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Friday, March 20, 2009

Bosch Communications Systems Announces The Availability Of New IRIS-Net V2.0

IRIS-Net V2.0 brings EV's FIR-Drive technology to the fore. FIR-Drive combines transducer development, FIR processing, and optimized DSP protection algorithms

Bosch Communications Systems has just announced the release of IRIS-Net V2.0, a unified software package supporting DSP design, device control, custom user interface creation, and system integration spanning multiple Bosch Communications Systems brands.

IRIS-Net V2.0 continues to expand IRIS-Net’s array of features by adding new devices such as Electro-Voice REV wireless microphones.

IRIS-Net V2.0 also brings EV’s FIR-Drive technology to the fore. FIR-Drive combines transducer development, FIR processing, and optimized DSP protection algorithms to create a holistic approach to system development.

IRIS-Net V2.0 provides additional FIR-Drive controllers, a new peak anticipation limiter, and brand-new loudspeaker settings for EV concert sound products.

The latest version of IRIS-Net also includes the following features and additions:

Software Additions and Enhancements
Enhanced software installation process for improved compatibility with Windows Vista. Selection of brands and/or devices possible via new Device Options dialog (Dialog is automatically shown when IRIS-Net is started the first time).

Support of .PNG and .JPEG file formats for use in Controls, User Controls and project graphics.

A completely restructured Help System now formatted as a User Manual in PDF format. Modified Object List for easier use and navigation.

NetMax Additions and Enhancements
DSP block FIR Controller (mono and stereo version) containing complete DSP structure of an RCM-26 output channel. Use of all current RCM-26 speaker settings is possible.

The Electro-Voice N8000 System Controller now also supports the following remote amplifiers when using the RCM-810 remote control module: Electro-Voice CPS series amplifiers (CPS2.4, CPS2.6, CPS2.9, CPS2.12, CPS4.5, CPS4.10 and CPS8.5) DSP block Loudspeaker Controller now uses Peak Anticipation Limiter instead of RCM Limiter.

Password protection of DSP blocks possible via context menu. Non-Administrator users are no longer able to edit the DSP structure.

Other Hardware Additions and Enhancements
New device Electro-Voice REV (UHF wireless microphone system) is available (Currently the REV receivers can only be connected to the PC using a UCC1). Peak Anticipation limiter available for RCM-26 amplifiers (firmware update of RCM-26 to version V1.13 required), fully compatible with existing speaker settings.

New Loudspeaker Settings (including FIR filter settings) and files for Electro-Voice and Dynacord loudspeakers (check directory “Speaker Settings/Electro-Voice” or “Speaker Settings/Dynacord” for details).

IRIS-Net V2.0 is currently available for download at http://irisnet.electrovoice.com


System Requirements
Processor: Intel Pentium III 1 GHz or equivalent (more is recommended)
OS: Windows 2000, XP, or Vista (32-bit versions only)
RAM: 512 MB (more is recommended)
Hard Disk: 300MB of free space
Video: 1024x768, High Color (16-bit)
Network: Ethernet port and/or 1 USB port per 100 amplifiers

Bosch Communications Website

 

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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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Friday, March 13, 2009

Big Mick Hughes & Midas XL8 Roll Into Europe As Metallica Tour Continues

On a lengthy tour it’s vital to expect the unexpected, and Mick particularly appreciates the XL8’s ability to cope with changes and additions to the show

After three months in North America, Metallica’s Death Magnetic tour has rolled into Europe with front of house engineer Big Mick Hughes at the helm of his Midas XL8 live performance system, creating what he describes as “the best sound it’s been, ever. The XL8 has been absolutely flawless, it hasn’t missed a beat once.”

It’s been 18 months since Mick first took the XL8 out on European summer dates with Metallica. “You use analog for so long you get used to its constraints and work within that frame, because it’s so hard to step out of,” he says. “But with digital you are only restricted by your imagination, and guess what, the ball’s back in my court now. There are endless possibilities using the XL8, and I’ve been getting new plots every day.”

On a lengthy tour it’s vital to expect the unexpected, and Mick particularly appreciates the XL8’s ability to cope with changes and additions to the show.

