Wednesday, March 06, 2013
Church Sound: The Oft-Forgotten Cue Wedge
Sometimes the biggest challenge of monitors is hearing what you're mixing
I know a lot of churches that mix monitors from front of house. For most of my church career, that’s been the case.
To be sure, having a dedicated monitor position, console and engineer is a lot easier, but it’s not practical for most of us.
And while we’d all love to have all our musicians and vocalists on in-ears, wedges still are a fact of life for many churches.
For most of the churches I’ve mixed in, the biggest challenge for mixing monitors is that as an engineer, I can’t hear what I’m mixing. Sometimes you can solo up an aux and put headphones on, but that doesn’t really give you a sense for what’s going on at the wedge on stage. You take a guess at how much “a little more guitar” is and hope you don’t over- or under-shoot.
When I arrived at Coast Hills, we had a dedicated monitor position. One of the tasks I was charged with was eliminating it (mainly for budgetary reasons). While I was OK with this, I learned a valuable lesson in mixing monitors while working up there a few weekends; we had a cue wedge at monitors that was set to mirror whatever mix was soloed.
This worked brilliantly; when someone asked for more kick, we could actually hear it, and we could tell when we moved it up enough to make a difference.
After we eliminated monitor world, I moved that cue wedge up to front of house. Our mixing console has two solo buses, which is quite handy. Solo 1 is set up to cue individual channels into our headphones. Solo 2 is set up to drive the cue wedge. When we put any of our aux mixes in sends on fader mode (by pressing solo), what the artists hear on stage comes out in our cue wedge as well.
This has proven to be a great thing, especially since we’re in the balcony 90 feet away from the stage.
I honestly have no idea what’s going on in their wedge, but cuing it up at front of house is wonderful. If they start to get out of control, and start asking for changes that don’t make sense, I can listen to their mix and hear what’s wrong.
One of the keys to making this work is calibrating the volume of the cue wedge to the volume of the wedges on stage. This is fairly easy if all the wedges are the same (which is the ideal situation anyway).
We calibrated ours by playing back some pink noise through a stage wedge, then measuring the level with an SPL meter. It doesn’t matter if it’s totally accurate or not; you just need a value. Then, go up to front of house and cue up that mix in the cue wedge. Adjust the amp driving the wedge to produce the same volume.
It’s critical that you keep the volume calibrated, so it’s not a bad idea to mark the master solo level and the amp levels in case they get moved. How you connect and bus everything is going to be dependent on your console, and it may take some experimentation to get it working optimally. Reading the manual or even calling tech support may help here. I won’t even try to explain it here as there are many ways consoles support this.
If you can get this up and running, you will find mixing monitors from front of house a much easier task. We placed our wedge in a location that allows it to be pulled out during sound check so we can hear it easily, then pushed back under the desk when we’re done.
Typically we’re not making many adjustments once the actual rehearsal gets going, so we move it out of the way.
While not completely ideal, mixing monitors from the house is what most of us in churches have to do. Having a cue wedge makes it a lot easier—give it a shot and see what you think!
Mike Sessler is the Technical Director at Coast Hills Community Church in Aliso Viejo, CA. He has been involved in live production for over 20 years and is the author of the blog Church Tech Arts. He also hosts a weekly podcast called Church Tech Weekly on the TechArtsNetwork.
Turbosound Turns Heads At Prestigious Girls School In India
Turbosound system installed at prestigious girls school in India.
Turbosound’s switchable active/passive two-way TCS loudspeakers and TXD subwoofers have been installed in one of India’s most prestigious private schools.
St Helena’s Girls School in Pune — dubbed ‘the Oxford of the East’ — is located in the second largest city in the Indian state of Maharashtra. School officials recently had a new sound reinforcement system installed in a newly built school auditorium. Two pairs of 60 x 40 TCS-122/64 loudspeakers are affixed to each side of the stage with another pair at center stage to cater to the front rows.
In addition, two Turbosound TXD-218 dual 18-inch front-loaded subwoofers have been placed in each corner of the stage providing full bandwidth down to 30Hz with excellent front to back rejection.
Stage monitoring is handled by four Turbosound Milan M15 powered two-way loudspeakers, which deliver 450 watts of power from a lightweight injection-molded package.
The Turbosound equipment was supplied by Mumbai-based Narain Pro Audio Lighting Pvt Ltd., and installed by Pune-based Yash Audio Visual.
“The school’s new auditorium is dedicated to enhancing musical performances, with an acoustic design by Mr Micky Registrar,” says Narain Pro Audio’s Director Manoj Motwani. “We needed a sound system that would enhance the natural acoustics afforded to this structure and sound fantastic for music and speech, as well as provide for a 7.1 Dolby digital/DTH compatible cinema. The frequency response of the system was of paramount importance to be able to deliver on all counts.
“With Turbosound’s TCS-122/64 on FOH we achieved an even coverage of the auditorium over the first 60ft with only 2dB variation, and long throw capabilities of up to 106dB SPL at 80ft. The result is stunning audio quality throughout the auditorium.”
“The core arrayable models in our TCS contracting series are offered with rotatable dispersion pattern options, including 90 x 60, 90 x 40 and 60 x 40,” says Turbosound’s head of marketing Martin Reid, “and this gives the installer the widest possible choices to ensure that coverage of the room is optimal.”
