Article

Monday, March 09, 2009

Sound In The Round On Metallica’s World Metallic Concert Tour

“We’d never had even sub coverage in the round, ever. It’s just the nature of the beast. But the fact that the TM Array puts bass absolutely everywhere is a first for in the round. It’s just fantastic.” - Big Mick Hughes (Read more about the TM Array here.)

Launching in late fall 2008 and currently continuing in Europe, Metallica’s World Magnetic world concert tour (in support of the album of the same name) features the band’s long-preferred in-the-round live performance configuration, with more than 200 loudspeakers flown for each arena show.

For more than 20 years, two mainstays on the audio crew have allowed the group to continue to pursue the development of its touring system: Front of House Engineer “Big Mick” Hughes and Monitor Engineer Paul Owen. Sound reinforcement equipment is supplied by Taylor, MI-based Thunder Audio, of which Owen is also Vice President.

“When we finished the last tour, we had the system as best as we could make it,” stated Owen. “Starting out this time, we knew we were going to use Meyer Sound MILO (line arrays) again, so we had Meyer come out and look at the system, working with us to create a system in the round.”

Meyer Sound’s Thomas Mundorf assisted the duo with his self-named TM Array – a new method of flying subwoofers. Pressure was high leading up to the TM Array’s first deployment, but Metallica’s enthusiasm about the resulting sound quality and the artists’ insistence to use the configuration on tour proved that Mundorf’s design was solid, and made the efforts worthwhile.

“We’ve done this show for years with all configurations of PA,” said Owen, “and this is the most even SPL we’ve ever been able to achieve. We’re sold on Mundorf’s design and the 700-HP subwoofers.”

“We’d never had even sub coverage in the round, ever,” adds Hughes. “It’s just the nature of the beast. But the fact that the TM Array puts bass absolutely everywhere is a first for in the round. It’s just fantastic.” (Read more from Thomas Mundorf on TM Array design principles here.)

The main system consists of 8 equally spaced line arrays, each containing 12 Meyer Sound MILO and 4 Meyer Sound MICA self-powered line array loudspeakers. The centrally flown array of subwoofers contains four hangs of 10 Meyer Sound 700-HP loudspeakers.

“We’re pretty excited to get this whole system to work,” said Owen. “We tried this new subwoofer configuration on a couple of European promotional shows with unbelievable results. We’ve never been able to generate as much low frequency at high SPL equally placed throughout the whole arena with any other system we’ve used.”

Owen mixes monitors on a Midas XL4, which he prefers over digital consoles because of the sheer volume of mixes he’s responsible for, which includes 24 Meyer Sound MJF212A stage monitors surrounding the stage, and Sennheiser IEM packs for each of the four band members: James Hetfield (vocals/guitar), Kirk Hammett (guitar), Robert Trujillo (bass) and Lars Ulrich (drums).

“All of our in-ears are from Sennheiser’s 3000 Series, which they don’t make anymore,” added Owen. “I managed to get the last three beltpacks!”

It takes a lot of cabling to support more than 200 flown loudspeakers, so the sound team lightened the requirement by choosing to go with a fiber optic network, with the Fiberplex LightViper system configured as a “drive snake” to provide AES/EBU digital audio signal distribution.

Four Apogee AD-16X (analog to digital) converters feed digital signal to the LightViper system, with four Apogee DA-16X (digital to analog) converters posted before the line arrays as the last component in the chain. The eight Apogee units provide 64 channels of I/O.

“When designing this system we had a criteria set forth for achieving the highest quality in uncompromised audio,” states Thomas Hejnicki, Project Manager for Thunder Audio. “Based upon reputation and experience, we needed to look no further than Apogee for our AD/DA solution. In fact, we tried. With Apogee as our reference; we found no acceptable alternative.”

The fiber system greatly reduced the amount of weight to be transported between gigs, with what was estimated to be 2,000 pounds of copper cable being replaced with 15 pounds of fiber optic cable. It’s also a considerably smaller truck pack.

“I’ve never heard of anyone having a fiber optic cable break, but of course on the second gig, we had one chopped by a security barrier accident,” laughed Big Mick.

System drive is provided by a Meyer Sound Galileo loudspeaker management system with five Galileo 616 processors. The RMS remote monitoring system feeds extensive real-time loudspeaker status and performance data directly to the operator.

A Meyer Sound SIM 3 audio analyzer is used to optimize, calibrate and monitor the performance of the system.

At front of house, Big Mick opted to go digital, selecting a Midas XL8 mixing console. Having worked with Midas on the development of the product, he’s obviously familiar with its benefits and has used it since the product’s debut.

“When we had the cable accident, fortunately with the XL8 we’ve got the X and Y redundant network. We lost the Y network,” he explained, adding that the XL8 has the option of using CAT 5 as a further backup.

Big Mick has been employing Audio-Technica microphones for years, with a variety used on this tour, including ATM350 cardioid clip-on mics for toms and overheads, AE2500 dual-element cardioid instrument mics for guitar cabinets, and wired and wireless versions of AE5400 cardioid condenser handheld mics for vocals.

Additionally, an ATM650 hypercardioid dynamic instrument mic is used on snare and dual AT4050 multi-pattern condenser mics in stereo configuration are on guitar cabinets.

As the tour continued through North America in January, in what was one of the worst kept secrets on the tour, Paul Owen would retire from the road after 22 long years of service. Rumors had been flying that he wouldn’t be completing the tour, and it was a matter of finding an appropriate replacement.

Online reports describe the band bringing Owen on stage for a send-off at their January 13 Detroit, MI show. A fitting tribute - congratulations, Mr. Owen.

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Sunday, March 01, 2009

How The TM Array For Subwoofers Works

To create that huge, signature Metallica sound, they need 138-140 dB – it requires a lot of energy to fill those 20,000-seat venues. The array was designed as a solution for this problem, especially because live sound in-the-round is always a challenge

The TM Array is actually nothing but a line array in the vertical, and a point source in the horizontal. Line arrays in theory are based on omni-directional sources, placed relatively close together, so subwoofers are the perfect choice for building a line array just by their nature.

The vertical coverage is controlled by the (vertical) length of the array. Ten boxes, which is a length of about six meters, provide a good directivity down to frequencies of about 45 to 50 Hz. We had to tweak the EQ a little around 30 to 35 Hz to get the stage really clear.

Alternatively we could have used more boxes in the array, but more boxes meant more weight, which was a big issue, and also the trim height for the array was limited in most cases. In the end, 10 were a good compromise.

In the horizontal, the goal was to create something that had a perfect 360-degree coverage with no hot, or dead, spots. In this regard, there were two points to be considered.

First, we had to keep the horizontal dimension of the array smaller than the reproduced wavelength in order to keep it omni-directional.

Second, we had to keep the individual sources closer together than one third of the shortest wavelength, in order to avoid creating destructive interference between the sources.

This also makes the array extremely efficient, because we don’t lose energy due to cancellation between the sources. With cardioid subwoofer arrays distributed around the stage, we would have needed more than twice as many subwoofers to get the same output.

The TM Array is really about using what we already know about loudspeakers, a principle we teach in the Meyer Sound education seminars. MAPP Online Pro was essential to the fruition of this project – the software allowed me to experiment, and create the system with total confidence that it would work. We’re living in a world of physics, and physics is predictable.

To create that huge, signature Metallica sound, they need 138-140 dB – it requires a lot of energy to fill those 20,000-seat venues. The array was designed as a solution for this problem, especially because live sound in-the-round is always a challenge.

We tried out the new design for two pre-release shows in Berlin and London, and because of the incredible results and positive audience feedback, we were able to go ahead with the design for the world tour.

