Thursday, August 13, 2015
Guitar Center Professional To Host House-Of-Worship Technology Seminar
To be held in the Chicago Area, covering techniques and products in lighting, sound, mixing and video; on Wednesday, September 9.
Guitar Center Professional (GC Pro) is holding a series of seminars across the country focused on audio, video and lighting for house-of-worship facilities.
The event serving the Chicago area will take place in Palatine, Illinois, at New Life Church (1200 W. Northwest Hwy.) on Wednesday, September 9, 2015, from 12 p.m. to 6 p.m.
Join us for a technology seminar, covering the latest techniques and products in stage lighting, sound reinforcement, audio mixing and video for house of worship live production.
GC Pro personnel, including account manager Paul Johnson, will be on hand to lead the event and answer questions.
There is no charge and everyone is welcome to attend.
For more information, please visit the Guitar Center Professional website.
Guitar Center Professional
Wednesday, August 12, 2015
Yamaha Announces TF Mixer Firmware Updates And New Mac Capabilities
The update adds eight languages to the HELP screens, streamlines the TF Editor for Windows and Mac platforms and more.
Yamaha announces the release of new Firmware V1.12 updates and enhancements for the TF series of digital mixers.
Yamaha also streamlined the TF Editor V1.12 app for Windows and—for the first time—Mac platforms.
The Firmware update from V1.10 to V1.12 adds eight languages to the HELP screens and modifies some of the Presets. It also improves the user experience and the functionality of the TF mixers.
The TF Editor update from V1.10 to V1.12 adds a Zoom function to the Window menu and modifies several Presets.
The TF series, which offers intuitive operation, advanced features and Yamaha reliability to an even wider range of users, now features three dedicated apps–TF Editor, TF StageMixand MonitorMix–that enhance the interaction with the user interfaces and extend the console’s capabilities on any device.
RF Venue Supports Public Theater’s Shakespeare In The Park
Spotlight antenna and Optix fiber-optic remote antenna system address the RF difficulties in Central Park’s 1,800-seat outdoor Delacorte Theater.
The Public Theater’s Free Shakespeare in the Park series has been a storied New York City tradition since 1952, offering free and open access to outdoor productions and features world-class talent with Broadway caliber production and audiovisual design.
Matthew Bell, assistant audio supervisor at The Public Theater, uses two RF Venue products, the Spotlight antenna and Optix fiber-optic remote antenna system, to address and simplify the RF difficulties in Central Park’s 1,800-seat outdoor Delacorte Theater.
The venue has been home to the Free Shakespeare series since 1962, offering creative possibilities to directors, actors, and scenic designers that no other New York City theater can match, while presenting unique challenges to technical production designers, including audio.
“We have to load an entire Broadway quality sound system into a natural park,” says Bell. “There is no pre-existing rigging of any sort. There are raccoons, birds, and rain, and all those have to be taken into consideration.”says Bell.
The Public Theater’s outdoor Shakespeare productions are technically complex, using wireless for every speaking role. Cymbeline involves more than 40 channels of Sennheiser 3532 and Sennheiser 2000 series, along with Shure IEMs, two matrixed intercom main-stations, and three Telex BTR–800s. Audio equipment rental and frequency coordination is provided by Masque Sound.
Though wireless is of utmost importance, the unique, intimate nature of Cymbeline’s set design paired with the Delacorte’s unconventional upstage area –an expanse of open water named Turtle Pond – makes minuscule wireless audio signals vanish into the trees.
“There is no bounce to the room or anything to reflect RF back onto our actors and antennas, like you would have in a traditional theater,” continues Bell.
“We used two RF Spotlight’s to get our antennas physically closer to our actors. Since they’re low profile, we built them into our set pieces and under the deck, and our antennas are 120 feet closer than we would have otherwise been able to get them.”
The Spotlight’s thin 7mm disc allowed The Public Theater to mount both transmit and receive antennas for some of their UHF equipment directly underneath the actors, maximizing signal-to-noise ratio.
