News

Tuesday, February 04, 2014

BSS Audio Introduces Cost Effective Addition To Soundweb London Processor Line

BSS Audio introduces cost effective BLU-50.

Harman’s BSS Audio has announced the addition of a cost-effective signal processor to its acclaimed Soundweb London family of digital signal processors.

The new Soundweb London BLU-50 represents a premium, open-architecture solution in the form of a highly flexible, cost-effective and scalable package.

The BLU-50 is a half-rack width processor that offers a fixed configuration of four inputs and four outputs, configurable signal processing, logic processing and BLU link. The device can be powered with the included 12VDC power supply but can accept 12-48VDC via a terminal block connector. The BLU-50 can also be powered with PoE+ via the Ethernet port, allowing the device to be powered, configured, controlled and monitored using a single Cat 5e cable.

The analog inputs of the BLU-50 provide software configurable gain in 6dB steps up to +48dB per channel and software selectable Phantom Power per channel. Phantom Power, Signal Present and Clip information per channel is easily accessible, without the requirement for a PC, from clear front panel LED indication.

The BLU-50 features BLU link, a low latency, fault tolerant digital audio bus of 48 channels, which uses standard Category 5e cabling giving a distance of 100m between compatible devices. Fiber media converters can be used to increase the distance between devices to over 10km (6.2 miles) using single mode fiber.

The BLU-50 is configured, controlled and monitored from HiQnet Audio Architect or HiQnet London Architect and is compatible with other members of the Soundweb London family. Its 48 channel BLU link bus represents channels 1-48 of the larger 256 channel BLU link bus when integrated with the BLU-800, BLU-320, BLU-160, BLU-120, BLU-BIB and BLU-BOB devices. Up to 60 BLU link compatible devices can share channels on a single bus.

As with other Soundweb London devices, 12 Control Inputs, six Logic Outputs and an RS-232 port allow the BLU-50 to be integrated with other compatible devices.

“With so much capability packed into such a small device, combined with its powering and mounting flexibility, the BLU-50 is the most versatile and affordable open-architecture processor we’ve created to date. The BLU-50 further extends the scalability of the Soundweb London platform and represents a major milestone in the broader applicability of open-architecture solutions,” stated, Iain Gregory, Market Manager for installed sound, Harman Signal Processing.

BSS Audio
Harman

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Posted by Julie Clark on 02/04 at 12:48 PM
AVNewsProductBusinessInstallationProcessorSound ReinforcementPermalink

d&b Unveils xC-Series Column Loudspeakers

d&b's White Range of integration solutions expands to include the new xC-Series column loudspeakers.

The d&b audiotechnik White range of integration solutions has expanded to include the xC-Series column loudspeakers.

This latest addition contributes the same exacting qualities to the installation specific White range as the xS-Series and xA-Series, offering visual, physical, acoustical and electrical integration in a manner that meets the most demanding specifications.

The xC-Series comprises three loudspeakers, the 16C, 24C and 24C-E, all designed for seamless integration into difficult acoustic and aesthetic environments, from houses of worship to conference halls, auditoriums and public spaces; anywhere where the requirement for high speech intelligibility is matched by visual demands.

The xC-Series utilizes high vertical directivity control to focus output on listeners and reduce energy radiating into the reverberant field. The HF array in the 2-way passive 24C has a nominal vertical dispersion of 20°, the main axis can be mechanically adjusted continuously between 0° and -14°.

This is combined with an LF section comprising six 4-inch drivers producing a beam with a fixed downward tilt of 5° and a 90° horizontal dispersion maintained down to 370 Hz. The 24C-E extension, with a further six 4-inch drivers, can be attached directly to the 24C increasing pattern control down to 190 Hz, without any additional amplification or processing. The smaller 16C houses four 4-inch drivers and a 0.75-inch compression driver mounted on a CD horn, producing a nominal dispersion of 90° x 40° (h x v).

The 4-inch drivers are deployed in a unique cardioid setup radiating through waveguide elements at the front and damped ports at the rear of the cabinet. This design provides a constant directivity pattern in the horizontal plane with a broadband attenuation to the rear of approximately 18 dB.

This cardioid pattern produces minimal energy behind the loudspeaker, reducing reflections and resulting in balanced level distribution across the listening area while increasing gain before feedback when working with open microphones. A specifically designed bracket can be attached to the two continuous rails located at the rear of the xC-Series cabinets enabling flat and parallel mounting to the wall. All xC-Series loudspeakers and available accessories can be color matched to interior requirements.

The xC-Series is the first column loudspeaker design developed by d&b.

White range Product Manager Marcus Bäumler commented, “When looking at the typical applications where these types of products are being used, the determination was to provide a simpler solution for (sometimes) complicated issues, by improving column loudspeaker design in a d&b way.”

The xC-Series can be driven by the D6, D12 or D80 amplifiers, which provide three different power ranges, incorporate d&b loudspeaker specific information and have analog and digital signal inputs and links. These amplifiers feature d&b Remote network interfaces, enabling control and monitoring of system functions via the d&b R1 Remote control software platform and connection to other multimedia environments.

This provides extensive system integration capabilities, an increasingly important factor within installed systems. The latest additions to the White range bring the d&b renowned sound qualities within the scope of installers, to meet the exact specifications of architects and designers.

d&b audiotechnik

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Posted by Julie Clark on 02/04 at 12:26 PM
AVLive SoundChurch SoundNewsProductAVInstallationLoudspeakerSound ReinforcementPermalink

Ampco Flashlight Rental Newest Adamson Energía Partner

Ampco Flashlight purchases 32 E15 and 16 E12 line array enclosures -- becomes Energia partner.