“We’re up to about 80 channels, which has swelled as the tour has progressed, and while we’d be on a stretch console by now, it’s effortless with the XL8,” he says. “If the band want to add something to a song I don’t have to worry that I’ve got no holes left to plug it into, we just keep adding channels willy nilly! If we have a guest appearance we just configure a few new channels on the XL8.

And we also have all the onboard gates, compressors and dynamics we could possibly need. The XL8 gate is spectacular, with as fast an attack as you could ever want. As for EQing, I use a lot of sub groups which give me either six band parametric or 31 band graphic EQ on everything, and using the Klark Teknik Rapide as a remote control for the GEQs gives me instant access to them.”

Not only that but Midas has written some of Mick’s favorite effects into software upgrades so he won’t even need the tried, trusted and no-longer-available effects units he’s been relying on to recreate esoteric studio effects.

As for the sound, Mick says he’s never heard Metallica this way before. “The intelligibility you get with this console is phenomenal. The guitar sound is the best it’s been all the way, there’s such great intelligibility in the mid and high mid frequencies that you can actually hear individual strings on the guitars. Everybody tells me it’s the best it’s ever sounded, but for me it’s taken some getting used to; I’ve had to learn about what’s available, which is endless. We all strive for the perfect sound and there used to be somewhere to draw the line; the equipment would only let you go so far. But for engineers there’s no time out any more!”

Mick’s also got his hands on the smaller Midas PRO6 live audio system, as the band will be traveling back to the US for a one-off Guitar Hero party where the venue is too small for an XL8. “I tried transferring the entire show across at the Midas HQ, and the PRO6 recalled all my settings immediately, all the way up to 56 channels,” he says. “Everything was there, even the EQ that I’d applied across the sub groups so I don’t have to start building up sounds from scratch. All we needed to do was reduce the channels to 56 to fit on the PRO6, copying and pasting stuff from higher up, and everything we needed came back.

“The whole experience has been a massive learning curve for me. I think you really have to understand what’s going on with sound now, because if you don’t you’re missing a huge part of what’s happening. Sure you have to learn new stuff, but it’s a much nicer journey because you feel you can achieve something. I’m sure we’re just at the start of a new evolution.”
Midas Website

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Thursday, March 12, 2009

Soundcraft Vi6 Digital Consoles In The Pivot At 2009 NBA All-Star Game

One Vi6 console drove the loudspeaker systems while also being utilized to mix the production elements, including video playback rolls, announcer microphones, television feeds and on-court mics, while the other Vi6 was used for mixing the live music elements and delivering the feed to Fox’s console via AES for distribution

The recent 58th annual All-Star Game in Phoenix featured a weekend of competition and events, including the three-point and dunk contests as well as the Rookie Challenge. Two Guys Audio Services Inc. of Rainbow City, Alabama, through Volume Inc., provided front of house audio console support and mixed sound for the weekend’s events on two Soundcraft Vi6 digital consoles.

Engineers Jerome Fox and Dave Zammit independently operated the desks and provided top-shelf audio quality. Fox utilized one Vi6 to drive the loudspeaker systems while mixing the production elements, including video playback rolls, announcer microphones, television feeds and on-court mics, while Zammit mixed the live music elements and delivered the feed to Fox’s console via AES for distribution.

“We started with 2 x 96 input systems, intending to use these as parallel main and backup systems, but as things progressed, it became clear that more than one system would be needed to merely address the input / output requirements of the event,” says Zammit. “We needed outstanding performance from the consoles and we selected the Vi6 consoles for their great sound, reliable platform and the intuitive Vistonics interface that provides such an “analog” operation allowing engineers to fully exploit all the advantages of a digital system.”

Fox adds, “I was sold the minute I discovered the HiQnet capabilities and the ability to mix effectively even without a mouse.”

The versatility of the Vi6 consoles was an integral part of the NBA-All Star weekend’s festivities commencing with the first live performance of Corbin Bleu on Friday at the Rookie Challenge and Youth Jam night and continuing on Saturday with performances by Kevin Rudolph and the dunk contest.  The main event on Sunday featured John Legend, and included Latin star Juanes. 

“As is the case with mixing any live event, the NBA All-Star games presented a few challenges but the Vi6 allowed us to successfully manage the event on the fly,” notes Zammit. “The nature of the event required us to make quick adjustments and the reliability and flexibility of the console enabled us to remain relaxed while mixing a great All-Star game.”

