Wednesday, April 08, 2015
Meyer Sound Constellation Converts Indiana University South Bend Into An Adaptable Space
Transforming an acoustically challenging lecture hall into a flexible performance space
At Indiana University South Bend (IUSB), a Meyer Sound Constellation acoustic system proved to be a critical component in transforming a lecture hall into a flexible performance space with acoustics that can adapt to any musical genre.
The selection of Constellation also eliminated cost-prohibitive structural changes and liberated the architect from constraints imposed by a physical acoustic solution in the school’s 221-seat Louise E. Addicott and Yatish J. Joshi Performance Hall.
“When we first tuned Constellation here, I realized right away that we had a robust and incredibly adaptable system,” says Thom Limbert, assistant professor of music at IUSB, who oversees Constellation’s day-to-day operation. “The level of detail is just incredible. Fine parameter adjustments result in subtle yet significant differences. You can add depth to the room for the low notes of a cello or piano, or create alternate acoustic environments to highlight specific characteristics of an entire string quartet. The result is really quite astonishing.”
According to Brandon Bogan, principal architect of Indianapolis-based CSO Architects, Inc., “The first round of proposals required extensive structural changes to increase room volume—the projected costs outstripped the budget, so we were brought on board to re-think the whole approach.”
Bogan enlisted the services of Roger Noppe, acoustician at Chatsworth, Calif.-based Purcell-Noppe Associates, who proposed a Constellation solution. “With Constellation, CSO was no longer limited to certain room dimensions and surface materials,” says Bogan. “We were therefore able to focus on the overall experience of the patrons and artists in the hall.”
At the heart of Constellation is a D-Mitri digital audio platform, which hosts patented VRAS acoustical algorithms that generate natural acoustical environments, allowing reverberation times, strengths, and frequency envelopes to be tailored for any musical style. Sixteen miniature condenser microphones detect ambient room sound, with the enhanced acoustical response delivered through 32 Stella-8C installation loudspeakers, 37 MM-4XP self-powered loudspeakers, and eight MM-10XP subwoofers. Two UPJunior VariO loudspeakers are used for light reinforcement and playback when needed.
Also consulted on the Constellation decision were Dr. Marvin Curtis, dean of the university’s Ernestine M. Raclin School of the Arts, and principal donor Yatish J. Joshi. Constellation at IUSB is outfitted with a range of presets that allow mid-band reverberation times from 0.7 to over 1.6 seconds, with low-frequency reverberations extending from 0.8 seconds to around 2.1 seconds. The system also includes SpaceMap multichannel panning, which Limbert uses in his electronic music teaching and creative work.
Tuesday, April 07, 2015
Real World Gear: Most Valuable Players
The latest developments in 2-way compact loudspeakers
Available in a range of sizes and cabinet shapes, compact 2-way loudspeakers are an MVP (Most Valuable Player) in the live sound world. They serve as mains, monitors, side fills, center fills, near fills, front fills and delays, and can quickly be ground stacked, flown, or placed on a stand. In addition, they can almost always be carried by one person.
Many (most) of these boxes are trapezoidal in shape, with many offering an enclosure angle for stage monitoring. Smaller 2-way boxes incorporate a single 8- or 10-inch woofer, but the most popular models offer 12- or 15-inch woofers for additional low-end performance.
Usually the woofers are accompanied by a compression driver on a horn or waveguide for mid and high frequencies, although ribbon drivers have also emerged as a viable option from certain companies. Also don’t overlook coaxial models where the individual driver units radiate sound from the same point/axis, which, when designed properly, can offer enhanced coherence.
When evaluating 2-way loudspeakers, start by defining the right box for the job – size, scale, portability, and so on. It all depends on the requirements of the application(s). Further, many models are available in either passive or active versions with (usually) class D amplification and DSP, and increasingly, networking.
In getting to a more refined “apples to apples” comparison, factors to consider include dispersion, power handling, sensitivity/maximum SPL, and mounting options.
—Dispersion, a measurement of the pattern of MF/HF sound that emanates from the box. This is stated in degrees for the horizontal and vertical planes.
—Power handling, which, for passive cabinets, is usually stated as an “RMS” or “continuous” rating in watts. An increasing number of these loudspeakers are now self-powered and also have onboard DSP.
—Sensitivity, stated in decibels (dB), is a measurement of the sound level the loudspeaker can produce with a given input signal, generally measured with 1 watt input at 1 meter distance. (By the way, we’re seeing an increasing number of manufacturers who prefer to provide a maximum SPL specification.)
—Mounting, which includes integrated flypoints as well as things like pole mounts that can come in quite handy for true portable applications.
Our tour of recent models that is linked here is intended, by design, to present the “state of the market” in terms of options. But for each type of model presented here, understand that there are dozens of potentially viable options, so further homework is strongly recommended.
The real workhorses of pro audio are traditional 2-way loudspeakers. They remain invaluable for a range of very good reasons, with versatility that translates to “great bang for the buck” topping the list. Whether placed on a stand for a speech at a groundbreaking ceremony, stacked on top of subwoofers at the local music venue, or flown at a corporate event, the ubiquitous conventional 2-way loudspeaker gets the job done
Enjoy our Real World Gear Photo Gallery Tour of recent 2-way loudspeakers.