Adamson Systems has announced that Ampco Flashlight Rental, with offices in Utrecht, Netherlands and Lint, Belgium, has become an Energía partner with the recent purchase of 32 E15 and 16 E12 line array enclosures.

As premiere professional audio and lighting rental specialists, Ampco Flashlight is known for providing consistent quality, innovative techniques and skilled, dedicated designers, engineer and technicians.

“We have been looking for an additional line-array system that enables us to complete our current growth,” explains Dick van Berkum, CEO Ampco Flashlight. “Starting point has always been based on the best possible specifications that will provide more efficient solutions and outstanding performance. Purchasing the new Adamson Energía system helps us achieve this goal.”

The new Energía line arrays fit all of the company’s requirements for a new sound reinforcement system – outstanding performance, ease of use, and system flexibility. This major new acquisition will support upcoming festivals, concerts, (dance) events and the overall pro-audio industry in Benelux.

“The sound quality combined with the excellent support of the staff at Adamson and the impressive international family of companies that already work with the Energía system make this a very valuable addition to our inventory,” Kees van Koert, technical director Ampco Flashlight adds.

As Ampco Flashlight has grown it has earned a reputation for insisting on the highest technical standards from both engineers and equipment, which make the company the first choice for major festivals, tours, artists and promoters in the region.

“Ampco Flashlight is a cutting edge sound and lighting rental company that consistently invests in new state-of-the-art gear,” adds Jochen Sommer, Adamson director of European operations. “We are delighted to have them as technology partners.”

Adamson Systems

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Posted by Julie Clark on 02/04 at 07:49 AM
Live SoundNewsBusinessConcertLine ArrayLoudspeakerSound ReinforcementStagePermalink

Monday, February 03, 2014

Listen Technologies Welcomes New Rep Firm Griffith Sales Associates

Listen Technologies announces the appointment of a Griffith Sales Associates for Tennessee, North Carolina, South Carolina, Georgia, Mississippi, and Alabama sales.

To continue strengthening its sales force, Listen Technologies announces the appointment of a key representative firm for Tennessee, North Carolina, South Carolina, Georgia, Mississippi, and Alabama.

Listen Technologies is pleased to welcome Griffith Sales Associates as the company’s representative for Tennessee, North Carolina, South Carolina, Georgia, Mississippi, and Alabama.

Griffith Sales Associates will be working Listen’s full line of Wireless Listening, ListenPoint®, and Conferencing products for assistive listening, soundfield, tour group, language interpretation, and conferencing solutions found in venues all over the world.

Griffith Sales Associates brings over 18 years of experience in representing premium audio and video manufacturers in the Southeast US. Their main focus is on offering their customers the best products and AV technology in various markets, with an emphasis on fostering strong relationships with pro AV consultants, integrators, and tour rental companies.

“Griffith Sales is very excited to represent Listen Technologies and its products in the Southeast US! Our goal is to offer our clients the best solutions and Listen Technologies fits this model perfectly,” said Scott Hough, Pro Audio/AV Integration Division Manager at Griffith Sales. “Listen has a respected reputation for delivering excellent solutions to ensure people hear in all kinds of environments and enjoy the full experience they deserve.”

“We’re sincerely looking forward to being part of Griffith Sales’ future success. They bring a depth of knowledge and a commitment to partner and add value to the design, sale and support of the lines they represent. We see this as a great partnership opportunity for success,” stated Co-Founder and Vice President of Sales Worldwide, Cory Schaeffer.

Listen Technologies

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Posted by Julie Clark on 02/03 at 10:53 AM
AVLive SoundNewsAVBusinessInstallationManufacturerPermalink

Yamaha R Remote App For Rio Line

With R Remote, a live recording system can be created with just R Series I/O racks and a computer running Nuendo Live or similar DAW software.

Yamaha Commercial Audio Systems, Inc. has announced today the launch of R Remote software.

R Remote joins the Yamaha R Series input/output rack units, which since their inception, have made significant advancements in audio, creating natural sound quality, Dante audio networking, and system flexibility.

The new Windows-based PC standalone application, R Remote enables remote control of R Series Rio3224-D, Rio1608-D, and Ri8-D rack unit head amplifiers directly from a computer.

With R Remote, a live recording system can be created with just R Series I/O racks and a computer running Nuendo Live or similar DAW software.

Combined with the I/O racks, R Remote can be used with consoles that up until now have not been able to support remote head amp control, such as the 02R96 or 01V96i. For this application, however, a Dante-MY16-AUD expansion card must be installed in the console. The end user will also be able to operate a stand-alone R Series Dante infrastructure independently from a console.

“There is great potential for advanced systems that provide enhanced portability and expandability,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “The development of R Remote is another example of listening to recommendations from our customers in order to provide them with even more advanced system possibilities.”

Yamaha R Remote will be available today, free of charge, via download at http://www.yamahaca.com.

Yamaha

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Posted by Julie Clark on 02/03 at 10:39 AM
Live SoundNewsProductConsolesDigitalRemoteSoftwareSound ReinforcementPermalink

Atlas Sound Announces New European Distribution Partnership

Atlas Sound announces distribution partnership with MediasPro who will distribute in Germany, Austria and Switzerland.

