Friday, October 16, 2015
St. Andrew’s Cathedral Transitions To Digital With Allen & Heath
Historic church in Singapore replaces analog mixers with Qu-32 compact digital consoles to overcome a variety of challenges.
Singapore’s St. Andrew’s Cathedral recently installed two Allen & Heath Qu-32 compact digital mixers at front of house in its two main worship halls, replacing the existing analog mixers.
Located within the Central Business District, the Cathedral was consecrated in 1862 and declared a national monument in 1973.
St Andrew’s Cathedral faces the challenge of hosting a number of different services, with a variety of musical requirements, and quick changeovers between events.
The installation of 32in/24out Qu-32 digital mixers in the traditional worship hall at the Main Building and the contemporary worship space at the Extension building, has provided a solution.
“The Cathedral has many services running back to back especially on Sundays from as early as 6.30am. With the previous analog mixer, a ‘reset’ was needed during service changeovers. This caused some anxiety amongst our volunteers manning the mixer, as the time between services can be as close as 5 minutes. The numerous controls could be a headache, especially for new volunteers, and there were times when missing that one button caused some embarrassment,” commented Kevin Quek, facilities manager at the Cathedral.
“With the QU-32, we preset the scenes to the service requirements. Now, all that the volunteers need to do is to recall their scenes, and almost instantaneously everything falls into place ready to go. One volunteer commented that now they have “so much time” on their hands whilst waiting for the service to commence!” continued Quek.
Initially it was feared that volunteers would not be able to cope with the digital mixer but following a training session with Simon Wong from E&E, attended by nearly forty volunteers, their confidence grew. They were surprised at how easy the Qu-32 was to use, and how closely it resembled an analog mixer.
“The House of Worship environment is unique in the sense that the people responsible for the mixing of the sound are generally volunteers. A lot of time is saved with a mixer like the Qu-32, which works intuitively and helps make the operations much easier. It is always very satisfying when we see that the solutions provided work to our clients’ benefit,” commented Gary Goh, deputy managing director of Electronics & Engineering Pte.
“The Allen & Heath Qu-32 is designed with a logical layout, so you can get to what you need, fast. Featuring touchscreen control, 32 AnalogiQ preamps, instant recall, 33 motorized faders, high-efficiency ARM core processing, and an integrated multitrack USB recorder, the Qu-32 presents an impressive feature set at a competitive price,” Goh concludes.
Sven Pro Sound Selects K-array For Historic Plaza Hotel In Milwaukee
Architecturally-sensitive historic hotel retrofitted with small KT2 loudspeakers for background and foreground music
Sven Pro Sound recently tapped into the K-array installation loudspeaker line to fit the requirements of The Plaza Hotel, an architecturally-sensitive historic hotel in downtown Milwaukee, WI.
Brady Garrison, chief systems integrator at Sven Pro Sound (based in Milwaukee), was tasked to find a sound system that nearly or fully disappeared in the architecture of the building for not only background but foreground music.
Surface-mount loudspeakers were the only option as the ceiling and walls are both made of solid concrete. Other competitor bids were of more standard rectangle-sized surface-mount loudspeakers that were large, or “planter loudspeakers” to be installed with plants.
These options were unacceptable for the hotel, which was seeking a solution that was elegant and sleek when seen.
“K-array was the only brand that made a product small enough to hide in the hidden crevices of the architecture but also have the ability to output higher sound pressure levels if needed,” Garrison explains. “Wiring and distribution was easier because their products also have an option to use a 32 ohm rating per speaker, which eliminated the need for a 70-volt system.”
Sixteen compact KT2 loudspeakers were chosen in white, hidden in vents and corners throughout all the public spaces of the hotel. A KU36 subwoofer was added for the cafe which was an area with consistently bass-heavy music. The loudspeakers are powered by two KA10-10 four-channel amplifiers, allowing room for the addition of KU36 subwoofers in every zone, not just the cafe.
Additional components of the sound system are four Tannoy DI6DC loudspeakers powered by a Lab.Gruppen IPD2400 amplifier for an outdoor courtyard that hosts live music as well as wedding parties.