Tuesday, March 05, 2013
JBL And Crown Provide Slam-Dunk Sound For Indiana Hoosiers’
Indiana University’s Assembly Hall was recently retrofitted with a new audio system featuring Harman's JBL loudspeakers and Crown amplifiers.
Indiana University’s Assembly Hall, a 17,000-seat indoor arena is the home to the Indiana Hoosiers—one of the most storied teams in college basketball.
The arena, which opened in 1971, was recently retrofitted with a new audio system featuring Harman’s JBL loudspeakers and Crown amplifiers. Pensacola, Florida-based All Pro Sound in conjunction with Sweetwater, Inc. of Ft Wayne, IN., handled the installation in coordination with New York-based Acoustical Design and consulting firm SIA Acoustics.
“Before we were called in, Assembly Hall was still using its original sound system from 1971,” explains Sam Berkow, Principal at SIA Acoustics. “The arena had a lot of existing acoustical treatment but the sound quality in the lower frequencies was unbalanced and made it difficult for the crowd to hear speech announcements clearly.
“Needless to say, we had to bring the system up to today’s standards for performance, coverage and intelligibility,”
As an older facility, Assembly Hall’s unique architecture caused some challenges in the installation process. The logistical difficulties of mounting the speakers to cover the arena’s unusual steeply raked seating proved to be difficult.
“Any big arena like this is going to present some acoustical issues, but Assembly Hall is unique in that most of the seating is on two very steep sides of the court and go up high, and there are also balconies that are even higher,” added John Fuqua, Vice President, All Pro Sound.
“Because of the seating layout, we had to fly the speakers at 80 feet above the floor. We installed a mix of JBL VerTec VT4888DP midsize powered line array elements, PD5322/95 full-range speakers and ASB6128 subwoofers specifically to provide the best coverage and performance to all the seating areas,” stated Fuqua.
The PD5322/95 loudspeakers and ASB6128 subs are powered by eight Crown Macro-Tech i Series MA9000i, six MA5000i and 10 CTs 1200 amplifiers. Five BSS BLU-160 digital signal processors are also part of the system.
For the main arrays All Pro Sound installed six hangs of nine VT4888DP line array elements each, spaced around the arena. The 10 PD5322/95 speakers are used for upper balcony fill and are flown from the existing catwalk system. The ASB6128 subwoofers are hung in four arrays of four boxes each, placed near the outer main arrays.
“Sam Berkow and the SIA Acoustics design team chose this combination of Harman equipment because the JBL speakers are the right match in size and coverage capability, especially considering the odd vertical layout of the seats at the sides, and the electronics complement the speakers perfectly to achieve the highest level of performance for the venue,” concluded Fuqua.
“For this system, the job was contracted, the equipment procured and the installation completed in just 19 days from the receipt of the notice to proceed,” adds Berkow. “We coordinated with Harman representatives, All Pro Sound, retailer Sweetwater and the Indiana University staff to streamline the process and facilitate this quick turnaround.”
“It was an impressive amount of work to be completed and be up and running within such a tight schedule,” Berkow concludes. “We are extremely happy with the results.”
New System For Denver’s Boettcher Concert Hall Headed By L-Acoustics
The primary PA is comprised of four horizontal arrays of ARCS II
Denver Performing Arts Complex’s Boettcher Concert Hall, home to the Colorado Symphony Orchestra, was built in 1978 as the first U.S. symphony hall in the round.
While the 2,634-seat performance space’s unique layout continues to remain enduringly contemporary, the venue’s previous PA system has not fared quite so well, recently prompting a full audio system retrofit that included an L-Acoustics amplifier and loudspeaker package.
The city of Denver hired South Norwalk, CT-based acoustician/consultant Akustiks to specify the new system, which features an exploded cluster design using ARCS II and KIVA loudspeaker lines.
Supplied by AVDB Group, the system was installed by Steve Kuberski and Mark Herron at Mood Media (formerly known as Muzak).
The primary PA is comprised of four horizontal arrays of ARCS II—a cluster of six constant curvature cabinets pointing toward the main orchestra seating section, two four-cabinet arrays firing into the left and right mezzanines, and a smaller three-enclosure array covering the rear parquet section.
Three additional ARCS II—each individually hung in a horizontal orientation—serve as upper front-fills and address the upper ring and rear mezzanine seats. Four double-stacked KIVA clusters are also positioned overhead to supplement coverage to some of the upper seating and other areas.
Down below, up to eight additional KIVA can be positioned on the stage lip as needed for front-fill, while low frequency reinforcement in the space is achieved via four SB15m subs arranged in a cardioid configuration. System power, processing, networking and control are accomplished through a combination of six LA8 and two LA4 amplified controllers.
“I looked at this project with four different manufacturers, and one of the deciding factors to use L-Acoustics was the performance of ARCS II, which fit the bill very well,” says Akustiks Partner Anthony Nittoli. “Boettcher is an asymmetrical surround concert hall, so it’s an extremely challenging environment to put a sound reinforcement system into. But ARCS II’s tightly controlled coverage pattern very nicely allowed us to place sound exactly where we wanted it and keep it off of the surfaces that we didn’t.”
Over the past couple of years, the Colorado Symphony Orchestra has increasingly peppered its show roster with soloists and guest acts as diverse as Trey Anastasio, Bela Fleck, Guster, DeVotchKa, Kip Winger, Pink Martini, and Rodrigo Y Gabriela.