Soundcraft 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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Thursday, March 05, 2009

Symetrix SymNet At Heart Of High-End Systems For University Of Warwick

A 100-seat auditorium and a psychoacoustics research laboratory required high-fidelity audio with a capacity for extremely flexible routing and a customized user interface

The Warwick Manufacturing Group (WMG) just completed construction of a $70 million research facility at the University of Warwick in Coventry, England that is outfitted with high-end audio/visual system technology.

Two of the rooms in the building, a 100-seat auditorium and a psychoacoustics research laboratory, required high-fidelity audio with a capacity for extremely flexible routing and a customized user interface. WMG hired UK-based Pure AV Ltd. to realize their very specialized needs, and Pure AV support engineer Colin Hasted designed their audio systems around Symetrix SymNet open-architecture DSP solutions.

The 100-seat auditorium serves as the collective meeting place for all of WMG’s researchers and students. Because of the highly technical nature of their work, it features a networked AV system with sophisticated audio fidelity and visual clarity.

On the input side are DVI and VGA input plates, CD, DVD, resident PC, pre-recorded content from a remote server, and an access grid that feeds in distributed television content. Fourteen channels of microphones feed the system, from Shure lectern mics, to Sennheiser presentation mics, to eight suspended Audio Technica ceiling mics.

In addition, surround sound processing from a Denon DN-A7100 preamp feeds the SymNet DSP system, rather than the other way around. That arrangement enabled Hasted to have full speaker management control of the entire auditorium system and to provide complete flexibility to mix microphones and video conferencing with program material.

“SymNet manages all of the audio and sends it out appropriately so that we can easily deliver monaural, stereo, or 5.1 sources without using different sets of speakers,” said Hasted.

At the system’s core are two SymNet 8x8 DSP units and one SymNet BreakIn12 for 28 inputs and 16 outputs.

Box “A” handles all of the echo cancellation for the room’s many microphones and routing.

Box “B” handles all of the loudspeaker management for the 5.1 Ohm BR series loudspeakers. Each loudspeaker has dedicated EQ, filters, compression, and limiting (for protection from overzealous operators). The two units fuse seamlessly into one via SymLink.

“We went with SymNet, first, because it has better signal-path fidelity than the other units we compared it to and second, because it has ample processing power to deliver everything WMG asked for and the flexibility to create a customized user interface,” said Hasted.

“We did direct, on the bench comparisons between SymNet and its competitors, and found SymNet to have the most transparent signal path. That was critical for the auditorium and paramount for the psychoacoustics laboratory. Stunning echo cancellation and full loudspeaker management was also important, as was ready and customized control from a 17-inch AMX touch screen.”

Beyond the 5.1 output, the SymNet processors also manage stereo recording feeds to a high-definition broadcast recorder, a feed to the building-wide CAT 6 video distribution network, and a dedicated mix to a Sennheiser IR system. Visually, the room benefits from twin Christie HD6K projectors that, in addition to the usual sources, can draw video from anywhere else in the building.

A Polycom HDX 9004 high-definition video conferencing system links the auditorium with the rest of the world. The SymNet processors deliver a stereo mic mix and a separate content mix to the system and handle noise reduction over calls.

The psychoacoustics laboratory is a unique environment by anyone’s standards. The researchers who use the space are asking how we can engineer acoustic environments, not just with less noise (as research to date has dogmatically assumed that all noise is bad), but also with more subjectively pleasant noise.

To get answers, they must necessarily quantify as rigorously as possible the seemingly unquantifiable quality of “pleasantness” in “soundscapes.”

The researchers use a SoundField MKV microphone system and a portable Edirol R4 Pro recorder to capture environments in the field in true three-dimensional sound using SoundField’s innovative capsule technology. Back at the laboratory, they either use the captured material as-is, or perform proprietary processing to “improve” or “degrade” the sound for the purpose of better understanding what makes some environments pleasant and some environments unpleasant.

The three-dimensional audio is decoded via SoundField software running on Nuendo and presented to a SymNet 8x8 DSP and two BreakIn12s. Additional inputs include a Denon DN-A7100 capable of delivering 7.1 or 5.1 surround sound and a solid-state video and audio player for reproduction of stereo or binaural sound clips with video on demand.