Stage Monitoring 101: The Essentials
It can be tough performing live on a stage – all the noise, Noise, NOISE. This is the first thing in my mind when doing stage monitoring because too much noise can compromise performances and presentations.
It’s hard to be at your best when you can’t hear, let alone think, due to a sonic assault, and no amount of magic monitor mixing or technique is going to fix it.
The noise comes from everywhere. The backside of the house mains. The subwoofers. Various (and numerous) delayed signal reflecting back from the house. Stage sources. The audience. There’s only so much we can do, but minimizing stray energy on stage is a top priority, and then comes the work of devising a monitoring approach that’s best for the performers and production.
When setting up the house system, placement and people are the keys. Placement is where the main loudspeakers are stacked or flown, and people refers to the performers and the audience – we need to serve both.
If possible, the loudspeakers shouldn’t be too close to the stage, helping keep their excess energy off the stage while still insuring they fully cover the audience. Flying/stacking them even a few feet forward can make a significant difference. (Also try to keep their output off of reflective surfaces in the room.)
Loudspeakers on delay further out in the house, as well as front fills, are a good way to get even coverage throughout the listening area without having to crank up the mains too high. Digitally steerable arrays, which my company deploys regularly for both music performances and corporate events, provide an extra degree of welcome control. Cardioid and end fire configurations for the subs can help direct their energy outward rather than backward.
A very clean deployment of monitors and fills.
Now it’s time to turn our attention to the stage monitoring needs of the performers. Wedges, in-ear monitors, stage fills, or a combination?
It’s a direction determined by the specific gig, performer preferences, and what we (and perhaps the venue) have available in terms of gear. Everything but in-ear monitoring increases the noise quotient, but that’s usually (and simply) the reality; plus, some artists like amped-up monitoring.
Over the past several years, a wide range of active 2-way boxes have hit the market with cabinets offering a monitoring angle. They’re quite useful in being able to perform wedge, stage fill and small system main duties. Onboard DSP means they can be optimized for the specific application.
We’re also seeing more active options with traditional wedges. Active does require both a signal and power cable, but there are now options offering both within the same jacket, which can help reduce clutter.
Otherwise, the choice is passive wedges and loudspeakers. They can also be bi-amped (2-way, lows and highs) or tri-amped (3-way, lows, mids, highs), requiring separate amp channels for each section, and may also require an external crossover or processor. Active or passive, options include:
—Mini/personal monitors. Designed to be used very close to a performer, they can be located on the floor, placed on an instrument like a keyboard, or mounted on a microphone stand. The object is to enhance certain parts of the mix (i.e., the vocal), not usually provide the entire mix.
—Standard wedges. Purpose designed and positioned on the floor in mono or sometimes stereo configuration. The most popular types are 2-way designs with a 10-, 12-, or 15-inch woofer and a 1-, 1.5- and 2-inch compression driver mounted on a horn. This category also includes the previously mentioned active loudspeakers. And, a popular variation are coaxial designs that align the LF and HF drivers while occupying a smaller footprint.
—Larger wedges. Usually 3-way systems with a bit more thump and oomph, with the trade-off of being larger and heavier.
—Drum boxes. A specialty loudspeaker to reproduce low frequencies to help drummers better hear the kick (and sometimes bass guitar).
—Drum fills. A single larger loudspeaker, or a group of loudspeakers, to better serve the drummer. Often accompanied by a sub for extra thump.
—Side fills. Also called stage fill, loudspeakers at the sides of the stage, often joined by subwoofers, to augment the output of the wedges and/or IEMs. Some bands prefer side fill exclusively.
—Stage subs. Smaller subs used underneath or alongside a wedge to help augment LF, and these can also be deployed as part of the drum fill or side fill.
Welcome to the hot seat, otherwise known as monitor beach.
These options can be used alone or in any combination, and with IEMs. Just remember, the more loudspeakers on stage, the louder it’s going to be, and there’s increased chance of feedback, both in general and if stationary mics aren’t carefully placed. Plus more boxes can clutter the stage.
Making It Personal
Some performers love IEMs, others won’t use them, still others are in between, wearing them in tandem with monitoring via loudspeakers. Obviously IEMs cut stage noise and can protect hearing (if they’re not abused) through isolation. A lot of drummers prefer to wear headphones for further isolation.
Earbud options range from generics with replaceable tips of either foam or plastic to custom units molded for the user’s ears. The key is getting a good fit to provide adequate isolation as well as enough comfort so they can be worn for the duration of a show.
IEM/personal monitoring systems are usually wireless, with the performers wearing a small belt pack receiver with volume control. Wired systems are a less expensive option for relatively stationary musicians.
Systems are available in mono or stereo, the latter being the more popular choice. One way to deal with performers feeling too isolated is to add some ambience from the audience into their mixes, captured via an audience microphone or two placed on stage and pointed at the crowd, or flown/placed on stands in the audience area (or front of house).
Several personal mixing systems provide individual mini mixers to performers so they can tailor their own mixes. And a cool recent development is that many digital consoles/mixers now work with custom apps that allow performers to tailor their mixes via tablet or smartphone. Make sure these onstage devices can only access the one mix, and not affect other monitor mixes (or the house mix) by accident.
