Loudspeaker

Tuesday, November 03, 2015

Win A QSC TouchMix-16 Compact Mixer At The LSI Loudspeaker Demo In Nashville

16-channel digital mixer just one of dozens of great prizes that will be awarded via drawings throughout the event

Attendees of the opening night demo sessions (beginning at 6 pm on Tuesday, November 17) at the upcoming Live Sound International Loudspeaker Demo in Nashville have the opportunity to win a QSC TouchMix-16 compact digital mixer.

And the TouchMix-16 is just one of dozens of great prizes that will be awarded via drawings throughout the event. Following the kickoff Tuesday sessions on Tuesday at Hall D of the Music City Center, five more 1-hour demo sessions will be held on both Wednesday, November 18 and Thursday, November 19, all immediately followed by prize drawings. (Must be present to win.)

QSC TouchMix-16


The demo presents unique side-by-side listening opportunities to evaluate 27 top line array and loudspeaker systems in a round-robin format. All pro audio and church sound personnel are invited to attend this free event.

Additional prizes to be awarded after each compact and portable demo session include a Mackie DL32R digital live mixer (with Dante expansion card), Audio-Technica System 10 digital wireless systems, iSEMic 725TR base kit-2 analyzers (pdf), CAD Audio D90 mics & MH Series headphones, Galaxy Audio GA64SC handheld mics & HSH headset mics, Whirlwind microphone cables, $50 gift cards (redeemmable online) from retailer Sound Productions, and Gig Gear production gloves.

Here’s the full schedule of sessions, including times for manufacturers who have elected to also present individual demo sessions:

Tuesday, November 17
6 pm—All Compact (Larger) & Portable (Smaller) Systems

Wednesday, November 18
10:15 am—All Compact Systems
11:20 am—Alcons Audio Individual Demo Session
11:40 am—Electro-Voice Individual Demo Session
Noon—All Portable Systems
1 pm—EAW Individual Demo Session
1:20 pm—L-Acoustics Individual Demo Session
1:40 pm—All Compact Systems
2:40 pm—Tannoy Individual Demo Session
3:00 pm—VUE Audiotechnik Individual Demo Session
3:20 pm—All Portable Systems
4:20 pm—Bose Professional Individual Demo Session
4:40 pm—Renkus-Heinz Individual Demo Session
5:00 pm—All Compact Systems

Thursday, November 19
10:40 am—All Compact Systems
11:40 am—VUE Audiotechnik Individual Demo Session
Noon—All Portable Systems
1:00 pm—L-Acoustics Individual Demo Session
1:20 pm—All Compact Systems
2:20 pm—Tannoy Individual Demo Session
2:40 pm—All Portable Systems
3:40 pm—EAW Individual Demo Session
4:00 pm—Alcons Audio Individual Demo Session
4:20 pm—All Compact Systems

During each compact and portable session, systems are fed identical tracks. Listeners can evaluate what they hear and also observe each system’s scale, components and other important details. And for the first time, there will also be dedicated demo sessions focusing on portable loudspeaker systems, joining the popular compact system sessions.

Held in conjunction with the Worship Facilities Expo (WFX) at the Music City Center, this is an opportunity not to be missed.

More than a dozen top loudspeaker manufacturers have already signed on to participate this year. The list includes:

Alcons Audio
Bose Professional
Cerwin-Vega
Clair Brothers
dBTechnologies
EAW
Electro-Voice
KV2 Audio
L-Acoustics
Martin Audio
RCF USA
Renkus-Heinz
Tannoy
Turbosound
VUE Audiotechnik
WorxAudio Technologies

In addition, an A-list of technology sponsors are also involved with the demo, including Yamaha (consoles), Lectrosonics and beyerdynamic (wireless microphone systems), Rational Acoustics (Smaart and 10EaZy), Link (cabling), AE Media Group (video), and Morris Integration (lighting).

Register for this free event here.

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Posted by Keith Clark on 11/03 at 11:47 AM
AVLive SoundChurch SoundNewsTrainingAVBusinessEducationLine ArrayLoudspeakerManufacturerMixerSound ReinforcementPermalink

Stage Unit Receives Belgium’s First Meyer Sound LEOPARD System

Company increases Meyer Sound inventory with LEOPARD arrays, 900-LFC subwoofers and a Galileo Callisto 616 array processor.

Stage Unit of Heist-op-den-Berg, Belgium has become the first Belgian sound provider to invest in a Meyer Sound LEOPARD linear sound reinforcement system.

Since taking delivery of LEOPARD, Stage Unit has deployed the system for a number of events, including the 10,000-person Hestival, a free, annual music event in Heist-op-den-Berg.

“The LEOPARD system raised sound quality for Hestival to a new level, and coverage across the site was very even,” reports Toon Van der Veken, managing director for Stage Unit.

“Even at the back of the audience area—nearly 90 meters away—the sound was still balanced, full, and enjoyable. The system scored 100 percent in every respect. The organizers said it was the best sounding system in the 11-year history of Hestival.”