“The Orchestra’s performances with pop and rock artists have all been very successful and certainly necessitated the presence of a serious, rider-friendly sound reinforcement system,” says Aric Christensen, Boettcher Concert Hall’s head of audio for the past decade. “I had previously mixed on V-DOSC and KUDO systems, so was very familiar with L-Acoustics, but ARCS II was largely unknown to me.
“However, I trusted both Anthony’s design expertise and the manufacturer’s reputation, and we’ve been extremely happy with the results. The point-source approach of our ARCS II system is much more appropriate for the room and everyone that has mixed on it so far has responded really well to the whole experience.”
Christensen points out that the system gets used on almost a daily basis, be it providing simple vocal reinforcement for the conductor introducing pieces to full reinforcement for a band with some spot-miking of various orchestra soloists. “Not only is this system perfectly capable of handling rock and roll, but it’s also well-suited to reinforce higher dynamically demanding classical performances without adding coloration to the acoustic instruments,” he says. “That, in my opinion, represents a far greater challenge, and one that it carries out remarkably well.”
Tannoy And Lab.gruppen Provide Intelligibility For Sacred Heart Church
Tannoy And Lab.gruppen Provide Intelligibility For Sacred Heart Church
After years of dealing with unintelligibility issues, Sacred Heart Church in Bellevue, Washington, decided to upgrade their sanctuary sound system. Morgan Sound A/V was called upon to consult on the new system and resolve the intellibility issues once and for all.
After careful consideration Stephen Week, a consultant with Morgan Sound A/V, specified a system featuring Tannoy VX loudspeakers powered by Lab.gruppen amplifiers.
“Previously, they had no real high-end in the room,” explains Weeks. “There was no intelligibility. The room sounded muffled and speech was indistinct, so the priest always felt like he wasn’t loud enough.
“Tannoy’s dual concentric technology is very helpful for keeping things coherent. The speakers are very clear, very clean and very warm in the low end and there were no smear issues like you might experience with a more traditional box, which was critical.”
The 750-capacity sanctuary is a decidedly modern and elegant space. The room design includes a high ceiling, marble, concrete and plenty of glass making it an extremely reverberant space.
“Instead of a traditional altar at the front of the church with seats facing it – the altar platform is extended, so the seating surrounds it by 270°,” Weeks explains. “There are also some areas with low ceilings surrounding the platform that account for 50% of the seating capacity.”
Essentially, there was no way to cover the entire room effectively and discreetly from a single location, so Weeks, along with company founder Charlie Morgan, specified one Tannoy VX 15Q for the main seating area and flanked it with five time delayed VX 5.2s per side pointed out and down towards each section with the low ceilings to localize the sound to the stage.
Additionally, five Tannoy IS 52s are built into the stairs of each facet of the octagonal platform for front fill. Two Tannoy VX 6s and a pair of DVS 4s provide a feed from the priest’s podium/headset microphones for Sacred Heart’s choir – which performs from behind the octagonal platform – and for the church’s organist, respectively.
Weeks also specified Lab.gruppen amplifiers exclusively; a pair of channels mono-bridged from a C 16:4 for the central VX speaker, two Lab C 20:8 amplifiers for the VX 5.2s and IS 52s and a pre-existing third party amp to drive the stage monitors.
“The amps took up very little rack space, but provided the channel count we needed,” he added.
The project was very much about ensuring the spoken word could be heard clearly. As well as that, a diverse musical program that encompasses both traditional and modern styles performed by either Sacred Heart’s choir, individual cantors, or small instrumental ensembles was subtly enhanced to speak to Sacred Heart’s mandate of extending ‘gracious hospitality to all’.
Now Sacred Heart’s congregation can benefit from hearing the Word and the musical offerings of their choir with a dramatically higher level of intelligibility. “The result is night and day,” said Weeks. “Since the install of the Tannoy loudspeakers and Lab.gruppen amplifiers we’ve had nothing but high praise for the entire system and the sound overall.”
Morgan Sound Inc. is a Lynnwood, Washington-based provider of audio, visual, and lighting systems that specifies, designs and installs audio/visual systems for houses of worship, educational facilities, municipalities, businesses and entertainment venues in the U.S and across the globe.
Monday, March 04, 2013
Getting The Right Flow—Logical Approaches To The Live Show
Effective practices in the overall approach at every gig
The corporate world calls it “workflow,” and in audio, we generally call it “prepping the show” as well as “load in-load out” and “set up-strike.” But none of it is quite adequate in describing effective practices in our overall approach to every show.
In running a small sound company in Texas for almost a decade, it occurred to me that there might be a lack of information about how to go about these common yet vital aspects of working in sound reinforcement. A look around the internet pretty much confirmed this.
Another way to learn, if you’re lucky, is via more experienced professionals. Alas, many of us aren’t fortunate enough to receive the attention and guidance of mentors, or if we do, the experience is all too brief.
As a result, I’ve put together this overview of the practices and procedures I’ve developed over years of being a solo proprietor providing sound reinforcement to one-off gigs, local events and regional music festivals. This isn’t intended to be definitive, but it’s my hope that there are some ideas here that will benefit your own efforts.
Transport & Load-In
If you’re going to be hand-carrying anything into a venue – stop right now. Figure out a way to make it roll. Everything that goes into, and comes out of, my trailer rolls, whether it’s on a hand truck or in a road case. Just as we should be protecting our hearing, we have to take care of our backs and knees, or we won’t be around for long.