The hardest part about the project was establishing such an innovative array in a tour of this scale, since it has never been done before. If it hadn’t been for Meyer Sound’s relationship with Big Mick Hughes, Paul Owen and Thunder Audio, and Metallica, it probably would never have happened.

This was the first time, in my experience, that the needs of sound won over lighting. It was a four- or five-week struggle with lighting to get the subwoofer array placed where we wanted it. As a sound designer, you’re typically the last person in the chain asked for his opinion, after lighting and video have already had their say.

But this time, the thinking was: We’re talking about the best band in the world, the best production in the world, the best front of house engineer in the world – let’s do the best sound design in the world.

Thomas Mundorf is part of Meyer Sound’s European Technical Support team.

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Monday, February 16, 2009

Sound On Sticks: And In-Depth Review Of A Wide Range Of Portable PA Solutions

Whether you need a complete solution with built-in amps, wireless mics and FX DSPs, or just a couple of compact boxes to hurl in the back along with your favored amp, mics and mixer, we’re here to help with information, perspective and a Photo Gallery tour.

There are times, quite frankly, when that huge arena rig is simply too much.

Times when the trucks and road crew are not required.

Times when you just want to pack some gear into the trunk of the car and get the gig done.

Forget the laminates and get back to basics.

Thankfully there are solutions, and we’re here to cover those bases.

Whether you need a complete solution with built-in amps, wireless mics and FX DSPs, or just a couple of compact boxes to hurl in the back along with your favored amp, mics and mixer, we’re here to help with this tour of a wide range of portable PA options.

The choice is amazingly varied. However, to help the cause our criteria are simply 12-inch woofer-loaded systems (or below) that incorporate a pole mount. It’s a size thing.

Yes, 15’s maybe do sound better, but will they fit in a Honda Civic? Small is beautiful in the credit crunch era.

Normal rules apply in that this is not an exhaustive list, just a snapshot for your perusal.

Stick them up, add a subwoofer if need be, and then bask in the glory - see our Photo Gallery tour for a comprehensive tour of portable PA options.

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Friday, February 06, 2009

AV Technology At The Forefront Of The New Lamb’s Chapel Worship Facility

The Lamb’s Chapel is a non-denominational church that offers a unique blend of traditional and contemporary worship styles, with music assuming a vital role in their services. In addition to a full choir, there is also a five-piece praise band plus a praise team consisting of five vocalists and a worship leader.

In an effort to make its services more engaging and relevant to an ever-expanding and diversified congregation, Haw River Christian Church, doing business as The Lamb’s Chapel in Haw River, NC, recently completed its new, two-story, 31,889 square foot worship center that’s headline by a new sound reinforcement system, as well as a dynamic video system.

With the sanctuary providing a seating capacity ranging from 2,500-3,000 (depending upon the arrangement of the movable seating), the new complex takes advantage of the latest advances in building construction.

The Lamb’s Chapel employs a structural steel skin – thereby dramatically reducing the time required to erect the facility – with a stone, stucco, and glass veneer. Like the building itself, The Lamb’s Chapel employs state-of-the-art AV technology to help its pastoral staff convey God’s word.

Burlington NC-based Boone Audio Incorporated, a design/build firm specializing in audio and video installations for the church, corporate, and education markets, was contracted to provide the audio-visual system for the new worship center.

According to Paul Boone, President and CEO of Boone Audio, Inc., “The Lamb’s Chapel is a non-denominational church that offers a unique blend of traditional and contemporary worship styles, with music assuming a vital role in their services. In addition to a full choir, there is also a five-piece praise band plus a praise team consisting of five vocalists and a worship leader.

“In order to gain a thorough understanding of the church’s requirements for the new facility, we attended services and met extensively with church management during the planning stages.”

“It became quite clear that management sought a concert level sound system with an equally compelling visual presence to help reinforce the message,” Boone stated. “With that in mind, we proceeded to design a sound system that included left-center-right line array clusters consisting of loudspeakers from the WorxAudio Technologies TrueLine catalog with five strategically placed Da-Lite Da-Snap projection screens.”

The Lay Of The Land
The Lamb’s Chapel sanctuary is a rectangular space with a main floor area measuring 134 feet in width by 92 feet in length to the rear wall and a ceiling height of 36 feet. A balcony extends from the rear wall of the main floor and this area increases overall room length to 148 feet.

In addition to addressing a number of acoustical reflections, the most pressing challenge in terms of sound system design was to gain even dispersion throughout the space – including the rear balcony area – without drowning those members of the congregation close to the stage with overly oppressive sound pressure levels.

Though the sanctuary is carpeted, the room’s sheetrock walls created a number of undesirable acoustic reflections that seriously degraded speech intelligibility, as Boone explained. “With engineering assistance from WorxAudio’s Hugh Sarvis, who used a TEF analyzer to measure the room and EASE Focus for modeling, it became immediately clear that the two rear walls opposing the stage (the front and rear extremities of the balcony) were real problem spots that required acoustical treatment.

“To address this, we used 1-inch thick acoustic paneling made from Manville Whispertone wallboard that we covered with sound absorbing material from the Interface Fabric Group (part of Guilford of Maine). We also applied panels along the upper portion of the side walls to further dampen the area.”

The Soundscape Takes Shape
Over the front edge of the stage area, the Boone Audio crew flew three clusters consisting of WorxAudio Technologies TrueLine M80i-P self-powered, 2-way line array elements utilizing dual 8-inch cone transducers coupled with a 1-inch exit compression driver.

The left and right clusters each consist of four M80i-P modules along with a single M80iDF-P downfill module. The center cluster consists of eight M80i-P elements plus the M80iDF-P downfill module.

For sub bass reinforcement, the system includes three subwoofers. Two WorxAudio TL218SS-P self-powered, dual 18-inch subwoofers are vertically aligned with the left and right line array clusters and are positioned underneath the front edge of the stage. Additionally, a single TL.118SS-P single 18-inch subwoofer is located underneath the stage’s front center.

On the rear of the center array, there is single M80i-P module mounted to the top of the cluster. This element serves as a down-firing monitor for the choir. Boone noted, “With the enclosures’ 160-degree horizontal, 10-degree vertical dispersion pattern, it does a great job covering a large choir, and since it’s mounted to the back of the cluster, it’s invisible to the audience.

Supplementing the down-firing M80i-P, there are two WorxAudio Wave Series 8M stage monitors that can be freely positioned as needed. Augmenting these monitors, the performing musicians and praise leader utilize Aviom Pro16 in-ear monitor systems.

Centrally located at the rear of the main floor area, the front-of-house mix position houses an Allen & Heath ML3000-48 mixing console, an Ashly Audio NE-Series Protea ne24.24M digital signal processor for loudspeaker management, a Lexicon MX200 processor for reverb and other effects, plus a Drawmer DL241 Auto Compressor for compression and limiting.

For audio recording during services, a Microboards Technology Copywriter Live CR-R and duplicator is provided. “Since this station is manned entirely by volunteer staff,” Boone noted, “We created a series of mix templates to address common sound reinforcement scenarios that can be recalled, and then we trained the staff on basic operation of the system. In doing so, the volunteer FOH mix engineer manages fader movement, but really needn’t be burdened with much more than overseeing individual channel levels.”

In order to facilitate freedom of movement, wireless microphones are used extensively. There are a total of seven Audix RAD360 UHF wireless systems. Five of these are the W3-OM6 systems that utilize the OM6 dynamic handheld microphone transmitter.

These are used by the praise leader and select vocalists. For the pastor and a guest speaker, the two remaining systems are of the W3-BP variety consisting of bodypack transmitters coupled with lavaliere microphones.

