Wednesday, July 24, 2013
Line 6 Loudspeakers Fuel “The Beatles Down To Earth” One-Man Show
Mike West is a California-based acoustic guitarist and vocalist who plays well over 200 shows per year.
His current solo show, “The Beatles Down To Earth – A Magical History Tour,” is drawing rave reviews and ever-growing audiences.
Recently, West upgraded to the Line 6 StageSource loudspeaker system.
“I own an L3t and an L3m and use them as my house PA system,” says West. “I’ve found them to be a fantastic addition to my stage.
“In terms of power, sound quality, and set-up time, they are a big upgrade from the articulated linear array I was using before.”
With the growth of his show leading to more gigs at bigger venues, West began to realize the limitations of his old system.
“Basically, it didn’t play well with others,” he says. “Introducing another speaker required all these weird extra connections and adapters. It wasn’t easy. So as my stage show was growing, it became clear that I needed a sound system that could grow with me.”
The solution Mike West found was the Line 6 StageSource system.
“I had seen them at NAMM and had a friend who owned the L3t model and loved it,” he recalls. “He let me borrow it for a week of shows, and I was quite blown away by it.
“I found I was able to perform just as well, if not better, no matter what kind of venue I was in.”
It was technology as much as sound quality that helped convince Mike West to purchase a StageSource system of his own. The 12-band feedback suppression system, which detects and automatically eliminates acoustic feedback, has proven to be particularly useful for West who performs without a stage monitor system.
“My Line 6 speakers are up on stands, set to Reference/P.A. mode. I actually stand a bit in front of them so I can hear them directly,” he says. “Any sound engineer will tell you that’s a big no-no, but with the feedback suppression system on board the speakers, I’m able to do it and hear exactly what my audience is hearing. Never a problem. It’s been fantastic for me.”
In addition to his solo acoustic shows, West also finds Line 6 feedback suppression handy at other gigs, which include DJ duties, wedding receptions and corporate events.
“There are times when I have to turn off the mic when somebody is using it who is not very experienced,” he says. “They might wander in front of the speakers or point it straight up in the air. And if there’s feedback, it’s me that looks unprofessional.
“But since getting the Line 6 system, that just isn’t a problem anymore.”
For his solo acoustic shows, West acts as his own road crew, packing everything he needs into his car.
“They’re 1400 watts each, so all I need is two of them for audiences of several hundred,” he says. “I can fit both of them, plus speaker stands, guitars, pedal boards, and everything else into my little Honda Insight hybrid. That’s how I roll.”
While his current choice is between using one speaker or two, West is already planning to expand his Line 6 system further.
“The show is getting pretty popular, and I love the fact that the Line 6 system is set up to grow with me,” he says. “The system actually recognizes each speaker automatically, so if I add an L2m monitor or maybe a subwoofer, it’s no problem.
“The L6 Link system lets you expand the system with one simple connection, so there’s no jungle nest of cables, which makes for an attractive stage presentation.”
As his audience expands with the popularity of his “Beatles Down To Earth” show, Mike West appreciates his Line 6 StageSource system even more.
“On stage, I always want to make sure that I am represented as professionally as possible,” he says. “A big part of that reputation is built on the tools that I use. The people who book me need to know they can rely on me to sound good, to be consistent and professional. My Line 6 system has become a big part of that.”
Martin Audio MLA Delivers For 3G Productions At EDC Festivals
Power and coverage of the venue combined with off-site noise control
3G Productions recently provided audio for the Electric Daisy Carnival (EDC) festivals in New York, Chicago, and Las Vegas, utilizing Martin Audio Multi-cellular Loudspeaker Arrays (MLA) for power and coverage inside the venue while controlling noise spillage to surrounding residential areas.
The three-day Electric Daisy Carnival 2013 was the culmination of Insomniac’s EDC festivals with eight of the world’s Top 10 DJs, and more than 200 acts performing on seven stages for over 350,000 attendees at the Las Vegas Motor Speedway.
The combination of several stages producing hours of high SPL dance music in urban locales adds up to unique challenges for 3G Productions.
3G marketing director Keith Conrad notes, “EDC events are really unique because they’re all in large open-air areas that aren’t necessarily traditional venues for concerts such as stadiums or amphitheatres. They’re in parking lots or racetracks, so the ability to control the sound is extremely important. A big reason why we looked at the Martin Audio MLA system was to control SPL in areas surrounding the venue.
“We also need a lot of bass, so the amount of subs we have on any one show is unheard of,” he continues. “Plus you’re doing multiple stages within one area at the same time, which is all about the configuration of the stage in terms of the coverage and direction of the loudspeakers.”
3G senior system engineer and designer Julio Valdez, a specialist in EDM events, gets site plans before the event for the areas that have to be covered so h can design systems suitable for what the client (Insomniac, who produces EDC and major dance events worldwide) needs.
“It’s mostly to provide a whole lot of power and have the system sound good,” Valdez says. “Then we go to the location and make sure all of the techs have everything they need to complete the build and address the changing needs of DJs, artists and other performers. Sometimes we have to submit designs to DJ management for approval.
“Finally, I lay out the stages so they don’t have too much of an impact in terms of nearby homes. We have people walking around with dB meters before the show determining what’s acceptable at certain distances from the stage and referencing those SPL at front of house.”
The typical setup for EDC consists of a main hang of 16 MLA and two MLD down fill cabinets per side with a complement of 32 MLX subs ground-stacked across the front of the stage.
