Tuesday, November 17, 2015
The Industry Collaborates With Sennheiser To Produce Hopscotch
Experimental opera company selects MOMENTUM headphones and AVX digital wireless microphone systems.
October 31st saw the world premiere of Hopscotch, the world’s first opera for cars and the latest project of experimental opera company The Industry.
Using the city of Los Angeles as its backdrop, Hopscotch allows for the audience to experience the opera inside and outside 24 limousines and along three separate routes. Running until November 22, the project uses audio technology from Sennheiser to vividly convey the storyline.
Hopscotch doesn’t mark the first time The Industry has collaborated with Sennheiser to realize its artistic vision. Two years ago, the LA-based opera company made international news with Invisible Cities — the first large-scale opera for wireless headphones, a finalist for the 2014 Pulitzer Prize in Music and the subject of an Emmy-winning documentary.
The Industry’s artistic director Yuval Sharon is featured in Sennheiser’s MOMENTUM project which introduces exceptional and talented artists from all over the world who push the boundaries of sound.
With his new project Hopscotch, Sharon reaches for a daunting scale. The opera, which consists of 36 chapters or ‘scenes’, sees performances of over 100 singers, actors and dancers both inside outside the vehicles, all spread across the city of Los Angeles and connected to each other and audience members using Sennheiser audio technology.
Four core audio technology elements from Sennheiser have made Hopscotch possible: these include its MOMENTUM headphones and its guidePORT wireless audio guide system; Sennheiser’s AVX digital wireless microphone systems and its 2000 series wireless microphones and wireless monitoring systems, in addition to dozens of headset and lavalier microphones. All of the wireless audio for the production is being transmitted to and from any of the 24 limousines, which are each provisioned with either camera microphone systems in the interior and/or professional rackmount wireless systems hidden in the trunk. Additionally, in one scene, there are three rooftops, which transmit and receive audio up to a quarter mile away from one another.
While audience members can purchase tickets to experience Hopscotch inside and outside the limousines along one of the routes, a larger audience gets to follow the performances at the Central Hub — an interactive pop-up technology sculpture located in the parking lot of Southern California Institute of Architecture in downtown Los Angeles (SCI-Arc).
At the Central Hub, audience members are able to ‘dial in’ via Sennheiser’s guidePORT system and MOMENTUM 2 headphones and listen to any of 24 giant monitors for the duration of the opera, each transmitting audio and video from a different limousine scene in real-time.
The live-stream of the performances creates a dizzying panorama of life in Los Angeles, allowing each audience member in the Hub to experience the work their own way, sharing a personal slice of the huge shared journey. The ultimate terminus of the 24 journeys, all limousines drive towards the Central Hub and one by one, each enter the Hub as artists and audiences emerge from the car.
The A/V ‘star’ of Hopscotch is Sennheiser’s new AVX digital wireless microphone system, which discreetly captures ambient audio in ten different limousines and sends this back to the Central Hub. Typically, lavalier microphones are ‘planted’ in the limousine’s ceiling, under a table, or beside a seat and plugged into an AVX wireless belt pack transmitter. This transmitter then sends the signal to a nearby receiver, which is plugged into a smartphone/camera. The smartphone then sends the A/V signal, including the Sennheiser digital wireless audio, to the Central Hub via carrier signal using the Livestream broadcast application.
“Hopscotch challenges our traditional notion of the operatic art form, enabling audience members to become active participants,” commented Achim Gleissner, head of Commercial Management, Broadcast & Media at Sennheiser.
“The Sennheiser AVX system — which is extremely easy to operate — is a key enabling technology, heightening the artistic experience for audience members and delivering pristine wireless audio to the Central Hub.”
Three of the limousines – one for each route – feature Sennheiser 2000 series multi-channel rack units, consisting of six channels of EM 2050 receivers and four channels of SR 2050 IEM wireless transmitters for wireless monitoring. On the three limos with the 2000 Series wireless system in the trunks, Sennheiser A 1031 U passive, omni-directional antennas are mounted to the roof of the limos to facilitate transmitting audio to and from the vehicle to performers and production staff. In Chapter 33 of the ‘Red’ route, Sennheiser 2000 series and G3 Series wireless equipment transmits and receives audio across three different rooftops in downtown LA, as performers interact with each other at a range of up to a quarter of a mile away.
“Los Angeles is a very challenging RF environment with a lot of DTV broadcasting and interference throughout the city,” said Dave Missall, manager Customer Development & Application Engineering at Sennheiser.
“The Industry’s artistic director, Yuval Sharon, wanted to be able to have performers interacting with audience members inside and outside each car across various parts of the city. We opted to go with the Sennheiser 2000 wireless series because the transmitter has 100 mW of output, giving us the ability to boost output power to get the coverage we needed.”
“It really came down to identifying who needed to be mic’ed, and who needed to hear what, when and where,” Missall continued. “We worked with The Industry’s Audio Advisor Brett Jarvis, sketched out all the requirements on paper and made a detailed plan.”
Once the AVX audio is received at the Central Hub, it is fed into an HDMI matrix, which routes each of the 24 A/V signals to the appropriate large screen television monitor. The audio output of each monitor is fed into the Sennheiser guidePORT system, which then broadcasts each respective audio signal to one of 24 channels. Audience members at the Central Hub are supplied with a guidePORT receiver with a keypad, on which they are able to enter the corresponding number of the monitor they would like to watch and listen to.
