Wednesday, September 09, 2015
Texas Christian University Steps Up To L-Acoustics
Electro Acoustics installs Kara(i) loudspeakers at Garvey-Rosenthal Soccer Stadium for the Lady Frogs.
On the heels of the US women’s soccer team winning their third FIFA World Cup championship this summer, Texas Christian University’s own team—the Horned Frogs, better known as the “Lady Frogs”—are benefitting this fall from crystal-clear play-by-play commentary thanks to a new L-Acoustics Kara(i) loudspeaker system installed at Garvey-Rosenthal Soccer Stadium in July.
Built in 2010, the outdoor stadium seats 1,500 people and is used exclusively by TCU’s women’s soccer team, which made it to the quarterfinals of the NCAA’s Big 12 Soccer Championship last season.
The first game to officially fire up the new system was the team’s season home opener on September 4 versus University of Maryland.
Installed by local AV systems integrator Electro Acoustics, which has worked with the university on various projects in the past, the new system comprises a single array of six L-Acoustics Kara(i) enclosures flown beneath three SB18i subs.
Three LA4X amplified controllers, housed in a rack with a similarly-new Rane MLM103 mixer, furnish the power and processing.
“Our new sound system will further enhance the spectator experience at Garvey-Rosenthal Stadium,” notes TCU assistant athletic director T. Ross Bailey, adding that the school was pleased to work with the EA staff again.
Regarding the selection of L-Acoustics for the project, Electro Acoustics account manager Ryan Walker explains, “The line array was placed about 600 feet away from the seating area, so we needed something that could push the SPL a significant distance and sound good doing it. They’re currently getting 97dB at the seating area and the sound and coverage are absolutely great. Everyone who has heard it has been impressed with the clarity and has just loved it.”
SSL Introduces System T Networked Broadcast Audio Production Technology
System T is designed from the ground up to provide the power to handle large-scale productions in a ‘multi-platform delivery’ driven future
Solid State Logic announces System T, introduced at IBC 2015 (Stand Hall8, D83).
Designed from the ground up to provide the power to handle large-scale productions in a ‘multi-platform delivery’ driven future, System T is a new fully networked broadcast audio production environment.
A range of hardware and software control interfaces can be placed anywhere on a network with up to three consoles or control interfaces accessing a single or fully mirrored redundant pair of processor cores.
Multiple processor cores can be used on a single network. Control interfaces and processing resource can be re-configured to suit daily requirements.
Routing and I/O is Dante based with System T featuring the first consoles to use the new Dante HC (High channel) connectivity. SSL’s newly expanded Network I/O range puts SSL audio quality Stageboxes and interfaces wherever they are required in a facility.
With Dante reaching the 500 product landmark at IBC 2015, System T has plug-and-play discoverability and interoperability as central principles.
Antony David, managing director of Solid State Logic commented: “System T is a technology at the beginning of its life - a comprehensive and forward-thinking approach to broadcast audio production that enables broadcasters to plan for the future, and adapt in the future.
“Dante has more than 220 licensed partners already and at IBC reaches the 500 commercially available product landmark, and is still growing. It’s a complete technology, with a control and configuration API, so it was the obvious and best choice as the primary infrastructure for the routing and I/O aspects of System T.
“With that and the development of our future-proof, CPU-based Tempest core, plus our innovations in control, we’re asking broadcasters to stop and think about the future… The fully-networked broadcast audio production system is here.”
The Dante AoIP network, integrating the AES67 transport standard, offers large-scale routing and remote control of a diverse range of Dante-compatible I/O devices. System scaling requires only additional networking switch capacity - not expensive proprietary routing hardware. This makes large-scale deployment extremely cost-effective. A 24-way, Gigabit Ethernet switch, for example, offers the equivalent of a 12,000 x 12,000 TDM router at a fraction of the cost.
Proven SSL Network I/O products and bridging technologies (analogue, AES, MADI, SDI) mean that System T will fit anywhere, including in existing traditional TDM-based routing infrastructures. This will allow broadcasters to manage their migration to network-based audio transport and routing without dismantling existing provision and without compromising on audio quality.