Presenting A Vivid Picture
A total of five front projection screens do an outstanding job providing a variety of visuals that include video clips, pictures, lyrics, and more. The primary left and right screens positioned on the wall at the rear of the stage/altar area are 12 x 16-foot Da-Lite Da-Snap models coupled with a pair of Eiki LC-X71 5500 ANSI Lumens XGA LCD projectors.

Located at the front edge of the balcony area, two 7 x 9-foot Da-Lite Da-Snap screens provide visual assistance to those in rear of the sanctuary. These screens take their feeds from a pair of Eiki LCXB41 4000 ANSI Lumens XGA LCD projectors.

A fifth screen is used in a very different capacity. Positioned 92 feet out from the stage on the rear wall facing the stage is another 7- x 9-foot Da-Lite Da-Snap screen that takes its feeds from an Eiki LC-XG400 5000 ANSI Lumens XGA LCD projector.

“This screen is used in a teleprompting capacity,” explained Boone, “providing lyrics for the choir and other vocalists as well as additional cues that may be deemed necessary during a service. Both the house displays and the one for the choir take their content feeds from two separate personal computers.”

A Moving Experience
In the short time frame since The Lamb’s Chapel began using their new AV system, Boone reports everyone at the church – including the clergy, music staff, and the congregation – has been extremely enthusiastic. “It’s really gratifying to see what a positive impact the new AV system is having on everyone at the church,” says Boone. “Inside and out, The Lamb’s Chapel is a really impressive facility. With the new AV system operational, the sound quality from the WorxAudio loudspeakers is clear and even no matter where one happens to be seated in the hall.

“Similarly, the pastor, choir, and others on stage can hear clearly thanks to the combination of overhead, floor, and in-ear monitoring systems. Combine all this with a first-rate visual presentation that is easy-to-read text and full of vivid colors, and you have a recipe for success.”

Click here for a Photo Gallery tour of this project.

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Wednesday, February 04, 2009

d&b audiotechnik Debuts T-Series - Line Array & Point Source In One Package

The T-SUB subwoofer shares the same width and integrated rigging fittings as the T10 for deployment either flown at the top of a T10 array, in a separate column, or ground stacked.

The new d&b audiotechnik T-Series line array offers two different loudspeaker technologies in one package - it is the company’s smallest line array that also easily transforms into a stand-alone point source system.

The T10 cabinet (470/18.5 x 197/7.8 x 300/11.8 mm/inch) is a passive two-way design that houses two 6.5-inch drivers, a 1.4-inch-exit HF compression driver and can be used either as a compact component in a multiple cabinet line array or, by rotating the horn as a high-directivity point source loudspeaker.

The HF driver is fitted to a unique waveguide horn producing vertical line source directivity with a 90-degree horizontal pattern that is maintained down to approximately 600 Hz.

An acoustic lens placed in front of the horn widens horizontal dispersion to 105 degrees; rotation of the horn by 90 degrees relative to this produces an accurate point source dispersion transforming a vertically oriented T10 into a stand-alone full range loudspeaker with 90-degree horizontal and 35-degree vertical directivity pattern.

The horn can easily be rotated from outside the loudspeaker without tools or removing the front grill, achieved through apertures in the cabinet sides allowing rotation to both the line and point source positions.

The two 6.5-inch neodymium LF drivers are positioned in a dipolar arrangement providing an exceptional dispersion control even at lower frequencies.

The T-SUB subwoofer shares the same width and integrated rigging fittings as the T10 for deployment either flown at the top of a T10 array, in a separate column, or ground stacked.

It is used to increase the low frequency headroom and extend the bandwidth of a T10 column down to 47 Hz.

The bass-reflex design utilizes a high excursion 15-inch driver with a neodymium magnet assembly and employs d&b SenseDrive technology when driven by the company’s D12 amplifier.

The d&b D6 and D12 dual channel amplifiers provide two different power ranges, incorporate d&b loudspeaker specific configuration information including the T-Series, and have analog and digital signal inputs and links.

These devices are specially designed and manufactured by d&b utilizing digital signal processing and include switchable functions for precisely tailoring system response for a wide variety of applications.

A user definable four-band parametric equalizer and a delay capability are provided in every amplifier channel to reduce the need for external processing devices.

The D12 amplifier additionally offers a two-way active mode and a mixed TOP/SUB output configuration, output connector options as well as d&b SenseDrive.

Both amplifiers have d&b remote network interfaces enabling control and monitoring of the system functions and extensive system integration capabilities. d&b load monitoring and system check are also incorporated to remotely monitor loudspeaker driver status.

To realize the complete system, firmware and software updates that include the T-Series loudspeakers are available for download under the relevant sections within support/downloads at the company website, http://www.dbaudio.com.

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Tuesday, February 03, 2009

Roland Systems Group Announces Innovative Personal Mixing and Monitoring Solution

Providing performing musicians with very high sound quality and flexibility in their individual stage mix, the M-48 offers control over 40 audio sources that can be easily managed in 16 assignable stereo groups.

Roland Systems Group (RSG) has introduced the RSS M-48 Live Personal Mixer and RSS S-4000D Splitter and Power Distributor, an innovative monitoring solution for live performance and studio applications.

Providing performing musicians with very high sound quality and flexibility in their individual stage mix, the M-48 offers control over 40 audio sources that can be easily managed in 16 assignable stereo groups.

The playing experience is enhanced with level/pan/solo/three-band EQ on each group, high quality built-in reverb for a more appealing sound, ambient mic for better communication with band members as well as physical inputs and outputs for multiple headphones, wedges and powered monitors, interfacing with iPods, metronomes and external recording devices.

Clear sound quality is ensured by use of Roland’s Ethernet Audio Communication (REAC) Cat5e protocol now including REAC Embedded Power eliminating the need for wall wart power at each M-48.

Power is supplied via the RSS S-4000D Splitter and Power Distributor, which can provide the digital audio stream and power to up to eight M-48s. Multiple S-4000D can be used in a configuration.

Configurations are straightforward with the ability to control, save and recall all connected M-48’s from either an M-400 V-Mixer or PC (when using other consoles). This allows the FOH engineer or other technical operator to assist in setup and mixing if desired.

Existing M-400 users require the Version 2.0 update which also contains significant additions including support for LCR sound systems, vintage effects, expanded PEQ and GEQ capabilities, real-time analyzer and other user interface enhancements.

The M-48 Live Personal Mixer can easily be integrated with other digital or analog consoles using a choice of RSS Digital Snakes and included PC software for setup and control.

“The M-48 Live Personal Mixer is a breath of fresh air for live performers,” states John Broadhead, VP of Technology and Communications for RSG. “We’ve provided a way for each musician to monitor exactly what they want to – their order, their grouping, their levels, EQs, reverb – whatever.

“That may mean a simple stereo group or two for the novice all the way to the professional touring musician who requires complete flexibility per venue. A truly personal and unique mix can finally be achieved by each musician.”

