Tuesday, March 24, 2015
Extron Now Shipping Six Input, Four Output Audio Expansion Processor With AEC & Dante
Places six mic/line sources onto a Dante audio network, and routes any four Dante channels from the network to an amp or other destination
Extron Electronics has announced the new AXP 64 C AT, an audio expansion processor with six mic/line inputs and four line outputs for remote connectivity to a Dante-enabled DMP 128 audio system.
The AXP 64 C AT is used to place six mic/line sources onto a Dante audio network, and route any four Dante channels from the network to an amplifier or other destination.
It incorporates Extron ProDSP with gain, filtering, and dynamics processing for all inputs and outputs. Four of the inputs also include AEC, 48 volt phantom power, and dedicated control ports for mic control. FlexInputs offer the additional capability to process Dante channels in place of the first four local inputs.
A single Ethernet cable from one AXP 64 C AT, or several linked units, to a central equipment rack greatly reduces the effort and expense of pulling one cable for each endpoint.
“Integrators need a way to eliminate the effort and expense associated with pulling multiple cables to the digital signal processor in the equipment rack from the microphones and audio amplifiers in the meeting space,” says Casey Hall, vice president of sales and marketing for Extron. “The AXP 64 C AT routes signals from the meeting room to one or more DMP 128 AT digital matrix processors on the Dante network but also receives and processes signals back to the room from the network all using a simple Ethernet link.”
The AXP 64 C AT includes four independent channels of AEC with advanced algorithms for fast convergence and optimal intelligibility in conferencing applications. The AEC-enabled inputs also offer FlexInput capability to route a Dante channel through the processor in place of a local mic/line input. The flexible input selection enables the AXP 64 C AT to process audio from remote wireless microphones, wallplates, and other sources from anywhere on the Dante network.
In an installation with a large number of mics, the AXP 64 C AT audio expansion processor places audio signals onto the Dante audio network using standard IP networking. Signals are received as expansion inputs at one or more DMP 128 AT processors.
A sound system designer can incorporate several AXP 64 C AT or Extron AXP 50 C AT audio expansion processors to create a large mixing matrix with up to 56 remote inputs and 24 outputs per DMP 128 AT using the built-in four-port Gigabit switch. This simplifies scalability and the audio cabling infrastructure by avoiding long analog mic cable runs.
To further simplify the audio cabling infrastructure, the AXP 64 C AT converts four channels from the Dante network to line level audio signals, processes them, and routes the optimized audio to local sound reinforcement systems.
The Music Group In Oklahoma First Studio With Both Neve Genesys & Neve Genesys Black Consoles
Vintage King provided equipment package for 3-studio recording facility designed by George Newburn of Studio 440
The Music Group, one of the largest recording studio complexes in the Midwest, has installed both Neve Genesys and Neve Genesys Black consoles for its 10th anniversary at its newly remodeled facility in Edmond, OK. Vintage King provided the equipment package at the world’s first studio to install both Neve consoles.
“We picked the large format Neve Genesys for our A studio, a perfect fit because it’s geared toward large scale tracking and mixing,” explains producer/engineer and studio co-owner Chris Freels. “I grew up on 2-inch tape and large format desks and I wanted to have that feeling here. Our B studio has the Neve Genesys Black, which is our Pro Tools overdub studio with a signal path geared more towards DAW projects.”
Studio co-owner LG Hamilton adds, “Neve has always been a trusted brand and Ryan McGuire at Vintage King basically guided us through the options and after looking around it was natural for us to narrow it down to those particular desks. He also helped us in picking out our new Burl AD/DA converters and Shadow Hills mastering compressor.”
In 2005, two successful Oklahoma studios, West 2nd Recording and Hamilton House Studio D merged to form what is now The Music Group. The new 3-studio recording facility was constructed from the ground up and designed by George Newburn of Studio 440 in Hollywood, CA.