The Tempest processor core is the heart of the System T mix engine and uses SSL’s patented Optimal Core Processing for real-time, 64-bit CPU-based, floating point mixing and processing. Tempest is the foundation of an advanced broadcast architecture that is built for purpose. Each processor core can handle up to 3072 inputs and outputs and provides 800 fully processed, fully configurable mix paths, 192 mix busses, 800 EQs, 800 dynamics, and 400 delays. Multiple Tempest cores can be connected anywhere on the network (including separate fire zones if required) and used as mirrored redundant pairs or as additional processing resources that can be allocated around the network to any System T control devices. Paths, processing, and routing can be dynamically allocated in real time without interrupting audio - a unique feature in a Broadcast console.
A range of System T control interfaces can also be connected anywhere on the Network and incorporate multi-touch and gesture-driven screen technology, hardware control, and intelligent, intuitive workflow. Broadcasters can specify configurations to suit almost any environment, from a large surface with dual operator / dual monitoring provision to remote hardware panels, to SOLSA (SSL’s remote on-line and off-line control application) run from a PC. The System T hardware panels and touch screen driven software environment benefit from nearly 30 years of SSL design research into TV production operation. The overall system architecture innovation of System T is matched by an extensive collection of new operational and processing developments.
Additional feature highlights include a large internal FX rack with its own dedicated DSP (plug-ins include: dialogue noise suppression, dynamic and tonal shaping, reverbs, analysers, and signal generators), enhanced Dialogue Automix with nested groups capability, bus-based mix-minus feeds, built-in KVM switching to bring external computer display and control to console touch screens, and much more.
Solid State Logic
Black Lion Audio Releases 500 Series B12A MKII Preamp
The API-style single channel microphone preamp features an upgraded input transformer, higher gain, and lower noise than the original B12A.
Black Lion Audio announces the release of the B12A MKII 500, an API-style single channel microphone preamp just like the popular B12A MKII ½ rack unit, but in the convenient and flexible 500 series format.
All Black Lion Audio products are designed and manufactured in Chicago, Illinois.
Already known for the API American rock sound, the MKII version features an upgraded input transformer, higher gain, and lower noise than the original B12A.
It also features an output transformer, a Hi-Z input, phantom power, pad, and phase.
“The original B12A was very popular, but we were continually being asked by customers to modify them for more gain,” commented Nate Bierdeman, director of marketing for Black Lion Audio.
“So we created the MKII with higher gain and lower noise. This revision also gave us the opportunity to integrate a nicer input transformer, and has resulted in an incredible-sounding preamp with lots of API-style gain. Now it’s available in the popular 500 series format.”
The B12A MKII 500 is available at Black Lion Audio dealers worldwide immediately for a MAP of US $599
Black Lion Audio
Posted by House Editor on 09/09 at 08:46 AM
Tony Austin Selects Mojave Audio Microphones For Kamasi Washington’s “The Epic”
Debut album features 172 minutes of music recorded with MA-301fet, MA-300, MA-200 and MA-100 microphones.
Known for his tenor saxophone playing that follows in the traditions of John Coltrane, and Albert Ayler, jazz saxophonist, composer, and band leader Kamasi Washington recently released his debut album, titled The Epic — with 172 minutes of music.
Mojave Audio microphones played a crucial role in the capture of the album’s various performances, and to ensure the most musically rich and detailed acquisitions possible.
Producer, engineer, and drummer Tony Austin played a central role in the production of The Epic.
Known for combining the artistry of drumming with his knowledge of sound recording and music production to make him a preferential component in numerous musical projects, Austin has performed, recorded, and collaborated with a wealth of talented artists including Gwen Stefani, Willow Smith, Jon Brion, and Kamasi Washington.
Not only did Austin play drums on The Epic, he also engineered the recording and, in the process, used Mojave Audio’s MA-301fet, condenser microphone, MA-300 multi-pattern large diaphragm vacuum tube condenser microphone, the MA-200 vacuum tube condenser microphone, and MA-100 condenser microphone.