In addition, 12 MLA Compacts per side are used for out fill, and eight MLA Compacts plus for ground-stacked MLX subs per side are used for delays. Avid VENUE Profile mixing consoles and Lake loudspeaker processing are also part of the system.
“Power is impressive coming out of the MLA,” Valdez offers, “it’s definitely mind-boggling when you see the size of the rig that’s out there and the output you get from the system. In terms of sound quality, it’s very consistent and, as intended, one can really tailor the sound to what they want and MLA will do it.”
Las Vegas doesn’t present as many problems with noise complaints because the speedway is quite a ways out of town, with only Nellis Air Force base nearby that makes its own kind of noise created by F16 jets flying in and out on a regular basis.
The site also has a large open area in the speedway oval and even though there are so many stages that Conrad notes, “In terms of the DJs and what they’re playing, you can go from one stage to another in Vegas and you can lose the sound. All of the stages are facing in different directions with as much spread as possible between them, plus there’s a carnival in the middle of the festival with rides and attractions.
“Insomniac is committed to having a true carnival and festival experience and they want it to be the biggest, best and the loudest. They always push the envelope in terms of how much they can give their fans, but we are often walking a fine line with the surrounding communities. As such, we have to control sound to the best of our ability.
“The sound control was a big part of MLA’s initial appeal for us. And we really like where MLA is going in terms of control, ease of setup and quality of the boxes. We’ve had a great experience with MLA so far and there’s a very real application in other areas we are growing as well, such as corporate and TV broadcasting.”
Tuesday, July 23, 2013
Renkus-Heinz Iconyx Makes A Difference In Hogan Ballroom At Holy Cross
Holy Cross University installs Renkus-Heinz Iconyx loudspeakers to improve vocal intelligibility.
The Boston metropolitan area is home to a number of colleges and universities rich in history and tradition. Among them, College of the Holy Cross stands out as one of the first Roman Catholic colleges in the region, if not the entire country. Its alumni include US Supreme Court Justice Clarence Thomas, NBC’s Chris Matthews, and LSD pioneer Timothy Leary.
The College’s Hogan Ballroom hosts a wide range of events, from regional theater and dance performances to high-profile public speaking engagements. As Jesse Anderson, Director of Audio Visual Services explains, the room has always been a problematic acoustical space.
“It’s a large space with some very reflective surfaces, and spoken word intelligibility has always been a challenge,” says Anderson. “Last year we had (Supreme Court Justice) Clarence Thomas in to give an address, and we had to rent a PA system. That was when we decided it was time to address the issue.”
Working with Tom Oriola from the Boston offices of AV contractors AVI-SPL and Rich Trombitas of Cardone, Solomon and Associates, the College installed a system based around a pair of Renkus-Heinz Iconyx IC8R-II digitally steerable column array loudspeakers.
The system was commissioned by Trombitas just in time to make its debut with Massachusetts Senator John Kerry, making his farewell tour upon being appointed to the office of Secretary of State.
“We selected the Iconyx primarily for its intelligibility, but it has already proven itself on several musical performances as well,” Anderson reports. “It has enabled us to steer the sound away from the floor and walls and other reflective surfaces, and direct it into the audience where it needs to be. Iconyx has made a tremendous difference for the Hogan Ballroom.”
d&b Resolves Sound Issues At Whitesburg Baptist Church
d&b audiotechnik solves audio problems at Whitesburg Baptist church.
“We’ve never really had a sound system that worked for our church. Since 1982, when the worship space was built, it has always been a challenge to provide full, consistent audio,” admits Charles Malmede, Media Services Director for Whitesburg Baptist Church of Huntsville, Alabama.
Twenty five hundred seats wrap 180 degrees around the sanctuary, including a full balcony. Embracing a wide variety of both traditional and contemporary music, an average service demands versatility from any sound system. Malmede spent most Sundays dealing with unsatisfied parishioners,
“There were complaints every week. Our goal is always +/- 3 dB, which was hard enough; but the real problem has always been the frequency. It was clear we needed to fix our sound, but we have never had any particular success in the past.”
However, after Spectrum Sound’s Ken DeBelius began consulting with Whitesburg Baptist, he knew he could offer a solution.
“We’ve worked with d&b audiotechnik for years and they are our preferred loudspeaker systems,” DeBelius explains. “After hearing the church’s sound problems first hand, I knew the d&b ArrayCalc simulation software could help model the auditorium precisely and that we could then adjust loudspeaker positions and the settings specifically for that room.
“It’s always accurate, and allows us to be very intentional with the system. Plus the d&b White range of loudspeakers was specifically designed for this type of installation: affordable, efficient, and aesthetically appropriate for any church.”
DeBelius was so confident, he brought Malmede, and other senior executives of the church leadership team, to visit a similar installation in Nashville.
“I knew they would be able to hear the quality. We played a recording of lead pastor Dr. Jimmy Jackson and the difference was apparent,” he expalins. “It was so clear, everyone left convinced d&b would be their next sound system. It took almost two years for the purchase of these installation loudspeakers to be finalized and custom installed, but now that the d&b sound system is being used regularly at Whitesburg Baptist Church, it has exceed expectations. I am very proud of the results.”