I mentioned that IEMs offer hearing protection via isolation, but keep in mind that they shouldn’t be turned up too loud. (Kind of defeats the whole purpose.) Also note that a squeal of feedback or loud thud from a dropped mic can be damaging to hearing, so compression and limiting, even brick wall limiting, may be needed to control any unexpected spikes.
Some shows may just use a few aux sends from the house console to feed the monitors. This can work well for smaller gigs with simple monitoring requirements, but on larger shows, a monitor console is necessary. It should be manned by a dedicated operator, and is usually placed stage side in sight of the performers.
Be sure to label IEM belt packs.
Inputs are shared between the consoles via a split snake in an analog transport system or just grabbed off the network in a digital transport system. The better analog splitters use transformers between the consoles to eliminate hum or buzz, but hard-wired splits can work OK if the system has no grounding and noise issues.
Monitor engineers can make use of a cue wedge at the console to hear each mix if there are wedges used onstage, or they may use IEM to cue up each mix and hear what the performers hear. Many digital consoles allow remote control via tablet, a boon for engineers because they can stand onstage next to performers during sound check and fine tune their mixes.
I’ll conclude with some tips that I’ve picked up over the years in working with monitoring over the years.
Acoustic Aiming Devices. I always carry some AADs (black painted pieces of wood) to tilt wedges to put the performers into the coverage pattern. If they can’t hear it clearly, they’ll want more volume.
Shakers. Some performers (drummers in particular) want to really feel the low end, and a seat shaker (a.k.a., butt kicker) can provide this while eliminating the need to add subs. They can also be used with smaller wedges to keep down stage volume.
Directional Subs. With monitor engineers usually at the side of the stage, the wash from the side fill subs can be problematic. A cardioid approach with these subs can help, and some manufacturers offer single cardioid units.
Parametric. Not every problematic tone falls right on the center frequencies, so parametric equalizers deliver added (and needed) precision.
Backup Wedge. Even if all performers are on IEMs, having an extra wedge comes in handy for use with announcers, guest artists and audience members brought onstage, as well as for talkback communication and in case an IEM system goes south.
Identification. Label all wedges with their respective mix numbers. It’s way easier and clearer for a performer to ask for more cowbell in mix 9 than ask for more “in that box.” Also label all IEM belt packs with mix numbers and performers names so they don’t accidentally grab the wrong pack.
Better Reception. Deploying quality antennas with IEM systems can help eliminate dropouts and other RF problems. Directional “paddle-style” (a.k.a., log-periodic dipole array) antennas can provide up to 6 dB of gain and Helical antennas can provide up to 10 dB.
In The Pan. Stereo IEM mixes have more depth and are easier to listen compared to mono. I place performers center in their own mixes and pan the other instruments to the left and right (depending on where those instruments are onstage). And we tailor it together from there…
Senior contributing editor Craig Leerman is the owner of Tech Works, a production company based in Las Vegas.
Audio Visions Joins Adamson E-Series Network
Audio quality, versatility, high output and dynamic range were the top qualities needed for the new line array system
Audio Visions, with offices located in Omaha, Nebraska and Minneapolis, Minnesota, recently joined the Adamson E-Series network with the purchase of Adamson’s core E15 line array rig. The new PA consists of 24 E15 and eight E12 line array enclosures.
“Audio quality, versatility, high output and dynamic range was at the top of the list of qualities a new line array system had to possess,” explains Elliot Nielsen, operations manager for Audio Visions. “Other considerations were rigging weight size and the ability to put more boxes into the same footprint – the way that it transports and rigs was a real bonus.”
Audio Visions works primarily providing sound reinforcement for fairs and festivals and corporate events held mainly in the Midwest. The company has been around for 30 years and received the Parnelli Hometown Hero Sound Company of the Year award in 2014.
“Throw distance is a key element when deploying sound systems at our events,” adds Nielsen. “The E15 shows superior throw distance and accuracy in the far field with pattern control and consistency across the frequency spectrum. The phase response and coherency in the horizontal and vertical planes is very good, potentially unrivaled.”
Nielsen also notes that the box design was another point in Adamson’s favor. “An E15 gets the job done with 6 components and is housed in a well-designed light-weight enclosure that’s attractive but not ‘gimmicky’.”
“We value the ‘family’ feel of the Adamson partnership and how supportive their team has already been from a technical aspect and a sales/business standpoint,” Nielsen concludes. “This is the next step for our company that will allow us to expand our inventory and horizons. It’s going to be a great season.”
ATC Monitors Help Define Joe Satriani And John Cuniberti’s New Recording Project
ATC SCM25A selected as nearfield control room monitors for new album project
Engineer John Cuniberti worked with guitarist Joe Satriani to record his first professional studio album, Not Of This Earth, in 1986, and the two have been a productive team ever since. Most recently, they traveled to Skywalker Sound and 25th Street Recording (Oakland, California) to cut tracks for Satriani’s forthcoming album, Shockwave Supernova. Given the success they had had with ATC SCM25A three-way active monitors in Satriani’s home studio, they rented a pair at both Skywalker and 25th Street.
“A little while back, Joe expressed frustration with the nearfields he had in his studio at the time,” said Cuniberti. “He felt like the mid-range was too forward and aggressive, and that led him to make decisions that didn’t translate outside of the studio. I recommended the ATC SCM25As, and he immediately fell in love with their musicality and the way the decisions he made in the studio translated elsewhere.”
