Friday, December 14, 2012
Meyer Sound M1D Arrays Cover The Gamut At Iceland’s New Hof Menningarhús
Galileo processing provides optimization and drive
The new Hof Menningarhús cultural and conference center in Akureyri, Iceland, is reminiscent of an ancient druid temple but the technology inside is anything but ancient: both the main auditorium and a smaller multi-use venue are equipped with highly adaptable sound systems.
The 510-seat Hamraborg hall is the larger auditorium in the complex. This space serves as home to the Northern Symphony Orchestra and hosts theatrical performances, conferences, film screenings, and concerts ranging from acoustic ensembles to heavy metal.
To accommodate Hamraborg’s range of performances, Reykjavik-based rental and installation company Exton installed a system based around dual-flown line arrays, each with nine Meyer Sound M1D loudspeakers and two M1D-Sub subwoofers.
The configuration also includes six 500-HP subwoofers as well as 32 MM-4XP self-powered loudspeakers supplying fill and surround sound. A Galileo loudspeaker management system with a Galileo 616 processor provides optimization and drive.
“It’s a split level hall, and the M1D line arrays were the perfect choice for covering the whole space evenly,” says Einar Karl Valmundsson, technical manager at Hof Menningarhús. “We’ve had a wide range of concerts in here, and in all cases we’ve had really good feedback from the sound engineers.”
Valmundsson notes the performance of the extremely compact MM-4XP surround loudspeakers. “The surrounds are used mostly for cinema showings but I also have used them for sound effects in theatrical productions,” he says. “In both cases they worked really well.”
The smaller 200-seat Hamrar hall is designed for flexibility, with a number of configuration options available for sound reinforcement. Depending on the requirements of the event, Valmundsson can draw on an in-house inventory of UPJ-1P VariO loudspeakers and 500-HP subwoofers.
Exton’s Kari Eythorsson utilized the Meyer Sound MAPP Online Pro acoustical prediction program to help in determining optimal loudspeaker placement. Project management was handled by Gunnar Gunnarsson.
The installation also includes a Midas PRO6 FOH console for the larger hall, with an Allen & Heath iLive-T80 also available as a portable, monitor and broadcast mixer.
New Church Vision Center Outfitted With Tannoy Qflex Loudspeakers
Taming a gymnasium environment with tight focus
The Bethel Baptist Church in North Wilkesboro, NC, recently added a Vision Center to house additional Sunday school rooms, office space, as well as a large kitchen and multi-purpose fellowship area and stage.
The church leadership tapped Tony Parker, co-owner of Parkers Productions located in Statesville, NC, to design and install a sound system for the new facility.
Because the room hosts everything from theatrical performances on a large recessed stage to basketball games, the new system needed to be able to accommodate an assortment of live events.
In addition, the room was typical of a gymnasium with a 28-foot ceiling, metal roof, tile floors, plenty of hard surfaces and no acoustic treatment to speak of.
“Bethel Baptist Church has been a customer for seven years,” explains Parker. “When they started construction on the new facility we began planning on how to accommodate their sound needs for the space. We knew there would be serious acoustic challenges to overcome in order to implement the pristine sound they envisioned.
“We immediately thought of QFlex from Tannoy – the ability to control the sound and focus it in the desired areas was going to be key.”
Parker specified two self-powered QFlex 24 loudspeakers wall mounted to the left and right of the stage approximately 12 feet off the ground. The QFlex 24s, just under 5-feet tall with less than a 7-inch width and depth, blended in with the wall, making their presence nearly invisible.
Each QFlex 24 is loaded with eight 4-inch low-frequency drivers, eight 3-inch low frequency drivers and eight 1-inch high frequency drivers. Under the stage, two powered sub woofers were installed behind a reinforced screen cloth to enhance the depth of the sound.
With a horizontal dispersion of up to 120 degrees, Parker utilized Tannoy VNET software to focus the output to cover the seating area, maximize the vocal intelligibility and minimize the room reverberation.
“The sound quality and control of the new system is amazing,” adds Michael Byrd, sound engineer at Bethel Baptist Church. “Parkers Productions was able to program the output from the Qflex to keep the sound off the walls. Since the install we have had many comments from people within the congregation complimenting the sound quality.”
Parker also specified a Roland M-300 digital V-Mixer in conjunction with a 4000-S digital snake. As a result the church sound team can quickly and easily set-up a front-of-house position in the center of the room when events require it. When not necessary it is stored out of the way.
Parker adds, “The Snake makes it as simple as merely unplugging one data cable from one location, moving the portable mix station to the center of the room, and patching the data connection in there.”
The scene storage in the M-300 allows the team to save the setting for cantatas and plays for immediate recall when needed. Otherwise the mixer operates in standard mode for athletic event play-by-play or general announcement use.
“Our sound team was a little concerned about the learning curve moving from an analog to a digital board,” explained Byrd. “But the layout of the mixer is very friendly. With just a short introduction and a few minutes of ‘hands on’ I was ready to go.”