Now that everything rolls, build or buy a couple of ramps to make the rolling even easier. I have a folding 6-foot aluminum ramp, originally intended for wheelchairs, which is plenty strong for all of my needs yet light enough for one person to move easily.
My trailer doesn’t have a ramp-style door (I actually prefer it that way), so I’m able to use this ramp to roll everything from the trailer to the ground, or, more commonly, from the trailer straight into the venue or portable stage. Whenever possible, I look to back up to the venue door and lay the ramp over the threshold.
Inside the venue or on the stage, I use the same ramp to get items up on risers and to hop those pesky 2-step stairs that are inside so many multi-level facilities. Another 2-foot wooden ramp also comes with me for those times when I’m unloading on the street and have to hop over a curb to get to the venue. This little ramp is worth it’s weight in gold. It also helps give electronic gear a longer, happier life because it’s not being bounced over curbs and steps.
A trailer-pack chart can come in handy.
Most of the items in my trailer are placed according to weight. It needs to be relatively balanced, with most of the weight over the axle, but with at least a 10 percent bias toward the tongue. I recommend consulting the manufacturer or reseller of your trailer if you have any doubts about the load you’re carrying. Having said that, there are some things I like to pack in a particular order.
Locating the PA tops in the front of the trailer and the subs behind saves time. As the subs come off the trailer, they can be placed for the show right away, and then the tops come out directly and are stacked on the subs. (The reverse happens at the end of the night.) I also keep things like microphones, DIs and cables at the back of the trailer for easy access, particularly at smaller gigs – just open the door and grab what’s needed without having to unload half the trailer to get to it.
After arriving at an optimum trailer-pack strategy, with items arranged logically and weight evenly distributed, make a chart showing where everything goes and tape it inside the trailer. I use a simple graphics program to make the chart and keep the file stored on my laptop, so I can print out a copy for anyone helping me who is unfamiliar with how I want it done.
The chart also serves as a handy checklist to make sure I leave nothing behind. One other thing included on the chart is where the straps that hold everything in place within the trailer should be positioned.
When working a venue for the first time, I do everything possible to make a site inspection beforehand. This provides valuable information in a variety of areas, such as the electrical power situation, where snakes and subsnakes will run, the path from the loading area to the stage, the parking situation, and so on.
If I can’t physically get there before the event, I call the venue to ask about these things, and/or check with other sound company friends and bands that have worked the venue.
All too often at other shows that I go to, I see the main snake head placed next to the drums because that’s where the most inputs come from. This is not a good idea for several reasons.
First, it’s an eyesore. Having that mass of XLR right in the middle of the stage is ugly. And what happens if a bad cable needs to be replaced during the show? You have to go right to the middle of the stage, that’s what!
So put the snake head off to the side. I place mine with the power amplifiers, bringing all inputs from the stage to the snake via subsnakes. This is a convenient place to work from, plus I don’t have to get on my hands and knees to plug things in. It also keeps the cable mess out of the way, which improves safety and further cleans up the stage.
Definitions can vary, so to be clear, I define subsnakes as shorter 4- to 12-channel cables with an input head that accommodate short XLR cables from the actual input sources.
Subsnakes can discretely and efficiently clean up cabling.
For a typical rock/country band, I usually run a 12-channel subsnake to the drum set, handling drum inputs plus any instruments that may be close by. I also put a 6-channel snake on the front line to handle any vocal and DI inputs.
Every once in a while, I encounter a keyboardist with four DI channels plus a vocal, so I run a subsnake right to those inputs. Larger stages sometimes call for a subsnake on the far side to take care of inputs “way over there.”
The message is simple. It’s better to have shorter cable runs on stage while keeping longer runs off the stage. It’s safer (less chance of tripping), and it’s cleaner. Providing a clean stage is professional and it gets you noticed – in a good way.
Fewer mic stands on stage further cleans things up. I use all manner of claws, clamps, hangers, and Z-bars in place of stands, and it’s also a benefit not having to buy and transport so many stands.
On a typical show, I take eight tall tripods, two short tripods, and one solid base “shorty” for a kick drum mic, and can’t remember the last time I used them all.
To speed set up time, ask the band at the outset how many inputs they need and where the players are going to be located. Because the drum kit is almost always the last thing finished, I start with vocals, then instruments next, and finally, drums.
Before the drummer is getting comfortable behind the kit, I’m already done with miking the rest of the band. With the subsnakes also laid out in advance, it’s just a matter of placing the drum mics and running short cables.
Showtime & After
The mix is the primary focus during the show, of course, but we should keep our ears open for specific issues such as subs that are being over-stressed, a buzz in a DI channel, etc.
It’s easy to get tunnel vision, so intent on the mix or specific aspects of it that other problems aren’t heard until it’s too late. In other words, don’t focus on getting that guitar sound “just right” to the exclusion of the whole.
Z-bars on the guitar amp mics.
If possible, walk the coverage area while the show is happening. It may sound completely different up front than it does back at the mix position, and it’s our job to make it sound good for everyone, not just ourselves.
I also try to get up to the side of the stage and make eye contact with each band member to make sure they’re happy with their monitors. A simple gesture like this can mean a lot to bands, and who knows, they might just give you a call the next time they need PA.
Right after the conclusion of the show, go to the stage to pull mics and DIs. These items have a nasty habit of “walking away” so get ‘em tucked away safely ASAP. Also pull monitors and stands, placing them out of the way to give the band more room to do their own teardown.
