News

Wednesday, September 25, 2013

United States Air Force Academy Band Seeking Audio Engineer

Interested candidates need to respond with resume and more by November 12

The United States Air Force Academy Band is seeking an audio engineer. Interested candidates should send a cover letter, resume, 3 references, and a demo CD or DVD by November 12, 2013.

Candidates who advance will be required at a live audition at Peterson Air Force Base in Colorado Springs, CO on January 13, 2014.

For salary and benefit information, please contact MSgt Tim Blake at (719) 556-9966 or visit the Academy Band website.

The United States Air Force is an equal opportunity employer.

By the way, to learn more about a career in audio with a U.S. military band, check out this profile of Karl Jackson, chief audio technician, United States Marine Band.

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Posted by Keith Clark on 09/25 at 04:45 PM
AVLive SoundRecordingNewsTrainingAVBusinessEngineerSound ReinforcementTechnicianPermalink

Justin Moore Rolls With Miktek PM9 Microphones At The Brickyard 400 In Indy

Singer-songwriter cuts through the noise with supercardioid dynamic mic

At the NASCAR Brickyard 400 at the Indianapolis Motor Speedway in July, the opening ceremonies featured popular country singer/songwriter Justin Moore and his band performing with PM9 handheld microphones from Nashville-based Miktek.

Front of house engineer Jeff Oliver states, “The Miktek PM9 is awesome right out of the box. I know it will sound like him, it will work, and I won’t have to adjust anything.”

Steve Durr, a noted acoustical consultant who’s responsible for all audio systems at the Indianapolis Motor Speedway, notes, “I was very surprised at the quality of the vocal sound when I went around front to listen, it was so rich and full without any extreme high end exaggeration. I walked away with a hundred things on my mind and later when things calmed down I thought, that was the Miktek vocal mic and it sounded truly spectacular.”

Monitor engineer Arthur Switzer adds, “Usually I cut the low mids of Justin’s vocal because it gets muddy and hard to deal with, but with the PM9, the rich low-mid response was exceptional soI added it back in. The whole vocal sat perfectly in the mix.”

The PM9 is a supercardioid, dynamic microphone with a custom-designed neodymium capsule element and custom AMI transformer. It also has a multistage windscreen, steel grille and die-cast body with a sleek, black finish and stainless steel appointments.It ships with a protective case and mic clip.

Miktek

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Posted by Keith Clark on 09/25 at 04:32 PM
Live SoundNewsConcertMicrophoneMonitoringSound ReinforcementPermalink

Martin Audio Hosting Demonstrations Of MLA Compact In New York, Washington DC

Opportunity for attendees to learn more about MLA Compact’s cellular drive technology

Martin Audio will be holding exclusive demonstrations of its MLA Compact loudspeaker system in New York City and Washington DC this coming October.

The New York demonstration is scheduled for October 21 and 22 in the Grand Ballroom of Manhattan Center Studios, and the Washington D.C. demo is slated for October 24 in the Lisner Auditorium at The George Washington University. (Register online here.)

Both demonstrations will provide the unique opportunity for audio engineers, theatrical sound designers and event production management to learn more about MLA Compact’s cellular drive technology, and experience the system in person. (Register online here.)

There will be a variety of two-hour time slots available for the demos, each including a technical presentation by Martin Audio research and development director Jason Baird and a live demonstration of the system. Refreshments will also be provided.

To register online for the New York event, go here.

To register online for the Washington DC event, go here.

Martin Audio

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Posted by Keith Clark on 09/25 at 03:28 PM
AVLive SoundChurch SoundNewsProductTrainingAVEducationEngineerLine ArraySound ReinforcementTechnicianPermalink

New SSL Live Console Now Shipping

Three to Britannia Row and two more to SGroup in France

The new Solid State Logic (SSL) Live console, which debuted at Prolight + Sound in April, 2013, is now shipping.

The first three consoles all shipped to U.K.-based global tour production company Britannia Row for use on Peter Gabriel’s forthcoming European ‘Back to Front’ tour, and another two shipped to SGroup in France for the imminent Amel Bent tour.

Console manufacturing production for 2013 has been sold out since July, and details of the new commercial partner network for SSL Live are available in the “Where to Buy” section of the SSL website (here).