Malmede agrees, “There used to be at least a handful of complaints every week. I heard the full spectrum, too loud and too soft; fuzzy, and harsh; a wide range depending on seat. We even offered hearing aid devices for our older members. Now, no one asks to use one. They don’t need to. It’s amazing. I haven’t had even one negative audio comment since we installed d&b in January. Not one. Dr. Jimmy has been lead pastor here for thirty five years. This is the first time he has been completely happy. Like every church, we have to be very thoughtful about our purchases. I think this new sound system was one of the wisest choices we have recently made.
Monday, July 22, 2013
New Crown DriveCore Amplifiers Debut In Denmark’s First Dolby Atmos Movie Theater
The Cinema Apollon has installed Crown DriveCore amplifiers to power new Dolby Atmos surround sound system.
The Cinema Apollon in the Danish town of Struer has long been associated with offering moviegoers the latest and best in cinema technology.
In 2013 the Cinema Apollon continues its commitment to the cutting edge with the installation of the first Dolby Atmos surround-sound system, powered by the first of Harman’s Crown DriveCore Install (DCi) Series amplifiers in Denmark.
Dolby Atmos is a new surround-sound technology that employs overhead loudspeakers as well as traditional surround speakers to create a remarkably realistic and enveloping sonic environment.
Dolby Atmos employs up to 64 loudspeakers to heighten the realism and impact of movie theater sound. The Cinema Apollon is the first to feature the CP850 Dolby Atmos Cinema Processor in one of its theaters.
Danish Harman Professional distributor LydRommet Denmark worked hand in hand with Danish theater design firm AVC Kino Digital and Dolby technical staff in London in designing and specifying the system for the 180-seat Dolby Atmos theater. The system had to meet specific Dolby Atmos criteria, including maximum SPL levels for every speaker in the installation.
LydRommet Denmark supplied the Crown DCi analog amplifiers and JBL loudspeakers and subwoofers.
The Crown DCi analog amplifiers in the Cinema Apollon include DCi models 8|300, 4|600 and 4|300. The amplifiers power an extensive complement of JBL loudspeakers including JBL ScreenArray 3732 main speakers and 4642A subwoofers, 42 model 8350 cinema surround speakers and two JBL 4645C subwoofers that provide additional low-frequency reinforcement at the rear of the theater.
The Crown DCi analog amps were specified for their ability to deliver clean, powerful sound from a compact design only 2U rack spaces high, noted Flemming Bjerke of LydRommet.
“The Dolby Atmos specification requires 105dB peak SPL at the reference point in the theater, and one of the biggest challenges we had with the system was achieving this spec with enough headroom,” said Bjerke. “DCi is such a high-quality amplifier range that it is a perfect match for Dolby Atmos.”
Bjerke emphasized how exciting it was to work with the experts from AVC and Dolby in creating the first Dolby Atmos system in Denmark, stating, “listening to the final result is a real joy and the Dolby Atmos technology and concept definitely take the experience of going to movie theaters to a much higher level.”
Friday, July 19, 2013
Venezuela’s PROmontaje Commissions First Meyer Sound LEO System In Latin America
Caracas-based PROmontaje has taken delivery of a Meyer Sound LEO linear large-scale reinforcement system.
Caracas-based PROmontaje has taken delivery of a Meyer Sound LEO linear large-scale line arrays, the first to be available in Latin America. The new line arrays were initially deployed at the Vive Movistar Festival in Caracas this summer.
“We have been using Meyer Sound MILO and MICA line arrays with great success,” says Pablo Bonilla, the managing director of PROmontaje. “Now, with LEO, we will be Venezuela’s leading provider of large-scale audio production for big concerts, festivals, major sporting competitions and large-scale corporate, governmental, and cultural events.”
PROmontaje’s new LEO system comprises 30 LEO-M line array loudspeakers, 18 1100-LFC low-frequency control elements, a Galileo Callisto loudspeaker management system with four Galileo Callisto array processors and a Galileo 616 AES processor. The system was purchased through the Caracas-based distributor Audio Concept, C.A.
PROmontaje’s investment in a LEO system is part of a long-term commitment to raising the standard for audio in live events throughout Venezuela.
“It’s about quality,” Bonilla explains. “When I’ve gone to concerts in the past, I would too often pay a high ticket price and hear low-quality sound. That’s because concert producers were only looking for the lowest-cost system. I’m determined to change that attitude with LEO, and I’m convinced the quality will be a good long-term investment both for us and the concert producers.”
The feedback about LEO’s performance at the Vive Movistar Festival confirmed Bonilla’s decision to purchase LEO was the right one.
“My musician friend told me that even as he was entering the venue around 300 meters from the main stage, the music was coming through strong and clear,” Bonilla says. “Crew members with experience working other large systems also told me that they have never heard anything like it.”
PROmontaje is the event production technology arm of Grupo DEC, a larger diversified enterprise which provides a full range of creative, management, and production services for corporate events, large sporting events, and major music concerts. Since its launch in 2001, Grupo DEC has continued to invest in its own staging, lighting, audio, and video equipment. In 2011, the company grew to where PROmontaje was given its own identity as a supplier of production technology.
In addition to LEO, PROmontaje’s Meyer Sound inventory includes MILO, MICA, and M’elodie line array loudspeakers; 700-HP, 600-HP, and 500-HP subwoofers; JM-1P arrayable loudspeakers; and UM-1P and MJF-212A stage monitors.