RSS M-48 Live Personal Mixer Features:
- The M-48 enables control of up to 40 audio channels via 16 stereo groups. No longer do users have to share the same sources in the same order as everyone else, but rather, they can chose what to listen to – a truly personal mix.
- Users can sweeten the monitor mix to their exact preferences with volume, pan, three-band EQ and built-in reverb per group – all instantly adjustable via convenient encoder knobs.
- A limiter can be engaged to protect ears from sudden and dangerous volume spikes. Based on REAC, the all-digital connection results in a low noise floor, improved musicality and crystal clear sound.
- LED indicators on the control knobs enable instant adjustment and visual confirmation at a glance, even on a dark stage.
- Built-in ambient mic aids in communicating with other musicians without having to remove their in-ear monitors or headphones, as well as enabling a stage/room feel if desired.
- AUX input allows mixing in a metronome or other input devices with the primary sound. Control, save and recall any connected M-48s from an M-400 V-Mixer or PC, allowing the FOH engineer or other
technical operator to assist in setup and mixing if desired.
- Newly developed REAC Embedded Power via the S-4000D transfers both power and 40 channels of audio to the M-48 via a single CAT5e cable – dramatically simplifying wiring and stage layouts. Mini jack and 1/4-inch phone jack headphone outputs are provided.
- Balanced TRS line outputs support wedges or other types of powered monitors.
- Independent stereo output mini jack enables recording with superb sound quality.

Personal Mixing is one of the four components in the V-Mixing System line-up which also includes digital snakes, digital consoles and recording.

For more information: www.rssamerica.com/personalmixing

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QSC Audio Introduces ILA Version 2 (v2) Line Array System

Turnkey line array system offers high performance, ease of deployment, and affordability

QSC Audio has introduced the new ILA (Installation Line Array) v2 system, a second-generation design of the lightweight, compact line array system.

The turnkey package includes dedicated full-range and subwoofer loudspeaker components, processing, amplification, and suspension accessories, and is intended for a wide range of venues, including nightclubs, ballrooms, performing arts facilities, houses of worship, and many others.

“One of the main reasons for developing ILA v2 is to make true line array performance accessible in a far broader range of applications,” QSC VP of Marketing Gerry Tschetter say. “Most line array systems today are manufactured for the touring sound market, which means that overall, system costs lie well beyond the means of many facilities that could gain direct benefits from the technology.

“By focusing on fixed installation needs with a molded enclosure and simplified rigging scheme, QSC has driven costs down while retaining the sound quality, coverage, and acoustic output of touring line array systems.”

With ILA v2’s SC28 system controller, setup by an expert using sophisticated acoustical measurement equipment isn’t required. Offering simple preset recall processing built expressly to optimize ILA v2 and other QSC loudspeakers, the SC28 is easy to use.

Part of the power behind this combination of simplicity and performance is QSC’s proprietary Intrinsic Correction circuitry, which compensates for inherent transducer, waveguide magnitude, and time-based anomalies to produce performance marked with excellent power response, and natural, uncolored sound across its entire bandwidth and area of coverage.
 
With power provided by QSC RMX Series amplifiers, every ILA v2 system relies upon line array elements equipped with a pair of neodymium magnet, 8-inch diameter, low frequency drivers. While both of these woofers produce low frequencies, only one covers the midrange, thereby resulting in more uniform directivity in the crossover region.

For high frequencies, a pair of 1.75-inch (voice coil diameter) neodymium compression drivers with titanium domes are mounted on a multiple aperture diffraction waveguide that provides extremely wide coverage (140º). As a result, an ILA v2 system will rarely require additional side or center fill speakers, and solid stereo imaging is preserved across the listening area.

An upgraded subwoofer—the WL118-sw—is also offered with ILA v2 systems. A single 18-inch version of QSC’s GP218-sw touring subwoofer, the WL118-sw offers punch and low frequency extension.

Using only three RMX 5050 amplifiers and a single RMX 2450HD, a pair of ILA v2 arrays incorporating six full-range line array enclosures and a pair of subwoofers can easily be powered with ample headroom to burn.

Rigging for ILA v2 systems is simple, flexible and safe, providing a 10:1 design factor with twelve full-range cabinets in the array. Each array is assembled with included bolts. The relative angle between adjacent boxes is adjustable in 1-degree increments for precise tailoring of vertical coverage.

For those preferring quick- release pins to the included bolts, an optional kit of four quick-release pins (QRP-KIT-1) is available.

ILA v2 subwoofers may be suspended at the top of an array using QSC’s standard FP2082-i array frame. When trim height is limited, the subs may be suspended behind the array using an available extension bar (model EB2082-i). 

As an aid to determining the array position and box-to-box splay angles in any ILA v2 system, EASE Focus software can be downloaded free from the QSC website.

For installations in which the subwoofers are groundstacked, the GP118-sw offers identical performance but omits the ILA v2-compatible suspension hardware. 

QSC Audio Website

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Monday, February 02, 2009

Soundcraft Announces Lower-Priced Si2 Addition To Si Series Digital Console Family

One of the most unique and compelling features of the Si series is that every input and output has its own dedicated input (output) socket on the back of the console.

The new Soundcraft Si2 digital console is a smaller partner to the Si3 launched in September last year, providing a more compact and highly-featured digital console at a competitive price that is very well suited for applications where a smaller footprint is critical, such as theaters, houses of worship and smaller tour sound systems.

The Si2 comes in a smaller footprint than its bigger brother, and has 48 mic inputs mapped on 24 faders (the Si3 has 64 inputs), but this is where the differences end.

The Si2, like the Si3, has four dedicated Stereo Line channels, four dedicated FX Returns from the four stereo Lexicon FX processors, 8 balanced insert sends and 8 balanced insert returns.

Si2 is complete with 24 Group/Aux busses available at all times, 8 matrix buses and a full complement of monitor talk-back and main bus outputs.

One of the most unique and compelling features of the Si series is that every input and output has its own dedicated input (output) socket on the back of the console.

Like the Si3, the Si2 uses a combination of rotary encoders and OLED screens on every channel so the engineer mixes at source, without recourse to a central screen, an interface welcomed by many engineers since the console’s launch last year.

Four assignable on-board lexicon effect engines supplement 4 stereo inputs to provide a really powerful mix package in a width of 1.4m for a UK list price of £17,950 (Approximately $25,620 U.S.)

With all input and output connections and power supply on board, the Si2 can simply drop in where an existing analog console sits, utilizing existing copper cable snakes and splitter systems.

For more information go to www.soundcraftdigital.com.

Click here to see our Photo Gallery of the Si2.

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Saturday, January 31, 2009

Show Report: Conversations, Observations & New Products At Winter NAMM ‘09, Part II

Custom looks, mic packages, plug-ins, anniversaries, monster bass players, and more... (Part I of this report is here.)

One of the more interesting things at Winter NAMM 2009: three major microphone manufacturers to customers to order their own “custom look” versions of popular microphone models.

And why not? Not every single innovation needs to be “high tech” to be useful, creative, productive, etc.

I’m referring to the Audix Camo Series, the Sennheiser Chrome Customized Series and beyerdynamic M(y)88 Program.

Obviously these vary in scope and the products they apply to, but the bottom line is customers getting more choices.

.

That’s a good thing.

Another microphone company creating a stir was Shure with its new PG27USB and PG42USB microphones that connect to any USB computer port. Both are cardioid condensers with built-in headphone monitoring and monitor mix control.

The PG27USB offers a flat, neutral frequency response, while the PG42USB is engineered to reproduce the subtle nuances of lead vocals.

Perhaps best of all, Shure also introduced the X2u XLR-to-USB signal adapter that connects any XLR microphone to a computer, and is compatible with Windows and Mac (more here).

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Life’s always a little more fun when you encounter Dave Rat, and I had that good fortune at the show. We went outside the convention center for a few minutes and talked about his investment in a new, substantive L-ACOUSTICS K1/KUDO rig (more about that here), and I wanted to know his thought process in making such a large investment at such a rocky economic time.

“I started seeing the economic slowdown coming over a year ago,” Dave told me. “I could see it emerging in our work with customers, and as we engaged with them. Albeit, it was subtle - but very real - in my estimation. So I started adjusting our business in several ways last February, in preparation, and that put us in a good position to now make this investment.