Freels notes, “We do traditional album projects for independent artists and major labels, we do advertising work, film soundtracks—a little bit of everything. Each of us here works a little bit differently and the Neve consoles are perfect for our various projects and workflows. There’s not another studio in the region that’s equipped like this and we wanted to have the highest sonic standards possible.”
Appointment of Davwinder Sheena as director of sales, Middle East, Asia and Pacific Rim, and Jeffrey Cox as director of sales, North America
Italian loudspeaker manufacturer Eighteen Sound has announced the appointment of Davwinder Sheena as director of sales, Middle East, Asia and Pacific Rim, and Jeffrey Cox as director of sales, North America.
Based in Singapore, Sheena has guided sales leadership in various market quadrants in the Asian region for a number of name pro audio brands from the U.S. and Europe.
“We’re excited to develop this important region of the world utilizing the extensive experience and relationships that Davwinder brings,” states Giacomo Previ, Eighteen Sound director of global sales. “His fluency in so many Asian languages and his comfortable demeanor, make him the ideal teammate and representative of Eighteen Sound in the region.”
“Eighteen Sound has become a serious player over the last decade and the quality Italian design and engineering that the team has come out with over the years is really a step ahead of its class,” adds Sheena. “I am looking forward on reinforcing both their distribution and manufacturing efforts in the territory.”
Cox, who has been handling marketing and business development duties for the company, further expands his role by bolstering sales efforts and availability in North America. His goal is to more broadly develop Eighteen Sound’s client and market relationships in North America while continuing to strengthen the brand worldwide.
“We have worked with Jeffrey for the past 16 months, and it has become very clear that we need to continue to grow our presence in the United States,” says Previ. “We have been preparing the organization to further development in the States, and I am confident our foothold on the North American market will grow exponentially in his hands.”
Cox concludes, “This is an amazing company that redefines quality when it comes to professional audio products. It has been a pleasure being a part of their continued growth. I am particularly looking forward to working with Italy, and directly linking companies in the States to Eighteen Sound, bringing their extraordinary loudspeakers to people everywhere.”
Latest model in company's LvL Series offers up to 800 watts of power for mains, monitors or bridge mono
Harbinger Pro Audio has introduced the new LP9800 14-channel powered mixer, the latest model in the company’s LvL Series.
The LP9800 provides 800 watts of power, useful for driving stereo mains, split to handle both mains and monitors, or deliver power in bridge mono mode.
Both amplifier channels (mains and monitors) have a level control and a 5-segment LED input meter. Line-level preamp outputs are also provided for feeding powered stereo main and mono monitors. A pair of 1/4-inch line-level inputs foster routing stereo signals directly to the amplifier.
The LP9800 provides 14 input channels with nine XLR microphone inputs and 1/4-inch TRS balanced line inputs—each with a -25 dB pad, rumble filter, and clip indicator—as well as three stereo channels with XLR mic and 1/4-inch TS inputs. Every input channel has a 3-band EQ, effects send, and aux send. Globally switched, +48 volt phantom power serves all microphone inputs.
Dual 9-band graphic EQ foster tailoring of sound. RCA aux input and output jacks can route break music from a CD/MP3 player, send the main mix to a recording device, and more.
A 24-bit, stereo, digital effects processor delivers reverb, delays, and various other effects, complete with a quick parameter control, on/off switch, and 16 presets. The effects can be routed to both the mains and the monitors, with separate level controls. There’s also a jack for an effects-bypass footswitch (not included).
The LP9800 is ruggedly built, with protective corners and covering.
“We wanted to create a versatile, high-quality, yet very affordable powered mixer that would meet the needs of casual performers and working musicians alike,” states Harbinger product manager Jim Norman, “and the LP9800 delivers on all counts. It’s easy to set up and use, it sounds great, and it’s built to last. Here is an excellent solution for a wide variety of gigs and for rehearsal spaces as well.”
The Harbinger LP9800 is available now at Guitar Center and Musician’s Friend with a street price of $349.