Expanded Renkus-Heinz Iconyx System Installed In Stockholm’s Ornate Katarina Church
One of the major churches in south Stockholm, Katarina Church, was originally built by royal decree in the 17th century. It has been destroyed by fire twice and was reopened after the second rebuilding in 1995, restored to its former glory with a large dome and four smaller towers.
It is a large and imposing building, seating up to 900 people in its wooden pews. In addition to its stone floors, white painted stone walls and splendid carved marble, is the gloriously ornate new organ, built by J.L. van den Heuvel Orgelbouw.
Like many churches, over the years Katarina Church had seen a variety of attempts to resolve the acoustics of its highly reverberant and complex space with different loudspeaker solutions.
Karl-Gustaf Kahlau of Renkus-Heinzz Swedish distributor Luthman SMTTS AB explains: “The PA they had originally was a traditional horn system, and after that there was an attempt to introduce a traditional line array system which looked pretty intrusive and didn’t work well in acoustic terms.
“The biggest problem was the interior acoustics with such a long RT, up to 8 seconds, and around the 100Hz region it’s even worse.”
Now, Luthman SMTTS AB has updated the most recent PA system with an extra Renkus-Heinz digitally steerable system.
Kahlau continues: “A single Renkus-Heinz digitally steerable Iconyx IC32 column was demonstrated to the church, and after tuning the multiple beams, using BeamWare, to focus on specific areas of the congregation, it performed fantastically well and the church people were delighted.
“It was great for everyday use and provided perfect speech intelligibility for sermons and so on. But because this is a very event-filled church, with up to 1,000 people at many large events, they were renting in supplementary units to add more coverage and power especially for those events.
“So a recent decision was made to expand the existing single mono system, based on one Iconyx IC32 with IC16s as fills, into a stereo system with one IC32 on either side. With a little fine-tuning, again using Renkus-Heinz BeamWare to focus multiple individual beams from both columns on the different areas of the seating, the stereo Iconyx system has performed fantastically well without the need of any additional equipment, even for the largest events.
“Normally no subwoofer is required, as the system is capable of going down to around 80Hz, sufficient for most of their needs, but one can be added as and when required.
“It’s been a great success and has completely solved their acoustic issues while blending in perfectly with the beautiful architecture.”
Thursday, July 18, 2013
Special Event Services Relies On Outline Loudspeakers For Justin Moore Tour
System Features GTO, GTO-DF, Butterfly, Mantas, LIPF and Lab 21 Speakers
Special Event Services (SES) deployed an Outline GTO-based sound system for the 2013 Justin Moore Outlaws Like Me concert tour, presented at major arenas and concert venues across the country.
With Outline’s exclusive OpenArray 3D Simulation Software, SES employed the company’s integrated flying hardware system to achieve audience coverage and uniform, sound quality at each stop.
A mix of GTO, GTO-DF, Butterfly, Mantas, LIPF and Lab 21 speakers deliver the excitement of Justin Moore’s country rock and emotional ballad performances.
“The most significant aspect of the Outline system that we used for Justin Moore is that it replicates everything I give it without coloration,” says Jeff Oliver, front-of-house engineer for Justin Moore. “Every stage source, from all the guitar amps and microphones, to the drum kit and Justin’s vocals, are faithfully reproduced at each venue with unbelievable consistency.
“Such replication can be difficult to achieve live, and the Outline system does so with ease. The system puts out exactly what I put in, and I think that is the hardest aspect to achieve for live, touring concerts.
“With Outline, the sound is so good that the audience members feel like they are on the stage with the band no matter where they are sitting. Once you work with Outline, you get the chance to learn how an intimate sound can be achieved in a large arena.”
SES is a veteran company that has earned an international reputation for designing and deploying audio and lighting systems satisfying the needs of a broad range of audiences and venue types.
The team at SES relies on the sophisticated integrated flying hardware system included on each speaker in conjunction with Outline’s exclusive OpenArray 3D simulation software to achieve stunning results.
“Outline’s OpenArray software and the design of the cabinets make setup very fast and straightforward,” says John Kaylor, systems engineer for SES. “We go in, measure the room and do all of the predictions in OpenArray, which is really simple to use. The result is a very detailed and accurate sound across every venue.
“The system’s automatic function chooses the angles for each cabinet. We set each cabinet in the array accordingly and fly the system quickly and accurately every time. I believe that the Outline system is one of the most powerful and easy-to-use products I’ve ever encountered. When you need it, the system delivers.”
Oliver also helps with flying the system, and while he appreciates its ease, he loves the results.
“I’ve heard elements of our band out of this PA system that I never knew were there before,” he states. “The Outline system delivers the level of clarity you generally see in a recording studio, a much more controlled listening environment.
“The stereo imagery is second to none. There are nuances that you just don’t hear in other speaker systems. The way Outline’s high-end drivers and wave guides are designed reproduces the top end better than anything I’ve ever heard in my entire life.
“When you pan a guitar in the sound field, you can feel it in the room, you can feel it shift. It just kind of blows your mind that the system reproduces all the way up to 18-19 kHz where all that pretty sonic information is found, like overheads in a drum mix.
“Things like that give you that spatial feel at a concert, and that is good for the performer and the audience. We have achieved this all because of Outline.”
Capital Sound Conquers London’s Hyde Park With Martin Audio MLA
Loudspeaker technology and reconfigured venue overcome noise issues
A different sound reinforcement approach and re-oriented stage provided the right recipe for the AEG-Barclaycard British Summer Time festival at London’s Hyde Park, as Bon Jovi and the Rolling Stones kicked off the 10-day season attracting crowds of 65,000.
