Loudspeaker

Monday, February 01, 2016

New Coppell High School Arena Outfitted With Fulcrum Acoustic

32 Degree Audio chooses DX1577 dual 15-inch and CX1277 12-inch coaxial loudspeakers for 5A-rated Texas high school arena.

The 5A-rated Coppell High School in northwest Dallas County, is the alma mater of top professional athletes, such as 2014 American League Cy Young Award-winning pitcher Corey Kluber of the Cleveland Indians and home to a new 2,600-seat performance arena to host indoor athletics and other events.

For the arena’s new sound system, Ron Stanley of systems integrator 32 Degree Audio chose Fulcrum Acoustic DX-series and CS-series loudspeakers for the new Coppell PA.

“The Coppell High School sound system was a mission-critical job for many reasons,” Stanley relates. “In addition to the need to deliver loud, clear sound, including music as well as speech, the system has to deliver bell tones and emergency announcements. So it has to be absolutely reliable and intelligible everywhere in the space. Anywhere I need a super-premium speaker that sounds great and is totally reliable, I use Fulcrum Acoustic loudspeakers.”

Why Fulcrum Acoustic? To Stanley, the reasons are obvious. “The quality is excellent: In addition to delivering high-quality sound, I have never had a Fulcrum Acoustic speaker fail,” he states. “And Fulcrum’s customer support all but guarantees that the system will sound good with no guesswork. For instance, Fulcrum did the acoustical modeling for me on this project and recommended which speakers I should get. The speakers are made in the USA, so I can call the factory and talk to the engineers. That’s the level of support I need for a project of this caliber.”

For the main system, Stanley employed 14 Fulcrum DX1577 dual 15-inch coaxial loudspeakers, suspended from the ceiling and configured as a distributed ring. Three Fulcrum CX1277 12-inch coaxial loudspeakers hang over the basketball and volleyball court, pointing straight down to cover the court area.

“I wanted to use point-source speakers rather than line arrays for this project because it would be easier to align the system and ensure everything is in phase,” Stanley explains. “With the DX1577s, the system is very present, intelligible, and loud everywhere in the space. We didn’t feel he need for subwoofers, either, which would have complicated placement and alignment, because DX1577s deliver plenty of low frequency response. Also, the Fulcrum Acoustic point source boxes weigh under 100 lbs., so we could hang them with 1/8-inch steel cable and didn’t have make any complicated bridles.”

Stanley’s design is flexible in several ways. “We used Crown DCi-series multi-channel amplifiers with one amp channel per speaker, and the DX1577s are biamped, so that really is one amp channel per element. Everything is tied into a BSS Soundweb London Blu-160 DSP, and I’ve done a lot of programming. The system is linked into the main school PA, as well. So we can individually tune each speaker, and the customer can turn certain speakers off, enable or defeat bell tones and announcements from the school PA, and so on.”

There’s a lot more to the system, including mic inputs at key positions, prewiring and programming to add foyer speakers in the future, and a Soundcraft digital mixer with Blu card for accessing the system via Ethernet.

But what matters most is that Coppell Cowboys and Cowgirls fans will hear music and announcements clearly and intelligibly.

“Louis Macias, director of facilities for Coppell ISD, brought us in on this project because we’ve worked with them before and he trusted us to get it done right,” Stanley proclaims. “The new arena is important to the community and to us, and my goal is to give the school district maximum value, with a system that does everything they want at a very high level. So I left nothing to chance. With Fulcrum Acoustic loudspeakers and the support Fulcrum provided, I had complete confidence that we’d achieve our goals.”

Fulcrum Acoustic

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Posted by House Editor on 02/01 at 12:33 PM
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Compact Version Of NEXO ID Series To Make ISE Debut

New ID Series (InSpace Definition) includes the ID24 full-range compact loudspeaker and two low-profile subs, the ID S110 and ID S210.

A compact version of the NEXO ID Series will make its debut at the ISE Show in Amsterdam.

This brand-new family of low-profile high-output loudspeakers is already finding their way into theatres, auditoriums and fixed installations.

ID (InSpace Definition) describes a new category of products, intended as problem-solvers for the toolkits of system designers and installers in all areas of the audio business. The physical characteristics of the loudspeaker cabinets are compact and low profile, enabling use in architecturally challenging spaces.

The ID Series is comprised of three products. The ID24 full-range compact speaker, using twin 4-inch drivers in a V formation in combination with an HF compression driver on an easily rotatable horn from the back panel; currently four horn patterns are available. Two low-profile subs, the ID S110 (1x10-inch) and ID S210 (2x10-inch) complete the ID offerings.

The unique design of the ID24 offers so many possibilities for specific applications that NEXO has designated three versions: ID24i for installation, ID24t for touring and AV rental, and ID24c the “a la carte” or custom version, including any RAL color with quantity.  Certain weatherization features are built into the ID24 so that application can extend to corrosive environments.  The ID24 can be mounted vertically or horizontally, providing four different directivity options per cabinet.

The ID24i is designed for the fixed installation environment with termination in captive cable for fast, secure connectivity using existing wiring. It is available in a black or white finish with a matching fabric grill, and threaded holes for compatibility with NEXO and popular third-party mounting hardware.

For AV and live music applications, the ID24t features NL4 connectors and quick release rigging points for easy mounting, horizontally or vertically. The speaker is compatible with a range of NEXO accessories, and is available in black with a matching steel grill. These can be deployed as under-balcony speakers, pole mounted, flown from a truss, or precisely angled for stage front-fill applications, and can even be used as a wedge monitor, when placed upright in the horizontal plane.