Via an AMX touch screen and a SymNet BreakOut12, the SymNet 8x8 DSP elegantly maps any of those inputs in any format (full 16-channel 3D, 7.1, 5.1, stereo, binaural, monaural) to two circles of eight KEF reference loudspeakers and/or headphones.

The system makes tremendous use of SymNet’s capacity for intelligent routing of complex signal paths, while distilling that complexity to something that’s simple from a user’s viewpoint. Remaining outputs feed a stereo video recorder and send audio to the building’s network.

“Again, SymNet controls the system with the utmost fidelity,” said Hasted. “For what they’re doing in the lab, truth in the signal path is essential.” Those presented with the audio for testing use small wireless touch panels to both record their responses and control their virtual environments.”

Symetrix Website

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Monday, March 02, 2009

BSS Audio Provides Extensive System Control For Extravagant Atlantis Hotel In Dubai

The system needed to be easy to operate, with a common operating environment in terms of control in local zones and areas. Additionally, they needed a central system control with monitoring, scalability and flexibility, to accommodate potential future expansion plans or requirements

BSS Audio components were selected to supply control of what is considered to be the largest fixed sound installation project in the Dubai region - a distributed system serving the new Atlantis Hotel, including all hotel restaurants, lobbies, corridors, visitor attractions, and retail outlets within the venue.

For the installation, 31 Soundweb London BLU-80 units, 10 BLU-32s, and six BLU-16s were utilized. All of these Soundweb London units offers configurable I/O, configurable signal processing and CobraNet audio and has open architecture which is fully configurable through HiQnet London Architect. The system also features 17 BLU-10s, 12 BLU-3s, and seven BLU-6s.

According to Stacey Lewis, sales and marketing manager for GSL Professional, the regional distributor for Harman products in the UAE, the Atlantis Hotel had very specific needs for the sound system. “The system needed to be easy to operate, with a common operating environment in terms of control in local zones and areas. Additionally, they needed a central system control with monitoring, scalability and flexibility, to accommodate potential future expansion plans or requirements.”

Additional Harman products that were utilized included Crown amplifiers. Thirty-five CTs 8200, eight CTs 4200 and 11 CTs 600 amplifiers were installed throughout the hotel. The amplifiers are networked and monitored on the same system as the Soundweb DSP system.

Dave Wilts, senior associate at Shen Milsom & Wilke, an acoustic consulting firm, explained the decision to specify BSS products for the Atlantis Hotel. “A large resort such as the Atlantis typically has extensive AV requirements. We wanted to provide the hotel operations staff with the most “easily managed” AV systems as possible. The BSS line provided a reliable architecture we could leverage for resort-wide, meta-level control of the BGM (background music) systems. For our completely IP-based AV systems, the IP tools and products from BSS offered the best solution, and support, for the project.”

BSS Audio Website

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Friday, February 27, 2009

New Zealand’s Above Productions Deploys New JBL VERTEC Line Arrays At Fireworks Spectacular

In providing live sound reinforcement for the TSB Bank Fireworks Spectacular, Above Productions deployed a VERTEC system using a total of 24 VT4887A compact line array elements, configured in two arrays of 12 per side

Audio rental system provider Above Productions of Hamilton, New Zealand, recently purchased new JBL VERTEC portable line arrays for regional events, including VT4887A compact line array elements and VT4880A full-size arrayable subwoofers, supported by JBL VRX compact constant-curvature systems and powered by Crown amplifiers. Above Productions recently deployed the new system for the TSB Bank Fireworks Spectacular, held at the TSB Bowl in New Plymouth, Zealand.

The TSB Bank Fireworks Spectacular drew an estimated crowd of 18,000 people, who enjoyed an outdoor-stage concert, capped with a climactic display of fireworks, choreographed to music. Talent for the event included local singer-songwriters and Auckland-based variety-funk band Lieutenant Funk.

In providing live sound reinforcement for the event, Above Productions deployed a VERTEC system using a total of 24 VT4887A compact line array elements, configured in two arrays of 12 per side. Eight VT4880A arrayable subwoofers with 2269H Ultra Long Excursion, 18-inch woofers were in use (four enclosures per side).