When Cuniberti arrived at Skywalker, he didn’t find any nearfields that he felt comfortable using, so he arranged to rent a pair of ATC SCM25As for the two weeks they had booked. Then the same thing happened at 25th Street Recording. “25th Street had massive ATC SCM300ASL and SCM150ASL soffit-mounted loudspeakers, which sounded great, but again… no nearfields I wanted to use,” he said. “Again, we rented SCM25As. Finally Joe decided to buy a pair from Sweetwater for himself.”
“Working with the ATC SCM25As at Skywalker Sound, at 25th Street Recoding, and at my home studio has been a wonderful experience,” said Satriani. “In all three environments, the sessions stayed accurate with imaging I could trust, and the individual tracks always came up clear, punchy, and transparent. The SCM25As are powerful yet precise sounding speakers, without the ear fatigue. Most importantly, it’s fun to create music on them!”
Cuniberti agreed: “We were able to spend time between the SCM25As all day, day after day, without getting stressed out. They sound great loud and have an impressive low-frequency response. Importantly, now that we’re listening back at home, everything we tracked at Skywalker and 25th Street sounds like I expected it to sound. There are no surprises. I think that’s the mark of an effective studio monitor. I think the industry has evolved to this point. You can go back to the NS-10 craze, which I think happened because everyone was so hungry for a stable reference point. Then some more truly transparent models started emerging, but the evolution of those modeled tended toward hype on the high end and hype on the low end. Sure, that makes a mix sound ‘good,’ but it burns the engineer out and leads to mixes that are flat and lifeless on other systems. In contrast, ATC’s professional division has remained committed to building monitors that will allow an engineer to work long hours without fatigue and with the confidence that the music will sound right everywhere else.”
RCF Media Series Loudspeakers Chosen For Bar Le Treize In France
RCF provides cost effective solution to integrated system at new French bar
Enjoy Events chooses RCF Media Series cabinets for Bar Le Treize, a new bar and restaurant that has opened in the French city of Colmar.
When local firm Enjoy Events was appointed by the main electrical contractor to carry out the technical integration, director Alexandre Bunzli specified RCF’s Media Series as having met all the requirements for sound and design.
A total of eight, two-way 10” M1001 loudspeakers, powered by a pair of RCF HPS1500 Class H two-channel professional amplifiers have been placed over the two floors.
“We like them because they have the same professional design as RCF’s Acustica C series – but in this application the Media series was sufficient for their needs, and a more cost-effective option,” he said.
For subwoofers, Bunzli then turned to RCF’s S4012. “This is a very compact 12” and we chose it because complete integration of the design was a priority and the bass response and energy generated by this sub is amazing in comparison with its footprint,” he added.
Each floor has a dedicated DJ booth, equipped with Pioneer systems offering four separate inputs. The two zones are controlled independently and the processor is able to reverse the music input distribution from one area to another.
But as the venue is located in a quiet area of the town centre, Enjoy Events also knew that sound needed to be confined within the building’s environment – and thanks to the RCF solution they have succeeded in avoiding any unwanted noise pollution.
Enjoy Events was also able to turn to RCF’s commercial audio catalogue to specify quantities of PL6X ceiling speakers and MR44T tiny wall monitors for the peripheral areas, such as cloakrooms, toilets and foyer. These are powered by RCF’s UP 2321 320W amplifiers.
“Enjoy Events is our main HDL line array partner in the east of France but they have been focusing on the installation and commercial audio markets since 2012,” commented French sales agent, Bertrand Delbar. “Therefore they have the knowledge to put together such a well-matched system at Le Treize.”
Adamson Systems Launching New Sub-Compact S-Series
The new sub-compact line array system consists of the S10 line array enclosure, S119 subwoofer, Blueprint AV and the E-rack; Adamson’s new unified rack solution.
Adamson Systems Engineering will introduce the S-Series at Prolight + Sound from April 15-18 in Frankfurt, Germany. The new sub-compact line array system consists of the S10 line array enclosure, S119 subwoofer, Blueprint AV and the E-rack; Adamson’s new unified rack solution.
The S10 is a 2-way, full range, sub-compact line array enclosure ideal for mid-size arenas, theaters, churches and dance clubs, as well as outdoor festivals. It is loaded with two newly designed 10” ND10-LM Kevlar Neodymium low frequency drivers and an NH4TA2 1.5” exit high frequency compression driver mounted to a wave shaping sound chamber which produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 10° (H x V). The compact solution – 265/10.4 x 737/29 x 526/207 (mm/in) – weighs in at a mere 27/60 (kg/lbs).
Due to extensive boundary element testing, the chamber exhibits increased vertical response with minimal sacrifice of high frequency energy in the far field. The S10 offers tremendous output (max peak SPL 141.3 dB) for such a compact enclosure.
The overall sonic characteristic of the S10 enclosure is amazingly clean due to Adamson’s patent-pending Controlled Summation Technology – a design method that brings the LF drivers as close together as possible, while symmetrically outwardly splaying them. The end result increases usable frequency range while decreasing summation at the crossover point, reducing interference. The LF drivers are also recessed behind the exit of the HF sound chamber, so as to not limit the size and shape. A small amount of delay aligns the lows to the high frequency energy, with some dynamic overlap control in place as well to diminish any remaining noticeable interference.