“Because of the circular nature of the Central Hub installation, we decided to provide audience members with the ability to key in the screen number of their choice,” said Robert Genereux, business director System Design at Sennheiser. “The Sennheiser guidePORT system is the perfect technology for this application given its reliability and ability to handle so many simultaneous audio streams.”
Finally, each audience member at the Central Hub is outfitted with a pair of Sennheiser MOMENTUM headphones, which plugs directly into the guidePORT receiver and ensures a comfortable listening experience for the entire duration of the performance. The MOMENTUM headphones provide crisp, detailed sound for audience members, offering a fully immersive Hopscotch experience — no matter what channel they are tuned in to or what perspective of the production they are following.
“Both art and technology can imbue everyday life with a sense of undiscovered potential,” said Sharon.
“When the two work hand in hand, the awe and wonder it can inspire asks us to consider reality in a new way. It has been a tremendous adventure to work with Sennheiser to erase the boundary of inside and outside a car, and to make the whole city feel more connected than ever.”
Sennheiser’s MOMENTUM project
Posted by House Editor on 11/17 at 10:09 AM
d&b audiotechnik ArrayProcessing For Sydney Opera House
SOH implements new control software to improve system performance.
Since its inception seven years ago, Vivid LIVE at Sydney Opera House (SOH) has always pushed the boundaries, whether in performance style, musical content, or the support structures that underpin it.
So when Jeremy Christian, head of sound and AV at the SOH suggested to the festival curator Ben Marshall that he wanted to implement a new piece of control software from d&b audiotechnik, Marshall said, “I’m all for it.”
“It was good timing for us,” said Christian.
“Pushing the boundaries is about trying something new, and Vivid LIVE offers a really broad spectrum of contemporary musical content against which to make a judgement on effectiveness and utility. It’s easy to assess something as great, but how easy and useful it is to apply is what really matters.”
“When we came to implement d&b’s ArrayProcessing we already knew of its potential from our experience at a d&b event in Germany at the start of the year. Downstream of the festival we have realized there are capabilities within ArrayProcessing way outside our original expectations, and that could have significant benefits for SOH and for our audiences in the future.”
Ralf Zuleeg who heads up d&b’s Sales Services and Application Engineering department, went out to Sydney just prior to the festival.
“I have a long association with SOH; they have been d&b users for many years now, so it was natural I should be there. But of course Jeremy’s team is more than proficient technically, as you would expect in such a prestigious venue. In fact when it came to it, as we started work in the Concert Hall, it was almost a competition between them and me to see what results we could achieve.”
In a nutshell ArrayProcessing enables the unification of frequency response in the vertical plane across the whole defined listening area for d&b line arrays.
“ArrayProcessing does not eliminate the need for a system to be correctly rigged in the first place,” said Zuleeg. “This is not beam steering – so you map your room in the ArrayCalc simulation software as normal; and of course as we all know, you cannot correct for the horizontal coverage of any line array beyond the physical aim of the loudspeaker system as rigged; that would defy physics. ArrayProcessing also allows for the reallocation of energy from any part of the listening area, to any other part, within the confines of mechanical pre-given vertical coverage.”
What does that mean in real terms? The Concert Hall is quite a lively room, though with the drapes canopy added this dampens the natural acoustic. That said, the consensus opinion of the Concert Hall audio team was that following the implementation of ArrayProcessing the improvements in the direct to diffuse ratio were so good, and the reallocation of sound energy to the more distant listening positions so effective, that delay loudspeakers became completely redundant.
That has several implications for Christian, as he explained.
“We were originally just going to apply ArrayProcessing in the Concert Hall,” he began, “but we were so impressed with the improvements we decided to do the same in the Joan Sutherland Theatre (JST) as well for the duration of the festival. The JST is home to our opera productions and doesn’t have a permanent large scale sound reinforcement system like the Concert Hall, so we installed a temporary system of d&b V-Series, the smaller cousin to J-Series, which we rented in from Eighth Day Sound Australia. They’re a new player in the Australian market; we don’t favour any specific audio production company – as long as we find d&b equipment to be well maintained and consistent our decision is based simply on price and availability.”
“That said, implementing ArrayProcessing means using d&b’s new D80 amplifier to drive everything, and that’s predicated on one amplifier channel per cabinet, so although many d&b products are passively crossed and only require one channel per box, the gains with which we are familiar in linking two V-TOPs together on one channel are lost. The fact that ArrayProcessing means we no longer need to deploy delays in either of our main performance venues is highly significant, and the truth is we can easily see places where we can usefully redeploy our delay loudspeakers elsewhere in the building.”
“We have had the J-Series system in the Concert Hall for a few years now and are really happy with it, but this is rather like Formula One racing, once you get to that level of technical expertise the differences are measured in thousands of a second. So ArrayProcessing has added one of those incremental gains that make the system even more amazing. Although Vivid LIVE was a temporary installation we already see some great opportunities ahead; in the JST we have experimented for several years now with 3D sound. Based on what we know already it’s easy to see how the addition of ArrayProcessing could impact the listening experience.
“In the Concert Hall we are thinking about something equally radical. It’s important to cater to the varying needs of our patrons; for example some choose seating positions based on sightlines, others on proximity to stage. The point is listeners by nature have differing sensitivity to sound levels; don’t forget it’s not just rock concerts where we use sound reinforcement, a jazz recital averaging 94dBA slow could still be too loud for some. But with ArrayProcessing we have a very realistic prospect of sculpting out a quieter zone within the audience listening area. Patrons could preselect seats in that area; now that really is listening à la carte.”