The hotel has the ability to broadcast the live music from the courtyard to the entire hotel using an Allen & Heath AB168 digital snake connected via Cat-5e to an Allen & Heath QU-PAC, which provides wireless mixing, zoning and source control for the entire hotel. A Sennheiser XSW35 wireless microphone system is also available for use in the courtyard for announcements.
Meyer Sound For Amsterdam’s STRAF_WERK Electronic Music Festival
Generations Light & Sound provides LYON and MICA rigs for sold-out festival at Sportpark Riekerhaven.
At the sold-out STRAF_WERK Festival, four stages were supported by Meyer Sound loudspeakers, transforming Amsterdam’s Sportpark Riekerhaven into a playground for electronic music fans.
Led by a LYON linear sound reinforcement system, the systems were provided by Generations Light & Sound of Gravenzande, The Netherlands.
“We heard several new systems through the course of last year, and the one that blew us away was LYON,” says Chris van Meer of Amsterdam-based Apenkooi, the music events company that produced STRAF_WERK.
“For a dance music event organizer, sound is a critical element. We need a partner that we can depend on for consistent quality, and for us that partner has been Generations.”
This is the second consecutive year that Generations has provided LYON for STRAF_WERK.
“When we first used the LYONs last year the results were fantastic,” says Thijs van Rossum of Generations. “The boxes are small and light for a main stage system, but they are extremely powerful. And the power of the 1100-LFCs is just amazing.”
Hosting headlining DJs such as Hot Since 82 and Jamie Jones, the main Blanc Stage was powered by dual arrays of eight LYON line array loudspeakers each, supported by 14 1100-LFC low-frequency control elements set in a cardioid configuration. Two-each UPQ-1P and UPA-1P loudspeakers provided fill, and a Galileo Callisto loudspeaker management system with one Galileo Callisto array processor provided system drive and alignment.
The Violet Stage system was built around 12 MICA line array loudspeakers and 12 1100-LFC elements, the Green Stage featured eight MTS-4 self-powered loudspeakers and 10 650-P subwoofers, and the Blue Stage deployed four MSL-3A conventionally powered loudspeakers and six 700-HP subwoofers. Also used on the three stages were UPQ-1P and DS-2P self-powered loudspeakers and Galileo loudspeaker management systems. USM-1P stage monitors and 650-P subwoofers provided onstage foldback for all four stages.
For van Rossum, the success of STRAF_WERK validates the importance of consistent sound quality.
“Since the beginning of Generations 15 years ago, we have used only Meyer Sound systems,” he points out. “If we don’t have enough in our own inventory we will sub-rent from other Meyer Sound houses, as we do not want to compromise.”
German distributor Trius introduce the duo to the SERIES8 headset microphone to capture the natural sound of the violin.
The sibling violin duo of The Twiolins, Marie-Luise and Christoph Dingler have tapped Point Source Audio’s SERIES8 headset microphone to complement their cool avant-garde performances of progressive classical music punctuated with pulsing rhythms.
With their successful recordings, including their first CD, “Virtuoso,” in 2011 followed by “Sunfire” in 2014, The Twiolins were intent on maintaining the natural sound of the violins when amplified.
As such, they wanted the violin microphones to only augment the acoustics of their performances—but never change the natural acoustical features of the violins themselves.
The Twiolins auditioned many microphone options, and Point Source Audio’s CO-8WD headset microphone was clearly the stand out.
“When performing on large stages we always use two CO-8WD headset mics with our wireless systems,” affirmed Christoph Dingler. “The frequency response of the entire spectrum of our violins are completely captured and conveyed, and the high linear resolution from the miniature-sized capsule is excellent. The CO-8WD is extremely close to the original sound even without equalization—it is absolutely at the top of its class.”
Although the CO-8WD was originally designed for vocal performers, Dingler explains his choice for the headset microphone, “Since our shows are constant performances and some songs contain vocals, the pickup patterns are difficult to capture in our performances, so why mount something on our instruments when a headset is the ideal position for capturing the sound?”
He adds, “The headsets are easy to adjust and position, and after a few minutes we forget it’s even there—it is extremely stable and light.”