The companion S119 subwoofer is loaded with a light-weight, long excursion, 19” ND19 Kevlar Neodymium driver utilizing Adamson’s Advanced Cone Architecture and a 5” voice coil for exceptional power handling. It is mounted in an ultra-efficient front-loaded enclosure, designed to reproduce clean, musical low frequency information.
The cabinets for both the S10 and S119 enclosures are constructed out of marine grade birch plywood, aircraft grade steel and aluminum and feature Speakon NL8 connectors. The S-Series utilizes Adamson’s new SlideLock Rigging System which allows angles to be set prior to lifting, which then fall into place when weight is taken. A stacking pin is also present to maintain proper enclosure angles when ground stacked. The S10 enclosure is also available as the S10i, utilizing a plated rigging system for permanent installation. The S10i’s slimmed down rigging reduces the weight and cost of the enclosure.
The S-Series is designed to be powered by the E-Rack, Adamson’s unified rack solution that interfaces with and powers the S Series as well as the full range of Adamson loudspeaker products.
The E-Rack incorporates Lab.gruppen amplification, combined with versatile I/O and industry standard power connections, as well as a 20 port managed Ethernet switch to route dual-redundant Dante and control signal. E-Racks are sold in 8 channel or 12 channel configurations with Lab.gruppen’s PLM 12K44 amplifiers—one 12 channel E-Rack can power up to 24 S10 enclosures. A personal license for Adamson’s Blueprint AVTM software is included with each E-Rack.
S-Series accessories include the S10 Support Frame, S10 Extended Beam, S10 Underhang (to adapt S10 to fly as an underhang with either the E15 or E12), S10 Dolly, S10 4up Cover and Dolly Stacking Legs (also used to increase or decrease tilt in either the E15 or E12 dolly).
Adamson will premier the new family of products at this year’s Prolight + Sound in Hall 8 – Stand 50. The official product introduction on April 15th 2015 at 5:30 PM.
Adamson Systems Engineering
Gwinnett Church Enhances Worship Experience With Martin Audio MLA
Managing a contemporary worship service both inside and outside the walls
One of six North Point Ministries churches in the Atlanta area, Gwinnett Church recently completed construction and outfitting for a new worship center on its campus with Martin Audio loudspeakers.
The center’s main sanctuary, named the Theater, is a rectangular 1300-seat auditorium that features audio, video and lighting technology to provide a complete worship experience. Installed by Clark of Atlanta, Dallas, Austin and Los Angeles, a key component of this technology is a Martin Audio MLA Compact loudspeaker system that provides uniform coverage for every member of the congregation inside while controlling noise overspill outside the building, which is located a few hundred feet from a residential neighborhood.
Asked to describe a typical Sunday service, Gwinnett technical director Adrian Varner says, “We usually start with an announcement video about the service and upcoming events, not all communications from the stage are verbal. Sometimes we’ll have a music video as a fun attention grabber, before moving into one of three songs and a transition before the sermon.
“Because we are a North Point Ministries Church, we’ll have lead pastor Andy Stanley speak to us on video via fiber. He generally speaks 40 to 42 Sundays a year with Gwinnett pastor Jeff Henderson speaking to the audience live on other Sundays.”
A five piece electric band (two guitars, bass, keyboards, drums) with two to four worship leaders who also handle vocals provides “rock and roll style” music for the contemporary praise worship services. The audio, video and lighting systems are intended “to break down the wall between the stage and audience and bring that stage experience directly out into the audience,” according to Varner.
“With the style of worship that we’re doing, I’m trying to have an experience that really surrounds you. It doesn’t just feel like it’s coming at you from the stage, but you feel really absorbed in it as it happens all around you.”
A big part of this experience depends on the sound, which explains the choice of a Martin Audio MLA Compact system with eight enclosures a side, four DD12 for outfills and eight DD6s for front fill.
“We have a DD12 outside of each hang for front of congregation and one DD12 a side for the back of the hall,” Adrian adds. “The eight DD6s are mounted on the subs under the stage.
“Our room is 150 ft. wide by 75 ft. deep and, as a rectangle, it can be hard to provide uniform coverage to the far extremes. We’ve been able to achieve that coverage extremely well. The system has exceptional clarity for speech and we needed a system for music reproduction that could comfortably hit 100dB (A-weighted) or greater with enough headroom, which MLA does easily.”
The audio system also includes DiGiCo SD10 consoles for FOH and Monitors, a Neve 5045 Portico Source Enhancer and a selection of Shure, Sennheiser, Royer and Radial wireless and wired microphones.
Gwinnett’s video system is based on Digital Projection Titan projectors for side and center, with Panasonic AK-HC931 and HPX-10 cameras; a Ross Carbonite 2ME production switcher; Harris 96x96 router; Clear-Com Matrix for communications; Harmonic message playback, and a Renewed Vision Pro Video Server and Pro Presenter.
The lighting system includes a Jands Vista L5 console; Arkoas MediaMaster media server; ETC Source Four (zoom, ellipsoidal, and parnels) and ETC Sensor 3 for key lighting; Martin MAC Aura and MAC Viper lights; Chauvet Tri Tour and Epix Strip 2.0 LED lights; a Pathport Octo for distribution, and a ChromaQ Inspire 2 for house lighting.