Historically, Hyde Park concerts have been dogged by off-site noise problems, leading to neighborhood complaints and the need to reduce sound levels on site — meaning that the audience couldn’t hear the performances. New tenants AEG/Loud Sound chose to look to Martin Audio’s Multi-Cellular Loudspeaker Array (MLA) system, supplied by Capital Sound, to help solve the problem.
Knowing that its advance level of control would be the only scientifically proven system capable of maintaining an offsite level beneath the stipulated 75 dB(A) threshold, there was the equal confidence of being able to raise the levels up by as much as 6 dB from previous years to around 100 dB(A) within the audience area, ensuring that the entire audience was united in the experience.
These figures were verified by Ian Colville, technical manager of Capital Sound, who designed and supplied the complete audio infrastructure. He had praise for the MLA system that allows a site to be mapped and areas optimized for audience, non-audience and entirely “hard avoid.” As a result, neighborhood complaints were reduced to an absolute minimum.
Loud Sound had already received categorical proof of MLA’s capabilities at the 2011-2013 back-to-back Underage, Field Day and Apple Cart Festivals in Hackney’s Victoria Park, serviced by Capital Sound. Immersed in a densely populated neighborhood (as with Hyde Park), complaints about noise escapement suddenly ceased according to the event management.
This gave Loud Sound, the site managers for AEG, the evidence that MLA would be the right tool for the Hyde Park concerts.
But given the sensitivities of noise thresholds in the Royal Parks, a site simulation was first set up at Hatfield House in Herts for the promoters and acoustics consultants Vanguardia Ltd., who routinely carry out measurement and analysis at outdoor events such as this.
Colville and Martin Audio R&D director Jason Baird confirmed that this location was chosen because of its similarities in shape and size to the Hyde Park site, and evaluation took place against other systems.
The Martin Audio system is unique in its ability to place the sound only where it is required. The sound coverage pattern can be programmed into Martin Audio MLA software to help insure sound containment.
Vanguardia recorded near- and far-field measurements and asked Martin Audio to load in two different presets. which set coverage at 330 feet and 165 feet. The measured SPL data over the site was then fed into their own environmental model before giving the system the thumbs-up. Vanguardia’s experience with MLA also caused them to believe that a better off-site sound could be achieved than with a conventional system.
The other key factor in the sound threshold increase was the reorientation of the Hyde Park stage by around 30 degrees from north facing to northwest (directing it away from Park Lane). “The result is that fans positioned out at the perimeter have been able to enjoy an identical sound experience to those at the front of the stage,” states Capital Sound general manager Paul Timmins. “But walk five yards outside the soundfield and it will vanish.”
With its rapid loudness drop-off, the MLA system was created for environments such as Hyde Park. According to one sound engineer who had earlier worked with the system. The ability to ‘taper off’ the sound at the perimeter “is as if an invisible ring has been drawn around the site.”
As Colville assesses, “The ability to gain an extra 6dB of volume onsite, while keeping within the off-site maximum level of 75dB(A), provides a significant advantage. MLA is such a different system, with all of its acoustic cells individually controlled to produce phase-coherent summation in the audience areas.”
Sculpted into the oak shrubbery of the concept stage’s proscenium––the inspiration of set designers MDM working with Star Rigging––were left and right hangs of 16 x MLA elements (with a single MLD Downfill box at the base). Out fill was provided by 12 MLA (and a single MLD each side) with eight pairs of the small footprint Martin Audio W8LM Mini line arrays for front fill.
The subwoofer cardioid broadside array—made up of 32 MLX subs—was the tried and trusted “electronic arc” concept, with one back facing enclosure for every two forward-facing ones providing cancellation at the rear. “The beauty of this design,” says Colville, “is that you can adjust the horizontal dispersion and rear rejection electronically without needing to physically move anything.”
In addition there were 10 delay masts. The front two arcs of four MLA masts each contained seven elements and a single MLD. For the larger shows, two further delay towers at the back were enabled, made up of eight MLA Compacts. Critical distances were 165 feet (from FOH to stage), while the delays were set at 295 feet (from the stage), 525 feet and 688 feet (for the MLA Compacts).
In summary, Colville says, “At Hyde Park we proved how MLA technology allows us to significantly increase on-site volume while containing the sound within a strictly defined area. It’s a great result for everyone involved in the project.”
Martin Audio managing director Anthony Taylor adds: “This is a significant jewel in the crown of worldwide events; we are thrilled that Martin Audio and our MLA technology has been chosen to tackle Hyde Park’s challenging sound issues. This is a win-win for everyone involved: artists, sound engineers and the paying public get the sound performance they deserve, whilst local residents are less impacted.”
In addition to system designers Colville and Martin Audio’s Jason Baird, Capital Sound’s support team included Al Woods (crew chief), Toby Donovan (system engineer and MLA technician) and eight other crew. Account manager was Martin Connolly and project assistant was Michele Conroy. Andy Davies and Chris Pyne, from Martin Audio’s tech support team, also supported the event.
Wednesday, July 17, 2013
RCF Adds To L.A. Nightlife Scene At No Vacancy
Solid Audio Design designs and installs new sound reinforcement system for No Vacancy club featuring RCF loudspeakers.