There are also two compact subs in the ID Series. The S110 single 10-inch and the S210 double 10-inch have a low-profile, sleek design, which allow them to be easily installed discretely in a wide range of locations; i.e. within or on walls, staircases, under furniture, and more.

The ID24 benefits from highly cost-effective amplification opportunities in three specific ways: 16 ID24 cabinets can be powered by a single NXAMP4x4, using a combination of DTD Controller and DTDAMP models, or by using the DTD Controller with existing, generic amps.

Remote monitoring using the NeMo application, EtherSound or Dante network and AES/EBU digital input compatibility extend user control in real-time to a front of house position as an option.

NEXO

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Posted by House Editor on 02/01 at 10:05 AM
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Nashville’s Father Ryan High School Picks Ashly Audio

Linton Audio Unlimited resolves system inadequacies with ne24.24M Protea matrix processor, nX-Series amplifiers, and an MX-206 analog mixer.

Ongoing issues with the sound system in the 2,300-seat gymnasium at Nashville’s Father Ryan High School were recently resolved with upgrades, including processing and amplification from Ashly Audio.

Loyalty to the nearly century old Father Ryan school and its sports teams (flying under the banner of“The Irish”) is fierce, and the school raised funds to build a sizable field house a few years ago.

Father Ryan had to rent a sound system for graduations and other large events, and it had to make do with the less-than-ideal system for sporting events. Now, thanks to local A/V firm Linton Audio Unlimited, Father Ryan has an excellent sound system based around an Ashly Audio ne24.24M Protea matrix processor, three Ashly nX-Series amplifiers, and an Ashly MX-206 analog mixer.

“Father Ryan High School was in need of an excellent sound reinforcement system that would capably cover the stands and the floor, with flexibility to work with different stage and seating arrangements for different kinds of events,” explained Gus Laux, owner of Linton Audio and long-time (27 years) tour manager with country music legend Don Williams. “We decided on a system with four zones, where each of them could be turned off or on, delayed, or adjusted to give the school ideal directionality and clarity for any situation they could foresee. I went with Ashly because I’ve been successfully using Ashly products since the late 1970s. Ashly has a killer combo of versatility, sonic beauty, and reliability – Ashly gear always does what I expect it to do right out of the box, and it does it day-in and day-out, for years on end. And of course it’s great that Ashly is made in the USA.”

Four biamped Worx Audio X2 loudspeakers provide complete coverage of the stands and the floor, with a Worx Audio TL118SS 18-inch subwoofer to round out the low end. Together, two four-channel Ashly nX 3.04 amplifiers that deliver 3000W per channel power the four biamped loudspeakers, and a two-channel Ashly nX 3.02 amplifier handles the subwoofer. “I wanted to give every component plenty of power,” Laux said. “The cable runs are especially long, so I knew I had to get as much power at the front end as possible.”

An Ashly ne24.24M Protea matrix processor handles all of the loudspeaker and subwoofer conditioning, as well as all the necessary matrix routing, level adjustments, and delay to properly tune the system for any given type of event. Users control input volumes and output volumes from an intuitive Ashly MX-206 analog microphone/line-level stereo mixer. Together with two wireless microphones, strategically located jacks provide wired microphone input. Additional existing music sources and a jack on the front of the MX-206 give Father Ryan High School plenty of options.

“We’ve gotten great reports from the school officials,” said Laux. “The president went to an event and said the intelligibility and impact far exceeded anyone’s expectations. No matter where they are in the room and no matter how they orient the system, everyone can hear every detail… from just four loudspeakers! We set up the delays and leveling so that listeners always locate the sound at the stage or wherever the action is – you hardly notice the other loudspeakers even though they’re doing a lot of work. In addition, the response is full-frequency hi-fi, and one of the board of directors was so taken by it that he wanted to bring music in to hang out and listen.”

Ashly Audio

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Posted by House Editor on 02/01 at 08:03 AM
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Yamaha Releases New Power Amplifiers And Surface Mount Loudspeakers

The new commercial installation VXS F Series loudspeaker models and MA2120 and PA210 amplifiers will be available Spring 2016.

Yamaha Corporation Japan announces new additions to the Commercial Installation Solutions (CIS) lineup that have been specifically designed for small to mid-sized installations.

With a focus particularly on background music and paging applications, the new VXS3F, VXS3FW, VXS3FT and VXS3FTW surface mount loudspeakers, as well as the MA2120 and PA2120 power amplifiers will be added to the continually evolving CIS Series.
 
Drawing from decades of experience in the sound reinforcement and touring markets, Yamaha developed the CIS lineup in 2012 in order to create an appealing, effective sonic environments for commercial installation applications.

“The new CIS products will provide more flexibility and meet the specific demands of our customers,” states Marc Lopez, marketing manager, Yamaha Professional Audio, commercial audio products. “With the addition of four new surface mount speakers and two new power amplifier models, customers will have a more flexible range of options to configure a high-quality sound reinforcement system that best suits the specific application requirement.”

The VXS Series lineup will now include the most compact models yet: the VXS3F, VXS3FW, VXS3FT and VXS3FTW. The new MA2120 and PA2120 power amplifiers will add more power and flexible features to the Yamaha MA/PA Series that has proven ideal for configuring simple, high-quality sound systems.