The church is extremely pleased with the sound quality, ease-of-use, unlimited versatility and overall simplicity of the new sound system.
“The best compliment is when the client tells us that they have never experienced this great of sound in a gymnasium before,” Parker concludes. “That is, after all, what we were trying to accomplish.”
TC Group Americas
Starin Appointed U.S. Distributor For Turbosound
Starin has 10 staffed offices and associated rep firm alliances across the country
Music Group has announced that, effective immediately, Starin has been appointed to distribute Turbosound products in the United States.
Headquartered in Chesterton, IN, Starin services the needs of professional audio resellers and systems integrators in North America from its 10 staffed offices and through associated rep firm alliances across the country.
Jay Easley, AVP of customer support for Music Group’s Professional Division, states: “We are very excited to have Starin handle Turbosound products in our market. Starin’s thoroughly professional organization and ability to meet customer demands quickly and efficiently will be a huge boost to Turbosound’s market presence.”
“Our aim is for customers in the U.S. to perceive Turbosound not as an import but as virtually a home-grown brand,” adds Turbosound’s marketing director Martin Reid. “Starin’s vast experience and considerable resources will ensure that customers gain immediate and convenient access to our products and services through its web portal.
“With our strong customer relationships in the U.S. and cohesive product ranges across the tour sound, portable and installed sound sectors, Turbosound looks set to become a significant part of the American landscape. We are delighted to be working with such a respected organization as Starin.”
Technical support, spare parts supply, and day-to-day North American operations for Turbosound will be run from Music Group’s recently opened Las Vegas office.
“Our technical and product specialist teams have grown into an army of experts to ensure using Turbosound and all our Pro Division brands is an inviting experience,” says Easley.
Thursday, December 13, 2012
VUE Audiotechnik Loudspeakers Prove A Great Fit For Norway’s avon
Company auditions new loudspeaker systems in diverse applications
Trondheim- and Oslo-based avon is one of Norway’s most sought after AV design and installation teams, having built a solid reputation for tackling a broad variety of jobs with varying degrees of size and complexity.
The company recently auditioned the new loudspeaker systems from VUE Audiotechnik, with avon co-founder Edgar Vaan Lien hoping to find a versatile solution that would keep pace with his increasingly diverse clients.
“With such a broad customer base, it’s important that we stay apprised of new technologies”, explains Lien. “We’d been following VUE since first hearing about them at the ProLight & Sound Expo. I was very eager to check out their speakers, and after ordering a pallet without knowing what to expect, I was really impressed with the sound and build quality.”
VUE’s i-Class (integrator) and a-Class portable systems piqued Lien’s interest, so he started looking for right opportunity to try them out in the real world. Three vastly different jobs rose to the top of his list including the popular TV program Norwegian Idol, a niche show called Mannegruppa Ottar, and Credo, a gourmet restaurant in downtown Trondheim.
First up were the TV jobs. Lien describes the applications. “Viasat4 was recording a new ‘man’ show called Mannegruppa Ottar, and they needed a compact PA and monitoring system that would be easy to keep off camera. VUE’s i-4.5 surface mount systems were perfect. We installed them below each of the dance podiums, as well as near the hosts and sound technicians.”
“This is the best sound we’ve ever achieved in this sort of application,” continues Lien. “The i-4.5’s wooden box and quality components make a huge difference. In fact, even the sound technicians-who are always the first to complain about “boomy” plastic box speakers-were pleased with the how great the VUE boxes sounded.”
Confident as a result of their early success, Lien set his sights on a more elaborate studio installation for Norwegian Idol, the local interpretation of the internationally recognized singing competition.
The show needed a new studio PA. Lien’s team matched a pair of VUE a-12 full-range systems with dual as-215 subs, while six VUE a-8 boxes would function as monitors. Amplification is courtesy of FFA (Full Fat Audio) and a Yamaha LS9 console was selected for mixing duties.
“Everyone from the artists and camera crew, to the judges and even the hosts have commented on how great the new PA sounds,” remarks Lien. “It’s really unusual to hear from the on-air talent, so they’re clearly very happy with the results.”
Lien and his colleagues Fredrik and Tor began work at Credo. The mission for this upscale restaurant was to balance minimal aesthetic impact with sound quality, with custom white i-4.5s being the right complement to the upscale feel at the venue.
“This was an important job for us because avon has very long history of quality restaurant installs,” Lien says. “We are also frequent guests at Credo, and regularly bring clients here.”
Lien and his crew installed seven white i-4.5s for background music in the dining area along with an LD sub for extended LF coverage.
“The warm, full sound of the i-4.5 complements the environment perfectly,” Lien conclude. “Our customer is extremely pleased with the sound quality and how perfectly the VUE speakers fit the room visually.”
