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Wednesday, July 15, 2009

New Metric Halo ULN-8 Interface Chosen For Airshow Mastering’s New East Coast Studios

Airshow Matering utilizes Metric Halo ULN-8 multichannel and ULN-2 two-channel interfaces for a variety of applications

Airshow Mastering’s East Coast studios are relocating to a larger facility in Takoma Park, Maryland from its long-time operations base in Springfield, Virginia, with the new facility incorporating two mastering studios, each equipped with an eight-channel Metric Halo ULN-8 interface outfitted with the latest 2d upgrades and running v5 software in conjunction with soundBlade software from Sonic Studio, LLC.

Airshow Mastering co-owner Charlie Pilzer comments, “The MIO is an integral part of the design at the new facility. I have used the Metric Halo boxes with Sonic Studio soundBlade for a long time. They are my principal interface to the computer.”

Pilzer utilizes Metric Halo ULN-8 multichannel and ULN-2 two-channel interfaces for a variety of applications. “I mostly work in the studio and do CD mastering, audio editing and audio restoration. But that’s not all I use them for. The ULN-2 goes with me on virtually every live gig that I do.

“When I do location music recording, it’s the same thing. I’ll choose the boxes to take with me depending on the channel count. I’ve recorded everything from large choruses with a stereo pair of mics through the ULN-2 and the v5 recording panel to multitracking in Nuendo using multiple ULN-8s + a 2882 That’s all part of Metric Halo’s flexibility.”

“Plus,” he continues, “I use it as an interface for Metric Halo’s SpectraFoo audio analysis software. I can use it to inject signals or music into a PA system and then look at the responses, using the various analysis tools in SpectraFoo to help tune the system. I even use it as a test system to check out my gear.”

The new ULN-8, incorporating 2d technology and v5 software, has brought a new level of functionality to the Metric Halo interface, he says. “It’s like having this cool little analog desk – it’s digital, but you can put character on it. On each of the channels they have a DSP process called “Character” and you can have a very neutral channel or, if you want something that has a little bit of character, you can make it sound like it has a transformer or a tube built into the circuit.

“You can tailor it to what you need for the project. Another very interesting and useful DSP plug-in is the “TransientControl.” It’s useful for increasing the snap of a snare or taming an electronic keyboard. ”

Having DSP running inside the box has proven very convenient, he says. “You have EQ and compression and everything, so rather than having to patch in and out of an external piece of gear, or use native plug-ins, I can use the MIO box to do some of the same things. The EQ is very high-quality and transparent-sounding.”

The interface is highly flexible, and the v5 software additionally lends itself to a wide variety of applications, he says. “The way they’ve set up the new software, whether you’re doing stereo or multitrack or quad or 5.1, you can reconfigure it in a way that makes it really easy to use. I’ve even hooked it up in theater productions and used it with QLab, a program that can fire off cues to multiple channels. I just loaded the driver onto the Mac in the theater, plugged in the ULN-8 and off we went.”

Over the course of a year Pilzer will use the Metric Halo interfaces to mix at various outdoor events such as the Smithsonian Folklife Festival, National Folk Festival and the American Folk Music Festival. “I usually have a ULN-2 with me. It’s getting a little scratched up and dusty but it doesn’t seem to bother the equipment. It’s rugged enough for touring use. I clean it out when I return home,” he reports. That gear goes with him on location recording gigs, too.

In fact, outboard equipment may not even be necessary. At a recent location recording, he shares, “I took two MIO boxes and a set of API preamps, and we never took the APIs out. We had some nice Neumann tube mics and plugged them straight into the MIO and it sounded so good we said, ‘why mess with it?’”

“Metric Halo has always been interested in making something that sounded better than anything else,” says Pilzer, who started out with an original MIO 2882+DSP. “I was looking for a compact system that had preamps, converters and a FireWire interface, but I was principally interested in sound quality. Then, when they came out with the ULN-2, I purchased one.

“As good as the 2882 sounded, the ULN sounded even better. They upgraded the preamps – Joe Buchalter [president of Metric Halo] worked his analog magic – and they began building more functionality in. Here was a little, self-contained unit with knobs on the front, so if all you needed was stereo in and out, here was this extremely high-quality preamp.”

Metric Halo Website

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EAW and FOCUS, S.A. Hold Clinic For Freelance Audio Technicians In Spain

Loudspeaker manufacturer and Catalonian rental/theater firm host informative seminar for the area's audio engineer/contractor community

Spain-based FOCUS, S.A. recently presented an in-depth seminar and workshop focusing on EAW products and technologies for freelance sound technicians.

FOCUS serves as a rental company for many high-profile touring companies in the area, so it is very common for third party and freelance technicians to be setting up and operating FOCUS-supplied EAW units.