Atlas Sound is pleased to announce a new distribution partnership with MediasPro who will be the exclusive distributor of Atlas Sound products in Germany, Austria, and Switzerland.

“We are very excited to announce this partnership with MediasPro”, said Atlas Sound International Sales Manager Mike Abernathy. “MediasPro is well respected in the industry and across Europe.

“As we have attained CE certification on many of our key products that allow them to be sold into European countries it is important for us to have strong partners. MediasPro helps strengthen our already solid distribution network in Europe as a whole.”

MediasPro will be stocking products from Atlas Sound including loudspeakers, amplifiers, BlueBridge DSP audio controllers, line array speakers, and more.

“MediasPro can be contacted via phone at +49,921 507036-6 or by email at .(JavaScript must be enabled to view this email address). Additionally, Members of the MediasPro team will be on hand at the Integrated Systems Europe Show in Amsterdam, NL February 4th-6th, 2014 in Atlas Sound booth 10-R144.

Posted by Julie Clark on 02/03 at 10:35 AM
AVLive SoundNewsAVBusinessInstallationManufacturerSound ReinforcementPermalink

Home Stadium For St. Louis Rams Adds One Systems On-Field Sound System

Edward Jones Dome in St. Louis utilizes four One Systems Inc. portable loudspeaker systems for playback

When management at the Edward Jones Dome in St. Louis, home of the St. Louis Rams NFL team, determined they needed to improve their music playback capabilities they decided that adding speakers, subwoofers and amplifiers to the main system was not the best solution.

Instead they wanted a sound system that would be flexible enough to work for the home football games as well as for a number of applications and in different locations year-round.

For their solution they turned to Tony Badamo, pro sound and AV specialist at Tech Electronics in St. Louis, to configure and package new, portable on-field systems that would provide the audio quality and flexibility they required.

Tech Electronics immediately turned to One Systems Inc.‘s loudspeaker brands. Having successfully installed them in a number of outdoor and indoor sports facilities, they were confident they could create a system that would meet managements exacting specifications. 

“We’ve used One Systems products for a number of applications and they always deliver the kind of sound our clients demand along with tremendous reliability,” Badamo explains.

Each system was required to deliver 128 dB SPL with a frequency range of 33 Hz to 20,000 Hz + 3 dB. In addition each speaker stack had to be easily movable by one person, fast to set up, yet deliver high output and be capable of projecting its sound long distances. The stacks had to be self-contained including its own mobile cart, power amplifiers, processing, and all AC and signal cabling and the full-range system and subwoofer had to be permanently attached to each other.

But that wasn’t all. The amplifiers had to deliver sufficient power to ensure 3 dB of headroom and each stack had to operate from a standard 20 A 120 V ac circuit and had to include a 15.15 m / 50 ft ac mains cable. To add to the complexity, the rig could be no more than 1.8 m / 6 feet tall, so that it could easily be moved through the stadium’s tunnels onto the field, or into storage to ensure that sightlines weren’t interrupted.

Last but not least, the speakers had to be “industrial grade” with durable enclosures and metal grilles that could withstand impact without damage and they needed to be black and have no manufacturer’s logo visible.

With all of that in mind, Badamo determined that four full-range vertical array/subwoofer stacks placed at each corner of the field would cover the stadium’s large floor area plus be heard above the crowd. This concept would offer the coverage and portable flexibility the stadium was looking for.

Ultimately each of the four stacks consists of one One Systems 312CIMs, one On Point Audio OPA-218-Sub and one Powersoft K3 DSP amplifiers. One channel of the Powersoft K3 DSP amplifier drives each loudspeaker and subwoofer.

The 312CIM is a vertical array loudspeaker featuring three 12-inch woofers with large-format voice coils and a coaxially mounted large-format compression driver. The loudspeaker features 1,200 watts continuous power handling and delivers a 60-degree conical coverage.

The OPA-218-Sub utilizes two powerful 18-inch woofers with 4-inch voice coils housed in a Vented Slot enclosure with 1,600 watts continuous, 6.400 watts peak power handling.

Because the subwoofer enclosures are short and slim but very deep, they were the perfect base for permanently attaching a 312CIM to the top. In order to make the system easy to move and connect, Tech Electronics turned the OPA-218-Subs upside down and screwed large-diameter locking casters on the bottom of the cabinets. Turning the subwoofers upside down also exposed two front-mounted CNC cut handles making it more comfortable for one person to easily move the rig.

In addition to the 312CIM, a 5-RU metal rack was also attached on top of the subwoofer to house the Powersoft K3 DSP, along with two drawers for long AC cables and SLR-type signal cables and accessories.

“The system delivers everything that the Edward Jones Dome asked for,” concludes Badamo. “It has tremendous bandwidth, high output and shakes the building when it’s played while still delivering the sonic nuances of the music perfectly.”

One Systems Inc.‘s

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Posted by Julie Clark on 02/03 at 10:19 AM
Live SoundNewsLoudspeakerSound ReinforcementSubwooferPermalink

Tannoy VQ Series Delivers To Congregation Of 12,000 At Casa de Dios (Video)

Tannoy VQNet loudspeakers provide sound reinforcement at Casa de Dios in Guatamala.

The recently opened Casa de Dios is one of Central America’s latest architectural wonders.

