complete the installation.
The 8-inch woofer is equipped with a treated paper cone on a steel frame. In the optimized enclosure the usable low frequency of the system extends to 52Hz. The 1.75-inch compression driver fires through the center of the woofer and is acoustically mated to the woofer for a smooth transition at crossover.
The system achieves 105-degree axisymmetric coverage.
High-current, low tolerance network components provide smooth full-range, passive performance. The included 70-volt/100-voplt custom designed transformer is optimized for low line loss as well as accurate and transparent acoustic performance.
The AD-C820 loudspeaker system measures 91 dB sensitivity (1W/1m) and at full continuous power is capable of producing 114 dB SPL (1W/1m) output.
QSC Audio Website
Turbosound Flex Array From Three Sources For Final Show Of Recent Ian Brown Concert Tour
Nine TFA-600H narrow dispersion and three TFA-600HW wide dispersion mid/highs per side, with out-fill hangs of eight TFA-600H mid/highs per side
The house sound system for the final show on former Stone Roses frontman Ian Brown’s recent UK concert tour was headed by Turbosound Flex Array loudspeakers provided by three UK production companies.
Theshow at the Manchester Evening News Arena was an exercise in true collaboration between South Coast-based Metro Audio; Manchester-based STS; and Viking Sound from Northallerton, Derby.
For the show at the MEN arena – at 20,000 seats the largest indoor arena in Europe – the safe choice of PA system for the venue would have been a large format line array.
However, according to STS’s director Paul Collis, Flex Array’s exceptional efficiency and high output proved to be more than up to the task.
“Even though on paper Flex Array would be considered a small box for the room,” explains Collis, “it has plenty of level. It was loud, and it was clear – Ian Brown’s is a loud band, and although we were running at around 104 to 105 dB at front of house we still had headroom. Even the venue staff commented on how clear the sound was.”
Preparations for the MEN show started early. Turbosound’s Dan Orton ran advance EASE plots of the venue, which determined the number of loudspeaker boxes required to do the job and their exact location, thereby removing any trial and error from the process of configuring the PA.
The resulting EASE plots called for main left and right PA hangs consisting of nine TFA-600H narrow dispersion and three TFA-600HW wide dispersion mid/highs per side, with out-fill hangs of eight TFA-600H mid/highs per side to cover the bleachers.
An additional three TFA-600H’s were ground-stacked as outer side-of-stage fills. A total of 30 TSW-218 double 18-inch horn-loaded subs were ground stacked for solid sub-bass support in five-high columns each side of the stage, powered by Turbosound T-90 amplifiers.
Delay clusters, flown in line with the front of house position, and consisted of four hangs of six TFA-600H narrow mid/highs, giving 130 degrees of horizontal coverage.
In all, a total of 16 LMS series controllers were networked using TurboDrive software to provide complete control of the system. Amplification for the whole system was provided entirely by Turbosound T-25, T-45 and T-90 amplifiers.
Even with three PA companies involved, each was responsible for their own part of the PA and the rigging and setup went surprisingly smoothly.
“It was easy to work together,” says Viking Sound’s Steve Williams. “We all knew exactly what we had to do from the results of the EASE plots, and having Dan Orton there to tune the PA with TurboDrive made the setup very easy.”
Even a request from the promoter to raise all the PA hangs to improve sightlines proved to be an easy work-around for the TurboDrive control software.
“Because each group of three cabinets basically came back to its own control channel, it was easy to compensate for the extra height by re-aligning the lower boxes and then simply raising the level and trimming the groups – all from a laptop at the FOH position,” adds Williams.
The sound quality and coverage from such a small PA was exceptional, according to Collis. “The drums and percussion in the band makes for a complex mix, but all the detail was there with more than enough level.”
Systems techs for STS were Paul Danson and Joe Heaton; Metro City PA’s crew consisted of Paz “Taxi” Brennan and Bjorn “Again” Gale, with support from Dan Orton and Paul McMullan from Turbosound.
American Music & Sound Website
Gand Provides Replica of Legendary British Rock Club With NEXO PS Series
Tribute to Liverpool’s Cavern Club features modern sound reinforcement
Gand Sound Installations of Northfield, IL recently had a once-in-a-lifetime chance to go back in time and equip a tribute to a legendary British rock club with a sound system from the 21st century.
John Lyons, leader of Chicago charity rock band “Not For Profit” built a replica of Liverpool’s Cavern Club in the over-sized basement of a home he was having built. The original Cavern Club is the well known for giving the Beatles their start and where they perfected the sound that hugely impacted the music industry.