Fulcrum Delivers Controlled Audio At New Tim Hortons Field In Ontario
Big challenge on project was creating system to meet exacting standards of tenants while controlling sound spill
Tim Hortons Field, a new stadium in Hamilton, Ontario built for the upcoming 2015 Pan American Games that’s also the new home of the Hamiton Tiger-Cats of the Canadian Football League (CFL), is outfitted with a sound reinforcement system headed by Fulcrum Acoustic loudspeakers.
One big challenge in the project was creating system to meet the exacting standards of both FIFA (soccer’s governing body) and the CFL while controlling sound from spilling into the nearby residential area.
Fulcrum Acoustic TQ Install weather-resistant loudspeakers were proposed to meet this challenge, with system design by Dave Clark Consulting, along with another consultant, Arthur Skudra, and installation by A/V Solutions of Mississauga, Ontario.
“The challenge was pattern control,” explains consultant David Clark. “FIFA requires a very loud system so it can be used for crowd control and urgent public address, yet we needed to avoid the nearby homes. With no roof structure, all of the sound has to come from above and behind. Fulcrum makes some products with substantial directivity control that suit the project perfectly. We used EASE to demonstrate performance both in the stands and at the perimeter of the property.”
Specifically, the system is based upon the Fulcrum Acoustic AH463, a dual-loaded 4-inch compression driver coaxially mounted in quad 10-inch LF horns, to deliver primary coverage Twelve of these biamplified boxes are mounted, with three on each of the four lighting towers atop the east side stands. Four more are installed above the upper press box area on the west side, roughly seven stories above the field.
As Fulcrum Acoustic co-founder Dave Gunness explains, the AH463 is a new product created especially for this project. “After reviewing the project’s SPL requirements, along with the mounting locations for the loudspeakers, it was clear we needed a higher-output solution than what was currently available,” he says. “The AH family already offers high sensitivity, high power handling, excellent pattern control, and a compact footprint, so it made sense for us to create a higher-output version with a tighter dispersion pattern for this project.”
Clark notes, “It was very well behaved and delivered a very focused, even coverage, as well as satisfying the requirement of getting very loud for urgent public address. The Fulcrum system can achieve those levels in a reasonably small form factor, which was also important because of potential shadow interference with lighting. It was a very good product fit for this project.”
Seating areas shadowed by the stadium’s architecture are covered by strategically chosen fill loudspeakers, time aligned with the main system. Full-range Fulcrum coaxial horn systems were specified based on directional requirements, including 16 AH65FP (60x45-degree dispersion) and four AH96FP (90x60-degree). Both utilize Fulcrum’s Full Passive design, delivering high size-to-output ratio with fewer amplifier channel requirements.
Covering the middle deck of the west side seating are 16 Fulcrum CX1295 loudspeakers, a smaller full-range model installed on cantilevered yokes. “This allows them to essentially cover two levels, eliminating an entire row of speakers on the west side,” Clark adds.
Fulcrum also offered a high level of involvement in the design process, especially with the AH463 being a new product. “They measured the speakers in the lab and provided custom GLL files that I could plug into the EASE model,” Clark says. “That was a real plus. When the speakers arrived, they were accompanied by preconfigured crossover objects, including FIR filters, for the amplification and control system, which is a 64-channel Q-Sys core by QSC.”
The system was commissioned in August, with the sound team reporting that its performance measuring up to the predictive computer models. Garry Brown, veteran stadium sound engineer for the Hamilton Tiger-Cats, was also in attendance.
“The Fulcrum system sounds so much better than the old stadium, and it’s nicely controlled,” reports Brown. “They spent a day and a half checking filters and coverage, making sure everything was smooth and even. It’s much better for the houses right across the street behind the end zone, too.”
Meyer Sound Expands Asia-Pacific Team With John Zhang & Tim Boot
Zhang is new sales manager for China and Korea, while Boot is business development manager for Asia-Pacific
To accelerate the expansion of its Asia-Pacific presence, Meyer Sound has announced two new hires: John Zhang as sales manager, China and Korea, and Tim Boot as business development manager, Asia-Pacific.
