Tuesday, July 30, 2013
FOH Engineer James Dunkley Chooses Waves Plugins For Anthrax, Fun Lovin’ Criminals And Others
FOH engineer James Dunkley uses live tools from Waves Audio.
Front-of-house engineer James Dunkley (Anthrax, Fun Lovin’ Criminals, Amon Amarth) is part of a growing number of young cutting-edge live engineers turning to live tools from Waves Audio.
“All of my effects are Waves,” Dunkley says. “On the last run with Anthrax, I came to rely on the Waves V-EQ4 Vintage Equalizer and the CLA-76 on the lead vocal. Joey [Belladonna, Anthrax lead vocalist] is particularly loud, so I like to use a nice but aggressive compressor on him so that I can rein him in into the mix when he’s really going for it.
“The V-EQ4 is just a nice, musical EQ in that it brings out the characteristic of his voice without sounding too ‘surgical.’ I also use the CLA-76 on backup vocals.”
He continues, describing his workflow: “I am currently running three separate instances of Waves Renaissance Reverb – one at about 1.6 seconds for the snare, another at 2.4 seconds for the toms (to make them sound massive, as obviously they’re not played as much as the snare, so when they come in I want them in like a ton of bricks!), and the last one at about 3 seconds as a sort of vocal wash.
“I also buss the lead vocal out to a Waves H-Delay, switching it in and out on the channel sends. The H-Delay was actually a massive surprise, because you do end up thinking, ‘How different can one delay be from another?,’ but sonically, the H-Delay is something else.
“I have a stereo group for the drum kit (apart from the kick and snare), and I put a Waves H-Comp across as kind of a parallel bus compressor in two busses. It tightens up the kit nicely, and it makes sure I have more consistency on fast tom rolls while ensuring each drum punches through the guitars. I also run a Waves C4 over a stereo guitar bus that all my guitars go through.
“I am almost using this as an overall EQ, as I can cut the extreme lows, bring up the sparkle in the top end and tighten up the low mid on the typically Anthrax ‘chuggy’-sound parts. The compression on the drum and guitar busses just really tightens things up and makes sure everything stays in its place within the mix so my vocal can ride on top. Basically my mix is pretty much Waves-dependent and just adds the character and control I need to mix a band like Anthrax on a digital console.”
Monday, July 29, 2013
RAVENNA Audio Networking And Lawo At Work At Church Convention In Harmburg
RAVENNA Audio Networking And Lawo At Work At Church Convention In Harmburg
More than 2,500 individual events comprised the 34th “Evangelischer Kirchentag” (Protestant church convention) that took place from May 1st to May 5th in Hamburg, Germany.
The closing service attracted around 130,000 faithful, as well as considerable interest from the media.
The Kirchentag’s biblical motto – ‘As Much as You Need’ – could well have been applied to the technical infrastructure that was set up in the press center serving the event.
Reporters from around 40 radio stations were present, and all needed access the events feeds at all times.
On the technical side, Lawo played a significant part in providing the infrastructure and ensuring that everything ran smoothly.
The 400m² press center, with the set-up managed by local public broadcaster NDR (North German broadcaster), provided the various ARD stations (Germany’s public broadcasters) with separate cubicles for their editorial staff. In addition to these workplaces, there were two self-op studios, three studios with sound engineers and one central control room.
Outside, in front of the building, several radio stations had also positioned OB trucks that needed access to the audio feeds.
The OB vehicles were linked via fiber-optic cables that were configured as three Virtual LANs (VLANs).
The first connected the OB vans with the internal ARD network, the second established a general Internet connection, and the third was used for RAVENNA streams to feed audio to the OB vans.
To be on the safe side, QoS (Quality of Service) was assigned to the network to guarantee sufficient bandwidth – but, as it turned out, the network requirements were sufficiently low that there were no problems.
The journalists in the OB vans also had their own monitor boxes, an Axia xNode that could receive eight channels and connect to the RAVENNA stream, and a Lawo KS-16 connected via Ethernet to select the required audio signals.
The KS-16 controlled a Lawo crystal console in the master control room, which then supplied a selection of eight channels via the RAVENNA network.
Part of the appeal of using RAVENNA was that it is a non-proprietary technology based on Ethernet:
“Because of the Layer-3 technology, we were able to use existing network structures. We wouldn’t have gained anything by laboriously installing new cabling – the use of the existing structure meant that we were able to reduce the effort significantly,” explains Sascha Schwoll, responsible for outside broadcast at German public broadcaster SWR and part of the ARD-team that planned and implemented the technical setup at the “Kirchentag”.