SSL CEO Antony David states: “The on-schedule completion of the new Live console is an important milestone for SSL. This has been one of the biggest developments we have undertaken for some time and marks the first application of our new Tempest digital platform. We have been very encouraged by the response from mix engineers, rental companies and our channel partners since we presented the console in April this year. Demand has substantially outstripped our initial production plans, but we will return to reasonable lead times by early 2014.”

Since April, SSL has expanded its dedicated Live product team with key hires including Jason Kelly as Live Consoles product manager based in the U.K. office, and Jay Easley as vice president – Live Consoles to lead SSL’s live sector sales operation in North America.

Certified training courses have also commenced, with focus on commercial partners and initial purchasers. A training program for the wider operator community is scheduled to commence from January, 2014.

The SSL Live will be exhibited at next month’s 135th International AES Convention in New York and at ISE in Amsterdam in February 2014.  With its latest offerings, SSL will relocate to Hall 8 at Prolight + Sound in Frankfurt in March 2014 and the company will exhibit at InfoComm for the first time, in Las Vegas in June, 2014.

image

 

Solid State Logic

 

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Posted by Keith Clark on 09/25 at 02:35 PM
AVLive SoundChurch SoundNewsProductAVBusinessConsolesDigitalMixerPermalink

Line 6 Announces POD HD ProX Guitar Multi-Effects Processor/Studio Interface

New rack-mount guitar processor features more DSP power, giving guitarists greater creative flexibility in the studio

Line 6, Inc. today introduced the new POD HD Pro X guitar multi-effects processor and studio interface, replacing the popular POD HD Pro.

Like the recently released POD HD500X, POD HD Pro X features more DSP processing power than before, giving musicians even greater flexibility for creating complex signal paths and unique, intricate tones.

“POD HD Pro X makes the latest POD available in a rack-mountable form factor,” said Max Gutnik, Vice President of Products, Line 6. “With a world-class collection of amps and effects, plus more DSP power than ever, POD HD Pro X represents the ultimate creative studio tool for guitar players.”

POD HD Pro X features the same award-winning collection of HD amps as its predecessor. From vintage classics to modern powerhouses, each HD amp delivers incredible sonic depth, character and touch nuance. More than 100 studio and stomp effects allow guitarists to re-create classic signal chains or discover completely new sounds.

Featuring unmatched flexibility and greater processing power than any other guitar interface, POD Pro X is designed for tone exploration.

Dynamic DSP gives guitarists the freedom to decide which effects to use, and where to place them in the signal chain. They can now add even more effects than before, opening up all-new tonal possibilities.

With a wide variety of analog and digital connections, POD HD Pro X is ideal as a studio interface. Guitarists can record vocals or acoustic instruments, track with their favorite HD amps, use the stereo FX loop to connect stompboxes and outboard effects, and much more.

A USB connection provides multi-channel, studio-quality recording with popular digital audio workstations.

POD HD Pro X is the perfect foundation for any guitar system, and integrates seamlessly with a James Tyler Variax guitar and DT amp or StageSource speaker to form the Line 6 Dream Rig—the only system that can be virtually any rig.

Line 6

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Posted by Julie Clark on 09/25 at 10:44 AM
Live SoundNewsProductConcertManufacturerProcessorStudioPermalink

Berlin Academy Installs Allen & Heath GS-R24 In New Recording Studio

The School of Entertainment & Technology (SET) in Berlin, Germany, has installed an Allen & Heath GS-R24M mixing console in its recording studio.

The School of Entertainment & Technology (SET) in Berlin, Germany, has installed an Allen & Heath GS-R24M mixing console in its recording studio.

SET is managed alongside the School of Health, Sport, Technology and the Arts that makes up the Berlin Academy. Current investment plans are dedicated to improving the field of music and media, and in addition to a fully-fledged recording studio, the institute is also building a video studio and various seminar halls.

Following extensive comparisons, SET decided to purchase a GS-R24M mixer with a GSR-24-A-Fire Firewire / ADAT card.

“We wanted to have an analogue console that could also be used in conjunction with a DAW,” explains Horst Haubrich, head of the SET Academy. “With most analogue consoles, it would be necessary to also purchase a DAW controller but that is not the case with the GS-R24M, which combines the world of analogue and digital perfectly.

