Friday, February 19, 2016
NEXO Deployed In Support Of Pope Francis In Mexico City
Tecno Son Espectaculos provides STM arrays with B112 subs to cover crowd of 40,000 in Zocalo square.
As part of a 5-day state visit, Pope Francis arrived in the Zocalo square in Mexico City, where a huge stage, surrounded by NEXO STM PA clusters, was prepared in front of the Palacio Nacional and a crowd of 40,000.
This was his first visit to Mexico, the most Catholic country in the Spanish-speaking world. At this ceremony, the head of Mexico City’s federal government presented the Pontiff with the keys to the city.
As he did a walkabout through the Zocalo, greeting the faithful, the Cathedral bells sounded out and orchestras played Mexican music on stage.
The square stage, a virtual 360° presentation including giant video screens on each side, deployed four L/R arrayed systems of NEXO STM. Each array used 9x sets of STM M46 main + B112 bass cabinets, with 3x M28 downfill beneath the line. With NEXO’s PS15s for frontfill and stage monitoring, the system design by Sergio Zenteno used a total of 240 NEXO cabinets.
Actidea, the technical services company for the Presidential bureau of Mexico, appointed Tecno Son Espectaculos to provide the sound reinforcement for the event. As it has done before, Tecnoson collaborated with other NEXO STM rental houses ROA and Star to source the large inventory required for the event.
System specification: 8x Nexo STM modular arrays using….
—72 - Nexo STM M46 Mid High Long throw
—72 - Nexo STM B112 High power Low
—24 - Nexo STM M28 Omni Module
—Powered by 22x Nexo Universal Amp Racks (NUAR), each containing 2x NXAMP 4x4, 1 DMU, 1 DPU, and 1 Power Distro.
The subbass system was entirely Nexo STM S118 subs, 18 groundstacked each side.
Tecno Son Espectaculos
JBL By Harman Deployed For 58th Annual GRAMMY Awards
ATK Audiotek outfits STAPLES Center with VTX V25 and V20 arrays with S25 subwoofers for "Music’s Biggest Night."
For the 58th Annual GRAMMY Awards, Harman’s JBL VTX Series line arrays were once again used by ATK Audiotek for the PA system in the STAPLES Center.
Music’s Biggest Night, as it’s often called, is the telecast event where the GRAMMY Awards are presented by The Recording Academy to honor outstanding achievements in the production and performance of recorded music. The GRAMMY Awards were broadcast live in HD and 5.1 surround sound on the CBS television network and had more than 23.5 million viewers.
Hosted by LL Cool J, this year’s awards featured performances by some of the biggest names in the music industry, including Adele, Justin Bieber, Carrie Underwood, Bonnie Raitt, The Weeknd, Kendrick Lamar, Ellie Goulding, and Taylor Swift and others, as well as honoring MusiCares Person of the Year, Lionel Richie, by Luke Bryan, John Legend, Demi Lovato and Meghan Trainor and a special tribute performance to David Bowie by Lady Gaga.
“The PA system needs to provide clear and intelligible audio of the highest quality. Music is dynamic, but spoken voice requires even more clarity and precision. The details can easily become muddled with low quality reproduction. That’s why we choose the JBL VTX Series,” said Mikael Stewart, VP of Special Events, ATK Audiotek. “When you use a high-quality audio system, you can be confident that both the live audience and viewers watching at home around the world can easily hear and understand every word.”
This year’s system featured two hangs of 12-box JBL VTX V25 loudspeakers on either side of the stage for the main PA in addition to two 16-box VTX V20 loudspeaker side clusters, two 9-box S25 subwoofer clusters and three 8-box VT20 delay clusters, ensuring that every seat in the audience could hear what was being said at the appropriate time, regardless of distance from the stage. The loudspeaker clusters were powered by Crown I-Tech 4x3500HD HD amplifiers and Crown MA 12000i power amplifiers powered the subwoofer clusters.
“It’s always a compliment when your products are included in a project of this caliber, but when it’s the music industry’s elite—and on Music’s Biggest Night—that’s quite an honor,” said Andy Flint, director of marketing strategy and solutions, tour & cinema, Harman Professional Solutions. “We’re happy to be a part of such an electrifying night.”
Germano Studios Expands Inventory Of ADAM Audio Monitors
Studio Design Group adds S3X-H midfields and A7X nearfields to recording & mixing facility in the heart of Manhattan's Noho district.
Germano Studios has featured ADAM Audio monitors in its control rooms since the first day that it opened.
The facility, whose most recent clients include Dream Theater, Rihanna, Justin Bieber, Keith Richards, Katy Perry, Jon Bon Jovi, R. Kelly, Meghan Trainor and James Bay, takes pride in ensuring that their clients always enjoy the very latest in audio technology, recently added a pair of ADAM Audio S3X-H midfields and a pair of A7X nearfield loudspeakers.
“We knew that we wanted to have something from day one with a ribbon tweeter,” says Germano Studios owner and designer Troy Germano, whose Studio Design Group designed and built the facility. “That’s why we chose the ADAMs; everyone was very comfortable with them. A lot of great records have been monitored through all of our ADAMs over the course of the last number of years, beginning with the A7s, and now the A7Xs and the S3Xs.”
Germano Studios, which is celebrating its ninth year in business in lower Manhattan’s Noho district, features two well-appointed rooms: Studio 1, designed for tracking and mixing, and Studio 2, which is intended primarily for mixing projects, writing sessions, vocal recording and instrument overdubs.
“My experience with ADAM Audio has been with the A7s. I enjoy them, and the clients really like to crank them up loud—and they sound great loud and they’re really accurate,” says Kenta Yonesaka, Germano Studios’ co-chief engineer. “When we got the S3Xs, I was really blown away with the extra amount of detail. They have all the great characteristics of the A7s, but with much greater detail.”
Yonesaka, a 2014 Grammy Award nominee with a résumé that includes projects with Pharrell Williams, Ne-Yo, Future, T.I., Beyoncé, John Legend, Wayne Coyne, Miley Cyrus and numerous others, reports that the S3Xs have not left their spot on the console in Studio 1 since they arrived. “The ADAMs are great speakers for our clients and give a great first impression to their music. And engineers love them, too, because of the detail.”
The main complement of equipment in both studios is identical, and includes a 48-channel SSL Duality SE mixing console, 64 I/O Avid Pro Tools 12 HDX2 system and custom Exigy main monitors, enabling clients to move seamlessly between rooms. “We have a large array of nearfield monitors for people to choose from, where most studios have one pair of nearfields and maybe an alternate pair,” says Germano. “But the S3X is the only midfield that we have. They fill a void that we never even realized existed here. People fight over them for Studio 1 or Studio 2.”