He discussed his fondness for Mojave Audio products.
“Four years in the making, The Epic was recorded at KingSize SoundLabs in Los Angeles,” Austin reports, “with most of the tracking taking place in December 2011. I used the MA-301fet on Miles Mosley’s bass amp, the drum set toms, and a Hammond B3 Leslie cabinet. I also used the MA-300 as a stereo room mic for a lot of the ensemble string and choir sessions.”
Many of the live sessions Austin recorded for The Epic featured The West Coast Get Down—a collective of LA-based musicians including bassist Miles Mosley, trombonist Ryan Porter, pianist Cameron Graves, drummer Ronald Bruner Jr, and keyboardist Brandon Colemen in addition to Kamasi Washington and himself.
There was a lot of equipment on these sessions, including two full drum sets, two bass players using both DI boxes and cabinets, acoustic piano, Hammond B3 organ, a Rhodes electric piano, Clavinet, three vintage Moog synthesizers, four horns, plus vocal.
“Recording that many instruments all at once was extremely challenging,” Austin explained.
“I had to get creative to get everything sounding right. While setting up for our first session with two drum sets, I ran out of the mics I would usually use on toms. I had an extra pair of Mojave MA-301fet’s available, so I put them on the rack and floor toms from the kit I was playing. I placed them so that the mic’s diaphragm was just above the rim pointed towards the center of the drum. I was immediately surprised at the clarity in tone, the ‘punchy-ness’, and the low-end definition I got from those mics right off the bat. They sounded awesome. I didn’t even have to EQ them. They have since become my ‘go to’ mics for toms.”
During a session Austin did for his YouTube duo project with Miles Mosley called BFI (Brute Force Intensity), Austin used several Mojave mics on his drum set and Miles’ bass cabinet. “I used four MA-301fet’s on the toms, two MA-300’s as overheads, and an MA-301fet on the bass cab,” he said. “The mics went straight from the pre-amp into Avid’s Pro Tools, with no compression or EQ. When we listened back to our first take, I was literally jumping up and down about how sonically rich and aggressive everything sounded.”
When queried about those attributes that make the Mojave Audio microphones so well suited to his studio endeavors, Austin offered the following thoughts, “Being a drummer, I tend to choose microphones that can not only handle high sound pressure levels, but also clearly pick up the sharp transients that come off the kit, without blurring or distorting them. Mojave Audio microphones not only do a great job handling high SPLs, they also have a ton of definition and body. I bring them to every session I work.”
For anyone involved in music production at this level, the ability to receive accurate and timely support when questions arise is crucial. In this regard, Austin gives Mojave Audio high marks. “I always get a warm ‘family’ vibe from the technical and customer support crew at Mojave,” Austin said. “Everyone there is so down to earth and passionate about what they do! I always feel super comfortable whenever I call or go down there, and Dusty Wakeman, in particular, is a great supporter of artists. I wish more pro audio companies were as personable as everyone at Mojave Audio.”
With The Epic now shipping, Austin offered these final comments, “As an engineer who records a lot of acoustic instruments, I am extremely critical when it comes to recording gear. I ignore the hype and let my ears judge which recording equipment I use and purchase. I can’t offer enough positive remarks about Mojave Audio. Their microphones come up in a lot of my conversations. There’s no need for hype when it comes to Mojave Audio microphones. They are truly is an excellent company that makes excellent products.”
Posted by House Editor on 09/09 at 08:24 AM
SynAudCon SR For Technicians In-Person Training Coming To Chicago In October
Understanding the audio signal chain, establishing proper gain structure, maximizing signal-to-noise ratio, equalizing systems and more...
SynAudCon has announced that registration for the three-day Sound Reinforcement for Technicians (SRT) seminar, held in the Chicago metropolitan area October 5-7, is now open.
SRT utilizes a multi-media presentation that will instruct attendees on how to understand the audio signal chain, establish the proper gain structure, maximize the signal-to-noise ratio, and equalize the system.