Underneath the stage, the antennas are connected to two Optix RFoF systems which, in lieu of coaxial cable, send signals for mics and IEMs to and from the rack via 1310nm fiber optic cable.
“This park is so big and all our cable runs are so long that we want to get our signal loss down to as little as possible,” says Bell. “We went with the Optix because 2.5 dB of loss is a whole lot better than the 10–12 dB we would get with coax.”
“We have a lot of challenges in New York, and a lot of challenges that you only find in Central Park,” Bell concludes. “These two solutions have allowed us to pick up only the transmitted signals on the stage, as opposed to getting all the extraneous noise around the city.”
Production credits for Cymbeline include direction by Daniel Sullivan, scenic design by Riccardo Hernandez, costume design by David Zinn, lighting design by David Lander, sound design by Acme Sound Partners, hair and wig design by Charles G. LaPointe, and original music by Tom Kitt.
Flexible Performers: Medium Format Line Arrays
These days I’m surprised when I go to a concert or a performing arts center and don’t see line arrays flown at the sides of the stage, often complemented with digital audio networking, remote system control and monitoring, and real-time audio monitoring of the array’s response in the house.
These sleek systems have come a long way from the huge piles of cabinets and horns that I remember from the mid-1960s when I first started going to shows.
Line arrays can provide many benefits, including more even audience coverage in terms of frequency response and SPL, control of vertical dispersion well into the lower midrange, improved sight lines, and ease of setup.
They’re designed to be flown and taken down quickly, often in “blocks” of individual modules, and to be flexibly adjustable to different curvatures – and a more limited quantity of modules can even be ground-stacked. This flexibility can be particularly useful in venues where arrays need to be adjusted regularly to accommodate different types of acts.
Line arrays vary in how amplification and signal processing are implemented, with many being self-powered and requiring only a line-level signal for each cabinet. The electronics in such systems are highly integrated into the overall design, and built for reliability – since they are typically inaccessible during the performance. Other manufacturers choose to provide dedicated external processors and amplifiers matched to the requirements of the transducers and enclosure design, or recommend particular third-party processors and amps.
Smaller-format line arrays, versus enclosures with 12-inch or 15-inch LF drivers, allow wider splay angles within the array elements, while still maintaining consistent coverage. This characteristic can be useful for covering smaller venues that have multiple levels, and can also help work around architectural structures like the edges of balconies. To help sound engineers achieve the most consistent results, many manufacturers complement their systems with predictive software that will calculate the expected performance of particular line arrays at differing splay angles and output levels, across a variety of frequency ranges and array lengths.
The definition of which characteristics makes a line array medium-format, as opposed to small- or large-format, is somewhat arbitrary. Is it how wide or high each element is, how much it weighs, how many components each houses, the diameter of the components, or how loud it gets? For this overview, we’ve based the selection on the size of the largest LF driver within the array, considering those with 8-inch to 10-inch cones to be medium-format.
Even within the medium-format category, there’s a lot of variety. Among the represented brands and models, the horizontal coverage angle varies from 80 degrees to 150 degrees from a single array column, with most ranging between 100 to 120 degrees. Some manufacturers offer cabinets with the same “footprint” with differing horizontal coverage, allowing the user to better “customize” coverage for a particular venue. Enclosure width varies from a bit over 23 inches to over 30 inches, and weight for each cabinet ranges from a bit over 30 pounds to over 100 pounds. Many are self-powered, and others have dedicated external processing and amplification.
Most of these systems use a pair of cones to cover the lowest frequencies, and often will roll off the upper frequencies of one LF driver while allowing the other to cover the midrange. HF is covered by a compression driver, or occasionally a ribbon driver, with pattern control via a horn or waveguide with a narrow vertical coverage angle. Thus a 3-way system is effectively created, with the coupling of the two cones effectively creating a larger LF radiating surface.
The medium-format line arrays presented in this Real World Gear tour of recent models is not meant to be all-inclusive, yet covers a variety of manufacturers and design concepts based around LF components in the 8-inch to 10-inch range.
Take our Real World Gear Photo Gallery Tour of the latest medium-format line arrays.
