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Thursday, April 02, 2009

Crown Audio Debuts HiQnet Band Manager Software App For Portable PA System Configuration & Control

Band Manager unlocks all loudspeaker processing capabilities of Crown XTi Series amplifiers

Delivering a sound management solution to the portable PA market at the 2009 ProLight+Sound/Muzikmesse in Frankfurt, Crown Audio has introduced HiQnet Band Manager software, a free-of-charge application providing a sleek function-driven interface designed to simplify system setup and management while enabling audio professionals, musicians, and engineers to configure and control a rack of Crown XTi series amplifiers. 

Band Manager unlocks all loudspeaker processing capabilities of the XTi Series. Once it automatically discovers up to eight USB-connected XTi amplifiers, represented in a virtual rack, all the setup required is to load each amplifier with the JBL-provided loudspeaker tunings and set which amplifiers are driving front-of-house. 

Band Manager makes smart use of browser-style navigation and the ‘Home’ screen displays monitor strips for each amplifier in the rack and front-of-house EQ and level control.  EQ for stage monitors and all other processing is accessible on an individual amplifier basis. 

Upon starting Band Manager, all amplifier settings are transferred from the connected devices but they can also be saved to disk for quick recall if the rack is used often in multiple venues. 

Band Manager is a cut-down version of its parent software, HiQnet System Architect, a much larger application which provides full-system control of over 70 professional audio devices from across the entire Harman Pro group, including the XTi Series. 

Anyone who has already used System Architect with the XTi will instantly be familiar with the amplifier control layout since Band Manager makes use of the same software plug in. 

Directly tailoring Band Manager to the needs of portable PA market enables far quicker configuration of a rack of XTi amplifiers by bringing only the essential tools into direct focus.  For those who need the more advanced control, any rack configurations saved within Band Manager can be opened in System Architect. 

By using the plug in concept, Band Manager is all ready to control other future portable PA HiQnet devices.

Commenting on the introduction of Band Manager, Andy Flint, Crown marketing manager for portable PA, stated, “Band Manager provides users with a simple and intuitive interface capable of unlocking the vast array of system setup and management tools included in the XTi product line’s integrated processing.  This is another excellent example of Harman’s experience and dedication to the portable PA market.”

While Band Manager is being introduced to operate in conjunction with Crown XTi amplifiers it is planned to take control of other complimentary Harman HiQnet products in the near future. 

“As a group, we envision Band Manager being used to manage an entire portable PA sound system all the way from microphone to speaker.  When introducing software control, making the management of a potentially complex audio system as simple as possible is the most important goal.  It is no longer enough to just provide the user with the highest quality equipment, you need to offer great, user-friendly tools to open its potential as well,” added Flint.

Crown Audio Website

Take our Photo Gallery Tour of new products from this year’s Prolight + Sound - Musikmesse

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Tuesday, March 31, 2009

ICON Studios Adds Equator Audio Research Q Series Reference Monitors

In this room, the producers frequently monitor at a fairly loud volume, so having a monitor system that remains true to the source at all levels was a critical consideration.

ICON Studios in Atlanta recently invested in new Equator Audio Research G12 studio reference monitors as well as a Q18 subwoofer for Studio C, one of four studios utilized by top music artists, such as Akon, Jazze Pha, Shawty Red, and DJ Khaled. The monitors were purchased through Atlanta Pro Audio.

The Equator Q12 is a two-way active system employing Equator Audio’s Zero Point Reference coaxial design. The monitor’s no-slope crossover approach reduces the mid-range distortion associated with conventional coaxial designs and the CPU that resides inside each monitor handles tasks including matching the transducers,incorporating the system’s crossover approach as well as allowing for system control and room compensation.

The Q18 subwoofer is the ideal complement to the Q12 reference monitors. It features an 18-inch down firing low frequency transducer with a heavy duty 4-inch voice coil in a bass reflex enclosure that reproduces frequencies down to 16 Hz while delivering extremely high SPL levels.

Studio C is primarily used for vocal tracking and writing sessions. In this room, the producers frequently monitor at a fairly loud volume, so having a monitor system that remains true to the source at all levels was a critical consideration. Blake Eiseman, Head Engineer at ICON Studios, who just completed mixing Universal Motown artist American Yard as well as three songs on rapper Mims’ new recording “Guilt,” explained why the Equator Q Series monitors are so well suited for Studio C.

“The Q12 monitors work well in this environment,” said Eiseman, “because they maintain their accuracy even at high volume levels—where other monitors frequently sound harsh. The Q12’s coaxial design really helps maintain the accuracy of the sound. Further, panning and other aspects of the stereo image are very precise. Everything you hear feels like it’s in the space directly in front of you as opposed to being vaguely defined. They really sound great.”

While the control rooms at high-end commercial recording studios have been acoustically optimized, that doesn’t necessarily mean they’re without flaws. Even the finest-tuned rooms can still exhibit reflection problems in front of the mixing console. To address these challenges, Equator Audio offers the Q Series Automated Room Analysis Calibration Kit, an optional software package that features Secondary Reflection Correction (SRC) software. Eiseman used the automated software when he configured the new monitors in Studio C and has become very fond of its capabilities.

“Different producers have varying requirements for how they want the monitor system to sound,” notes Eiseman. “I’ve already tuned the monitors to the room and, most often, this is the configuration that gets used.  I tuned the monitors to two specific locations: one is the mix position and the other is the back of the room where the producers typically sit.

“I can switch back and forth between those two settings. If a particular producer wants something slightly different—perhaps a little brighter or with a bit more bass—we can very quickly and easily go into the Equator software and make the necessary adjustments.  We can even save that configuration as a preset so we can recall those preferences the next time that producer works the room. The process is a no brainer. I was really impressed by how fast and accurate the system is.”