Working closely with the regional sales and support network, Zhang and Boot will represent the full range of Meyer Sound products in working to expand a user base that has included the Chimelong Ocean Kingdom in Zhuhai, the Beijing Auto Show, Alpensia Hall in South Korea, and more.
“From theatrical spectacles to cinema and live touring, Asia is now a vibrant hub of some of the most sophisticated and ambitious Meyer Sound installations,” says John McMahon, Meyer Sound vice president of solutions and strategy. “Our continued growth potential in Asia lies not only in quality products but also in our ability to provide timely and knowledgeable support to the region. With John and Tim on the team, we look forward to further accelerating our impact in the region.”
As the newest member of the Meyer Sound sales team, Zhang is focusing on the distribution network and strengthening customer support capabilities through the company’s Beijing office. Bilingual in English and Mandarin, he brings 15 years of sales experience in the global AV industry, including prior high-level positions with Shanghai Media Group, Micronas (USA), and Philips Electronics.
A 25-year veteran in audio, video, and acoustical design, Boot is responsible for connecting Meyer Sound technology with architects, AV consultants, sound designers, systems integrators, and acousticians throughout the region. Previously he was CEO of KHz Design and principal at Sonitus Consulting. While with Sonitus, he played a key role in development of the Constellation system at SoundScape in Miami Beach, a landmark project that the New York Times reported as setting a “new standard for the outdoor relaying of indoor musical performances.”
Avid Announces Availability Of Pro Tools 12, Including Flexible Licensing Options
Subscribe for as little as $24.99 per month or to buy outright with an annual upgrade plan
Avid has announced that Pro Tools 12 is now available, also offering new flexible licensing options that includes the choice to subscribe for as little as $24.99 per month or to buy outright with an annual upgrade plan.
Pro Tools 12 will also provide more access to forthcoming Avid Cloud Collaboration, Avid Marketplace and Avid Artist Community developments, designed to provide a more efficient, collaborative and profitable connection between artists, media professionals and their audiences.
Avid Cloud Collaboration is an integrated set of collaboration workflows for groups of artists and audio professionals to work together on the same project. These integrated workflows eliminate the manual file management required when relying on generic cloud storage solutions by automatically synchronizing project changes across the group.
Avid Marketplace delivers in-app purchase of plug-ins and apps from Avid Connectivity partners, and a community for connecting talent with collaborators, for buying and selling content, and for storing their work.
Avid Marketplace Highlights: —Get plug-ins and apps immediately: With the Avid App Store, artists can find and immediately download the latest plug-ins and applications from Avid Connectivity Partners directly from within their creative tools (available now)
—Find new talent and start new collaborations: With the Artist Community, any media professional and organization can search for the skills and specialties they need on a project, find new talent and potential collaborators and start a working relationship (coming soon)
—Share their work: The Avid Content Marketplace provides a new channel for artists to monetize their work by sharing it with a wide network of potential purchasers, with all licensing and rights agreements worked out through automatic templates (coming soon)
—Store their work and collaborate with other professionals: With Avid cloud storage, audio professionals can post sessions to their own cloud storage space and invite others to collaborate on projects (coming soon)
Seventeen additional plug-ins and nine new plug-in bundles are now available in the Avid Marketplace and as in-app purchases in Pro Tools, including:
—Eleven Effects Bundle, collection of 17 Avid AAX Native, DSP and AudioSuite 64-bit plug-in effects modeled after circuitry and design of many popular analog “stomp-box” guitar effects.
—Pro Series Bundle, which includes all five Avid Pro Series processors in AAX Native, DSP and AudioSuite 64-bit format as a single bundle at more than 50 percent savings.
—First Distortion Bundle, First Reverb Delay Bundle, First Guitar Bass Bundle, First Modulation Bundle, First EQ Dynamics Bundle, First AIR Effects Bundle, and First Air Instruments Bundle, including selections from the new Eleven Effects and other Avid plug-ins.