The new VXS Series F models feature a more compact enclosure design offering additional flexibility for varying installation environments. They feature a curved form that functions in restaurants, cafes, or retail store interiors. The loudspeakers have also been tuned specifically to deliver high quality music playback, and the compact, full-range loudspeaker unit can project to a wide, consistent coverage area even at low volume levels. Two variations are provided for different installation requirements: the VXS3F and VXS3FW (low impedance models) are ideal for smaller spaces that can be serviced by a small number of loudspeakers, while the VXS3FT and VXS3FTW (high impedance models) are perfect for larger or more complex areas that require a greater number of loudspeakers.

The two new, durable MA2120 and PA2120 power amplifiers are ideal for configuring simple, small to mid-sized installations providing easy setup without the use of computers. Both models support low impedance (120W x2ch @4Ω/100W x2ch @3Ω, 8Ω selectable) as well as high impedance (120W x2ch/200W x1ch, 70V/100V selectable) speaker systems. Both models are equipped with highly efficient Class-D amplifiers and intelligent protection features in the power supply and amplifier unit to ensure safe, worry-free operation. The new models have been certified by ENERGY STAR, the internationally recognized standard of environmentally friendly equipment and facilities, and also qualify as Yamaha Eco Products.
 
The MA2120 comes equipped with six mic/line inputs and two stereo inputs with input mixing capability. The mic inputs feature 24V capability, and input 5 and 6 can be used as MONO SUM inputs. A range of onboard DSP functions (Feedback Suppressor, Priority Ducker, Leveler, Compressor and Reverb, and Echo) adds flexibility to accommodate a wider range of applications. The MA2120 also features stereo source EQ with an enhancer function for input 7 and 8, output EQ for each of the two output channels, optimized speaker EQ settings for VXS/VXC speakers and VXS subwoofer, and selectable HPF/LPF settings.
 
Both the MA2120 and PA2120 are capable of controlling input sources for applications with two different zones, such as a retail store with two floors or a restaurant with a seating area and separate bar area. For larger spaces, an additional PA2120 can be added to expand the system and accommodate additional zones. Users can also add DCP1V4S, DCP4V4S and DCP4S wall-mount control panels to a system for convenient remote control of output volumes and microphone on/off switching for ease of use by the establishment’s staff.

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The new MA2120 and PA210 will be available Spring 2016.


Yamaha

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Posted by House Editor on 02/01 at 07:49 AM
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Friday, January 29, 2016

EAW Announces Adaptive Systems Training & Product Demonstration

Eastern Acoustic Works to present Level 1 Training along with demonstrations of Anya, Anna and Otto in Las Vegas.

Eastern Acoustic Works (EAW) has announced Adaptive Systems product demonstrations and Level 1 Training that will take place at Buffalo Bill’s Arena at the Primm Valley Resort Casino in Las Vegas.

Adaptive Systems Level 1 Training is scheduled for February 22-23, while product demonstrations of Anya, Anna and Otto will occur February 24-26, 2016.

During the two-day training program participants will receive a comprehensive review of the fundamentals of sound, as well as advanced topics in line array theory, EAW Resolution modeling, Dante, and analysis of the algorithms that drive the Adaptive Systems products. The training will conclude with a thorough, hands-on practical demonstration that provides participants with the knowledge necessary to successfully deploy and use Adaptive Systems in any application.

A comprehensive printed training manual is provided to each attendee. Upon successful completion of Adaptive Systems Level 1 training, participants receive Adaptive Systems Technician Certification and are added to EAW’s registry of Adaptive Systems Certified Technicians. Space is limited for the free Las Vegas training program. Registration does not guarantee a spot in the program. A confirmation email will be sent by February 5 to accepted attendees. 

After training, three days of products demonstrations will offer industry professionals the opportunity to experience the capabilities and benefits of Anya, Anna and Otto. The application-focused demonstrations will showcase ideal systems for theater and corporate events, arena/stadium shows and EDM productions. Each day is broken down with morning and evening demonstrations. Specific demonstrations – Anna mains with Otto; Anya mains and Anna outfill with Otto; or Anya mains with Otto – can be chosen during the registration process.

Online registration for training and product demonstrations is available here.

Eastern Acoustic Works

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Posted by House Editor on 01/29 at 10:26 AM
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University Of Oklahoma Renovates Elsie C. Brackett Theatre With L-Acoustics

Skylark AV and BOLD-Multimedia install compact Kiva loudspeakers during renovation of Rupel J. Jones Fine Arts Center.

The University of Oklahoma (OU) places a premium on the performing arts; with a School of Musical Theatre, music school, and one of the nation’s oldest established drama schools, second only to Yale in terms of longevity.

So when the Norman, Oklahoma campus revealed that it was renovating the main 570-seat theater at its Rupel J. Jones Fine Arts Center, L-Acoustics Kiva loudspeakers soon became one of the anticipated updates.

For the audio portion of the retrofit, AVL project coordinator BOLD-Multimedia turned to Oklahoma City-based Skylark AV to help recommend a house sound system for the newly dubbed Elsie C. Brackett Theatre, which frequently hosts musicals, drama, dance and opera.

“The Brackett’s previous system needed to be replaced for three reasons: aesthetics, poor coverage and outdated technology,” notes Skylark AV’s Steele Beaty. “The university uses the venue not only as a place to hold shows and performances, but as a learning center for students who are looking to build a career in the field of live production, so it was their goal to implement the latest in audio technology. Our task was to specify a product that not only sounded great but also had perfect audience coverage and aesthetically blended into the remodel. Kiva was the right fit for all of their criteria.”