Gary Parks is a pro audio writer who has worked in the industry for more than 25 years, holding marketing and management positions with several leading manufacturers.
Fabrice “Fabulous Fab” Dupont Selects IsoAcoustics For Flux Studios
Fab installs Modular Aluminum Series stands under a pair of Focal SM9 reference monitors at studio in New York City.
Even the performance of a great monitor speaker can be improved when it is supported by IsoAcoustics’ patented acoustic isolation stands, as GRAMMY-nominated producer, mastering engineer, mixer and musician Fabrice “Fabulous Fab” Dupont knows.
A longtime IsoAcoustics user, Fab installed a pair of custom-configured IsoAcoustics Modular Aluminum Series stands at his Flux Studios facility under a pair of Focal SM9 reference monitors and found that they brought additional clarity to the speakers.
Dupont knows that anything that gets in the way of producing great music under the pressure of looming deadlines can become a huge problem—and he comments that the IsoAcoustics stands help overcome some of those challenges.
“The IsoAcoustics stands are what I call ‘unclouders’—they solidify things,” says Fab.
“With these stands I don’t ask myself questions about where the low-mid frequencies are, because they make everything cleaner down there. All of these things are incremental ways for us to get our jobs done better.” He consulted with Focal to help develop the manufacturer’s innovative SM9 reference monitor, which he describes as “my favorite speaker in the world by far.”
In the Dangerous live tracking room, a pair of Focal SM8 monitors are mounted on IsoAcoustics ISO-L8R200 adjustable decoupling speaker stands. “The Iso stands sound great and make the monitors look like they are floating above the console,” says Fab.
Dupont first encountered IsoAcoustics stands at a Sweetwater GearFest, where Simon Cote, pro audio sales manager for Audio Plus Services, Focal’s North American distributor, suggested that he check them out.
“When I first listened to the IsoAcoustics stands, I really liked what they were doing for the low mids,” he recalls. “Since the low mids are what we spend many, many, many hours of every mix on, I thought they were very interesting. I was using other products before—foam-based stuff—but I was not enthralled. But these IsoAcoustics stands really make a difference for monitors and for subs, too. It’s amazing that something so basically simple in spirit would actually have such a dramatic effect when it’s well executed.”
Born in Canada and raised in France, Dupont‘s long list of credits include work with Queen Latifah, Jennifer Lopez, Shakira, Santogold, Mark Ronson, Bon Jovi, Marc Anthony, Sean Lennon and many others. Dupont has been nominated for Grammy Awards three times, for his work with Toots and the Maytals and Kirk Whalum. Earlier this year, French/Finnish duo The Dø won Les Victoires de la Musique—the Francophone equivalent of the Grammy Awards—in the category of Rock Album of the Year for Shake Shook Shaken, which Dupont mixed and mastered.
Fab’s current projects include a new album by French jazz singer Cyrille Aimée. “It’s one of the best sounding things I’ve ever done; really wonderful,” he says. “I’m also finishing the new Will Knox record, I’m doing a bunch of stuff for Universal Audio and I’m working with Sophie B. Hawkins.”
Dupont recently finished mixing the latest album by Colombian jazz, pop and swing band Monsieur Periné, which is already in the iTunes Top 5 in their home country, he reports. “I just mastered a record for a French artist called Jeanne Added; it’s a fantastic record. And I’m working on two French bands, Colt Silvers and Éléphant.
In addition to consulting with pro audio manufacturers such as Avid, Dangerous Music, Focal, Lauten Audio, Universal Audio and others, Dupont is also an educator. He is also a founding partner of pureMix.net, an online repository of instructional videos on all aspects of the record-making process.
Access Audio Steps Up To VUE Audiotechnik
Cincinnati-based company will feature VUE's full range of al-Class products, as its leading loudspeaker brand.
VUE Audiotechnik announces that Access Audio, a full-service production company based in Cincinnati has joined its growing U.S. rental network.
Access Audio specializes in professional audio, lighting, video and consulting for entertainment, corporate and worship events.