A total of nine Lawo crystal consoles were used: two with four faders in the self-op studios, three with eight faders in the studios, and one with 12 faders in the central control room. Additionally, there were three crystal base units without control panels, used solely to switch signals.
The central audio administration was managed by a Lawo Nova29 router and VisTool touchscreen software. Up to 12 events were simultaneously transmitted to the press center plus additional streams with news, meaning that 16 signals had to be available to the journalists in the cubicles and OB vans, who had to be able to access any of the signals as required.
Broadcasters at the event were able to book time slots in the two self-op studios, for example to record interviews and send them to their stations via file transfer, or to conduct a live interview.
There were several prominent interview partners in Hamburg that were provided with headsets by the sound engineers or editorial staff in the self-op studios, and then connected e.g. with the broadcaster WDR in Cologne/Germany. The WDR then would either broadcast the interview live, or record it for later transmission.
In their workplaces, journalists also had small monitor speakers and a Lawo KS-16 module allowing to select the audio signal they required.
To make this audio setup manageable, the editorial workplaces were combined in groups of five-to-six cubicles, which were each fed audio from a crystal base unit. These base units received their signals from the Nova29 router installed in the master control room.
In the future, RAVENNA could be the right solution for handling this kind of tasks even more efficiently:
“It is planned that the editorial journalists simply select the RAVENNA streams they need to listen to on their laptops. And besides supplying individual journalists with audio streams, I’m thinking about setting up an ARD-wide multicast that, in the future, would contribute the signals across all connected stations,” continues Schwoll.
The next installation will be at the Frankfurt Book Fair (“Buchmesse”), in October, where Lawo sapphire consoles will be used – and with their motor faders and touch screens providing further benefits.
Also, laptops will be networked via RAVENNA streams. This was one of the reasons for the use of Lawo solutions.
“Because Lawo is so widely used at all the big events, it makes a lot of sense for us to work with them also on smaller radio broadcast events. The only difference is that the number of available channels is not of highest priority. Much more important to us in this context is to be able to use existing network structures with RAVENNA,” Sascha Schwoll closes.
Posted by Julie Clark on 07/29 at 02:25 PM
The Garden Recording Studio Grows With SSL ASW Hybrid
Recording studio The Garden in Brookly adds Solid State Logic AWS Hybrid console/controller.
The Garden, a sophisticated mix and dubbing studio in the heart of Brooklyn is growing its business with a Solid State Logic AWS Hybrid console/controller.
The studio, consisting of a large control room and drum kit-sized dubbing room, successfully bridges the gap between in-the-box and out-of-the-box mix projects with the AWS as the center of the operations.
The Garden relies on SSL’s sonic legacy to attract and retain clients.
“I’ve been in the studio business for more than 24 years. With the Garden I wanted to create a mixing studio that could handle the way contemporary artists create and record music,” says Drew Vogelman, owner and mix engineer for The Garden. “Workflow over the years has changed from all analog and tape to completely DAW-centric, and everything in between.
“While there is a lot of talk in the industry about in-the-box versus out-of-the-box, it’s really about how you effectively maximize both worlds to get the best final sound.
“SSL really hit the nail on the head when they developed the AWS and our clients are pleased as well.”
The extent of confidence in the sonic capabilities of the AWS is evident through a try-it-out deal Vogelman made with an English producer who just completed a project for a budding artist in Chicago.
“I listened to one of the tracks from the Chicago sessions at a mutual friend’s house and made the offer of mixing the track on the SSL and if all went well, we would continue from there,” Vogelman relates. “This project was good having been mixed in-the-box, however, when anything is put through the AWS, it brings the sonic quality to a whole new level.
“Long story short, he flew in, we mixed the first song and he was just blown away by having not just the flexibility of the analogue workflow, but the sonic quality.
“It’s an SSL, and it sounds phenomenal. The AWS is a great creative tool and good for the bottom line. This console attracts business.”
In addition to the large control and dubbing/tracking room, The Garden offers a wide range of classic guitar amps in isolated booths in the basement of the facility.
Once again, the AWS brings the guitar tracks to another level beyond the DAW guitar amp simulations.
“I have never been a big fan of guitar amplifier plug-ins on a DAW, so we equipped the studio with a range of 12 different classic amps in our basement isolation room,” states Vogelman. “When we begin mixing, I route the dry guitar track through the AWS down to a select guitar amp, then bring the sound back into the AWS through a live microphone. What a difference!