During SRT, the measurement of voltage, impedance, polarity, SPL and STIPA will be demonstrated. More importantly, attendees will learn what these measurements mean and how to use them to ensure a system performs optimally. On the third day, Pat will demonstrate an optimized equalization process that brings the system to its fullest potential in the shortest possible time.
Instructor Pat Brown explains the theory by using analogies and demonstrations, then uses the theory to establish a practice that works from system to system. Audio practitioners leave the seminar with the assurance that an optimal level of performance can be reached without endless tweaking.
The in-person training will take place at the Holiday Inn in Rolling Meadows, IL, just outside of Chicago. The seminar is approved for 24 InfoComm RUs and 21 BICSI CECs. Registration and more information is available online by clicking the link below.
Other in-person seminars offered this fall include SynAudCon Digital, November 16-18 in Washington DC, and Making Wireless Work, December 3-4, in Las Vegas, Nevada.
Allen & Heath Consoles For Salvation Army 150th Anniversary Celebration
Avenue Services provides iLive and GLD series consoles for the five day event at Boundless 2015 in London’s O2 Arena.
Kent-based production company, Avenue Services, was appointed by The Salvation Army as one of the two production companies to provide technical production for its 150th International Anniversary celebrations in London’s O2 Arena, selecting Allen & Heath mixers for all the venues that they covered.
Entitled Boundless 2015, the 5 day event was staged across all of the O2’s venues and attracted 20,000 visitors from around the world.
Avenue Services provided full technical production for three of the venues and some support for the main arena too.
Over a dozen different musical and dance groups took part in 18 performances across 4 venues - the main O2 arena, the Cineworld Sky Super Screen, Cineworld Screen 2, and Building 6.
“We provided a site wide implementation of Allen & Heath digital and analogue mixers for simple ease of use, quick turn arounds and flexible setups,” explains Avenue Services’ owner, John-Marc Swansbury.
Avenue Services selected its iLive-T112 control surface and iDR-48 MixRack to support one of the Salvation Army’s leading gospel choirs from Sweden. All 48 choir mics went through the iLive as a sub mix into the main arena PA system, which was being handled under the main production company for the arena, Corporate Magic.
A GLD-80 with AR2412 and AR84 IO racks was installed to manage the 800-capacity Sky Super Screen venue, which mixed a varied programme of artists including brass bands, Hawaiian dancers, Indian Youth Singers, New Zealand Mauri dancers, and 60-strong choirs. Fitted with a Dante network card, the mixer provided live splits to another setup for live multitrack recording for a DVD production of the event.
“This setup needed quick changes between performing groups. The speed of the GLD for programming and ‘out of the box’ use for a digital desk made these swift changes quick and effective, whilst keeping a system base line running for mix outputs for the main PA and onstage monitor mixes,” commented Swansbury. “The cinema being what it is - a very dry audio environment - means that the GLD’s onboard FX came into their own with the use of reverb and delays to enhance the vocal and brass performances, providing rich natural sounding reverb in an environment not used to live acoustic performances.”
A QU-16 rackmount mixer and AR2412 rack were installed in the Screen 2 venue, which also featured an eclectic mix of performers and presentations.
Finally, in Building 6, the compact ZED-10FX was used to mix and route audio signals for the use of production show comms, and on stage, IEM mixes for the bands’ MD.
Allen & Heath
Patrick West Joins BMG-Hudson Sales & Marketing
West will focus on expanding and strengthening relationships with consultants, live and installed sound engineers and A/V integrators.
BMG-Hudson Sales & Marketing announces the appointment of industry veteran Patrick West to the position of account manager for the A/V, system integration and theater market sectors.
The announcement was made by BMG-Hudson principals Bruce Garry and Mike Phillips and further underscores the company’s ongoing growth and expansion.
In his new position, West will work closely with Phillips and Garry, concentrating his efforts on expanding and strengthening relationships with consultants, live and installed sound engineers, Broadway consultants and A/V integrators.
West has a rich history in the industry with a very unique skill set that includes experience as front of house engineer, monitor engineer, recording engineer, system tech, operations director, repair technician, installed system designer, installer, stagehand and musician.