The company will feature VUE’s full range of al-Class products, as its leading loudspeaker brand.
The first purchase includes al-8 High Output Line Array System, al-4 Subcompact Line Array System and al-8SB Flyable Subwoofers, all paired with V-Series System Engines.
“We are proud to partner with VUE Audiotechnik,” says Ethan Pagliaro, president of Access Audio.
“VUE’s team of well-known industry professionals - Ken Berger, Mike Adams and Jim Sides - makes the company stand out in the industry. With this team behind the VUE products, we know we are going to have the highest quality sound possible at any event or venue.”
Chris Knueven, director of operations at Access Audio, comments, “VUE’s products support Dante, and was an important factor in the purchase. We’re using Yamaha CL5 consoles, so to be able to put the amplifiers and ultimately the entire VUE PA on the Dante network is a major benefit for us. We also like the way the al-8 and the al-4 models work together; the rig can be set up as one big PA or two separate systems, which offers us great flexibility for our events.” Pagliaro agrees, “VUE loudspeakers provide crisp, clear sound, with a very smooth transition from box-to-box.”
“We were truly impressed with the technology and the easy accessibility of the VUE team,” Pagliaro adds. “We couldn’t be happier with the service. We saw strong customer support behind the products, which we loved, and when you’re a smaller company like us, that’s hard to come by.”
Midas Releases New PRO1 And PRO2 Console Firmware
The G3.2.1 update brings with it a number of benefits including a spectrum analyzer and loudspeaker processor
Midas announce PRO1 and PRO2 digital console version G3.2.1 firmware is now available, and fully available to the public.
This update brings a whole host of new features, and a series of updates for a more satisfying user experience.
Complete with built in DSP and MIDAS mic preamps, both PRO consoles are lightweight and versatile.
The G3.2.1 update replaces G2.5.3, and brings with it a number of benefits.
For example, in VCA/POP group user mode, users can now reorder channels within a group, and there is now a spectrum analyzer and loudspeaker processor built in.
The DL231 MIDI ports are now active, and a new effects automation ‘safe button’ is in place (in GUI). Users can now easily connect second ports to DL151/DL153 devices, and turn off bulkhead fans with auto on for temperature-sensitive diagnostic purposes.
“Enhancing the user experience is – and always will be, our number one goal,” stated Music Group’s Pete Sadler, AVP, software.
“Our new version G3.2.1 firmware gives the audio engineer a powerful new set of tools, and provides a significant enhancement to the application’s already spectacular feature set – and this is just the beginning.”
To view all the new features and operational enhancements in the G3.2.1 firmware release or to download free of charge, please visit the Midas website.
Korea’s KBS Chooses Riedel For 2015 Gwangju Summer Universiade
Riedel solutions enabled transport of HD video, data, and intercom signals for the world's second-largest multi-sport competition.
Host broadcaster Korean Broadcasting System (KBS) employed Riedel Communications equipment to produce the international feed for the 2015 Gwangju Summer Universiade in South Korea, the world’s second-largest multi-sport competition.
The Riedel solution enabled flexible and reliable transport of HD video, data, and intercom signals throughout the competition, which extended from July 3-14.
“The Universiade is unique in showcasing the passion of the world’s youth for sport, as well as their skill and competitive spirit, and it was essential that we provide a host broadcast feed that would capture the atmosphere at the games,” said Yong Suk Cho, general manager of the OB Team at KBS.
“True to its reputation for performance and reliability, the Riedel equipment played a central role in our production of this dynamic international event.”
Organized by the International University Sports Federation (FISU), the Universiade was created as a combination of “university” and “Olympiad.”
Serving as both an international sporting and cultural festival, the Universiade is staged every two years in a different city around the world, representing both winter and summer competitions.
For the 2015 competition in Gwangju, Riedel supplied a MediorNet Compact real-time media network comprising four frames; an Artist digital matrix intercom system including keypanels and beltpacks; a Performer digital partyline system with headsets; and the company’s RiFace universal radio interface and more than a dozen radios.