Point Source Audio’s German distributor Trius, introduced the headset mic to The Twiolins to meet the high bar for acoustic performance and the necessary comfort. Because of the stringent standards in the classical music sector, only the most pristine amplification is acceptable.
Trius product manager Matthias Höbeler shared that “Marie-Luise and Christoph were immediately captivated by the comfort of the CO-8WD and its ability to project the complex overtones of the violins, as well vocals, while not altering their natural acoustic characteristics.”
The Twiolins now rely on Point Source Audio’s CO-8WD in performances and join a growing roster of clients using SERIES8 including the San Francisco Opera, New York Philharmonic Orchestra, Universal Studios, the Kravis Center, the Shiki Theater Company Tokyo, and Chase Oaks Mega-Church.
Point Source Audio’s SERIES8 headset, earworn and lavalier microphones are constructed to suit the most demanding professional applications for live sound and measure just 4mm or less in diameter.
New unit tunes across 220 MHz range, houses up to six receiver modules and employs new IQ dynamic tracking filters
Lectrosonics introduces the Venue 2 Digital Hybrid Wireless modular receiver, a solution designed to address the challenges of increasingly congested RF environments.
Venue 2 tunes across a wide 220 MHz range, houses up to six receiver modules, each covering 75 MHz, and employs new IQ dynamic tracking filters that offer rejection of out-of-band RF energy and enable tight channel spacing.
Up to six VRT2 modules may be installed in the 1RU Venue 2 receiver frame.
Each module supports up to 3072 tunable frequencies across a 75 MHz range (three standard Lectrosonics blocks), matching the tuning ranges of SSM, LT and LMb “large bandwidth” transmitters.
VRT2 modules incorporate Lectrosonics’ new IQ dynamic tracking filters, which accommodate a wide range of transmitter RF power levels while also enabling extremely tight channel spacing—critical features as the available RF spectrum continues to shrink.
The receiver modules can be operated independently, each with switched diversity reception for a total of six audio channels, or operated in pairs for more robust diversity reception with one audio channel per module pair. Combinations can be mixed and matched within one frame. Receiver modules are easy to change, with no tools required, and may be installed in any position, except when paired for ratio diversity reception.
The VRT2 modules are offered in four different frequency ranges for worldwide use: A1, covering blocks 470, 19 and 20 (470.100 - 537.575 MHz), B1, covering blocks 21, 22 and 23, (537.600 - 614.375 MHz), C1, covering blocks 24, 25 and 26 (614.400 - 691.175 MHz) and D1, for export only, covering blocks 27, 28 and 29 (691.200 - 767.975 MHz).
Within the master rack mount and host assembly, the system includes a built-in antenna multicoupler with loop-through output. The multicoupler is a dual 1-in, 7-out splitter with six outputs for the receiver modules and an additional output as a unity gain “loop thru” for another Venue receiver. This allows multiple Venue receivers to operate from a single pair of antennas. Phantom power for remote antenna amplifiers is available from the multicoupler antenna inputs and is selectable in the menu.
A front panel display allows for detailed programming and monitoring. Using Lectrosonics’ included Wireless Designer software, the Venue 2 can also be programmed, coordinated and monitored over Ethernet or USB.
Emulation modes allow the Venue 2 to be used with older analog transmitters from Lectrosonics and several other manufacturers.
“Lectrosonics has long worked to provide our clients with products that help them address the challenges presented in their working environments,” says Karl Winkler, VP sales/service at Lectrosonics.
“As a companion to the recently introduced large bandwith L Series and SSM micro transmitters, we are pleased to offer a powerful and flexible new receiver solution with the introduction of the Venue 2.”
MSRP for the VRM2 Frame is $3,325, MSRP for the VRT2 modules is $950. Expected availability for the Venue 2 is Q4, 2015.
Venue 2 Features and Benefits:
· IQ dynamic tracking filters for superb RF performance in hostile environments
· Six-channel modular configuration
· Ratio or Antenna Phase diversity reception
· Up to 3072 synthesized UHF frequencies per receiver module
· DSP emulation modes for compatibility with analog wireless systems in addition to the compandor-free Digital Hybrid mode
· Setup and control software included
Meyer Sound IntelligentDC Supports Expo Milano’s UK Pavilion (Video)
Nottingham-based artist and sculptor Wolfgang Buttress creates an immersive beehive experience with MM-4XP self-powered loudspeakers.