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“To my way of thinking,” he continued, “you don’t want to do what the competition is doing. So if they’re downsizing right now, I want to be doing the opposite. Particularly if it’s in what I see as a smart direction, which in this case, is offering our customer base what I consider to be some of the truly great audio technology ever developed to this point.” (By the way, next week we’ll be featuring a video “introduction” of this new system, as well as further commentary about it from Dave.)

He’d been checking things out around the show floor, and noted that his pick for product of the show is the new Neutrik ConvertCON, the industry’s first unisex XLR connector. (Read more about it here.) He explained that it will save he and his crew miles of walking when hooking up huge systems, and for that, all of their feet say a big thank you.

Back on the floor, the positive vibe continued as I stopped by the Lectrosonics booth to catch up with Karl Winkler. He was showing the wide range of excellent Lectrosonic wireless gear, including some guitar/instrument systems that have hit the market the past couple of years.

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I had the opportunity a few years ago to visit the Lectrosonics facilities in New Mexico, and it’s quite an operation. Great people, exceptional product, and it’s all built here in the USA. Of note, Lectrosonics has recently added wireless systems utilizing three blocks at the lower end of the spectrum (blocks 470, 19 and 20), so the spectrum being lost at the high range can be compensated for on the low end.

Karl does some writing for Live Sound magazine that we’re now featuring here on PSW. (Read recent articles by Karl here and here.)

Also at the Lectro booth, Ricky Phillips, who currently plays with Styx and has been with the Babys and Bad English, among others, stopped by to pose for photos, sign autographs and chat with visitors.

Waves Audio continues to take its expertise to the live realm, announcing at the show the formation of the Waves Live Division, a dedicated branch addressing the current and future needs of the live sound market sector.

The company has a new Live Division website (www.waveslive.com), and released a load of Waves TDM plug-in bundles that run on Digidesign Venue consoles using the Waves D-Show Enabler. And, currently Waves has more than 50 processors for the Venue, a number that’s sure to grow. (Read more about it here.)

Waves was very busy overall, debuting a wide range of other products like the the Tony Maserati Collection (read about it here) of application-specific plug-ins, expanding its Durrough Meter Collection with a Surround Edition (read about it here), and much more.

Next up was a great stop at the Euphonix booth, where I talked with Peggy Blaze about the company’s MC Control and MC Mix media controllers, which are seeing very good success.

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Euphonix also announced at the show that Metric Halo is now supporting the EuCon Control Protocol. (Read about it here.)

We’ll also soon be featuring videos here on PSW profiling recording professionals using the Euphonix System 5-MC and MC Pro.

I ran into long-time friend Greg McVeigh in one of the aisles, and he told me about some new drum mic packages that Heil Sound brought to the show. Later, I overheard a couple/few positive comments about these mics, so it looks like Heil has something good.

Three packages are available - HDK-8 Primo, the HDK-7 and the HDK-5 - and all are made up of flagship Heil microphones to meet the given application and wishes of the user. Read more about it here.

At QSC, I spoke with Evan MacKenzie about a wide range of topics, and was a bit surprised when he mentioned that it’s the company’s 40th anniversary. Intellectually, I know the company’s been around that long, but the upbeat outlook and the constant stream of new technologies that come out of Costa Mesa must make them seem more youthful - at least in my mind.

And anyway, as someone who’s well past the 40 mark, I really shouldn’t be pointing out the age of anyone/anything else…

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I also checked out QSC’s new CSM Series of stage monitors. It includes three models: the CSM10, CSM12, and CSM15, and as the model numbers in the product group imply, they are respectively equipped with 10, 12, and 15-inch woofers.

All feature a user-adjustable pattern control of the high frequency section, which facilitates changes in the vertical plane from asymmetrical coverage spanning a total of 100 degrees to a fully symmetrical 150 degrees. Read more about it here.

Roland Systems has been doing some very interesting things with digital snake and transport systems for several years now, and also shared info off the record about a huge new development that we’ll be able to announce this coming Monday (2/1). It’s a pretty big scoop, so check back.

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Rob Read and Jeremy Engel (pictured right) provided the heads-up at the Roland Systems booth, where they were also showing a wide range of products like the V-Mixing System, digital snakes, recorders and much more.

Peavey keeps moving steadily forward, as I found with a tour of numerous new technologies and products hosted by Mixer Engineer Tom Stuckman.

Of particular note is the new Peavey XR Series powered-mixer line, the XR 1220 console and rack-mountable XR 1212.

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Both of these new mixers incorporate a mind-boggling number of Peavey technologies and extensive digital signal processing. They’ve also got Peavey’s proprietary Feedback Ferrit, a feedback eliminator, which I’ve seen work really effectively. Plus I like to the word Ferrit… (Read more about XR Series here.)

I’ve always enjoyed talking with the folks at TC Electronic, and they’ve consistently come out with interesting, useful gear. This time out proved no exception.

At NAMM, they introduced a number of musician-oriented products, as well as three new plug-in bundles - ‘Production’, ‘Mastering’ and ‘Studio Complete’ - which offer registered Pro Tools|HD owners significant savings on nine of the most popular plug-ins from TC Electronic, TC-Helicon and Tube-Tech.

I also had the pleasure of meeting Kevin Alexander, the new CEO of TC Helicon, who showed me the new VocalLive 2 vocal processor. (Read more about it here.) We also had a great discussion about vocal processing in general, and how it’s now “come out of the closet” - in other words, it used to be that artists didn’t want it known when they were using a vocal processor; now, it’s often just the opposite.

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TC also had daily performances by “BASSIDA” a.k.a. Ida Funkhauser (pictured right), an outstanding electric bassist, and she was using the new TC rh450, also known as “bass amp 2.0”. It addresses a lot of key issues for bass players, and in fact, was awarded “most outstanding design” by Bass Gear magazine.

So much to talk about, so little time. I hope you’ve enjoyed this tour around the 2009 Winter NAMM Show; I know I enjoyed my time there.

As always, feel free to send me your comments (.(JavaScript must be enabled to view this email address)), or post them here with the article.

And be sure to check out our other 2009 Winter NAMM coverage:

- Photo Gallery From Winter NAMM 2009
- Recording Gear Hits At Winter NAMM (By Barry Rudolph)
- A Deep Well Of New Products At Winter NAMM, Part I (Keith Clark)
- NAMMservations; Or How I Went NAMM And Learned About Drum Stick Free Zones (Fletcher)
- “What Me Worry?” The Fun That Was Winter NAMM (Blog Post, Keith Clark)
- PSW Winter NAMM 2009 Host Page; New Product Listings

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Thursday, January 29, 2009

Update On Sound For The Inauguration Of President Obama; Includes New Photo Gallery

In addition to very large-area coverage considerations, Baltzell and the MSI audio support team had to prepare for and deal with serious weather and security contingencies, while designing and deploying a fail-safe sound system to support sound reinforcement for both speech and music.

The recent inauguration of President Barack Obama set a benchmark as one of the most widely attended and celebrated civic events in history, with Baltimore-based audio systems provider Maryland Sound (MSI), in collaboration with sound designer and front of house engineer Pat Baltzell of Baltzell Audio Design as well as Clair Global, configuring a wide-ranging sound reinforcement system to serve the event. (See our new Photo Gallery of the event.)

The ceremony took place at the United States Capitol in Washington D.C., with a crowd of more than 1.5 million onlookers extending two miles from the Capitol to the Lincoln Memorial on the Potomac River, and along Pennsylvania Avenue to the White House, with a total audience “in the streets” surrounding the event site estimated to have exceeded two million.