In addition to supporting the flexible and simultaneous transport of multiple HD feeds, along with GigE and communications, between the OB compound and aquatics venue, the complete and fully redundant solution from Riedel ensured communication among production staff using both wired and radio systems. The Artist system was used by KBS in a typical International Broadcast Centre (IBC) setup, with ports serving all aspects of the IBC — from incoming feeds to QC, transmission, and operations.
“We are proud to play a role in supporting the world’s most prestigious sports competitions and in bringing compelling broadcasts of these events to worldwide audiences,” said Marc Schneider, director of global events at Riedel Communications.
“The deployment of our MediorNet, Artist, Performer, and RiFace systems for the 2015 Gwangju Summer Universiade again demonstrates the value our integrated communications and signal-transport solutions bring to live-event production and broadcast applications.”
Posted by House Editor on 08/12 at 07:17 AM
JRB Associates Appointed To Represent Grundorf Corporation
Territories include Indiana, Kentucky, Michigan, Ohio, Tennessee, West Virginia, and Western Pennsylvania.
Grundorf Corporation, parent company of loudspeaker manufacturer Grund Audio Design, announces the addition of Amelia, Ohio-based JRB Associates to its expanding list of sales representatives.
JRB Associates will represent Grundorf Corporation throughout the territories of Indiana, Kentucky, Michigan, Ohio, Tennessee, West Virginia, and Western Pennsylvania; effective July, 2015.
JRB Associates represents a number of audio and video equipment manufacturers and is well entrenched in the AV installation and professional audio market segments—making them particularly well suited to represent the types of products manufactured by Grundorf Corporation.
JRB Associates is committed to offering superior customer-engaged experiences that drive long-term loyalty and deliver sustained growth.
Joe Baumgartner, JRB Associates’ principal, commented on the company’s new relationship with Grundorf Corporation, “Grundorf Corporation is a highly regarded company with a diversified product portfolio that spans the music, professional audio, and AV installation markets. These are the very markets our company has focused on and served for several years, so I believe we are a great fit. I look forward to a long and mutually beneficial business partnership between our two companies.”
Frank Grund, president of Grundorf Corporation, shares Baumgartner’s enthusiasm.
“I am very pleased to welcome the team at JRB Associates aboard,” says Grund. “JRB Associates has a well-deserved reputation in our industry and I’m confident that, together, we can do great work. All of us at Grundorf welcome the JRB Associates team.”
Posted by House Editor on 08/12 at 07:04 AM
CAD Audio Now Shipping StagePass IEM System
Featuring 16-channel UHF frequency agile performance for connectivity in crowded RF environments and stereo operation.
CAD Audio is shipping its StagePass IEM stereo wireless in-ear-monitor system.
The StagePass IEM Series system features 16-channel UHF frequency agile performance for connectivity in crowded RF environments.
Stereo operation enables discrete signals to be transmitted to the right or left channels for enhanced monitoring capability.
Featuring CAD MEB2 TruPitch balanced armature monitor earbuds with EasyFit silicon molds for a custom fit, the system ensures greater isolation from stage bleed.
A Dynamic Range of greater than 101dB immediately sets the StagePass IEM apart from competitive systems.
CADLock Automatic Tone Code Squelch eliminates unauthorized interference in RF-unfriendly environments.
Other professional features include a shielded metal chassis transmitter, durable carry case, rack ears and an antenna relocation kit.
—Frequency: Q Band 470 498MHz
—Audio Frequency Response: 40Hz – 16KHz
—Dynamic Range: >101dB
—Audio Output Power: 100mw into 32Ohm
—Transmit power: 30mW
—AA Batteries with > 10hrs battery life
—Pricing—MSRP: $459 MAP: $349
Posted by House Editor on 08/12 at 06:56 AM
Tuesday, August 11, 2015
UW-Stout’s Johnson Fieldhouse Outfitted With Tannoy VQ System
Audio Architects design and install new system for the University of Wisconsin-Stout with VQNET 100 loudspeakers.