According to Van der Veken, Stage Unit’s LEOPARD investment is not only keeping his long-established clients happy, but is also helping to compete for new ones.

“LEOPARD offers power and performance that put it in a whole different league,” he says. “Its small footprint means we can use it for applications where we have size and weight restrictions, yet it has the power to handle larger venues as well. That tremendous flexibility gives us a competitive edge when approaching new clients.”

Stage Unit’s purchase includes 16 LEOPARD linear line array loudspeakers, eight 900-LFC low-frequency control elements, and a Galileo Callisto 616 array processor.

“The amount of power and punch coming from the 900-LFC is amazing for such a small speaker,” says Van der Veken. “At Hestival, we lined them up in a delayed arc for directional effect, and had uniform low end throughout the audience with no lobing.”

Stage Unit’s LEOPARD purchase adds to its current Meyer Sound inventory of MICA and M’elodie line array loudspeakers, 700-HP subwoofers, and more.

Meyer Sound

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Posted by House Editor on 11/03 at 11:10 AM
Live SoundNewsAVBusinessEngineerLine ArrayLoudspeakerSound ReinforcementStageSubwooferPermalink

CMI Launches Adamson S-Series In Australia

CMI introduces the product lines during a live demonstration of the new line array at their headquarters in Melbourne.

Adamson Systems Engineering announces the official launch of the S Series in Australia.

Distributor CMI recently invited sound companies, consultants, sound technicians and integrators from the live, corporate, venue and church markets to hear a live demonstration of the new line array at their headquarters in Melbourne.

David Dohrmann, Adamson’s technical director, Asia Pacific, started off the demonstration with a presentation about Adamson’s philosophy, design process and products and provided an indoor demonstration of the Metrix line array system and Point Series loudspeakers.

Audio specialist Jason Allen from CX Magazine commented on the indoor demo, “In addition to sounding crisp, clear and honest, all models are capable of frightening volume, but are so free of distortion that you don’t realize how loud they actually are.”

“It’s a strange sensation; your body is telling you how much air is hitting you, but your ears aren’t used to that kind of SPL not being full of square waves. The big star of the session was the small, humble Point 8. At just 45cm tall and 25cm wide, the single 8-inch ND8-LM Kevlar Neodymium Driver and 1-inch Exit HF driver put out enough level for a small band.”

After lunch the demonstration moved outside where attendees experience an S10 line array made up of 12 enclosures along with six A218 subwoofers. The system was driven by Adamson’s E-Rack loaded with three Lab.gruppen PLM 12K44 amplifiers, a Cisco switch for Dante connectivity and Adamson’s global standard Audio and AC panels for power and signal distribution.

One of the many attendees to the event was Graeme Whitehouse, general manager of NW Group, a supporter of Adamson for many years.

Whitehouse adds, “As Australia’s largest owner and user of Adamson products, we were very keen to hear the S10. Unsurprisingly, it’s a phenomenal product; unbelievably powerful for a sub-compact system, coherent across the full frequency spectrum, and with the same musicality and trademark clarity we’ve become used to with Adamson systems. Well done, a great box.”

“Adamson has clearly listened to operators and shines where many leave me wanting,” explains Scott Mullane, owner Aisle 6 Productions, who also attended the demo.

“The highlights for me were the clarity and focus of the mid-range. It was incredibly detailed and sounded extremely focussed even when walking the line between the cabinets. It was also clear that there was an incredible SPL output although the feeling was never uncomfortable. I often find the lower mid/upper low frequencies to be less than punchy when compared to their point source brethren and again, this was not the case, tight, punchy clear and output for days. The S10 mid/high cabinets are certainly heralding a new benchmark for medium format line array PA’s. As a touring engineer, I would be very happy to find myself mixing into the S10.”

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-inch ND10-LM Kevlar Neodymium low frequency drivers and an NH4TA2 1.5-inch 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.

Peter Morris, owner of Adelaide Sound Hire, adds, “The first thing you notice about the S10 is its size; it’s quite small and light for a dual 10-inch line-array, its form factor is almost like that of an 8-inch box, but the output is at the top of its class. I must say I was surprised by the sound quality Adamson had achieved with this two way design; it was smooth with a very detailed midrange. The top end was really nice, not like you would expect from such a large format compression driver. When pushed there was no harshness, it just got loud. It also sounded great on every type of music from opera to heavy rock and voiced beautifully with an open mic. This is a very impressive well-built mid-size line-array that should be on everyone’s rider.”

Shannon De Bie, owner or Pro Sound Productions, summed the event up quite nicely by concluding, “I thoroughly enjoyed every minute of the two days. The S10 is insanely awesome and I am in love with the whole package.”

Adamson Systems Engineering
CMI

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Posted by House Editor on 11/03 at 08:57 AM
AVNewsAVBusinessLine ArrayLoudspeakerManufacturerSound ReinforcementSubwooferPermalink

JBL VTX Line Arrays And Crown I-Tech HD Amplifiers For Rock In Rio

Gabisom Audio Equipment supports Rock in Rio's 30th anniversary at the City of Rock, a specially built venue for the 2016 Summer Olympics.