The seminar was intended to prepare those individuals to properly handle EAW equipment and make educated decisions on the setup and configuration of such products, along with some basic discussions of the technology involved. Pepe Ferrer and Ferran Diez of FOCUS acted as the event’s primary lecturers.

Part 1 of the seminar focused on the basics of acoustics, including signal coherence, phase issues, crossovers and LP/HP filters, acoustic and electric delays, sub-bass characteristics and pointers, and vertical and horizontal speaker arrangements.

Part 2 offered a more pointed dissection of line array technology and tips, with emphasis on EAW KF730 Series compact line arrays, KF760 Series large line arrays, SB730 line array subwoofers, SB1000z large-format subwoofers and UX8800 digital signal processors, along with EAW proprietary KF730/KF750 “Wizard” and “Pilot” software.

Also discussed were Lab.gruppen FP 10000Q and FP 13000 Touring Amplifiers and pointers for configuration using Device Power Control.

Part 3 focused on EAW-proprietary and EAW-related technology, including Gunness Focusing and Smaart.

“FOCUS has great enthusiasm for EAW, so it’s no surprise that the event was a huge success,” noted Xavi Oliver of Pro3 & Co., representative for EAW in Spain. “Pepe and Ferran did a great job. The audio professionals in attendance all seemed very satisfied with what they learned.

“Specifically, everyone was impressed with the great number of benefits that the KF730 and KF760 offer: how easy they are to set up, the amazing sound quality, etc. Several attendees remarked on the UX8800 processor too, and the noticeable difference in sound when it’s in use. People were blown away.”

“We are big supporters of EAW’s products and technological innovations,” stated Pepe Ferrer of FOCUS, S.A. “It is important that when we are charged with providing equipment for a large project, especially if EAW is involved, that every person dealing with the system knows and appreciates the technology, and that’s what this event set out to accomplish. This clinic was successful, and we look forward to hosting more events like this in the future.”

EAW Website

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Universal Audio Announces Trident Audio As New Plug-In Partner

Digital emulations of Trident consoles to join UAD platform for Mac and PC

Universal Audio has announced the addition of Trident Audio Developments to its roster of premium plug-in partners. The name “Trident” - by way of parent company PMI Audio Group - is notable not only for the U.K. studio that produced a litany of classic recordings, but also for the manufacturer that spawned top console designs such as the A-Range desk.

“It’s well-understood by the audio production community throughout the world that Universal Audio is an unstoppable force in the circuit emulation business,” said PMI President Alan Hyatt. “Their good faith to involve the holders of the original designs and trademarks shows respect to the IP owners and creative contributors such as Trident designer Malcolm Toft. We couldn’t be happier to partner with a company so dedicated to getting every last detail right.”

Universal Audio’s President Matt Ward commented, “Universal Audio has always had a huge respect for the classic Trident designs, and of course Trident’s sonic contribution to some of the best records ever made. We’re very pleased to add Trident to the UAD product line, and I’m certain that our more than 30,000 users will agree.”

Added UA Plug-In Product Manager Will Shanks, “Trident’s indelible impact on the sound of record making is nearly impossible to gauge. The consoles made available to Trident’s staff, and the studios fortunate enough to acquire them, were legendary in both sound and reliability. Every record made on a Trident was uniquely and quite positively altered by the sonic imprint of its distinctive tone. It is exciting to offer this same tone on the UAD Powered Plug-In Platform.”

Universal Audio Website

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Tuesday, July 14, 2009

Full Compass & Rain Recording Expand Relationship With Exclusive Promotion On New Element Core 17

Exclusive offer on Rain’s award-winning Element Core i7 DAW plus RainCare encompass total integration support kicks off partnership with Full Compass

Full Compass and Rain Recording have announced an exclusive offer for the award-winning Element Core i7 Digital Audio Workstation.

Now officially certified as a Rain Authorized Integrator, Full Compass offers an expanded selection of Rain Recording Digital Audio/Video Workstations tested and certified for use with industry standard software like Pro Tools, SONAR and Adobe Premiere.

Included free in this special introductory package, RainCare Encompass Total Integration Support is a unique support system designed to keep users in the creative zone by providing help with issues related to the use of Rain computers with popular software and hardware like the Pro Tools and Mbox series.

“Full Compass is delighted to be working with Rain Recording. Their focus on providing rock-solid, dedicated authoring systems for audio and video makes them a great fit for us. With this level of quality and support that takes accountability for the trials of professional usage, we are able to offer our customers workstations suitable for ‘mission critical’ applications that we can confidently stand behind, and RainCare Encompass embodies that commitment from Rain,” remarked Kevin Peckham, Product Manager at Full Compass.