In Hollywood, entrepreneurial brothers Jonnie and Mark Houston are reinventing the nightlife scene from bottle service nightclubs to cocktail-focused themed venues. They currently operate a number of nightspots including the Cuban rum bar-themed La Descarga, the atmospheric Paris-themed Pour Vous and the Hollywood Piano Bar.
Their latest incarnation is No Vacancy at 1727 Hudson Av., Los Angeles, California, paying homage to Old Hollywood with a historic renovation of what the bar once was – a Victorian period house built in the early 1900s.
When creating a club concept, the Houston brothers strive to create an experience. To accomplish the fusion of audio and architecture, they called on Los Angeles-based Solid Audio Design, who had worked with the twin brothers previously on their Pour Vous club.
“This year the Houston brothers gave us a little more freedom to create a sound design to match what they felt would become their signature venue,” says Solid Design principal Phillip Jordan. “This is an install we are proud of.”
Jordan opted to integrate the small-profile RCF TT051A active speakers, coupled with the small footprint of the S8015 subwoofers which allowed them to easily conceal the speakers.
“RCF’s excellent design quality appealed to the client and the TT Series product cannot be matched for sound quality at any size,” says Jordan speaking of the design consciousness of eliminating the unsightliness of loudspeakers in the venue while still providing the foreground audio ambience. “We wanted a surface mount speaker that with the low ceiling would not be visually obvious, but would still be intelligible and loud yet allow listeners to still be able to talk to each other.”
Jordan notes, “The TT051A with DSP processing can accommodate the veering styles of DJs and handle whatever you put through it. What is amazing about the TT051A is the 5 ½” two-way cabinet it able to produce frequencies down to 65 Hz.”
And with the low-profile footprint of the S8015 (a 15” bass reflex subwoofer that’s only 12” high), “by cutting into the seating we were able to make the sub virtually disappear into the design and at the same time create an impressive warm punch”.
The system design includes an Ashly 24.24 zone system with sequenced Furman ASD120 power distribution. Each zone can be sourced by four DJ input locations. And each area – outside, upstairs bar, downstairs bar and dance floor – can be controlled independently. Power distribution allows the bar manager to sequentially activate each zone dependent on the use of the venue on any given night.
Solid Audio Design is a team of designers and sound engineers who have become known for their focus on quality, design, creativity and precision in their club designs. The Pour Vous project they completed last year was voted one of the 10 best new bars in the U.S. by the CNN Eatocracy blog site. Located in the center of the new cultural revolution for quality design in venues sweeping the country, the design and integration company is at the forefront of nightlife venue engineering.
Sean Paul Tours Germany With Adamson Energia E15
Cobra sound light provide Adamson Energia E15 rig for popular international reggae star Sean Paul tour.
Popular international reggae star Sean Paul recently toured Germany with an Adamson Energia E15 line array PA provided by Hamburg, Germany-based COBRA sound light.
The compact, 10-date tour took place in arenas across the country. COBRA sound light, a full-service provider for pro audio and event technology equipment, recently added the Energia E15 PA for its sound quality, scalability and simple rigging.
“The tour was very compact—Sean Paul played at 10 venues in 12 days with seating ranging anywhere from 3,000 to 7,000,” explains Michael Buchner, partner at COBRA sound light. “It was important that the system be flexible and scalable. Fortunately we had just added the E15s to our inventory, which were exactly what was required.”
The tour traveled with 24 E15 line array modules powered by 8 Lab.gruppen PLM 20000Q amplifiers. The size of the left-right arrays varied depending upon the size of each venue and the amount of audience area to cover.
“The clarity and loudness of this line array system is superb,” Omatali “Tali” Beckett, FOH engineer, says. “The sound of the box is amazing. I didn’t experience any ear fatigue even after mixing at 95 dB – 100 dB for an hour – truly genius engineering.”
The E15 is a 3-way system, with two 15-inch neodymium Kevlar cone drivers, two 7-inch Kevlar cone drivers, and two 4-inch Adamson NH4 compression drivers. Frequency response is 60 Hz to 18 kHz, horizontal dispersion is 90 degrees, and vertical dispersion is 6 degrees.
“When the tour promoter gave me the choice between an L’Acoustics K1 and the new Energia system from Adamson it was a no brainer for me,” adds Robert Stewart, production manager for Sean Paul. “Everyone loves the system and I hope we have a chance to use it again after Sean releases his new album.”
Use of Adamson’s Shooter software facilitated the use of the system in each venue. The predictive software provides a quick way to achieve a balance between speaker placement, vertical coverage and equal SPL throughout the room.
“The Shooter software really simplifies set-up from venue to venue,” adds Buchner. “It is easy to get the the system up and running and then optimize it for the room quickly and easily.”
COBRA sound light also provided a Digidesign Venue Profile at FOH and a Yamaha PM5D-RH at monitor for the Germany tour.
“I can’t say enough about the Energia E15 line array,” concludes Buchner. “It sounds fantastic, is easy to use, and provides tremendous SPL and excellent coverage. We couldn’t ask for more from a line array.”
Adamson Systems Engineering
New MGM Grand Nightclub Hakkasan Chooses Turbosound
New MGM Grand nightclub in Las Vegas boasts five levels of Turbosound loudspeakers.
Las Vegas’ brand new MGM Grand nightclub Hakkasan is rocking the famous strip with high performance Turbosound loudspeakers installed throughout the main room and five additional levels.