MSI needed about 30 semi-truckloads of audio and support gear for coverage of the Capital and connected areas, while Clair Global stepped in with more than 25 towers of line arrays on delay. Clair was also quite busy supporting numerous inaugural balls in addition to the pre-inauguration concert the day prior at the Lincoln Memorial.

Besides the Oath of Office administered by Chief Justice John Roberts and an address by the new president, the diverse ceremonial program also included music from the San Francisco Boys and Girls’ choirs, performances by Aretha Franklin, Yo-Yo Ma and Itzhak Perlman, the U.S. Marine Corps band playing “Hail to the Chief,” a 21-gun salute, and a number of prayers and invocations. 

Shoeps microphones on the podium, backed up by Sennehiser 816 shotgun microphones, were utilized for all speeches at the Capital, including President Obama’s remarks. Mixing for all of these applications was done on a pair of Yamaha PM5D digital consoles.

With equal attention being paid to clear sound quality and open sightlines, MSI (headed by Bob Goldstein and working its third consecutive presidential inauguration) teamed up with Baltzell to configure a wide-ranging loudspeaker set that relied largely on JBL VERTEC VT4889 large-format line array elements.

In total, 15 of MSI’s custom-built, ground-stacked line array towers, ranging from four to 14 VT4889 loudspeakers each, were dispersed throughout the Mall area, beginning with two 14-box clusters at the main stage at the capital (one per side).

With respect to sightlines, six towers were arranged on the outside perimeter of the main lawn (which measured approximately 550 feet deep by 1,000 feet wide), to provide delays without obstructing the view of the seated audience.

Beyond the 305-meter (1,000-foot) mark, an additional five delay towers were set up from left to right in the audience area, providing audio reinforcement for the rest of the crowd.

To cover various VIP seating sections along with choir and band areas, the primary VT4889 system was supplemented by JBL VP7315DP powered loudspeakers, VRX932 portable line array loudspeakers and Control 25AV pole-mounted speakers.

Crown I-Tech amplifiers, configured with Harman HiQnet System Architect software for remote control and monitoring, powered the system. The I-Tech amplifiers feature advanced DSP processing which allows for additional tuning of the JBL line arrays.

Baltzell noted that the features of the I-Tech amplifiers give the flexibility needed in this type of challenging outdoor environment. 

“It made it possible to run System Architect and actually make subtle adjustments in the amps; each 14-box speaker column was divided into three zones, but to get even better resolution, you have the ability to go directly into the amps and put in filters to make subtle high-frequency adjustments in the amp that we would not have been able to do previously,” stated Baltzell.

“One of the biggest challenges we faced was the high frequency. We tried to manage this by boosting the top cabinets in a way that would not affect the near field. Having the fine resolution of I-Tech with DSP in the amps takes us to another level of fine control,” he added.

“We are extremely pleased with the assortment of tools that Harman provides us, and are able to achieve the highest fidelity sound possible and vastly superior to that which was available only a few years ago. Given the harsh environmental conditions we were working in which has brought sub zero temperatures and lots of precipitation the equipment worked flawlessly with no failures,” noted Goldstein.

In addition to very large-area coverage considerations, Baltzell and the MSI audio support team had to prepare for and deal with serious weather and security contingencies, while designing and deploying a fail-safe sound system to support sound reinforcement for both speech and music.

Clair Global provided more than 25 delay towers with Clair i-4 line array boxes to further extend coverage all the way to the Lincoln Memorial. And as noted, the Clair team was exceptionally busy throughout the inauguration, providing sound and support for 10 inaugural balls as well as the pre-inauguration concert featuring numerous “A-List” musical artists.

Additional Notes:
- Firehouse Productions of New York provided two Yamaha PM1D digital consoles for the Icon Awards (BET), three PM1Ds for music and one PM5D for production for the Youth Ball featuring Miley Cyrus, Jonas Brothers, and a PM1D for front of house at the “Yes We Will” Ball (BET).
       
- The mega pre-inaugural concert held on the steps of the Lincoln Memorial featured performances by U2, Bruce Springsteen and the E Street Band, Mary J. Blige, Stevie Wonder among others, all mixed on a Yamaha PM1D digital audio console provided by Clair.

- The Democrats Abroad London Inaugural Ball, held in the Royal Lancaster Hotel’s Nine Kings Suite, had technical production infrastructure designed and provided by Insync Productions, using a Martin Audio PA rig.

Guests watched a recording of the inauguration on a double front-projection screen while the speeches and recorded sound were relayed through a series of flown Martin Audio Blackline F12 and F8 enclosures, with floor-mounted WS218X subs providing bass extension. Martin Audio’s LE12JB wedges were used for monitoring.

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Sunday, January 25, 2009

Recent Church System Trends & Highlights

A tour of recent audio technology applications...(Check out our photo gallery of recent projects.)

The world of church sound has never been more exciting, as the constant flow of new technology continues to make a positive impact on the quality of audio provided for worship services.

Further, these developments, as well as the increasing knowledge among both church sound practitioners and systems integrators of how best to apply them, are opening up a plethora of new possibilities in terms of increasing the scope of worship production.

Enjoy this tour of some recent audio technology applications at a variety of churches.

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Friday, January 23, 2009

Show Report: Conversations, Observations & New Products At Winter NAMM ‘09, Part I

A lot of creativity, and a lot of usefulness, and a lot of both. (Read Part II of this report here.)

At the 2009 Winter NAMM Show in Anaheim. I traveled the show floor - front-to-back and end-to-end - to see as many new products and talk with as many people as possible.

Optimism was the word of the event, particularly among manufacturers truly excited about their new products. (Check out our Photo Gallery from the show!)

I saw a lot of creativity, and a lot of usefulness, and a lot of both.

There wasn’t one single product that was a show-stopper, but rather, a very deep well of new ideas, clever takes on existing designs, and innovative examples of the pro audio industry moving more into the mainstream of the “consumer” side of the equation.

Case in point was a stop at the Blue Microphones booth, where Scott Schumer showed me Mikey, the company’s new recording device that simply plugs into any iPod.

Mikey offers a quality stereo condenser capsule, three-position user selectable gain setting, and even a built-in loudspeaker for playback. The user-positionable head swivels 180 degress so the mic can be positioned towards sound sources in various directions.

Blue also debuted two new Bottle Rocket microphones. The Stage One Bottle Rocket is a transformerless solid state microphone, while the Stage Two Bottle Rocket is a transformerless tube microphone.

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Both are fully compatible with the Bottle Caps, the same interchangeable capsule system used with Blue’s Bottle mic. A lot of flexibility, for sure. (Find out more here)

Moving along to the Renkus-Heinz booth, I found Margie Ulm and Sille Novakovic in great spirits. They were showing Iconyx digitally steerable array loudspeakers, which have already proven a big hit in a wide range of applications since being introduced just a short time ago.

In fact, a pair of Iconyx loudspeakers were utilized throughout the show at one of the primary NAMM Show concert stages at an entrance to the exhibit hall. Renkus-Heinz was also a sponsor for a concert by Alice Cooper, one of the hottest live shows at NAMM.

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Audio-Technica continues to bring innovative product to market, and this time out Gary Boss showed me the new AT8022 X/Y and BP4025 X/Y stereo microphones, well-suited for recording, live and broadcast.

Both have a coincident capsule configuration that allows for a smaller housing while producing a stereo image with the spatial impact and realism of a live sound field. Find out more about these new mics here.

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Electro-Voice had a very strong showing, with Guy Low taking me for a tour of new product lines across several genres. What first got my attention is the new line of PL Series microphones. (Read more about them here.)  I worked at EV long ago when the original PL Series debuted, so it’s great to see that heritage continue.