Danley Loudspeakers Improve Coverage At Xavier University’s Cintas Center
Xavier University recently asked consultant Anthony James Partners and local integrator ICB Audio & Video to update the sound system with increased coverage of seating areas that were poorly covered by the original system. The solution centered on lightweight Danley loudspeakers and subwoofers in part because no additional rigging points could be added but mostly because of their excellent pattern control and sound quality.
The Musketeers men’s basketball team is the standout athletic program at Xavier University in Cincinnati, Ohio. The Musketeers play at the 10,500-seat Cintas Center at Xavier University, which was built in 2000.
Xavier University recently asked consultant Anthony James Partners and local integrator ICB Audio & Video to update the sound system with increased coverage of seating areas that were poorly covered by the original system.
The solution centered on lightweight Danley loudspeakers and subwoofers in part because no additional rigging points could be added but mostly because of their excellent pattern control and sound quality.
“The Cintas Center is a large venue, and Xavier University does a good job keeping up with it’s A/V system,” said John Keller, who configured the system and the rigging with ICB Audio & Video. “They wanted the new system to improve upon the old system’s coverage, which had quite a few holes – most notably in the first few rows on the floor.
“The big trick was that we couldn’t add any rigging points nor add significant weight to the rigging points that existed,” he explains. “Of course the reason you get holes in coverage is because the speaker is delivering the wrong pattern at the wrong location, but the direct and obvious solution of adding new locations wasn’t on the table.
“Nevertheless, the coverage, efficiency, and relatively lightweight design of Danley loudspeakers allowed us to meet the facility’s goals within those stringent constraints.”
An interesting side note, when Danley demo’d its products for the Xavier officials, they responded to its noticeably superior fidelity with a chant that exceeded the most indulgent fantasy of the most optimistic contractor.
“They literally chanted, ‘Cut the check!’ and ‘Give the man the P.O.!’ to the head of purchasing,” recalled Mike Hedden, Danley president.
The new Danley system replaced the old system, cluster for cluster. Ten clusters use a pair of Danley SH-96 full-range loudspeakers stacked in opposite orientations to provide complete coverage of the upper and lower bowls.
Two additional clusters use an SH-96 with two Danley SH-64s to provide expanded coverage at either end of the bowl.
A total of six Danley TH-115 subwoofers hang independently in two rows along the arena’s long axis. Each cluster is dead hung from a single point because a pick point wasn’t possible; the catwalks and other ceiling hardware couldn’t safely support it.
Keller was able to reuse the wiring infrastructure, and ICB replaced the distributed audio system for all of the facilities outside of the bowl with a BiAmp system networked via CobraNet the previous year.
A 32-channel Yamaha LS9 console serves as a new front end, with CobraNet output feeding a new QSC Basis DSP system. The two DSP systems share audio via CobraNet. A rack of QSC CX- and PL-series amplifiers power the Danley loudspeaker and subwoofers.
“The coverage and sound of the new system are dramatically better than they were in the old system,” said Keller. “There are no dead spots, and the cabinets work together nicely in the clusters. In all areas the coverage is more even. The client is very pleased, and I’m impressed that we were able to swap out all the speakers within a two-week window in order not to conflict with their basketball schedule or corporate sponsors.
“Using the same rigging points was really the only option to get the job done.”
Danley Sounds Labs
O.co Coliseum Upgrades To One Systems Loudspeakers
Quality Sound of Stockton, California recently installed One Systems 108IM/70 speakers in O.co Coliseum in Oakland, California, the home of the NFL’s Oakland Raiders and MLB’s Oakland Athletics.
Quality Sound of Stockton, California recently installed One Systems 108IM/70 speakers in O.co Coliseum in Oakland, California, the home of the NFL’s Oakland Raiders and MLB’s Oakland Athletics.
O.co Coliseum houses 6,300 club seats, 143 luxury suites and accommodates seating of up to 63,026 patrons depending on the event. This facility is a high-noise sports and live music venue that required exceptionally intelligible speakers that delivered both music and spoken word program material flawlessly.
Quality Sound chose One Systems speakers based on their sound quality, proven weatherproofing and excellent value.
One Systems’ patented Equivalent Throat horn/driver technology and high-output woofer design made their choice easy for Quality Sound A/V Design & Sales Manager, Don Otomo.
“There was a need to incorporate different voice and music settings depending on usage. One Systems models carry voice and music material from the main PA and act as a supplement for live-music concerts, in order to cover the entire coliseum,” says, Otomo.
“Due to the fact that O.co coliseum is an open air arena, I was searching for truly weatherproof speakers, and I found it with One Systems,” says Otomo. “We thought we would have to give up sound quality for weatherproofing requirements, but the 108IM/70 provides both. Not only do the speakers deliver top of the line sound and impeccable weatherproofing quality, but the One Systems speakers fit our budget nicely as well.”
Each One Systems speaker is mounted securely above the 1st and 2nd floor rear seating areas providing sound outside of the main speaker system’s coverage. All speakers are mounted with 108IM-U U-Brackets designed specifically for these applications.