Rain Recording VP of Sales, Bob Reardon said, “Full Compass has a knowledgeable staff and a stellar reputation for putting customers first. They’ve shown an incredible commitment to music creation and this promotion is a great way to show their customers that Rain is able to provide the highest level of creative computing hardware and support.”

Full Compass, now at home in their new 140,000 square-foot facility, has built a reputation for superior customer service. Customers can take advantage of a wide selection of audio/video software and hardware that Full Compass can integrate with any Rain computer to create a custom, turnkey solution.

Full Compass also offers flexible financing options and as a member of Rain’s “Get It Now” program, has select models in stock and ready to ship for the ultimate instant gratification.

Beginning July 6th, the award winning Element Core i7 will be on sale exclusively at Full Compass and includes three years of RainCare Encompass Total Integration Support free, a $249 value.

Element is built on Intel’s new “Nehalem” Core i7 architecture. New high-speed processor, memory, hard drive and cooling technology, fine-tuned by Rain for audio production, makes it the most powerful Rain Audio Workstation ever.

Like all Rain systems, this new Element is designed and tested to provide a powerful and stable platform for industry standard audio software and hardware.

The Element Core i7 Digital Audio Workstation with Free RainCare Encompass Total Integration Support promotion is available exclusively from Full Compass through September 1, 2009.

Full Compass Website
Rain Recording Website

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AES Issues Volume II Of Ongoing Oral History DVD Project

Forty audio industry pioneer interviews now available

AES Executive Director Roger Furness has announced the completion of the second volume of Audio Engineering Society DVD Oral History Project interviews. 

Conceived in 1997 by long-time AES member Irv Joel, the project was initiated as a critical opportunity for preserving the creative and technical thought process of the originators of professional audio as related by them personally.

“Irv Joel has maintained close, on-going relationships with many of the giants of our industry,” Furness said. “In addition to coordinating the interviews, he personally served as cameraman and off-camera interviewer for most of them. The entire professional audio community owes Irv Joel a vote of thanks for producing over 100 irreplaceable one-on-one interviews.”

In 2007, Joel brought Pro Audio Industry veteran Harry Hirsch on board to glean through a voluminous amount of video, photographic and related material, carefully organized by Technical Director John Chester in preparation for the transfer to individual DVDs. Working with Final Cut Pro, Hirsch, devoted hundreds of hours to the massive editorial project.

Among the innovators featured in the new set of 20 DVDs are:

Bruce Martin: (1944-2004) Founder, Martin Audio, one of the industry’s largest dealerships in the 1970s and‘80s, he was an innovative console designer, and inventor of the Martin Vari-Speed, used by many studios to alter tape machine speed.

Bill Hanley: The “father of festival sound,” best known for designing, building, installing, and operating a custom sound system for the historic 1969 Woodstock Music and Arts Fair. Mr. Hanley is a storied FOH mixer and a co-founder the Fillmore East.

Ed Greene:  Chief engineer at MGM Records in 1970s; world-renowned engineer; mixer for Grammy and Academy Awards and the Salt Lake City Winter Olympics broadcasts; recipient of nineteen Primetime Emmy Awards and inducted into the Technical Excellence in Creativity Hall of Fame in 2007.

David Hewitt:  A pre-eminent remote recording engineer for almost 40 years (Neil Young, Yes, ELP), Hewitt has received multiple TEC, Grammy, Emmy and Cinema Audio awards as a live recording and broadcast engineer, and film sound mixer. Founder of Remote Recording Services, he created an innovative and hugely successful mobile recording studio. Mr. Hewitt was inducted into the TEC Hall of Fame in 2006.

Dr. Floyd E. Toole: Recipient of the 2008 CEDIA Lifetime Achievement Award, Dr. Toole is a 40-year pioneer in the acoustics field, widely known for his research on small room acoustics, relating measurements to a listener’s perceptions. A contributor to many audio publications, he continued his groundbreaking work as VP of Acoustical Engineering at Harmon International Industries, Inc. until his retirement.

Dr. Marina Bosi: An AES past president AES, Dr. Bosi is Consulting Professor in the Music and Electrical Engineering Departments at Stanford University, and a founding member/director of the Digital Media Project. An accomplished author, she holds several patents and received the AES Fellowship Award for her work on audio standards development.

Ioan Allen: Since joining Dolby Laboratories in 1969, Allen spearheaded the introduction of many breakthrough film sound technologies. He received an Oscar for his contributions to motion picture sound development, holds several patents and has authored many AES Journal papers. He is active in world standards organizations, and is Adjunct Professor at the USC School of Cinema-Television.

John Meyer:  Influencing the way audiences hear sound since the late 60s, Meyer began creating loudspeakers using integral control processors at SF-based McCune Sound Service. Since founding Meyer Sound Laboratories in 1979, his innovations such as advanced self-powered loudspeaker systems have changed the face of live sound. Meyer Sound has garnered 37 U.S. and international patents and numerous industry awards. He was made an AES Fellow in 1985, and he received the Silver Medal in 2007.