A native of Traverse City, Michigan, Patrick has worked for the past 15 years in the industry in New York, Las Vegas and Michigan. He recently returned to the New York City area after working with a northern Michigan-based sound company, Sound Environments, where he was director of audio & operations manager, handling a wide-variety of responsibilities including system design, front of house/monitor engineer, project management, inventory control and more.
“As a long-time veteran of the industry, Patrick brings a tremendous amount of knowledge and experience to our organization, and we are pleased to have him join the BMG-Hudson group,” stated Mike Phillips.
“His extensive background in event production, system design and installation will be a benefit to both our manufacturers and our clients customers and makes him uniquely qualified to help us grow our company.”
BMG-Hudson Sales & Marketing
Posted by House Editor on 09/09 at 08:03 AM
The Zeo Group Invests In VUE Audiotechnik
Company selects al-8 and al-4 line arrays matched with al-8SB subwoofers as the benchmark system for all conferences and festivals.
VUE Audiotechnik announces that The Zeo Group, a Pennsylvania based technical and creative services company offering live event production, rental/retail, corporate A/V and custom installation, now offers VUE loudspeaker products.
The recent purchase includes 32 al-8 High Output Line Array Systems, eight al-4 Subcompact Line Array Systems, and 12 al-8SB flyable subwoofers, all paired with VUE V4 and V6 systems engines.
VUE will be The Zeo Group’s benchmark system for all conferences and festivals.
The Zeo Group is planning significant events and installations around its new VUE inventory, including a major marathon in the Northeastern U.S., a large conference in the Midwest that is expected to draw over 40,000 attendees, a gospel tour supporting multiple Grammy award winners, and an installation project in one of Philadelphia’s most prestigious EDM Dance clubs.
To support these events, The Zeo Group realizes quality sound is paramount, which is why they chose VUE.
“We have a keen appreciation for great sounding audio,” says Phillip Zeo, president of The Zeo Group.
“When compared to the performance of our other inventory, the al-8 system sounds clearer, crisper and is impressively loud. We can hear details in the VUE system that are lost in other systems. The clarity is simply amazing and the al-8 rig sounds consistent at any volume.”
Zeo notices that he is not the only one that prefers the VUE sound, “After hearing the VUE system, many of our clients request the al-8s over every other system in our inventory. Even our own audio technicians prefer to use the VUE system as their go-to rig. This shows that once people hear it, they can’t go back to other setups. We are all impressed with its size and weight to performance ratio - the al-8s are the loudest speakers available, the SPL they produce is remarkable.”
Specializing in providing professional audio, video and lighting systems and services, The Zeo Group has been a full-service event production company in the Philadelphia area since 1976.
Based just outside of the Philadelphia city limits allows for The Zeo Group to service clients throughout the mid-Atlantic region including southern New York, New Jersey, Delaware, Maryland, and Washington D.C. in addition to Pennsylvania.
The Zeo Group
BAPS Shri Swaminarayan Mandir Selects Attero Tech Dante Wall Plates
The limestone and marble interior of the temple created several complex acoustical and aesthetic issues.
Built exactly 11 years ago, the BAPS Shri Swaminarayan Mandir in Stafford, TX is the first of six traditional marble & limestone Hindu temples in North America.
To keep the sound system installation clean and simple, Attero Tech’s Dante input/output wall plates were selected for the project.
As it is constructed of limestone and marble, the interior of the temple is very reverberant and has complex acoustical issues.
Designing and installing a modern sound system that would last for many years was difficult.
The system had to be visually unobtrusive yet deliver clear, intelligible sound everywhere.
A pair of Renkus-Heinz IC16-R-II digitally steerable line array columns, with customized the paint to match the Italian marble, were selected to be the main loudspeakers on either side of the central pedestal.