Working closely with Project Manager Bill Minch of Quality Sound, Otomo designed the system to ensure that it performs to professional sound reinforcement standards. In order to deliver perfect sound quality for fans, Otomo and his team created eight separate delay zones, assuring that the sound is perceived as coming from one single point of origin.
Another unique audio feature accompanying the One Systems installation is an ambient microphone, which tracks ambient sound level in the concourse. Therefore, depending on the amount of sound, it will increase or decrease the volume for select inputs for gate messages or radio feed zones.
“In all, the One Systems speakers provide improved intelligibility with excellent audio quality for all the stadium’s seating as well as the concourse. We are very impressed with its capabilities,” exclaims Otomo.
“We are very proud to be a part of Oakland’s historic coliseum and the sports and entertainment events held there. O.co Coliseum is a great example of an outdoor, multi-use facility and our speakers work especially well in these types of environments,” says One Systems President, Doug MacCallum.
South American Accolade For The d&b V-Series
The Award for the Best PA or Stage Management System 2012 has been awarded to the V-Series line array system manufactured by d&b audiotechnik.
The Award for the Best PA or Stage Management System 2012 has been awarded to the V-Series line array system manufactured by d&b audiotechnik.
This was one of ten categories in the Innovation International Prizes presented by the prestigious Produção Áudio Magazine Group whose publications are the professionals’ choice in the Portuguese, Spanish, Latin American and Brazilian markets.
The rigorous judging procedure began with nominations from the editorial teams from across the Produção Áudio catchment. Five entries for each category were then reduced to three through a readership poll.
Once the magazine and the readers made their choices the finalists were judged by specialist panels for either pro audio or visual arts categories.
The pro audio panel included Professor Homero Sette from Studio R, whose CV covers over forty years in the industry; Armando Baldassarra from Tukasom Audio Systems; the IAV Professional Audio School founder Marcelo Claret and Thacio Palança from the Vox Mundi Studios.
João Martins, International Editor from Editorial Bolina of Producao Audio elaborates on the judges’ choice, “The d&b audiotechnik brand is highly regarded here in Brazil and Latin America although the new V-Series is not so well known in the market just yet.
“The jury recognized that the V-Series expands on the success and quality of the J-Series, to the point where it can generate similar sound reproduction in applications where space is limited. They particularly praised the fact that d&b audiotechnik was bringing to the market such a compact loudspeaker, allowing greater stage visibility, reducing costs and weight. They considered the V-Series to be the ideal solution when the highest sound quality is required for medium and smaller sized rooms, which in the Brazilian market is a particularly good fit.”
Produção Áudio congratulated d&b audiotechnik for winning in this category which covers not only pro audio sound reinforcement but other stage management systems as well. “The flexibility of the V-Series as well as its extraordinary dynamic bandwidth and clarity was commented on by the judges, along with the ease and speed of deployment that marked this system out from the rest.”
Community ENTASYS Provides Solution At Heilig Hart Church
Large open space required good pattern control loudspeakers to avoid the reflective surfaces
The sanctuary of the Heilig Hart (Sacred Heart) Church in Boom, just south of Antwerp in Belgium, has recently upgraded to Community Professional loudspeakers in a project installed by communication and integration specialist Zelzate-based Tevean nv.
With capacity for up to 700 people and contemporary architecture, the large open space required good pattern control loudspeakers to avoid the reflective surfaces in the highly reverberant environment.
Community ENTASYS column line arrays were chosen for their wide horizontal and narrow vertical dispersion. As the system is used for music and small concerts, in addition to its prime function of speech reinforcement, compact dual 12-inch Community VLF212 subwoofers were also incorporated to extend the low frequency and add powerful bass performance.
Providing flexibility with simple control, Tevean installed a Symetrix Solus 8 open architecture 8x8 DSP with control via a Symetrix ARC-2e menu-driven wall panel remote. A variety of Clockaudio and MIPRO ACT-5 wireless microphones meet the fixed and portable requirements of the church.
Mario Clabots, managing director of the equipment supplier, M-Pro, comments, “The client and visitors are very pleased with the excellent audio quality, wide coverage and sound levels the system provides. It achieves very high intelligibility right to the back of the church and delivers the ideal solution for both speech and music.”
Wednesday, December 12, 2012
New York City’s Legendary Birdland Jazz Club Outfitted With JBL Loudspeakers
New York City’s Birdland is one of the most legendary jazz clubs in the world, an intimate room where aficionados can enjoy the world’s greatest jazz artists in an up-close environment.
Recently, Birdland upgraded its in-house audio with new loudspeakers from JBL Professional, including six VRX932LAP powered Constant Curvature loudspeakers, a pair of ASB6112 subwoofers, two Control 29AV loudspeakers and six PRX612M powered portable PA loudspeakers for stage monitors.
“As the engineer at Birdland, the most important thing for me to be able to do is amplify the musicians’ stage performances in the most naturally sounding way so that the system is almost invisible,” says Birdland house engineer Richard Bernard. “The legendary musicians who perform at the club almost always have their own very distinct sound and that’s what people want to hear—‘that sound’.”