“This re-amping process, as I call it, turns an okay, simulated guitar track into a monster track with all the grit, personality and nuance captured through the AWS. It is simple choices like these that make working with the AWS so valuable on every level. The AWS is literally the centerpiece of our business.”
Solid State Logic
Posted by Julie Clark on 07/29 at 01:48 PM
Muse Research Teams Up With PreSonus To Bundle AudioBox With Plugin Players
Muse Research and PreSonus have teamed up to offer the AudioBox 1818VSL with Receptor TRIO and QUATTRO plug-in players.
Muse Research & Development, Inc., and PreSonus Audio Electronics, Inc., announced that the PreSonus AudioBox 1818VSL audio interface is now included, standard, with Muse Research’s new Receptor TRIO and Receptor QU4TTRO hardware-based plug-in players, giving musicians up to 18 high-quality audio inputs and outputs.
In addition, Muse Research now offers the PreSonus AudioBox 1818VSL interface as an added-cost option for its award-winning Receptor VIP plug-in player, giving the VIP multi-channel input and output capabilities.
The Receptor TRIO and QU4TTRO are now shipping, as is the software update that allows the Receptor VIP to utilize the AudioBox 1818VSL interface.
“We’re thrilled to be working with PreSonus,” comments Muse Research VP of Marketing Bryan Lanser. “We’ve always admired their products, and the capabilities offered by bundling with AudioBox 1818VSL with our Receptor TRIO and Receptor QU4TTRO will open up a lot of doors for musicians by providing them with multiple inputs and outputs in a straightforward, highly integrated manner.”
“The AudioBox 1818VSL is designed for professionals and serious hobbyists, and Receptors have long been the choice of top pros,” adds PreSonus CEO Jim Mack. “The combination of the two product lines seems like an obvious way to better serve advanced users.”
Muse Research has tightly integrated the AudioBox 1818VSL’s I/O functionality into Receptor’s new rack-style graphical user interface. All of the AudioBox 1818VSL inputs and outputs are labeled exactly as they show up on the interface, minimizing confusion and improving workflow.
In addition, all of the default audio assignments in the Receptor graphical user-interface are reflected in the AudioBox 1818VSL hardware, allowing a user to easily transition from the built-in audio to the PreSonus audio interface. The result is that the Receptor acts as if it was designed for the AudioBox 1818VSL and vice-versa, letting you get on with the task of making music instead of fussing over your I/O.
The Receptor VIP, TRIO, and QU4TTRO are the ideal solutions for touring musicians that need to send multiple outputs to a sound-reinforcement system, either as balanced analog or multichannel digital audio signals. With eight channels of analog input and outputs, eight channels of ADAT optical digital input and output, and S/PDIF stereo I/O, the Receptor coupled with an AudioBox 1818VSL can adapt to any performance or recording situation you are likely to encounter.
Once the AudioBox 1818VSL is configured with input and output assignments, you can save and recall each configuration as presets inside the Receptor. Even better, the AudioBox 1818VSL works seamlessly with Receptor’s exclusive Live Mode, so you can organize your preset configurations as a virtual set list and then instantly change the sounds, effects, mix levels, and I/O routings as required for each song in the set.
The Receptor lets you change the presets via the front-panel interface, via MIDI program changes, with an external footswitch, and even wirelessly, using a mobile device such as an iPad® or iPhone®! The combination of the Receptor and the AudioBox 1818VSL interface is a live performer’s dream come true.
Even more interesting is the versatility that the combination of an AudioBox 1818VSL and a Receptor brings to a performing or recording musician. By offering a wide variety of inputs and outputs and a complete array of virtual instrument and effects plug-ins preloaded into each Receptor, it is possible to use the Receptor and the AudioBox 1818VSL as the central hub of your keyboard rig or your entire band.
Multiple inputs let you process incoming signals like guitars, basses, vocals, drums, and your keyboards through effects channels, while generating sounds with software synth plug-ins, and then blend everything into a stereo mix to be sent to the PA system.
Muse Research & Development
Posted by Julie Clark on 07/29 at 01:31 PM
Clearwing And L-Acoustics Kick Out The Jams At Summerfest
World’s largest music festival heard via K1, KARA, KUDO and ARCS WIFO
Recognized by Guinness World Records as the world’s largest music festival for the 15 consecutive years, Milwaukee’s Summerfest knows how to throw a party.