According to Yogesh Kanjee, audio engineer for BAPS Swaminarayan Sanstha, “Running multiple types of cable to every input and output location was a colossal challenge, so we searched for a solution that would allow signal to be transmitted over a single cable. To achieve this, Attero Tech’s Dante input/output wall plates were essential in receiving microphone/line level signals and providing audio signal to the speakers. We also used Symetrix Radius digital signal processors as our backbone because of the interoperability between Attero Tech Dante products and Symetrix DSP configuration. Not only is there one protocol and one configuration application, but it is extremely stable and it just works.”
Ultimate Ears Pro Now Using 3D Laser Ear Scanning Technology
With new device, retailers and partners can take accurate impressions of people’s ears in less than 10 minutes, and at no charge.
Ultimate Ears Pro announced that it is now deploying UE 3D Ear Scanners worldwide to retailers and partners.
The process started when the UE Pro team decided to blend its manufacturing techniques with digital processes, such as digitally detailing physical ear impressions and using 3D printing to build the shell of its custom monitors. That experience has expanded to include the UE 3D Ear Scanner, which has been developed, tested and fine-tuned for the past six years.
With the new ear scanner device, which anyone can be trained to use, retailers and partners can now take accurate impressions of people’s ears in less than 10 minutes, and at no charge. The 3D file generated from a scan is immediately uploaded to a computer and can quickly be shared with UE Pro in Irvine, CA to begin production.
“We’ve showcased this technology at various industry events – from NAMM to Musikmesse – and the feedback on the new experience has exceeded our expectations,” says Philippe Depallens, vice president and general manager of Ultimate Ears Pro. “We can now produce our product faster and with greater detail. Through this digital journey, UE Pro is able to shave time off the overall end-to-end process, no matter where in the world someone is. Customers can expect an enhanced experience that is second-to-none, as UE Pro continues to lead the charge for custom, high-quality earphones and custom in-ear monitors.”
Deployment of UE 3D Ear Scanners to dealers began in May 2015 and is expected to be available worldwide throughout 2015.
Ultimate Ears Pro
Tuesday, September 08, 2015
PK Sound Trinity 3D Wavefront Control Draws A New Line At EDC Vegas
The annual Electric Daisy Carnival (EDC) electronic dance festival in late June at the Las Vegas Motor Speedway attracted more than 100,000 on each night of its run, with the bassPOD stage, which showcases a distinct heavy bass music genre that attracts serious fans of low frequencies, outfitted with a system headed by PK Sound Trinity large-format line arrays.
A key requirement is keeping sound as tightly focused in the stage area as possible and minimizing spillage to adjacent stages and spaces. Arlen Cormack, from the team of sound engineers for bassPOD, explains: “With eight stages packed inside the Las Vegas Motor Speedway, one of (producer) Insomniac’s main priorities was to keep the energy high on the dance floor without spilling onto the other stages on either side.”
Cormack and his team utilized Trinity’s 3D Wavefront Control to help define the sound field to the venue conditions. “Getting the array up quickly gave us the time to focus the sound exactly where the producers wanted it,” he notes.
Specifically, utilizing PK Sound Kontrol software from a laptop, the engineers could quickly define the horizontal and vertical dispersion characteristics. A push of a button engaged Trinity’s internal actuators, shaping the array while flown. “The effect was more dramatic than I’d ever imagined,” Cormack states. “You could almost draw a line as you stepped in and out of the edge of the sound field on each side of the stage”
“When we first turned on the PA, I was concerned because the speaker towers were set really far upstage,” says Rory Stewart, who shared front of house duties at the bassPOD stage with PJ Miller. “The DJ position was almost in front of the PA and, because of Trinity’s really wide coverage angle, it was very loud inside the DJ booth. DJs know how hard it is to mix like this because the PA and headphones would have at least 40 ms of delay.
“Usually the only option is to turn up the DJ monitor system way too loud in order to overpower the main PA,” Stewart continues. “Instead, I asked the system tech to focus Trinity outward and slightly off the center of the stage. That reduced the level on stage by at least 10 dB.”
After a successful first night, Miller adds, “We noticed the audience was extending farther out to the sides of the stage than planned. The next day during sound check, we re-focused the horizontal waveguides and opened up the sound field another 10 degrees on each side. It was just the perfect amount to cover the extra fans who needed great sound, but not bleed over into the other stages.”