He also notes, “The way that the S3X relates to our custom Exigys is really quite unique. It’s a good relationship back and forth when people want to go ‘upstairs’ or beyond midfield. Whether people are critically listening or it’s just for loud playback, the detail and the depth of the S3X are things that get noticed right away.”
Yonesaka also reports, “The engineers who work on records here like the fact that the EQ section on the S3s is upfront and very visible. If they want to make an adjustment, the controls are right there.”
“And in addition to their sonic performance, the ADAMs look great. They’re tough looking speakers,” adds Germano. “We couldn’t love our ADAM monitors more. The S3Xs are on the consoles to stay.”
Studio Design Group
Thursday, February 18, 2016
The Pros And Cons Of Aux Fed Subs
One of the great things about the pro audio is that one has the ability to change one’s position on a particular topic. This is a fun one for me as I have argued on both sides of the issue at various points in my career.
I suspect that the position I currently take might change again someday. Or not. One never knows.
Full Range Fed
Before we get into the pros and cons of aux fed subs, I should define what we’re talking about. There are primarily two ways to route audio to subs.
The first is to send a full-range mono or stereo signal to some kind of a crossover which splits the signal into appropriate bands. This can happen in a number of different ways. In most modern PA systems, a DSP will split the signal to the subs, full-range mains and possibly fills and delays. Usually, the crossover from low to high frequencies in the full-range mains happens inside the speaker box itself.
There are other ways to do that, but for now, we’ll concern ourselves with two bands—sub range, which is typically 40-100 Hz, give or take a little bit, and everything above 100 Hz. And yes I know, sometimes subs go lower than 40 and above 100. We’re taking concept here.
In this concept, the engineer simply mixes a full-range signal and sends it all to the DSP for splitting up amongst the appropriate drivers. The person who tunes the PA is the one who decides how loud the subs will be relative to the mains, and what the crossover frequency is. Once those parameters are set, the system acts as a cohesive whole and aside from making mixing and board-level EQ adjustments, the system is what it is.
In a non aux-fed system, every channel is set up to send signal to all the speakers—subs and mains. The only things that determines how much of the channel goes to the sub are the high-pass filter and the amount of low frequency content.
The other way to handle the frequency division is to send two (or three in the case of stereo) signals to the DSP. The main would be a mono or stereo signal that will feed the main speakers as in our previous example. The additional signal is typically derived from an aux send and drives the subs.
In this case, for a channel to show up in the subs, the engineer has to dial up the level in the appropriate aux on that channel. The engineer has to make a conscious decision to add something (or subtract it) from the subs. I’m not sure when the idea for this came about, but it’s an interesting concept. By controlling very tightly what goes to the subs, the net result should be cleaner low end. And of course, if the show is really bumping and you want some more, just push that aux master up and get you some more bass! Rock.
The famed economist Thomas Sowell once said, “There are no idea solutions, only trade offs.” That is equally true in live audio. While it might seem that aux fed subs are the bee’s knees because you can very discretely control exactly what goes into them, there are some hidden gotchas.
Before I go too far, it’s occurred to me that there are variations on this theme including a matrix fed sub and group fed subs. I’ll circle back to those later. For now, we’re going to talk about a true aux fed sub situation, where the only way a signal gets into the subs is when you turn up the aux for that channel and send it there.
Here are what I perceive to be the pros of aux fed subs.
Granular Control Over Sub Content. With aux fed subs, the engineer has complete, discreet control over what ends up in the subs. The only way something gets there is to be turned up in the aux.
In a typical worship band situation, that is probably going to mean the kick, floor tom, bass, and synth. And tracks if you have them. That’s pretty much it. And you can control how much of each channel goes there. So if you want a lot of kick but just a touch of synth in your subs, you can do that. It makes for a very clean sub feed.
Separate Sub Processing. Because the subs are on an aux, you can do some additional “group” processing on it. For example, you could put a compressor on the sub aux and add a little dynamic control. This may or may not be a good idea, but it could be done.
You could also add a plug in like Lo Air to synthesize some additional low end content. Again, this may or may not be a good idea. But you could do it.
Variable Sub Level Control. This is the big one everyone seems to go after; the ability to push the subs up or down with a single fader. As we all know modern music is “all about dat bass” and everyone loves their bass. Except for those who don’t. And when it becomes so overwhelming that the audience can’t hear the vocals.
But hey, with aux fed subs, you can turn the subs down just as easily! The fader goes both ways. Aux fed subs make it easy to tweak the level of the subs on a per song, or even per chorus basis.
Those are some of the pros. However, as I’m writing this out, I’m thinking of rebuttals to each. So in the spirit of the most excellent and helpful presidential candidate debates [that was sarcasm], here are the rebuttal answers to each.
Granular Control. You can do this in a full range fed system by using a high pass. If your high pass filter is set above the level of the sub cross over, very little if anything will end up in the subs. And pretty much everything besides the kick, floor tom, bass and synth should have a high pass on it. And tracks if you use them. So there’s that.
Separate Sub Processing. You could just as easily do this on a group that feeds the main output. Though I’m still working on justification…
Variable Sub Level Control. This is really a mix issue. If you want more kick in the mix, turn up the kick. If you want more bass, turn up the bass. If you want more floor tom, well, you get the idea.
So, while it may be alluring at first to have this amazing, discreet control over the subs, it’s not the only way to do it. Moreover, it creates some problems that are hard to overcome down the road. And we’ll tackle those next time. And I’ve probably tipped my hand as to which way I currently lean, huh?
All good pro/con lists have both. And this concept is no exception. I’ve given you the pros, and now it’s time too look at the drawbacks.
Constantly Changing Crossover. This is one of the big issues for me. The crossover point is defined as the frequency at which the two drivers are the same level. In our hypothetical example, let’s say that at 100 Hz, the subs and the mains are the same level. Below that, the mains drop off, as do the subs above that.
When it comes to setting the timing between the subs and mains, we want them to be reproducing the crossover frequency at the same time. That is, if we send a 100 Hz burst out of both the subs and mains, it will happen at the exact same time. This makes for very clean and tight low end.
The best way to set that timing is by aligning the phase for both boxes. Phase is time, and it’s easier to see time in the phase trace than it is in say an impulse response. So we line up our phase with delay and the system is aligned.