In addition to vocal tracking and writing, Eiseman has also mixed in Studio C. “In one instance,” notes Eiseman, “my mix room was unavailable and I had to complete two songs, so I mixed them in Studio C. As I started working, I realized the Q12’s were really helpful in terms of imaging and listening at a variety of levels.

“These monitors also have a very large sweet spot, so you don’t have to be sitting directly in the mix position. You can move back and forth a bit and still have nice highs and full sounding lows. These two songs were for the American Yard project and the Equator monitors made it very easy for me to get the mix exactly where I wanted it to be.”

For additional information about ICON Studios, go to www.iconstudiosatl.com, and for more information about Atlanta Pro Audio, go to www.atlantaproaudio.com

Equator Audio Research Website

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Thursday, March 26, 2009

New Clear-Com FreeSpeak V2.0 Offers Enhanced Beltpack Capacity, IFB Functionality & More

The FreeSpeak 2.0 system is centered on a highly programmable 1RU base station from which an operator can manage and oversee all communications for up to 20 digital wireless beltpacks.

Clear-Com Communication Systems is introducing FreeSpeak Version 2.0, offering enhanced beltpack capacity, Interrupted Foldback (IFB) functionality and improved group operations between beltpacks, party-lines and other external inputs. It will be on display at the upcoming Prolight + Sound 2009 (Hall 8, Booth K54) in Frankfurt.

FreeSpeak is a digital wireless intercom system based on a cellular architecture that offers license-free communication and can allow up to 20 beltpacks to roam seamlessly between remote active antennas. 

“In today’s live performance environments, production staff are expected to support multiple job functions, prompting an increased need for wireless audio connectivity,” says Stephen Sandford, Clear-Com FreeSpeak Product Manager.  “In Version 2.0, we have doubled the number of beltpacks that a base station can support, giving more users the freedom to communicate while on the move and improving the overall production crew’s flexibility and efficiency.”

Among the new features available in FreeSpeak Version 2.0 are three configurable IFBs, allowing the user to assign IFB keys to any number of beltpacks. The beltpacks can then be programmed to act as IFB talent receivers or as the originator of the interrupts.

“This integrated IFB capability gives the user the ability to listen to audio feeds while allowing other users to interrupt that audio feed at any point,” Sandford says. “This provides true standalone IFB system functionality with program source feeds and beltpack interrupts that are mixed and routed to beltpacks, which act as wireless IFB receivers. 

“The user also has the option of working in conjunction with other IFB systems where the program feed is routed through the base station and the interrupts are generated from the FreeSpeak beltpack keys.”

Other new components include Wireless Party-Line Groups, allowing for the seamless mixing of party-line users, external inputs and beltpack users in the same group

The FreeSpeak 2.0 system is centered on a highly programmable 1RU base station from which an operator can manage and oversee all communications for up to 20 digital wireless beltpacks. The system can be controlled from both the bright front-panel display on the base station or remotely via an Ethernet-connected PC that runs the configuration software.

The beltpacks are linked wirelessly to the base station by the remote active antenna that enables users to roam freely throughout a facility while maintaining consistent communication without loss of signal. 

All transmission takes place in the license-free 1.8 - 1.9 GHz frequency band, which helps eliminate interference with other wireless products such as PCs, talent microphones, IFB and in-ear monitors.

Another key benefit of the system is that each wireless beltpack and wired intercom connection on the rear of the base station has its own full-duplex port. The voice communication from each port is sampled, mixed and re-routed throughout the system as desired.  As each wireless beltpack has its own timeslot, it can be individually addressed by the base station, allowing multiple combinations of beltpack-to-beltpack and small-group conversations to be held simultaneously.

Clear-Com Website

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Friday, March 20, 2009

Aviom Expands Its Training Program With New Monthly Webcasts

The training seminars cover everything from monitor mixing to getting started with digital snakes to advanced audio network design

Aviom has expanded its Applications & Technical Training Program to include multiple interactive webcast sessions each month.

Since the beginning of this year, the company has been hosting five or more of these sessions per month. The new expanded initiative features two training programs: one set of sessions designed for contractors, consultants, and other audio professionals and a second set designed specifically for end users.

The training seminars cover everything from monitor mixing to getting started with digital snakes to advanced audio network design and have included Lowering the Stage Volume in the House of Worship, Aviom’s Pro64 Series: The Next Generation of Digital Audio Connectivity, Aviom Solutions for Schools & Theaters, and Integrating Aviom and Your Yamaha Digital Console.

Courses for both professionals and end users are listed monthly at www.aviom.com/training.

Aviom’s consultant liaison and training manager Jeff Lange teaches most of the classes. Lange explains, “The courses we started offering to consultants and contractors last year were very well received, and we were overwhelmed by the response we got when we offered the first webcast to end users. The interest in digital audio distribution and networking continues to grow, and providing reliable information is critical so that contractors and consultants can implement the technology effectively and users can take advantage of all the power of these systems.

“Moving more to webcasts this year has allowed us to reach more and more professionals than ever before, and also to begin providing the same support to end users with content generated specifically for their needs.”

Aviom Website

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Tuesday, March 17, 2009

Steve Miller Band Monitor Engineer Ira Malek Chooses Yamaha PM5D Digital Console For Upcoming Tour

Malek says that by using the PM5D and going to ears has enabled him to eliminate three wedge mixes and sidefills so the inputs are open for less EQs and more effects sends if he chooses

On the upcoming Steve Miller Band concert tour, slated to kick off in May, the band’s monitor engineer, Ira Malek, will be utilizing a Yamaha PM5D digital console.