This impressive church is the most recent achievement for Pastor Cash Luna and his followers. With years of careful planning and fundraising finally giving them a new home, the church has space for a congregation of over 12,000 in the main hall, as well as satellite youth churches on either side of the main building.

Michael Garrison Associates, Pastor Luna’s chosen partner for the AV and lighting installation, worked with the architect from the initial stages, adapting the overall design to create a system that would cope with all that was required.

“Because of the size of the sanctuary, we initially specified a line array,” explains Garrison. “However, half way into the project we learned that they wanted to zone the seating to accommodate groups that were far less than 12,000. As a result, we ended up starting from scratch on a new system design.”

A long time user of Tannoy products, it was natural for Garrison to include them in his search for a system solution.

“Initially, we looked at Tannoy and a couple of other brands,” said Michael. “When we modeled all of it, we were very surprised to find that, in the computer modeling, the Tannoy VQ system - an exploded cluster for the main and two delay rings of satellite delay speakers - actually exceeded the max sound level of the very fine line array system, and with much smoother coverage.”

Integrated with cutting edge digital signal processing, network control and dual channel Class D amplification, the VQNET line is a self-powered, networked variant of the company’s flagship VQ Series of high performance, high SPL sound reinforcement system.

With Pastor Cash Luna having the final say on the project, MGA took their modeling data to him and it wasn’t just the SPL levels he was impressed with.

“When we showed the coverage to the pastor and the cost comparison, his mind was made up,” Garrison adds. “Using VQ instead of a line array saved this project something in the realm of $500,000. When he heard that, the pastor said: ‘I don’t care about the touring riders. If they want to play here, they will play with my system.’”

With assistance from Graham Hendry, VP of TC Group’s Applications Engineering and Support division, the team at MGA have designed and installed a system that is unique to the space, but one that also considers aspects such as line of sight and aesthetics as well as the general acoustics.

The system design included one main exploded array flown above the stage consisting of 5 VQ60 loudspeakers. With such a defined pattern control, the VQ60 make the horizontal coverage seamless; as a point source the vertical dispersion is perfectly consistent and not hampered by vertical inconsistencies inherent with line arrays, especially at high frequencies.

“There are two further delay rows consisting of VQ60’s which will allow zoning to accommodate smaller congregations,” Steve Shewlakow, MGA’s senior AV designer, explains. “There’s also a main LF array that consists of 18 VNET 218DRs and 9 of the VNET 215HLs, and then a supplemental 5-position delay zone with 3 VNET218DRs in each zone in a cardioid array. There are also two subs on the ground that act as warmers and front fills.”

One of the most interesting and unique aspects of the installation is the central subwoofer cluster that sits directly in the middle of two large video screens, described by one onlooker as ‘hiding in plain sight’.

“People in Latin America they like a lot of bass, so we knew from the beginning that we couldn’t use the usual US reference points for that,” smiles Garrison. “We knew we would have to put in a low frequency and sub-woofer system that would go beyond what would be expected in the US.”

“With the help of Tannoy, Graham Hendry and other people, we came up with a three wide array that is 9 boxes tall, so a total of 27 boxes, 218s on the outside and the centre is 215 boxes, for the main LF subwoofer array, and then we have some supplemental units at floor level because people want to be able to feel that additional sub to reach the outside edge,” he adds. “Because the room is so deep and because they wanted to be able to zone it, we also have an additional delay ring with 5 positions, with 3 double 18s each. It comes to around 42 subwoofer devices in the room, and it’s pretty amazing. Working with signal timing, we were able to achieve wide dispersion, and it’s a pretty wide fan room.”

That overall performance characteristic of the VQ system impressed everyone involved.

“It’s punchy, it’s concert levels, it’s ‘thump your chest’ kind of levels, so we’re very happy with it,” concludes Garrison. “More importantly the pastor is happy with it, and the sound people are very happy with it.”

Tannoy
TC Group

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Posted by Julie Clark on 02/03 at 10:09 AM
Church SoundNewsInstallationLoudspeakerSound ReinforcementStagePermalink

Lectrosonics Brings Out Humor Of “Anchorman 2 The Legend Continues”

Lectrosonics utilized to record during the filming of Anchorman 2

When Atlanta, GA-based Production Sound Mixer Whit Norris, CAS, was tasked with capturing location sound for “Anchorman 2 The Legend Continues” he utilized Digital Hybrid Wireless technology from
Lectrosonics.

With a pedigree that spans twenty-five years, Norris’ background encompasses industrials, documentaries, commercials, independent films, and episodic television in addition to his work on feature films.

For Anchorman 2 The Legend Continues, Norris used a sizeable amount of Lectrosonics gear, including six SMQV and four SMa Super-Miniature transmitters, and two UM400 bodypack transmitters.

On the receiving end, his setup consisted of two Venue mainframe receiver systems—each fully stocked with six VRT receiver modules—as well as three UCR411a compact receivers. He discussed the project and his use of the Lectrosonics equipment.

Norris also used an HM plug-on transmitter with a push to talk microphone and a UCR411 receiver attached to a portable loudspeaker. This served as VOG (Voice of God, communication between the director and cast) for director Adam McKay.

Norris’ team, which consisted of Doug Cameron, Boom Operator and Dana Simmons, 2nd Boom/Sound Utility, used Lectrosonics R1 and R1A IFB receivers for private communication and monitoring along with an IFB T4 transmitter.