An innovative kick mic mount helps keep the stage clearer..
Cabling stays in place since band gear is most likely sitting around/over of at least some of it. Plus, if you start pulling cable with a bunch of people milling about, moving things and carrying loads, you might trip someone.
I then go pack up front of house, then unhook and organize amp racks and other cases, de-stack the PA, and then pull the main snake. Usually by this point, it’s safe to pull the remaining subsnakes and cables, typically standing next to where the main snake head was located, pulling everything toward me. And then it’s time to pack the trailer…which is where we started.
There’s just one more thing to keep in mind: drive safely as you make your way home or back to the shop. The goal is to do this all again tomorrow!
Tim Weaver is the owner of Weaver Imaging (www.weaverimaging.com), an audio, lighting, and projection provider based in College Station, TX. He has been a professional sound engineer for 18 years, working across all genres.
Grund Audio Debuts New STP-8/STP-5S Loudspeaker System
Pole-mounted ‘"top box" and a subwoofer for portable applications
Grund Audio Design has introduced the new STP-8/STP-5S, designed as a loudspeaker pair consisting of a pole-mounted ‘“top box” and a subwoofer for portable applications.
The STP-8 loudspeaker utilizes an 8-inch low frequency (LF) transducer that is mated with a 1-inch high frequency (HF) compression driver to form a compact, 2-way design providing strong speech intelligibility and music reproduction characteristics. It is rated at 300 watts (program) at 8 Ohms.
The enclosure includes a pole cup for convenient mounting and incorporates a pair of handles to ensure easy transport.
With the ability to support 500 watts (program) at 8 Ohms, the STP-5S subwoofer utilizes a horn-loaded 15-inch transducer in a compact enclosure that measures 22.75-inches by 14-inches by 26.75-inches (H x W x D). With its four casters, the enclosure can easily be moved by one person, and like the STP-8, it incorporates a pair of handles.
Together, the two units produce frequencies that range from 50 Hz – 18 kHz.
The system, which includes two of each loudspeaker models plus two poles for top box mounting will be available at a reduced price compared to the pricing for individual loudspeakers.
Both enclosures are manufactured in the United States and incorporate multi-layer pine wood that is solidly braced for cabinet rigidity. The exteriors are covered with an easy care, durable black carpet finish.
Frank Grund, president of Grund Audio Design, states, “Our new STP-8/STP-5S portable sound system delivers rich, full-sounding audio reproduction in a surprisingly compact form factor that makes it ideal for both travelling musicians and DJs. The system is equally well suited for use in churches and A/V conference facilities—thanks to its ability to move easily and setup quickly. This is a great sounding, good-looking, and highly portable setup. I genuinely believe this new sound system will be well received by all who audition it.”
The loudspeakers will be available individually or as a system. MSRP pricing is as follows:
• STP-8: $299 MSRP (individual)
• STP-5S: $799 MSRP (individual)
• Pricing for the STP-8 / STP-5S loudspeaker system (two of each model plus mounting poles) will be at a reduced price compared to individual units. MSRP Separately = $2,446; MSRP Package = $2,199
Grund Audio Design
Worxaudio Loudspeaker Systems Deliver At First FWB Church
Worxaudio TrueLine and WaveSeries systems deliver top-flight performance in rejuvenated sanctuary
First FWB Church, a Free Will Baptist Church located in North Carolina’s Coastal Plain region, recently re-opened its sanctuary after experiencing extensive damage as a result of a lightning strike that set the sanctuary ablaze.
The fire and subsequent water damage (to extinguish the fire) forced church management to make major repairs to the space, including the installation of a new audiovisual setup featuring WorxAudio TrueLine and WaveSeries loudspeaker systems.
Winterville, NC-based Sound Advice, a design/build firm for AV systems was contracted to handle the installation of the new sound reinforcement and video projection systems at First FWB Church.
After consulting with church management to determine their expectations, David Evans, the firm’s president, designed a loudspeaker system consisting of a TrueLine X3i-P all-in-one compact line array augmented by WaveSeries system consisting of three 8A and three 12M high efficiency passive loudspeakers and the TL218SS high SPL sub bass system.
“First FWB Church’s sanctuary is octagonal in shape,” Evans explained. “The stage/pulpit area is located along one of the eight walls and it faces directly into the center of the space, which has seating for approximately 300 people.”
With contemporary services that include lot of music with support from both a sizeable praise band and a vocal ensemble, it was important that the system provide both speech intelligibility while also being musical.
” After consulting with management, I learned that the previous sound reinforcement installation included multiple loudspeakers placed around the sanctuary and, at any given time, people could hear 2-3 individual loudspeakers as opposed to a more unified, cohesive sound reinforcement delivery,” Evans continued. “As a result, there were considerable phasing and delay issues, which significantly reduced speech intelligibility.”
“By contrast,” Evans continued, “we wanted a point source solution that could provide the punch they needed, as well as a high level of speech intelligibility and clarity for music reproduction.”
With that in mind, Evans selected the WorxAudio TrueLine X3i-P line array system for a center cluster.
The new sound reinforcement system is built around the TrueLine X3i-P line array, which is suspended from the ceiling with pipe attaching to the TrueLine mini-beam positioned at the center- front edge of the stage area at a height of approximately 18 feet for the lower extremity of the cluster.
This loudspeaker system incorporates three modules, each with a medium format, 1-inch exit compression driver and dual 8-inch cone transducers. It is powered by WorxAudio Technologies’ highly-regarded PXD-2580 digital power amplifier.