“Not only can it function as a conventional mixer with all the associated benefits but also as a controller for various DAWs - all at a very convincing price-performance ratio! “

“A new firmware update equips the GS-R24 with additional control that enables the highest possible integration with Pro Tools ever achieved by an analogue mixer at this price point,” says A&H product specialist, Nicola Beretta. “It’s like having a dedicated HUI controller embedded in the analogue heart of GS-R24. You press a channel Select button, and you get instant access to all key functions in the master section.”

Allen & Heath

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Posted by Julie Clark on 09/25 at 10:34 AM
RecordingNewsConsolesDigitalEducationStudioPermalink

Rusty Waite To Lead EAW Worldwide Sales

EAW President Jeff Rocha has announced the appointment of Rusty Waite as VP Sales.

EAW has announced the appointment of Rusty Waite to the position of VP Sales.

Waite, a 25-year audio industry veteran, will lead the worldwide EAW sales network from his new home base in EAW’s design center in Whitinsville, MA USA.

The announcement was made by Jeff Rocha, EAW President, on the heels of the breakthrough Anya adaptive touring sound system rollout, and recent marquis EAW installations at Barclay’s Center (Brooklyn, NY USA) and the soon-to-be-commissioned Singapore Sports Hub.

“EAW is poised to leapfrog others in our space with the Anya system, and we need a powerhouse leader of our sales network to plan for, manage and compound this growth,” explains Rocha. “Rusty has just the right mix of hands-on product and industry knowledge, audio engineering and production chops, marketing savvy and business development experience to take EAW to the next level and beyond.”

“Throughout my 25 years in the industry, I’ve looked up to the EAW brand for its phenomenal sound and reliability,” commented Waite. “But as I got closer, I was flat-out blown away by the newer lines such as Anya and the QX series.

“That coupled with the fact that the majority of EAW speakers are once again manufactured in the US, our momentum is catching on both domestically and internationally, and I cannot wait to see what we as a team do next.”

EAW

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Posted by Julie Clark on 09/25 at 10:22 AM
Live SoundChurch SoundNewsBusinessLoudspeakerManufacturerPermalink

D.A.S. Audio Manufacturers 10,000 Aero 12A System

D.A.S. Audio has announced that the company manufactured the 10,000th unit of its successful Aero 12A powered line array systems in July.

D.A.S. Audio has announced that the company manufactured the 10,000th unit of its successful Aero 12A powered line array systems in July.

The powerful D.A.S. Aero Series 2 range of line array systems is the result of the company’s continuous effort and work developing successive generations of Aero Series line array systems over the past 10 years.

The versatility of the D.A.S. Aero 12A systems has led to their use in a range of concerts staged by major stars, including world-renowned artists George Benson, Justin Bieber, Alan Parsons, Guns N’ Roses and Simple Minds.

The systems have also become regulars at festivals around the world: Ultra Music Festival in the U.S., FIB and Arenal Sound in Spain, Eristoff in India or Gods of Metal in Italy, to name a few.

The Aero 12A´s have also been on hand to ensure superb sound at a variety of non-musical events on an international scale, like the F1 European GP and Barack Obama’s campaign in the United States.

In addition to live sound applications, the Aero 12As are equally ideal for permanent installs. The Aero 12A´s have been installed in theaters, concert halls, clubs and arenas worldwide, including the Paradise Theater and Stage 48 Club in the U.S., the Broendby Hallen Arena in Denmark and the Buesa Arena in Spain.

D.A.S. Audio

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Posted by Julie Clark on 09/25 at 09:34 AM
Live SoundChurch SoundNewsConcertInstallationLine ArrayLoudspeakerSound ReinforcementStagePermalink

Masque Sound Reinforces The Glass Menagerie On Broadway

Masque Sound continues its Broadway run by providing a custom audio equipment package for the groundbreaking new production of Tennessee Williams’ masterpiece, The Glass Menagerie.

Masque Sound  continues its Broadway run by providing a custom audio equipment package for the groundbreaking new production of Tennessee Williams’ masterpiece, The Glass Menagerie.

For sound designer Clive Goodwin, there were two main goals: To make the play sound as natural as possible and to ensure that the whole audience, even members seated in the very back of the mezzanine, could clearly hear Nico Muhly’s beautiful composition.

“Nico’s music sets the theme for the show,” says Goodwin. “The Glass Menagerie is a memory play about the character Tom’s recollections, and Nico’s music beautifully creates that atmosphere.