Skylark/BOLD’s solution involved the deployment of left and right arrays comprised of six compact L-Acoustics Kiva enclosures flown under a single SB15m sub per side—plus a center hang of an ARCS Focus over an ARCS Wide used solely as an effects system. Four coaxial 12XTi are flown inside the stage area for performer monitoring, and the entire system is driven by one LA8 and two LA4X amplified controllers.

“Although we felt that an L-Acoustics system would be the best fit for the room, ultimately it was the school that made the decision to go with the brand,” Beaty continues. “They were extremely familiar with the product, and in their opinion thought it was a better choice than the other competitive systems. We agree. Kiva delivers an extremely even frequency response from the front row to the back of the room. And form factor versus performance is another reason why the product was chosen. With a total array height of only five feet, it perfectly fit into the space while reaching incredible SPL for its size.”

The Brackett Theatre first fired up the new L-Acoustics system in October with several performances of the technically demanding, Tony Award-winning musical, Ragtime. Since then, the venue has hosted a wide array of productions—from Richard O’Brien’s The Rocky Horror Show to The Nutcracker—all of which have reportedly sounded better than ever in the newly remodeled space.

“Once the Kiva system was turned on, we quickly realized how special it was to be a part of this project,” adds Beaty. “The significance of the upgrade to this historic venue elicited tears from some of the University of Oklahoma staff commenting, ‘It’s the best sound we’ve ever had; I can’t believe that it actually happened.”

L-Acoustics
BOLD-Multimedia
Skylark AV

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Posted by House Editor on 01/29 at 09:24 AM
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Singapore American School Steps Up To Meyer Sound Constellation

Active acoustics technology used as teaching tool and customizable sound experience for community productions

The Singapore American School (SAS) has installed a Meyer Sound Constellation acoustic system in its upgraded school auditorium, fixing a sound issue that prevented performers from hearing each other clearly.

The system now gives students the opportunity to learn about active acoustics technology first hand, while also providing a customizable sound experience for community productions.

“As a school, we have a bold vision to be a world leader in education, cultivating exceptional thinkers, prepared for the future,” says Dr. Chip Kimball, superintendent of SAS. “Constellation allows us to be that world leader; it truly is the epitome of excellence. Our students and our staff are tremendous performers and talented individuals, and they work very hard to perfect their craft. The acoustic system shines light on their art. This auditorium is a special place; these kids are going to do amazing things in their lives.”

SAS students who study stage lighting, sound, video, and stage technical systems will now learn to apply calibrated sound settings to different types of performances, and study the principles behind processor sound sampling and optimizing reverberation. Students will develop ideas for live sound performances such as drama, musical theatre, speech, jazz, symphonic band, chamber orchestra, and choir.

“As much as you can operate lighting to get someone’s attention on something, you can also change the focus of what they’re hearing,” explains Paul Koebnick, assistant theatre manager and teacher. “Students responsible for sound operations can change the sound settings in the middle of a show, when a different group comes on with a different song.”

The effects of Constellation have already been noticed by students.

“Before, the auditorium was really difficult to project sound in,” reports Tia Abdi, SAS high school senior and mixed choir member. “You could often only hear yourself sing, and it was hard to hear any other parts. Now I can hear the people around me a lot more easily, and the audience can definitely hear whether our sound is flat or ringing.”

The Constellation system is built around a D-Mitri digital audio platform that hosts patented VRAS acoustical algorithms. Acoustical ambience is captured by 38 microphones, and the enhanced acoustical response is delivered through over 200 speakers over the stage and audience, including MM-4XP self-powered, UP-4XP, and UPM-1P loudspeakers, UPJunior and UPJ-1XP VariO loudspeakers, Stella-4 installation loudspeakers, and UMS-1P and UMS-1XP subwoofers. The system was supplied by Singapore-based Coda Group.

Constellation is a part of a large renovation to the 19-year-old auditorium that also includes new seats, energy-efficient lighting, new carpeting, sound-absorbing and reflecting walls, and improved soundproof double doors. A previously installed Meyer Sound M1D line array loudspeaker system with M1D-Sub subwoofers is used for direct reinforcement when needed, with fill provided by MM-4 and UPM-1P loudspeakers.

Singapore American School is an independent, non-profit, coeducational, college preparatory day school offering an American curriculum with an international perspective for students in preschool through grade 12. Established in 1956, the school primarily serves the American and international expatriate communities of Singapore, and has the largest Advanced Placement program outside of the United States.

Meyer Sound

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Posted by House Editor on 01/29 at 08:43 AM
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WAAPA Upgrades Music Box Theatre With VUE Audiotechnik

Former lecture hall converted to performance space for contemporary jazz and modern rock with al-4 arrays and al-4SB subwoofers.

The Western Australian Academy of Performing Arts (WAAPA) at the Mount Lawley Campus of Edith Cowan University, is home to a variety of performance studios and theatre spaces including the newly refurbished Music Box Theatre.

The Music Box Theater recently received a new PA system designed by Amber Technology and installed by Sinclair Communications including VUE Audiotechnik al-4 Subcompact Line Arrays, al-4SB Flying Subwoofer Systems and V4i System Engines.

Formerly serving as a lecture hall, the space that is now home to the Music Box Theatre is now being used for contemporary jazz and modern rock performances by students as well as guest artists.

The limitations of the existing space — caused in part by its close proximity to adjacent lecture spaces — and the need for high-quality sound reproduction presented several challenges in the design of the PA system.

Due to a steep rake in the seating area and the addition of a false ceiling, space to fly a PA system had restrictions. The position of the arrays and the anchors for the frames had to be determined and installed prior to the room’s upgrade. In addition, special consideration had to be given to a large projector screen on the back wall as well as lighting bars that were already in place.