Sound Image Expands Adamson Inventory
The recent acquisition includes additional E15 and E12 enclosures as well as the new S10 line array and E219 subwoofers.
Sound Image, headquartered in Escondido, California, with offices in Nashville, Tennessee and Tempe, Arizona, recently added 90 more Adamson loudspeakers to their inventory.
Sound Image already carries a significant inventory of E15, E12, SpekTrix and E218.
The recent acquisition includes additional E15 and E12 enclosures as well as the new S10 line array and E219 subwoofers.
“Our first experience with Adamson was with the purchase of the Yaxis series from Jesse Adamson, who is now our director of business development,” explains Dave Shadoan, president and CEO of Sound Image.
“At the time we invested in Y18, Y10, SpekTrix and T21’s for our rental inventory. Years later Jesse and I worked together to make Sound Image one of the first beta partners in the USA with the E15 line array. Now that he is on our team, it has made it that much easier for us to deploy the system. Sound Image now has a knowledge and history with the product that is unsurpassed.”
Adamson adds, “With the continued growth of the Adamson fan base, it only made sense to add to our existing systems. The addition of the S10 cabinet makes the Adamson option even more flexible than it was in the past.”
Sound Image has provided Adamson PAs for a number of national tours including Imagine Dragons and Five Finger Death Punch (FFDP).
“I am a big fan of the Adamson rig,” adds Bruce Reiter, front of house engineer for FFDP. “We have had it out on tour twice now and each time it just gets better. The sound is amazing and the headroom is incredible. Even going full tilt there is plenty of room to spare.”
“Sound Image is a leader in the industry,” adds James Oliver, Adamson’s director of marketing and sales.
“Dave is always interested in new technology – anything that can help them take sound to another level. Their continued support is an honor and I’m hoping we will continue to work together for a very long time.”
Yamaha Presents Rivage PM10 At AES And Demos On The Road
The new console is making its way around North America for one-on-one and group demonstrations
The new flagship RIVAGE PM10 Digital Audio Console was shown at the Yamaha Professional Audio booth and demonstrated throughout the AES Show in New York.
The new console is also making an impact as it makes its way around North America for one-on-one and group demonstrations held by invitation recently at Clair Global in Lititz, PA; and in early October at Eighth Day Sound in Cleveland; various October dates at SIR in Nashville by Clair Systems and Touring, Spectrum Sound, Morris Light and Sound, CTS Audio, and Memphis Audio; Masque Sound, Sound Associates, PRG, and Firehouse Productions in the NYC area in late October; followed by Solotech and Omnison in early November; the Parsons Expo in Boston on November 11; December 8 at Moody Church in Chicago hosted by TC Furlong; 3G Productions at the Westin in Las Vegas on December 16 and open to all. More PM10 demo locations will be added soon.
The PM10 increases the quality and versatility necessary in a live sound environment, and inherits features from the PM Series Consoles.
The unique Hybrid Mic Pre consisting of a newly developed Yamaha HA along with Rupert Neve Designs Silk and Transformer emulation, provides control of pure nature sound blended with harmonic content typically only found in classic analog consoles.
Evolved features and performance define yet another milestone for Yamaha sound reinforcement consoles. The PM10 system is comprised of the CS-R10 control surface, DSP-R10 DSP engine, RPio622 I/O rack, three types of RY cards, and two types of HY cards provide the flexibility to configure and ideally match the scale and functional requirements of any application.
A total of 45 plug-ins are available for creative processing, with substantially increased processing power. New and noteworthy are plug-ins created in collaboration with Rupert Neve Designs, TC Electronic, and Eventide.
Collaboration with Rupert Neve Designs has resulted in the “Rupert EQ 773,” “Rupert Comp 754,” “Rupert EQ 810,” and “Rupert Comp 830,” all VCM models of Rupert Neve designed outboard devices from the 70s and 80s.
Connection to a computer for easy multi-track recording to Nuendo Live, connectivity to the NUAGE Advanced Production System, Yamaha CL and QL Series Consoles, as well as other external equipment is possible via a Dante network. Dante, designed for simple setup with a wide range of professional audio devices, works ideally with TWINLANe to create a flexible, reliable system overall.
Yamaha Professional Audio
Posted by House Editor on 11/17 at 09:03 AM
Community R SERIES Chosen For Balkans New Velodrome
ProAudio Ltd. designs a distributed system utilizing over 100 R Series loudspeakers and subs.
The designer of the new Kolodruma Velodrome and multifunctional indoor arena is the Dutch architect, Sander Douma, creator of some of the largest velodromes in Europe, the most notable in Athens, Monte Carlo, Palma de Majorca, and Manchester.
In addition to cycling, the arena can host 22 other sports and operates as a concert venue which is supported with loudspeakers from Community Professional.
It has a seating capacity of 4,800 to 7,500 spectators, depending on its use and configuration.
The complex also has large underground car parking, a modern press center, dressing rooms, coaching facilities, a sports and recreational center, restaurants and a large retail store for a wide variety of sports merchandise.
The audio systems for Kolodruma velodrome were designed and installed by ProAudio Ltd.
Stanislav Petrov, managing director of ProAudio Ltd. explained, “We were involved in the project from its original design, and were chosen for our experience in similar large-scale projects in Bulgaria.”
For the main arena, ProAudio Ltd. designed a distributed system using Community R SERIES loudspeakers. The system consists of ten R SERIES R2-94’s, four R2-77’s, eighteen R1-64’s, thirty-six R1-94’s, twenty R.5-99’s and twenty-two I215LVS subwoofers.