A sound system that needed to be heard while not drawing attention to itself was quite a challenge. To achieve this goal, Birdland hung six JBL VRX932LAP loudspeakers directly above the stage facing the audience—two facing downstage towards the main house, two located stage right towards one side of the room and two on stage left facing the rear side of the bar.
In addition, two Control 29AV loudspeakers are hung at the far side of the bar, giving total coverage for the room. The two ASB6112 subwoofers are hung downstage on the left and right front corners.
“I’m running the system in mono, and the subwoofers are connected to the spare aux send on the mixing desk, so I’m free to choose which channels I send to the subs,” Bernard notes. “I used to have to mix for the house and the bar would basically get what they would get. That’s no longer a problem as we’ve had many compliments on being able to hear from that side of the room.”
That said, the most noticeable improvement in the system is the level of clarity, he adds. “This is a massive help because the response of instruments and vocals is very true and I’m not forced to just keep turning up an instrument in order for people to hear it—once everything is in its own little pocket in the mix, it just sounds great!”
Birdland has also incorporated a variety of additional Harman Pro equipment, including AKG microphones, dbx processing and Crown Audio amplifiers.
In The Studio: Techniques For Dealing With Phase
The key lies in understanding how the problem occurs
Phase is a constant concern for recording and mixing engineers.
Problems with phase can ruin your music; it can be easily avoided or corrected, but first you need understand how the problem occurs.
This guide will attempt to explain almost everything there is to know about phase, what it is, how it happens, what it can sound like and some techniques to deal with it.
What Is Phase?
I’m going to consult my engineering school textbook Audio In Media for this.
The time relationship between two or more sounds reaching a microphone or signals in a circuit. When this time relationship is coincident, the sounds or signals are in phase and their amplitudes are additive. When this time relationship is not coincident, the sounds or signals are out of phase and their amplitudes are subtractive.
No wonder people are confused about phase. Even I got confused at that, looking up other entries on phase in the book were even worse. (I guess I shouldn’t read books.)
I’ll try to break it down more simply.
Phase Vs Polarity
Lets define things a bit more starting with phase and polarity. These two terms are often used interchangeably but they ARE different.
Phase is an acoustic concept that affects your microphone placement. Acoustical phase is the time relationship between two or more sound waves at a given point in their cycle. It is measured in degrees. When two identical sounds are combined that are 180 degrees out of phase the result is silence, any degree between results in comb filtering.
Polarity is an electrical concept relating to the value of a voltage, whether it is positive or negative. Part of the confusion of these concepts, besides equipment manufacturers mislabeling their products, is that inverting the polarity of a signal, changing it from plus to minus is the basically the same as making the sound 180 degrees out of phase.
In case you missed that. Phase is the difference in waveform cycles between two or more sounds. Polarity is either positive or negative.
In And Out Of Phase
When two sounds are exactly in phase (a 0-degree phase difference) and have the same frequency, shape, and peak amplitude, the resulting combined waveform will be twice the original peak amplitude.
In other words, two sounds exactly the same and perfectly in phase will be louder when combined.
Two waves combined that are exactly the same but have a 180-degree phase difference will cancel out completely. Silent output. These conditions rarely happen in real world recording, more likely the two signals will either be slightly different, like two different mics on the same source, or the phase difference will be anything other than 180 degrees out of phase.
In cases where the signals are not 0 or 180 degrees, or the signals are somehow different, you get constructive and destructive interference or comb filtering. The peaks and nulls of the waveforms don’t all line up perfectly and some will be louder and some will be quieter. This is the key to combining mics on a single source.
Here are some examples using sine waves.
This is a 250 Hz sine wave with a peak amplitude of -20 dB: LISTEN
If I add another the exact same and combine them (in mono) the output is the same but louder, a combined peak amplitude of -14 dB. They have a 0-degree phase difference, amplitudes are additive. LISTEN
Now if I change the phase, the time and waveform relationship of these by having the second track start 2 milliseconds later it’s like this: LISTEN Silence, this is 180 degrees out of phase.
Here is the same kind of thing with some white noise, -20 dB, the same audio file is copied to another track and combined. Louder same as before, -14 dB combined.
Now I’ll use the invert function on the second track and since these sounds are exactly the same it the completely cancel out.
I think we understands it now, so here’s something slightly more interesting.
I’ve taken the first one second of the white noise clip and repeated it nine more times. The second track is the same, but on each repeat I’ve delayed it by an additional 1ms.
This provides an idea of the constructive and destructive interference and the comb filtering. If you look at the frequency spectrum in an analyzer you will actually see notches cut out like the teeth of a comb. LISTEN
Real World Examples
Here is a bass guitar going into a DI box, the signal splits and goes to an amp and to the audio interface. The amp is mic’d and the mic is going into the interface too.
This is a very common way to record bass, but you may run into phase problems when the fast as light signal from the DI box is combined with the air pushing out of a speaker into a mic some distance away from the signal.