With most of his mix years spent at front of house, Malek began using a Yamaha PM5D when it first became available for a Good Charlotte show in New York’s MTV Studio.

“There is always something new to learn on the PM5D, and when I find a new function or technique, I like to teach it to a bunch of guys who are avid 5D users,” states Malek. “For example, you can’t really store a song per scene on other consoles for a seasoned rock band because the dynamics are making you work the desk, not the scene. With PM5D Version 2 software, I am able to go to the mixer’s set up and set it up to whatever I may need, making it that much more musical. The console doesn’t limit me.”

Malek notes that the PM5D is very flexible. “Steve is on Future Sonics ear molds, and two of the other musicians are on ears, plus the guitar tech, and there are five wedge mixes. The great thing about the 5D is that I’m almost playing it like a keyboard. I don’t have time to be looking through layers. I’m basically mixing for Steve’s ears. He (Steve) used to have one full desk and a separate split just for him.”

Malek says that by using the PM5D and going to ears has enabled him to eliminate three wedge mixes and sidefills so the inputs are open for less EQs and more effects sends if he chooses. “I’m old school, I just need a knob. For monitors, one scene to one song changes your mix dramatically.”

“Other consoles with more layers are meaningless to me if I can’t get to the channel I need quickly.” he adds. “With Steve’s six-person band, I can’t use the band’s channels for Miller’s ears so I set up virtual channels going to the band members’ individual mixes. The band is very vocal and I’ve set them up on separate DCAs.” Malek only uses only the 5D’s on-board effects. I’m very busy so I need to keep my ‘A’ game up when the band is on stage and don’t need to spend extra time fooling with outboard effects.”

“Bob Harper of Starsound in Reno helped me with my wireless setup. It consists of a Silex SX-2000WG+ and a Fujitsu tablet pc. Using Yamaha Studio Manger and PM5D Editor software, I can go onstage and tweak wedges if I don’t have someone to drive for me.

“And by using the PM5D editor, I can pretty much do whatever I want from the desk. Its great not having to run back to the console, change something, and run back onstage. We do a lot of one-off shows, so it’s great to be able to take my loaded 5D card, use a tablet, hook up a wireless to it, and go up on the stage to do a monitor check.”

Yamaha Website 

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Wednesday, March 11, 2009

Aviom Names Fault Line & Mac West Group As New Sales Representative Firms

Fault Line will represent Aviom in northern California and Hawaii, while Mac West Group will cover southern California and southern Nevada

Aviom has announced that Fault Line and Mac West Group have joined the company’s team of rep firms.

Both firms provide sales teams with extensive experience in systems contracting, sales, design, studio recording, and live production work in the pro audio industry.

Fault Line will represent Aviom in northern California and Hawaii, while Mac West Group will cover southern California and southern Nevada.

Rocky Giannetta, Fault Line’s principal, says, “We are excited to add Aviom to our portfolio because of the unique benefits that Aviom connectivity solutions provide to designers and users.”

As Aviom has expanded its product lines to include a broader range of digital snake and audio networking solutions in addition to its industry standard monitor mixing solution, the company’s customer base has expanded and its products have been used in more diverse environments, so the need to work closely with consultants, installers, and design-build firms has grown.

Mac West Group’s principal, Steve McNeil, explains, “The addition of Aviom to our existing product line card will give us the opportunity to provide our customers with new solutions that simplify digital audio.”

“As market leaders in digital audio networking, Fault Line and Mac West Group will be excellent partners in our ongoing effort to provide unprecedented support to contractors, consultants, and systems integrators,” says Shawn Stahmer, Aviom’s national sales director, US and Canada.

Aviom Website

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Tuesday, March 10, 2009

NBC’s Today Show Takes Lectrosonics To The “Ends Of The Earth”

The equipment roster included approximately fourteen channels of wireless microphones, utilizing a combination of Lectrosonics UM400 beltpack transmitters and SMQa Super-Miniature beltpack transmitters.

NBC’s Today Show explored climactic changes on our planet with a special news report titled the “Ends of the Earth”.

The report, which was presented late last year, featured the show’s four anchors stationed in different parts of the world, with the NBC Network News Field Operations team charged with the responsibility of handling all the technical logistics that enabled hosts Matt Lauer, Ann Curry, Meredith Vierra, and Al Roker to simultaneously contribute to the program. For the crew tasked with keeping Matt Lauer on the air, a sizeable wireless setup from the Lectrosonics catalog was placed into service.

With offices in Long Island City, NY and London, England, the NBC Network News Field Operations group serves as the hub for the operation and support of NBC field news crews worldwide. Kevin Parrish, Sr. RF Engineer for NBC Network News Field Operations, described the Ends of the Earth assignment as being far more challenging than your typical location sound project.

According to Parrish, “All of our resources were deployed on a small flotilla of boats at the Blue Hole (an underwater sinkhole, or cave) about 60 miles off the coast of Belize. My job with wireless communications was to get audio, video, and operational communications from the Blue Hole to an island-based satellite fly-away uplink station that was over ten miles away from where the actual remote broadcast took place.” 

“Not being on land,” continued Parrish, “we were very limited power-wise with theatrical lighting and other equipment, so everything had to be kept to a minimum. In terms of resources—generators, lighting and other equipment, plus staffing—this was a barebones remote broadcast compared to what we would normally have access to.

“There were no land lines available. All of that came from the fly-away uplink on the remote island, which served as our main communications site where we obtained a telephone dial-tone for IFB via the satellite. Everything was uplinked and downlinked, and then transmitted on various bi-directional links out to the boats that were operating at the Blue Hole.”