“R SERIES has a proven track record for audio quality, with outstanding intelligibility and reliability,” said Petrov.
“Importantly the extensive range also provides the choice of power levels and coverage patterns required for a system accurately tailored to the venue. Our measurements, with NTi test equipment, showed a very even SPL from 100 to 103 dB and STI from 0.57 to 0.69 (room empty) across the venue.”
Each Community loudspeaker is powered by a single QSC CX amp channel, controlled via a QSC Q-Sys DSP. Audio sources for the systems are Audio-Technica mics and TASCAM combination media players/recorders. ProAudio Ltd. also designed and installed the velodrome’s separate TOA VX-2000 based voice evacuation system.
“This is a large and prestigious national project, so we are pleased to have delivered a system that provides excellent results,” said Petrov. “Visitors can enjoy excellent audio quality wherever they sit and both the main contractor and Kolodruma’s investors are extremely happy with the result.”
D.A.S. Audio For New York City Wine And Food Festival
Dynamic Productions USA deploys Aero 40A and Aero 20A arrays with LX-218CA subwoofers at Pier 92 in the heart of Midtown Manhattan.
Presented by Food and Wine in conjunction with the Food Network, the New York City Wine and Food Festival is an invaluable funding resource that benefits the Food Bank for New York City and the No Kid Hungry Campaign. It is the only Festival in New York to bring together both culinary icons from around the globe and America’s most beloved television chefs.
This year’s event, held October 15 – 18, was once again a tremendous success. To ensure all announcements and music were delivered clearly, the festival relied upon the audio performance of loudspeakers drawn from the Aero Series 2 catalog of D.A.S. Audio.
Orangeburg, NY-based Dynamic Productions USA, an event services production firm that provides production support for tours, concerts, meetings and special events, was contracted to provide sound reinforcement for this year’s festival.
Brian Rosenblum, director of operations for Dynamic Productions USA, oversaw all technical aspects of the project. He discussed his decision for deploying Aero 40A and Aero 20A line array enclosures, along with LX-218CA powered subwoofers from D.A.S. Audio’s Aero Series 2 product line.
“This year’s festival took place at Pier 92, which is a trade show and special event venue in the heart of Midtown Manhattan,” Rosenblum explained.
“Being outdoors, it was critically important that we had a sound system that could compete with the ambient noise of the city while also being able to deliver both speech and music clearly and with sufficient level. The equipment was to be used for both festival announcements and music reproduction, so speech intelligibility and music both need to be clear and natural sounding. We’ve had excellent results with the D.A.S. Audio Aero Series 2 line array systems, so they really were the ideal choice for this project.”
“The setup consisted of two tents and a courtyard,” Rosenblum explained. “In the first tent, there were four Aero 20A¹s and one LX-218CA subwoofer per side. In the second tent, there were four Aero 20A¹s on each side of the stage, with four LX-218CA¹s across the front of the stage. This setup also included a delay stack consisting of four Aero 20A¹s each with LX-218CA¹s deployed throughout the 350-foot long tent. In the courtyard, there were four Aero 40A¹s and two LX-218CA¹s next to the stage, as well as two Compact 2 powered, 3-way point source enclosures and two LX-218CA¹s. Road Series stage monitors were also used in this location.”
When queried about those features that made the D.A.S. loudspeakers the ideal choice for this particular project, Rosenblum offered the following thoughts.
“The fact that all these enclosures are self-powered is a huge benefit,” he said. “First, this eliminates the need to transport racks of heavy power amps—and then find space for them at the venue. By using powered systems, we have optimized power amplification with easier system cabling, and it definitely streamlines truck pack efficiency. The Aero Series 2 line arrays also provide broad horizontal dispersion and excellent throw, so it’s much easier to achieve consistent coverage throughout the entire area.”
With today’s sophisticated sound system setups, questions inevitably arise from time to time. Here too, Rosenblum reports that D.A.S. Audio customer and technical support services are very responsive. “If we have questions, it’s easy to get knowledgeable support without wasting time. We’ve been very pleased.”
With the 2015 installment of the New York City Wine and Food Festival now completed, Rosenblum reports this year’s event was hugely successful.
“Our customer was very impressed with our ability to take the look and feel of past years’ events and improve upon and elevate this standard,” Rosenblum reports. “In the past, sound was always the largest problem, but we were able to use D.A.S. equipment to provide coverage that was even, smooth, and not blaring in anyone’s ears. The equipment really delivered for us.”
Dynamic Productions USA
SynAudCon “Making Wireless Work” In-Person Training Coming To Las Vegas In December
Focus on wireless mic technologies, frequency coordination, band planning, RF fundamentals, FCC and spectrum allocation issues, and more
SynAudCon is presenting Making Wireless Work, an in-person training workshop, at the Tuscany Suites in Las Vegas on Thursday, December 3 and Friday, December 4.
Making Wireless Work will focus on wireless microphone technologies, frequency coordination, band planning, RF fundamentals, FCC and spectrum allocation issues, and site survey commissioning procedures. Another topic to be covered is the effect that the upcoming 600 MHz incentive auctions will have on professional audio.
Top wireless professionals, including noted RF consultant James Stoffo as well as Karl Winkler of Lectrosonics, Tim Vear of Shure, and Eric Reese of Sennheiser, will share their extensive knowledge about how to best utilize wireless systems in audio applications.