Constructed in 1964, UW-Stout’s Johnson Fieldhouse has undergone numerous updates over time – the most recent, a new audio system that depends almost exclusively on self-powered Tannoy VQNET loudspeakers for reinforcement of speech and music.
As the home of UW-Stout’s men’s and women’s basketball, gymnastics and volleyball teams, the arena is primarily used for athletics, but it’s also the site of the campus’ annual commencement ceremonies and required an audio system to provide high intelligibility.
“The old system was installed roughly 25-years ago,” says Lori Anda, director, recreation and sports complexes at UW-Stout, “but it wasn’t efficient for events that weren’t athletics. The speaker cluster was above the center of the court so during games it hit the spectators, but at commencement, people said they couldn’t hear very well, so they needed to be updated to accommodate all our events.”
Designed and installed by Wisconsin–based AV firm, Audio Architects, the new system includes ten Tannoy VQNET 100 loudspeakers, which fit the needs of the facility in all respects: for output, intelligibility and aesthetics, says Audio Architects’ senior sales engineer/lead digital signal processor programmer, Andy Pierson.
“They provide extremely high directivity and in reverberant environments like this it’s all about control. Also, with the sensitivity of the VQNET 100s, you’re getting the fundamental vocal range within the horn-loaded portion of the box, supplemented by some low of the low range from its dual 12-inch drivers.”
The Tannoy loudspeakers are flown from the ceiling above the arena’s beams to keep them from accidentally coming into play during ball games and to keep them out of sight when aesthetics are a factor. Two pairs of VQNET 100s cover the main bleacher sections on either side of the gymnasium. Another two provide coverage for the court itself. During commencement, those are augmented by four more VQNET 100s, two of which cover each end of the room.
“The time zero point is right where the podium microphone is set up for commencement; the same place they make courtside announcements from,” Pierson explains. “The loudspeakers for the bleachers behind the announcer and the loudspeakers covering the court aren’t time-delayed, but those covering the other side and each end are time-aligned and work very well for both commencement and games.”
“We really like powered speakers for large fieldhouses,” he continues. “It makes servicing easier, frees up real estate in key areas and limits the need for long cable runs. In rooms like this, typical runs can be 200-feet long and result in a lot of loss. Also, because of the VNET software, you get precise control and can monitor the loudspeakers remotely. With a powered box, you know the manufacturer’s design provides the right amount of power for all the drivers, which makes them a really good fit for this environment.”
The main system also includes two preexisting third-party dual 15-inch subs, Biamp Tesira DSP and a rolling equipment rack that can be connected to an external mixer and/or used in conjunction with any of a number of CAT-5 receptacles installed in the arena to expand the venue’s flexibility. “For instance, if they need microphones for a reader or choir during commencement,” Pierson adds.
For Pierson, the job involved both audio and video upgrades to the venue; just one of many projects Audio Architects have undertaken at UW-Stout over time, including the February 2015 installation of a smaller Tannoy system in the Johnson Fieldhouse weight room. That system is comprised of four Tannoy DVS 8 surface mount loudspeakers chosen for their high output and the amount of low frequency energy they provide when mounted in each corner of the room.
In every case, one of the key factors taken into consideration in the design of audio systems for UW-Stout – beyond intelligibility and flexibility – is ease of use, which the Johnson Fieldhouse system provides with individual, automated settings for commencement, game days and practice sessions.
“So when people want to listen to music while they shoot hoops, they’re not blasting everyone else out of the building,” Anda says. Most importantly, the Tannoy VQNET 100s provide a substantial improvement in sound. “Audio Architects met our needs very well. The system works perfectly. Budget permitting, I’d put these loudspeakers into the other venues at Stout as well.”
Extron Introduces New SMP 351 Streaming Media Processors
New SMP 351 Streaming Media Processors offer 400 GB of internal solid state storage to accomodate more AV content.
Extron Electronics introduces two new models to the popular SMP 351 Streaming Media Processor lineup.
These new models offer 400 GB of internal solid state storage to accomodate more AV content.