“It makes it slightly surreal, so as the sound designer, I wanted to do justice to Nico’s composition and try to make it sound even more exquisite than it already is, and Masque Sound helped make that possible.”

Goodwin’s biggest challenge was dispersing the sound on stage to the back of the theater without it sounding mic’d.

In order to do this, Masque Sound provided him with an array of Funktion-One speakers, an unorthodox speaker for the Broadway stage.

“The Funktion-One speakers that Masque Sound provided really allow me to control the dispersion, especially upstairs,” adds Goodwin. “By using the Funktion-Ones, we have the most control possible and are able to minimize room reflections that would otherwise muddy the sound.”

Masque Sound’s custom equipment package also included a Midas Pro1 compact digital console, Rode RF-Bias Shotgun mics, Sennheiser wireless microphones, XTA DP428/448 audio management system, D&B E3 speakers, Meyer UMS-1P subwoofers and a Clear-Com Intercom system.

“Masque Sound has always been great to work with,” adds Goodwin. “They work very hard and go the extra mile to make me, as a sound designer, happy.”

The Glass Menagerie is currently playing on Broadway at the Booth Theatre. The production officially opens on Thursday, September 26, 2013, and its 17-week run is slated to conclude on January 5, 2014.

Masque Sound

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Posted by Julie Clark on 09/25 at 09:18 AM
Live SoundNewsConsolesDigitalLoudspeakerSound ReinforcementStagePermalink

Hosa Technology Announces New Mogan Elite Ice Omni Earset Microphone

Hosa Technology Announces New Mogan Elite Ice Omni Earset Microphone

Hosa Technology is pleased to announce the new Mogan Elite ICE Omni Earset Microphone.

As the newest addition to the Mogan Microphones brand of subminiature microphones, the new Mogan Elite ICE builds upon the strengths of the original Mogan Elite Earset Microphone while taking fit and appearance to an entirely new level.

Designed to deliver full-frequency vocal reproduction for the most discerning presenter or performer, the new Mogan Elite ICE Earset Microphone is a terrific choice for broadcasters, theatrical performers, church worship leaders, and other professionals seeking exceptional audio performance while taking advantage of the microphone’s all-but invisible appearance.

At the heart of this outstanding microphone is a moisture-resistant, 2.5 mm Omni-directional capsule with -45 dB nominal sensitivity that is designed to be positioned farther from one’s mouth.

Delivering full-frequency audio performance (20 Hz – 20 kHz) with a maximum SPL rating of 140 dB and high gain before feedback, this microphone delivers the natural, resonant sound quality that is required for on-air applications and critical, live sound reinforcement tasks, including vocal reproduction in a theatrical environment.

For those seeking an earset mic with an uncommonly discreet visual appearance, the new Mogan Elite ICE is the ideal choice.

Featuring the new Invisi-Clear Earpiece (ICE)—the industry’s only transparent earpiece—the Mogan Elite ICE provides low visibility on stage or on camera by blending with the user’s skin tone.

In addition to the comfort and security provided by the hypoallergenic Mogan earpiece, the Elite ICE microphone offers a thin, strong boom that can be positioned on the user’s left or right side and adjusted to the contours of any face.

The end result is a microphone that provides an unmatched combination of pristine sound, low visibility, and superior comfort.

The new Mogan Elite ICE Omni Earset Microphone can be used with a variety of interchangeable cables that enables one to connect the microphone to most popular wireless transmitters, including models from Shure, AKG, Sennheiser, and Audio Technica.

Each microphone ships with a detachable, Kevlar-reinforced cable with a hardwired connector.

The new Mogan Elite ICE Omni Earset Microphone ships with a beige boom to blend with a variety of skin tones.

Additionally, the system package includes a foam windscreen and a single cable clip and ships in an impact-resistant, specially designed aluminum case.

“The Mogan Elite ICE earset microphone delivers exceptional performance that enables the mic to be right at home in a variety of high-end applications, including broadcast and theater,” comments Jose Gonzalex, Hosa Technology’s product manager. “In addition to its stellar audio quality, the microphone’s transparent earset is both very comfortable to wear and, from a visual perspective, blends seamlessly with any skin tone.

“The hypoallergenic earpiece is highly adjustable and the boom mechanism facilitates precise positioning of the microphone’s capsule. I genuinely believe this newest member of the Mogan microphone line will find its rightful place among numerous mission critical audio applications.”