In addition to Today host Matt Lauer, guests included Fabian Cousteau, grandson of the famous French explorer Jacques Cousteau, plus marine biologists, tourism officials, and others. With full redundancy for all of their wireless equipment an absolute necessity, Parrish deployed a very effective Lectrosonics setup.

The equipment roster included approximately fourteen channels of wireless microphones, utilizing a combination of Lectrosonics UM400 Frequency Agile UHF beltpack transmitters and SMQa Super-Miniature Digital Hybrid Wireless UHF beltpack transmitters. Two Lectrosonics Venue receiver systems—each fully stocked with VRT modules—along with UCR411 UHF receivers supported the wireless mics on the back end.

For communication among the crew and with the on-air talent, Parrish used five channels of Lectrosonics IFB equipment. This equipment included R1a Synthesized UHF beltpack IFB receivers and IFBT4 Frequency-Agile Compact IFB transmitters.

Being physically located on the un-inhabited island that served as the primary communications site, Parrish had to obtain special permission from the local equivalent of the FCC to extend his wireless capabilities.

“I actually received authorization from the local telecommunications authorities to operate my IFB transmitters at RF power output levels exceeding 25 watts,” notes Parrish. “I took an IFBT4 on Block 944 and ran that into a special military amp with a hi-gain antenna. This arrangement gave me a range of about 17 miles. While you couldn’t do that here in the States, it was essential for this project.”

Parrish reports that Lectrosonics serves as the primary wireless offering for the NBC Network News Field Operations group—and with good reason. “Everyone on our staff knows how to operate the products,” says Parrish. “Our Lectrosonics gear is very solidly built, sound quality is excellent, and it’s as trouble free as you’re going to encounter. Lectrosonics and NBC enjoyed tremendous success together as we both traveled to the Ends of the Earth.”

Lectrosonics Website

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Monday, March 09, 2009

Sound In The Round On Metallica’s World Metallic Concert Tour

“We’d never had even sub coverage in the round, ever. It’s just the nature of the beast. But the fact that the TM Array puts bass absolutely everywhere is a first for in the round. It’s just fantastic.” - Big Mick Hughes (Read more about the TM Array here.)

Launching in late fall 2008 and currently continuing in Europe, Metallica’s World Magnetic world concert tour (in support of the album of the same name) features the band’s long-preferred in-the-round live performance configuration, with more than 200 loudspeakers flown for each arena show.

For more than 20 years, two mainstays on the audio crew have allowed the group to continue to pursue the development of its touring system: Front of House Engineer “Big Mick” Hughes and Monitor Engineer Paul Owen. Sound reinforcement equipment is supplied by Taylor, MI-based Thunder Audio, of which Owen is also Vice President.

“When we finished the last tour, we had the system as best as we could make it,” stated Owen. “Starting out this time, we knew we were going to use Meyer Sound MILO (line arrays) again, so we had Meyer come out and look at the system, working with us to create a system in the round.”

Meyer Sound’s Thomas Mundorf assisted the duo with his self-named TM Array – a new method of flying subwoofers. Pressure was high leading up to the TM Array’s first deployment, but Metallica’s enthusiasm about the resulting sound quality and the artists’ insistence to use the configuration on tour proved that Mundorf’s design was solid, and made the efforts worthwhile.

“We’ve done this show for years with all configurations of PA,” said Owen, “and this is the most even SPL we’ve ever been able to achieve. We’re sold on Mundorf’s design and the 700-HP subwoofers.”

“We’d never had even sub coverage in the round, ever,” adds Hughes. “It’s just the nature of the beast. But the fact that the TM Array puts bass absolutely everywhere is a first for in the round. It’s just fantastic.” (Read more from Thomas Mundorf on TM Array design principles here.)

The main system consists of 8 equally spaced line arrays, each containing 12 Meyer Sound MILO and 4 Meyer Sound MICA self-powered line array loudspeakers. The centrally flown array of subwoofers contains four hangs of 10 Meyer Sound 700-HP loudspeakers.

“We’re pretty excited to get this whole system to work,” said Owen. “We tried this new subwoofer configuration on a couple of European promotional shows with unbelievable results. We’ve never been able to generate as much low frequency at high SPL equally placed throughout the whole arena with any other system we’ve used.”

Owen mixes monitors on a Midas XL4, which he prefers over digital consoles because of the sheer volume of mixes he’s responsible for, which includes 24 Meyer Sound MJF212A stage monitors surrounding the stage, and Sennheiser IEM packs for each of the four band members: James Hetfield (vocals/guitar), Kirk Hammett (guitar), Robert Trujillo (bass) and Lars Ulrich (drums).

“All of our in-ears are from Sennheiser’s 3000 Series, which they don’t make anymore,” added Owen. “I managed to get the last three beltpacks!”

It takes a lot of cabling to support more than 200 flown loudspeakers, so the sound team lightened the requirement by choosing to go with a fiber optic network, with the Fiberplex LightViper system configured as a “drive snake” to provide AES/EBU digital audio signal distribution.

Four Apogee AD-16X (analog to digital) converters feed digital signal to the LightViper system, with four Apogee DA-16X (digital to analog) converters posted before the line arrays as the last component in the chain. The eight Apogee units provide 64 channels of I/O.

“When designing this system we had a criteria set forth for achieving the highest quality in uncompromised audio,” states Thomas Hejnicki, Project Manager for Thunder Audio. “Based upon reputation and experience, we needed to look no further than Apogee for our AD/DA solution. In fact, we tried. With Apogee as our reference; we found no acceptable alternative.”

The fiber system greatly reduced the amount of weight to be transported between gigs, with what was estimated to be 2,000 pounds of copper cable being replaced with 15 pounds of fiber optic cable. It’s also a considerably smaller truck pack.