All SMP 351 models feature five inputs, creating presentations by combining two high resolution signals, a background image, and metadata into layouts that enhance a presentation’s message.
Extron’s FlexOS embedded operating system makes the SMP 351 adaptable to changing requirements. Applications can be uploaded to FlexOS that empower the SMP 351 to automate system operation using control ports.
“We increased the internal solid state storage to support our customers that record content in very high quality or who record a large volume of material,” says Casey Hall, vice president of sales and marketing for Extron.
“These new models offer five times the internal storage, enhancing recording workflow flexibility, and giving customers more time before transferring content off the processor.”
Requiring no license fees, the SMP 351 is a flexible, cost-effective media processor for delivering dynamic presentations to larger audiences. It is for any environment where AV sources can be streamed live or recorded, and where multiple AV sources are combined to enhance a presentation. Organizations use the SMP 351 to communicate with staff or students who cannot be present at an event, affording all the opportunity to review and gain insight into the live experience. It can be adapted to many applications, documenting virtually any meeting, conference, or activity that uses AV sources. The SMP 351 is ideal for use in corporate, education, government, healthcare, courtroom, house of worship, and rental and staging applications.
Sample Tools by Cr2 Releases Deep House Megapack & Festival Anthems Sample Pack
Deep House contains 4.13 GB of content spread across high-quality audio, MIDI, presets and more; Festival Anthems provides 1.5 GB of festival-ready audio loops and one-shots, construction kits, MIDI loops
Sample Tools by Cr2 has just released the new Deep House Megapack as well as the new Festival Anthems Sample Pack.
The new Deep House Megapack contains 4.13 GB of content spread across high-quality audio, MIDI, presets, prod-cast video tutorials and tips and tricks booklet from the Deep House, Deep Analogue House and Classic House packs.
A large spectrum of Deep House is covered, ranging from summery beach party vibes to the darker, more analog flavors, and with an added bonus of being able to reach for classic house sounds that are popular right now.
These packs could also be used in Topical House, Future House, Tech House and Techno productions.
Nine prod-cast video tutorials provide information on the techniques used in the packs, with three booklets containing tips and tricks from the producers.
The Deep House Megapack can be purchased here.
Meanwhile, the new Festival Anthems Sample Pack provides 1.5 GB of festival-ready audio loops and one-shots, construction kits, MIDI loops, synth presets, video tutorials and production tips and tricks.
This high quality audio is intended to slot seamlessly into any EDM, progressive or electro track. Users are provided with a choice of 15 Songstarter Construction Kits, a resource for getting releasable ideas together quickly. These contain a breakdown, build and drop and contain all the audio, MIDI and synth presets that were used to create them.
Also supplied are three prod-cast video tutorials shining a light on the techniques used in this pack, joined by a booklet containing tips and tricks from the producer.
Included in the Festival Anthems Sample Pack:
—56 Kicks, Snares & Hats
—35 Percussion & Claps
—30 Bass Loops
—98 Lead Sounds
—46 MIDI Files
—25 Massive & Sylenth Presets
—15 Songstarter Construction Kits
—3 Prod-Cast Video Tutorials
—Music Productivity Video With Mike Monday
—Booklet Containing Tips & Tricks
The Festival Anthems Sample Pack can be purchased here.
Sample Tools by Cr2
Meyer Sound Transforms Audi Factory Into Concert Hall For London Symphony
LEOPARD and Constellation work together to create virtual orchestra shell to envelop musicians with the sonic environment of a concert hall.
For the 25th Anniversary of Audi’s Summer Concert series inside its factory in Ingolstadt, Germany, Meyer Sound LEOPARD linear sound reinforcement and Constellation active acoustic systems formed the foundation of an extraordinary audio experience for both the audience and musicians.
The combination transformed a cavernous space that normally stamps out steel side panels for the Audi A3 into a temporary concert hall worthy of hosting the London Symphony Orchestra and conductor Kent Nagano.
The concert was the first show where Constellation worked hand-in-glove with the new Meyer Sound LEOPARD line arrays.