Pricing: —Pro Tools software monthly subscription (one-month license subscription with updates and support) starts at $29.99/month
—Pro Tools software annual upgrade plan (12 months of updates and support) starts at $199
—Pro Tools software annual subscription (12-month license subscription with updates and support) starts at $299
—Perpetual licenses for Pro Tools software (includes 12 months of updates and support) start at $899
Pro Tools 12 is available to purchase online via the Avid Marketplace (here).
Producer's unique vocal signature an integral part of the sound that the plug-in recreates
Waves Audio is now shipping the new Butch Vig Vocals plug-in, part of the Waves Signature Series.
Vig has worked with artists such as Nirvana, Smashing Pumpkins, Foo Fighters, and Green Day, as well as his own band Garbage, in contributing his signature sound to some of the most legendary albums of the modern rock era.
One of the defining elements of the “Butch Vig Sound” is the unique vocal stamp. The producer ushered in the sound of distorted vocals in a musical way, and it’s an integral part of the sound that the Butch Vig Vocals plug-in faithfully recreates.
Designed for those looking for a creative approach to shaping vocals, Butch Vig Vocals offers intuitive EQ controls, a compressor and a de-esser, and several tools for coloring sound in numerous shades, including Tube and Solid State saturation, a unique Focus knob, and more, all crafted by Vig.
With instantly hyped vocals that cut through the mix and a sound that is dripping with character, Butch Vig Vocals now gives everyone the opportunity to work with the sound of a true rock innovator.
Overview: —Vig’s signature vocal sound in a single plug-in —3-band EQ with a distinct frequency character —LoCut, HiCut and MidDip filters for removing unwanted frequencies —Compressor and de-esser —Tube and Solid State saturation with LoCut and HiCut controls and a blend option —Unique Focus control for focusing on the 1 kHz and 2 kHz ranges
Ryan Mauer Joins Full Compass As National Sales Manager
Brings a range of sales leadership and recruitment experience to company sales team
Full Compass Systems has named Ryan Mauer as the new sales manager heading up the company’s National Sales Division.
Mauer brings a range of sales leadership and recruitment experience to the Full Compass sales team. Previously he served as director of marketing and sales operations for RenewAire, where he was responsible for the strategic and tactical execution of the company’s go-to-market initiatives.
He also served as director of national accounts at Conney Safety Products, where he oversaw the national sales channel for the company in addition to bringing on and working with dozens of business development managers to support an aggressive sales expansion.
“I’m very excited to have such a talented individual joining our sales management team,” states Michelle Grabel-Komar, VP of sales at Full Compass. “Ryan’s sales leadership, training, and coaching skills will be a valuable asset to the advancement of our company’s overall goals.”
Auckland International Airport Finds Success With JBL Intellivox Loudspeaker Arrays
Deliver intelligible sound at volume required to handle the ambient noise level while overcoming reverberation
Auckland International Airport, the largest and busiest airport in New Zealand, recently extended its international baggage hall, with Auckland systems integrator Bartons Sound Systems installing a sound reinforcement system for the new space that employs Harman’sJBL Intellivox DC280 digitally steerable, self-powered loudspeaker arrays.
“Until this project, nearly all of the PA loudspeakers used at Auckland International Airport were ceiling speakers or old-style PA horns for exterior areas,” says Rob Waddell of Bartons Sound Systems. “Aside from the fact that we wanted to install something much better, the open-ceiling arrangement of the new baggage area precluded the use of ceiling speakers.”
Waddell adds that installing a distributed system of conventional, cabinet-type loudspeakers and the cable to wire all of them up would not be cost effective.
Before construction even started, it was predicted that based on the architectural plans, the space would be highly reverberant. A further complication: the degree of absorbency (alpha) of the horizontally mounted ceiling baffles that would be installed for reverberation control was unknown.