Serving up a smorgasbord of brats, brews and bands – over 700 national and regional acts performing on 11 stages – this year’s “Big Gig” at Henry W. Maier Festival Park on the city’s Lake Michigan shoreline drew more than 840,000 visitors over its 11-day run in late June and early July.
Milwaukee World Festival, the non-profit organization that runs the event, once again turned to local provider Clearwing Productions to handle audio production duties for the event.
Clearwing specified the use of more than 340 L-Acoustics loudspeaker enclosures for FOH throughout the grounds.
According to Bryan Baumgardner, Clearwing audio operations/logistics manager, eight of Summerfest’s nine largest stages – including the 25,000-capacity Marcus Amphitheater – featured L-Acoustics systems.
Five of those stages – the Marcus, as well as Briggs & Stratton Big Backyard, Harley-Davidson Roadhouse, BMO Harris Pavilion (formerly Classic Rock Stage) and U.S. Cellular Connection – utilized K1 for the primary house arrays.
Additionally, the system for the Johnson Controls World Sound Stage (formerly Potawatomi Stage) was built around KARA, while Uline Warehouse featured V-DOSC.
A new addition to Summerfest’s gear list this year was the use of L-Acoustics’ ARCS WIFO enclosures. At Jo Jo’s Martini Lounge, Clearwing vertically flew one ARCS FOCUS over two ARCS WIDE per side, which replaced two six-enclosure KIVA arrays used in years prior.
ARCS WIDE systems were also used on half of the stages for both front-fill and side-fill.
“We previously used standard ARCS boxes, but ARCS WIDE has a larger dispersion pattern that makes it particularly ideal for side-fill,” says Baumgardner, “Plus the power rating is better suited for front-fill applications. They worked perfectly and everyone was really happy with them.”
He adds that Clearwing has been providing audio for the festival since 1995 and first began deploying V-DOSC there back in 2000, shortly after acquiring its first rig.
Since then, L-Acoustics has been on the equipment spec every year.
“One of the primary reasons we use L-Acoustics is because of its high rider acceptability; nobody says ‘no’ to K1, KARA, KUDO or V-DOSC,” says Baumgardner. “We’ve been using these systems at Summerfest for a long time now and they consistently prove themselves to be the right choice year after year.
“It’s what the festival wants as well as what the artists want. We don’t have to convince anyone to use it.”
Less than two weeks after the close of Summerfest, Clearwing supplied 80 K1, 32 K1-SB and numerous other L-Acoustics enclosures for a huge Pearl Jam concert at Chicago’s Wrigley Field.
A portion of Clearwing’s L-Acoustics inventory is also regularly being used at Maier Park this summer for a number of ethnic festivals, including Polish Fest, Festa Italiana, German Fest, African World Festival, Irish Fest, Mexican Fiesta, Indian Summer, Asian Moon Festival, Arab World Fest and PrideFest.
Over Labor Day weekend, the Summerfest grounds will once again be packed as Clearwing provides concert systems for Harley-Davidson’s 110th anniversary featuring performances from Toby Keith, Aerosmith, Kid Rock, ZZ Top, Dropkick Murphys, Lupe Fiasco, Common, Brantley Gilbert, Doobie Brothers, Buckcherry, Joan Jett & the Blackhearts, Gaslight Anthem and Sublime, among others.
RCF USA Adds Ken Voss As Manager Installed Sound Products
RCF USA is proud to announce the addition of Ken Voss to their staff as Manager of Installed Sound products.
RCF USA is proud to announce the addition of Ken Voss to their staff as Manager of Installed Sound products.
Voss has served as an independent manufacturer representative in the Midwest for over 20 years with Starin, Online Marketing and JAMM Distributing. He has represented RCF in the region for over 10 years.
During his tenure as a rep, he’s been honored with numerous factory awards from the likes of Renkus-Heinz, Allen & Heath, Listen Technologies, Audio-Technica, etc. He has shared in the Audio-Technica Rep of the Year award while with Online Marketing, and has been named Rep of the Year with CAD/Astatic and Sabine.
Prior to that, he was Director of Operations for a sound contractor in the Chicago area.
His role as Manager of Installed Sound will be to help grow RCF business in the contracting and installation areas, develop go-to-market strategies, increase product knowledge and awareness, and improve company communications.