Before making any equipment decisions or purchases, a demo was held between VUE loudspeakers and speaker systems from two other major pro audio manufacturers. Owen Ironside, technical sales manager, Amber Technology, chose to spec VUE al-class scalable line arrays for the project.

“We had a PA demo between the contending manufacturers, and while each system we listened to had it merits, we were really impressed with the definition and clarity of sound that the VUE system produced,” says Tim Landauer, venue services officer, WAAPA. “The system gave us great low-mid balance and coverage control, plus the low profile looks great in the room.”

The results achieved by VUE, Amber Technology and Sinclair Communications have clearly impressed the personnel at WAAPA.

“Our VUE al-4 line array provides remarkable performance for its compact size and delivers a massive decibel level,” says Gwyn Hewson, venue services officer, WAAPA. “Its low profile and streamline looks were certainly a deciding factor.”

To determine the optimal placement of the arrays to overcome the physical challenges of the space, Ironside and his team employed EASE Focus 3D Acoustic Modeling software to determine optimal coverage and the best hang points for the arrays.

“Using the VUE al-4s, the system easily overcame the issue of varied sound distribution,” Ironside reveals. “Concerns regarding transmission of noise to the lecture theatre directly above the venue were alleviated by carefully focusing the arrays mounted in the frames and the chains used to install them to mitigate the transmission effects.”

Installation was performed by Sinclair Communications and supervised by its owner, Cliff Blackburn. To increase isolation and further control acoustic reflections, the room was then heavily treated with acoustic panels.

Four al-4 Subcompact Line Array Systems and one al-4SB Flying Subwoofer System were flown per side above the front edge of the performance area. The al-4SB’s integrated rigging hardware allows the al-4s to be suspended directly below the al-4SB cabinet, enabling the complete system to provide thorough and consistent coverage throughout the room while providing low-frequency reproduction down to 45 Hz. Amplification with built in dsp and networking is supplied by two VUE V4i Installation System Engines, each capable of generating two channels at 1600 watts for the low frequencies plus two channels at 550 watts for the high-frequency components.

“Performances using the new VUE system have been regular,” Ironside continues. “The venue is booked out most days with concerts and ensemble rehearsals.” According to the staff at WAAPA, the VUE system has performed flawlessly under this rigorous schedule. “The seamless coverage in the room is fantastic,” observes Landauer. Laurie Sinagra, lecturer, production & design and arts management, WAAPA concurs, “I’ve never heard a more clear and natural sounding system.”

VUE Audiotechnik

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Posted by House Editor on 01/29 at 07:27 AM
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Thursday, January 28, 2016

HK Audio Announces Lucas Nano 608i At NAMM

Compact PA system features eight channels, seven reverb programs, EQ and compressor functions, with Bluetooth streaming.

HK Audio introduces the LUCAS NANO 608i compact PA with iPad-enabled wireless mixer on board.

Featuring eight channels, seven reverb programs, EQ and compressor functions, and Bluetooth streaming.

Setup requires only one cable connection, for AC power. Designed to allow two units to be linked for an expanded system.

Key features include:
—Integrated wireless iPad-enabled mixer
—Free app for iPad: LUCAS NANO REMOTE
—Eight-channel digital mixer
—Simple handling; assembles in seconds
—Bluetooth: audio streaming and wireless connection to the app for iPad
—Flexible: can be used as a mono PA, a 2.1 setup or in Twin Stereo
—Two satellites with 4.5-inch woofer and 1-inch tweeter
—10-inch subwoofer
—Low-resonance bass enclosure featuring “Anti-Resonance Bracing”
—130dB max. SPL
—Multicell Transformer technology
—460-watt power amp
—Transport bay for the satellites located in the subwoofer
—Signal-carrying distance pole (available separately)
—Just 16.3kg

HK Audio

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Posted by House Editor on 01/28 at 08:15 AM
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Nitelites Becomes First UK Investor In RCF TTL55-A

Company adds 144 cabinets to inventory, including TTL55-A three-way enclosures, TTS56-A 2 x 21-inch subs and TTS36-A 2 x 18-inch subs.

RCF partner, Nitelites, has become the first UK company to acquire RCF’s flagship TTL55-A active PA system, having invested in a complete arena/festival sized system.

This will not only give the sound and lighting specialists the capacity to provide sound coverage of the largest festival sites but at the same time provide them with a number of scalable options for smaller events.

The consignment of 144 premium RCF cabinets includes 56 TTL55-A three-way enclosures, 24 x TTS56-A 2 x 21-inch subs and 24 x TTS36-A 2 x 18-inch subs. In addition, a further 24 of the smaller TTL33-A will be used as downfill boxes at the bottom of each hang, as well as infill duties, while 16 TTL36-AS will provide further LF extension, boosting the dynamic range of the flown arrays.

Aside from the loudspeakers themselves, Nitelites director Andy Magee confirms that the purchase was equally driven by the relationship the company has traditionally enjoyed with the Italian manufacturer, and its north of England-based technical manager and live touring specialist Mick Butler.

“We strongly believe in the product and in the company — and this is the reason we have been involved with them for so long,” he said.

Already familiar with the smaller TTL33-A, which they run in their hire fleet, Nitelites first had the opportunity to evaluate the ‘big brother’ in a real world situation, when in the Spring of 2013 they were asked to provide production support at the Royal Albert Hall for Italian artist, Luciano Ligabue. “This gave us the opportunity to see how good the system was, and how powerful it could be with its onboard DSP.