The instructors from the manufacturing side will provide “under the hood” expertise on how products function, while the instructors from the non-manufacturer side will offer an objective perspective and show how to implement optimum solutions.
Cost to attend the workshop is $750. It has been approved for 16 Renewal Units for CTS & CTS-I. Note that SynAudCon in-person workshops usually sell out, so those interested in attending should register as soon as possible.
Get more information and register here, or call Brenda Brown at 812-923-0174.
Monday, November 16, 2015
Faith Evangelical Free Church Selects Danley
Sight & Sound Technologies renovates a system in Colorado Springs with SH-60 loudspeakers and a TH-212 subwoofer.
Faith Evangelical Free Church in Colorado Springs, Colorado has occupied its current three-hundred seat sanctuary for over a decade, but it never sounded as good as it does now, owing to the recent installation of Danley Sound Labs SH-60 loudspeakers and a Danley TH-212 subwoofer.
“Finding the right loudspeakers for their blended contemporary/traditional services was a challenge because of the unique shape of the sanctuary,” said Kris Johnson, co-founder and chief operating officer of Colorado Springs-based Sight & Sound Technologies, the firm that handled the sound system renovation.
“There are two huge beams separated by a twenty-five feet run from the front of the sanctuary to the back, and there’s a pretty dramatic slope down on either side of the beams. The height of the whole ceiling also changes, with the lowest height right above the stage.”
Johnson continued, “I like Danley’s approach to designing loudspeakers and subwoofers, and this seemed like it would be a good application based on the pattern control, phase coherence, and fidelity we needed. I feel like I have a pretty good gut sense of what constitutes great sound, and Danley has a good scientific sense of what constitutes great sound.”
“I understand sound on a practical level, and it’s gratifying to have it matched up by Danley’s grasp of the underlying physics. To help Faith Evangelical Free Church make an informed decision, Darby Reps (Danley’s Colorado rep firm) came in and gave them an inspiring demo.”
Johnson chose from among Danley’s wide array of coverage patterns and settled on a simple stereo hang comprised of one Danley SH-60 per side. A single Danley TH-212 subwoofer sits to the side of the stage.
To simplify the installation and to provide fewer avenues for tampering (however well intentioned) Johnson chose Danley’s optional self-powered versions for all three boxes. Owing to the brand’s proven reliability, Johnson gave Faith EFC an Ashly Protea 4.8SP 4x8 loudspeaker processor. The church’s volunteer tech staff manages the sound system via a Behringer X32-channel digital mixer paired with an S16 digital snake. A Mackie SRM350 provides on-stage monitoring.
“Because the rest of the system components were available before the SH-60s, we had a unique opportunity to hear how much of a difference the Danley loudspeakers made,” Johnson said.
“We updated the mixer, the processor, and the stage monitoring, and tuned things up as best I could with their old loudspeakers. The exercise was also good because it highlighted some areas we could improve just with better training of their volunteer staff: when I mixed a service on the old loudspeakers, it was a noticeable improvement over their previous services, and I was able to transfer the needed skills to their staff. But once we got the Danley loudspeakers in there… wow, it was night and day. The clarity and musicality they have now is incredible.”
Danley Sound Labs
Focusrite’s RedNet For The Music Production Program At Belmont University
Vintage King provides 25 RedNet devices for networking the new R. Milton and Denice Johnson Center.
Nashville-based Belmont University Music Business program, established in 1971, has grown in both size and reputation, leading to the establishment of the Mike Curb College of Entertainment and Music Business in 2003, The program is now home to more than 2,000 undergraduates with majors in music business, audio engineering technology, entertainment industry studies, songwriting and motion pictures.
Throughout that time the College has kept itself on the cutting edge of music-production technology, and the implementation of an extensive infrastructure of Focusrite RedNet Dante-based audio-over-IP interfaces will assure that it stays there into the future.
A total of 25 RedNet devices — two RedNet 1 eight-channel A-D/D-A interfaces, five RedNet 2 16-channel A-D/D-A interfaces, three RedNet 3 32-channel Digital I/O interfaces, four RedNet 4 Mic preamp/line & D.I. interfaces, seven RedNet 5 32-channel Pro Tools|HD/Dante Network Bridge interfaces and four RedNet 6 MADI Bridge interfaces — connect production rooms, recording spaces, classrooms, two theaters and other critical educational spaces in the new R. Milton and Denice Johnson Center.
The facility opened in August and will serve as the Curb College of Entertainment and Music Business program’s new home. The gear was sourced through the Nashville office of Vintage King.
Belmont University will celebrate its 125th anniversary during the 2015-16 academic year, and the school continues to be at the cutting edge of technology.
“Networked audio is the future, and RedNet is how we’re tying together all of the teaching and technology spaces of this building,” explains Michael Janas, instructor, Audio Engineering Technology and the director of Recording Studio Operations during the RedNet installation.
For instance, the new four-story Johnson Center is fitted with two 25-seat audio-based computer labs, two DAW studios with Pro Tools and S6 consoles, and two theaters, including a 250-seat venue that has the only Dolby Atmos audio authoring and playback systems in the city. These are all connected with two-way audio, with RedNet 6 units as the I/O interfaces for the consoles, RedNet 5 interfaces for the Pro Tools systems, RedNet 4 mic pre-amps to capture performances and RedNet 3 devices for additional I/O. A Foley studio, which supports the school’s film production education, employs RedNet 1, 2 and 4 interfaces.
“This is our first foray into networked audio, and RedNet is the gateway for both the school and the students into that,” says Janas.