Stanco Productions Covers Fair St. Louis With Martin Audio
W8LC arrays deliver coverage under the Gateway Arch
Fair St. Louis, “America’s Biggest Birthday Party,” was celebrated under the city’s iconic Gateway Arch for the last time before a two-year renovation, with Stanco Productions providing audio, video and lighting for the fourth year in a row.
To ensure quality coverage throughout the fairgrounds for this year’s featured acts, including Trace Adkins, Brett Michaels and Counting Crows, Stanco chose to provide Martin Audio arrays consisting of 16 W8LC per side with 12 W8LM and 4 W8LMD down fill cabinets per side for out fill.
Loudspeakers were driven with Crown audio amplification, and Avid VENUE Profile consoles were supplied for front of house and monitor mixing.
Stanco’s crew for this year’s festivities included technical director Sam Wehrmeyer, front of house engineer Justin Slazas and monitor engineer Brennan Houser.
The only real issue was getting enough PA hung from the roof and staying with weight limits,” Wehrmeyer states. “The W8LC is the perfect solution for this. Its light weight and high output allows us to hang more boxes for better coverage than other line array systems.
“Once again the client told us they continue to be impressed with the sound of the rig,” he concludes. “They told us Martin Audio is the best sound they’ve heard.”
Friday, July 26, 2013
Gand Concert Sound Pitches In At Music Festival
Pitchfork Music Festival, held July 19-21 in Chicago’s Union Park, utilized a Nexo sound reinforcement system and Yamaha consoles.
Pitchfork Music Festival, held July 19-21 in Chicago’s Union Park, brought the best of emerging music to over 50,000 attendees.
This year, 40 artists entertained on three stages including Bjork, Solange, Lil B, R Kelly, Savages, The Breeders, Swans, and Wire.
Gand Concert Sound of Elk Grove Village, IL, provided audio production for both the Red and Green stages.
Red stage included 15 Nexo GEO T line array boxes per side, 16 Nexo CD18s, a Yamaha CL5 digital audio console at FOH, and a Yamaha M7CL for monitors.
The Green Stage audio set up consisted of 18 GEO Ts per side, 20 CD18s, and Yamaha PM5D-RH digital consoles for front of house and monitor mixing.
Nexo PS15R2s were supplied for the both the Red Stage (passive) and Green Stage (bi-amped) along with Nexo NX4x4 amps for mains and Yamaha T5n amps for subs, front fills and monitors, along with Nexo NX241 and 242 processors. Alpha E/f and S2 side fills were used on the Green stage
“Of all the fests in the USA, Pitchfork stands out as the place to be for fans of up and coming bands and indie’s who have established themselves as must-see acts,” says Gand President, Gary Gand. “It’s a great test of what our audio production set up centered around the Nexo systems can do. From a solo harp player to a 20 piece hardcore rap act and all points in-between.”
“Many, many kudos to Gand from the audio folks that the artists brought, and from us,” states Mary Jones, director of Pitchfork Festival Artist Production & Artist Relations.
Gand Concert Sound
Hanoi International Fellowship Installs First Danley System In Vietnam’s Capital
The Hanoi International Fellowship (HIF) non-denominational church recently installed Danley Sound Labs loudspeakers for sound reinforcement.
The Hanoi International Fellowship (HIF) is a non-denominational church serving both expatriates and nationals in Hanoi, Vietnam. It draws together a congregation of over four hundred people, representing over forty nationalities.
HIF recently moved to its first permanent building, and its challenging acoustics demanded pattern control from its new sound reinforcement system. Singapore-based Soundsmith Solutions Pte. Ltd. designed the new system using Danley Sound Labs SM-80 and SH-micro loudspeakers and TH-mini subwoofers.
The new sanctuary seats just over two hundred people. HIF’s services are punctuated by a full band playing contemporary music.
“Previously, the congregation met at a local 5-star hotel, and the hotel provided them with the usual hotel sound system,” said Pastor Jinggoy of Hanoi International Fellowship. “That system was uneven. It was too loud toward the front and inconsistent throughout the rest of the room. “The subs were boomy and the high-end was harsh.”
In addition to designing the system, Soundsmith Solutions also supplied the components. Pastor Jinggoy helped coordinate the church’s own contractors to install the system based on Soundsmith Solution’s drawings and specifications.
“The big challenge in the new space was its very low ceilings. Moreover, it used to be a warehouse, so none of the walls were designed with acoustics in mind,” Edwin Ng, project manager at Soundsmith Solutions Pte. Ltd., commented. “The challenge was compounded by the fact that there were few places to position loudspeakers that wouldn’t interfere with sight lines.