Harman Professional Solutions supplied tour sound provider, Gabisom Audio Equipment, with JBL VTX line arrays and Crown I-Tech HD amplifiers for this year’s Rock in Rio festival in Brazil.

Drawing more than a half-million fans over two weekends, Rock in Rio celebrated its 30th anniversary at the City of Rock, a specially built venue on the site where the Olympic Village will be located for the 2016 Summer Olympics.

As it has in years past, Rock in Rio featured performances by some of the biggest names in music, including Rihanna, Elton John, Metallica, Rod Stewart, Katy Perry, John Legend, Sam Smith, System of a Down, Queen and more.

“World-class sound quality and consistent performance are of the utmost importance at an event on as grand a scale as Rock in Rio,” said Peter Racy, chief engineer of Brazil-based Gabisom Audio Equipment.

“Also, the integration between VTX and I-Tech HD enables us to easily manage the system, which would otherwise be a difficult task for an event featuring so many different acts. Our VTX and I-Tech HD system has served us extremely well over the past few years on a wide variety of events, but especially at recent Rock in Rio festivals. The Harman system once again came through for us in a big way and helped make this year’s Rock in Rio another rousing success.”

Gabisom Audio Equipment deployed a massive live PA system at Rock in Rio, featuring a total of 130 JBL VTX V25 full-size line array elements, 50 VTX S28 arrayable subwoofers and 32 VTX G28 ground-stacked subwoofers. 160 Crown I-Tech 12000HD amplifiers and eight Crown I-Tech 4x3500HD amplifiers powered the system. In addition, Gabisom Audio Equipment managed the system with JBL HiQnet Performance Manager software.

Harman Professional Solutions

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Posted by House Editor on 11/03 at 06:53 AM
Live SoundNewsAmplifierAVConcertEngineerLine ArrayLoudspeakerManufacturerProcessorSound ReinforcementStageSubwooferPermalink

Monday, November 02, 2015

PreSonus Releases R80 Active Studio Monitor

Featuring Class D power amplifiers, with 100W RMS driving the woofer and 50W RMS driving the Air Motion Transformer (AMT) tweeter.

PreSonus’ new R80 active studio monitor loudspeakers offer a custom Air Motion Transformer (AMT) tweeter, which delivers a fast transient response to provide detailed resolution.

These biamped monitors feature Class D power amplifiers, with 100W RMS driving the woofer and 50W RMS driving the AMT tweeter.

As with all PreSonus studio monitors, both models are equipped with the company’s Acoustic Tuning controls.

Both the R65 and R80 employ a 6.8-square-inch AMT tweeter that responds to the subtlest waveforms and high frequencies, making them an ideal choice for hearing ultra-highs that add “air” and a sense of space.

PreSonus R-series monitors offer wide lateral dispersion for a broad “sweet spot,” along with very narrow vertical dispersion, which helps reduce ceiling reflections that can muddy the sound. This helps to minimize room anomaly interference, providing a more consistent sound in different listening environments.

The R65 employs a 6.5-inch, coated Kevlar woofer, while the R80 sports an 8-inch woofer. This design results in cohesive, less time-smeared audio with minimal coloration and extremely punchy bass.

The Acoustic Space switch controls a second-order, low shelving filter that helps to compensate for the boundary bass boost that occurs when the monitor is placed near a wall or corner. An HF-driver level control is also provided to help mitigate room problems.

An onboard, four-position highpass filter makes it easy to integrate a subwoofer into your monitoring setup. Balanced XLR and ¼” TRS and unbalanced RCA input connections make hookup quick and easy.

Safety features include RF shielding, current-output limiting, over-temperature protection, and subsonic protection. Frequency response is rated at 50 Hz to 25 kHz for the R65 and 45 Hz to 25 kHz for the R80. An optional amplifier Standby function helps conserve energy.

The R65 and R80 and the new Eris E44 and E66 MTM monitors are welcome additions to the PreSonus range of studio monitors. The line also includes the Ceres C3.5BT and C4.5BT, which feature Bluetooth wireless and flexible I/O for home use; the Eris E4.5, E5, and E8, which deliver pro quality for personal studios; the Sceptre S6 and S8 coaxial monitors, with Z-plane imaging; and the Temblor T8 and T10 active studio subwoofers.

The PreSonus R65 and R80 are available immediately at PreSonus dealers for U.S. MAP/street prices of $399.95 and $499.95, respectively.

PreSonus

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Posted by House Editor on 11/02 at 01:29 PM
RecordingNewsProductAVLoudspeakerManufacturerMonitoringSound ReinforcementStudioPermalink

Demo Session Schedule Announced For LSI Loudspeaker Demo In Nashville

Full slate of compact, portable and individual sessions announced, open to all pro audio and church sound personnel

The demo session schedule has just been announced for the upcoming Live Sound International Loudspeaker Demo, slated for November 17-19 in Nashville.