The Mogan Elite ICE Omni Earset Microphone is available now. MSRP is $400.

Hosa Technology

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Posted by Julie Clark on 09/25 at 09:02 AM
Live SoundChurch SoundNewsProductMicrophoneSound ReinforcementStagePermalink

Tuesday, September 24, 2013

New AmpliTube Release For iPhone, iPad Adds iOS 7 Support

The most popular guitar-playing and recording-studio app adds iOS 7 support and Inter-App Audio functionality

IK Multimedia is pleased to announce a new version of AmpliTube for iPhone, iPad and iPod touch.

The new full-featured guitar studio and recording app for mobile musicians adds iOS 7 compatibility as well as the ability to use AmpliTube as a filter app in the new iOS 7 “Inter-App Audio” feature.

The new version of AmpliTube (version 3.1) is fully compatible with iOS 7, the new operating system for iPhone, iPad and iPod touch, which means you can create music on the go with the latest mobile functions and features available, including the new Inter-App Audio routing feature.

Inter-App audio allows audio apps to communicate with each other and stream the audio output from one app to another. This feature is extremely handy for adding effects, and processing the audio stream from one app and sending it to another.

AmpliTube can be used as a “filter” app in iOS 7 for processing the audio from other apps, allowing musicians to use all of the stompbox and amplifier effects with any live (real-time) or recorded material. This feature is similar to AudioBus functionality, but provides the opportunity for more complex routing.

AmpliTube is fully AudioBus compatible as well, making it the most flexible audio-processing and recording app for iPhone, iPad and iPod touch.

AmpliTube for iPhone, iPad and iPod touch is a full-featured and expandable playing-and-recording studio for guitarists and bass players, vocalists and producers/engineers.

It features a complete instrument signal chain, including stompbox effects, amplifier head, cabinet section and microphone, just like a traditional guitar or bass stage rig.

It also features a recording studio, and multi-track-DAW editing-and-sequencing tools. AmpliTube is also expandable with collections of gear from the world’s top manufacturers like Ampeg and Fender, and from artists like Jimi Hendrix and Slash.

Now musicians can capture their ideas and performances on the go on their iPhone, iPad and iPod touch, with a comprehensive suite of creative tools, all from the leader in mobile music-creation apps and accessories.

AmpliTube is the perfect companion app for IK Lightning-compatible accessories such as the new iRig PRO universal audio/MIDI interface, and the iRig HD audio interface.

The latest AmpliTube update for iOS is free for existing AmpliTube iOS users.

AmpliTube is available on the App StoreSM (http://www.AppStore.com) for iPhone and iPad for only $19.99/€17.99. A free version is also available.

AmpliTube effects and functions can be expanded via in-app purchase with gear from Ampeg, Fender, Soldano, Slash and Jimi Hendrix, and a complete multi-track recording studio with drummer and DAW-editing features.

IK Multimedia

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Posted by Julie Clark on 09/24 at 02:03 PM
RecordingNewsDigitalSoftwareSound ReinforcementStudioPermalink

Yusuke Asada Cranks A Steady Stream of Hits With PreSonus Studio One

Asada credits his adoption of Studio One, the DAW from PreSonus, as a major factor in helping him pick up speed in the studio.

As a composer and producer, Yusuke Asada brings an upbeat, unbridled enthusiasm to crafting his infectious dance tracks, and the talented artists he collaborates with, like Japan’s fast-emerging Yun*chi, have kept his productions at the top of the international charts.

Asada’s prolific output and his uncommonly fast production techniques have added to his high-profile success.

Asada credits his adoption of Studio One, the DAW from PreSonus, as a major factor in helping him pick up speed in the studio.

“When I’m immersed into a project, I use Studio One,” Asada says from his Tokyo-based studios. “Studio One is the only DAW I’ve used that enables me to complete the entire project - composing, producing, mixing, and mastering - all within a single environment.” 

The prolific producer discovered Studio One after years spent with other DAWs. When a growing portfolio of composing and production projects made it a necessity for him to move at top speed, the fast and efficient workflow of PreSonus’ Studio One caught his eye - but not before it caught his ear.

“Comparing the sound quality between other DAWs, Studio One just sounds better to me,” notes Asada. “The sound of Studio One is wider and more open. It has a better depth of sound, with greater resolution.”