However, if we’re constantly messing with the level of the subs using that aux master fader, we’re sliding the crossover frequency up and down. As we do that, the timing is going to start to drift. Not a lot, but it can enough that the low end starts to smear and become less clear. Flabby, loose and muddy are all terms we hear when the bass isn’t aligned to the mains. Aux fed subs make it really hard to lock this down.
Opportunities for Errors. Whenever we add complexity to a system, we increase the opportunity for failure or error. In this case, it’s all too easy to dial way too much of something into the sub aux, thus skewing the mix. Most instruments produce sound over a wider range than just the sub coverage.
The kick for example has plenty of sub-100 Hz content. But it also has a lot of information above that, and to make the kick sound nice and clear and punchy, we need it. If someone dials the sub aux on the kick all the way up to 11, pushing the fader up all the way will make the kick too loud.
So it will get turned down. The low end will still be there, but the top end will trail off. A novice engineer might try to compensate with EQ which only further exacerbates our timing issue. Eventually, the low end is mush. Multiply this by 4-5 more channels and you have a recipe for ugly bass.
Added Complexity. This is similar to the above, but I point it out especially for churches that use volunteer, non-professional help behind the console. Aux fed subs are not necessarily hard, but it is harder to get it sounding right, and there is a bigger opportunity for things to go wrong.
When setting up systems for volunteers, I like to give them as many opportunities to succeed as possible. Honestly, I don’t believe there are enough pros to outweigh the cons in an aux fed sub situation for most churches, so I go for simple when possible.
By now, you probably know where I stand. Though what you may not know is that for years I was a staunch aux fed subs guy. I wanted the control and I felt I could do it better that way. However, as my understanding of PA tuning has expanded, I now believe I can get better sound from a full range fed PA.
Having mixed on both, I know I can make either sound good. Overall though, I think a system where the subs are part of the main feed will generally result in better mixes for more engineers. Hear me on this; I’m not saying aux fed is categorically wrong. I simply think in most cases, for most churches doing a full range feed is going to produce better results.
I can make a case that from a very technical standpoint a timed in sub system is going to sound better than an aux fed system (see the previous post). But again, I know some very good engineers who can make an aux fed system sound really good. However, they really know what they’re doing and they effectively treat it like a full range system.
As you’ve been thinking through the pros and cons of feeding the subs on an aux, you may be wondering how else we could do this. Is there a way to gain the benefits of an aux fed sub without the drawbacks?
I’m glad you asked, because yes, Virginia, there is. Or are. We have a few ways to do it. Which one you choose will depend on your console’s capabilities.
Group Fed Subs. If I were the only person mixing on a system, this is how I would probably set it up. To use this method, you would use two groups, one for the main speakers and one for the subs. Assign all your channels to the mains group and only the channels you want to appear in the subs to the subs group also.
The nice thing about this is that the gain structure is maintained. On most consoles, sending a channel to a group is a unity gain send; that is, there is no change to the gain when you assign it to the group. This keeps the crossover and thus the sub timing in tact. But you still get to choose what goes to the subs.
On the output side of the console, you would just route the groups to outputs and run those to the DSP. Not all consoles will let you send a group directly out, however. This can be a challenge with analog consoles as well. But it doesn’t mean we’re done yet. You can combine this method with the next one to get the two groups out of the console.
Matrix Fed Subs. If you can’t route a group directly out, you can probably route a group to a matrix. In this case, you’d need two matrix mixes, a sub and mains. Doing this adds another level of gain staging, so you do have to be careful how you set everything up. It’s important that the levels are the same at the group level and the matrix level.
On many digital consoles, you can route individual channels to the matrix. Some, such as the Yamaha M7, CL and QL, for example, let you route any or all of the channels to a matrix. The matrix can either act like an aux with variable level for each send or like a group with fixed level. You want to use the fixed level mode for this to work properly. Remember, we don’t want to have level control between the sub feed and the mains feed; we simply want routing control.
What I do on DiGiCo consoles (and perhaps others can do this as well) is build a subs group in addition to my master group. I then gang the faders together so they track at the same level. I often won’t even bother assigning the sub fader to the surface because it’s simply going to track the master. Then it’s a simple matter of assigning the channels I want to go to the subs to the subs group and I have the best of both worlds.
Like I said, how exactly you do it may depend on the capabilities of your console. It may take some experimentation to find the easiest way to do it that doesn’t put an unnecessary burden on the volunteers, but gives them the control. Of course, standardizing your inputs, building a baseline show file and working from that file every weekend goes a long way to making sure everything works as expected. But that’s another post. Or three.
Mike Sessler has been involved with church sound and live production for than 25 years, and is the author of the Church Tech Arts blog. Based in Nashville, he serves as project lead for CCI Solutions, which provides design-build production solutions for churches and other facilities.
Firehouse Productions Deploys JBL By Harman For 2015 BET Hip Hop Awards
JBL VTX V25-II loudspeakers powered by Crown I-Tech 4x3500HD amplifiers support event at the Atlanta Civic Center.
Harman Professional Solutions’ JBL loudspeakers and Crown amplifiers were once again selected to provide sound and coverage at the 2015 BET Hip Hop Awards at the Atlanta Civic Center.
Hosted by Snoop Dogg, this year’s award winners included Drake, Kendrick Lamar and Kanye West.
Firehouse Productions, a Red Hook, New York-based Pro AV company with credits including the iHeartRadio Music Festival and the Rock ‘n’ Roll Hall of Fame ceremony, has been the longtime provider for the BET Hip Hop Awards. For this year’s show, Firehouse Productions provided coverage featuring JBL VTX V25-II loudspeakers powered by Crown I-Tech 4x3500HD amplifiers.
To best showcase the event’s musical performances, the Firehouse Productions team aimed for nothing less than maximum clarity and intelligibility in all directions. The rig for the show included six flown JBL VT4880A loudspeakers, two ground-stacked VT4880A subwoofers, 11 VTX V25-II loudspeakers per side and eight JBL VT4886 loudspeakers for front fill. Mark Dittmar, lead design & integration engineer at Firehouse Productions, said the switch to the new VTX V25-II line array provided substantial benefits, particularly for a hip-hop show.
“The VTX V25-IIs were a great choice for this show,” said Dittmar. “You get so much more on the low end, which is great, because we didn’t have much room for subwoofers. Being a hip-hop show, the boost on the low end made a huge difference.”
Dittmar has been using Harman products since Davie Bowie asked Firehouse to supply JBL VT4889 loudspeakers for his tour more than 15 years ago. He said he’s marveled ever since at the evolution of new JBL products, which have continued to set the standard for innovation and quality.