In addition to providing coverage for every congregant, the MLA system also solves a noise overspill problem for the church. There is a residential subdivision located 300 feet behind the back wall of the auditorium and building.
Knowing this would present a problem given the high decibel audio for early morning sound checks and services, the church specified walls with three inches of concrete, two inches of Styrofoam, and three inches of concrete, with four inches of lightweight poured concrete on the roof. Although this “does a good job of keeping the sound inside, some still leaks out a bit, especially during soundcheck at 6am on Sunday when it’s pretty quiet outside,” according to Adrian.
Summing up the Church’s reaction to the MLA Compact system, Varner concludes, “Everyone that’s heard MLA has been incredibly pleased with it. Our music director brings in music directors from other campuses, and he’ll always ask me to turn on the sound system and show them what it can do.”
Fulcrum Acoustic Loudspeakers Selected For Boston Music Venue
Prophile Series loudspeakers overcome low ceilings and challenging acoustics for background and live music
Located in Harvard Square, Beat Hotel is not a hotel at all, but a restaurant, bar, and music venue. The Cambridge hot spot draws a busy crowd and presents a regular roster of jazz and world music. Fulcrum Acoustic was chosen to overcome the venue’s acoustic challenges.
“The room has 9-foot ceilings and is over 100 feet long,” explains Rob Pemberton of Wellesley, MA-based Parsons Audio, the company behind the creation of the venue’s new sound system. Centered around Fulcrum Acoustic’s Prophile Series loudspeakers, the system is designed to deliver audio with accuracy and control, while still allowing conversations to happen throughout the venue.
The primary PA consists of a pair of Prophile M speakers, a 12-inch, 3-way coaxial speaker with wide dispersion.
“We chose the Prophile because of the layout of Beat Hotel, which is on the basement level of the building,” explains Pemberton. “The Prophile has a nice, tight pattern control, so we were able to focus the sound without creating a lot of reflections.” The main PA is augmented by a series of delay zones further into the room, with all loudspeakers ceiling mounted.
Two Fulcrum Acoustic US212 subwoofers are flown alongside the main PA, positioned in cardioid pattern to control low frequencies on stage while radiating into the room. For the musicians, the stage itself features FX896 ultra-compact floor monitors, also by Fulcrum Acoustic.
The main seating, including both the restaurant and bar areas, is divided into three zones (four counting bathrooms), delayed through the room’s BSS BLU-160 processors to maintain time alignment throughout the space. A total of ten Prophile S loudspeakers cover these zones, each of which has volume control to allow management to adjust to conditions during and between sets.
The Prophile Sa has a 3-way, dual 8-inch design and 100x100-degree dispersion for musical applications like front fill and under balcony - or a low-ceilinged club like Beat Hotel.
“The Prophile S speakers were a great fit for the zone speakers,” notes Pemberton. “They have a nice, wide pattern, low horizontal profile, and a beautiful sound. It allows the manager to change the volume in each zone without upsetting the balance in the room.”
To save space, the mixing console is hidden backstage, with the engineer controlling the sound via an iPad. “The room really sounds great, even with the low ceilings,” concludes Pemberton. “The, Fulcrum system was the perfect choice for this space.”
Monday, April 06, 2015
Uruguay’s Sodre National Auditorium Enters New Era With Meyer Sound MINA
Challenging architecture and a broad spectrum of musical styles influences the decision for MINA
The Sodre National Auditorium (Spanish: Auditorio Nacional del Sodre) in Uruguay has chosen a self-powered Meyer Sound MINA line array loudspeaker system as the first permanent reinforcement system in the 1,900-capacity venue.
In addition to the system’s adaptability to the venue’s programming of rock, jazz, and pop artists, MINA was chosen for its compact size, which preserves the auditorium’s architecture. The installation was directed by Cesar Lamschtein, senior audio engineer at the auditorium, who worked with Pablo Janssen, director at Montevideo-based Digital Audio Video.
“Our main goal was to design a system with a small footprint, even coverage for all the seats, and as flat a response as possible,” says Lamschtein. “Because this is an important public space, we knew we had to get it right. We looked at several different companies and designs, and MINA proved to be the right system.”
Two arrays of 14 MINA loudspeakers each provide coverage throughout the three-balconied theatre, which has an unusually high height-to-depth ratio. Six 500-HP subwoofers are flown in a cardioid configuration, with two 650-P subwoofers placed on the ground. Four UPJunior VariO loudspeakers provide frontfill, seven UPM-1XP loudspeakers provide under-balcony coverage. A Galileo Callisto loudspeaker management system with two Galileo Callisto 616 array processors handles system drive and alignment.
Productions that have used the system include the Ballet Nacional Sodre, under the direction of Julio Bocca. “Bocca liked the sound quality very much,” reports Lamschtein. “The sound is consistent in every seat, and requires almost no EQ. Our goal was to make this a world-class venue, and with Meyer Sound, we are well on our way.”
New Gem Center In Ho Chi Minh City Launches With Host Of Harman Professional Components
Basao Investment installs an integrated audio system to reinforce a function space of 7,200 square meters
Recently opened in the heart of Ho Chi Minh City in Vietnam, the new Gem Center is designed to host corporate conferences, artistic performances and more, equipped with an integrated audio system developed by local Harman Professional distributor Basao Investment.