“We started to think hard about our own rental infrastructure and knew that this would open up a new revenue stream by enabling us to present the market with a premium system at a really attractive price point.

We could also see the ongoing technology developments with their advanced RD Net control platform, and the scope for further electronic enhancement and software development by RCF’s R&D team. We were also impressed with the time RCF engineers had spent tuning their reverse cardioid setting so we can decrease energy irradiated to the rear of the stage and steer the energy better. So this is very much an investment in the future.”

Nitelites’ first port of call on taking delivery was the Sage Gateshead, close to their Newcastle-upon-Tyne base, where they already have RCF’s HDL20-A line array installed — and they took the opportunity to rig and dry run the new system.

They then set about organizing a high profile launch to production managers and front of house engineers at the new Production Park in Wakefield, where they have previously undertaken full production rehearsals for touring accounts such as Frank Turner and Ben Howard.

“When we discovered they were planning a similar expansion the timing couldn’t have been better,” continued Magee. “Between us we have formed something of a northern powerhouse, and we look forward to presenting a three day system launch from March 1-3.”

In fact Production Park’s new £2.5m phase one development incorporates a cluster of live event production resources spanning over £300,000 sq ft and five LS-Live rehearsal offices, three of which are mega-sized spaces. The new TTL55-A will be rigged in Studio 001.

States Adam ‘Bullet’ Bettley, Studio & hire Operations manager at LS-Live, “When Nitelites approached me about hosting their RCF demo days I could see straight away what a brilliant opportunity it was for both of us. Production Park is all about bringing the best in the events industry together so it’s a perfect fit.

“At the same time, with 17,500 sq. metres of space, LS-Live’s Studio 001 is the perfect location for the Nitelites guys to really show off what the amazing TTL55-A system can do in an arena. In fact, having studied music tech at uni, I’m really hoping that I might get a chance to play with it myself.”

In conclusion, Magee states, “We have a great dialogue with RCF and they are always prepared to listen to suggestions. We have backed the TTL55-A with national arena touring in mind, and look forward the challenge of building the brand further in the live sector. In fact I can see very few occasions where this won’t deliver.

And Butler adds, “We are delighted not only that Nitelites has made this commitment, but also to have been part of their success story over the years, as they have developed into a top line sound and lighting rental company.”

RCF

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Posted by House Editor on 01/28 at 07:27 AM
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Wednesday, January 27, 2016

D.A.S. Audio Supports Electric Daisy Festival Orlando

DBS Sound and Lighting deploys Aero 50 and Aero 20A arrays with UX-221 and LX-118A subwoofers for electronic dance music festival

EDC (Electric Daisy Carnival) Orlando 2015, the electronic dance music festival hosted by Insomniac Events recently completed its 2-day run on the grounds of Tinker Field.

This year’s extravaganza saw performances by artists including DJ’s Simon Patterson, Paul Van Dyk, and Ferry Corsten along with Green Velvet, Claude Vonstroke; supported by Aero Series 2 arrays from D.A.S. Audio.

DBS Sound and Lighting of Irwindale, CA was contracted to handle sound reinforcement for this year’s EDC event. Ruben Silva, the company’s owner and chief operator, ultimately deployed Aero 50 3-way line arrays, Aero 20A compact line arrays, UX-221 subwoofers, and LX-118A subwoofers. He discussed the challenges of the project and his experience with the D.A.S. Audio equipment.

“This year’s EDC event drew an average of 134,000 people each day” Silva explained, “so we needed a large and potent sound system setup. In order to provide the SPL levels necessary for suitable coverage, we used twenty D.A.S. Audio Aero 50 line array enclosures powered by Crown HD12000 amplifiers—10 each for the left and right main hangs. We also used four D.A.S. Aero 20A line arrays for front fill and another eight Aero 20A’s for out fill—four per side.”

“For low frequency support,” he continued, “we deployed twenty-four D.A.S. UX-221 subwoofers configured as eight triple-stacks in a cardioid configuration. These too, were driven by Crown HD12000 power amps. Sidefills were handled by a combination of Aero 20A line array enclosures and LX-118A powered subwoofers—two each for the left and right sides.”

“As a large format line array, the Aero 50 has great throw, which was essential for an audience of this size. These enclosures are easy to rig, they’re power efficient, and while they have very high SPL capability and yet they’re really quiet when you’re behind them. Similarly, the Aero 20A is super-efficient, loud for its compact form factor, and is versatile enough to be used in for house mains, sidefills, front fills, and more. And the UX-221 sub is insane! It delivers deep bass and high output. The entire rig sounded awesome—with lots of headroom, great fidelity, transparent and clear sound with lots of 23 Hz bass.”

Silva was equally complimentary of D.A.S. Audio’s customer and technical support services. “Being in this business for over 23 years, you can only imagine how many brands and type of speakers I’ve owned,” he said. “D.A.S. makes great loudspeaker products and is continuing to improve every year with gear, service, and customer support. Carlos Henao (D.A.S. Audio’s US accounts manager) introduced me to the Aero 50 line array, but it was the value and great support he and the whole D.A.S. staff provided that made the deal.”

Before shifting his focus to an upcoming project, Silva offered these final comments on his experience with D.A.S. Audio equipment, “EDC Orlando was a success. German Grammy Award-winning electronic dance music DJ, musician and record producer Paul Van Dyk loved the rig. Further, the Event staff and Promotions team were very happy with the rig and the services we provided. Most importantly, we’ve been invited back. When one project leads to new business, that’s as good as it gets.”