In addition, EV unveiled the next generation of NetMax with the N8000-1500, which offers the company’s new FIR-Drive technology for a precision line array control platform within IRIS-Net (more here).

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EV also showed the new DC-One, a two-in-six digital loudspeaker system controller intended primarily for users of small- to medium-sized sound systems (more here) and new Q Series amplifiers with four models for a wide range of mobile audio applications. Rounding out the lineup were the new Tour X line of loudspeakers, subwoofers, and monitors.

The Harman room was jumping as usual, with AKG leading off with the introduction of the DMS 700 digital wireless microphone system, offering digital audio encryption, ultra wide tuning range and high channel count in 19-inch chassis (more here).

Crown debuted a wide range of new models, continuing to prove why they’re one of the pre-dominant power amplifier companies in the world.  Standing out in my mind is the new I-Tech HD Series Amplifiers, which features a new OmniDriveHD DSP engine (more here).

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JBL is certainly not standing pat, with the next generation EON500 and EON300 loudspeakers making the point. There’s been a lot of sonic upgrades and features added to enhance this line, and what stood out most for me are the ergonomically designed grip points and flexible mounting capabilities (more here).

In our coverage of top recording products, Barry Rudolph points out the new JBL LSR2300 Series studio monitors, an all self-powered group that includes bi-amplified 8-inch and 5-inch monitors as well as a 10-inch subwoofer (more here).

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Moving along to slightly more sedate environs, I was pleased to meet Michael Chiriac, CEO of Cascade Microphones, who pointed out the Electronic Musician Editor’s Choice Award for the Cascade Gomez Michael Joly Edition microphone.

On the outside, the Gomez looks cool, and inside, it uses a short, single-ribbon motor for broad vertical and horizontal pickup to eliminate off-axis coloration and provide a tailored high frequency response that’s great for guitar cabs and vintage-sounding “soft top” vocals (more here).

This report continues soon… In the meantime, don’t miss Barry Rudolph’s coverage of top recording products at the show.

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“What Me Worry?” The Fun That Was Winter NAMM 2009

There's nothing like a bit of the theater of the absurd to take your mind off your troubles. By the way, I just posted a Photo Gallery from the show, full of lots of fun images.

There are times when the optimistic fervor (and a certain downright silliness) that are staples of the annual Winter NAMM Show get a bit tiresome.

Not this year - spending a few days immersed in the “what me worry?” vibe proved a welcome diversion in this uncertain economic time.

It’s not that the more serious issues of the day weren’t on the minds of many of the people I had the opportunity to talk with over the course of the show; rather, it seemed that any time the conversation started down a dark corner, up popped another of the seemingly endless episodes of whimsy that mark Winter NAMM.

There’s nothing like a bit of the theater of the absurd to take your mind off your troubles.

Typical NAMM Show conversation:

“Hey Joe, how’s it going?”

“Great, although business really slowed down in the fourth quarter.”

“Yeah, I’ve heard the same thing from several… wait a minute. What’s that?”

Joe turns and both stare for several seconds.

Then Joe turns back: “Do you think her mother knows she dresses like that?”

“I dunno… Uh… Wow.”

“Yeah, wow.”

Pause…

“Wait, is that a she or a he?”

Heads turn again.

“Huh… I can’t quite tell.”

Pause…

“Not that there’s anything wrong with that…”

“Right.”

Pause…

“So anyway, things are going OK. Could be better but sure could be worse.”

“Good to hear. Have a great show.”

“You too.”

Both return to staring while walking away, bumping into others also staring in the same direction as they navigate the aisle…

Fini.

I mean, just look at this photo taken as I went from one booth to the next:

Scan it in total, take it all in - including the expressions of the guys at far left and right. And then create your own humorous caption(s)...

Scenes like this, recurring every couple/few minutes, really do tend to take your mind in interesting directions.

Besides the theatrical aspects, there’s also the fact that music itself is indeed a healer of the soul, invariably helping to lighten life’s various loads at opportune times. This year being no exception, there was plenty of outstanding live music of every type and stripe to be heard from sun-up to well beyond sun-down.

We may not make as much money, but it’s sure a lot more fun than working in the banking industry. Particularly at this point in time…

When it was all said and done, NAMM reported 85,799 registrants, a three percent decrease from last year. Not too bad, all things considered, although note that this is referring to “registrants” rather than “attendees”.

The majority of those who like to opine on these matters assured me that attendance was down significantly; however, a minority actually said they thought it was solid, maybe even up a bit.

Beats me.

What I do know is that there was a great deal of optimism among many manufacturers, excited about their new products. Read my ongoing Winter NAMM Show ‘09 report here.

Also be sure to have a look at Barry Rudolph’s report on his top product picks from the show.

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Sunday, January 18, 2009

Lexicon Introduces I•ONIX Series USB 2.0 Desktop Recording Interfaces At Winter NAMM ‘09

Lexicon has introduced I•ONIX U22, U42S, and U82S USB Desktop Recording Interfaces, with each model providing all the necessary tools to transform a computer into a professional 24-bit digital recording studio, including the USB 2.0 desktop recording interface, Steinberg Cubase LE4 multi-track PC and Mac recording software, Toontrack EZdrummer Lite virtual instrument software, and the new Lexicon Pantheon II VST/AU reverb plug-in.

The I•ONIX Desktop Recording Series is designed to set in an ideal location when using a DAW - between keyboard and monitor.

All models feature newly designed dbx microphone preamps on all analog inputs. The preamps are driven by a high-voltage supply to guarantee stability and provide superior recordings across a wide dynamic range. Performance driven A/D-D/A converters insure 24-bit/96kHz audio quality.

Director of Marketing for Lexicon Randy Garrett stated, “Lexicon is committed to bringing the same quality equipment to casual and aspiring musicians that it has provided to professionals for years. In-depth research into home and project studio recording provided the inspiration for the unique, ergonomic shape of the new I∙ONIX Series. In addition, the no compromise design guarantees outstanding audio performance.” 

The Pantheon II VST/AU plug-in offers six reverb types with 16 adjustable parameters, and 35 factory presets that range from Vocal to Live Sound and Special Effects. The rich, full reverbs make it easy to add dimension and depth to any track.

Each of the three models allows for a different level of recording capability.

The U22 can record two channels simultaneously and includes two analog combi-jack mic/line inputs, two TRS balanced line outputs, a Hi-Z instrument input, a 1/4-inch high-power headphone output, and MIDI I/O. 

The U42S records four analog and two digital channels simultaneously.

The U82S can record eight analog and two digital channels. In addition, the U42S and U82S include four and eight analog combi-jack mic/line inputs respectively, S/PDIF I/O, two instrument inputs, and two 1/4-inch headphone outputs.

Dedicated knobs and meters provide quick and easy access to input and output levels and locking combi-jacks make sure that a connection is not lost in the middle of a performance.

The I∙ONIX Desktop Recording Interfaces all include:

• USB 2.0 connection to the DAW, up to 480Mbps
• 44.1 to 96 kHz sample rates, 24-bit resolution
• Two, Four, or Eight analog 1/4-inch and XLR combi-jack mic/line inputs
• Two analog TRS (Stereo Main) outputs
• dbx high-voltage, ultra-low noise mic preamps on all analog inputs
• 48V phantom power for each input pair
• Input signal metering via 8 LED’s per channel
• Signal mixing and stereo bus signal metering
• Up to two 1/4-inch high output headphone connections
• Up to two Hi-Z instrument inputs
• Zero latency Direct/Playback monitoring
• Low latency ASIO drivers
• Pantheon II VST/AU reverb plug-in
• Steinberg Cubase LE4 and Toontrack EZdrummer Lite software packages
• Supports Windows and Mac platforms

For more information:
Lexicon Website

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Tuesday, January 13, 2009

The System & Audio Team For The Latest Nine Inch Nails Concert Tour

One of the technological advances on display, besides a stage-width, triple layered interactive LED video screen, was L-Acoustics new K1 line array.