While Lyons was in London on business, he visited Abbey Road Studios and discovered that bricks from the original Cavern Club, which had been demolished, were for sale in a local gift shop.
Profits from the sale of the bricks are donated to charity, and that caught Lyons’ attention since he donates the sale of tickets for his band’s gigs to charity.
Carrying a brick he purchased home in his luggage to suburban Chicago, he went to work with his contractor to match the brick for an all-brick performance venue.
Complete with working bar and underground wine cellar, Lyons called upon nearby Gand Sound Installations to complete the audio portion of the club.
“John was used to high-quality audio from his portable road rig, but didn’t have the ceiling height or stage space for his tour boxes,” states Gary Gand, President. “So, we flew a pair of NEXO PS10U loudspeakers up close to the ceiling and hid a NEXO LS 500 subwoofer off stage to give him a big sound in a small package.”
In addition, Gand provided a drum shield from Clearsonic on stage, QSC RMX 850 and RMX 2450s amps driven by a NEXO PS10UTD controller, and using Lyon’s existing console, added a new custom snake from Rapco.
Since this was an in-home installation, all cabling was hidden in faux-painted wire mold.
“If the Beatles could have performed here, I’m sure they would have enjoyed the vast improvement in the audio from the days of yore,” Lyons said.
L-Acoustics Releases SOUNDVISION v1.6 Simulation Program Upgrade
Updated data product library, ergonomic improvements, adoption of unified contour template for WST line sources, and more
L-Acoustics SOUNDVISION three-dimensional acoustical simulation program has now been further refined with the launch of version 1.6.
Features of 1.6 include:
• Air absorption as a function of humidity and temperature, affecting target SPL calculation
• Updated data product library including the new K1, K1SB, 8XT, 12XT, 108P, 112P, SB15P, and SB28 products
• The adoption of the unified contour template for WST line sources and a gain structure matching the new V2.0 preset libraries. This allows each product to reach the maximum SPL with the same input level.
• Ergonomic improvements such as mapping mode custom color scaling and new, programmable quick keys for faster operation
• New balloon export data for all WST and Point Source systems (except V-DOSC, dV-DOSC, and K1) compatible with EASE 4.0 and CATT 8.0
The SOUNDVISION 1.6 upgrade package is available for existing users at www.l-acoustics.com/soundvision.
Wednesday, February 10, 2010
Scott Sugden Named Head Of U.S. Touring Support For L-Acoustics
Sugden's duties include leading efforts in the areas of product and sound design support, technical training, system design, operation processes, and training and documentation development
L-Acoustics has announced the formal appointment of Scott Sugden to the newly-created post of Head of US Touring Support.
The announcement comes from L-Acoustics Head of Touring Support Florent Bernard, to whom Sugden reports.
Over the past two years, Sugden had been contributing to the company’s U.S. success as an independent contractor. Now officially a full-time staff member, Sugden will continue to be based in Milwaukee, Wisconsin.
Prior to joining L-Acoustics, Sugden spent time as a systems engineer for Clearwing Productions, Masque Sound and PRG Audio, as well as on touring off-Broadway productions of The Producers, Spamalot and 700 Sundays.
“Scott is an outstanding ambassador for L-Acoustics to the front lines of the touring world and we’re really glad to recognize him as an official part of our team,” says Bernard. “He has a tremendous amount of experience with our products on all kinds of touring productions, but what makes him truly special is his genuine friendliness and passion to share his knowledge with others.”
Sugden’s duties now include leading the company’s efforts in the areas of product and sound design support, technical training, system design, operation processes, and both training and documentation development for the entire range of L-Acoustics products relevant to the touring sound market.
He will also support, on an “as needed” basis, the installation sound market in providing system design reports, SOUNDVISION modeling, and client interfacing.
Updated! Video Joins Our Comprehensive Coverage Of The 2010 Winter NAMM Show
A roundup of the scene in Anaheim
Welcome to ProSoundWeb’‘s editorial coverage of the people, happenings and new products at the recent 2010 Winter NAMM Show in Anaheim. And what a show it was!
Be sure to check back regularly as our new product coverage continues.
Check out more than 40 videos detailing new products making their debut at the show.