“The Danley Sound Labs boxes were a very fitting solution due to their low profiles and their exceptional directivity.” The goal was to keep energy on the congregants and off the walls.
Inputs to the system collect at an Allen & Heath GL2400-424 console, which outputs to a Xilica XP8080 digital loudspeaker management processor. In turn, the processor outputs to QSC RMX 4050HD and RMX 5050 amplifiers. Those QSC amplifiers power two Danley SM-80 loudspeakers that provide main coverage, six Danley SH-micro loudspeakers that serve as delays, and one more Danley SH-micro that fills in the center front.
“The SM-80s were ideal loudspeakers for the mains because they are so slim and could be mounted into the wall without any trouble,” said Ng. “Both the SM-80 and the SH-micro are highly directional, which was great for these low ceilings. The sound goes where it is supposed to go and nowhere else. Importantly, that directivity extends down to 400Hz. Moreover, the Danley tone is natural and not at all fatiguing.”
To provide low-end support for the system, Ng included two Danley TH-mini subwoofers, which the installers mounted into the front wall below the SM-80s.
“The TH-mini has to be the smallest but loudest sub I’ve ever heard,” he said. “The amount of bass coming out of this box when properly powered is nothing short of amazing. Subjectively, every bass note is tight and punchy.”
He continued, “All together, the new system is way, way better than the system they used at the hotel. Everything sounds clear, crisp, and pleasant to the ears, and it doesn’t matter where you sit. The whole room is evenly covered.
“Even when the microphones are placed right underneath the center fill Danley SH-micro, there is no feedback. Hanoi International Fellowship couldn’t be happier.”
Danley Sound Labs
D.A.S. Provides Pristine Sound Quality At Las Vegas Theater
Saxe Theater installs a new D.A.S. sound reinforcement system.
Located inside the Miracle Mile Shops of the Planet Hollywood Resort on the world famous Las Vegas Strip, the Saxe Theater is home to several of this town’s most popular shows.
The Saxe Theater recently upgraded their sound reinforcement capabilities by installing new D.A.S. Audio loudspeakers.
GC Pro was contracted to design and install the Saxe Theater’s new sound system. GC Pro Account Manager Don Hartley, working in conjunction with Jeff Pressler, head of audio for David Saxe Productions, designed a system that consisted of eight Aero 12A powered two-way, mid-high line array modules with additional support from a pair of Convert 12A powered two-way full range loudspeakers.
The Saxe Theater is uniquely laid out with a main area approximately 80 feet by 60 feet. There is also an upper seating area that is oddly shaped, measuring roughly 20 feet wide and stretching back 40 feet. The theater’s ceiling has an average height of 30 feet and the venue has a seating capacity of 420 people.
Because of the combination of the lower and upper level seating areas, it was critically important that the new loudspeaker system provide consistent sound throughout all areas of the room with, of course, a high level of speech intelligibility and strong music reproduction characteristics.
To address these concerns, Hartley and Pressler ultimately deployed the D.A.S. Aero 12A line array elements in a flown left – right configuration, with each side of the main stage area having four enclosures. The two Convert 12A loudspeakers were installed as rear fill for the upper level triangular area, which also resides behind the FOH mix position.
“The self-powered loudspeakers make a terrific solution for this type of venue,” Hartley elaborated. “The Aero 12A loudspeakers provide a very streamlined installation in terms of system cabling while also ensuring that all amplification is optimized for the transducer complement.”
With the D.A.S. Audio Aero 12A, the captive rigging system splay angles range from 0- to 10-degrees and can be adjusted in 0.5-degree increments from 0-degrees to 3-degrees and 1-degree increments from 3-degrees to 10-degrees —allowing a wide range of column curvatures to be created.
“The flyware on the Aero 12A loudspeakers is excellent,” Hartley reports. “The design makes it quick and easy to connect the various enclosures together and to adjust the pins to ensure the proper positioning of each individual enclosure. It’s a very well-designed system with great flexibility.”
“I’ve always been impressed with how informative and easy-to-reach D.A.S. Audio’s customer services team is,” Hartley continues. “I considered it very important that the loudspeaker provider have our backs throughout the entire design and installation process, and D.A.S. came through with flying colors.