At the heart of Hakkasan is a 10,000 sq ft multi-tiered nightclub kitted out entirely with 24 TFA-600HW Flex Array modules and 12 TFA-600L low frequency loudspeakers, flown in four arrays of three low frequency cabinets with six wide dispersion mid/highs. Twelve RACKDP-50 4-channel amplifiers power the 24 Flex Array cabinets.
In addition, the dance floor system employs six ground-stacked TFA-600B single 18-inch bass cabinets and three TFS-900Bi install-specific dual 18-inch subwoofers.
Twenty-two TCX-8 compact passive two-way loudspeakers, and eight NuQ-6 ultra-compact passive loudspeakers supply under-balcony fill. Upstairs, a further 21 TCX-8 speakers have been deployed for balcony coverage.
Audiotek’s Frank Murray — who has been designing audio, lighting and video technology solutions for more than three decades—specified the incredible array of top-notch TURBOSOUND speakers at the mega-venue.
This is without exception the biggest installation Murray has ever been responsible for.
“Hakkasan is a completely different twist to the standard, conventional nightclub format,” he explains. “It had to be treated as five different venues, because none of the areas were to be ranked as secondary. All of them have to excel and perform in their own right. That was the client’s absolute aim — to ensure that every guest, no matter where they are in the building, feels like they’re having the absolute experience.”
“We are motivated primarily by the music,” explains Murray. “With Turbosound here, as in many other landmark projects, we’ve had the use of their resources to spend time ensuring we retain all the musicality while creating the massive, powerful presence demanded by these events. Our aim was to create a dynamic, uplifting and immersive environment to captivate the club’s customers.”
The TFA-600HW is a compact trapezoidal wide dispersion three-way mid-high enclosure, consisting of a 1-inch high frequency compression driver on a Dendritic horn, a 6.5-inch high-mid frequency driver on a patented Polyhorn device, and two Turbo-loaded 10-inch low-mid frequency drivers.
It combines a Dendritic HF waveguide and a midrange Polyhorn together in a single physically-aligned, equal path length waveguide with 100 degree horizontal dispersion, ensuring a phase-coherent wavefront at the horn mouth. In addition, the drive units are symmetrically arranged within the enclosure, which contributes to the smooth and consistent horizontal and vertical coverage.
The TFA-600L is a compact horn-loaded bass enclosure that consists of a single 18-inch neodymium low frequency driver loaded with a TurboBass device. The integrated flying system allows it to be flown at the top of the Flex Array column using a simple conversion frame between the three bass enclosures and the mid/highs.
These work in collaboration with the ground-stacked TFA-600Bi install-specific subwoofers to deliver lower frequencies to the main room, using an identical single 18-inch neodymium low frequency driver loaded with a TurboBass device to maintain consistency with the flown subs.
Finally, the TFS-900B dual 18-inch subwoofers employ hybrid loading techniques, combining the efficiency of a folded horn with reflex loading’s extension, to provide the all-important sub-bass frequencies that contribute so critically to the ultimate emotional experience.
Adjacent to the main nightclub is the Pavilion — an indoor space with an outdoor feel. In terms of the specified equipment, the Pavilion mirrors many of the choices made in the main space. Four hangs of four TFA-600HW Flex Array wide dispersion modules and two TFA-600L low frequency cabinets cover the main space. Further low frequency reinforcement comes from six ground-stacked TFA-600B bass enclosures. Six TCS-122 two-way loudspeakers address the peripheral areas and numerous TCS-C50T ceiling speakers cover the corridors and bathroom areas.
“The goal has been, and always will be, to create benchmark venues, combining world beating technology and effects with the best sound reinforcement. We want to leave people with a lasting set of experiences, which they will carry with them long after their visit is over,” emphasizes Murray.
Renkus-Heinz Iconyx Brings High-Tech Sound To A Classic Church
Digitally steerable column arrays help overcome acoustical and architectural challenges
Parker Memorial Baptist in Anniston, AL, is one of the area’s most storied churches, with a history dating back to shortly after the Civil War. The landmark 19th century building and its 300-seat sanctuary have been lovingly preserved over the years, with its ornate columns and woodworking detail meticulously maintained.
As with many older structures, its picturesque beauty is somewhat offset by troublesome acoustics. “It’s pretty typical of the architecture of that era,” explains Glen Ford of Oxford, AL-based Sound Solutions. “It’s a rectangle—a long box, with an extremely high peaked roof.”
It’s an environment well suited for the church’s traditional Southern Baptist service, with choir, pipe organ, and full orchestra, but not so great for sermons. “Acoustically it’s very challenging to get good intelligibility in a room like that,” says Ford.
The church also has a small balcony that holds about 30 people. Above that, almost 80 feet from the stage, is the front of house mix position (which, quips Ford, is “it’s own air conditioning zone”).
Sound Solutions specified a system based Renkus-Heinz Iconyx digitally steerable column arrays, with a single pair of IC24-R-II columns covering the entire room.
“We chose the Iconyx because it enabled us to steer the sound to focus it on the congregation, and away from the walls and ceiling,” says Ford. “We were able to create multiple beams to cover everything from the first pew all the way up to the sound man. We were even able to create a bit of a ‘null’ at the balcony face to minimize reflections.”
The building’s landmark status and vintage architecture meant that the system had to meet some strict aesthetic guidelines. “The building is 125 years old,” says Ford. “It was clear from the outset that the system would have to be as visually unobtrusive as possible.”