At Expo Milano 2015 in Italy, the UK Pavilion uses a concealed, multi-zone Meyer Sound system with IntelligentDC technology to deliver an immersive experience for visitors.
Aligning with the Expo’s “Feeding the Planet, Energy for Life” theme, the Pavilion emphasizes the role of pollination in our food supply with a meadow and 14-meter high, aluminum beehive delivering a three-dimensional surround mix of music, nature, and bee sounds.
“The quality of Meyer Sound products assures that I can place my full confidence in their performance,” says Mike Bedford, audio system designer for the Pavilion and principal at Hoare Lea Acoustics of London.
“Certainly the unobtrusive MM-4XP loudspeaker is a good architectural fit for the hive and the meadow, but even more important is the quality of the sound and the dynamics it can produce. It excels at quiet, intricate sounds, yet it can also handle loud, high impact sounds.”
Conceived and designed by Nottingham-based artist and sculptor Wolfgang Buttress, the hive features audio effects delivered by 18 MM-4XP self-powered loudspeakers and six MM-10XP subwoofers. Two UP-4XP and 12 MM-4XP loudspeakers and two MM-10XP subwoofers create audio zones at the front entrance and throughout the meadow, delivering a constantly shifting palette of musically enhanced, natural meadow and bee sounds that lead visitors to the culminating experience of the hive. A small conference centre apart from the hive houses two UP-4XP loudspeakers and one MM-10XP subwoofer.
“The MM-10XPs provide a low-frequency sound bed which emanates from the Hive, a hum that is produced from recorded cello, tuned for physical impact,” explains Bedford.
“The vertically spaced rings of MM-4XPs reproduce a dynamic mix of bee sounds, all interwoven with original music components that together move around the space, immersing the listener.”
All loudspeakers employ IntelligentDC technology, which combines the performance advantages of self-powered loudspeakers with the installation efficiency of Class 2 wiring. A single, five-conductor cable carries remote power and balanced audio signal to the loudspeakers from a rack-mount power supply and signal distribution unit. In many countries, electrical conduit is not required.
The UK Pavilion has proven one of the most popular of Expo Milano. Buttress singles out the soundscape as a major contributing factor in realizing the full potential of his concept. “Sound is one of the main tools of the Pavilion’s storytelling, and I was gratified by the results,” he reports. “The Meyer Sound system specified by Hoare Lea certainly exceeded my expectations of what was possible.”
Also working on the soundscape under Buttress’s guidance were audio programmer Robin Whittaker and composers Tony Foster and Kevin Bates.
For the structure of the Pavilion, Buttress collaborated with Simmonds Studio engineering and the architectural firm BDP. Manufacture and production was by Stage One, with graphic design and animation concepts by Squint/Opera. Dr. Martin Bencsik, a leading authority on bee behavior, served as scientific and creative consultant.
ZAJ Show Lighting deploys Butterfly and Mantas arrays at a quarry turned 2,500 capacity theatre
Although the northern Hungarian town of Tokaj and the surrounding district are internationally famous for their wine production, the area has recently hit the headlines with a truly spectacular open-air performance venue using Outline loudspeakers.
The dramatically beautiful setting of a stone quarry which has as its backdrop a 1,300-foot high mountain was recently transformed into a hosting a wide variety of events by Istvàn Dévald, director of the Tokaj Amphitheatre.
To equip the venue, Dévald called in Budapest-based ZAJ Show Lighting, whose CEO and founder Tamas Fazekas designed audio and lighting set-ups worthy of the unique location.
Fazekas’s brief for the audio system was to ensure it reached the 2,500 capacity audience comfortably, designing an audio system able to ensure optimum sound reinforcement, covering the entire audience area for a wide variety of events: prose, music and concerts.
Apart from the sonic challenge, the rig had to be easily moved for use at events staged in the nearby town and withstand local weather conditions, particularly the frequent strong winds.