Held in conjunction with the WFX Expo, the demo site is an expansive exhibit hall (Hall D) in the Music City Center, where each day, five 1-hour demo sessions will be held. Note that an additional session has been scheduled on the evening of November 17, beginning at 6 pm, for those who may not be able to attend the daytime sessions.

The demo presents unique side-by-side listening opportunities to evaluate 27 top line array and loudspeaker systems in a round-robin format. All pro audio and church sound personnel are invited to attend this free event.

Here’s the full schedule of sessions, including times for manufacturers who have elected to also present individual demo sessions:

Tuesday, November 17
6 pm—All Compact (Larger) & Portable (Smaller) Systems

Wednesday, November 18
10:15 am—All Compact Systems
11:20 am—Alcons Audio Individual Demo Session
11:40 am—Electro-Voice Individual Demo Session
Noon—All Portable Systems
1 pm—EAW Individual Demo Session
1:20 pm—L-Acoustics Individual Demo Session
1:40 pm—All Compact Systems
2:40 pm—Tannoy Individual Demo Session
3:00 pm—VUE Audiotechnik Individual Demo Session
3:20 pm—All Portable Systems
4:20 pm—Bose Professional Individual Demo Session
4:40 pm—Renkus-Heinz Individual Demo Session
5:00 pm—All Compact Systems

Thursday, November 19
10:40 am—All Compact Systems
11:40 am—VUE Audiotechnik Individual Demo Session
Noon—All Portable Systems
1:00 pm—L-Acoustics Individual Demo Session
1:20 pm—All Compact Systems
2:20 pm—Tannoy Individual Demo Session
2:40 pm—All Portable Systems
3:40 pm—EAW Individual Demo Session
4:00 pm—Alcons Audio Individual Demo Session
4:20 pm—All Compact Systems

During each compact and portable session, systems are fed identical tracks. Listeners can evaluate what they hear and also observe each system’s scale, components and other important details. And for the first time, there will also be dedicated demo sessions focusing on portable loudspeaker systems, joining the popular compact system sessions.

Held in conjunction with the Worship Facilities Expo (WFX) at the Music City Center, this is an opportunity not to be missed.

More than a dozen top loudspeaker manufacturers have already signed on to participate this year. The list includes:

Alcons Audio
Bose Professional
Cerwin-Vega
Clair Brothers
dBTechnologies
EAW
Electro-Voice
KV2 Audio
L-Acoustics
Martin Audio
RCF USA
Renkus-Heinz
Tannoy
Turbosound
VUE Audiotechnik
WorxAudio Technologies

In addition, an A-list of technology sponsors are also involved with the demo, including Yamaha (consoles), Lectrosonics and beyerdynamic (wireless microphone systems), Rational Acoustics (Smaart and 10EaZy), Link (cabling), AE Media Group (video), and Morris Integration (lighting).

Following all sessions, attendees have the opportunity to win valuable audio tools via drawings. Prizes include a QSC TouchMix-16 mixer, Mackie DL32R mixer,Audio-Technica System 10 digital wireless systems, iSEMic 725TR base kit-2 analyzers, CAD Audio D90 mics & MH Series headphones, Whirlwind mic cables, Galaxy Audio GA64SC handheld mics and HSH headset mics, $50 gift cards (redeemmable online) from retailer Sound Productions, Gig Gear production gloves, and more.

Register for this free event here.

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Posted by Keith Clark on 11/02 at 11:00 AM
AVLive SoundChurch SoundNewsTrainingAVEducationLine ArrayLoudspeakerManufacturerMeasurementSound ReinforcementPermalink

Ocean Way Audio Unveils Two New Near-Field Monitors

The HR4 and the Pro2A control room monitors are introduced at the AES 139th Convention.

Ocean Way Audio (OWA) unveiled two new near-field monitors at the AES 139th International Convention in New York – the HR4 and the Pro2A.

Based on the sonic performance of the Ocean Way HR2 speaker, the HR4 is a two-way, self-powered monitor that is at home on a consoles meter bridge or free-standing speaker stands.

“We’ve captured the sonic performance of our large horn-based wave guide design, which delivers 100 degree dispersion, and have released this unique speaker in a 24-inch mixing-board-friendly design.” states Allen Sides, OWA founder and CEO.

Company president Rick Plushner remarks, “The HR4 is our entrée into the near-field market. Producing a portable speaker that meets Allen’s standards was a challenge. Cliff Henricksen, our director of new technology, translated Allen’s love of high-impact, stunning sound into a design that’s affordable to the majority of recording community.”

The HR4 reproduces a frequency range of 45Hz to over 20kHz with an SPL of 115db; therefore, no sub-woofer is required. However, for those who want to play their mix exceptionally loud, the company offers a companion self-powered sub, the S12A, which pushes levels beyond 118db and frequency response down to 30Hz.”

Plushner continues, “Extending our range of near-field powered monitors, we are also releasing the Pro2A. This speaker has been adapted from the award-winning hi-fi designs of Bruce Marien, director of engineering, re-focused for the studio mixing environment. This 2-way speaker also meets Allen’s standards of excellence and offers a unique trapezoid design, reproducing frequencies from 38Hz to 22kHz delivering an SPL of 110db. Pro2A is designed to offer unparalleled performance at a very affordable price.”