Here is the bass DI signal: LISTEN
Here is the microphone signal: LISTEN
Combined they sound a bit funny, definitely some hollowness going on: LISTEN
Correction By Inverting Polarity
The first thing I would try to troubleshoot this is to invert the polarity of one of the tracks and see if that’s better or worse.
I know this because there is a time delay with these tracks that inverting alone won’t fix everything.
I can invert the polarity in two different ways, I can either use an offline process and invert the whole wav file or I can insert a plugin on the track.
Some DAWs have a polarity reverse button on each channel of the mixer that will do the same thing.
I’m just going to play the tracks and invert the polarity a few times so you can hear the difference: LISTEN
Correction By Time Adjustment
I’m going to keep it the way it was and then go to the next strategy. That is moving the tracks around in time. The microphone track is delayed compared to the DI track just slightly. So I can either nudge the microphone track earlier or delay the DI track a little.
I’m going to delay the DI track just slightly. To do this I’m going to insert a delay plugin that works in samples, such as the Time Adjuster plugin in Pro Tools.
I’m going to invert the phase, then scroll through the delay value 1 sample at a time until I achieve the most cancellation, then switch the phase back to normal. I found that 152 Samples did the trick. You can also zoom in really close on your waveforms and nudge a track until it lines up. LISTEN
Another common cause of phase cancellation is when doing parallel processing with delay causing effects or external gear. If the delay is long enough you will hear it as a discrete echo, if it’s short then you will get the comb filtering problem.
The way to get around this is to delay all the other tracks by the same amount so they all reach the master bus at the same time. Go here for more on handling DAW delay compensation.
Multiple Mics On A Single Source
When using two mics on a speaker cabinet you need to be aware of the phase relationship. You can never get the mics to perfectly cancel out, but you find a place where the two mics work together really well.
Start by positioning the first mic in any way you like. Put on headphones and start moving the second mic around, you’ll hear all kinds of phase cancellation but there will be at least one placement that sounds really good.
It helps to invert the polarity of the second mic while doing the listening in headphones find the place where you get the most cancellation then flip the polarity again for a nice big sound.
Phase Issues With A Single Mic?
Believe it or not, you can also get phase issues when using just a single mic. Reflected sound from nearby surfaces like the floor or walls can get into your mics and cause partial phase cancellation.
There is only one way to deal with this, and that is at the source. Put down carpet, sound damping materials, lift the amp off the floor whatever you have to do to get rid of the problem reflections.
This is one of the only things you can’t fix after it’s recorded. Never time adjust when using multiple microphones, especially for things like drum mics, get it right with your mic placement.
Wow, this article got really long, congrats if you followed along to the end. It was exhausting preparing this article and I feel like I’ve only covered about half of what I should. I didn’t talk about drum mic’ing, stereo, M/S or tricks using phase. I hope it’s a helpful guide
Jon Tidey is a Producer/Engineer who runs his own studio, EPIC Sounds, and enjoys writing about audio on his blog AudioGeekZine.com. To comment or ask questions about this article go here.
Florida’s Sound Media Expands Inventory Of Turbosound
Company has experienced a growing presence in the south Florida market, necessitating further investment
Sound Media, a sound and lighting production company located in Hollywood, FL, recently expanded its inventory of Turbosound loudspeakers.
Having purchased the Turbosound Flex Array (TFA-600H) system a year ago, the company has experienced a growing presence in the south Florida market, necessitating further investment.
“Working directly with Turbosound and our area rep, Mainline Marketing, has been great. Both did a tremendous job in supporting our deployment of Turbosound products to our customers; this was a critical component of the success we have experienced.” reports Lennox Foster, Sound Media president and founder. “We bought 16 of the 75-degree boxes last year, and it took our business to another level. The TFA-600 is one of the best sounding boxes I’ve heard in a long time.
“Now we’re expanding again, so it was natural to stay with the sound signature that has helped us get so many new and repeat customers. Now we have enough Flex Array for stadium shows of 15,000 or more.”
To augment its existing systems, Sound Media recently added quantities of several additional Turbosound models, most notably expanding capabilities by adding eight TFA-600HW (100-degree dispersion) Flex Array elements. In addition, they bought eight NuQ-8DP and four Aspect TA-500 loudspeakers.
“One thing I love about the Turbosound system is the seamless integration and consistent audio characteristics between products,” says Foster. “We do a diverse range of events, from large arena shows and casinos to outdoor festivals and corporate shows. With Turbosound, all I have to worry about is coverage and power, so I can mix and match the different loudspeakers to meet the needs of the venue.”
Foster points to the Aspect 500 as an excellent example of Turbosound flexibility. “It’s an outstanding full-range box for point and shoot applications,” he says. “It’s actually bigger than the Flex Array, a 3-way with a 15-inch woofer. We can use two of them per side at an outdoor show for 2,000 people, no problem. It’s also a perfect sidefill to use with the Flex Array at bigger shows.”