“RedNet is letting us get into networking quickly, cost-effectively and easily. I was new to networking — before this, to me, Dante was an author — but RedNet is simple to deploy and use. It’s saved us an enormous amount of money by not having to install 500 pounds of copper cabling. The students are getting into it — this is going to be their future, the way audio is transported and managed looking forward. That’s why it’s so important to have it here now. That’s what RedNet’s doing for us.”
Phil Wagner, Focusrite president, stated, “Belmont University created a major audio, post-production, film and television production infrastructure featuring state-of-the-art mixing rooms developed by legendary studio designer Russ Berger. We are pleased that these facilities have been outfitted with Focusrite RedNet networked audio I/O systems. One room of particular interest is the recording program mix room, now equipped with an Avid S6, and featuring RedNet 1, 2, 3, 4 and 5 interfaces in the outboard gear credenza, connecting all Mic, analog and digital signals to the Avid S6/Pro Tools mixing environment.”
Posted by House Editor on 11/16 at 03:10 PM
Neutrik USA Appoints Fraser Regional Manager
Fraser will be responsible for sales activities throughout the Southern region of the United States
Neutrik announces the appointment of Robin Fraser to the position of regional manager.
In her new capacity, Fraser will be responsible for sales activities throughout the Southern region of the United States, including Texas, Oklahoma, Arkansas, Louisiana, Mississippi, Alabama, Georgia, South Carolina, and Florida.
Fraser’s appointment commenced in early October. She is stationed in Atlanta, Georgia.
In her new position, Fraser will oversee customer relationship initiatives, including new product introductions, ensuring customer satisfaction, overseeing promotional and training activities, and managing all such information in the company’s database.
She will work closely with Neutrik USA’s customer’s to understand and effectively communicate future connectivity requirements back to Neutrik’s product development team.
Fraser brings a wealth of experience to her new position with Neutrik. Previously, she served as vice president of Channel Comp, an authorized stocking electronics and value added distributor serving the audiovisual, broadcast, and related markets. She also possesses extensive experience as having been a consultant to a variety of small diversity businesses, where she helped build their supplier bases and drove business development opportunities.
Additionally, she was promoted four times and held the title of global account manager with Premier Farnell, a British distributor of technology products and solutions for electronic system design, maintenance, and repair.
Reflecting on her new position with Neutrik USA, Fraser offered the following comments, “I am delighted to be joining the Neutrik team. With a comprehensive range of products and solutions for audio, video, and data applications, Neutrik has established a leading reputation the world over. I look forward to taking an active role in the company’s sales and marketing activities as we aim to elevate the company’s business operations to the next level.”
Peter Milbery, president of Neutrik USA, shares Fraser’s enthusiasm.
“All of us are pleased to have Robin joining us,” he said. “Robin brings in-depth knowledge of key customers and industry experience to Neutrik. This, combined with her experience and insight into global accounts, will prove invaluable as we move forward. With her solid leadership skills and contagious aura of enthusiasm, I have no doubt she will be a valuable contributor to our company. All of us a Neutrik welcome her aboard!”
Posted by House Editor on 11/16 at 02:57 PM
Martin Audio CDD Installed In London’s Tiger Tiger
Middlesex Sound & Light overhauls Novus Leisure’s flagship multi-room venue in London’s West End.
Martin Audio has continued its long association with Novus Leisure’s Tiger Tiger brand, with the company’s latest generation of installation speakers, the CDD range, being selected for the operators’ original and flagship multi-room venue in London’s West End.
One of Novus Leisure’s approved suppliers, Middlesex Sound & Light (MSL) specified CDD as part of a major overhaul, having already fitted the manufacturer’s new Coaxial Differential Dispersion technology in several other high profile sites.
“We had also carried out a number of other recent refits for Novus using Martin Audio’s AQ range, which we were great fans of,” said MSL project director, Darrel Olivier.
“But this high profile venue provided the perfect opportunity to debut the new CDD. In terms of aesthetics and sound quality CDD is a definite improvement, offering wider dispersion as well as being less obtrusive.”
According to Novus Leisure’s project manager, Graeme Sutherland, the company had wanted to create a premium space, and looked at various options with Olivier before making the loudspeaker decision.
However, MSL first needed to carry out a careful review of the existing loudspeaker positional strategy. Some of the existing speakers were redeployed to ensure even sound coverage throughout while by ground-mounting the new subs it ensured maximum impact and LF extension.”
Aside from the Tiger Bar, Novus Leisure has replaced its former Ibiza-style White Room with the more sophisticated hosted LUXE Room, which is available for private hire.
The Tiger Bar and dance floor area have been equipped with four CDD15, four CDD12 and three S218X subs, while LUXE has been fitted with six CDD10 and an existing AQ215 sub, which has been redeployed. Also the beneficiary of two CDD10 and CSX212 sub are the two restaurant areas, which are now linked more visibly to the main bar.
Working with interior designer Terri Naylor of Dakota Design, MSL were responsible for the full AV integration, which is dominated by a giant floor to ceiling high-resolution graphics wall in the main Tiger Bar.
Novus Leisure regional operations manager, Jenna Edwards, said, “Sound is the most important element when you are out clubbing and this system is phenomenal to listen to; I think this establishes our position as the best club experience in London.”
Concluded Tiger Tiger general manager, Darren Gaffney, “This new installation has created a real wow factor for customers. It’s had an immediate impact on sales.”