The other industry leaders featured in the 2nd AES Oral History series are: Frank Abbey, James E. Webb, Manfred Schroeder, Hamilton Brosious, David Blackner, Neil Muncy, Kunimaro Tanaka, D.B. Keele Jr, Gualtiero Berlinghini, Jerry B. Minter, Dan Dugan, and Walter Selsted.

“Irv Joel, Harry Hirsch and John Chester are making an invaluable contribution to the appreciation and understanding of our industry’s early prime-movers,” comments AES Historical Committee co-chair Bill Wray. “We are fortunate to have a library of over sixty additional videotaped interviews, all of which are planned for DVD release. And,” Wray adds, “we plan to continue producing an on-going series of interviews with current and future visionaries.” 

“This AES Oral History Project was initiated as an inspiration to new generations of audio industry professionals,” Roger Furness concludes.“Education remains an AES priority, and these unique DVD personal histories represent a priceless link between our past and our rapidly evolving future.

“Many of the leading pro audio schools both in the United States and abroad have already added our initial twenty productions to their libraries. We look forward to a steadily growing subscription list as meaningful new titles are added to this collection.”

The entire (current) series of forty compelling AES Oral History Project DVDs is available now at www.aes.org for $15 each for AES members, $20 for non-members. 

AES Website

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Monday, July 13, 2009

Multi Image Group Upgrades Audio Capabilities With Purchase Of Over 100 Crown I-Tech HD Amplifiers

MIG purchased its first Crown amplifiers in 2002 with Macro-Tech and soon purchased I-Tech series amps as well

In a move that immediately extends its sound reinforcement capabilities, Florida-based systems integration firm Multi Image Group (MIG) has purchased 110 Crown Audio I-Tech HD amplifiers. 

MIG, which specializes in corporate A/V projects for clients such as CitiGroup, Deutsche Bank, and Proctor and Gamble, upgraded its entire amplifier inventory from the original I-Tech amplifiers. 

“MIG was not using Crown amplifiers when I joined the company. I didn’t agree with this because I had been using Crown since I started in the professional sound industry back in 1981 and they are bulletproof,” stated Andy Kakas, audio department manager for technical services at MIG. 

MIG purchased its first Crown amplifiers in 2002 with Macro-Tech and soon purchased I-Tech series amps as well. “We started by building a few JBL VerTec line array systems with the Macro-Tech amps and about six months later we got the I-Techs. The sonic quality and built-in DSP of the I-Techs were major advantages when comparing Crown to other amplifiers,” added Kakas.

After purchasing the new I-Tech HD amps, Kakas immediately noticed the improvements. “The most important aspect of these new amps is the sonic detail. It has a transparent top end, which has an open and natural sound. It maintains the Crown dampening that gives you that punch in your chest. 

“Also, the Cobranet integration is quite useful since we have had a need for multiple channels of AES from front of house to the stage and the amp racks,” said Kakas. 

I-Tech HD features a new user-inspired DSP engine co-developed with BSS called OMNIDRIVEHD. The new processing engine features Linear Phase FIR filters that offer unrivaled crossover performance for sonically pure tunings.

The OMNIDRIVEHD processing engine also features an innovative new suite of limiters called LevelMAX. Harman HiQnet System Architect mirrors the typical browser navigation interface to provide tour sound and contracting professionals with a familiar interface to access a host of power configuration and control functions.

Crown Audio Website

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Two Students Receive Bosch Scholarships Through NSCA Education Foundation

Bosch recognizes next generation of system integrators

John Hayes and Jesse Ashby have been named the recipients of the 2009 Robert Bosch Scholarships through the NSCA Education Foundation. These $2,500 scholarships are granted to students pursuing careers in the electronic systems industry or a related field. 

Hayes attends Columbia College Chicago and is working toward a bachelor’s degree in Audio Arts and Acoustics. He gained valuable, hands-on experience installing sound systems into a variety of commercial settings, and is anxious to contribute to the sound installation industry and work with new technologies and gadgets that are constantly improving and changing the industry.

Ashby, a second-time recipient of this scholarship with a wide array of experience in sound, lighting and design, will receive a bachelor’s degree in Theatre and Dance from Christopher Newport University in Newport News, VA.

“What particularly interests me about electronic systems is the speed with which technological advancements are made,” Ashby wrote in his application, “and the high probability of such advancements crossing into other industries.”

“We are very proud to support the future of our industry with these scholarships,” said Daniel Nix, vice president of sales, Americas, for Bosch Communications Systems, Inc., and a member of the NSCA Education Foundation Board of Directors. “Bosch has a strong commitment toward training and education, consistent with our core values of innovation and quality, and we look forward to supporting John and Jesse at this exciting time in their careers.”