Ocean Way Audio

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Posted by House Editor on 11/02 at 08:59 AM
RecordingNewsProductAVLoudspeakerManufacturerMonitoringSound ReinforcementStudioPermalink

Symetrix DSP Supports Dante Network At Oakland Athletics Training Home

Parsons Technologies integrates SymNet Radius open architecture DSP into the Dante-based audio at Hohokam Stadium in Mesa, Arizona.

Revamping major sports facilities and bringing them up-to-date now almost invariably involves a comprehensive review of the audio processing configuration so that it can cope with both current and future requirements.

Providing the spring training home of Major League Baseball’s Oakland Athletics since earlier this year, the Hohokam Stadium in Mesa, Arizona, is no exception –and as the result of its latest upgrade, now features an extensive Symetrix DSP infrastructure.

Minneapolis, MN-based Parsons Technologies performed the installation at Hohokam Stadium.

Systems engineer Mark Schultz notes, “the main objectives were to provide a quality audio upgrade and stay within the budget of Oakland Athletics. In terms of processing, we also needed to select equipment that would complement and support the Dante network being implemented throughout the site. After evaluating several possible scenarios, we determined that using the SymNet line from Symetrix would be the most cost-effective solution.”

The upgrade involved two separate buildings – the Stadium itself, where all the spring training games are played, and the player development facility, known as the Lew Wolff Training Complex. In the Stadium, the ability to flexibly route and process background music and announcements were at the top of the priority list; requirements that Schultz and his team satisfied with one Symetrix SymNet Radius 12x8 and a single SymNet Radius AEC (with a SymNet 4 Channel Analog Output Card in the expansion slot) for the main bowl and back-of-house audio system. Both processors are also linked to SymNet xOut 12 output expanders to ensure there are always sufficient feeds available.

Symetrix SymNet Solus DSPs, which are standalone and not network-enabled, are other familiar tools in the Parsons Technologies arsenal – “they are great, reliable DSPs that we’ve used for a variety of projects” – and thus also found their way into the firm’s system design. In the Stadium and the Lew Wolff Training Complex, two players’ weight rooms each incorporate Solus 4s, used in conjunction with ARC-2e wall controllers for “easy and efficient” control. Also in the training facility, a combined dining room and meeting area has been equipped with a single Solus 8.

Schultz notes: “We’ve used SymNet devices on plenty of projects and consistently found them to be user-friendly and easy to programme. The ability to tie them into the ARC remote controls is a great advantage, too, as it allows the system to be adjusted easily by the staff.”

An Allen & Heath mixer, QSC amplifiers and (pre-existing) EAW loudspeakers are also part of the new-look Hohokam Stadium configuration. “There was an obvious need to deliver an installation that is both reliable and flexible, and we believe we have achieved that here,” concludes Schultz. “The feedback from the venue owners and personnel appears to bear this out, with no major issues encountered since spring training got underway.”

Symetrix 
Parsons Technologies

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Posted by House Editor on 11/02 at 08:28 AM
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Friday, October 30, 2015

AVL Productions Deploys EAW For Lynyrd Skynyrd

AVL Productions provided EAW KF Series for Lynyrd Skynyrd performance.

AVL Productions, located in Jacksonville, Florida, provided an EAW KF Series sound reinforcement system for two performances by Lynyrd Skynyrd at the Florida Theatre, also in Jacksonville.

During the two concerts, the southern rock legends performed their first two studio albums—Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd and Second Helping – in their entirety for the very first time. They were reinforced by left-right EAW KF740 line arrays made up of 10 enclosures each. Eight SB 2001 subwoofers were on hand for low end and two KF730 boxes handled front fill.

“We are big fans of the KF740 series, they are definitely our go-to PA,” explain Stephen Unkelbach, AVL Productions. “The sound was fantastic with the band and management extremely pleased with the end result. We do a lot of shows at the Florida Theatre and it was terrific to be able to rely on a system we knew would perform exactly as the client wanted.”

The concerts were recorded by Eagle Rock entertainment and recently released in DVD, Blue-ray and digital formats. In addition to the standard versions that will be widely released, there will be a special version that will feature a DVD and 2-CDs that will be released exclusively at Walmart.

Eastern Acoustic Works

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Posted by Julie Clark on 10/30 at 04:13 PM
Live SoundNewsConcertLine ArrayLoudspeakerSound ReinforcementPermalink

Genelec Debuts 1236 Smart Active Monitoring (SAM) Large-Format Main Monitor System

Latest version (V2) of Genelec Loudspeaker Manager (GLM) and AutoCal couples with the 1236 to optimize the speaker-to-room interface

At the 139th AES convention in New York City, Genelec has debuted the new 1236 Smart Active Monitoring (SAM) main monitor system.

The 1236 and its individually calibrated 3U-high Remote Amplifier Module RAM-XL are designed to provide high performance in a large format, flush-mounted main monitoring system. The new design is based on the proprietary double-18-inch bass driver design of the Genelec 1036.