Finally, Darrel Olivier adds that the new CDD range has received an instant seal of approval. “Feedback has been strong and positive wherever we have installed these.”
Renkus-Heinz Expands Engineering Team
Lorenzo Rene Barrios, Jr. has been appointed to the position of loudspeaker engineer.
Renkus-Heinz has again expanded its engineering team with the appointment of Lorenzo Rene Barrios, Jr. to the position of loudspeaker engineer.
Barrios joins Renkus-Heinz after a successful tenure at Walt Disney Imagineering, where he served as principal audio/video specialist, working on projects at Disney theme parks in the U.S. and Asia. He has also held high-level design engineering positions at QSC Audio, as well as JBL.
In his new position, Barrios will report to senior VP Ralph Heinz, and be involved in all facets of the Engineering team.
“We’re very pleased to welcome Lorenzo to Renkus-Heinz,” states Heinz. “He brings a wealth of loudspeaker development experience to the engineering team, and a deep understanding of many of the applications we are deeply involved in. We look forward to his contributions to the team.”
“Renkus-Heinz is a legendary brand in professional audio, with a history of innovation,” adds Barrios. “I’m excited to be working with such a great group of people, and looking forward to contributing to the next generation of Renkus-Heinz products.”
Barrios will be based at the company’s U.S. headquarters in Foothill Ranch, CA.
Posted by House Editor on 11/16 at 07:16 AM
Friday, November 13, 2015
TC Furlong Hosts 5th Digital Console Expo
Free event will be held at the Moody Church in Chicago and includes several major manufacturers.
TC Furlong will host a Digital Console Expo on Tuesday, December 8, 2015 between 3:00 pm – 8:30 pm in Chicago.
Manufacturers include Yamaha Professional Audio, Avid, Midas, DigiCo, SSL Live, Soundcraft, Allen & Heath, Mackie, PreSonus, QSC, and several more.
The companies will exhibit their latest digital consoles, and manufacturer staff will be on hand to answer questions.
Featured consoles include the new Yamaha Rivage PM10, AVID S6L, Digico S21, and Allen & Heath dLive.
The event is free of charge and will be held at the Moody Church in room #107, 1635 N LaSalle Street, Chicago.
Food and beverages will be provided along with a raffle for prizes as well as giveaways.
The Moody Church is easily accessible by public transportation, and there are several pay lots as well as some limited street parking in the area.
This is the fifth Digital Console Expo presented by TC Furlong, a Chicago-area live sound rental and sales company that has been in business for 43 years. For more info, visit the links below or call 847-367-9588.
Registration is required as space is limited.
Digital Console Expo Registration
Posted by House Editor on 11/13 at 02:44 PM
Terminal 5 Upgrades To L-Acoustics K2
See Factor Industry selects K2 enclosures, SB28 and K1-SB subs for The Bowery Presents’ largest New York music venue.
In Manhattan’s Hell’s Kitchen, the 3,000-capacity Terminal 5 is the largest concert venue of the New York City portfolio of national concert promoter The Bowery Presents, which currently ranks as the number three club in ticket sales worldwide.
Audiences coming through the venue in recent months have been hearing an even fresher sound—that of a new L-Acoustics K2 concert reinforcement system supplied by See Factor Industry, which also provided system design, installation guidance and consulting.
The new pair of 12-enclosure arrays and other supplementary gear replaces an older system that had been in place nearly since 2009.
“We had definitely gotten our money’s worth from the old system, but we were looking to further improve the sound of the room,” observes Terminal 5 production manager Chris Burrows, who has been with the venue since day one.
“The choice of K2 was an easy one because, as a longtime production manager, I’ve had plenty of experience with L-Acoustics systems on the road. K2 is a very rider-friendly system, and I wanted a PA that would be instantly familiar and comfortable to guest front of house engineers when they come here.”
“Plus, Lorne Grabe [Terminal 5’s front of house engineer] and I wanted a setup that was more like a touring rig than an installed one; we wanted a sense of stability and flexibility that a touring system provides, especially when presenting as many shows as we do in a calendar year.”
Mark Friedman, executive vice president for See Factor, says the system-design element that helps achieve this is the grouping of the LA amplified controllers in 10 LA-Raks—a configuration familiar to touring mixers and system techs.
“The amps are all tethered together in the LA-Raks in groups of three,” he explains. “There’s definitely a touring feel to the system at Terminal 5, which makes it rather unique for a club environment.”
See Factor was with Terminal 5 through what would become a nearly two-year evaluation process for a new system, including arranging two separate demo visits for K2 components before the final decision was reached. The installation was scheduled for July, in the middle of the summer when many top-line acts were on the festival circuit.
“That was the best time to do this, before our busy season began in September,” says Burrows, who spent several years on the road with various bands, including moe., which shared stages with members of the Grateful Dead.
“The K2’s rigging made this installation very straightforward. It feels like a touring rig, but it’s solidly in place.” It’s also solid sounding. “We listen and we just love what we hear,” he adds. “L-Acoustics speaks for itself.”
Terminal 5’s performance space, which is essentially a large cube with two balconies, can be a difficult, resonant environment; however K2’s Panflex—a unique horizontal steering technology that combines mechanically adjustable fins with DSP algorithms effective from 300 Hz—nicely keeps the energy away from the walls without blasting the balconies, which are at PA level, while delivering high impact to the floor and excellent coverage throughout the room.