Additionally, a delay ring was positioned farther back in the seating area on the grassy slope, using a total of eight VRX932 speakers, set up as four pairs on poles. All JBL speakers were powered by Crown I-Tech 4000 and 8000 amplifiers, with Harman’s HiQnet System Architect software in use for remote control and monitoring. A Whirlwind E Snake, sharing the same VLAN-configured network as the I-Tech control, was used to transport digital signals from the FOH mix position.

Challenges onsite included configuring the hanging loudspeaker arrays to cover an audience area that was separated from the shell’s main stage platform by a body of water. Above Productions relied on JBL’s VERTEC   Line Array Calculator software to predict coverage and sound level results for the gently rising large outdoor audience area, and for selecting correct locations for the supplemental, low-profile signal-delayed speaker arrays.

“As this was a family-oriented show, smooth coverage and moderate levels were an event sound system design goal,” explained Stele Martin, Owner of Above Productions. “This system deployment turned out quite well. We had good, smooth high-frequency coverage as predicted and then sound from the delay arrays kicked in. Overall we had a great sound for the event.”

Martin also noted that his new JBL VERTEC VT4887A system was very quick to set up and easy to tune. “With JBL’s new V4 DSP presets, the FOH EQ was pretty much flat,” he observed. “Overall we achieved a great sound for the event.”

“Using a compact line array system for larger outdoor audiences requires careful pre-event planning as regards overall SPL and coverage expectations,” observed David Scheirman, Vice President, Tour Sound for JBL Professional. “Achieving success with sound reinforcement projects like the TSB Bowl outdoor-stage community events, Above Productions has proven that when smaller, regional sound reinforcement firms make use of JBL’s available system support information and technologies, the results will be predictable and satisfactory to the system owner, their client and the audience.”

JBL Professional Website

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Monday, February 23, 2009

Smart AV Tango Controller Now Interfaces With Pro Tools

Tango also incorporates the latest touch screen technology, as well as the unique ARC Technology developed for the Smart Console

Smart AV has announced that the latest version of software for its Tango controller will also now interface with/control Digidesign Pro Tools.

Tango also incorporates the latest touch screen technology, as well as the unique ARC Technology developed for the Smart Console. In the recent addition of Pro Tools control, Tango also can be utilized as a control for Pyramix, Nuendo, Logic, and Cubase.

Further, Tango’s large touch screen interface combined with its user configurable Virtual Editor and its MonARC makes it a very effective third party controller.

Says Joe Narai, Smart AV CTO, “Like all third party developers we have had to battle the limitations of the HUI/Pro Tools interface, but in the circumstances we are very pleased with what we have achieved. Certainly initial customer feedback is very positive.”

Smart AV Website

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Friday, February 20, 2009

Ontario Church Opens New Worship Facility With Electro-Voice XLD Line Arrays

The church required a rider-friendly system capable of accommodating the needs of any visiting touring bands

Metropolitan Bible Church (affectionately called, “the MET”) in Ottawa, Ontario, Canada recently celebrated the opening of a new facility headed by a stadium-style sanctuary that can seat over 1,200, with plans already set to expand this space to accommodate a congregation of 2,200.

The high-end sound reinforcement system serving the room is headed by Electro-Voice very compact XLD line arrays. After confirming the XLD’s performance with EASE data and working with EV’s tech support team to cross-check details, Wall Sound installed 12-box-per-side XLD281 arrays flown at stage left and right, with a center hang of four XLCi215 subs.

Alan Borschewski, Facility Manager and Lead Audio Technician for the Metropolitan Bible Church explains why its EV system is an essential part of this thriving church: “The church required a rider-friendly system capable of accommodating the needs of any visiting touring bands, as well as providing exceptional audio quality for the wide-range of services held in the space, which include contemporary services with a blend of hymns and contemporary songs, and typically have a full choir and a complete band.”

Ten EV TG5 amplifiers power the left and right hangs, and one TG7 amp drives the flown subs. Each amplifier comes equipped with RCM-26 remote control DSP modules.

In addition, four EV ZX1 boxes are used as front-fills.