But Asada cites Studio One’s streamlined workflow and drag-and-drop simplicity as his most essential reasons for being drawn to the platform.

“The Song page is laid out so intuitively, with everything right there, easy to see,” he observes. “Pulling up an effect or an instrument is as easy as dragging it into the track, and I can fine-tune it just as quickly. And I can do everything - from the first idea of a song, all the audio, all the instruments, all the way through the entire production and mastering - right in the same window.” 

With a massive library of virtual instruments and effects plug-ins, Asada points to Studio One’s integrated, searchable browser as another plus.

“I can find any instrument, any plug-in, so quickly. And setting up an instrument track in any other DAW requires creating a track and setting up channel routing - it’s an unnecessary complication. With Studio One, I just drag the instrument into the arrangement, and it’s all there.”

The efficiency of Studio One was essential for his latest production with J-Pad Girls. The animation project required him to assemble vocal tracks recorded around the world by 42 different female singers, from multiple cities and multiple sources.

“We’re collaborating with them all using Studio One,” Asada says. “They’re recording in their homes, then sending it back to me to mix.

“The files are in lots of different formats, from different computer systems and audio programs. A project with a scope like that could get out of hand, but with Studio One it was simple to import all the files and get to work creating a mix.

“The Studio One workflow is so easy to understand, it feels right. I don’t have to think about it - I can just create.”

PreSonus

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Posted by Julie Clark on 09/24 at 01:54 PM
RecordingNewsDigital Audio WorkstationsSoftwareStudioPermalink

San Diego Opera Covers Ground With Clear-Com

The San Diego Opera is expanding its production communication coverage area with the help of Clear-Com's wireless intercom system.

The San Diego Opera is expanding its production communication coverage area with the help of Clear-Com’s wireless intercom system.

As part of a system upgrade, the opera has installed six Tempest®2400 Digital Wireless Intercoms with the new Seamless Roaming capability.

The four-channel wireless systems not only support more wireless BeltStation users and deliver the most intercom options, but they also provide the crew and management department with interference-free communications across multiple productions spaces.

One of the leading opera companies in the United States, the San Diego Opera puts out four operatic productions a season, in addition to concerts and other special events.

Wireless intercoms are essential for the crew members since the systems permit untethered movement and communication during productions.

Because of the limited coverage area offered by the production team’s former wireless intercom, they sought new wireless intercoms that would cover the far-reaching areas of the building and a nearby plaza often used for VIP receptions.

In addition, the production team wanted to avoid the issue of interference with their new wireless intercom because wireless systems from local TV stations were already competing for the same frequency spectrum as the opera’s existing equipment.

Already familiar with Clear-Com’s intercom solutions and their capabilities, the San Diego Opera decided to employ Clear-Com products for its latest upgrade.

Six Tempest BaseStations were connected via ZSync (Zero Synchronization) technology to give the staff Seamless Roaming in every production area.

Tempest’s Seamless Roaming feature lets the crew members conveniently travel throughout the performance facility and stay connected without having to change the settings on their BeltStation.

Operating in the 2.4 GHz band, the Tempest2400 systems also resolved the opera’s challenge of wireless interference in the UHF spectrum.

Tempest’s Frequency Hopping Spread Spectrum (FHSS) technology ensured that the system does not compete with signals from other 2.4 GHz wireless devices as well. This minimized frequency coordination and enabled the system to have flawless wireless performance.

“I had television stations intruding directly upon my wireless equipment and so much of it was not working the way it should due to the interference,” says Bill Scott, Audio/Visual Technician for the San Diego Opera. “Clear-Com seems to be first out of the gate to address this, having come up with a very good product to solve all of those problems.

“We know that the 2.4 GHz operating spectrum of the Tempest2400 system along with its advanced RF technology is going to secure our communications now and for the foreseeable future, so it was worth the investment.”

FHSS, along with proprietary algorithms and timing synchronization mechanisms, allows the Tempest BaseStation to support more full-duplex BeltStations in a single RF space than other systems. As a result, the opera is able to have more full-duplex BeltStation users than previously possible.

Approximately 40 people at the San Diego Opera use the Tempest systems and the Clear-Com analog partyline that is integrated with the Tempest for a basic opera production.

Crew members handling set changes and other items on the stage utilize the Tempest system, along with personnel in the dressing room, the trap room and a rehearsal hall, which is separated by some distance from the stage area.