Also mounted to the same TrueLine rigging (atop the X3i-P line array) are three WorxAudio WaveSeries 8A enclosures, with each enclosure incorporating a one-inch exit HF compression driver and an 8-inch cone transducer in a tuned enclosure for the low frequencies.
Two of these loudspeakers serve as sidefills and face forward—directed toward the left-right extremities of the sanctuary—while the third enclosure is aimed down at the stage area and functions as a monitor system for the pastor and others.
Both the WaveSeries 8A’s and the TrueLine X3i-P are painted white to seamlessly match the aesthetics of the sanctuary.
On stage, the church’s new sound reinforcement system includes three WorxAudio WaveSeries 12M High Efficiency Passive Loudspeakers that serve as floor monitors. Each WaveSeries 12M enclosure has a one-inch exit compression driver coupled to a 75 X 75 degree wooden waveguide horn for high frequencies and a 12-inch cone transducer in a tuned enclosure for the low frequencies.
Typically, the 12M enclosures are positioned on the left and right front edges of the stage area, while the third loudspeaker is provided for the praise band, which sits toward stage left. All three enclosures are painted black. As passive loudspeakers, both the WaveSeries 8A and WaveSeries 12M enclosures are driven by Crown Audio and QSC Audio power amplifiers.
A single WorxAudio TL218SS subwoofer with dual WorxAudio TL1801SS 18-inch transducers completes the church’s new sound system. This enclosure sits off to the left of center stage, under the drum platform.
“The TL218SS is a monster subwoofer,” Evans remarked. “This single enclosure provides a very full, deep low end that gives the entire loudspeaker setup tremendous depth.”
With the new WorxAudio sound system fully operational, Evans reflected on the project. “Everyone at First FWB Church has been extremely happy,” he says. “The audio quality and overall capabilities of the new sound system are very impressive and church management has been extremely complimentary.
“We’ve also had several visitors from a nearby church stop by to hear the system and they, too, were very impressed—so much so, in fact, that we’re currently awaiting our deposit to start a project for them. When one job leads to another, that’s as good as it gets.”
Community Delivers Sound For Singapore’s First Olympic-Size Ice Rink
Electronics & Engineering (E&E) has recently completed the installation of a Community sound system at Singapore's ﬁrst Olympic-size ice rink at JCube.
Owned by CapitaMall Trust, JCube is an ice rink located in Jurong East, a neighborhood of Singapore. JCube differentiates itself from the usual shopping and dining mall experience with the ice rink in the center of the building.
The 60 x 30 meter rink has a 460-seat gallery and is used for community skating and for more competitive sporting events including speed or ﬁgure skating and ice hockey. The space is also equipped to host live streaming events and concerts.
The new Community loudspeaker based sound system at JCube rink provides both high intelligibility speech and entertainment quality music making it idea for the multi-use requirements of the venue. E&E worked closely with Community’s Singapore-based Director of Business Development, Thomas Mittelmann, to meet the specifications of the rinks management. Mittelman consulted with the technical team at Community’s HQ in the US to ensure the system was the management required.
Seventeen Community WET W2-2W8 loudspeakers are mounted around the rink edge. The W2-2W8’s dual 8-inch horizontal drivers with centrally located 1-inch horn provide the optimum 120-degree wide horizontal dispersion required for the venue. Available in white, the W2-2W8’s extreme all-weather capabilities handle the environmental conditions of the rink and blended perfectly with the venue’s aesthetics.
In addition to the distributed W2-2W8 system, the audio design includes a ceiling loudspeaker system for the audience areas. The upper spectator stand consists of thirteen Community D8 8-inch coaxial ceiling loudspeakers. The D8 loudspeakers deliver consistent coverage with their Tru-Phase high frequency waveguide providing a wide uniform dispersion. In the lower stand there are thirteen Community D6 ceiling loudspeakers, providing the same consistent quality as their larger sibling, but equipped with a 6.5-inch low frequency driver. A further ten Community D4 ceiling loudspeakers and four Community DS8 surface mount loudspeakers are installed at back of house.
Five Ashly Audio NE2400 2-channel ampliﬁers power the Community loudspeakers. The network enabled ampliﬁers feature full control and monitoring capabilities via standard 10/100 Ethernet protocol and Protea software. An Ashly Audio NE4250 ampliﬁer powers the back of house system as well.
Processing is provided by a Symetrix Symnet 8x8 digital signal processor, supplied with SymNet Designer software which equips the rink with more than 300 DSP modules, including feedback elimination, loudspeaker management and auto mixing. The built-in modules enable the audio engineer at the rink to switch quickly and easily from one processing mode to another depending on the function of the rink at any given time.
Completing the audio system are a Mackie 1642-VLZ3 I6-channel compact recording mixer and Shure SLX24/SM58 handheld wireless microphones for concert type events.
Renkus-Heinz Iconyx Selected For Chaminade Performing Arts Center
System for new venue employs two Iconyx ICLive DUAL columns
When Chaminade High School for Boys opened its doors in 1952, it was housed in a converted military academy in Los Angeles that played host to 114 students.
Since then, the school (now co-ed and known as Chaminade College Preparatory School) has expanded to include middle and high schools on two campuses in the Los Angeles suburbs of Chatsworth and West Hills. The school’s notable alumni include Academy Award-winning cinematographer John Longnecker, keyboardist David Paich, and comedian Gallagher.