“We initially flew the subs because we didn’t have room beneath the stage,” says Borschewski. “But now that they’re up, we’re very pleased. The coverage is very even and not at all like ground-stacked subs, where the first two rows might get a rumbling effect. We don’t get that at all. Everyone is talking about how great the sound is, about the wide coverage and intelligibility the XLD281s provide. The sound is very even, both front-to-back and side-to-side.”

EV IRIS-Net supplies system control and monitoring, running via AES-50 audio transfer from front of house to the amps.“What I really needed from IRIS-Net was to be able to turn the amplifiers on and off remotely, instead of having to run back and forth from an amp rack,” Borschewski explains. “With IRIS-Net, I can monitor everything, hit one button, and the whole thing powers off. It’s so easy. With other systems there’s a lot of extra wiring and more gear in the rack, but IRIS-Net helps streamline things, both in terms of hardware and operation.

“I also used the GPIO on the amps to connect to a fire alarm contact closure,” he adds, “so when a fire alarm is triggered, the amps mute. We truly have control over everything. I love IRIS-Net because it takes care of all the details. I get to stop micromanaging and start having fun running the system.”

In addition to the impressive installation in the main sanctuary, Wall Sound also installed EV ZX5 loudspeakers and SbA760 subs in the church’s 200-seat theatre, primarily used for youth services.

The new system will get to stretch its legs later this year, when the Metropolitan Bible Church plans to host a Promise Keepers event, and a Southern Gospel concert. Borschewski reports that the church is very happy with its new sound; when the time comes to upgrade the stage monitors and augment the system for the sanctuary expansion, EV will be at the top of the list.

Electro-Voice Website

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BSS Audio Introduces Cost-Effective Break-Out Box To Soundweb London Family

A solution to increasing the number of outputs in a Harman HiQnet networked system

BSS Audio has added a cost-effective break-out box to its Soundweb London family of digital signal processors - the new BLU-BOB output expander - which compliments the seven other members of the Soundweb London family and represents a solution to increasing the number of outputs in a Harman HiQnet networked system.

The BLU-BOB features eight analog audio outputs on standard terminal block connectors and the 256-channel, low latency, fault tolerant digital audio bus, also found on the BLU-800, BLU-320, BLU-160 and BLU-120 devices.

In addition to providing a backbone for the transportation of multiple channels, this bus also facilitates the creation of large, fault-tolerant, centralized matrices containing multiple devices.

The digital audio bus uses standard, inexpensive Cat 5e or Cat 6 cable, which enables a distance of 100 meters between devices. The BSS Audio MC-1 fiber optic media converter can be used to increase the distance between devices to over 10km (6.2 miles) using single mode fiber.

A series of DIP switches on the rear of the BLU-BOB device allow consecutive channels, in groups of eight, to be selected from the digital audio bus. Multiple BLU-BOB devices can be configured to receive the same or different eight channel ranges.

Signal present and power status are clearly displayed by front panel LED indicators for monitoring and troubleshooting. The BLU-BOB devices are powered by an external 24VDC power supply such as the BSS Audio 999-PSU.

Two chassis styles are available, the first (BLU-BOB1) is a half rack width, desk or wall mounted version and the second (BLU-BOB2) is a 19-inch single rack space version with mounting ears for equipment racks. Front panel indication and rear panel connections are identical on both versions.

Each of the eight different Soundweb London devices offer a different mix of signal processing, CobraNet and digital audio bus functionality, making a Soundweb London system the perfect match for any application.

BSS Audio Website

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Thursday, February 19, 2009

Yamaha Commericial Audio Systems Announces Availability Of IMX644 Rack Mount Digital Mixer

The IMX644 features six Euroblock mono inputs each with individual +48V phantom power, four RCA stereo inputs, as well as an additional optical digital input.

Yamaha Commercial Audio Systems announces the March (2009) availability of the new IMX644 rack mount digital mixer, developed for sound information applications such as conference rooms, banquet halls, lounges and restaurants.

The IMX644 features six Euroblock mono inputs each with individual +48V phantom power, four RCA stereo inputs, as well as an additional optical digital input. Outputs consist of two pair of stereo Euroblock connectors and two channels of mono outputs. RCA and optical digital outputs are also available for recording.

The IMX644 will also compliment the successful Installation Series loudspeakers and have been designed for seamless compatibility with all 26 IS speakers.