“First and foremost is audio quality, in this regard, the Lectrosonics gear is top notch” Norris explains when asked about his use of the gear. “Secondly, the build quality is terrific: the SMa and SMQV transmitters are really solid. I’ve also been very impressed with the equipment’s easy-to-use design. Both the transmitters and the Venue receivers are very easy to operate.”

“Range is another important consideration,” he adds. “Dropout-free performance is critically important and distance is always a concern for someone in my line of work. In my experience, the Lectrosonics equipment has better overall distance capability than other wireless systems I’ve used.

“I also like the fact that with either the Lectrosonics RM remote or the Lectro RM app for Apple’s iOS, I have the ability to adjust transmitter level, change frequency, or just put the units into sleep mode. It’s really handy so that you don’t have to disrupt an actor’s wardrobe.”

With a film like Anchorman 2 The Legend Continues, one never knows what surprise lines may occur that really help a comedy deliver the laughs. For Norris, capturing everything is critically important.

“These days, when you’re filming comedies like Anchorman 2, there are always two to three cameras to cover the many adlibs that occur when you have a cast this creative,” he reports. “No one wants to miss a performance or line. Even with multiple booms, you may not capture every line unless you’re miking and tracking everyone.

“This is what Lectrosonics wireless helps me do—keep everyone miked! As a sound department, I consider our main job is to capture each and every performance. Giving the post production staff options really helps them in terms of cutting the dialog.”

“I have been very pleased to have owned and operated Lectrosonics products for over 20 years,” Norris concludes. “Everything about Lectrosonics is first rate. The company’s customer service and support is outstanding. They are always listening to their customers, which I think is very important. I really enjoy the great sense of humor the company has, such as those crazy April Fools’ announcements they always seem to come up with.

“Overall, I believe they have been very supportive to the sound for picture community. My experience with the company has been great and I’m looking forward to the future with Lectrosonics.”

Lectrosonics

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Posted by Julie Clark on 02/03 at 09:37 AM
RecordingNewsMicrophoneWirelessPermalink

Symetrix SymNet Edge Deployed At Atlanta’s Stone Mountain Park

Attractions at Georgia's Stone Mountain Park install Symetrix Symnet with a look at expansion.

Crowds flock to Georgia’s Stone Mountain Park from Atlanta and the surrounding states to enjoy the park’s awe-inspiring geology and nature. In addition to a massive laser, fireworks, pyrotechnics, and projection show that has operated on summer evenings since 1983 and is almost synonymous with Stone Mountain Park,

The park’s attractions include the mountain itself, a massive laser, fireworks, pyrotechnics, and projection show that operates on summer evenings, camping, a cable car to the summit, a collection of historic plantation buildings, Geyser Towers playground, the Sky Hike family ropes adventure course, a children’s activity area, and Crossroads Base Camp, a town with restaurants, retail stores, a movie theater, mini-golf, and craft stores.

With so much going on, the owners of Crossroads hired Atlanta-based Full Spectrum to begin deploying a SymetrixSymNet Edge Dante networked audio DSP system that will grow and eventually expand to cover all of the park’s attractions via an inexpensive CAT5 network.

“The owners built Crossroads about a decade ago, and the original sound system did a passable job of supplying background music,” explained Paul Creasy, partner at Full Spectrum. “But as the development grew and several of the establishments set their sights on more and different events, the constraints of the original system became apparent.

“The upshot was that they needed something that was completely flexible. Moreover, the owners wanted to expand system coverage to several of the other attractions, but they didn’t want to have to start from scratch every time they expanded. The Symetrix SymNet Edge DSP system offered the perfect solution.

“Each Edge frame has modular I/O, and its open architecture programming allows us to customize system features and performance. The fact that the Edge DSP system networks via Dante will allow us to easily expand across the park.”

Currently, eight SymNet Edge frames populate Crossroads, each in a different building.

“We do niche A/V,” said Creasy. “You can’t call up a preset for a place like Stone Mountain Park. I appreciate the flexibility and intuitive layout of SymNet Composer open architecture software. It’s easy to work with, even with a complex system like this one. Moreover, any time I have a question, Symetrix’ tech support is available and ready with an answer.”

Within the next year, Full Spectrum plans to expand the sound reinforcement system via Dante and additional remote Edge DSP units to incorporate the Plantation, the Sky Ride cable car complex, and, perhaps most exciting, Stone Mountain’s famous laser show.

Symetrix

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Posted by Julie Clark on 02/03 at 09:32 AM
AVNewsDigitalInstallationNetworkingProcessorPermalink

Adamson Systems E15/E12/E218 System Supports 101st Grey Cup Festival

Adamson E15, E12 and E218 rock the house for Grey Cup Festival.

The 101st Grey Cup festival was recently held in Saskatchewan, Canada, featuring three nights of shows with artists such as Hedley, Barenaked Ladies and Big & Rich at the Brandt Centre in Regina.

Tour Tech East, based in Dartmouth, Nova Scotia, was called upon to provide sound reinforcement and production services for the festival. The company recently joined Adamson’s Energia program and invested in a new E15/E12/E218 PA.

Nathan Petrie, system tech for Tour Tech East, deployed the new system for the music festival that led up to the Canadian Football League (CFL) championship game.