Trinity was able to respond to the demanding conditions of the venue quickly and easily, he continues. “The best part of Trinity is that vertical and horizontal angles can be applied and, if the tech is unsatisfied, these angles can be adjusted instantly. On any other traditional array, the boxes would have to be lowered and angles changed manually. Truly, Trinity is the most flexible array on the market.”
The system at the bassPOD stage incorporated 32 Trinity line array modules joined by 69 PK Sound CX800 dual 18-inch subwoofers at the front of the stage along with four CX800 subwoofers and six VX10 loudspeakers. Eight SW215 stage wedges supported the vocals.
Forrest Hunt, executive producer for Insomniac, states, “Working with PK’s new Trinity system on the bassPOD stage this year was an absolute pleasure. I wanted a system that could deliver the intensity of the music but still control the sound so that it did not spill over into the other stages which are packed pretty close together.
“The system focused the energy cleanly and clearly onto the dance floor and we received an overwhelming amount of positive feedback about the sound quality over the weekend.”
Central Baptist Church Transitions To Digital With Soundcraft Si Impact
Media director Terry Harris makes the jump from analog to a new digital console for South Carolina church.
Central Baptist Church in Gaffney, South Carolina recently became one of the first houses of worship in the world to adopt Soundcraft’s new Si Impact digital mixing console.
The Si Impact caught the attention of the church’s media director Terry Harris, who was looking for an easy-to-use digital console to handle the mixing of the church’s services.
Harris is a longtime Soundcraft fan and the church recently went fully live with the Si Impact for the first time.
“We looped the pastor and worship leader’s mics through the Si Impact and then back to the analog board we were using, just to play with it,” Harris said. “I have been amazed at how simple it is and also how easy it has to transition from an analog board.”
The 40-input Si Impact provides 32 mic/line inputs, 40 DSP input channels (32 mono inputs and four stereo channels/returns) and 31 output busses (all with full DSP processing and GEQ) with 20 sub-group aux busses and four mono/stereo matrix busses.
Eight XLR/quarter-inch combi-jacks are available for line inputs and instruments, while a 4-band fully parametric EQ is available for each channel and bus. The Si Impact also offers studio grade effects and dynamics from Soundcraft’s sister companies BSS, Lexicon and dbx.
Among the Si Impact’s many features, Harris has found utility in the FaderGlow fader illumination system.
“The way the board uses color to keep you positioned is brilliant,” Harris noted. “Even our most ardent anti-digital operators are now in love with Si Impact. We were able to do everything we did with our old analog board on our first day using it…and more.”
Harris is also utilizing Soundcraft’s ViSi iPad application, which allows for remote control of the mixing console via an iPad device using a wireless router. This offers Harris an unprecedented level of freedom that enables him to mix the sound from anywhere within the church.
Harris believes the Si Impact is a perfect product for the church market.
“The simplicity of the board and the benefits of the digital technology is a whole new experience for us,” he said. “None of our operators has any experience with digital mixers except for me, and my experience is very limited. However, the transition has been seamless.”
Attero Tech Appoints AudMax New Distributor In Hungary
Audmax has recently celebrated its 10th anniversary, founded by experienced professionals from the pro-audio and music industry.
Attero Tech announces the immediate appointment of AudMax (Budapest, Hungary) as the exclusive distributor for Hungary.
Audmax has recently celebrated its 10th anniversary, founded by experienced professionals from the pro-audio and music industry.
“From the beginning, iit was very important to us to build a distribution company with a high level of technical knowledge and with a proper range of equipment that customers can put their hands on rather than simply order from a catalog.” according to founder Krisztian Varga.
”Our initial brands included Audio-Technica and L-Acoustics, then as we grew we added Genelec, Allen & Heath, Tascam, Avid, Montarbo Commercial Audio, and Symetrix on the commercial AV side. We also established our MI division segment with Korg, Vox, and Marshall brands.”