Waddell decided that a beam-steerable loudspeaker would provide the solution and determined the JBL Intellivox DC280 was the right choice for delivering intelligible sound at the volumes required to handle the ambient noise level of a baggage claim area. The loudspeakers also needed to overcome the high reverberation times created by the space’s open architecture, ceiling beams, walls and uncarpeted floors.
The JBL DC280’s digital beam steering enables its vertical dispersion to be precisely focused and shaped by controlling the relative phase and amplitude of its 16 custom-designed 4-inch drivers and optimizing its volume, parametric EQ and delay using proprietary DSP techniques.
Waddell utilized EASE AURA acoustic modelling software to determine that only two DC280 loudspeakers would be needed to provide clear, intelligible coverage of the new baggage claim area. The loudspeakers are installed vertically along the wall where the baggage belt is located. “Because the DC280 is only 5.3 inches wide, you really have to look hard to realize the speakers are even there,” he adds.
The loudspeakers had to deliver a STIPA (Speech Transmission Index Public Address) of at least 0.5 because the installation serves both as PA and as an EWIS Emergency Warning and Information System. “Management wanted the PA to deliver at least 0.6 minimum STIPA and the JBL DC280 easily achieves this,” Waddell points out. “The DC280’s ability to provide highly focused coverage, yet over a large distance, is key in achieving this level of power and intelligibility while overcoming such highly reverberant acoustics.”
The DC280 provided significant cost savings because it is self-powered, which eliminated the need for external amplifiers and reduced the amount and expense of cable needed. In addition, a built-in Ambient Noise Sensing System further reduced the need for the microphones and cabling that would otherwise be required.
The successful outcome of the project has led Waddell to specify installing two more DC280s for the upcoming Stage 2 of the baggage hall extension project, to be completed September 2015. He will also be recommending them for all upcoming remodeling work. “On paper they’re a clever solution – but when you actually hear the speaker performing so brilliantly in this type of environment you really appreciate just how well-suited they are to this type of application.”
iZotope Releases Free Update To Ozone Mastering Software (Video)
Ozone 6.1 includes new processing power and the reintroduction of a classic Ozone feature
iZotope is releasing a free update to its Ozone mastering software, with new Ozone 6.1 offering powerful processing features and bringing back a popular feature from Ozone 5.
Ozone 6.1 provides users with the ability to add an analog-type sound with the Maximizer’s new tube limiting mode, which combines the warmth of final stage limiting with the ease and precision of digital maximizing. The resulting audio has a tube warmth while remaining competitively loud and appropriate for modern mastering.
The new algorithm is inspired by tube hardware limiters like the Fairchild 670, adding a vintage sonic character to Ozone’s maximizing algorithm.
In addition, the new adaptive release mode helps users produce louder, clearer, and fuller masters. This mode for Ozone’s Dynamics module intelligently automates the difficult task of finding the right release times. The compressor actually interacts with the audio in real time, adjusting the release values based on the transient properties of the incoming signal.
iZotope has also brought back module presets, a requested feature from customers who owned previous versions of Ozone. Module presets help users to experiment with different module settings, and to more easily load and save the settings for individual modules without affecting the settings of other modules.
Other additions and enhancements to Ozone 6.1 include selectable segmentation loops, automatic track numbers on export, and sound quality improvements.
“We’re really excited to make this free update available to the Ozone 6 community,” says Product Manager Izzy Maxwell. “We’re always listening to customer feedback, and we wanted to bring some exciting new processing into Ozone 6 while adding back a popular feature.”
The Ozone 6.1 update is free for existing Ozone 6 customers, available here. For those who don’t yet own Ozone, Ozone 6, Ozone 6 Advanced, and upgrades are on sale through April 9.
Second Baptist Church Of Houston Gets Second Round Of DiGiCo Consoles
New consoles fulfill a wide range of duties at front of house and monitors, as well as for broadcast
The West Campus of Second Baptist Church in Houston has a recent audio upgrade, with local systems integrator two Covenant Communications installing two new DiGiCo SD5 consoles to replace a pair of legacy DiGiCo D5 Live front of house and monitor desks for the church’s 5,000-seat “in-the-round” worship center, which also televises its lively services.