“We hung 12 E15s with 3 SpekTrix to the left and right of the stage – 30 enclosures total – supported by 16 E12s for outfills (8 per side) and 24 E218 ground stacked subwoofers,” Petrie explains. “It sounded incredible. That combination is extremely hard to beat in terms of output, fidelity and low end. All of the bands were very impressed.”

Adamson’s new E12 is a 3-way true line source cabinet that incorporates two 12” ND12-S Kevlar Neodymium woofers to handle the low frequency band. The mid-high band consists of a 7” YX7 Kevlar Neodymium driver and a 4” diaphragm NH4 compression driver mounted to the next generation of Adamson’s unique co-linear drive module.

The optimized sound chamber produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 8° (HxV). The enclosure’s efficiency allows for increased horizontal dispersion without sacrificing high frequency in the far field.

“The E12 sounds absolutely fantastic,” adds Petrie. “It not only works great as outfill but we have every intention to pair it with the E218 sub and use it as a stand-alone system for small to mid-sized venues as well. It is an extremely flexible system.”

The newly introduced E218 features two lightweight, long excursion ND18-S Kevlar Neodymium drivers mounted in an efficient band-pass cabinet. In addition to ground stacking, the E218 can also be flown utilizing the Energia Modular Rigging Frame which allows the E218 and E12 cabinets to be flown in the same array.

Tour Tech East completed the system with 4 Metrix and 2 Metrix Wave enclosures for front fill. Adamson representatives were on hand to assist with deployment.

“I can’t say enough about the event,” concludes Petrie. “Everything went off without a hitch and the audience, the bands and the Grey Cup people were very, very happy with the end result.”

Adamson’s

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Posted by Julie Clark on 02/03 at 06:53 AM
Live SoundNewsConcertLine ArrayLoudspeakerSound ReinforcementSubwooferPermalink

Sunday, February 02, 2014

Yorkville Sound Adds New Powered Subwoofers To Parasource Series Loudspeaker Line

Use 15 mm Birch plywood cabinet construction for maximum durability

 
Building on the success of the Parasource Series powered loudspeaker line introduced in 2013, new Yorkville Sound Parasource powered subwoofers have 15 mm Birch plywood cabinet construction for maximum durability.

The new subs also have a rugged ultrathane painted finish, custom designed perforated all-metal grille and all-metal handles that further bolster long term reliability.

High-power, long-excursion woofers and high-efficiency Class D amplifier design are additional hallmarks of the news subs. They’re available in three sizes and power levels.

The single 12-inch, 900-watt (program) PS12S sub is a great companion for the PS10P full-range powered loudspeaker for a compact, high-performance PA in club venues.

For medium-sized club and concert applications, the 15-inch, 1,000-watt (program) PS15S sub combined with the PS12P full-range powered cabinet will deliver commensurate performance.

And for larger applications demanding added bottom end and punch, there’s the new PS18S 18-inch, 1,200-watt (program) sub, matched with the PS15P full-range powered loudspeaker.

All Parasource Series subwoofers and loudspeakers are made in Canada, and covered by a two-year unconditional warranty.

U.S. MSRP:
PS12S – $1,499
PS15S – $1,729
PS18S – $1,999

Yorkville Sound

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Posted by Keith Clark on 02/02 at 03:25 PM
AVLive SoundChurch SoundNewsProductAVLoudspeakerSound ReinforcementSubwooferPermalink

New Products & News Highlights From 2014 NAMM

The music product industry returns to businesses in every corner of the globe following the 2014 NAMM Show held in Anaheim, January 23-26. Expanding product categories such as technology-driven music products and emerging brands pushed the show to its one of its largest and most diverse editions yet.

“As the global platform for the music products industry, the NAMM Show is an annual checkup for what is happening in the music marketplace worldwide,” says Joe Lamond, president and CEO of NAMM. “A focus on doing business reflected confidence among buyers and manufacturers alike. Fortified with NAMM U education, networking and fun opportunities that only occur at the NAMM Show, NAMM Members expressed to me a renewed spirit for the year ahead. I believe that the stage is set for growth in 2014.”

Emerging brands, growth in pro audio and the music technology category, and an increase in international exhibitors, converged for the second-highest exhibiting company number ever. There were 1,533 exhibiting companies representing 5,010 brands.

Meeting those brands was a 2 percent increase in buyers over 2013. Buyers arrived in Anaheim focused on rebuilding inventory after a strong school music season, and on building up categories currently experiencing strong consumer demand. In total, 96,129 members of the music product industry registered for the 2014 NAMM Show.

New entrepreneurs and categories entering the music market brought 303 new exhibiting companies to the show. NAMM membership and in turn the NAMM Show is increasingly global, as reflected in the 6 percent increase in international attendees.

Here’s the new pro audio (and related) product and news from the “big show.”