AudMax is involved in many public and private audio integration projects, and delivers sophisticated and robust audio systems. Their installations include all major institutes in the country; MTVA, Palace of Arts, RaM Colosseum, Reformed Great Church of Debrecen, the Hungarian Parliament. They are also we are supplying a variety of Hungarian rental companies like Klemm Concert Technology, Soullight, and Delta TM.
“We’ve been looking for a strong distribution partner to take advantage of the growing Eastern European market,” said Mike Sims, director of sales and marketing at Attero Tech, “and AudMax is the right choice for us in the Hungarian market”.
Varga further adds,”The Attero Tech products fit perfectly into our product range, with versatile Dante based wall plates and interfaces giving a perfect combination with our Symetrix and Allen & Heath Dante networks.”
Posted by House Editor on 09/08 at 01:16 PM
Community Appoints Audio Americas Sales Reps For Central And South America
Based in Santiago de Chile, Audio Americas is a Latin America sales agency specializing in professional audio, MI and consumer AV.
Community Professional announces the appointment of Audio Americas as its sales representative for Central and South America, effective immediately.
With its head office in Santiago de Chile, Audio Americas is a Latin America sales agency specializing in professional audio, MI and consumer AV.
Audio Americas’ support structure facilitates an efficient supply chain with high levels of bilingual customer service, marketing communications, technical support and training programs.
“At Audio Americas we have always sought to partner with the world’s most prestigious and innovative audio brands,” said Audio Americas’ president, Matthew Garfein.
“We represent manufacturers who have not only cutting-edge products, but a company culture that inspires confidence and brand loyalty.”
Garfein continued, “We believe Community has tremendous potential to position itself as a go-to brand for installed sound projects in the Latin America market, particularly in challenging environments where Community products offer tangible benefits versus competing brands.”
Steve Goodwin, Community’s Latin America sales manager, added, “Audio Americas’ reputation for great service and its highly experienced bilingual staff will help us achieve Community’s goal for strong growth in the region and also provide our distribution channel with first class support. We’re very pleased to have them represent our company.”
Posted by House Editor on 09/08 at 12:16 PM
DirectOut Supports Special Headphone Concert For Producer Julian David
Company supplies ANDIAMO.MC amplifiers, BREAKOUT.AN160 extension boxes and MA2CHBOX.XL headphone amplifiers for event in Dortmund.
The Domicil jazz club in Dortmund recently hosted two sold-out evenings to experience a live CD recording and video production for two young jazz bands: the six-piece instrumentalists, “Filou” and the string trio, “Duck Tape Ticket.”
Producer Julian David took the very deliberate decision to ditch the PA in favour of wireless headphones in order to provide a completely immersive experience for the audience as well as the best possible conditions for audio capture and recording.
The event was supported by DirectOut who provided much of the equipment to make the event possible.
In total, DirectOut supplied two ANDIAMO.MC microphone amplifiers, five BREAKOUT.AN160 terminal extension boxes and two MA2CHBOX.XL reference class headphone amplifiers.
A total of 48 channels were recorded on two systems with full redundancy.
The ANDIAMO.MCs were used both as A/D converters and mic preamps in order to amplify the vast number of signals collected across the stage. Both devices were controlled remotely via USB on a separate laptop running Directout’s dedicated ANDIAMO Remote software.
Producer and engineer Julian David used the MA2CHBOX.XL connected via MADI in order to monitor and control the recording with the highest possible quality whilst maintaining flexibility. He was delighted with the results.
“The performance of the various DirectOut elements was utterly convincing and even exceeded my expectations.” he declared.
“The audio quality of the recorded signals is absolutely superb and the entire system worked perfectly. The ability to absorb such a high number of audio channels with such a compact setup and yet absolutely no compromise in terms of performance and flexibility was extremely impressive, and a real blessing. Thanks again to DirectOut for their generous support.”
The live album is due out in early September 2015 along with the video production from music film production company klangmalerei.tv. In addition to the technical support from DirectOut and other pro audio companies, the event was also supported by the Rotarian Jazz Fellowship and a number of private sponsors.