In partnership with the NSCA Education Foundation, Bosch Communications Systems offers the scholarships in memory of Robert Bosch, who founded the Robert Bosch GmbH, a German technology corporation. Both students also received a $1,000 NSCA Education Foundation scholarship to further their education.

“The NSCA Foundation is grateful for the opportunity Bosch has given the next generation of integrators,” said Tom Frericks, NSCA Education Foundation president. “These generous scholarships ensure the continued success of our industry. The future already looks bright with the dedication and passion these students have shown in their education and real-world experiences.” 

Bosch Communications Systems Website
NSCA Education Foundation Website

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Martin Audio Loudspeakers Go The Distance At Sierra Nevada World Music Festival

Sacramento Production Services provides clear audio front to back with W8LCs

Sacramento Production Services (SACPS) provided sound reinforcement for the recent three-day Sierra Nevada World Music Festival, which featured a host of top roots music talent from around the globe, including King Sunny Ade, Sly & Robbie, Femi Kuti (Nigerian superstar Fela Kuti’s oldest son), Junior Reid, The Heptones, The Abyssinians and many more.

The main challenge for the SACPS crew––Keith Wackford (System Tech & Monitors), Dwaine Wise (Front of House) and Rich Stansby (Monitors & Stage Tech)––was accommodating both the large number of bands as well as the considerable size of most of those bands.

“Most of the bands were between 8 and 12 pieces, with only 10 to 15 minutes between sets and no sound checks,” explains Wackford. “And because the expectations for audio quality are high, in addition to the fact that we’ve been doing this show successfully for 14 years, you have to have your ‘A-game’ on and be well prepared.”

Designed with the help of Martin Audio Display software for maximum reach and coverage, the main sound reinforcement system consisted of 24 Martin Audio W8LC line array enclosures and 12 Martin W8LS subwoofers.

Onstage, 12 Martin LE1500 monitors and eight Martin LE12j monitors, along with four W8Cs and S218 subs for side fills and two W8Cs for drum fills handled the monitoring. A Soundcraft MH4 console was used for FOH and a Yamaha LS7 for Monitor console. FOH processing included Drawmer compressors and noise gates, and TC Electronic and Yamaha multi-effects processors.

Monitor processing consisted of Xilica DP4080A processors and XTA GQ600 graphic equalizers. Shure R-Series wireless microphone systems and a Cable Factory 52-channel, 3-way transformer audio splitter completed the system.

With crowds for the main stage averaging around 3,500 and the distance to the back of the venue about 275 feet, Wackford reports that “the mix was set a bit further out than we would have like, but the sound was crystal clear from front to back.”

Asked about the choice of Martin Audio, SACPS President Steve Palmer states, “Because it sounds great right out of the box.”

“People love Martin Audio loudspeakers,” Wackford adds. “They sound so warm and it’s easy to build a nice, decent-sounding mix. You don’t have to work very hard or do a lot of processing.

“It’s a very British sound,” he continues. “Martin Audio has a very unique low-mid sound to it. Many of the artists who were on stage with LE1500s absolutely fell in love with the monitors. Our clients are always happy with the PA, which explains why we’ve been doing this for as many years as we have.”

Martin Audio Website

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Friday, July 10, 2009

Euphonix Celebrates Film Dubbing Success At Todd-AO Hollywood & Pinewood Studios

Both events featured discussions and presentations from Academy Award-winning sound mixers

Euphonix recently played host to back-to-back audio industry events celebrating the achievements of hi-end film studios in both Los Angeles and London.

On June 25 in Los Angeles, Euphonix and Todd-AO threw a party at the legendary Todd-AO Hollywood film studios celebrating the grand re-opening of the facility’s two newly renovated Stage 1 and 2 dubbing theaters, each featuring a dual-operator Euphonix System 5 digital audio mixing console.

This brings the total of Euphonix film mixing consoles at Todd AO to eight.

Over 100 guests enjoyed cocktails, dinner, and tours of the facility. Later in the evening, guests gathered in Stage 1 to listen to a presentation given by multiple Academy Award-winning Sound Mixer Mike Minkler, who screened examples of his work including clips from Black Hawk Down, Dreamgirls and a sneak preview of his latest dubbing project, Quentin Tarantino’s new film Inglorious Bastards.

Minkler discussed how he approaches mixing on the Euphonix System 5 consoles and answered audience questions.

“The Todd-AO celebration was a tremendous success,” said Euphonix CEO Martin Kloiber, “We were honored to have guests from all the high-end studios in Hollywood, who took time from their very busy schedules to spend an evening with us. And we are especially grateful to Mike Minkler for sharing some of his insights into film mixing.”