D.A.S. Audio
DBS Sound and Lighting

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Posted by House Editor on 01/27 at 01:54 PM
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PK Sound Chosen For USC Resolution And Insomniac New Year’s Eve Shows

Company supports events in California and Washington after more than 130 high profile events in 2015.

USC Resolution packed Seattle’s WAMU Theatre with fans eager to “ring in the new” with a spectacular line-up of performers supported by Trinity arrays from PK Sound.

“The contrast between the artists was exciting,” says front of house engineer Austin Perkins. “DJ Craze used vinyl, and jumps quickly from one track to another. Liquid Stranger’s production has a lot of depth to it, and was extremely immersive thanks to Trinity’s powerful low-mid and crisp high frequency.”

Aaron Silverstein, marketing coordinator, notes that “We had everything from big progressive beats like Eric Prdydz and Benny Benassi; feel-good music like Seven Lions; and your dirty bass music such as Snails, Liquid Stranger and Slander.”

Perkins feels it’s the way the speaker system engages crowds more than any other factor. “People are always astounded how immersive and powerful PK’s speakers really are. Every time the bass hits, you get sucked into a wave of music; and now with Trinity, every vocal line sounds like it’s being sung directly to you. Everyone we spoke to the whole night was having a blast being swept up in the music.”

That same vibe was being created at Insomniac’s Countdown at the Nos Events Center in southern California. The success of the event served as a kick-off to what has been described as Insomniac’s “massive multi-genre line-up for 2016”, and PK Sound is proud of the strong relationship it has developed with Insomniac

Insomniac’s events have been key venues for the past year’s launch of PK’s Trinity loudspeakers. The system has demonstrated its value in many respects, including making set-up significantly faster and safer – an important factor especially when schedules are tight at major venues. Another important factor, especially for events with multiple stages or where zoning sound restrictions in dense urban areas are a factor, is Trinity’s 3D Wavefront Control, which lets you remotely and easily focus the sound, so you can reduce the spill into adjacent zones and direct sound away from reflective surfaces.

The two New Year’s events were a fantastic way to wrap up the 2015 season for Trinity, demonstrating the system’s flexibility, power and diversity for live music on the big stage. Having established its reputation for creating the true connection between artist and fan, Trinity is poised to demonstrate in 2016 why it is destined to become the sound system of choice for performers in all music genres.

According to Silverstein, “Working with PK Sound is always a pleasure. In 2015 I had the privilege to play on Trinity twice. It’s been nothing short of spectacular each time.”

PK Sound

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Posted by House Editor on 01/27 at 01:18 PM
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The Hemmens Theatre Upgrades With NEXO And Yamaha

Gand Sound Installations outfits cultural center with GEO arrays, RS18 subs and a CL5 digital audio console.

Gand Sound Installations (GSI) in Elk Grove Village, IL, recently installed NEXO GEO S12 line arrays, two RS18 install Ray Subs, two RS18 tour Ray Subs, four NX4x4 amplifiers, along with a Yamaha CL5 Digital Audio Console, two Rio3224-D input/output Dante boxes and one Rio1608-D input/output Dante box at The Hemmens Theatre in Elgin, IL.

Located in the Center City area along the banks of Elgin’s Riverwalk, The Hemmens Cultural Center is the cornerstone of Elgin’s growing arts community.

Since 1969, audiences have been treated to such names as the late B. B. King, Bob Newhart, Phil Vassar, Garrison Keillor, The Ides of March, Blue Oyster Cult, and many more.

The Hemmens Cultural Center is named after Hattie Pease Hemmens who died in 1957, leaving over $1,000,000 to the City of Elgin to establish and maintain a not-for-profit community building and auditorium in the City of Elgin to benefit its residents.

Attending a performance at the 1200-seat Hemmens offers clear sightlines and wide aisles to provide a concert and theatre-going experience with no seat farther than 87 feet from the stage and any viewing obstructions.

Gand chose a left and right array of eight GEO S1210 and one GEO S1230 line array and a center array of one GEO S1210 and three GEO S1230. The RS18 install subs are flown above the acoustic clouds, and the RS18 tour subs were brought in for extra low end when required and set on stage.

“We chose the GEO S12 system for the fidelity, clarity, flexibility, pattern control, ease of installation, and power,” says owner Gary Gand. “The CL5 was chosen due to its user friendliness and the ease of communication with Dante, accessible throughout the system from the Shure ULXD wireless mics and all the way through to the NEXO amplifier outputs.”

“One of the tricky parts was to make the entire rig easy to move so it could be hidden for the Elgin Symphony concert dates when the system is not required,” Gand GSI manager, JoJo Clark adds.

NEXO
Yamaha
Gand Sound Installations

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Posted by House Editor on 01/27 at 11:11 AM
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Martin Audio CDD Covers Multiple Levels At Fremont Chicago

Ayre Productions outfits upscale restaurant/lounge with CDD12 and CDD15 loudspeakers matched to CSX212 subwoofers.

Ayre Productions recently completed an audio upgrade for the Fremont Chicago, a new upscale restaurant/lounge in the city’s River North area, which includes a complement of Martin Audio CDD loudspeakers that provide coverage for both levels of the venue.

One of several audio renovations in the Chicagoland area for their client the Four Corners group, Fremont Chicago provided Ayre with an ideal opportunity to install CDD for the first time.

As Ayre’s John Wagner explains, “We’d been telling our client about CDD, but we wanted to hear the product before committing to it. So we met with Martin Audio at InfoComm 2015, heard the speakers which completely blew us away, and CDD is now what we’re proposing for pretty much every install.”