The Chatsworth campus hosts the high school, which has recently added the Tutor Family Center for the Performing Arts, a high-tech 600-seat auditorium and performance space equipped with distributed video in the lobby areas, and a theatrical sound reinforcement system with Renkus-Heinz Iconyx digitally steered loudspeaker arrays.
The system employs two Iconyx ICLive DUAL columns, utilizing triple HF coaxial transducers, one on each side of the stage.
As Art Rautenberg of JK Design Group in nearby North Hills, California explains, the Iconyx columns were selected both for their control and their form factor.
“The side walls are all brick, and room is pretty reflective, and we were concerned about the acoustics,” says Rautenberg. “The Iconyx enabled us to steer the sound and direct it away from the walls and reflective surfaces and into the seating area.”
The Iconyx columns’ slim profile was a great fit for the space as well, Rautenberg adds. “The architect had left us very little space to mount the loudspeakers. We basically had a small alcove on either side of the stage that wasn’t very wide. So the Iconyx columns are set back a bit into the alcove areas.”
The installation, performed by Audio Video Design Build Group (AVDB), also includes a Yamaha M7CL console installed at front of house.
“The Iconyx really was the ideal solution for this particular challenge,” Rautenberg concludes. “They’ve got incredible frequency response and tight control over the sound beams. They sound great on the orchestral stuff and great for theater and spoken word programs. They really fit the application perfectly.”
Friday, March 01, 2013
Williams Arena Rebounds With JBL
The Barn’s 14,625-capacity main arena has been renovated with an all-new sound system that includes more than 100 Harman's JBL loudspeakers.
It’s called “The Barn,” officially known as the Williams Arena, home of the University of Minnesota’s Golden Gophers men’s and women’s basketball teams.
The Barn’s 14,625-capacity main arena has been renovated with an all-new sound system that includes more than 100 Harman’s JBL loudspeakers.
Parsons Electric of Minneapolis, Minnesota was the systems integrator for the project. Parsons collaborated with Richmond, Virginia-based audio/video consulting and architectural services firm Anthony James Partners.
According to Tim Habedank, System Specialist for Parsons Electric, Williams Arena is a large, reverberant space, making it a challenge from a system design standpoint.
“We had a reverberation time of about seven seconds,” Habedank said.
“The shape of Williams lent itself to a line array system because the hanging points were far enough away from the seating that we needed speakers that would cover a large area,” Habedank noted. “Williams has three seating levels, so we were able to direct the boxes to the different levels as needed.”
Parsons Electric installed eight line arrays, each comprised of six JBL VRX932LA-1 Constant Curvature loudspeakers, along with two additional arrays of four VRX932LA-1 loudspeakers each for court coverage.
The system also features four subwoofer clusters, each containing three JBL ASB6128 subs, while 20 Control 30 loudspeakers are installed for upper balcony fill with 48 Control 29AV loudspeakers for lower balcony fill.
In addition, Parsons Electronic separated the VRX system into three zones—one for each level—so each zone can be controlled discretely with a touchpanel.
“Williams is a multi-purpose arena, so for events that don’t require the full system, the top two levels of speakers can be turned off if only the lower level speakers are required,” Habedank said. “Or the top level can be turned off if only the lower and middle levels need to be reached.
“The system is easily configurable depending on the requirements of each event.”
“The VRX system really packs a punch and covers Williams Arena very well,” Habedank added. “We did some level shading on the system to ensure that every seat in the arena is separated by less than a few dB. We have really nice, even coverage with the VRX line arrays.”
Thursday, February 28, 2013
VUE Appoints Media Logic As Exclusive Distributor For Germany, Austria & Switzerland
Berlin-based company distributes premier pro audio brands
VUE Audiotechnik has announced the appointment of Media Logic as the company’s new distribution partner for Austria, Germany and Switzerland.
Established in 2006, Berlin-based Media Logic also distributes premier pro audio brands Fairlight, Eurotaker, Ardis and SCOTTY.
“For nearly two years we have been searching for a top sound reinforcement line to add to our portfolio,” remarks Media Logic CEO Holger de Buhr. “With a team of established audio professionals behind it, VUE has already made a strong impression with a rapidly growing line of well-engineered products.
“Excitement surrounding VUE is extremely high, and we’re looking forward to working with such a dynamic young company.”
The announcement marks the latest milestone in the aggressive expansion of VUE Audiotechnik’s worldwide sales and distribution organization. The company, which launched at the ProLight + Sound Expo in Frankfurt last March, has already introduced more than 25 new products in its first 10 months of operation.
Jim Sides, VUE executive vice president, adds, “Media Logic is the perfect fit for VUE because they share our core belief that strong, long-term customer relationships are essential for a successful business. Media Logic has a tremendous commitment to their customers and an excellent reputation for service and support. I’m delighted they’ve agreed to join the VUE team.”
Fostex Shipping New PMO.3 Studio Monitors
Fostex is now shipping it's new 2-Way Powered Studio Monitors in 3 Color Styles
Japanese pro-audio manufacturer Fostex has announced that the company’s first 2-way powered studio monitor system, the PMO.3, is now shipping.
Offered in three color styles that include gray, white and classic black, the PMO.3 is a professional quality speaker system that combines a dedicated 3-inch LF fiberglass cone woofer and ¾-inch HF silk dome tweeter drivers together with a built-in class D amplifier for unparalleled performance in its class.