“Carlos Henao, D.A.S. Audio’s U.S. Accounts Manager, was extremely helpful. He helped me set up a demonstration system for Jeff Pressler and his FOH engineer, Mariano and, later, came back to do a second demo at the theatre where multiple producers were able to hear how the system would sound. You can’t ask for more than that! ”
The Saxe Theater’s new sound system was deployed and placed into service this past June and since that time the system has been very well received.
“Our new D.A.S. sound system is performing wonderfully,” reports Pressler. “The Aero 12A line array covers the theatre evenly and sounds great in all applications. One show may use only a lapel mic while Vegas! the Show has 20 live pieces.
“This system can handle anything we throw at it. The Convert fill speakers do an equally impressive job in the upstairs area where some guests are 80 feet from the stage. Our new system provides a clean, full sound that really helps our shows deliver the excitement.”
Maidstone Studios Upgrades Studio 2 With Studer Vista 5 Console
Maidstone studios installs Studer Vista 5 digital audio console.
Maidstone Studios, the UK’s largest independent TV facility, recently completed an HD-upgrade to its Studio 2, which included the installation of a Harman Studer Vista 5 digital audio console.
An essential part of the upgrade to HD was the audio system. With a tight timescale of just under three weeks to refurbish the studios, which including a large amount of HD cabling and gallery monitoring, a seamless transition in operations was paramount.
“With a Studer Vista 8 already installed for some years in Studio 1, it made sense to provide commonality of operation across studios so the Vista 5 was a logical choice,” said Rowland Kinch, CEO of Maidstone Studios. ”We’ve been very happy with Studer and the support they give us.
“We love the Vista’s instant snapshot functions and it’s a great live production platform for us. The consoles also share common hardware and cards, so support is made much easier for us.”
Kinch also praises the new VistaMix automatic microphone mixing software update for the Vista console, which has made a huge difference for the sound teams on unscripted panel and game shows such as Victory TV’s “Draw It” and ITV’s ”Take Me Out.”
“The Sound Supervisors love having this inbuilt facility at their fingertips, and think it’s fantastic!”
Kinch concluded, “Having the Vista consoles has really enhanced our opportunities and abilities to win program productions from major broadcast organisations who are familiar with the Studer platforms.”
Posted by Julie Clark on 07/26 at 10:34 AM
Ashly Amplifiers Power Renovation At Japanese Convention Center
The Big Pallet Fukushima Convention Center in Japan recently completed a renovation that utilized Ashly amplifiers.
The Big Pallet Fukushima Convention Center regularly hosts meetings, exhibitions, festivals, and even sporting events, but the 250,000 square-foot facility suffered damage in Japan’s 2011 tsunami.
Big Pallet recently reopened after extensive renovations, many of which were planned even before that devastating event unfolded.
Revamped sound systems in the 31,000 square-foot exhibition hall and 1,000 square-foot convention hall were among them. Now completed, these systems use Ashly ne800.70 amplifiers to deliver clean, reliable power to One Systems loudspeakers.
Morimoto Naniwa Sound Projects Co., Ltd. of Tokyo designed the system, and local integration firm Esu Esu Techno Co., Ltd. installed it.
“This project was to renew their old infrastructure,” said Masaki Morimoto, co-owner of Morimoto Naniwa Sound Projects. “Big Pallet was built in 1998, and all of its facilities – including sound reinforcement – were beginning to show their age. We drew up the renewal planning early in 2011, but the project was obviously postponed due to the huge tsunami in the spring of that year.”
Morimoto said that the sound reinforcement systems in the exhibition and convention halls would primarily be used for announcement, “so high intelligibility and plenty of power were required.”
Existing inputs to the system include announcement microphones and background music sources, which feed an existing mixing console at the tech position. They were also able to repurpose some existing Panasonic DSPs for input and loudspeaker conditioning.
New One Systems 112IM mains and 108IM/70 in-ceiling loudspeakers replaced the old loudspeakers, one for one.
“It was easy to reuse the large Panasonic low-impedance amplifier for the 112IM loudspeakers,” said Morimoto. “But the options for a high-impedance power amplifier with large output were limited. Ashly Audio’s low cost, reliability, and sound quality made it the obvious choice.”
Three Ashly ne800.70 amplifiers therefore power all of the 70-volt loudspeakers.
Morimoto tuned the system at commissioning, and Big Pallet’s staff operates the system day-to-day from the mixing console.
“The sound quality of the new system is very good,” he concluded. “All announcements are clear and intelligible, even above the noise of an exhibition or event.”