Similarly, the smaller NuQ-8DP finds utility in a range of applications. “We do a lot of smaller corporate shows, where sound quality is important, but the client does not want to see large black boxes,” says Lennox Foster. “The NuQ is perfect for that, because it has high fidelity, is very compact, and still has plenty of output. Then, at our bigger events we can use it as a frontfill and as monitor wedges on stage for speeches. It’s a very diverse box.”
ound Media opted for the unpowered versions of both the Flex Line Array and Aspect speakers. “Sometimes our speakers might be up for two or three days, and we get a lot of rain in Florida,” explains Foster. “So for our needs, separate amplifiers are best. But for smaller speakers like NuQ, we bought the self-powered version, since they’re usually indoors or down at stage level.”
An electrical engineer by education, Lennox Foster has firm opinions on the design features that make Turbosound speakers so good. “There are a lot of very good speakers on the market today, but what’s unique about Turbosound is the vocal presence,” he explains. “The crossovers on the larger systems are designed so that the vocals are primarily all coming out of one speaker, which keeps it very cohesive and very intelligible. There is no smearing of the vocals with Turbosound systems, and that is very important to us, and to our customers.”
As Sound Media continues to grow, Lennox Foster is looking forward to expanding his stock of Turbosound loudspeakers even further. “With the growth we’ve been experiencing, it’s great to know that all our Turbosound systems are compatible with each other,” he says. “That allows me to create system designs for virtually any size and shape of venue, line array or point source, and still have confidence that it will sound incredible.”
The Music Group
Philadelphia’s New SoundGarden Hall Opens With Meyer Sound UPJ-1P Loudspeakers
Venue also features an MA Lighting command wing and a Yamaha M7CL-32 digital mixing console
SoundGarden Hall, Philadelphia’s newest concert venue, is a 2,100-capacity live event space serving the local nightlife scene with electronic, alternative, rock, pop, and R&B music.
Artists who have already performed at the hall since it opened in September include Paul van Dyk, Cosmic Gate, Super8 & Tab, Nadia Ali, and Tritonal.
Ian Hoffer of Aurora Sound and Light Design LLC provided design, sale, and installation for SoundGarden Hall, which was handled by several personnel who also worked on the Meyer Sound-equipped Rumor nightclub one year earlier.
Rumor’s UPJ-1P VariO loudspeakers were a hit with management, so they were also the choice to head the design of SoundGarden Hall’s system.
Hoffer says: “The people involved in SoundGarden Hall were so impressed with the UPJ-1Ps I used at Rumor that when we were evaluating speakers for SoundGarden’s delay fills, they said, ‘Can’t we just use some more of those UPJs?’”
Hoffer selected six Meyer Sound 600-HP subwoofers, the exclusive subwoofer in use for the main hall. Five UPJ-1P loudspeakers are used for delay fill, with two others for the DJ booth monitor. A Meyer Sound UMS-1P subwoofer is installed for the DJ booth.
SoundGarden Hall’s elaborate lighting design fills the entirety of the concert hall. The layout created challenges, says Hoffer, which he was able to meet with the Meyer Sound UPJ-1P.
“There was no convenient spot to put delay-fill speakers,” he recalls, “and there’s nowhere to have stands coming up from the floor. At the same time, because the ceiling is set up more like a nightclub, the customer is enveloped in the sound-light experience throughout the whole facility.
“We used UPJs with Meyer’s MUB-UPJ U-brackets, put two theatrical clamps on them, and mounted them to the light pipes, so the delay speakers actually disappear into the lighting grid. That worked well. And the output for the size is impressive.”
SoundGarden Hall also features an MA Lighting command wing and a Yamaha M7CL-32 digital mixing console.
Aurora Sound and Light Design LLC
Clearwing Productions Unveils 2012 Lagoon Finale For Phoenix ZooLights
A merging of original lighting and sound designs for an annual attraction
Clearwing Productions has just released details of the 2012 audio and lighting design for Phoenix ZooLights, an annual lighting spectacular that has been held at the Phoenix Zoo for the past 20 years.
This year, Clearwing designed and executed a new event finale encompassing the lagoon, including a centerpiece that is a custom 25-foot-tall sphere surrounded by twelve 12-foot pylons covered in Color Kinetics iColor Flex MX LED strings.
Each of the 4,350 LEDs on the display is individually controlled, allowing for a wide variety of lighting looks, speedy transitions and mesmerizing reflections on the lake surface.
Surrounding the lagoon are trees wrapped in colored LED strings and custom armatures, immersing the guests with the effect of moving, chasing and dynamically dancing trees.
A 30-universe ETC Mosaic Show Controller system provides control, for example, so that additional architectural lighting can be dimmed when the three-minute main show begins. The Mosaic system also controls a Pharos AudioVisual Controller (AVC) to sync the lighting and music programs.
Clearwing installed the components in an air-conditioned, outdoor-rated rack enclosure that encompassed a custom-built touchscreen allowing for different control features.