“The addition of the IMX644 rack mount mixer to our full line of sound reinforcement products provides contractors and integrators with a Yamaha solution for small to medium sized installs like corporate board rooms and at a very moderate price point,” states Marc Lopez, marketing manager, Yamaha Commercial Audio Systems. “With the current economic climate, our goal is to continue to provide our customers with even better cost-effective solutions.”

The IMX 644 mixer is very intuitive for inexperienced operators to use, and includes many advanced features easily accessed from a computer running IMX644 Manager Software when connected to the mixer via its USB port.

Software features include a feedback suppressor and automatic ducking on all mono inputs, six-band parametric EQ, and digital delay and output balance on all outputs.

Complete configurations can be saved to any one of 16 instantly-recalled scenes. GPI inputs and outputs are provided as well as an RS232-C remote connection which allows remote control via third party systems such as AMX or Crestron.

The IMX644 rack mount mixer has an MSRP of $2,099.

Yamaha Commercial Audio Systems Website

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Thursday, February 12, 2009

Lectrosonics Wireless And Audio Processing Deployed At Young Centre In Toronto

Sound quality and ease of operation provide versatility for performing arts facility

When it came time to upgrade the audio capabilities at Toronto’s Young Centre for the Performing Arts, the desire for a high performance wireless microphone system that could easily move from one presentation space to another was considered essential.

Similarly, a viable solution to the ongoing challenge of mixing a variety of audio signals with minimal supervision was yet another concern.

As the venue is home to professional and student level productions, Young Centre management insisted upon broadcast level audio quality and also required the equipment to provide ease of operation to all who would use it. They found exactly what they were looking for in their new Lectrosonics equipment.

Toronto-based CinequipWhite Inc., an A/V sales, rental, and design/build firm that is firmly entrenched in the ENG (electronic news gathering), TV, video, motion picture, and A/V installation markets, was contracted to design and deploy the equipment for the Young Centre’s audio system upgrade.

CinequipWhite Project Manager Wayne Korhonen, who managed the engineering, design, installation, and customer training for the new system, discussed the challenges the project presented.

“The Young Centre is an RF rich environment,” explained Korhonen. “This facility is just over one mile from the CN Tower (a communications and observation tower in downtown Toronto), which has a lot of TV and other RF transmitters. Having the good, clean front end filtering and strong RF production characteristics that Lectrosonics wireless gear offers is precisely what made it the perfect choice for this project.

“Numerous wireless products from several manufacturers were tested, and the Lectrosonics equipment was, unquestionably, the best performer. We’ve also had very positive experiences with the company’s DM series digital audio processors, so we used a DM84 Digital Matrix Processor on this job as well.”

Ultimately, Korhonen deployed two independent, portable microphone systems with six channels each—housed in portable equipment racks. Each setup consists of two Lectrosonics UT handheld transmitters with VMC capsules and three UM400a beltpack transmitters.

On the receiving end, each system utilizes a Lectrosonics Venue Series VRM chassis that is stocked with four VRS modules coupled with SNA 600 dipole antennas to enhance signal reception.

One portable system is primarily used in the Michael Young Theatre (a multi-configurable theatre that seats up to 207 that is used most often in the standard proscenium configuration) while the other setup resides in the Marilyn and Charles Baillie Theatre—largest of the Young Centre performance spaces, averaging 315 seats.

“We’re actually running all twelve wireless channels within a single frequency block,” notes Korhonen. “As part of this system deployment, the client was thoroughly trained on the equipment. They were taught how to run both the VR panel software as well as how to use the SmartTune feature for identifying available frequencies. This way, if the RF situation changes, they are able to address the issue.”

Permanently installed in the Kevin and Roger Garland Cabaret, a multifunction space accommodating up to 90 people, is a Lectrosonics DM84 Digital Matrix Processor. Being primarily a presentation space that doubles as a dance theater, the set-it-and-forget-it nature of the DM84 is a good fit for this room, since it is frequently rented out for business presentations. The DM84 drives a four-channel amp system and PA.

“The DM84 runs their infrastructure audio systems,” said Korhonen. “This unit enables them to have preset mic levels as well as tie-ins for their audio consoles so they can handle live mixing when required. Since this is where numerous multimedia presentations take place, presenters can patch their laptop computers into the system and project their work onto the screen while audio for the presentation is handled automatically—without the need for an on-site technician.