To ensure even coverage across the whole auditorium, the main PA comprises sixteen Outline Butterfly C.D.H. 483 high-pack line arrays, which can be used along with four Outline Mantas line arrays, which can either be flown from the stage roof or on separate towers.
The front fills can be placed under the arrays or along the stagefront. Bottom-end power is ensured thanks to twelve Outline DBS 18-2 subwoofers, which can be installed on either side of the stage, under the arrays (in cardioid configuration if necessary), or along the front of the stage.
The main system’s all-Outline powerhouse comprises eight T7, six T11 and two T5 DSP amplifiers. These can be fed with AES signals, but Fazekas also configured the analogue inputs for backup purposes and to enable them to be used with smaller mixing consoles.
The sidefill setup, which features eight more Outline Mantas line arrays plus four Outline DBS 18-2s and is powered by four T5 DPS and two T11 amplifiers, can be used with the main PA for even more precise coverage or, alternatively, as a separate system.
Explaining that he chose Outline products for their sound quality and flexibility, Fazekas enthused regarding the results obtained, “We achieved our goal - spectators in the front rows share the same sound experience those furthest from the stage, whether they’re listening to opera, a philharmonic orchestra, a rock band or even techno sounds.”
Mackie Extends CR Series Monitor Line With New Bluetooth Streaming Models
All-new CR4BT and CR5BT feature Bluetooth music streaming and ship with all the connecting cables as well as acoustic isolation pads.
Mackie introduces two new models to its CR Series Multimedia Monitor line- the CR4BT and CR5BT.
Both new models feature Bluetooth music streaming from any capable device, adding source flexibility for auditioning comparison tracks or simply enjoying multimedia.
“A common expectation of technology products these days is fewer wires, whether in a studio, entertainment system or other multimedia environment,” commented Mackie channel marketing director, Matt Redmon.
“In consideration of that evolving customer demand, the new CRBT models provide the same studio-quality design and acoustic performance as the other Creative Reference models, only now with the flexibility of streaming audio wirelessly in environments where high-quality sound is required.”
The new CR4BT and CR5BT join the CR3 and CR4, all designed to bridge the gap between professional and personal appications.
The new CR5BT features a high-output 5-inch woofer, delivering added low-frequency response, perfect for extended-range music and A/V post-production. All CR monitors ultilize 3/4-inch silk-dome tweeters.
Unique to the line, a left/right speaker placement switch allows users to locate the volume control on the left or right of their workstation. The front panel includes a on/off/volume knob with a lit power indication ring that will also control the volume of headphones, which can be plugged directly into the front of the monitors.
Both new models feature a front panel Bluetooth button for easy pairing and connection indication. Bluetooth streaming is great for comparing mixes, auditioning files or just enjoying a bit of music or video. There is an additional front panel aux input for connecting alternate audio sources.
“With smartphones always at your side, you can easily find yourself creating professional multimedia one minute and streaming a video the next,” commented Redmon.
“With our new Bluetooth-capable CR monitors, you get the best of both worlds…studio-quality performance and effortless connection to the music you love.”
All Mackie CR Series monitors come with all the connecting cables needed to get started immediately. As a bonus, there’s even a pair of acoustic isolation pads included. Used in professional applications, acoustic isolation pads minimize unwanted bass buildup that can muddy a mix. Plus, the pads’ angled design allow the user to tilt the monitors slightly up or down for more focused listening depending on their setup.
“So whether you’re a seasoned pro looking for a compact pair of accurate, articulate monitors for work or just looking for a pair of amazing-sounding speakers for entertainment, Mackie CR Series monitors are an affordable solution that deliver professional results in our most compact form factor to date,” concluded Redmon.
The new Mackie CR4BT and CR5BT are now shipping worldwide. Sold in pairs, CR4BT monitors will have a U.S. MSRP of $259.99 and CR5BT monitors will have a U.S. MSRP of $329.99.
Riedel Communications Expands Asia Pacific Sales And Support Team
Tokyo-based team appoints Toshiki Kawakita as sales representative and Takako Konishi as office manager.
Responding to growing demand for its solutions in Japan, Riedel Communications has augmented its Tokyo-based sales and support team with the appointment of Toshiki Kawakita as sales representative and Takako Konishi as office manager.