Adding to the challenge were the room’s plaster walls, which were not an option for mounting speakers. The only alternative, the room’s wooden columns, were practically on top of the front row. “We matched the paint and mounted them to the columns, and they’re practically invisible,” Ford reports. “And even at close range, we were able to direct the sound so it wouldn’t blow away the people in the front row.” A pair of Iconyx IC8R-II columns provides monitoring for the choir and orchestra.
System DSP is handled via a Biamp Nexia, with a PreSonus StudioLive 24 digital console at FOH. “The signal is digital right out of the StudioLive, and stays that way all the way to the Iconyx,” says Ford.
He adds that he only path to bring signal to the loudspeakers was up through the attic and then back down along the beam. “The ability to run a digital signal over a single Cat-5 cable for such a long run with no signal loss was another big advantage for the Iconyx,” he says.
Ford reports that reaction to the new sound system from staff and congregation alike has been overwhelmingly positive. Vocalist Janet Paschal, invited to perform at the dedication ceremonies, remarks, “The sound was amazing: sweet acoustics with wide, layered sound. It was difficult to pinpoint the origin of the music - it felt as though you were sitting right in the middle of it.”
Tuesday, July 16, 2013
Community CEO Timothy Dorwart Passes
Led company through its introduction of several important new products
Community Professional has announced that CEO Timothy Dorwart assed away on July 15 due to illness.
Dorwart became CEO in March of this year and led the company through its introduction of several important new products at InfoComm. His previous roles included director and VP positions with Bose Corporation and DMX Music.
Since 2007, he had led the Stanton Group through a successful turnaround as CEO. Dorwart came to Community from Gibson Guitar Corporation where he held the position of general manager, Pro Audio and guided the integration of Stanton Group assets to form Gibson’s new Pro Audio Division.
“We are deeply saddened by Tim’s death,” states Bruce Howze, president of Community Professional. “We mourn the loss of our chief executive and a good friend and we extend our most sincere condolences to his wife and family.”
A memorial service will be held on Saturday July 20 at 2 pm (EDT) at:
First Presbyterian Church of Catasauqua
210 Pine St
Catasauqua, Pa 18032
Community also asks that in lieu of flowers, for those who would like to make a donation in Tim’s name, please consider:
1. Cancer research
2. Your favorite no-kill animal shelter
3. Music education charities
Bose Professional Helps Boiling Springs First Baptist Church Upgrade Performance
System designer James N. Deal Consulting and installer MusiCraft both cite the Bose RoomMatch loudspeakers’ comprehensive range of vertical and horizontal dispersion patterns that were able to precisely predict and cover the entire church’s sanctuary
The First Baptist Church of Boiling Springs, South Carolina, recently undertook a large scale project to upgrade technology in the church’s sanctuary.
The church’s worship style incorporates elements of both traditional and contemporary worship, using choir and organ, plus a worship team and amplified instruments at the front of their 1,100-seat church.
Bose Professional Systems Division, whose RoomMatch loudspeakers and PowerMatch power amplifiers offered the equivalent of a custom-designed sound system which was precisely what the job needed.
The new PA system for the church is composed of two Bose RoomMatch RM5505, four RM5510, two RM7010, two RM9010 and a pair of RM12040 array module loudspeakers, plus four RMS215 subwoofers. Plus Two RM12060 modules provide for balcony fill-in coverage. Six PowerMatch PM8500N amplifiers power the system.
Systems designer Jim Deal utilized Bose Modeler Sound System Software, an acoustic design and analysis program that can accurately predict a sound system’s performance, and the first sound system software to offer full STI prediction.
Modeler was used to fine-tune the design and coverage patterns and select the proper system components. The sound system was installed by Roebuck, South Carolina-based MusiCraft Sound & Video, a longtime Bose dealer.
Jim Deal says he’d been intrigued by the design approach of the RoomMatch and PowerMatch products since they came to market, especially their potential for maximizing performance in reflective and more reverberant environments.
He was able to experience them installed in a church in the Dallas area and was impressed. Music Pastor Butch King was also able to to hear the Bose system in person while attending a worship conference in Dallas, and was equally impressed.
“The fact that the Bose RoomMatch components offer so many possible configurations allows me to design a system that will provide high quality intelligible sound to the seating area, while minimizing reflections from walls,” explains Deal. “The result is a system with greater clarity, detail, and impact, and we all were delighted with the result.
“Since the system was installed, the reaction from the church members and from others who have heard the system has been very, very positive. Everyone is pleased with the outcome.”
David Clyburn, who was the Project Manager for MusiCraft and supervised the system’s installation, says the RoomMatch speakers went in without a hitch, enabling them to complete the job within the tight five-week time frame allotted.
“The wide variety of horn patterns means we knew exactly where each enclosure had to go, instead of the hang-and-shoot techniques you have to use with many line arrays that require constant tweaking after they’re hung. With the RoomMatch modules, you can predict exactly where the sound is aimed, knowing that you can effectively keep the energy off the walls and keep it on the congregation,” he explains.
Clyburn says he’s been a huge fan of Bose Professional live-sound products for years. “We were excited when Bose came out with the RoomMatch and PowerMatch products,” he adds. “They gave us a larger system to work with that we can apply to a wider range of projects. We’ve been working with Bose for years and we’ll be working with Bose for years to come.”