Compact in stature, yet efficient and robust in accuracy, the PMO.3 system fits well into any home studio environment. The versatile color options and elements such as a smooth, matte finished front baffle give the system a nice aesthetic profile that suits any taste, and a hard wood enclosure promotes dynamic sound quality.
“The new PM0.3 represents a new era for Fostex studio monitors,” commented Dave Hetrick, the National Sales Manager for Fostex’s US distributor, American Music and Sound. “Utilizing the latest in amplifier and cross-over technology, Fostex has developed not just a compact computer speaker but a professional monitoring tool that occupies the same physical space.”
The PMO.3 system is priced at $129.99 per pair and is available now at authorized US Fostex retailers.
Posted by Julie Clark on 02/28 at 02:43 PM
QSC Releases EASE.GLL Data Files For Entire Loudspeaker Line
New files can work across all three popular EASE platforms
QSC Audio has announced the release of complete EASE .GLL data files for its entire loudspeaker line, including AcousticDesign, Acoustic Performance, K Series, KW Series, KLA Series, WideLine and others.
“Unlike legacy file formats such as .efo, .spk, and .dll, these new .GLL files can work across all three popular platforms; EASE Address, EASE Focus 2, and the full 3D modeling version of EASE 4.3,” states David Fuller, QSC director of technical marketing. “This has been a great effort from our engineering team, not only in the file creation, but also in the hours spent collecting & validating the mechanical and acoustical data.”
QSC director of marketing communications Ray van Straten adds, “By offering consultants and contractors this enhanced ability to integrate our loudspeaker products into their EASE-based design proposals, we are now able to deliver these channel partners a more compelling business solution that fully compliments our products’ sonic performance.”
The QSC EASE library can be found at http://qsc.com/support/resources/ease_downloads.htm#Ease_Data.
Wednesday, February 27, 2013
Meyer Sound Constellation Adds Sonic Dimensions To ROCKY - Das Musical
A daring stage adaptation of Sylvester Stallone’s iconic film, ROCKY - Das Musical opened in Germany to glowing reviews. This scope of dramatic moods is supported sonically through variable acoustics generated by a permanently installed Constellation acoustic system from Meyer Sound.
A daring stage adaptation of Sylvester Stallone’s iconic film, ROCKY - Das Musical opened in Germany to glowing reviews. This scope of dramatic moods is supported sonically through variable acoustics generated by a permanently installed Constellation acoustic system from Meyer Sound.
With an investment of nearly $20 million by Germany’s Stage Entertainment GmbH, Rocky is staged in Hamburg’s 1,400-seat Operettenhaus, a Stage Entertainment-owned theatre with excellent technical amenities but very dry acoustics.
“I started discussing Constellation with technical management at Stage Entertainment early in the project,” says sound designer Peter Hylenski. “As the design for the show came together, it quickly became evident that Constellation would be playing not only a technical role in enhancing room sound, but also an artistic role by providing enhanced ‘environments’ to match specific locales in the story.”
According to Hylenski, the Constellation system realizes a dramatic, two-fold enhancement of his sound design. “As an acoustic enhancement system, even the slightest addition seems to ‘lift the sound off the page’ by giving more depth and excitement to the room,” he says. “But we also use it as an environmental simulator. Two examples are scene where Rocky is punching sides of beef in the meat locker—using short,
hard early reflections—and the final fight scene with long pre-delays to create the feeling of an arena. It’s exciting and theatrical, yet it sounds incredibly real.”
The permanent Constellation system at the Operettenhaus is built around the Meyer Sound D-Mitri digital audio platform with two core processors, a core matrix unit, and nine digital and analog I/O units. Four DVRAS modules generate early reflections and complex late reverberations in four zones. Forty-two cardioid and omni microphones pick up ambient room sound, with the variable acoustics created through 235 Meyer Sound self-powered loudspeakers comprising seven different full-range and subwoofer models. The options for room variation include five reverberation times, each with three density settings, plus nine bass ratio and nine strength presets.
The permanent Constellation system works hand-in-glove with the configuration that Hylenski created specifically for the production. This system has its own D-Mitri-based show control system interfacing directly with Constellation, and the predominantly Meyer Sound loudspeaker system is anchored by twin arrays of 13 per side M’elodie line array loudspeakers with two ground-stacked 700-HP subwoofers under each array. The balance of the system incorporates seven other Meyer Sound full-range loudspeakers and three additional subwoofer models, totaling 124 cabinets in all. Amptown System Company GmbH (ASC) of Hamburg supplied all Meyer Sound components for both the permanent Constellation and current production systems.
The permanent installation of Constellation in the Operettenhaus was made possible in part because of the unique business model of Stage Entertainment, explains Andreas Hammerich, production sound engineer
and sound designer for the company.
“Unlike Broadway and West End, at Stage Entertainment we both produce the shows and own the theatres,” Hammerich notes. “That means we take a long-term look at what technical investments will realize a return. And with Rocky, Constellation is already making a difference. The sound is so special that audiences walking out of the theatre cannot believe what they just experienced. It is that extraordinary.”
ROCKY - Das Musical was produced by Stage Entertainment GmbH, the German subsidiary of Amsterdam-based Stage Entertainment, together with Sylvester Stallone and Ukrainian boxing champions, Vitali &
Wladmir Klitschko. Book was by Thomas Meehan, with music by composer Stephen Flaherty and lyricist Lynn Ahrens.