While Constellation provided a virtual orchestra shell to envelop musicians with the sonic environment of a concert hall, twin arrays of eight-each LEOPARD loudspeakers projected the performance to about 1,000 audience members.
“It was truly breathtaking the way the LEOPARD arrays could accurately recreate the unique, full-bodied sound of the London Symphony,” says Ivo König, IT AUDIO GmbH co-managing director who designed the system with Til Schwartz.
“LEOPARD’s linearity guarantees a transparent sound image, whether the orchestra is playing loud or soft passages. This allows the sound engineer to fully concentrate on the musical score and the dynamics of the performance.”
LEOPARD also made a quick impression on front of house engineer Florian Denzler. “I was immediately surprised at how deep the system sounded, and how much headroom there was,” he says. “It really made mixing fun.”
The LEOPARD system also included eight 900-LFC low-frequency control elements, with one element flown at the top of each array and two end-fire directional arrays of three elements each under the stage. Ten UPQ-1P and six UPM-1P loudspeakers were used for center, near fill, and delay, and system drive and optimization was supplied by a Galileo Callisto loudspeaker management system with four Galileo Callisto 616 array processors.
The Constellation electronic shell was driven by a D-Mitri digital audio platform and delivered through 15 UPA-1P, five UPM-1P, and 16 M1D line array loudspeakers. To provide the foundational acoustics for Constellation, König and Schwartz prescribed passive acoustical treatments to control the room’s excessive low-mid reverberation.
“Using Constellation in a difficult acoustical space, I’m always amazed at the way I can close my eyes, clap my hands, and feel like I’m actually standing in a concert hall,” König says. “Maestro Nagano is very pleased, and the orchestra can thank Constellation for being able to play so effortlessly in otherwise unfriendly acoustics.”
Denzler mixed the show on a Soundcraft Vi6 console, with group pre-mixes by Philip Trieber on a Soundcraft Vi4. Principal supplier of the audio and video systems for the event was Creative Technology of Stuttgart, Germany, and the entire event was directed by NIYU Media Projects.
This event was the first Audi Summer Concert to be hosted inside factory walls. The musical program opened with Bach’s “Toccata and Fugue in D Minor,” continued with George Antheil’s “Ballet Mécanique”which featured orchestrated sounds from three Ducati motorcycles, and concluded with Igor Stravinsky’s “Le Sacre du Printemps.”
Adamson E-Series Delivers At Ultra Music Festival Korea
Alpha Media Group deploys E15 and E12 enclosures, matched with E218 subs for 10,000 EDM fans.
This year’s Ultra Music Festival (UMF) Korea took place in Seoul, South Korea with more than 10,000 EDM fans and music lovers in attendance.
The event was held at Jamsil Supplementary Stadium and featured top DJs and musical artists reinforced by Adamson E-Series loudspeakers.
The soccer field was converted into a large outdoor club for the two day event. Electronic music was delivered by a number of acts including Galantis, Porter Robinson, CL, Lil Jon, Bright Lights and Snoop Dogg.
Alpha Media Group (AMG) provided Adamson loudspeakers deployed at the main stage. Sun Kim, technical support manager for Sound Solutions (Adamson’s Korean distributor) assisted with system design utilizing Adamson’s Blueprint AV software.
The PA consisted of two left-right arrays made up of twelve E15 and two E12 enclosures. Seven E218 subwoofers were stacked on the stage under each line array. Four more E218 were ground stacked in front of the stage for further bass support. Six S10 enclosures were placed along the lip of the stage for front fill.
“It was a very stable system that handled the dynamic range of EDM without missing a beat,” explains Taejong Park, front of house engineer. “The sound was very clean, especially the low end.”
DJ monitoring was handled by a total of six Adamson S10 enclosures – three per side—stacked on a single subwoofer. The PA was driven by Lab.gruppen PLM20kQ and PLM12k44 amplifiers with two Lake LM44 units for processing.
“We were very pleased with the Adamson system at the show,” adds Sun Kim. “The field was transformed into a dance club and the music was exceptional – Adamson is the top name in the business and they lived up to their reputation.”