Posted by Julie Clark on 07/26 at 10:27 AM
DUSHOW Covers France’s Main Square Festival With Meyer Sound
LEO system on the festival’s main stage supported headliners such as Sting, Green Day and The Prodigy
At the recent Main Square Festival in Arras, France, Paris-based rental house DUSHOW supplied a Meyer Sound LEO linear large-scale system and a MILO line array loudspeaker system for the event’s two stages. The three-day festival attracted a total crowd of approximately 100,000.
The LEO system on the festival’s main stage supported headliners including Sting, Green Day, The Prodigy, and Indochine. With a maximum capacity of 30,000, the main stage field was fully covered by the LEO system’s long-throw capabilities.
“This system’s consistency of coverage and high output allowed us to avoid the need for delay towers, and to maintain sound integrity over the required distance of 110 meters,” says Marc de Fouquières, general manager of DUSHOW. “LEO’s excellent directivity also prevented conflict with audio from the second stage, which was located in parallel and only 100 meters away.”
The main stage was outfitted with 48 LEO-M line array loudspeakers and 32 1100-LFC low-frequency control elements, as well as eight each MICA and MINA line array loudspeakers and four MSL-4 loudspeakers. The system was controlled by a Galileo Callisto loudspeaker management system featuring seven Galileo Callisto array processors.
The Green Room stage featured 30 MILO line array loudspeakers and 24 700-HP subwoofers. System control was provided by a Galileo system with two Galileo 616 AES processors.
“As we have come to expect from Meyer Sound, the systems delivered superb and trouble-free sound throughout the weekend,” says de Fouquières. “We are delighted by the performance of our LEO systems.”
DUSHOW is the exclusive lighting, audio, video, and rigging supplier for Main Square Festival, a production of Live Nation France Festivals SAS, and the company recently purchased its second full LEO system in preparation for the busy summer festival season.
Thursday, July 25, 2013
Brad Zell Joins QSC Audio As Online Marketing Manager
Leading social media management, digital content creation, campaign management, and artist relations
QSC Audio has announced that Brad Zell has joined the marketing team as online marketing manager, where will be responsible for leading the company’s digital marketing efforts including social media management, digital content creation, campaign management, and artist relations.
“I’m elated to have Brad Zell join our marketing communications team,” says Ray van Straten, QSC senior director, marketing communications and training & education. “As we continue to grow as a global brand, the ability to create and deploy compelling and effective online campaigns will be crucial to our success. Brad’s vast experience and knowledge on the QSC team present us with new and exciting possibilities for the future.”
Zell joins QSC after a 10-year career at PreSonus, where he was director of marketing communications, responsible for dealer and distributor marketing activities and relationships, as well as social media and artist relations. He also headed up the PreSonus product management department where he created and implemented the company’s stage-gate product development process.
Prior to his work at PreSonus, Zell was a director at Avalon Design, responsible for sales, marketing and operations. After acquiring his MBA, he began his career in the music equipment manufacturing industry with Metalithic Systems as marketing manager. He’s been a performing musician since his teens and remains passionate about playing and recording music.
“I’m extremely excited to join the talented marketing team at QSC,” Zell says. “My goal is to continue to grow our social communities and our online presence, building on the amazing customer care that QSC has already established.
“And I also happen to be a happy QSC customer. It’s great to be able to work for the company that makes my favorite loudspeakers and aligns with my passion as a musician.”
Extron Introduces PC 101 Energy-Saving AC Power Controller
Provides remote power management for AV devices
Extron Electronics has introduced the PC 101, a 1-input, 1-output AC power controller designed to provide remote power management for AV devices.
When paired with a controller or control processor equipped with relays, such as the MediaLink MLC 226 IP or IP Link IPL 250, the PC 101 can be configured to turn a device on or off at scheduled times for security and energy savings purposes.
It features a contact closure control input and tally output, which can be used for visual feedback. The slim, compact form factor and IEC connectors on pigtails enable convenient in-line use with other devices and discrete mounting behind displays or other equipment.
The PC 101 has a power rating of 100-240 VAC, 50/60 Hz, allowing for worldwide compatibility.
“The PC 101 adds convenience and power savings potential to a wide variety of AV devices,” says Casey Hall, vice president sales and marketing for Extron. “With its compact design, flexible mounting options, and worldwide power compatibility, the PC 101 is designed for easy integration into any new or existing AV system.”
In addition to the new PC 101, Extron offers a full line of AC power and device controllers that offer flexible, centralized, Web-based power and device management.