The 1236’s frequency response extends from 17 Hz to 26 kHz, and it is rated as capable of delivering 130 dB SPL at 1 meter through a combination of modern digital signal processing and efficient Class D amplifiers, providing 2 x 1000 watts, 800 watts, and 400 watts of short-term power into woofers, midrange and tweeter channels, respectively.

The 37.75 x 46.5 W x 25.62 inch (h x w x d) enclosure incorporates two 18-inch high-linearity woofers, with two Genelec proprietary high-efficiency five-inch midrange drivers as well as a two-inch high compression tweeter, mounted in a very large Directivity Control Waveguide (DCW) enclosure.

All crossovers, protection circuitry, and driver calibrations are implemented in the digital domain. In addition, the latest version (V2) of Genelec Loudspeaker Manager (GLM) and AutoCal couples with the 1236 to optimize the speaker-to-room interface.

All electronics, amplifier circuitry, drivers and enclosure have been designed, assembled, tested and individually calibrated in the Genelec factory in Iisalmi, Finland.

“The new 1236 is the latest addition to Genelec’s extensive Smart Active Monitoring (SAM) product range,” states Will Eggleston, marketing director USA for Genelec Inc. “As our new flagship product, it embodies the tightest design tolerances with the highest production standards possible and is perfect for a wide range of production environments and applications.”

Genelec

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Posted by Keith Clark on 10/30 at 10:34 AM
RecordingNewsProductLoudspeakerMonitoringProcessorSoftwareStudioPermalink

EAW Unveils Anna Mid-Size Adaptive Performance Array

Can serve as stand-alone PA as well as interlock with columns of Anya modules for supplemental fill or to horizontally expand coverage

Eastern Acoustic Works (EAW) has expanded the Adaptive Systems family with the introduction of Anna, a loudspeaker designed for touring, regional sound and permanent installation.

Anna expands the company’s Adaptive Performance to mid-sized applications requiring high sound quality, high output and precise coverage, as well as the ability to adapt that coverage to any venue geometry in seconds.

In addition to being a stand-alone PA, columns of Anna modules interlock side-by-side with columns of Anya modules – EAW’s large-format Adaptive Performance system – for supplemental fill or to horizontally expand Anya-based systems for out fill. Both Anya and Anna also integrate with the Otto Adaptive subwoofer.

“Anna offers sound companies and integrators a product that can adapt to performance parameters electronically, allowing it to be used in any application,” explains Jeff Rocha, president of EAW. “Just like Anya, columns of Anna hang straight and array horizontally. With Resolution 2 software, Anna can assess 3D coverage of a space, determine processing and configuration to achieve this, and then implement this in processing. It’s a smaller, lighter Anya that extends the benefits of Adaptive Performance to venues of any size.”

Each Anna module includes 14 customized transducers: eight HF compression drivers provide a continuous line of apertures on a horn that expands to fill the entire face of the enclosure, four 5-inch MF cone transducers combine with Radial Phase Plugs and Concentric Summation Array technology to sum coherently with the HF wavefront, and dual high-power 10-inch LF cone transducers employ Offset Aperture loading to extend horizontal pattern control well into the lower octaves.

Anna enclosures also have 14 built-in amplifier and processing channels providing independent power and control of each loudspeaker component. Resolution 2 software controls the processing of each acoustic cell individually to generate the optimum coverage pattern for the venue while minimizing the impact of the room’s acoustics.

“Anna is so compact that it is easy to assemble vertical columns side-by-side to form 3D arrays, expanding horizontal coverage up to 360 degrees,” Rocha adds. “The wide horizontal coverage will blanket a venue with fewer columns, minimizing line-of-sight issues.”

Anna modules are sold in groups of 24 or 12 enclosures with power and data distribution, dollies, covers, flybars and cabling included.

EAW

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Posted by Keith Clark on 10/30 at 10:00 AM
AVLive SoundChurch SoundNewsProductAVLine ArrayLoudspeakerProcessorSoftwareSound ReinforcementPermalink

Thursday, October 29, 2015

Mackie Presents Reach All-In-One Professional PA

Featuring Bluetooth music streaming, a full-featured 6-channel digital mixer, and a control app for iOS and Android

Mackie announces a professional PA system that delivers wide coverage and sound quality for the entire audience and built-in personal monitoring - The Mackie Reach Professional PA System.

Featuring Bluetooth music streaming, a full-featured 6-channel digital mixer, and a control app for iOS and Android, Reach delivers capability and flexibility for a wide range of applications.

With Reach, users can deliver their best performance ever thanks to powerful technology like the ARC array, which provides clear, high-fidelity sound to everyone in the audience, and the built-in EarShot personal monitoring system, giving performers true, flexible stage monitoring ­without the need for additional speakers and miles of cables.

Plus, with wireless streaming and control over the built-in 6-channel digital mixer via the Mackie Connect app for iOS and Android devices, you get wireless freedom to control everything from levels, EQ and FX to sound-enhancing tools like a feedback destroyer for amazing sound in any situation.