“It’s been amazing to see the steady progression of Harman Professional Solutions,” said Dittmar. “We actually thought the new VTX V25-IIs might not be markedly different from what came before, but we were dead wrong. The front of house engineers for the BET Hip-Hop Awards were blown away by the sound quality of the VTX V-25-IIs. Of course, it’s hard not to be impressed. It’s yet another in a long line of ‘wow’ moments courtesy of Harman Professional Solutions, which is why we continue to use their products.”
Harman Professional Solutions
Hamburg’s Altonaer Theater Outfitted With Alcons LR7 Line Arrays
Protones event technology selects pro-ribbon line-arrays for theatre with emphasis on spoken-word literature.
As part of a modernization of Hamburg’s Altonaer Theater, Protones event technology from Lüneburg installed LR7 pro-ribbon line-arrays from Alcons Audio.
The Altonaer Theater staff decided for two flown arrays of 5 Alcons LR7 each. Under stage 2x BF302i were installed as low frequency support. Alcons ALC2 and ALC4 with DDP (Digital Drive Processor) were used for system drive and amplification.
The Alcons LR7 pro-ribbon line-array has proven itself in many theaters. Despite compact dimensions of 359mm/14.1-inches width and 173mm//6.8-inches height and the lightweight (8Kg/17.6-lb).
“The sound and vocal intelligibility of the LR7 was immaculate and significantly better than that of the comparative system,” said Andreas Meyer-Delius, technical director of the Altonaer Theater. “In addition, the Alcons system has a uniform signal transmission in all frequency ranges, without the so-called “beauty dent” in the 1000 Hz range. This gives the engineer greater freedom in the sound scaping.”
Dirk Dechring, project manager of Protones event technology, says “It is a discrete system that provides a very high speech intelligibility. So the theater production is in the foreground, not the technology. “
“Overall, all parties stood by their decision, and after one year of operation, our impression remains very positive,” Meyer-Delius looks back with satisfaction.
The Altonaer Theater brings literature to the stage. Stage successes such as “Mephisto”, “Schiller’s complete works ... slightly shortened” or bestsellers such as “Measuring the World” and “the hundred-year-old man who climbed out the window and disappeared” have achieved cult status. Successful authors and stage versions specifically created for the theater underline the quality of the house.
Vintage King Equips Royal House Recording Studio
Motor City native returns home with a $3 million dollar studio to further reinvigorate the Detroit recording scene.
The new $3 million Royal House Recording studio has been fully equipped with a treasure trove of gear from Vintage King Audio headquarters in Detroit.
Located nearby in the suburb of Royal Oak, the new studio was built from the ground up by Detroit native Roger Goodman, who relocated to his hometown after 15 years as a producer/engineer in Los Angeles.
During his productive tenure in Los Angeles, Goodman attended The Los Angeles Recording School and Full Sail University before embarking on his career as producer/engineer working out of top LA studios such as Record Plant, Larabee, and Paramount. Goodman produced and engineered a number of successful artists, including Lupe Fiasco, Lil Dicky, Dej Loaf, and Asher Roth, while garnering Grammy nominations.
“I’m a third generation Detroiter and after paying my dues in LA, I wanted to come home and really build a studio that could take us back to the good ol’ days of recording in the Motor City,” explained Goodman. “We’re in the same neighborhood as Eminem’s 54 Sound and my goal is to further reinvigorate the Detroit scene, which has been a major recording destination since the 40s.”
Royal House features a 48-channel SSL Duality SE console and monitoring with Barefoot Sound MM27, ATC SCM25A Pro, Genelec 1032, and Yamaha NS-10 speakers. Top processing gear includes Burl Audio B2 Bomber, Shadow Hills Mastering Compressor, and Chandler EMI TG12413 Zener Limiter.
A large selection of microphones includes models from Royer, Coles, Sennheiser, Electro Voice, AKG, Neumann, Shure, Schoeps, and Sony. Choice outboard gear is available from Neve, API, Pultec, Maag Audio, Empirical Labs, DBX, Purple Audio and Retro Instruments.
“Vintage King is really at the top of their game,” says Goodman. “I worked with Jacob Schneider and he would come to the studio at the drop of a hat. They gave me lots of options from a list of boutique items to the necessary standard gear. Now we have everything from choice guitars and guitar amps, outboard gear, the SSL console, and they guided us with incredible input on how the whole network was to be set up. The studio is so user friendly and producer ready—just the way it should be.”
Vintage King Audio
Royal House Recording
Sound Designers Worldwide Tap Meyer Sound LEOPARD For Musical Theatre
With support of six productions on three continents, LEOPARD is making an impression in the world of musical theatre.
Sound designers are specifying the Meyer Sound LEOPARD linear sound reinforcement system to support a growing number of musical theatre productions in America and Europe alike.
With support of six productions on three continents, LEOPARD is making an impression in the world of musical theatre.
Motown: The Musical in London
Noted sound designer Peter Hylenski chose to deliver the soulful sounds of this West End hit musical at London’s Shaftesbury Theatre with 28 LEOPARD line array loudspeakers and six 900-LFC low-frequency control elements, supplied by London-based Autograph Sound.
“Motown is an extremely dynamic show,” says Hylenski. “With LEOPARD, the low-level dialogue is crisp and articulate, while the full musical numbers have punch and clarity.
“The first time I heard LEOPARD, I was amazed by the clarity, smooth vertical coverage, and amount of power in such a small package,” Hylenski continues. “Also, the 900-LFCs work perfectly with LEOPARD, and their compact size is an added bonus. Having a flexible building block for low frequencies opens up possibilities for dealing with the architectural challenges of many theatres we play.”
Mamma Mia! in Barcelona, Spain
“LEOPARD was the right choice for this tour,” says Poti Martin, sound designer for Mamma Mia! “I needed a powerful system to cover larger houses, but also one that was compact and easy to rig for the job. LEOPARD’s high-frequency control is amazing, so it gets clear sound all the way to the back of the room. The sound is very consistent everywhere.”
For Mamma Mia!’s three-month run in Barcelona’s multi-tiered, 1,653-seat Teatre Tivoli, Martin specified dual hangs of 12 LEOPARD loudspeakers each and six 900-LFC elements. The system was supplied by Fluge Audiovisual of Madrid. “The 900-LFCs are powerful and musical at the same time,” he adds. “They make the overall sound incredibly round and full.”