In his new role with Riedel, Kawakita will be responsible for supporting existing customers, building new client and partner relationships, contributing to the company’s regional sales strategy, and representing Riedel at key trade events.
“Toshiki and Takako join the company with valuable skills and experiences that enhance our ability to provide responsive service to a rapidly increasing customer base in Japan,” said Cameron O’Neill, sales and operations director for Riedel Communications, Asia Pacific.
“We are confident that, with useful technical backgrounds and strong communications skills, both of these new additions to the Riedel team will play an important role in our continued growth.”
Kawakita has 12 years of international business experience, most recently in the OEM sales department at Audio-Technica, a manufacturer of high-performance audio equipment including microphones, headphones, and conference systems. While with the company, he helped to drive significant sales gains and was instrumental in securing high-profile customers ranging from tech powerhouses to leading automotive companies.
He earlier held sales and support roles at Komatsu, where he maintained distributor relationships across Europe, the Middle East, and Asia, and international sales roles at Nissin Shoji. Kawakita is fluent in Japanese, English, and Spanish. He will report directly to O’Neill.
Konishi joins Riedel with experience working in the financial and efficient/renewable energy fields. Having pursued environmental studies in both Japan and Germany, she is fluent in Japanese and German, with intermediate English-language skills. She joins the company to manage the finance and administration of the Japanese office and to assist in providing timely service to Riedel’s expanding customer base.
PreSonus Ships Studio 192 Audio Interface And Studio Command Center
New 26 x 32 interface records at up to 192 kHz using 8 XMAX mic preamps and Burr-Brown converters with 118 dB of dynamic range.
The PreSonus Studio 192 USB 3.0 Audio Interface and Studio Command Center is now available.
The new 26 x 32 interface records at up to 192 kHz and combines 8 digitally controlled XMAX Class A, solid-state mic preamps and Burr-Brown converters with 118 dB of dynamic range.
Easily expanded with PreSonus’ new DigiMax DP88 professional 8-channel A/D/A converter with remote-controllable preamps, the Studio 192 provides a completely integrated hardware and software solution for personal and professional studios.
More than an audio interface, the Studio 192 acts as your studio’s command center, managing speaker switching and talkback (with onboard condenser microphone) and featuring main mix Mute, Mono, and Dim.
In addition to advanced monitor mixing, you get StudioLive Fat Channel signal processing on every analog input and the first eight ADAT channels. The result is a comprehensive solution for advanced studio recording and monitoring.
PreSonus’ UC Surface touch-ready control software for Mac, Windows, and iPad is included for management of all Studio 192 functions.
Users of PreSonus Studio One DAW will find full preamp control and zero-latency monitor-mix functions integrated into their recording environment. PreSonus’ exclusive hybrid Fat Channel plug-in runs on the Studio 192’s DSP and in Studio One on your computer, so you can record and monitor with zero-latency using Studio 192-based Fat Channel EQ and dynamics processing and seamlessly switch to Studio One’s Fat Channel for playback with no audible change.
Introduced in StudioLive RM-series rack-mount digital mixers, PreSonus’ remote-controllable XMAX solid-state preamps can be controlled from the Studio 192 front panel, UC Surface, Studio One®. MIDI control is also available for third-party DAWs.
The Studio 192 offers ample I/O, with 2 front-panel mic/instrument inputs and 6 rear-panel mic/line inputs; 16-channel ADAT Optical In and Out (8 channels at 88.1 or 96 kHz); coaxial, stereo S/PDIF I/O; and BNC word-clock I/O. You get eight balanced TRS outputs, balanced stereo Main outputs, and two headphone amplifiers with independent outputs and level controls. All A/D/A conversion is at 192 kHz.
Studio One version 3.1 is being released concurrently with the Studio 192 and is now available. The new version adds preamp and Fat Channel control for the Studio 192 and other new integration features, enhancements, and fixes. As with past PreSonus incremental updates, version 3.1 is free to registered Studio One 3 users.