On the wired system is the center stage manager, along with those manning spotlights in the upper balcony and staff in the venue’s offices. 

Having four-channels of communication on Tempest is another asset since this gives the staff the option of communicating within a single channel or talking/listening to more than one channel at a time.

Other advantages of the Tempest are that crew members can change the volume of each channel and their program feed from their BeltStation.  The entire configuration of the Tempest system can easily be adjusted via the system’s associated T-Desk software to fit the opera’s varying productions.

“My goal with the new intercom system was to expand the loop of communication so that everyone who was critically attached to the production is connected,” says John David Peters, Production Carpenter and Technical Director for the San Diego Opera. “We are learning to take advantage of the multichannel capability of the Tempest system, which we are finding particularly useful when teching a show.

“In the past, we had one channel on our wireless system, with 19 or 20 people on that one channel, so there was a lot of cross talk. Being able to assign separate work groups to different channel has really streamlined communications.

“The other thing that I think is really remarkable about the system is how there is absolutely no noise.”

Clear-Com

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Posted by Julie Clark on 09/24 at 01:49 PM
ProductionNewsProductionConcertStagePermalink

Amadeus Releases ML 28 Subwoofer

Uniquely designed, powerful new subwoofer with dual 18-inch speakers now available in European and Asian markets

France-based Amadeus has announced that their highly-anticipated ML 28 subwoofer is now shipping and available through dealers in Europe and Asia.

The ML 28 subwoofer was premiered at the 2013 Musikmesse Prolight + Sound Frankfurt Expo. The new subwoofer, fitted with dual 18-inch speakers, combines a set of unique acoustical properties with high-timbral precision and extraordinary power handling capability.

The ML 28 system is designed for use with conventional loudspeakers as well as line array systems manufactured by Amadeus, including the company’s PMX, UDX and DIVA Series, and includes standard presets that are compatible with all well-known digital crossovers.

Pricing on the new ML 28 subwoofer for Europe is € 3999.00 (VAT excluded).

One of the innovations for the new Amadeus ML 28 subwoofer is the proprietary internal reinforcement structure designed to neutralize any standing waves and to suppress energy loss caused by vibrations.

This unique construction technique creates an unmatched tonal accuracy for low frequencies, even at high sound pressure levels.  Engineers at Amadeus worked to compute these detailed and important internal physical characteristics, then built prototypes and tested them, then refined the structure until their sonic expectations were met.

Initially designed for the Chinese market, Gaetan BYK, Marketing Manager at Amadeus, describes the genesis of the ML 28.

“The Amadeus brand philosophy is built on the long-standing, close and productive relationships we maintain with our customers, both in France and around the world for over 35 years,” he explains. “The custom-made products manufacturing, following acoustical or technical issues as well as market demands, is a glorious tradition at Amadeus, which serves this philosophy.

“Originally designed for the Chinese market, the new ML 28 is the concrete expression of this ethos.”

Wymen WONG, CEO of Sign King Limited, which was appointed exclusive distributor of Amadeus brand in Hong Kong, Macau and Mainland China, adds: “The rapidly growing professional A/V equipment market aimed at rental companies and entertainment infrastructures in China, including sporting and leisure sites, live music clubs, performing arts centers and various nightlife venues, required us to propose more and more sophisticated, consistent and efficient technical solutions.

“We needed to provide our customers with a dual 18-inch speaker subwoofer, combining unmatched sonic properties, cutting-edge technology with hand-craftsmanship to make it unique. Charmed by the Amadeus history, values and savoir-faire and maintaining very close relationships with their teams, it seemed natural to ask them to develop this new subwoofer project for our market, which is going to be successful.”

As a dual speaker enclosure, the ML 28 is equipped with two 18-inch (46 cm) high-power transducers with ventilated voice coils, including high-density neodymium magnets and Double Silicon Spider (DSS) to improve excursion control and linearity.

The two drivers are positioned in direct-radiating mode. The ML 28 is also equipped with low-velocity laminar ports using progressive termination, which optimize the air streams to limit the effects of port compression and extremity diffraction. The ML 28 offers an extraordinary sound pressure level of up to 141 dB with a power handling capacity of 5.600 W at nominal 4-ohm impedance.