The Bodyguard in Cologne, Germany
For a production of The Bodyguard in Cologne’s 1,740-seat Musical Dome, sound designer Richard Brooker put together a system of 24 LEOPARD loudspeakers and nine 900-LFC elements, supplied by FeedBack Show Systems & Service of Stolberg.
“The Bodyguard is a very dynamic show, and the LEOPARD system delivers clarity for low-level dialogue as well as loud, punchy, concert-like musical numbers and cinematic-style sound effects,” reports Brooker. “Also, this particular theatre is very wide, and LEOPARD’s broad dispersion covers it beautifully. And remarkably, this is the first time I’ve ever put a large array up in a theatre and left the EQ flat.”
Trip of Love in New York, NY, USA
At New York’s 499-seat Stage 42, 18 LEOPARD loudspeakers and six 900-LFC elements support the 1960s-themed Trip of Love. “LEOPARD gives the show outstanding clarity,” reports Domonic Sack, sound designer for the musical along with Peter Fitzgerald, both with New York’s Sound Associates. “It’s a heavy rock show, and we’re getting a great vocal sound from them, with tremendous gain before feedback.”
Also in New York, the hit Broadway musicals School of Rock and On Your Feet are both supported by LYON, another member of Meyer Sound’s LEO® Family of line array systems.
Scotland and Brazil
Elsewhere, 18 LEOPARD loudspeakers and four 900-LFC elements were supplied by Edinburgh-based Blueparrot for a production of Legally Blonde at King’s Theatre in Glasgow, Scotland. And in Brazil, Sao Paulo-based Gabisom Audio Equipment has deployed 16 LEOPARD loudspeakers for a production of Wicked at Teatro Renault.
Wednesday, February 17, 2016
Little Rock’s St. James United Methodist Church Upgrades With Ashly Audio
Memphis Sound Lab designs user-friendly systems around Pema series digital matrix processors and network amplifiers.
Starting out with just 96 members in 1969 and growing to over 3,600, St. James United Methodist Church in West Little Rock recently raised enough money to build a teen bistro, eight new classrooms, and the Jones Fellowship Hall.
Memphis Sound Lab was hired to design and install sound reinforcement systems for the new spaces, selecting Ashly Audio’s combined processor/multi-channel amplifiers and intuitive user interfaces to give the systems a solid backbone with user-friendly access.
“I love turning Ashly controllers over to clients,” said Charles Lawing, owner and manager of Memphis Sound Lab. “They’re small, easy to customize, and simple to use, and clients always delight in taking control of their new system without the hesitation or uncertainty that can so often come with more complicated interfaces. Ashly’s full line of combined processors and amplifiers gave us a lot of options for building these systems out. Moreover, Ashly’s proven record on reliability will be a huge asset to St. James United Methodist. They’ll be able to use these systems day-in and day-out for years and years without a hiccup.”
The bistro features a kitchen, a juice and coffee bar, and plenty of comfy bar, booth, and table seating so that teens can hang out in a fun, free, and supportive environment.
Memphis Sound Labs repurposed microphones and other input sources and added a Tascam combination CD player and mobile music device input. Those inputs feed an Ashly Pema 4125.70 combined 8-in x 8-out Protea digital matrix processor and four-channel 125W network amplifier, which power four ElectroVoice Evid 6.2 loudspeakers and other ceiling speakers. Staff can select from among the inputs and change how “bumping” the bistro is with a simple Ashly WR-5 wall-mount remote control.
Similarly, St. James Methodist Church’s eight classrooms in the new youth building rely on two Ashly eight-channel Pema 8125.70 combo processor/amps, for a total of sixteen zones powering Atlas ceiling speakers. Users select inputs and volumes within each classroom using the familiar Ashly WR-5 remotes.
Jones Fellowship Hall adds the wrinkle of modularity: it can operate as one large room, three smaller rooms, or some combination in-between. The Ashly ne4125.70pe four-channel amplifier with on-board Protea Digital Processing handles all of the necessary routing logic and signal processing.
An Ashly FR-8 network remote fader bank with eight assignable faders and a master fader make source volume control and mixing transparently easy for staff who are not technically inclined. When the space is divided, additional Ashly WR-5 wall remotes allow source selection and volume control in the two smaller ends of the long room.
Outline Arrays Deployed For 500,000 At The Experience In Nigeria
Cytech World Communication selects GTO arrays with DBS 18-2 and LAB 21 HS subwoofers for 11 hours of non-stop prayer and live music.
Over 500,000 people attended Africa’s “The Experience” interdenominational gospel concert at the Tafawa Balewa Square in Lagos, Nigeria, organized by The House On The Rock multi-ethnic church.
The organizers chose Outline sound reinforcement loudspeakers to ensure that the spoken word and music by the numerous artists such Don Moen, Donnie McClurkin, Fred Hammond, Micah Stampley, Kim Burrell, Hezekiah Walker, Jessica Reedy and Sonnie Badu, were heard loud and clear by the huge crowd.
Cytech World Communication was called in for the third consecutive year to handle sound production for the huge event that featured 11 hours of non-stop prayer and live music.
The main front of house system was comprised of 30 GTO C-12 line arrays, two GTO-DF down-fills, 16 DBS 18-2 subwoofers and four LAB 21 HS infra-low subwoofers. Coverage for the audience near the sides of the stage used 20 Butterfly line array. Six Outline 2-way DVS 12 point source cabinets provided front-fill facilities, and 24 Butterfly and eight 218 Subs were deployed as delay units. Outline T-Series amplifiers powered the entire sound system.
With a limited time frame at its disposal at the venue, the audio team used Outline’s Openarray-3D acoustical prediction software to guide the installation of the sound system, which had the task of covering all of Tafawa-Balewa Square – 280x200 meters – bounded by tiered seating 20 meters high and 30 deep running the full length of its long sides.
The Experience’s system engineer was Italian live audio veteran Carlo Gennaro, who explained, “Due to the vast area and the size of the crowd, achieving the best possible results in terms of coverage was fundamental to ensure everyone enjoyed and participated in the show, no matter where they watched it from – even for those in the bleachers. The Outline rig with it’s impressive long throw, precise coverage and overall clarity overcame this challenge with ease and precision and the result was really gratifying - at front of house, forty meters from the main system – we had of 110dB of undistorted SPL. We couldn’t have asked for more.”
Harman Professional Solutions Offers JBL Intellivox Training
Contractors and consultants invited to Zaltbommel, the Netherlands in March for in-depth, hands-on course on digitally controlled beam shaping technology
Underscoring a commitment to training and education in advanced acoustics and digital technologies, Harman Professional Solutions is hosting comprehensive training on its JBL Intellivox Digitally Controlled Beam Steering Technology March 2–3, 2016.