App gives recommendations for acoustical treatment solutions using Absorption, Bass Trapping, Diffusion and ISO-Series products
Auralex Acoustics announces the new free RLX Room Layout eXpress online app, designed to give instantaneous recommendations for acoustical treatment solutions for many different room types.
To begin, simply select your “Room Type” [Audiophile, Broadcast, Control Room, Home Theater, Live Room, Mastering Room, Project Studio, Rehearsal Space, Video Editing Suite, Vocal Booth, Conference Room or Other].
If your room fits more than one “type,” select the one that best fits your situation.
You can also use the “Edit Room” function to view multiple results for the same dimensions previously entered.
The kit recommendations are based on both the type of room selected and the suggested amount of necessary acoustical treatment required based on your specific square footage.
Recommendations are made from our line of Absorption, Bass Trapping and Diffusion products. Once the user supplies the necessary information, the app will return up to three different suggestions from our Studiofoam, SonoLite, and ProPanel designs.
You are also able to input information on various types of equipment and gear used in your room.
The app will use this information to provide suggestions on applicable Auralex ISO-Series products that help to isolate your instruments and gear from the surfaces upon which they rest. Decoupling your instruments and gear can reduce sound transmission and resonance that occurs when resting on a hard surface, which in turn decreases unwanted coloration and increases clarity.
Once the recommendations are identified, you are able to purchase the specified Auralex solutions from an Authorized Online Dealer listing, or you may enter your zip code to receive the contact information of the nearest Authorized Auralex Dealers. You can also receive a permanent copy of your room results along with more detailed information, by simply using the form at the bottom of the app to have them emailed to you.
The new RLX app is designed to provide customers immediate suggestions for effective sound control solutions for many room types. Auralex will continue to offer its Free Personalized Room Analysis service. Customers simply fill out a form (online or downloadable) with details about their project and provide diagrams with room dimensions. This information is then used to render an acoustical model of the space and to determine the most effective acoustical treatment plan for the specific room and application.
The new facility comprises corporate offices and a manufacturing lab, and is headed by managing director Ryota Tanaka.
Operating under the brand philosophy of “Softer & Safer,” Sensaphonics AU is an independent organization, operating as a fully accredited affiliate of Sensaphonics.
“The music industry is growing very fast in Oceania and Asia right now,” says Tanaka.
“We know from experience that hearing loss will also be a growing problem in this part of the world. We opened this new office and lab to help meet the needs of musicians and music fans, representing the Sensaphonics approach – as the experts in safe sound.”
Originally an employee of Sensaphonics Japan, Tanaka studied acoustics and sound engineering at Columbia College, Chicago. He then gained further knowledge in audiology principles and learned silicone manufacturing techniques by training directly at Sensaphonics headquarters in Chicago.
“We are very pleased to have Ryota Tanaka representing the Sensaphonics brand in Australia,” says Dr. Michael Santucci, president of Sensaphonics.
“He is a very intelligent, passionate student of audio, a music lover, and has direct experience in working with musicians and sound engineers. He fully understands the importance of custom-fit silicone in creating products for musicians, and has learned our manufacturing techniques directly in our lab. Ryota is dedicated to providing both the sound and the safety that musicians need.”
When asked why he decided to start Sensaphonics in Australia, Tanaka said, “I’ve worked with many talented musicians and heard many stories of hearing loss. But with the isolation and comfort of soft silicone, I now that musicians can hear clearly on stage without dangerous volume levels. My primary aim here is to prepare a safe environment for monitoring, and in this way, to protect the future of Australian music.”
Sensaphonics AU offers both in-ear monitors and Musicians Earplugs, all custom-fit in medical-grade soft silicone. They are located at 365 Little Collins Street in Melbourne, Victoria, just minutes away from Flinders Street Station. Office hours are 10am-5pm, Monday through Friday.
John Meyer’s White Paper: The Science Behind LEOPARD
Meyer Sound releases an in-depth look at the development of the new LEOPARD line arrays.
Meyer Sound president and CEO John Meyer offers an in-depth view into technological ideas behind the development of LEOPARD.
In “The LEOPARD Project,” Meyer details his lifelong quest for the perfect loudspeaker—addressing the science of sound measurement and the history of loudspeaker development.