Second Baptist Global tech director Mark Sepulveda notes that after seven years of duty, the time had come to retire the previous consoles and make an upgrade.
“The SD5s were chosen based on what our team thought were the best overall live audio consoles on the market that continued to give us superior audio with the DiGiCo brand, continued ease of hands-on functionality, easy firmware updates that will continue to add new features in the coming years, and the ability of the SD software to integrate with Waves SoundGrid for a seamless plug-in experience,” he says.
Covenant Communications has largely handled Second Baptist’s audio/video/lighting needs for the past four years, and the eventual upgrade choice came after considering various options.
“I put a few things in front of Mark,” notes Joe Smart, Covenant sales manager. “Our role is to be objective; it’s not an emotional decision, but one to find the best solutions for them.” The SD5’s flexibility was perfectly suited for the church’s typical need for a quick “flip around to different worship styles”—from traditional to high-energy contemporary sound—and “recording audio for future TV broadcast,” notes Smart.
Smart points out that Second Baptist required more than the 128 inputs processed by its previous system: “The new spec required close to 160 inputs, no doubt in part to accommodate the fairly large band, including 12 to 15 rhythm players and 20 to 30 string players. That doesn’t include the enormous choir of up to 180 singers, 24 of those members being wirelessly close-miked and processed for a massive choir sound.”
Sepulveda notes that the DiGiCo consoles play a major role in the church services being broadcast. “The broadcast engineer takes direct feeds via tracking of the overall mix as well as 12-16 of the individual ‘money’ and room mic channels for the broadcast mix that is edited and mixed at the Main Campus’ (Woodway) broadcast studio,” he explains.
There wasn’t much of a learning curve moving from the D5 Live to SD5, adds Second Baptist West Campus director of audio Nathan Wells. “The basic operation and layout of the SD5 is very familiar to both myself at front of house and our monitor mix engineer, Matt Howard, from working with the D5 consoles. So we were able to get into our mixes pretty quickly with little trouble. In other areas, such as the software menu options, the amazing in-depth snapshot detail, audio I/O setup via the software, session structure setup and, of course, the second function button, the ‘learning curve’ was more sizable but a very welcomed change from the D5 with the expanded features of the SD series software and hardware.”
According to Wells, several particular features on the SD5 console help his team members do their jobs better. “At front of house, the addition of Waves integration is huge, of course, and also being able to set up the console screens in previously unimaginable ways – such as combining input and output channels on one bank of faders and using multi channels and set spills to condense the channel layout – has been very useful in making things even easier to get to at any critical moment,” he says.
In addition, for monitors, “obviously the 56 mix bus count is a major upgrade,” adds Wells, also citing the second function button assisting in pre/post selection, layers for the output channels, and being able to assign talkback to any aux at any time. Both positions are also greatly impressed with the flexibility of the 40 macro buttons and virtually unlimited flexibility of the snapshot creation.
Wells further notes that by upgrading from the D5 to the SD5 “gave us the ability via the fiber network to access any I/O from any console and being able to arm the control of individual I/O cards in each rack for any one console on the network, all done with ease from the GUI on the consoles.”
In addition to the two new desks that went into Second Baptist’s West Campus, the Woodway Main Campus very recently upgraded its monitor mix position with the church’s third new DiGiCo SD5, with Sepulveda noting, “We have plans to bring the remaining campuses up to date within the DiGiCo family of consoles in a systematic, as-needed upgrade over the next few years.”
Tectonic Audio Labs Releases Technical Video Series
Each 5-minute video module covers details an aspect of company's DML technology
Tectonic Audio Labs has produced a 21-part technical video series explaining the function, performance and application of Distributed Mode Loudspeaker (DML) technology in its loudspeakers, which employ large format flat panel DML resonant mode devices to propagate audio.