The free training will take place at the Theater De Poorterij and will include a detailed overview of JBL Intellivox, including use in PA/VA systems; physics of loudspeaker arrays; JBL Intellivox directivity concepts; room acoustics; JBLIntellivox design guidelines; introduction to JBL Intellivox software; and practical exercises.
The training will conclude with a factory tour at the JBL innovation hub and factory in Zaltbommel.
“Harman Professional Solutions is committed to equipping consultants and contractors with not only the best technologies, but also the best training programs,” said Nick Screen, sales director, Large Venue, Harman Professional Solutions. “This comprehensive approach aligns with our delivery of complete system solutions and addresses our customers’ and partners’ requirements for extensive details on technologies and applications.”
Harman Professional Solutions
Montana State University Selects Bose RoomMatch For Brick Breeden Fieldhouse
Black Box Design deploys RoomMatch arrays with RMS218 dual-18-inch subs and PM8500N amps for 7,250 seat multi-purpose venue.
The Brick Breeden Fieldhouse, on the campus of Montana State University in Bozeman, Montana, is home to MSU Bobcats basketball games and other sports, including track events and the annual statewide high school volleyball tournament, as well as the occasional rodeo.
And now that the field house, which seats 7,250 people, has had a new Bose Professional RoomMatch sound system installed, it’s become host to a far wider range of events, including meetings and conferences, receptions, concerts and trade expos.
Locally-based AV systems integrator Black Box Design, of Big Timber, Montana, installed a system composed of 28 RoomMatch array modules to match the room’s acoustical needs, plus four RMS218 dual-18-inch subwoofers. The system is powered by a total of 15 PowerMatch PM8500N networked amplifiers.
Doug Brekke, president of Black Box Design, knows the Fieldhouse and the college well — he graduated from Montana State with a degree in electrical engineering and worked there as a student volunteer before starting his own AV business and becoming an area vendor. He teamed up with Bridgewater Acoustics, the regional Bose dealer, to design the RoomMatch system for the space.
It was Brekke’s first RoomMatch installation, and he was impressed: “I’m delighted to be able to have line-array performance in an installed-system configuration — it’s the best of both worlds, in terms of performance for both music and speech intelligibility,” he says. “The coverage we achieved was fantastic, on the floor and the seating areas. The RoomMatch system just has great performance characteristics.”
Melanie Stocks, director of the Brick Breeden Fieldhouse, agrees and notes the benefits that have arisen with the new sound system.
“Before last May, when the new system was installed, the ways we could use the Fieldhouse were rather limited,” she explains. “We could do basketball games and track meets, and some music, but even those were subject to having less-than-pristine sound. But since the new system went in, it’s been wonderful. There are no more complaints about the sound; instead, there are compliments about it, including from the additional customers who rent the space. The old sound system was holding us back. The new Bose system has changed all that. And in addition to better sound, it’s also easier for us and our customers to use it — all of the controls are accessible through a Crestron LCD display. Our entire staff has been trained on it and we no longer need to keep a tech on hand. Working with Bose, with Doug and Black Box Design, and Jay [Bridgewater] at Bridgewater Acoustics, has been a great experience. The RoomMatch system has been the best thing to happen here for sound.”
Tuesday, February 16, 2016
First Presbyterian Church Of Champaign, IL Upgrades To WorxAudio
Custom Sound Designs Group outfits historic sanctuary with TrueLine X3i-P and X1Mi-P line arrays.
Founded in 1867, First Presbyterian Church is the oldest church in its area. The church offers a diverse range of ministries, including caring for the poor and homeless of the community as well as partnering with a sister church in Havana, Cuba and supporting a girl’s school in Pakistan.
With both traditional and contemporary services, music assumes a vital role in the church’s programs. Church management recently decided to upgrade the sound reinforcement system, selecting loudspeakers from WorxAudio Technologies, a division of PreSonus Audio Electronics.
Fort Wayne, IN-based CSD (Custom Sound Designs) Group was contracted to manage the installation of the church’s new sound system. CSD Group president Doug Hood, who oversaw the project from conception through completion, discussed the challenges of the job and his decision to deploy two WorxAudio TrueLine X3i-P All-In-One Compact Line Arrays plus an X1Mi-P line array enclosure.
“The church offers two services: one that is traditional in nature with a choir plus organ or piano while the other is a blended / contemporary service that encompasses a praise band and worship team,” Hood explained. “While music has always been an important part of their services, the previous loudspeaker system simply did not have the ability to reproduce a quality musical experience. The sanctuary measures 75 feet in length and is 54 feet wide with a ceiling height of 25 feet. The room accommodates 400 people and is comprised of fixed seating in the form of traditional pews. The stage / pulpit area faces into the length of the space.”
“Given the size of the room as well the need to integrate the new loudspeakers into the space in such a way that they did not disrupt the aesthetic character of the space, we elected to fly the two WorxAudio X3i-P powered enclosures in a left-right stereo configuration. These enclosures are suspended from the beams in the ceiling area and are positioned in such a way that they do not visually deter from the cross that is very prominently featured on the back wall. These two enclosures serve as the house mains while a single WorxAudio X1Mi-P line array enclosure is flown in the center of the area and faces downward—serving as a monitor system for the choir.”
When queried about those attributes that made these particular WorxAudio loudspeakers the ideal choice for the church, Hood offered the following thoughts, “The most important consideration for me was trying to deliver stereo to the majority of the seats in the house. The wide, 160-degree horizontal dispersion of the X3i-P made it possible to accomplish this. Considering that the church is an old building, we also had structural limitations that were a concern should we have elected to mount anything but a small loudspeaker in the center. Given this situation, the WorxAudio X1Mi-P was the ideal choice for use as the choir monitor system. The bottom line in this case was the fact that the compact form factor of the WorxAudio X series fit the requirements of this project perfectly. We needed loudspeakers with a relatively small footprint, low profile, and with just moderate weight—but with the ability to deliver high performance.”
Hood also had high praise for the WorxAudio support staff. “The WorxAudio team works hard to support us,” Hood reports. “They are always available and accessible and are genuinely interested in making certain our projects are successful. If an issue arises, they work diligently to find a resolution as quickly as possible. We’ve been very pleased.”
The First Presbyterian Church project commenced in September 2015 and the system was placed into service following completion in October.