Recognized in the audio world for his thought leadership and future thinking, Meyer offers an insightful glimpse at the scientific research and thinking behind the development of what is already one of Meyer Sound’s most successful products.
The Headload Prodigy is a combination load box and DI that enables one to drive a guitar amp at a higher output in order to maximize the tone, yet produce a lower stage volume when needed.
Like the original Headload, the Prodigy employs custom made cement-encrusted resister coils to convert the excessive power from the amplifier to heat and is able to withstand up to 100 watts RMS.
The Prodigy may be used in three different ways, depending on the need. First, it may be used as a simple direct box connection via a built-in Radial JDX Reactor.
This combines a reactive load with a proprietary filter bank to emulate the tone of a 4 x 12 half stack using a Shure SM57.
The second is as a load box where you can attenuate 50% of the output power for use on quiet stages.
Third, the Prodigy can be used without a cabinet for completely silent recording.
In all cases, the balanced JDX output is available. This is transformer isolated to eliminate hum and buzz caused by ground loops and is equipped with a pin-1 ground lift and polarity reverse. One simply connects the head to the Headload Prodigy and the desired speaker output to suit.
In order to optimize the playing experience for in-ear monitors, a dual band EQ on the front panel is included. To add greater connectivity options, two additional ¼” outputs are included with one that is post EQ, post JDX, the other pre EQ, pre JDX. These can be used to feed additional amplifiers, effects racks or recording systems and adjusted using the front panel level control. Headphones have their own control for volume.
Housed in 14-gauge steel, the Headload Prodigy features Radial’s unique book-end design that creates protective zones around the switches and controls. An internal I-beam construction adds tremendous rigidity, protecting the internal PC board from torque which could lead to solder joints going cold prematurely. One or two Prodigys may be rack-mounted into a single 19-inch rack space using an optional rack kit. Power is supplied by an external 15VDC supply.
Autograph Sales outfits venue in Kingston with HALO-C compact line array in preparation for City of Culture 2017 celebration.
Autograph Sales has recently supplied the Hull Truck theatre in Kingston upon Hull with a brand new sound system from EM Acoustics based around the HALO-C compact line array to replace an older EM Acoustics system that dated from the theatre’s previous venue.
“Since our new venue was completed in 2009 we knew that our old sound system was no longer appropriate for the space,” explained Hull Truck’s technical manager, Amy Clarey.
“Our theatre boasts quite a long thrust stage for its size [a three-sided stage that extends into the audience] which, whilst great for the audience, is a challenge for all aspects of theatre-making, especially sound. We therefore needed a system that would be able to handle this configuration and at the same time offer us as much flexibility as possible as our program is extremely varied. Our aim was to invest in a new system that lives up to and indeed enhances the rest of the production.”
Another driving factor in the decision to renew the sound system was the fact that Hull has been designated the City of Culture 2017.
Hull Truck theatre played a key part in winning the bid and will take a lead role in the planning and delivery of 2017. The theatre will lead the city’s drama program, opening up a number of new partnerships and opportunities.
“With the eyes of the world on us in 2017, we wanted a sound system that could immerse the audience and truly make them feel part of the show – and that meant it was time for a change,” said Clarey.
“Our previous system was EM Acoustics, and although we were really happy with the sound quality, due to the nature and size of the space in the new venue, it just wasn’t packing the punch that we needed. We spoke to Autograph who arranged a demo with EM Acoustics. Mike Wheeler and Dave Kelland from EM came up and we spent a day in the space looking at our options. We spoke at length with them which was really helpful as they completely understood what we were trying to achieve.”
The final specification comprised a centre hang of five HALO-C elements supplemented L/R by an MSE-159 with an EMS81X outfill underneath, four EMS-61 delays and two EMS118 subs. Power and system control comes courtesy of existing QSC amps and processing.
“We are really happy with our new system,” concluded Clarey.
“The EM team were brilliant and have got it perfectly right for our unusual venue – we have precise, even coverage across all seats in the theatre. On the first day it went live we had overwhelmingly positive feedback from the audience and performers alike. We are very proud of the audio experience we can now offer our patrons and look forward to the many ways in which we can use it.”
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