“I’ve never heard of anyone having a fiber optic cable break, but of course on the second gig, we had one chopped by a security barrier accident,” laughed Big Mick.

System drive is provided by a Meyer Sound Galileo loudspeaker management system with five Galileo 616 processors. The RMS remote monitoring system feeds extensive real-time loudspeaker status and performance data directly to the operator.

A Meyer Sound SIM 3 audio analyzer is used to optimize, calibrate and monitor the performance of the system.

At front of house, Big Mick opted to go digital, selecting a Midas XL8 mixing console. Having worked with Midas on the development of the product, he’s obviously familiar with its benefits and has used it since the product’s debut.

“When we had the cable accident, fortunately with the XL8 we’ve got the X and Y redundant network. We lost the Y network,” he explained, adding that the XL8 has the option of using CAT 5 as a further backup.

Big Mick has been employing Audio-Technica microphones for years, with a variety used on this tour, including ATM350 cardioid clip-on mics for toms and overheads, AE2500 dual-element cardioid instrument mics for guitar cabinets, and wired and wireless versions of AE5400 cardioid condenser handheld mics for vocals.

Additionally, an ATM650 hypercardioid dynamic instrument mic is used on snare and dual AT4050 multi-pattern condenser mics in stereo configuration are on guitar cabinets.

As the tour continued through North America in January, in what was one of the worst kept secrets on the tour, Paul Owen would retire from the road after 22 long years of service. Rumors had been flying that he wouldn’t be completing the tour, and it was a matter of finding an appropriate replacement.

Online reports describe the band bringing Owen on stage for a send-off at their January 13 Detroit, MI show. A fitting tribute - congratulations, Mr. Owen.

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Monday, March 02, 2009

Dale Pro Audio Now API & Arsenal Audio Product Line Dealer

“API represents one of the greatest values in the industry today and will form the cornerstone of our outboard sales." - Ken Patnaude, vice president of sales and marketing, Dale Pro Audio

API has announced that Dale Pro Audio is now an official dealer of both API and Arsenal Audio by API product lines.

With over 50 years in business, a staff with hundreds of combined years of experience in the pro audio industry, and a Walters-Storyk-designed showroom, Dale Pro Audio is one of Manhattan’s premier pro audio retailer, serving broadcasters, post-production studios, recording studios, and installed-sound contractors throughout New York and the U.S.

“API represents one of the greatest values in the industry today and will form the cornerstone of our outboard sales,” said Ken Patnaude, vice president of sales and marketing for Dale. “Put simply, our customers want gear that sounds fantastic, that will last a long, long time, and that is priced fairly. All are so true of API products. Our customers will especially appreciate the affordable Arsenal Audio by API products and API’s 500 Series modules in these tough economic times.”

“Buying gear from Dale is a unique experience, and we’re happy that API will now have a strong presence in their showrooms,” said Dan Zimbelman, director of sales for API. “It’s easy to confuse Dale for a functioning studio. They don’t sell guitars, keyboards or drums, so there’s no music store vibe.

“The ‘showroom’ is split between four Walter-Storyk-designed ‘studios,’ one of which allows customers to easily compare outboard gear with input from knowledgeable sales staff who don’t work on commission. If that weren’t enough, they have a relaxed loaner policy so that users can test drive gear in their own studio.”

API Website

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Friday, February 27, 2009

ATC Reference Monitors For Newly Opened EastWest Studio In Hollywood

The ATC monitors correct what Rogers and his staff felt was a problem with the monitor systems previously installed at the former Cello Studios, which started life in the 1960s as Bill Putnam’s Western then United Western Studios.

Doug Rogers, founder of the EastWest software instrument company, has purchased and re-opened the recording studio located at 6000 Sunset Boulevard in Hollywood, the site of historic recordings by a who’s who of the last four decades, from Bing Crosby and Frank Sinatra through The Beach Boys to Green Day and Madonna.

In the process of restoring the facilities to their former glory and relocating EastWest’s operations to the complex, Rogers outfitted the three principal control rooms with soffit-mounted ATC (Acoustic Transducer Company) SCM300ASL reference monitors. A pair of ATC SCM150ASL monitors is also available for near field mixing.

“We just wanted the best monitors we could put in,” comments Rogers. “For my line of work I need brutal accuracy, and that’s what these speakers deliver. That’s my lifeline – if they’re not telling me the truth I’m in trouble. And, I felt that the people that are going to be working in EastWest Studios are the best in the business and they deserve the best equipment with which to work.

“The monitors might cost close to $50,000 a pair, but when your profession depends upon it, it’s like a violinist having a Stradivarius. You’re only going to deliver the best if you have the best equipment.”

The SCM300ASLs are great for tracking, according to Rogers. “They’re very smooth across the range and you can really pump them. They can be used at very loud levels without distortion – which is their claim to fame. There’s a lot of headroom built into the system that allows them to be used in recording studio control room playback conditions and they’ll hold up to it.”

The ATC monitors correct what Rogers and his staff felt was a problem with the monitor systems previously installed at the former Cello Studios, which started life in the 1960s as Bill Putnam’s Western then United Western Studios.

“None of us really liked the sound. They sounded disjointed between the different drivers with no smoothness across the range,” he explains. But with the new monitors, he says, “I like the fact that the new monitors are balanced because ATC supplies you with the whole system. They supply the speakers and the amps, which are very good, and everything is matched up. Most other speaker solutions are components where you have to get your own amps and wiring.”