One week later and halfway around the world, Euphonix Europe was hosting a similar event at Pinewood Studio in Buckinghamshire, England.

Dubbed as an evening to “Escape the City,” guests were treated to food and drink and given the opportunity to meet and talk with Academy Award-winning Sound Mixers Ian Tapp and Richard Pryke, who won the 2008 Sound Mixing Academy Award for their work on Slumdog Millionaire.

A long time Euphonix client, the Pinewood Studios Group has been steadily upgrading their facilities since 2003 when they added the first of two Euphonix System 5 consoles at Shepperton.

In 2008 the renovations were completed with the installation of two new Euphonix System 5 dual-operator film-mixing consoles at their Pinewood location.  Notably, in the June 2009 issue of MIX magazine Euphonix-equipped Pressburger Theatre at Pinewood was one of only 15 studios chosen as “The Class of 2009: This Year’s Coolest New Studios.”

“We wanted to show our appreciation for the continued support of the Pinewood Studios Group,“ said Mark Hosking, Director of Sales for Euphonix Europe, “and this event was a terrific opportunity to bring together the UK film community for a relaxing evening in great environment and share a glass or two.”

Euphonix Website

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Duran Audio AXYS Loudspeakers Chosen For U.K. Tour Of Iconic Rock Opera “Quadrophenia”

"I wanted to take the risk and try something new and powerful that had never been used in theatre before to create a more individual mix." - Jason Barnes, Sound Designer

Sound Designer Jason Barnes chose the new Duran Audio AXYS ScopeG2 loudspeaker range as the FOH PA for the ongoing U.K. tour of the classic rock opera “Quadrophenia”

“I chose AXYS over alternatives because of their dynamic sound, energy and ability to deal with the full range of frequencies whilst not sounding over processed,” Barnes explains. “I wanted to take the risk and try something new and powerful that had never been used in theatre before to create a more individual mix.

“I also wanted a 15-inch loudspeaker with punch rather than anything larger, beacause of the varied venues we are touring to. These boxes fit the bill and are light enough to throw up the pros and punchy enough to throw a rich rock and roll sound to the back of the house. I cannot recommend them enough, the AXYS ScopeG2 is the best speaker I have heard in a long time.”

In total, 12 AXYS Scope T-2115’s were supplied to specialist theatre sound rental company Stage Sound Services for the tour, together with eight Duran Audio B-07 subwoofers.

The T-2115 is a full-range, three-way active loudspeaker with built-in amplification (3 x 350 watts) and DSP.  Components include a 15-inch cone driver for low frequencies, a 2-inch driver for mids and a 1-inch driver for highs. All crossover functionality is taken care of by the onboard DSP which also offers, delay, equalisation and very importantly a volume control to ensure that the systems gain structure is preserved.

The B-07 incorporates a single 18-inch cone driver and again benefit from built in amplification (1 x 700 watts) and DSP.

The system is easily configured and monitored using the AXYS WinControl software which connects to the loudspeaker from a PC at the mix position via a RS-485 network.

The AXYS equipment is not the only new technology on the tour, as Barnes also chose a DiGiCo SD8 mixing console for the tour.

“It wasn’t the easy option to go for more new technology on the show but it has certainly paid off,” he notes. “Like the PA, I wanted a compact option and the desk is certainly that without losing any of the functionality, and I also wanted the desk to be able to cope with the demands of a 9-piece band and 16 cast members, all in DPA headsets. It’s safe to say there isn’t a spare channel on the desk whilst making full use of the alternative input on all channels as a backup.”

Phil Hurley of Stage Sound Services states, “We are very happy with our investment, I have been looking for a powered loudspeaker system within our rental stock and believe the AXYS products will become one of the next industry standard systems in a very competitive market.

“The boxes not only sound great but, combined with the DiGiCo desk, we have a PA that is very compact to transport and load into new venues. What’s more the AXYS boxes are very efficient and the PA pulls a remarkably low current compared to other systems.

Duran Audio Website

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Ocean Way’s Record One Studios Re-Opens After Five-Year Lockout

First project in new film mixing studio is Disney's "G-Force"

After five years of lockout by producer Dr. Dre, Ocean Way’s famed Record One studios have reopened. 

The first project was mixing Trevor Rabin’s score for Disney’s upcoming “G-Force,” about a specially trained squad of guinea pigs out to save the world from evil.  Tommy Vicari and Steve Kempster were mix engineers.

The newly reopened Record One features a half-million dollar remodel and in Studio A, the installation of the largest and most sophisticated SSL Film console ever built, which was acquired from Todd-AO Scoring when it shut down operations in Studio City. 

Studio B features a large tracking room and an SSL custom 9080J console.  All studios feature LCR custom-designed Ocean Way monitor systems. 