The new system comprises hangs of 12 K2 enclosures on either side of the stage, with eight SB28 subs ground-stacked in a horizontal line below. Further bolstering the club’s beefy low-end reinforcement are four K1-SB LF extension cabinets flown behind each K2 array, adding additional low-end impact, while also providing cardioid cancellation for the stage.
Two ARCS II enclosures are flown above the house-left array and a third is positioned above the house-right array to deliver coverage to the venue’s third level. Four Kara enclosures provide front fills; sidefills are four ARCS Focus configured two per side over SB28 subs, with two SB18s as drum fill subs and two ARCS Focus for drum fill tops.
Venue delay speakers, utilized on all three levels, include ARCS II, ARCS Focus, ARCS Wide, 115XT HiQ and 12XT speakers, while four 8XTi over the main bar act as delay speakers for that zone. ARCS II also proved to be an ideal solution for the stage left section which required a sharp cut-off to reduce volume at the bar, while still imparting high, in-pattern SPL to match the main K2 arrays.
On stage, Terminal 5 currently uses 13 115XT HiQ wedges for monitoring, although these will be replaced with L-Acoustics’ new X15 enclosures by the end of the year. A combined total of 14 LA8 and six LA4X amplified controllers housed in 10 LA-Raks power the entire system.
See Factor Industry
This Week: LSI Loudspeaker Demo 2015 In Nashville
Event kicks off on Tuesday, November 17 at 6 pm at the Music City Center (Hall D) in Nashville, followed by two full days of demo sessions
The Live Sound International Loudspeaker Demo at the Music City Center (Hall D) in Nashville, which presents unique side-by-side listening opportunities to evaluate 27 top line array and loudspeaker systems in a round-robin format, kicks off tomorrow night (Tuesday, November 17) at 6 pm.
There’s also a full slate of demo sessions lined up for Wednesday and Thursday (schedule below). For the first time, there will be dedicated demo sessions focusing on portable loudspeaker systems, joining the popular compact system sessions.
All pro audio and church sound personnel are invited to attend this free event.
During each compact and portable session, systems are fed identical tracks. Listeners can evaluate what they hear and also observe each system’s scale, components and other important details.
Note that the session on Tuesday evening (beginning at 6 pm) has been created for audio professionals who may not be able to attend the daytime sessions. Here’s the full schedule, including times for manufacturers who have elected to also present individual demo sessions:
Tuesday, November 17
6 pm—All Compact (Larger) & Portable (Smaller) Systems
Wednesday, November 18
10:15 am—All Compact Systems
11:20 am—Alcons Audio Individual Demo Session
11:40 am—Electro-Voice Individual Demo Session
Noon—All Portable Systems
1 pm—EAW Individual Demo Session
1:20 pm—L-Acoustics Individual Demo Session
1:40 pm—All Compact Systems
2:40 pm—Tannoy & Turbosound Individual Demo Session
3:00 pm—VUE Audiotechnik Individual Demo Session
3:20 pm—All Portable Systems
4:20 pm—Bose Professional Individual Demo Session
4:40 pm—Renkus-Heinz Individual Demo Session
5:00 pm—All Compact Systems
Thursday, November 19
10:40 am—All Compact Systems
11:40 am—VUE Audiotechnik Individual Demo Session
Noon—All Portable Systems
1:00 pm—L-Acoustics Individual Demo Session
1:20 pm—All Compact Systems
2:20 pm—Tannoy & Thurbosound Individual Demo Session
2:40 pm—All Portable Systems
3:40 pm—EAW Individual Demo Session
4:00 pm—Alcons Audio Individual Demo Session
4:20 pm—All Compact Systems
Sixteen (16) top loudspeaker manufacturers have signed on to participate. The list includes:
In both compact and portable demo areas, engineer Nicholas Radina will be utilizing Yamaha QL5 digital consoles to manage and deliver audio to each system. Each QL5 will be joined by a Rio stagebox for routing individual feeds to the systems, which receive a choice of analog, AES Digital or Dante audio signal.
Meanwhile, demo host/emcee Craig Leerman will be utilizing a Lectrosonics Digital Hybrid Wireless system for compact demo sessions, and a beyerdynamic TG 1000 digital wireless system for portable demo sessions.
Prior to each full demo session, all systems will be fed pink noise, with the appropriate level set and confirmed. This process, directed and managed by Rational Acoustics, utilizes the 10EaZy measurement platform. In addition, SPL readings from 10EaZy will be provided to attendees on a large video monitor during all full demo sessions.
Morris Integration is providing the lighting in both demo areas, including spotlighting of each individual system as it is played. AE Media Group is handling large-format video projection utilized to provide attendees with key information on systems.
Attendees of the opening night demo sessions (beginning at 6 pm on Tuesday, November 17) have the opportunity to win a QSC TouchMix-16 compact digital mixer.
Meanwhile, attendees of the first full day of sessions (beginning at 10:15 am on Wednesday, November 18) have the opportunity to win a Mackie DL32R digital mixer with iPad control and a Dante networking expansion card. Further, there will be eleven (11) opportunities to win a System 10 digital wireless system from Audio-Technica.
Additional prizes to be awarded after each compact and portable demo session include iSEMic 725TR base kit-2 analyzers (pdf), CAD Audio D90 mics & MH Series headphones, Galaxy Audio GA64SC handheld mics & HSH headset mics, Whirlwind microphone cables, $50 gift cards (redeemmable online) from retailer Sound Productions, and Gig Gear production gloves.
Held in conjunction with the Worship Facilities Expo (WFX) at the Music City Center, this is an opportunity not to be missed.
Register for this free event here.