“Reach is perfect for artists and venues that need a simple but powerful all-in-one PA solution,” remarked John Boudreau, Mackie SVP of Product Planning.

“From coffeehouses, wineries, and brewpubs to school assemblies and corporate presentations, the Mackie Reach provides unmatched versatility with the best sound quality possible.”

The ARC (Amplified Radial Curve) high frequency array technology in Reach utilizes three horizontally angled high-frequency drivers paired with dual vertically spaced high-output low-frequency drivers, providing 150 degrees of coverage for optimal sound quality, even for audiences spread over a wide or deep area. Combined with the EarShot personal monitoring system, you get a total of 250 degrees of room coverage for ultimate versatility.

Equally as important to what the audience hears, is a performer’s ability to hear themselves on stage. Reach’s built-in EarShot personal monitoring system offers the perfect solution. With a powerful full-range driver on each side of Reach, performers can get clear sound on stage to deliver their best performance. Plus, with independent volume control and selectable configuration, EarShot delivers flexibility.

“The built-in EarShot personal monitoring system truly sets Reach apart, providing performers with true stage monitoring without the need for additional speakers,” commented Boudreau.

One of Reach’s most powerful features is complete wireless control using the Mackie Connect app, available for iOS and Android devices.

The Mackie Connect app puts the user in control of everything - from simple level adjustments to control over professional performance features like 3-band channel EQ, a built-in feedback destroyer, application-specific speaker voicing modes,16 vocal/instrument effects, as well as three recallable memory settings to quickly get Reach back to your favorite settings. With the built-in 6-channel digital mixer, you have all the inputs, processing and control you need, making Reach an all-in-one professional PA system.

“With Reach, you get an incredibly portable and easy to use professional PA system without sacrificing power or capability,” concluded Boudreau. “We are excited to see how Reach changes the way people perform.”

The Mackie Reach Professional PA System will be available worldwide beginning December, 2015. Reach will have a U.S. MSRP of $ 1,249.99

Mackie

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Posted by House Editor on 10/29 at 11:51 AM
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Alcons Releases CRMS Cinema Reference Monitor System

New 3-way sound system design featuring the patented RBN401 pro-ribbon driver.

Alcons has released the CRMS Cinema Reference Monitor System.

8 years after the introduction of the original, Alcons launches the mkII version of its successful CRMS Cinema Reference Monitor System.

The CRMS is a 3-way sound system design to offer natural 1:1 Digital Cinema and HD audio sound reproduction.

Featuring the patented RBN401 pro-ribbon driver, the CRMS combines clarity and intelligibility, with high headroom SPL.

The Alcons pro-ribbon drivers have up to 90% less distortion than other conventional mid/high transducers, while the high peak power handling offers a 1:16 RMS-to-peak ratio, enabling maximum screen compensations without any audible stress on the MHF performance.

The patented horizontal dispersion of the RBN401 extends the stereo-imaging and depth-of-field to a larger number of seats in the auditorium; Due to the “compression-less” principle of the pro-ribbon transducer, the system has a linear response at any SPL, from the quietest whisper to the loudest explosion or drum solo.

The CRMS system consists of a separate, adjustable mid-high frequency section, featuring one RBN401 4-inch pro-ribbon driver HF with non-vented 8-inch mid-range driver and a vented low frequency section with 15-inch woofer with low power-compression 4-inch voice-coil design.

A matching surround system with identical MF/HF components, CRMS-SR, is available, offering perfect screen/surround blending, resulting in a very uniform sound stage and a seamless transition between surround positions in an immersive sound system.

Philip “Dr.Phil” de Haan, head of Alcons Audio R&D: “With the markII version of the CRMS, we were able to fine-tune the system on details to increase the resolution even further; The wider, slanted mid-high top cabinet construction increases the stereo imaging; The new 8-inch mid-range driver and 15-inch woofer significantly increase power handling and reduce power compression.”

de Haan continues: “As a result of Alcons’ tight manufacturing standards, all system cabinets are within “matched pair” tolerance, on-par with the finest studio monitors.”

For full system performance, the bi-amped CRMS is to be driven by two channels of ALC Sentinel controller-amplifier, delivering sound quality and operation reliability.

System-dedicated processing presets, SIS sensing circuit, 4-channel HiFi-grade amplifier stages, 4-in/4-out 192kHz AES3 signal inputs make the ALC Sentinel the ideal drive for the Alcons CRMS.

The 4 ohms system impedance offers maximum amplifier efficiency.

The Signal Integrity Sensing (SIS) pre-wiring ensures complete cable/connector compensation between the CRMS and ALC, significantly increasing response accuracy regardless of cable length and system impedance, with tight and accurate mid and bass response as result (system damping factor of 10.000); SIS further reduces linear and non-linear distortion and makes position of the amplifier none critical to ensure best performance.

With a system depth of only 32cm/ 12.6in., a complete system can be installed in even the most shallow spaces. The system can both be free-standing as well as flush-mounted.  The recommended CB181sl subwoofer has a depth of only 25cm/10-in.