Additional amenities include private lounges, full gourmet kitchen/dining room and a sumptuous living room with classic furniture and artworks.

In addition to recent top sellers by Dr. Dre, Eminem and 50 Cent, some of the many historic albums recorded at Record One include Quincy Jones’ “Back on the Block” and his follow-up, “Juke Joint,” and Michael Jackson’s “Bad,” “Dangerous,” and “HIStory,” all of which were recorded by Bruce Swedien and received Grammys for Best Engineered Album and sold in excess of 65 million records collectively.

Ocean Way/Record One Website

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Turbosound Aspect Heads Sonic Elements At 2009 Glastonbury Festival Acoustic Tent

“We needed a system that was able to achieve high resolution audio through the extreme dynamic range of acts on the stage, whilst also giving us tight enough pattern control to stop feedback." - Alex Lindsay, Audioforum

Turbosound Aspect loudspeakers were utilized to provide sound reinforcement for the Acoustic Tent at the recent 2009 Glastonbury Festival, in support of live performances by a diverse group of artists such as Fairport Convention, Ray Davies, Hugh Cornwell, Georgie Fame, the Penguin Café Orchestra and the London Community Gospel Choir.

The system serving the Acoustic Tent, provided by Bristol-based Audioforum and specified and manned by Turbosound Design Engineer Danny Cooklin, was comprised ground stacks of four Turbosound TA-890H, four TA-890L and two TSW-218 per side, with two further ground-stacked TSW-218 positioned centrally beneath the stage and TA-500 Aspect Wide cabinets used for onstage side fill.

“For the number of cabinets used the coverage in the Acoustic tent was exceptional,” says Cooklin. “The sound level and balance was consistent throughout the audience and projected well to the back without traveling too far outside.

“We had an even bass pattern and the system was very clean all the way through the mid-range to the super high frequencies, with great dynamics in all areas of the spectrum, which is exactly what was required.”

“Audioforum was very proud to become the new sound provider for the Acoustic Stage at last year’s Glastonbury,” adds Audioforum’s Alex Lindsay. “We needed a system that was able to achieve high resolution audio through the extreme dynamic range of acts on the stage, whilst also giving us tight enough pattern control to stop feedback.

“We have been using the TA-500/TSW-218 system since its release, and knew that even though it would cover the quality and SPL requirements of most of the artists on stage, we would need more power for the larger acts. So we knew turning to Turbosound to add to our hire inventory was the right way to go.

“The Acoustic Stage is the largest indoor arena at Glastonbury. This year, during Ray Davies’ set, the tent was crammed with 5,000 people, with another 5,000 outside the tent down to the bottom of the field. This shows the system could throw far enough without delays.

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“Our engineers, visiting engineers and the stage coordinator were as equally happy with the performance of this year’s Aspect rig as they were with Flex in line array configuration last year, which to me demonstrates a key point: in that environment, the differences between the two systems’ performance wasn’t large enough to make either of them superior overall. They were both equally good, just slightly different.

“When you get an opportunity to be part of the biggest festival in Europe, with the highest density of industry professionals to notice your mistakes - let’s face it, in this game everyone’s second job is sound engineer - you can’t afford to risk your reputation on using anything but the best. So far, I think we’ve done that.”

Turbosound Website

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Meyer Sound MILO Key To Sound Reinforcement For Latest Concert Tour By The Dead

Pro Media/UltraSound provided a total of 72 MILO and 12 MILO 120 line array loudspeakers

More than 45 years after their first concert, The Dead (previously the Grateful Dead) recently finished up their first tour in more than five years, performing 22 shows in 17 cities.

The Dead’s tour was again supported by Meyer Sound MILO line array loudspeakers supplied by Bay Area associates Pro Media/UltraSound.

The system, designed to provide up to 360-degree coverage for the tour’s multiple arena dates, included main left and right arrays of 16 MILO and two MILO 120 line array loudspeakers each.

Left and right side arrays of ten MILO and two MILO 120 loudspeakers each were augmented by identical arrays covering far left and far right areas, for a total of 72 MILO and 12 MILO 120 loudspeakers in all.

The rear areas were served by left and right arrays of 12 MICA line array loudspeakers each. Low frequencies were ably handled by 16 700-HP subwoofers, with eight each flown below the main MILO arrays.

An additional nine M3D-Sub directional subwoofers were groundstacked at the stage. Left and right front fill of three CQ-1 loudspeakers each and a pair of UPJ-1P VariO loudspeakers for center fill completed the setup.

“The Meyer Sound system provided us with a consistent, clean, and powerful image across a wide range of venues,” remarked FOH Engineer Derek Featherstone, who used a pair of HD-1 audio monitors at the mix position. “Even with more than 90 open microphones on the stage, we had very little leakage back onto the PA system.”