Take our Photo Gallery Tour of the 2014 NAMM Show

Consoles & Mixers
Yamaha Next-Generation MG Series Small-Format Mixing Consoles
QSC TouchMix Series Compact Digital Mixers
Soundcraft Si Performer 1 Digital Console
Allen & Heath Qu-24 Compact Digital Mixer
Roland Systems Group “All-In-One” VR-3EX AV Mixer
Midas M32 Digital Mixing Console
Soundcraft VI Console Integration With Universal Audio UAD Plug-Ins
Midas Mixtender 2 iPad App
Behringer X18 Digital Mixer For iPad, Other Tablet Devices
Aviom D800 and D800-Dante A-Net Distributors
Soundcraft Vi Version 4.8 Software For Vi2, Vi4 & Vi6 Consoles
Midas DL150 Series I/O Boxes
Waves Audio Dugan Automixer Plug-In
Allen & Heath Xone:23 DJ Mixer
SSL Matrix2 Studio Console

Line Arrays & Loudspeakers
JBL Professional VTX V20 Line Array And S25 Subwoofer
Electro-Voice ETX Portable Powered Loudspeakers
D.A.S. Audio Event Series Self-Powered Line Array
Turbosound Revamped Milan Series Loudspeakers
One Systems OPALine Vertical Line Array
Grund Audio Design GP Series Loudspeakers
Yorkville Returns Production Of YX Series Loudspeakers To Canada
Turbosound iQ Loudspeaker Systems With “Acoustic Integration”
HK Audio Elements Powered Subwoofer
Behringer B110D & B108D Active Loudspeakers
JBL VTX F Series For Accompanying VTX Line Arrays
Behringer Unveils Europort PPA Series Portable PA Systems
Yorkville Sound Parasource Series Powered Subwoofers
Turbosound TLX Compact Series Line Arrays
JBL Professional VRX Line Array Calculator

Microphones & Wireless Systems
Shure GLXD6 Guitar Pedal Receiver With Integrated Tuner
AKG WMS420 Wireless Microphone System
DPA Microphones d:fine 66 And 88 Miniature Headset Mics
Audio-Technica System 10 Wireless Guitar Stompbox
CAD Audio CADLive Microphones For Percussion & Guitar Cabinets
DPA Microphones Facelift For d:facto Vocal Mic
Behringer Expands ULM Series Wireless Systems
IK Multimedia iRig Mic HD
Morton Microphone Systems KickTone Bass Drum Microphone
Bock iFet Condenser Microphone From TransAudio Group
DPA Microphones d:vote Rock Touring Kits
CAD Audio 1600 Series UHF Wireless System
DPA Microphones d:dicate Series MMP-F Modular Active Boom

Networking & Interfaces
Audinate Dante Controller Version 3.5
Klark Teknik DN9680 With 192 Channels And 1,000-Meter Range
Behringer Expands Network Options For X32 Console
Aphex IN2 Desktop Audio Interface
Radial Engineering StageBug SB-7 EarMuff Headphone Interface
Apogee JAM 96k Professional Guitar Interface For iPad, iPhone & Mac
Universal Audio Announces Unison Technology
Behringer New Family Of Universal Control Surfaces
Steinberg UR44 Audio Interface
Universal Audio Apollo Twin High-Resolution Desktop Interface
Aviom D800 and D800-Dante A-Net Distributors
Focusrite iTrack Dock For iPad
Aphex D 500 Duo 2-Slot Rack Unit For 500 Series
Gepco Live Music Venue Solutions

Software
PreSonus Add-Ons For New Studio One 2.6.2
ADX TRAX Audio Separation Software
Waves Audio Scheps 73 Plug-In
New Midas PRO Series Software
Soundcraft VI Console Integration With Universal Audio UAD Plug-Ins
Waves Audio Morgan Page EMP Plug-In Toolbox

Recording Gear
Waves Audio SoundGrid Studio System
Radial Space Heater Tube Drive & Summing Mixer Combo
Rupert Neve Designs 551 Inductor EQ
API 500-8 Lunchbox For 500 Series
Waves Audio Morgan Page EMP Plug-In Toolbox
Chandler Limited TG2-500 Preamp For 500 Series Racks
Manley Labs CORE Reference Channel Strip
Aphex D 500 Duo 2-Slot Rack Unit For 500 Series
Sonodyne SRP Series Studio Monitors
API 505 DI And The 565 Ban 500 Series Modules
Genelec 8010 Active Studio Monitors
Waves Audio Scheps 73 Plug-In
Massenburg DesignWorks Parametric EQ 5 Plug-In Compatible With Pro Tools 11
Radial Engineering StageBug SB-7 EarMuff Headphone Interface
Audio-Technica Next-Generation M-Series Headphones
Aphex 500 Series Modules: CX 500 & Project 500
Blue Sky Star System One 2.1 Studio Monitors
Cerwin-Vega! Expands XD Desktop Loudspeaker Series
PreSonus Temblor T10 Studio Subwoofer
SSL Matrix2 Studio Console
Equator Audio FB/E Sound Abatement Panels
Focusrite iTrack Dock For iPad
Aphex IN2 Desktop Audio Interface
iZotope BreakTweaker Drum Sculpting & Beat Sequencing

Audio Tools
Audio-Technica Next-Generation M-Series Headphones
IsoAcoustics Custom Configurable Modular Acoustic Isolation Stands
JBL Professional VRX Line Array Calculator
CAD Audio Expands Acousti-Shield Line With AS22 & AS16
Radial Engineering Headload Guitar Amplifier Attenuator
Sensaphonics 3D AARO In-Ear Monitoring System
New Sennheiser DJ Headphones
Hosa Technology Edge Series Microphone, Loudspeaker & Guitar Cables
“Musical iPad: Performing, Creating & Learning Music On Your iPad” From Hal Leonard
Waves Audio Dugan Automixer Plug-In
Equator Audio FB/E Sound Abatement Panels