The combination of the outstanding sound reproduction quality and the digital dynamics capability, make the system the ideal choice for high-end mix/screening rooms, post-production facilities, dubbing stages and quality-conscious Home Cinemas with a room depth less than 20m/60ft.

The CRMS system was installed at Lucasfilm Singapore, NBC Universal Beijing, Factory studios London, a.o. as well as numerous premium home-theatres around the world.

Alcons

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Posted by House Editor on 10/29 at 07:31 AM
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In The Studio: Cue Systems & Headphones, How Musicians Hear Themselves

This article is provided by BAMaudioschool.com.

 
The recording engineer’s job is to create an environment conducive to musical creativity and then capture that creativity. I often say that.

Headphones are usually the only way that a musician will be able to hear themselves and (more importantly) how what they’re playing works with the rest of the band.

Every musician will ask to hear themselves much louder than everyone else. This makes sense as it will allow them to play the nuances of their instrument.

But if they’re only listening to themselves (or the click track) and not everything, then what they play may be brilliant alone but wrong with the track. They may even compromise the art of their own playing as a result of a poor headphone mix.

Guitar players who hear themselves too loudly will not “bear down” with the pick as much as they may need to. Piano players who hear themselves too quietly may not play with the full dynamic range of the piano if they cannot hear themselves play softly.

And finally, any musician that cannot hear the full rhythm cause by the combined pushing and pulling of all the instruments may not play “in the pocket”, even if they are overdubbing alone.

Remember you must make the musicians feel like they’re playing together in a room without headphones (in fact I prefer to record bands that way). They have to be able to hear and feel each other clearly.

Sometimes you will have the luxury of multiple headphone feeds, which will allow you to tailor different mixes for the players that require them. Beware of letting musicians mix their own headphones, as they will tend to want to hear only themselves.

Here are a few general pointers:

1. No matter how loud the drums may be in the room, everybody needs some kick, snare, hat and other direct drum mics. The timing and feel of the direct mics will sound different from the drum sound in the room.

2. Panning can be your friend. Sometimes moving some instruments just slightly off center will make it easier to the players to hear themselves without being soloed.

3. You can change the sound musicians hear in their headphones without compromising the sounds you record. I was recording a large horn section that was used to a compressed edgy sound. I wanted to go for something full, so I recorded them using a combination of ribbon and condenser mics going flat from Neve mic pres straight into the tape machine.

The section was not happy and complained that the sound was not what they were used to. I did not want to lose the fullness the mics were giving me, so I EQed and compressed the monitor channels coming off the tape machine. Suddenly they were all happy and played well.

When I mixed, I was able to use all of the sounds with no EQ or compression and was very pleased with the results. If I had changed the sound I was capturing to match what the musicians were used to hearing in their headphones, the final sound of the section would have suffered.

4. Make sure the musicians hear enough of the band and even the beat that they can perform to the song  rather than just lay down their parts. Musicians will (and should) be concerned with their performances, but do not let them lose sight of the fact that they are playing within a song along with other musicians. If they don’t hear the others they will not be able to interact with them, even if it is only on a subconscious level.

5. Some drummers will ask for loud click tracks in their headphones. If you have only one headphone feed and the drummer needs to share the cue with other performers, it may be tricky to keep everyone happy. You may need to ride the click. And speaking of riding the click….

6. Be prepared to ride the click track down in softer sections of a song, especially at the end. There is nothing worse than trying to mix the very end of a song and having to fade out too quickly to keep the click from the drummer’s headphones from being heard.

Bruce A. Miller is an acclaimed recording engineer who operates an independent recording studio and the BAM Audio School website.

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Posted by Keith Clark on 10/29 at 06:08 AM
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Wednesday, October 28, 2015

Martin Audio Updates DX0.5 Controller Software For CDD Range

Updated software for the DX0.5 system management controller adds the ability to create a single project file with up to 24 presets.

Martin Audio announces updates for the DX0.5 Controller Software.

Specifically developed to partner Martin Audio’s new CDD installation range, the DX0.5 adds affordable loudspeaker system management to the existing range of DX loudspeaker controllers.

The success of CDD has helped drive demand for the DX0.5, making it the most popular controller this year for Martin Audio with just a few months of sales under its belt.

Now, Martin Audio has announced updated software for the DX0.5, with v1.0.3 now available.

This latest release adds the ability to create project files with a single file containing up to 24 presets.

This means that users do not have to load one at a time; alternatively, it can be used to ‘back-up’ an entire unit, which is useful for any installer that wants to keep a record of default settings at a venue.

The update package includes a new SW installer, updated user guide and project files for CDD (to reinstall the factory defaults) as well as support for its portable loudspeaker range, Blackline+. 

David Morbey, Martin Audio product manager, said, “CDD has taken the install market by storm, and the DX0.5 provides an affordable turnkey management system for the range, with this latest software release making life even easier for the installer. Extending its user friendliness to our Blackline+ range will further drive demand for this controller.”

Martin Audio

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Posted by House Editor on 10/28 at 11:04 AM
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