“Presets are accessed via an Extron control interface, so there’s really no chance of the system being disrupted by an unauthorized person.”

With the new Lectrosonics equipment installed and fully operational, Korhonen commented on the end result. “The sound quality of the wireless microphones is excellent,” says Korhonen. “This equipment has an extremely low noise floor, which is critically important because you certainly don’t want to hear any kind of audio hiss or other noise during a play’s quiet moments. And in the presentation hall, the fact that the DM84 has an RS-232 interface made it the perfect choice for interfacing with the room’s control system.”

Lectrosonics Website

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Yamaha Commercial Expands MY Series With HD Series Digital Interface Card For Broadcast

The Yamaha MY8-SDI-D enables the input of HD-SDI embedded audio signals directly to the host Yamaha digital console or DME (Digital Mix Engine).

Yamaha Commercial Audio Systems announced the addition of a new MY series (mini-YGDAI) card to its extensive line of expansion cards with the debut (at NAB 2009) of the MY8-SDI-D De-multiplexer card specifically designed for broadcast applications.

HD-SDI (Serial Digital Interface) is a format widely used with HDTV, normally transmitting one channel of uncompressed HDTV video and 16 channels of PCM audio signals (four groups of four channels) along with time code and other related data via a router.

The Yamaha MY8-SDI-D enables the input of HD-SDI embedded audio signals directly to the host Yamaha digital console or DME (Digital Mix Engine). It features one HD-SDI input with one HD-SDI-thru output and can replace the need for conventional converters used to directly feed Yamaha digital mixing products.

The unit has eight selectable channels (two groups of four channels) of the 16 channels of audio in HD-SDI.

“Although the new broadcast format carries both audio and video digital stream on a standard BNC75 ohm cable, up until now, audio could not be extracted without a router,” states Marc Lopez, marketing manager, Yamaha Commercial Audio Systems.

“By using the new MY8 SDI card, 8 channels of embedded audio can be easily extracted and passed through without the need for a router.”

The new Yamaha MY card can synchronize to either video or audio signals, and mode selection is enabled by an eight-way DIP switch as well as a pair of LED status indicators.

As with all MY series cards, the new MY8-SDI card is designed for use in the optional I/O slots of Yamaha’s digital mixers and mix engines and comprises a wide range of four, eight and sixteen input/output options enabling direct interface to EtherSound, CobraNet, AES/EBU, MADI, ADAT, mLAN and other formats.

The new MY8-SDI card is available and carries an MSRP of $3,199.

Yamaha Commercial Audio Systems Website

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Wednesday, January 28, 2009

Aviom Increases Flexibility Of A-Net With Introduction Of New Pro64 Output Module

The output levels featured on this new Pro64 Series output module simplify connectivity with other manufacturers’ mixing consoles, amplifiers, powered speaker systems, and recording devices

Aviom, developer of the A-Net audio transport protocol, continues to add to its Pro64 Series with the introduction of the 6416o v.2 Output Module.

The output levels featured on this new Pro64 Series output module simplify connectivity with other manufacturers’ mixing consoles, amplifiers, powered speaker systems, and recording devices, and increase the flexibility of Aviom’s high-fidelity digital audio networking solution.

The 6416o v.2 is compatible with a wide range of signal level requirements, making it ideal for live sound reinforcement, broadcast, and other audio distribution applications.

Each channel on the 2U rack-mount 16-channel digital-to-analog converter has a four-position output level switch with settings for +24, +18, and +4dBu line-level, or mic-level output, as well as three-segment level metering.

With the 6416o v.2, complex installations are easy to configure and manage by specifying the channel/slot range within a Pro64 network.

The new Pro64 output module can be used anywhere that analog outputs are required in a system: on stage or at front of house in a digital snake, in the studio, or even in the most complex audio networks.

If required, a digital split can be easily achieved by adding a second 6416o v.2 module to any system.

In addition, the 6416o v.2, like all of Aviom’s Pro64 Series products, features Virtual Data Cables, offering simultaneous distribution of up to 14 channels of non-audio control data to any device in a Pro64 network.

The 6416o v.2 provides VDC connectors for MIDI In, MIDI Out, RS-232, and GPIO.

Aviom Website

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