Specifically, the system for the 7,200-square-meter venue incorporates components from JBL Professional, Crown Audio, Soundcraft, dbx Professional, Lexicon and AKG.
The integrated system delivers reinforcement to a coffee shop, a restaurant, two meeting rooms, two ballrooms, a sky bar, a runway and a balcony in the facility. The background music system incorporates 12 JBL Control 23T loudspeakers, 39 JBL Control 25T loudspeakers, 15 Control 28T-60 loudspeakers, and 12 Control 28 loudspeakers. Other components include eight PRX715 powered loudspeakers, two PRX735 powered loudspeakers, 18 VerTec VT4888DP-DA powered line array loudspeakers and eight VerTec VT4882DP-DA powered arrayable subwoofers.
The background music system is powered with four Crown CTs 1200 amplifiers and two CTs 600 amplifiers, as well as two 1160 mixer-amplifiers. Two Soundcraft Si Expression 3 and two Soundcraft Spirit GB2 consoles with two mini Stageboxes handle mixing. The system also includes dbx ZonePro 640m digital zone processors for expanded processing capability, plus four Lexicon MX400 multi-effects processors.
“There is no other venue in the city that is so well-equipped,” said Nguyen Khac Anh, managing director of Basao Investment. “The equipment list that we provided works well for this venue, as it will allow guests to enjoy crystal clear music in the background as well as onstage. We have relied on Harman for many years, because its products give us a lot of flexibility when it comes to designing integrated systems for special venues like the Gem Center.”
L-Acoustics ARCS WiFo System Addresses Concerns At First Presbyterian Church
ARCS WiFo bridges traditional and contemporary services by managing acoustical issues
Grand Haven, Michigan’s First Presbyterian Church has been ministering to its community for 170 years, and although it still hosts a Sunday morning service complemented by traditional organ, piano and choir music, the church has also implemented a more contemporary service to remain culturally relevant to younger audiences. With this partial shift to electric instrumentation, the church turned to LiveSpace an integration and design company in nearby Grand Rapids, to supply a new house sound system built upon L-Acoustics’ ARCS Wide and Focus (WiFo) constant curvature line array.
Despite First Presbyterian’s modest-sized 350-seat sanctuary, the initial challenges were numerous, points out AJ Sweeny, LiveSpace’s director of integration operations and design. “The previous sound system was not a good fit for the room; a columnar array mounted two feet off the floor blasted the first two pews and covered very little of the rest of the seating area,” he recalls. Furthermore, the sanctuary’s stained glass windows, solid wood walls and small expansion area on one side of the room created acoustical challenges.
Much of the sound from the prior system wound up hitting the sanctuary’s side walls, making the speech intelligibility of sermons and lyrics alike difficult to discern, notes Mike Mrozinski, LiveSpace project development manager. “The energy was all over the place,” he adds.
The church’s budget committee had already been wrestling with the audio issues for over a year before LiveSpace was called in. In a quandary all too familiar for mid-sized churches that depend on volunteer staffers to run their AV systems, the committee was trying to find a technology solution, but one that was appropriate for the space and able to support two types of music styles with diametrically opposed acoustical needs.
“When we first assessed the environment, we explained to them that managing the sonic energy while keeping it away from reflective surfaces, like the walls, was critical to keeping speech intelligible,” Sweeney explains. “We discussed acoustical treatments to manage the energy of the contemporary music, but the committee worried it could hurt how well the traditional choir sounded in the church.”
After attending several Sunday services and analyzing the church’s needs and the space’s requirements, LiveSpace presented to the committee a solution: an L-Acoustics ARCS WiFo system consisting of just a few components. Two ARCS Wide serve as the main left-right system, with one ARCS Focus as a monitor for the choir and 8XTi and 12XTi coaxial enclosures for fills. Two flown SB18i subs deliver the low end, with two LA4 amplified controllers handling all power and loudspeaker processing.
The precision of the ARCS WiFo waveguides eliminated the need for acoustical treatment since the ARCS Wide enclosures maintain a 30-degree coverage pattern for the main seating area and 15 degrees of coverage for the ARCS Focus on the choir. As a result, sound is directed only where it is needed, no longer hitting the walls.
“All the feedback problems they once had there are now gone, and it was the first time the choir loft had ever clearly heard a sermon,” says Sweeney. “When L-Acoustics says the pattern is 15 degrees, it’s exactly 15 degrees. That’s how sharp the coverage line can be drawn.”
Sweeney told the committee that if it felt the contemporary music was still overwhelming the room that he would come back and add acoustical treatment, but to please let the system first show them what it could do. “We checked back with them in a couple of weeks and they told us the sound system alone solved every issue they had. Providing smooth, constant, full-frequency audio for the contemporary service also allowed the chorus voices to fill the church beautifully as if traditional programming had no audio system at all.” Two diverse worship-music styles are able to play nicely together under the same roof.