Rogers recounts that he initially flew in acoustical consultant Nick Whitaker of U.K. firm Electro-acoustics to advise on control room improvements. “We really didn’t want to do anything to the studios because the sound has been raved about for years, but the control rooms needed some updating. The first thing he mentioned was that he really liked the English ATC monitors that they were using at Astoria studio [owned by Pink Floyd’s David Gilmour] and a lot of the other places where he was involved with the acoustics, like Abbey Road, and studios that he had built. But, Nick said, they’re relatively expensive. I said, well, no expense spared here!”

Whitaker also mentioned that James Guthrie, who mixed the surround version of Pink Floyd’s “Dark Side of the Moon,” among many, many other projects, also uses ATC monitors, says Rogers. He had Brad Lunde of Las Vegas Pro Audio, the U.S. importer for ATC, arrange a visit to listen to the SCM150ASL monitors at The Mastering Lab in Ojai, California. “[Owner and legendary mastering engineer] Doug Sax has probably some of the best ears in the business. We knew then that was the way to go,” says Rogers.

He concludes, “There are a few studios in the U.S. that have cottoned on to ATCs, such as Blackbird, a very good studio in Nashville. But I’m sure we’re the most ATC-equipped studio in L.A., and I guarantee, by the end of this year, when we have had a lot of top engineers through here, ATCs will have a much bigger name in this country.”

ATC Website
Las Vegas Pro Audio Website

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Wednesday, February 25, 2009

Three Large-Scale German Theatres Install Riedel Communications Intercom Systems

While the State Theatres in Meiningen and Dresden chose Riedel's Performer 32 intercom matrix/stage management system, a Riedel Artist 64 intercom matrix is used at the opera house in Halle.

Three large theatres in Germany have recently installed intercom systems from Riedel Communications.

While the State Theatres in Meiningen and Dresden chose Riedel’s Performer 32 intercom matrix/stage management system, a Riedel Artist 64 intercom matrix is used at the opera house in Halle.

Next to the Semper Oper, the Schauspielhaus is the biggest theatre in Dresden. Its program consists of classical plays and musical theatre productions.

The backbone of the intercom system at the theatre in Dresden is a Riedel Performer 32+16 system. This stage management system is designed for smaller applications and locations such as theatres. One GPI card and three CAT-5 cards offer GPI I/Os and connections for control panels.

The relay signals of the GPI client card can, for example, be used to control light signals. Furthermore, an AIO-client card integrates analog line level audio into the intercom matrix. A Performer C44 Partyline interface seamlessly integrates 12 x C3 Digital Partyline Beltpacks with the intercom matrix. 11 PRO and 6 ultralight AIR-headsets complete the setup.

”With Riedel’s intercom solutions we found the perfect system for the installations at the opera house in Halle and the Schauspielhaus in Dresden. The modular layout made it possible to tailor the intercom to the exact needs of each individual theatre. While we chose a Performer system for Dresden, a Riedel Artist 64 was an ideal solution for Halle because it offers the option to expand it later,“ says Uwe Weissbach from the system integrator HFE Elektroakustik, which installed the Riedel intercom systems in Halle and Dresden.

With a history that goes back to 1831, the State Theatre Meiningen is one of the oldest theatres in Germany. Its program ranges from opera and classical theatre to dance and stagings for kids.

The communications infrastructure seamlessly integrates radio communications into the intercom matrix. The heart of the intercom installation is a Performer 32+16 system. A total of 15 Artist 2000 control panels are installed. A Performer C44 interface integrates four C3 Digital Partyline Beltpacks into the intercom matrix.

The C3s combine the flexibility of regular beltpacks with digital audio quality. Motorola GP344 radios complete the infrastructure. A Riedel RiFace integrates the radios into the intercom matrix. The system integrator Sigma-TBL was responsible for the installation in Meiningen.

The heart of the installation at the opera house in Halle is a Riedel Artist 64 matrix. The redundant CPUs and the redundant power suppIies offer maximum reliability.

A RIF1032 GPI-Interface provides distributed GPI contacts. In addition, a GPI client card supplies additional GPI-ports directly at the Artist matrix mainframe. A total of 19 Artist 2000 and Artist 3000 control panels were installed at the opera house in Halle.

Riedel Communications Website

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Monday, February 23, 2009

Equator Audio Research Expands Into Asia-Pacific Market

"Having an office in the region will provide a level of response and confidence not possible from the other side of the globe." - Equator President and Founder Ted Keffalo

Equator Audio Research, manufacturer and designer of Q Series reference monitors that utilize DSP to assist engineers in optimizing for accurate monitoring in any room, has established a sales and marketing office in Singapore.

The new office will be headed by Ken Tovich, who stated, “Equator has developed an incredible range of products. Not only do they have a big sound, they actually analyze the room in which they’re playing and then digitally correct the system to optimise the acoustic environment.

“We’re confident that once engineers and users across Asia get in front of a set, they are going to love what they can do.”

Adds Equator President and Founder Ted Keffalo, “The Asia-Pacific market has always been one of great opportunity but also one of great challenges. The best way for us to address any challenge is to provide a quick, locally-applied response to any customer, dealer or distributor request.

“Having an office in the region will provide a level of response and confidence not possible from the other side of the globe.”

Equator Audio Website

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Outline Butterfly Chosen For Main PA At Royal Wedding In Dubai, UAE

To meet the needs of such a huge venue, Events Productions decided to significantly increase its stock of Outline equipment by purchasing more than 80 boxes, including Butterfly Hi-Packs, subwoofers, HARD monitor wedges, and more.

Dubai-based production company Events Productions deployed multiple hangs of Outline Butterfly line arrays to cover the large-scale indoor venue at the Al Maktoum Wedding Celebration hosted last month by the ruling family of Dubai (UAE).

To meet the needs of such a huge venue, Events Productions decided to significantly increase its stock of Outline equipment by purchasing more than 80 boxes, including Butterfly Hi-Packs, subwoofers, HARD monitor wedges, and more.