Hood offered these final thoughts on the project, “The church was blown away with the new sound system. This job was part of a turnkey solution for sound, video, and lighting for the entire campus, which included the sanctuary as well as five other auxiliary spaces. As for the sanctuary, the installation of the WorxAudio equipment resulted in a major improvement over the previous loudspeaker system and we received many, many compliments on opening Sunday. This project was nearly a year in the planning stage, so it was rewarding to see all the hard work recognized upon completion.”
PreSonus Audio Electronics
Custom Sound Designs
Twonk Di Nation Tour Deploys VUE Audiotechnik
Zeo Brothers Productions selects al-4 arrays and al-8SB subwoofers to support EDM artist Brillz in the DJ Booth on US tour.
Currently in the midst of a five-month tour that will span the United States, EDM artist Brillz is bringing his unique brand of hip-hop/EDM to tens of thousands of enthusiastic dance music fans, supported by a VUE Audiotechnik monitor system supplied by Zeo Brothers Productions.
Brillz’ Twonk Di Nation Tour features an all-star lineup, with rising festival trap artist Party Favor appearing on all dates and a rotating cast of support artists that includes Jackal, DOTCOM, Ghastly, LAXX, Kayzo, Party Thieves, Willy Joy, Y2K, Aryay, Dr. Fresch, and Infuze.
“The monitor system is used in conjunction with various venue front-of-house systems,” says Dan Zeo, vice president, The Zeo Group. “We are traveling with a stereo monitor rig for the DJs consisting of eight VUE al-4s and four al-8SB subwoofers.” Carrying the monitor gear ensures that the DJs have a powerful, consistent experience each night.
“We configure the al-4s on fly bars, four per side, and the al-8SB subs, two per side ground-stacked, set a few feet to the sides of the DJ booth just past our LED wall,” explains Zeo.
Multi-tasking as the tour and production manager, the tireless Jim Feeney also wears the hat of system tech while tuning the monitor system and the main front of house system each day to ensure the performance is at its peak each night. Feeney is a seasoned touring audio engineer with experience at both front of house and monitors, having mixed for 50 Cent, The Pretenders, Joe Henry, Puff Daddy and Lamb of God, just to name a few. Once the monitors are tuned to his liking the DJ’s have full control of the show via the “booth output control” on their Pioneer DJM-900 NXS mixer.
VUE’s al-4 Subcompact Line Array System features dual 4-inch Kevlar woofers and can deliver a frequency response down to 95Hz +/- 2.5 dB in this configuration. Its one-inch exit compression driver employs VUE’s proprietary Truextent beryllium diaphragm, which enables the driver to achieve dramatic improvements in high-frequency response and linearity. Weighing in at a slight 18 pounds per cabinet, each al-4 produces a coverage pattern of 90 degrees horizontal x 10 degrees vertical — enabling the monitor system’s acoustic output to remain focused on the DJ booth.
The single 18-inch al-8SB Flyable Subwoofer System is constructed from top-quality birch plywood and coated in a durable twelve-step Dura-Coat LX finish that stands up to tour use. Extensive interior bracing ensures resonant-free low-frequency performance down to 36Hz +/- 2.5 dB, and the al-8SB is as effective being rigged and flown as it is ground-stacked.
Given the logistics of a national, multi-artist tour it’s critical that gear can be setup quickly and efficiently, and the VUE monitor system is making life easier for the techs on the Twonk Di Nation Tour. “I love how easy it is to get the system built and running each day,” says Spencer Smith, tour stage manager and backline tech. “When touring day in and day out, it’s always nice to know that you don’t have to worry about the monitor rig.”
“I was very impressed by the amount of clarity and punch the al-4s provide in such a small box, and they work great in conjunction with the al-8SB subs,” says Feeney. “They hit hard and low enough that the DJs could feel the bass-heavy tunes with clarity and ease.”
Phil Zeo, president, The Zeo Group, shares Feeney’s sentiment: “The al-4s have unbelievable volume and clarity in such a small package.”
Brillz’ Twonk Di Nation Tour will continue with dates at least into mid-March 2016.
Brillz’ Twonk Di Nation Tour
Monday, February 15, 2016
PK Sound Celebrates Successful 2015 Trinity Launch
New line array is field-tested at events from Shambhala to Lightning in a Bottle festival to Countdown NYE with satisfying results.
It was 5:30 in the morning of Sunday, June 21, 2015. PK Sound front of house engineers Rory Stewart and PJ Miller, along with Arlen Cormack, vice president Touring and Production, were on an emotional high fueled by exhaustion and excitement.
For three days, running from 7 at night until these early hours, the largest electronic music festival on the continent had drawn more than 100,000 fans a day to the eight adjacent stages on the Las Vegas Speedway.
It was the Electric Daisy Carnival, an Insomniac flagship event, and for the first time the producers had selected PK Sound for one of its most technically innovative stages for 2015: BassPOD.
PK, in turn, deployed its brand new Trinity system – 16 modules per side – reinforced by 69 dual 18-inch CX800 subwoofers at the front of the stage and 8 SW215 stage wedges for vocal stage monitoring. Another 4 CX800 subwoofers and 6 VX10 compact line array supported the DJ booth as monitors. Fully armed and ready to go, all it had to do was deliver as promised. In true Vegas fashion, the stakes were high. In the words of Cormack, “There was no margin for error.”
Throughout the hours of intensive, enveloping bass that the aficionados had travelled here to experience, and the relentless heat and sand of the Nevada desert, Trinity proved to be everything the company had envisioned; from the transparency of the sound to the ability to sculpt and focus the sound field remotely. It helped make BassPOD the top pick of the festival by LA Weekly.
Popular website reviewer thatDROP cited PK Sound among its “10 Reasons EDC Las Vegas 2015 was the Best EDM Festival of All Time”, stating that “ The Trinity rig brought technology that allowed audio engineers to manipulate sound to reach where it is intended, engulfing listeners in a bubble of auditory bliss capable of rattling every cell in their body.”
It validated the decision to go with PK for one of Insomniac’s most innovative stages ever by executive producer Forrest Hunt, who concluded, “Working with PK’s new Trinity system on the bassPOD stage this year was an absolute pleasure. The system focused the energy cleanly and clearly onto the dance floor and we received an overwhelming amount of positive feedback about the sound quality over the weekend.”
In the days leading up to the weekend, 2000 miles away in Orlando, PK’s founder, Jeremy Bridge, Paul Magnuson, VP of business development, Adam Lewis, production manager, and Jon Bichel, R&D specialist, were at Infocomm 2015, officially unveiling Trinity amid a crowd of over 40,000 industry professionals from more than 108 countries. While the visual hook of the exhibit was the remote-controlled movement of the speakers, Bridge and the team were quick to emphasize that the most important result of a “no compromising attitude” at PK was the sound.