VUE Audiotechnik Establishes VUE China
VUE Audiotechnik China will offer the entire line of VUE products and provide technical support
VUE Audiotechnik announces it has established a new company servicing mainland China, VUE Audiotechnik China (officially VUE Shanghai LTD, now referred to as VUE China). The VUE subsidiary, located in Zhejiang in the Jiashan County, joins the list of VUE Audiotechnik companies, including VUE Audiotechnik LLC in the United States and VUE Audiotechnik Europa GmbH in Germany.
VUE Audiotechnik China will offer the entire complement of VUE products, from their smallest i-Class contractor series, to the powered h-Class loudspeakers and al-Class line array systems, including their proprietary V Series Systems Engines. It will also provide technical support for all integrated systems, as well as touring and portable systems, and plans to add project-design and commissioning services, along with operational training to its near future repertoire.
“From the start, VUE Audiotechnik was conceived as a truly international-based company, with engineering and manufacturing resources in the U.S., Germany and China,” says Ken Berger, CEO of VUE Audiotechnik. “Last year we added VUE Europa GmbH, a dedicated company that serves the European Market. Owing to our goal to be a worldwide force, opening VUE China is the next logical step. We’re investing to become a leader in China, the fastest growing market in the world, which will soon be the single largest consumer market.”
VUE has appointed Global Market Management’s Alex Schloesser as managing director of the new subsidiary. He will spearhead the development and staff training, until the company is fully self-reliant under its own brand manager. Global Market Management is also managing VUE’s Asia Pacific business development in establishing new distribution channels and bringing in new direct business.
“I’m truly looking forward to getting VUE Audiotechnik China up and running,” says Schloesser. “It’s an exciting challenge to build a company from the ground up, and I am confident that this newest addition to the VUE company portfolio will achieve unlimited success in China. VUE’s products, with their excellent sound quality, fidelity and value, speak for themselves; establishing an independent subsidiary will considerably ease the process of introducing them to the Chinese market.”
Renkus-Heinz Names Schallertech As New Colombian Distributor
South American technology provider partners with Renkus-Heinz for installation products
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Renkus-Heinz has announced the appointment of Schallertech Design and Technology as the company’s new distribution partner in Colombia, effective March 2015.
A technology provider in South America, Schallertech is active in both residential and commercial sectors, including systems design and installations in business, government, education, worship, energy, health care, and home theater. Some of the company’s recent projects include systems for Chevron, Universidad del Norte, and J. Walter Thompson.
“Renkus-Heinz is one of the world’s most respected pro audio manufacturers, and a world leader in digital beam steering technology,” remarked Schallertech founder Gregory Schaller. “We are proud to represent Renkus-Heinz throughout Colombia, and excited for the opportunity to integrate their products into installations in the region.”
“We are quite pleased to welcome Schallertech as our distributor in Colombia,” remarked Rik Kirby, VP of Sales and Marketing for Renkus-Heinz. “Their expertise, versatility, and creativity have made them one the foremost technology providers in the country and beyond. We look forward to a lengthy and mutually successful relationship.”
Schallertech Design and Technology
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Posted by House Editor on 04/06 at 08:01 AM
Friday, April 03, 2015
RCF USA 2015 Road Show Comes To Spider Ranch Productions In California
First time road show visits West Coast, attracting host of dealers, production companies, consultants and integrators
RCF USA took its road show last month to Spider Ranch Productions in South San Francisco, CA for a two-day demo that attracted a host of regional dealers, production companies, consultants and integrators.
“This is the first time we have taken the road show to the West Coast,” notes RCF USA national sales manager Tarik Solangi, “providing a great opportunity to support our regional manufacturer representatives Audio Source, as well as giving the area production companies a taste of all the solutions we provide with our RCF and dB Technologies brands.”
Products in the demonstration included:
· RCF TTL55-A—A three-way active line array cabinet for large production and concert use. 2 x 12-inch low frequency, 10-inch midrange and three 1.5-inch high-frequency compression drivers; 3,500 watts; 143 dB max SPL.
· RCF TTL33-A—A three-way active line array cabinet for rental and staging, concert and production work. 2 x 8-inch low frequency, 8-inch midrange and three 1-inch high-frequency compression drivers; 1,250 watts; 134 dB max SPL.
· RCF TTL11-A + TTS26-A—A large-format column array coupling the active 4,000-watt TTL11-A (4 x 8-inch low-frequency, 3 x 8-inch midrange and 4 x 1.4-inch high-frequency compression drivers) with the active 3,400-watt TTS26-A dual 15-inch subwoofer.
· RCF HDL20-A line array—An active two-way line array cabinet with 2 x 10-inch mid-bass drivers and 2-inch high-frequency compression driver.
· dB Technologies DVA-T8 & T12—An active 1,400-watt three-way cabinet (8-inch low-frequency, 6.5-inch midrange and 2 x 1-inch high-frequency compression drivers, and an active 2,800-watt three-way cabinet (12-inch low frequency, 2 x 6.5-inch midrange and 3 x 1-inch high-frequency compression drivers.
· dB Technoloigies DVA-MINI—The newest addition to the DVA Series. DVA-M2M+M2S (800-watt dual cabinets each with 2 x 6-inch mid-bass drivers and 2 x 1-inch high frequency compression drivers.
Other products on display from RCF include the SUB-8006as, SUB-8004as, TT-052a, ART-745a, HD12-A and EVOX portable PA; and from dB Technologies, the DVA-S2585 cardioid subwoofer, SUB 18H and others.