Lighting designer Ryan Mueller notes, “The Phoenix Zoo challenged us to come up with a design for the next 20 years that encircled the lagoon, increased the amount of viewing locations, and modernized the show – all while retaining the traditions of the past.”
In addition to dramatically increasing the production value of the lighting show, the previous audio system was overhauled.
Clearwing designed custom lakeside loudspeaker poles, fabricated by United Scenic Productions, each outfitted with two Technomad full-range loudspeakers, subwoofer and outdoor-rated amplifiers. Twelve poles are distributed to cover over nine hundred feet of viewing area around the lagoon.
Audio system control is handled by a Harman BSS London processors to route, zone, and delay the signals according to their location around animal encounters and nearby displays.
Clearwing began designing the concept with the Phoenix Zoo staff more than nine months ago in order to engineer lighting and audio systems, control networks, submersible cabling, outdoor equipment enclosures, and float and weighting systems.
Tuesday, December 11, 2012
Judy Bayley Theater At UNLV Outfitted With All-Yamaha System
PRG deploys Yamaha loudspeakers, console, amplifiers and mix engine
Home to many of the University of Nevada Las Vegas performing arts groups, the 550-seat Judy Bayley Theater opened in 1972 and features a raked auditorium, a fully-rigged, proscenium stage, and a thrust-apron that can be used as an orchestra pit.
A new audio system was recently recommended by faculty adjunct member Mary McFadden, designed and installed by PRG, and includes a Yamaha M7CL-48ES digital audio console, IS Series loudspeakers, DME24 (Digital Mixing Engine), and XP power amplifiers.
McFadden is quite familiar with the venue and has taught in the theater as faculty adjunct for sound design. Last year, she had students put a delay line in the theater, a very successful project.
“Brackley Frayer, the department chairman, called me in January to ask me to consult on a new system, as funding had been obtained to update both the sound and lighting system,” states McFadden. “There is no sound design degree at the school, but there is a concentration in sound design available within the general theater BA.
“Since there is no full-time faculty that teaches sound, my feeling was, the new system needed to be easy to operate and have a digital signal path to familiarize students with digital audio networking and concepts. The Yamaha M7CL-48ES package fit these requirements.”
PRG worked as a subcontractor to American Southwest Electric to bid on the project, and won the bid with ASE. The bid’s Scope of Work included more than pro audio and lighting; ASE handled the general and electrical construction portions, and PRG handled all the audio system engineering and installation.
As PRG audio designer Eric Hebard explains, “The design included the rigging of the speakers based on locations that Mary had specified: the small shrouds for the portable Yamaha SB168’s stage boxes, the rack with power and thermal dissipation to properly house the equipment, how to reasonably network the SB168’s, power and network locations to stay within budgets, and in keeping with modular capabilities.”
“The Yamaha DME is a key part of the system,” McFadden notes. “It’s very cost effective, and has all the DSP required for the system – EQ, crossovers, delays, etc. It also has a delay matrix component, and surround sound capability.
“I used the delay matrix to teach and design with last year, and this year I am using it for ‘God Lives in Glass’, a benefit for both Family Promise and the Nevada Conservatory Theatre, the professional Equity arm of the theater school. The DME is a great teaching tool, and gets students to think about signal processing and design in the digital realm.”
The school plans to buy an ES card for the DME to make the DME part of the ES network – right now it’s analog in and out. By using the GUI for the DME, students can become familiar with system design concepts.”
“I am very pleased with the new Yamaha sound system,” states Brackley Frayer, chair and executive director, Department of Theater and the Nevada Conservatory Theater. “When the designers and engineers played their demo tapes through the new system, I sat back and enjoyed the result. This is the best sound I have heard in the Judy Bayley Theater since I arrived 17 years ago.”
Yamaha Commercial Audio
CAD Audio Introduces “Sessions” MH510 Professional Headphones
Offers extended lows, smooth mids and articulate, life-like highs
CAD Audio has introduced new Sessions MH510 professional headphones, designed for recording and live audio environments.
MH510 headphones produce a wide frequency response (10 Hz – 24 kHz) with extended lows, smooth mids and articulate, life-like highs for accurate and natural reproduction.
High SPL capability delivers ample volume while the design provides exceptional isolation ensuring a private listening experience that eliminates bleed through into the playback environment.
MH510 headphones are available in a distinct and modern cosmetic design with four colors––black, white/red, back chrome and black/orange to choose from.
Each headphone is supplied with two cables (coiled and straight) and two sets of earpads.
CAD executive director of business development Glenn Roop notes, “Given CAD Audio’s acclaimed studio heritage, developing the MH510 headphones was a match made in heaven. The Sessions project was a natural for our design team. We engineered for the highest level of performance with no compromises, and then added some flair and style into the mix.”
MSRP for the MH510 headphone is $159. They will be on display at the upcoming Winter NAMM 2013 show at the Anaheim (CA) Convention Center, booth 6632.