Show News
Meet The Winners Of The Fifth Annual Readers Choice Best Product Awards
Yorkville Returns Production Of YX Series Loudspeakers To Canada
Mr. Bonzai Hosts Bold “Producers” Panel At 2014 NAMM Show
Winners Of The 29th Annual TEC Technical Excellence & Creativity Awards
Harman Pro Components Make Up Concert System For Grand Plaza Main Stage
Furman Celebrates 40th Anniversary
SSL Establishes Live Console Distribution In Austria And Hungary
AM&S Names Evan MacKenzie To Lead Marketing Communications
Pivitec Appoints John Garbutt National Sales Manager
MUSIC Group Appoints Greg McLagan AVP, Business Development Professional Division
Furman Rejoins D-Tools Manufacturer Vantage Point (MVP) Program
More Than 100 Live Music Performances At 2014 NAMM Show
NAMM Foundation Inducts Breakthrough Inventions At TECnology Hall Of Fame Ceremony

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Posted by Keith Clark on 02/02 at 03:10 PM
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Saturday, February 01, 2014

Behringer Expands ULM Series Of Wireless Systems

Four new systems available with selection of transmitters, single- or dual-channel receivers

Behringer has expanded the ULM Series of wireless systems. The new ULM200MIC pairs a single wireless mic with the ULM200R single-channel receiver, while the new ULM202MIC comes with two handheld wireless mics and a dedicated dual-channel receiver.

In addition, the new ULM200LAV package pairs a lavalier mic and belt-pack transmitter with a single-channel receiver, while the new ULM200GTR is designed for guitarists and bassists, made up of a belt-pack transmitter with a dedicated single-channel receiver.

All microphones contain transmitters operating in the 2.4 GHz range. All signals are digitally encrypted to help insure the highest-quality reception, without random artifacts.

All systems have a range of up to 400 feet (120 m), with dual-diversity technology. Front-panel LEDs on the receiver show signal presence and strength, while indicators on the transmitter inidicate when it’s time to change batteries.

Audio outputs are balanced XLR and unbalanced 1/4-inch TS, allowing connection to PA and conference room systems, or high-quality instrument amplifiers.

“These wireless mic systems offer an option for almost anyone, from presenter – to pastor – to performer,’ says product manager Bert Niedermeyer. “They have outstanding build quality and are an exceptional value. Try one and you’ll discover what total freedom can do for your performance.”

The ULM202MIC, ULM200MIC, ULM200LAV ULM200GTR are available at a suggested MAP of $149.99, $99.99, $99.99 and $99.99, respectively, and are covered by MUSIC Group’s 3-Year Limited Warranty Program.

Behringer
MUSIC Group

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Posted by Keith Clark on 02/01 at 01:28 PM
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Friday, January 31, 2014

Capital Sound Chooses Self-Powered Meyer Sound MILO for Adrenaline-Filled Nitro Circus Live

“Nitro Circus Live,” the extreme stunt show featuring daring stunt specialists on motorbikes, skateboards, and BMX bikes, untilized Meyer Sound on tour.

A self-powered Meyer Sound MILO line array loudspeaker system recently accompanied the 15-city European arena tour of “Nitro Circus Live,” the extreme stunt show featuring daring stunt specialists on motorbikes, skateboards, and BMX bikes. 

Over the roar of both frenzied fans and motorbikes, the Meyer Sound system from London-based Capital Sound delivered clear, powerful audio for the show’s announcements, interviews, and music playback.

According to Capital Sound, the MILO system offered ample power and crisp intelligibility, as well as the logistical advantages of self-powered technology.

“With the show being on the floor of the venue, the cable routings, power distribution, and any amplifiers that would normally be sited on the ground would get in the way,” says Paul Timmins, general manager of Capital Sound. “Also, with the tight schedule for rigging and de-rigging, speed was of the essence.

“To achieve all these aims, we deployed a customized MILO system with dedicated power distribution on top of each hang. This meant we could put any hang in any position in the building, all linked via an Optocore fiber optic digital network system.”

For most shows, the coverage requirement was for either 270 degrees or 360 degrees. The general setup featured six hangs of nine MILO loudspeakers over three MICA line array loudspeakers, with two arrays of nine MICA loudspeakers each for delay, eight UPA-1P loudspeakers for fill, and 16 700-HP subwoofers positioned under the lander ramps. A Galileo loudspeaker management system with three Galileo 616 processors supplied system drive and optimization.

“The MILOs did most of the work, with the MICAs hanging off the bottom and supported by a clever Meyer Sound transition frame,” says Timmins. “This worked exceptionally well, allowing us to configure the hangs depending on the room.”

As directed by George Gorga, head of sound for “Nitro Circus Live,” the main hangs were flown just off-center in each venue. With this positioning, and the arrays pre-cabled and on dollies, the Capital Sound team could rig the system clear of everything else that was going on, significantly decreasing setup time.

Inputs for the show principally came from ten Shure UHF-R handheld and headset microphones, plus a pair of Denon D-630 CD players, all mixed by Gorga on a Yamaha M7CL digital console. In addition to the main Meyer Sound system, console outputs also fed eight Sennheiser 2000 series IEM transmitters with 16 receivers, plus Sennheiser HD-25 headphones for local monitoring.

Hosted by and featuring daredevil entrepreneur Travis Pastrana, the “Nitro Circus Live” tour was spawned by the success of the “Nitro Circus” reality TV series which started in 2006.

Meyer Sound

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Posted by Julie Clark on 01/31 at 05:04 PM
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