Revealing a proprietary manufacturing technique, applied to ML 28, Bernard BYK, co-founder of Amadeus and CEO of Atelier 33, the parent company of the Amadeus brand, explains: “This unique construction technique, resulting from a unique marriage of traditional craftsmanship and advanced technology, creates, among other things, a dramatic cut in the level of cabinet coloration of the sound using a longitudinal and transverse reinforcement crossed structure.

“It is partly inspired by the internal technicality of our custom studio monitoring systems, which result from processes borrowed from the aircraft industry and in particular the construction of the airplane wings.”

Michel DELUC, lead designer at Amadeus, adds more detail about this construction method, “It has been designed to neutralize the standing waves affecting both the sonic clarity and definition of the lowest frequencies. We achieve this through an extremely complex internal reinforcement structure, using a combination of interlocking panels arranged in two perpendicular planes, each hosting several tuned notch resonators.”

Designed to be used on the road for live events fitted with accessories to make its handling easier, the ML 28 subwoofer can also be used within fixed or long-lasting installations for amazing low-end audio reinforcement.

The subwoofer is available in a highly wear resistant black (water-soluble) paint finish, but is also available in several standard colors. Or the ML 28 can be ordered in a ‘made to measure’ finish, based on registered or non-registered colors and/or materials. To offer more possibilities, the cabinet and the acoustical fabric covering the front grill can each have a different color.

Amadeus

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Posted by Julie Clark on 09/24 at 01:37 PM
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GLP Impression X4S Tours With Chris Isaak

GLP Impression X4L utilized on Chris Izaak tour.

Having used GLP’s impression X4 LED heads in the design of Fleetwood Mac’s current touring set, production designer Paul ‘Arlo’ Guthrie has turned to 16 of the small impression X4S for the current theatre (and festival) shows by veteran rock singer, Chris Isaak.

These are mounted on five vertical pipes — four on the center bar and three each on the others.

With economy at the forefront of his thinking, Guthrie sensed that the new X4S fixtures could not only be rigged quickly, within their own touring structures, but at the same time pack a lot of punch.

“We haven’t done a ‘beamy’ show for Chris in a while so I wanted something that was adaptable to the range of venues we were playing, and would provide us with options,” he admits. “I also wanted a physically smaller light to fit with the scale of the show.”

The venues themselves have varied considerably — from 1,000-capacity wineries through to 10,000-seat amphitheaters; hence the need for scalability.

The impression X4S combines power (from 7 x 15W RGBW programmable LED’s), flexibility, and practicality in a small, compact design and can be programmed with custom and multiple pattern effects. 

Offering homogenized color mixing across a wide color spectrum it boasts full Zoom flexibility (from a tight 7° to a wide 50°) and weighs in at less than 12 lbs.

Arlo admits that the combination of size, great color rendering and zoom range had been the prime reasons for specifying the fixtures, which were tasked with providing aerial beam effects and texturing.

The stage set itself incorporates a burning piano, a woven backdrop and some LED riser surrounds.

Says the LD, who has been working with the artist for the past 13 years, “Each year I get together with Chris and draw [ideas] on napkins, tablecloths and hotel stationery. He is a great artist and we always have fun collaborating on ideas. We try and keep the lighting tasteful and theatrical.”

His views are shared by the tour’s programmer and board operator Jared Trinnaman, who describes the X4S as being an easy fixture to work with.

“All the features are laid out within the DMX channels in a way that make sense. Features are easy to access and use, and they are right where you expect them to be.

“The fixture responds instantly to the console commands and there is no noticeable lag in response. On top of that, the pan and tilt speeds are fantastic on the X4S — not only are they fast, but the movements are fluid.”

Like Arlo, he is also a major advocate of the brightness and color referencing.

“The range is great,” notes Jared. “It hits the saturated colors, pastels, various color temperatures — and the white LED really cuts through.

“I am constantly finding new ways to build on the show, which revolves entirely around the impressions, and gain a better understanding of the range of colors it is capable of.”

Furthermore the heads have run entirely trouble free. “These are stout little fixtures and I would gladly use the X4S again — in all kinds of situations,” appraises Jared.

But the final word goes to Paul Guthrie: “The impression X4S works on so many levels,” he says. “I have been particularly impressed by the zoom function, the high brightness, superior optics, pixel feature, speed of response, compact size and general reliability.”

GLP

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Posted by Julie Clark on 09/24 at 12:51 PM
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