“DMLs produce audio in a fundamentally different way than a typical loudspeaker does,” explains Tim Whitwell, physicist and DML expert. “This technology can seem quite counterintuitive to those not familiar with resonant mode devices.”
The Tectonic technical video series condenses more than three hours of conversations between Whitwell and transducer and loudspeaker systems engineer Marcelo Vercelli. Together they explore and explain DML technology, with each 5-minute video module covers a single topic in detail.
Titles include: —How DMLs Work: Parts 1-4 —DMLs vs. Pistonic Transducers —DML Feedback Resistance —DMLs In Reverberant Spaces —DML Stereo Imaging
“We set-up a video library on our web site that allows visitors to easily browse and sample topics of interest,” says Scott Garside, marketing director. “There is a wealth of information here that provides a fundamental understanding of resonant mode audio propagation. The function and benefits of DMLs are quite remarkable.”
The Tectonic technical video library is available here.
Community Welcomes Highway Marketing As Sales Representative
Rep Firm Will Cover Texas, Louisiana, Oklahoma and Arkansas
Community Professional has announced the appointment of Dallas, Texas-based Highway Marketing as their new sales representation firm for the region.
Highway Marketing is a professional manufacturers’ representative firm with a 20-year history of supporting the installed sound and video marketplace in the states of Texas, Louisiana, Oklahoma and Arkansas. The firm’s marketing and technical staff possess a broad range of sales and engineering skills to service the needs of integrators, design firms and end users.
Highway Marketing makes good use of contemporary marketing tools including social media and a recently updated website. But the firm believes strongly in the “old school mentality” of building relationships with integrators, design firms and end users in its territory. To service this base, Highway marketing provides on-site training programs and product demos, sales support for dealers and experienced in-house tech support.
President Scott Baker emphasized the importance of a constant presence in the field including regular business meetings with integrators and consultants. He adds, “Community is a great addition to our line. Their products, technical support and management team are a great fit with our company and I’m excited about building Community’s brand and sales in our territory.”
Steve Young, Community’s director, North American Sales, adds, “Highway Marketing’s reputation for prompt service and strong support along with their complementary, integrator focused line card will help us achieve Community’s goal for strong growth in this territory. We’re very pleased to have them represent Community.”
Carlos Elizalde Of Rúckatan Gears Up For Band’s 5-Year Anniversary With AKG Microphones
Percussionist, singer and songwriter relies on WMS4500 wireless with a D7 mic, an IVM in-ear monitor set and C214 condenser microphone.
As a percussionist, singer and songwriter for Rúckatan, Carlos Elizalde combines Latin and Reggae dance-oriented music with highly energetic and crowd-electrifying moves. On Friday, March 27, the band will celebrate its 5-year anniversary with a show at Club Fox in Redwood City, California, where Elizalde will rely on Harman’sAKG microphones to support his mesmerizing vocals and percussions.
Elizalde’s AKG live setup includes an AKG WMS4500 Wireless Microphone System with a D7 microphone and an IVM 4500 In-Ear Monitor Set, along with an AKG C214 large-diaphragm condenser microphone.
“Since I incorporate a lot of dancing into my performances, I prefer microphone systems that allow me to move freely onstage,” said Elizalde. “I am always pumped with energy and enthusiasm, so I use the AKG wireless microphone sets to project that emotion to the audience. Even after putting the microphones through countless demanding performances, the WMS4500 and D7 microphones still put out top-quality sound. That’s why I continue to rely on them.”
Elizalde recently added the AKG C214 microphone to his inventory, and it serves as a budget-friendly option for live performances on the road. It borrows from the legendary C414 dual-capsule system and the patented AKG Back-Plate Technology, resulting in a reduction in mechanical noise and a rugged design.
“I am very excited to perform our anniversary show with the C214 microphone, since I know it will be able to keep up with my energy onstage,” said Elizalde. “AKG microphones have lasted a long time with us, and in that sense they belong with us onstage to celebrate how far we have come together.”
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