“I’m absolutely most proud of the sound,” said Bridge. However, extolling sound quality virtues of a speaker on a tradeshow floor is akin to talking about a Lamborghini’s handling ability in a showroom. There would be much more convincing to be done.
It was a long journey, from the spark of an idea years earlier to this exceptional week in June. But there was no doubt: PK Sound – and Trinity – was ready. Over the course of the year, Trinity would be deployed at more than 135 events across Canada and the US, continuing to win fans and demonstrate PK Sound’s innovative technology.
Although he takes credit for the initial concept of what would become Trinity, Bridge is adamant about sharing credit with those who have joined him at PK Sound since the company’s formation in 2005, and who are now employee-owners. The culture is driven by their desire to take the connection between artist and audience to the next level.
“Trinity is the future of sound reinforcement,” says Bridge. “By giving front of house engineers the ability to sculpt the sound field in all three dimensions, we are able to achieve precision and accuracy that was previously unobtainable.”
It was this culture of mutual support and the agility of PKs relatively small size as a company, which fostered exploration of technologies that had seemingly been passed over by the bigger established players in the industry. From the very beginning, PK set its collective sights on building a few high-quality innovative products rather than a wide range of imitators.
Given Bridge’s engineering mindset as a musician and producer, it is also not surprising that in his quest for better sound he would look at the traditional, cumbersome and hazardous methods of flying line array systems and say, “There’s got to be a better way to do that.”
The result is a system that you can fly straight with just one or two people, hook up your laptop, and make all the adjustments in the module by remote control. This can save up to 75% of the set-up time – which is critical when schedules are tight on major tours, and which then allows the luxury of more time to concentrate on fine-tuning the sound. Whether it’s saving time, or being able to adjust the angle of a speaker even in the middle of a show, everything about Trinity contributes in one way or another to a better concert experience for the audience.”
PK’s patented 3D Wavefront Control permits full control of all DSP functions and the vertical/horizontal directivity of the array, instantly. This advancement is coupled with other critical improvements such as actuating horn flares and the CMI (Coherent Midrange Integrator) Waveguide that combines mid and high frequencies with precisely spaced low frequency apertures. None of this matters to the average concert-goer, of course. What does matter – to fans, artists and promoters – is that using Trinity at an event guarantees the maximum number of best seats in the house.
Before launching Trinity, the team resolved that there would be “no allowances for failure.” Research went into every component, every nut and bolt, which led to sourcing from Europe and around the world. The cabinet itself underwent numerous iterations to ensure that it was absolutely weatherproof to withstand the invasive sand of a desert windstorm or the relentless water of a coastal downpour.
“I would go home at night thinking about all we had done that day to improve the prototype, and how hard everyone had worked,” says Bridge. “Then I would come back in the morning with more ideas, and say things like, I’m sorry guys, but we have to make the cabinet lighter. In the end we were able to package all the additional technology and keep it lighter than our competitors”
By 2014, Trinity was ready for field-testing, and for PK Sound there was no doubt it would be Shambhala, an annual weekend event in August in the interior of BC. All the conditions were there: the tightly adjacent stages that necessitated keeping the sound bleed to a minimum; the extremities and unpredictability of mountain weather; and most of all, the uncompromising artists, including Grammy award-winners and their fans, who demanded to be connected without the slightest hint of audible interference. At the end of the weekend, the Shambhala tribe had heard, had conferred, and had embraced the newest PK addition.
Cormack, who was heading up the San Francisco office while development continued back in Calgary, recalls the trial runs leading up to Infocomm and EDC. “We Beta tested it with Safe ‘n Sound in September and October 2014, then took it on the Excision tour early in the new year. The first real test of the final DSP settings, was the Lightning in a Bottle festival, held near Monterey, California in May 2015. The neat thing about LIB is it was all high profile bands; seven or eight of them per day, and so it was the ideal way to demonstrate the true transparency of Trinity – the true potential. We had no problems getting the vocals to ride on top of the instruments in the mix, because of the headroom and power of Trinity. As PK’s first full-time employee, back in 2008, I had faith in the team, but I still wondered if Trinity could cross the threshold.” It did. “I fell in love with the speaker,” says Cormack. “It showed a bright future for the company.”
Throughout 2015, Cormack’s love for Trinity began to be shared by a growing number of respected industry leaders, performers and fans. Tours and events included Mad Decent Block Party Tour, Full Flex, Life in Colour, Excision, Paradiso, Zeds Dead Red Rocks, Escapade, Lightning in a Bottle, and Insomniac’s Halloween and New Year’s Eve celebrations, among others. Musicians including Skrillex, Major Lazer, Die Antwoord, Aluna George, Excision, Diplo, Datsik, Jack U, Flume, Tycho, SBTRKT, Odesza, Kiesza, NAS, J.Cole, Raekwon, Nero, Bro Safari, Zeds Dead, Keys ‘n Krates and Stylust Beats put the system through its paces.
The tours took Trinity to major cities across the continent, from LA to New York, Houston to Toronto. J.Paul Jackson, sound engineer and tour manager for Keys N Krates, concluded, “When it comes to my job, nothing makes me happier than walking into a venue or festival and seeing the PK logo on the mains and sub cabinets. My happiness level jumped to complete excitement at EDC Las Vegas when hearing the new Trinity speakers in full flex. I’ve never been more impressed technologically and sonically by an array in my life.”
“It was a massive year for us,” says vice president of business development, Paul Magnuson. “We went from a relatively unknown company with a foothold in western Canada and the West Coast to industry-wide recognition in North America and beyond. We are both humbled and thrilled by the response to Trinity and the growing interest in PK Sound, and are now receiving requests that will challenge us to keep up with demand.”
The success of 2015 is apparent by the packed schedule for PK in 2016, which shows its demand by top artists and promoters, its close affiliation with and respect for the people involved in the tours and events, and the adoption of Trinity by more and more music genres outside of the EDM.
That’s not to say that Trinity is the ultimate achievement for PK Sound. “The people in our company who got us this far aren’t going to stop now,” says Bridge. “We’ll accept the accolade that we launched the most innovative speaker in 2015, but we won’t stop there. Pushing to new heights is always the challenge, and what keeps us coming to work every day. Success is great, and we can see where we’re going. But I have to tell you, we’re just as proud of where we came from. We never want to lose that. It’s about people and the love of music. It should always be about that.”