Mark Frink’s Top New Sound Reinforcement Products At Winter NAMM 2010
Barry Rudolph’s Top New Recording Products At The 2010 Winter NAMM Show
2010 Winter NAMM Show Overview: Industry Gathers For A Comeback
Wireless Update 2010: June 12 DTV Transition Anniversary Is 700 MHz Deadline
Universal Audio Partnering With Harman Pro Group On Plug-Ins For UAD-2 Powered Platform
Michael Palmer introducing the new Allen and Heath iLive-R72. (click to enlarge)
New, Showcase & Highlight Products At 2010 Winter NAMM
Allen & Heath iDR-16 3U MixRack & iLive-R72 Control Surface
Soundcraft Next-Generation Notepad Series Compact Mixers
Rane AM 2 Gain-Sharing, Eight-Channel AutoMixer
PreSonus Unveils StudioLive 24.4.2 Digital Mixer
Allen & Heath ZED Range Of USB-Equipped Mini Mixers
AKG DMM 4/2/4 Digital Automatic Microphone Mixer
Rane AM 1 Versatile Mic/Line Mixer, AutoMixer
Blue Microphones en•CORE 300 Condenser Live Microphone
AKG Perception Live Series Of Microphones
Audio-Technica AT4080 And AT4081 Ribbon Microphones
Telefunken Unveils New R-F-T AR-51 Large Diaphragm Tube Microphone
MXL Drum Cube Microphone
JZ V47 Double Diaphragm Capsule Microphone
Hosa Technologies Da-Cappo DA15 Cardioid Earset Microphone w/Earbud Monitor
Earthworks SR40 40 kHz High Definition Microphone
Audix CabGrabber XL For Mic’ing Instrument Amps
Earthworks PM40T Touring PianoMic System
Don Boomer of Line 6 with new Relay guitar digital wireless systems. (click to enlarge)
Shure PSM 900 Wireless Monitoring System
Sony DWM-01 Digital Wireless Microphone System
beyerdynamic Opus 600 Series Wireless Systems
Line 6 XDR955 Digital Handheld Microphone System
Line 6 Relay Digital Wireless Systems
Audio-Technica Enhanced 3000 Series Wireless Microphone Systems
Spectr Audio LeraSonic LS636M Line Array Element
ISP Technologies HDL 3112 Powered Line Array
EAW KF740 Three-Way, Full Range Line Array
FBT Mitus 206 LA Compact, Self-Powered Line Array
Guy Low of Electro-Voice with the new ZX1A loudspeaker. (click to enlarge)
Turbosound Milan MI5 Powered Loudspeaker With Onboard DSP
Mackie Thump TH-18s Subwoofer
Peavey Impulse 12D Powered Loudspeaker With IPR Amp Technology
QSC K Series Compact Powered Loudspeakers
Electro-Voice ZXA1 Compact Powered Loudspeaker
Peavey EU Series Powered Loudspeakers, Subwoofer
Mackie HD Series Powered Subwoofers
Crown XLS Series Amplifiers
JBL DrivePack DPDA Input Module
Crest E-Lite 1800, E-Lite 1800 DSP Power Amplifiers
Sensaphonics 3MAX Triple-Driver Earphones
Ultimate Ears 18 Pro Custom Ear Monitors
Westone UM3X Universal-Fit Earphone Monitors
Marc Kellom of Crown with the new XLS Series. (click to enlarge)
Processing, Software, Routing & More
BSS BLU-100 Signal Processing For Soundweb London
Tonelux TILT 8-Channel Tone Control
JDK Audio (API) R22 Two-Channel, Rack-Mount Compressor
Radial PowerPre Microphone Preamplifier
True Systems PT2-500 Modular Mic Preamp
Pete’s Place/Orphan Audio Electrodyne 500 Series
Digidesign Pro Tools Instrument Pack
Focusrite MkII Octopre Dynamic Microphone Preamp
Waves SoundGrid Audio-Over-Ethernet Platform
Novation Launchpad Hands-On Ableton Live Controller
Waves Audio WSG-Y16 Mini-YGDAI SoundGrid I/O Card For Yamaha Consoles
Harman Pro Launches HiQnet System Architect 2.1
Yoko and Quincy Jones at Winter NAMM. (click to enlarge)
Lexicon Desktop Recording System With Omega Studio Bundle
Waves Audio Three New Artist Collaboration Collections
Universal Audio, Manley Labs Massive Passive EQ For UAD-2
Sony PCMM10/B 96-kHz/24-bit Recorder
Korg Sound On Sound (SOS) Unlimited Track Personal Recorder
Fostex FM-4 Field Recorder
TASCAM DP-008 Portable 8-Track Recorder
SSL X-Path Software Controlled Analog Routing System
Mark Boyadjian of Neutrik USA. (click to enlarge)
Radial J+4 Stereo Balance Line Driver
Countryman Type 10 Active Direct (DI) Box
Pro Co iGate Audio Gateway Interface Device
TC Electronic Impact Twin Interface
Cloud Cloudlifter Two-Channel Ribbon Microphone Interface Device
RapcoHorizon Road Hog Series Cables