Hosted at halls 5, 6, 7 and 8 of the Dubai World Trade Centre Exhibition Halls, occupying a total area of 14,400 square meters and with a Royal Banquet seating capacity of 6,000, this was one of the largest sit-down dinners ever hosted in the region. A total of nine line arrays were deployed to cover the area and ensure the clear, consistent audio.

According to Carol Olympus, technical manager and systems engineer for Events Productions, “You could walk right across the venue and further away from the array and still have an uncanny consistency in both SPL levels and frequency response, especially in the vocal range. The Butterflies amaze me every time we use them, in small venues as well as large-scale applications.”

A DigiDesign D-Show was used as the primary mixing console with a 48 x 32 Stage Rack to take advantage of plug-ins and parallel multi-track recording on Pro Tools. Performances from prominent Arabic Artists included Hussein Al Jasmi, Rashid Al Majid, Mohammed Abdou, Alisha, Mehad Hammad and Abdullah Bulkhair.

Hammad Al Ansari, an audio engineer noted for his widespread experience with Arabic bands, handled the master mix. A Fujitsu Siemens T-Series Lifebook and HP tablet computer were used to remote the D-Show to balance levels initially. EAW Smaart with an Earthworks S30 measurement microphone aided the engineers in balancing the system as well as monitoring the PA indoors.

There were two band setups with 10 Outline HARD 115 SP and twelve Outline HARD 212 SP foldback wedges. High consistent levels are normally expected by Arabic musicians, especially the percussionists, and the monitors met this requirement over the course of the nine-hour event.

Further, eight Outline SPECTRA 5040 were used as stage fill and four Outline Kanguros used for drum fill. Shure UR4Ds paired with KSM9 UR2 wireless handheld microphones and Shure PSM 700 in-ear monitors were used by the singers.

Outline Website

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Saturday, February 21, 2009

Genelec 8200 Series Monitors Chosen By Music Mixers At 51st Annual GRAMMY Awards

5.1 surround audio broadcast utilizes monitors in surround sound configuration

At the recent 51st Annual GRAMMY Awards Show, telecast on CBS from L.A.‘s Staples Center, XM Productions/Effanel Music employed Genelec 8200 Series Active DSP monitoring systems.

Genelec DSP systems consisting of 8250 and 8240 active monitors, along with the 7260 subwoofer, were used in XM Productions/Effanel Music’s L7 truck for the live music mix, as well as in the mirrored system in the Nova offline remix booth.

The EMMY Award-winning GRAMMY show takes full advantage of the highest-resolution broadcast quality offered by CBS, which distributes HDTV and 5.1 channels of CD-quality surround sound in a number of major markets.

The HDTV/5.1 broadcast was mixed and monitored by a team of top-tier professionals, relying on Genelec to provide them with an accurate monitoring environment. The audio portion of the broadcast was supervised by Phil Ramone and Hank Neuberger, leading members of the Producers & Engineers Wing of The Recording Academy, while the music mixers included John Harris and Eric Schilling. Peter Gary was the XM Productions/Effanel Audio EIC (Engineer in Charge).

The Genelec 8200 Series Bi-Amplified Active Monitors employ the company’s proprietary DSP (Digital Signal Processing), GLM (Genelec Loudspeaker Manager software) and AutoCal (Automated Calibration software) technologies, which together create a self-calibrating monitoring solution that both guarantees accurate audio and ensures a steady-paced workflow.

John Harris stated, “Genelec active monitoring is the industry standard for high-end monitoring solutions, without a doubt. Their performance is absolutely consistent show after show, and the sound is the most musical we’ve ever used. With the ability to adapt the surround speaker field with the DSP technology, Genelecs offer the peace of mind of knowing our monitors are exactly what we need them to be.”
Genelec Website

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Friday, February 20, 2009

Roundup: Sound Reinforcement & More At The 51st Annual GRAMMY Awards

Several manufacturers had audio equipment playing key roles at the 2009 GRAMMY Awards show at the Staples Center; here, we provide a collection of information received to date on "who was using what/where/why." Also be sure to check out our Photo Gallery for a wide range of system and performance images from the show.

ATK AudioTek of Valencia, California, supplied live audio production for the recent 51st Annual Grammy Awards at the Staples Center arena in downtown Los Angeles, with a live performance bill featuring considerably more nominees and performers than in the past.

Of particular note, more than 50 wireless microphone systems were in use, with frequency coordination provided by Dave Bellamy of Burbank-based Soundtronics Wireless. House Audio Mixer Ron Reaves notes that “there were absolutely no RF failures that I was aware of. If there were any issues, from out front we didn’t notice them. The performances went on without a problem.”

Yet Reaves also points out, “We probably averaged 30 to 40 inputs per act. In each case, a majority of the mics were hardwired. Vocals were still dominated by RF microphones, but in my opinion, we’re starting to see a trend emerge on these shows where there’s a little more wire than in the past. Maybe we’re trying to condition ourselves to changing conditions within the spectrum, but clearly anything at this event that didn’t have to be mobile was stuck on a wire.”

ATK AudioTek deployed four Yamaha PM1D digital consoles for both monitor and house mixes, with several JBL VERTEC large-format line arrays providing coverage to the large audience.

“The need for these shows to be flawless is what drives Audiotek to obsess on the details and not compromise on the quality of equipment and people that operate behind the scenes,” states Mike Stahl, President, ATK AudioTek.

Reaves was the helm of one of the four Yamaha PM1Ds, with the others manned by Mike Parker, Tom Pesa, and Mikael Stewart, who offers that “Yamaha PM1D consoles are totally reliable, flexible and accepted as an industry standard. There is no room or time for error. Changes come up to the last minute as was demonstrated with the Al Green-Justin Timberlake performance.”