Meyer Sound Website

Check out our PSW Photo Gallery for more system images from the tour.

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First Winner Of Sennheiser StageMeister Contest Selected; Touring With Simple Plan This Summer

Winner also receives wireless/RF, monitor, microphone and other training

The Sennheiser StageMeister competition has its first winner, Isaac Eydlin of Mississauga, Canada, who will accompany Simple Plan on the band’s live tour this summer.

The StageMeister contest offers entrants the opportunity to accompany a touring band as a roadie. (Read more about the StageMesister Contest here.)

“I’m overjoyed to have been chosen as the North American winner of the Sennheiser StageMeister competition,” said Eydlin.

“It is a dream come true to be able to hit the road with a band as amazing as Simple Plan. I am studying live sound engineering, and now for the first time I will be part of a major tour production.”

Susanne Seidel, president global marketing for the audio specialist Sennheiser, congratulated Isaac.

“I am really pleased that the jury selected Isaac. The production manager of Simple Plan was impressed by his professionalism and commitment,” Seidel stated. “I hope that this win will give Isaac not only valuable tour experience but also further opportunities and contacts for his future career.”

As part of his prize the 26-year-old has already completed a four-day training course with Sennheiser in the USA.

The program included wireless microphone and monitor technology, microphone system set-up, vocal and instrument microphones, tour etiquette and RF troubleshooting on the road.

“I was immediately part of the Sennheiser family and was able to familiarize myself with all the products used by Simple Plan. The highlights for me were learning about tour etiquette and the hands-on RF troubleshooting,” he said.

“I know that if I run into a problem on the road, there is a great support system built for me to contact along the way.”

Eydlin will be posting about his experiences at www.sennheiser-stagemeister.com 

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Concerts are planned in Ontario and Québec on August 1, 2, 6 and 8. “I want to share my experiences as the Stagemeister with other people by making informative and creative videos, allowing them to be part of this fantastic experience,” Eydlin added.

Sennheiser USA Website

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Wednesday, July 08, 2009

The Classic Center In Georgia Gets An Audio Upgrade With NEXO GEO Line Arrays

TSAV implemented eight NEXO GEO S1210 line array loudspeakers and two GEO S1230s line array loudspeakers for as down fills

Located in downtown Athens, Georgia, The Grand Hall at the Classic Center was built as a meeting, special events and performing arts venue, and recently, Technical Services Audio Visual (TSAV) of Athens installed NEXO GEO S12 line arrays at the 3,175-seat venue to upgrade sound reinforcement quality.

“Until now, the only installed sound in the room was an overhead 70-volt system for background music and paging,” states TSAV’s Steve Gore. “Previously, they had to use a crew to rig a system whenever a live performance event took place, which limited the practical and economical use of the space.

“Because The Grand Hall is reconfigured weekly for a variety of events including concerts, trade shows, and church services, it’s not possible to permanently place ground stacked loudspeaker arrays. The room is also acoustically challenging with a high ceiling main hall and a low balcony in the rear with glass enclosed meeting rooms on top.”

TSAV implemented eight NEXO GEO S1210 line array loudspeakers and two GEO S1230s line array loudspeakers for as down fills as well as four NEXO RS15-P subwoofers. Processing is supplied by three NEXO NXAMP 4x1 processors.

“The NEXO GEO S12 and RS15 arrays provided us the predictable and flexible coverage pattern we needed to fly three arrays (left, right, and center cardioid sub) high enough so as not to interfere with room reconfiguration and allowing for clean sight lines when the front of house is not the primary focal point of the event,” says Gore. “The system provides direct coverage only where needed: the event floor.”

“Using NEXO GeoSoft 2 software to model the room and calculate the speaker configuration and placement, and the NXAMP 4x1 controllers to steer the cardioid sub pattern down to the floor, we were able to complete a challenging installation without resorting to the old ‘well, let’s try it and see how it sounds’ mentality, Gore adds. The fidelity, complete coverage, and volume levels available with this system will allow The Grand Hall to be used for a wider range of events that may not have been practical before, with greatly decreased set up time.”

“From rock concerts to church services, we have a lot of customers who are making good use of the new sound system in The Grand Hall,” notes Paul Cramer, Executive Director of The Classic Center. “It’s a great addition to our facility, allowing us to serve our clients at a totally new level. We are already seeing many benefits. Shortly after the NEXO system was installed, our community was treated to the annual Athens Symphony Pops Concert Series, and we received many comments on the quality of the sound and how much the audience appreciated the new system.”

Cramer also mentioned that a large church group meets at the venue, and when they need to use The Grand Hall, the new NEXO system will provide high-quality audio for services. “Having the system available in-house will add a level of convenience that we are pleased to offer our customers.”

TSAV Website 
Yamaha Commericial Audio/NEXO Website

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