The fact that Fremont Chicago functions both as a restaurant on the main floor and an upstairs bar/lounge with a performance space on the first floor presented unique challenges in terms of speaker positioning and coverage.

“On the first level, it’s one big room they want to function as a restaurant where there’s a large opening in the ceiling to provide a view of the second floor, which has a retractable glass roof. As you enjoy dinner on the first level, you can also see what’s going on onstage,” Wagner points out. “The first floor was designed for dining and conversation. After dinner, the second level is available to enjoy music provided by DJ’s or live bands on Thursdays.

“We also mounted two CDD12’s above the main dining space directed down the center of the room, with two CDD5’s mounted 15 to 20 ft. up on the back wall as rear fill for the bar, and three CSX212 subwoofers positioned discreetly around the room along with C6.8T ceiling speakers to help with the booth areas, all of which covers more than enough of what the client would even want. This setup provides flat and even coverage. Everyone who sits in the dining room rants and raves about how amazing it sounds.”

In addition to an expansive bar and lounge area, the second floor has a small stage for weekly appearances by live acoustic performers with a mandate to avoid loud volumes that might annoy patrons dining downstairs.

“For the lounge itself, we have CDD15’s as front of house over existing subwoofers under the stage and CDD12’s mounted in four corners firing into the center of the room. Two CDD5’s are mounted on either side of the upstairs bar for additional fill with a CDD5 in a long hallway to the bathrooms and five C6.8T ceiling speakers around the perimeters of the room. There’s also a CSX212 sub in a soffit and two CSX118 subs deployed on the other side of the room. The sound system is for stage reinforcement, background music and some dancing. All of the booths are maneuverable to provide more standing room, so we had to create a system that’s super versatile.”

For Wagner , CDD’s initial appeal is based on “their unique styling, mounting flexibility, ease of installation and use. In terms of audio performance, I believe CDD goes beyond what other cabinets are capable of. We work with other manufacturers, but a speaker like the CDD5 is ridiculous in terms of its incredibly compact size and the amazing amount of output it reproduces. That plus the sound quality and clarity is exceptional. You can mount a CDD5 in a corner between a ceiling and a wall and you barely know it’s there, but you’re hearing a huge sound.”

Summing up, Wagner adds: “The CDD’s wide dispersion capability allows us to use a smaller amount of speakers for each space. The price point on each of these enclosures is also a pleasant surprise. They come in slightly less expensive than the typical speakers, and not having to use as many cabinets to cover a room saves money in terms of time and labor as well. The cabinet construction is great, the devices in them sound great, and price is a key factor in selling CDD.

“Best of all, our clients love CDD. They’d been using another brand but were ready for something different and when we brought their attention to the CDD line, they were skeptical but very interested. To demo the speakers, I took a CDD5 to the location and plugged an iPod directly into the amplifier and all of their eyes opened up and they saw stars. Now they want to do four more locations with CDD as well.”

image


Martin Audio

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Posted by House Editor on 01/27 at 10:32 AM
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Meyer Sound To Demo Constellation Acoustic System At ISE

Company to present Constellation, Libra acoustic image system, CAL column array loudspeakers, and LEOPARD arrays at Integrated Systems Europe.

A Meyer Sound team of acousticians will demonstrate the Constellation acoustic system at this year’s ISE in Amsterdam.

Integrators and design consultants seeking solutions for corporate offices and meeting rooms, university classrooms, and restaurants can demo the product every 30 minutes while asking questions of Meyer Sound’s expert staff.

“The acoustics of a space define the critical baseline for sound in any AV installation,” says John McMahon, Meyer Sound’s vice president of solutions and strategy. “With Constellation and complementary passive acoustical treatment, the design consultant and systems integrator can precisely define the acoustical character of a space to fully optimize the effect of music performance or voice communication. In addition, Constellation often reduces or even eliminates the need for direct amplification systems.”

Employing a fully integrated approach to variable active acoustics, Constellation precisely controls reverberation time, early reflections, and other key parameters vital to the sonic clarity, warmth, and resonance of a space. Constellation is installed in performance venues throughout the world, and offers increased intelligibility in a number of corporate and university conferencing and teaching spaces. Louisiana State University, Jyske Bank headquarters in Denmark, and Enbridge in Calgary, Canada, are just a few examples of the systems in use globally.

The patented Libra acoustic image system will also be featured. A passive acoustical solution for spaces that works together with Constellation to create the ideal sonic environment, Libra unites the art and science of acoustics, combining sound absorptive properties with works of art created or selected by California photographer Deborah O’Grady.

Select Meyer Sound loudspeakers will be at the show including the CAL column array loudspeaker with advanced beam-steering technology. Selected for venues from the Musikverein in Vienna and Konzerthaus Berlin to Berner Rathaus in Bern, Switzerland, CAL loudspeakers provide exceptional coverage control and sonic precision.

Meyer Sound will also show the LEOPARD linear sound reinforcement system, the newest and smallest member of the company’s LEO Family of line array systems. LEOPARD has garnered worldwide acclaim for both permanent installations in houses of worship, sports arenas, and concert halls, and rental systems for concert touring and musical theatre.

As part of ISE’s education program, Richard Bugg, digital products solutions architect at Meyer Sound, will host an InfoComm Master Class on Digital Audio and Networking on Thursday, February 11 at 14:00 in room D203.
Integrated Systems Europe
Stand 1-M100
Amsterdam RAI
February 9-12, 2015

Meyer Sound

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Posted by House Editor on 01/27 at 08:51 AM
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