Reaves adds, “This job is just a joy. In spite of all the enormous logistics and grueling schedule, I had the pleasure of mixing for 23 of the hottest acts on the planet. This was a big moment for them, too. Nobody phones it in for the GRAMMYS.”

New York-based XM Productions/Effanel Music were onsite with their L7 remote truck to create the music mix, facilitated by Music Mixers John Harris and Eric Schilling. The broadcast audio was supervised by Phil Ramone and Hank Neuberger, leading members of the Producers & Engineers Wing of The Recording Academy.

GRAMMY Notes From Audio-Technica…
Artists who performed using Audio-Technica’s Artist Elite 5000 Series UHF wireless system, with the AEW-T5400 handheld microphone/transmitter and AEW-R5200 true diversity frequency-agile dual receiver, included Taylor Swift, Estelle, Lil Wayne, Stevie Wonder, Boyz II Men, Al Green, and Jamie Foxx, Duke Fakir and Ne-Yo in a tribute to the Four Tops.

Audio-Technica endorser Kenny Chesney used a wired A-T AE3300 cardioid condenser handheld microphone, and Thom Yorke of Radiohead used the AE5400 cardioid condenser microphone. Justin Timberlake performed using A-T’s wireless AEW-T4100 cardioid dynamic microphone/transmitter.

The backline mic complement of A-T wired microphones included AE5400 cardioid condenser handheld microphone for backing vocals; AT4050 multi-pattern condenser microphone for guitar cabinet and overheads; AT4040 cardioid condenser microphone for overheads; AE5100 cardioid condenser instrument microphone for ride cymbal, hi-hat, and percussion; ATM250 hypercardioid dynamic instrument microphone for Leslie cabinet and guitar cabinet; BP4025 X/Y stereo field recording microphone for percussion; AE2500 dual-element cardioid instrument microphone for kick drum; AT4047/SV cardioid condenser microphone for guitar cabinet; ATM450 cardioid condenser instrument microphone for ride cymbal; and ATM350 cardioid condenser clip-on microphone for horns, congas and strings.

Michael Abbott, Audio Coordinator for the GRAMMY Awards, states,“live broadcasts of this magnitude are immensely challenging, and we have been lucky to have Audio-Technica as a continuing partner in helping make the Grammys happen. Our engineers need a wide range of consistent and dependable microphones that enable them to capture each artist’s individual character, and A-T delivers exactly what we need.”

GRAMMY Notes From Shure…
Opening the show this year with Get on Your Boots, a track from their forthcoming album, U2 set the tempo for live performances at this year’s ceremonies with Bono stepping into the spotlight using a Shure UHF-R wireless microphone equipped with an SM58 capsule. UHF-R systems, with a combination of SM58 and KSM9 handheld transmitters, where also chosen by a lengthy list of performing artists including Jennifer Hudson, Coldplay, Kid Rock, Carrie Underwood, John Mayer, B.B. King, Buddy Guy, Keith Urban, M.I.A., T.I., Kanye West, and Jay-Z.

“There are few shows I know of that have a capacity for this amount of RF usage going on at one time,” notes Audio Coordinator Abbott, the point person in charge of all things sound-related this year. “Dave Bellamy and I talked about which mics we wanted to apply where on the show, and the thing about Shure is it’s always my ace-in-the-hole. I know that because of the product design and engineering that I’m able to maximize more Shure mics out there than possibly any other.”

Shure’s venerable hardwired SM58 also found a place in front of Alison Krauss and Robert Plant (whose album Raising Sand won five awards before the night was out) and was the choice of Stevie Wonder. In addition, Paul McCartney used a Beta 58 for his performance.

GRAMMY Notes From Sennheiser/Neumann…
UK singer/songwriter Adele, GRAMMY Award winner this year as Best New Artist and Best Female Pop Vocal Performance, also was on hand to perform her chart-topping single Chasing Pavements using a Neumann KMS 105 nickel-plated wired vocal microphone.

Also performing on the telecast were the Jonas Brothers, who joined Stevie Wonder for spirited renditions of their own song Burnin’ Up, and his classic, Superstition, with the help of Sennheiser SKM 5200 RF handheld vocal mics outfitted with MD 5235 capsules and wired evolution e 935s for background vocals. Miley Cyrus made use of the same combination vocal mic for her duet with Taylor Swift on the former American Idol contestant’s Fifteen. Sixteen channels of Sennheiser ew 300 G2 in-ear monitor systems were also used throughout the telecast.

An array of Sennheiser and Neumann wired microphones were featured onstage, with more than 40 evolution series e 602 II and two dozen e 604 wired mics for drums and percussion, as well as eight each of MKH 8040 and MKH 416 model shotgun mics available for the production, together with Neumann TLM 103, TLM 49 and KM 184 instrument mics. Sennheiser e 906 and MD 421 II and Neumann KM 184 microphones were also featured.

Music Mixer John Harris noted, “Every kick drum and floor tom at the Grammys was mic’ed with a Sennheiser evolution 602. In my opinion, it’s the ‘punchiest’ drum microphone out there, and the best microphone for close mic’ing moderate to large drums (kicks, toms, and the USC marching band bass drums) that I have ever used.

“For drum ambience and the horn section, I used the Sennheiser MKH 8040s. This mic delivers amazingly realistic sound. And due to its small size is quite easily placed - in a stereo pair, they are fantastic. I was also glad to have the Sennheiser MD 421s on U2’s rack toms. We need to go back to using them more as they are great mics.”

Check out the PSW GRAMMY Photo Gallery.

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