Trent Reznor of Nine Inch Nails has long been known for his penchant for cutting edge technology and pristine production values. While manifestations of this tendency have been apparent since the band’s early studio recordings, over the years they have noticeably transcended into NIN’s live shows, most recently for the “Lights In The Sky” concert tour.

One of the technological advances on display, besides a stage-width, triple layered interactive LED video screen, was L-Acoustics new K1 line array. The system has been touring with various acts since its maiden voyage earlier in 2008, on Radiohead’s summer tour, as part of a testing process that L-Acoustics is doing with Firehouse Productions (owned by Bryan Olson) out of New York to demo the rig under real world operating conditions.

The L-Acoustics K1 and Kudo rig being used for the NIN tour is comprised of 12 K1s (14 for larger venues and 10 for smaller) with an accompanying 8 K1SBs flown per side. In addition, 6 SB28s sit at each corner on the floor in front of the stage with an extra pair on each side of downstage center.

The SB28s have DV-Doscs seated on top for front fill. Although there was initially talk of a proper cluster for center fill, it was scrapped due to a lack of appropriately located truss. Firehouse Productions has also provided 18 Kudos loudspeakers for 9-a-side flown side-fill to pick up where the horizontal angle of the K1 array stops.

The K1/Kudo system is designed for stadium-type venues, with the existing Kudo as a flexible compliment to the main line array. One of the main goals behind the K1 design was to reduce the number of acoustic sources needed in the line array. In terms of raw horsepower, a single K1 box produces 3 dB (SPL) more than an L-Acoustics’ V-DOSC.

The K1 features an extra HF driver (three in all) and the mid-range drivers are now flush mounted and no longer fire into one another as part of the wave guide. The K1SB features two 15-inch drivers and was designed to be flown beside the K1 array. It has an increased LF throw capacity over the existing SB28 and has relegated the SB28’s role to reproducing strictly infra bass material.

Before the new rig went out on tour, L-Acoustics’ Florent Bernard came out to spend some time going over the K1/KUDO system with the NIN audio crew. It was made clear from the beginning that one of the things L-Acoustics wanted was to receive frequent updates from real-world users.

One of the crew members instrumental in implementing this is System Tech Jamie Pollock. “We’ve been experimenting and giving them the feedback they’re looking for. All the presets are locked right now so they want to know what they need to adjust,” noted Pollock, referring to the ‘plug-and-play’ philosophy of the LA8 amplifiers associated with the new system.

The results of the K1 design had Front-Of-House Engineer Pete Keppler raving from day one: “It has one again raised the bar. V-DOSC was pretty much the industry standard for a really amazing sounding PA system. This is just taking it up a notch.”

Some of the more practical design features of the K1/KUDO system have also been receiving accolades from the audio crew. The rigging improvements have also improved on what was is used to fly a V-DOSC array.

While V-DOSC rlies on cumbersome ratchet angle-straps, the K1 uses a pin system that allows all box angles to be set while the array is sitting flat. As the array lifts, the boxes lock into place. The NIN crew boasts they can get one side of the line array up in about 10 minutes.

With the rig flown, Pollock and Keppler do their daily system tweaking. Part the process includes playing back recorded concert audio and walking around the venue. They compare what they are hearing with a Smaart Live display and make the necessary adjustments with Dolby Lake processing.

Although the LA8 amplifiers used for the main rig do feature extensive DSP control via the LA network manager, Pollock prefers to use Dolby Lake for the job: “It has the whole tablet control that I’m used to using and the hippest interface out there right now.” Pollock does use the LA8 network manger to remotely control the basic functions of the amps located under the main stage.

Monitor Engineer Mike Prowda’s pre-show routine includes the increasingly difficult search for RF space for his in-ear system. He uses a palm pilot scanner to find what he needs. If he can’t find appropriate frequencies in the G2 presets, he resorts to Sennheiser’s SIFM inter-mod calculator software.

One issue Prowda discovered his scanner can’t help him with is the seemingly random interference caused by the giant on-stage LED video screens. The keyboard player’s mix has posed the biggest RF issue as he stands closest to the video wall and furthest from the main RF transmitting antenna.

Although Prowda’s addition of an extra antenna stage-right has improved the interference issue, it still exists. To help keep an eye on this and other potential RF problems, Prowda uses Sennheiser’s Net1 system to visually monitor all his radios.

One of the only pieces of outboard audio gear used on the entire “Lights In The Sky” tour is the Apex Dominator II. Prowda uses these for final brick wall limiting before his monitor mixes hit the RF transmitters. “It’s a true radio station device. They use them in radio stations to fully modulate. I’ve got the threshold cranked up on the things because I’m driving my board like you would master something. What’s coming from the board is tickling the Dominators. If I turned those Dominators off, all those radios would be in the red. It also kind of finishes the mix.”

The on-stage layout is pretty bereft of wedges, the only ones being for the keyboardist and drummer. What’s in the keyboardist’s wedge mirrors his in-ear mix is, and the drummer gets a pre-determined mix with just acoustic and electronic drums coming out of a wedge and a DVsub. There are also L-Acoustic DVsubs at each side of the stage firing in at the guitar and bass players, just to round out their in-ear mixes with what Prowda calls ‘a little thump.’

This is not the first tour that has witnessed the audio tandem of Keppler and Prowda. They worked together for several years with David Bowie before Trent Reznor came knocking. Reznor, a long-time Bowie fan, had heard the duo’s work at a Bowie show and was convinced these were the sound guys he wanted.

Although Prowda had previously worked indirectly with the band on the 1995 “Dissonance” NIN/Bowie tour, his tenure with NIN started in at the beginning of the With Teeth album in 2005. Keppler came on board in April of 2006.

For the current tour, Prowda was brought into the fold relatively early. For a tour that opened in late July 2008, he was already in rehearsals in L.A. in early May. By the time Keppler was on the scene, full production mode had started. Both audio engineers appreciated the long rehearsal period. For Prowda, “It was intense. In a lot of other situations audio is there but we’re kind of transparent. This gig is different.”

It gave Keppler the time to really focus on preparing his mix. “I’d sit myself in an isolated room with my Genelec loudspeakers and really listen to what was truly was coming off the stage as opposed to through a PA system that I’m not as familiar with.” The ability to save mix settings as snapshots during this time proved a godsend for both audio engineers.

The consoles being used at both FOH and monitor positions that give both engineers the flexibility of snapshot pre-sets are the small-footprint Digidesign Profiles. Despite its footprint, the console provides a potential of 96 inputs, 73 of which are being used on this tour.

Prowda has been using Digidesign consoles since the inception of his relationship with NIN when he took an early software version of the Venue on the road for the With Teeth tour. “I definitely needed some kind of technology where I could do snapshots. With the in-ear thing there’s less slop involved. You have to be more exact with the mixes for everybody. The way I was dealing with it before was that every song would be on an index card. I’m a real fan of this console right now. I don’t feel that anybody’s come up with anything I’ve seen that’s really been worth my attention.”

Keppler has over 50 snapshots of EQ, compression, basic effects and level settings stored in his FOH console. This helps get him through a show that he describes as having the potential to become “chaotic” on any given night. But snapshots are not the only benefit of the Profile console for Keppler: “It just sounds good. It’s got more life to it than some of the other digital consoles. I love it. I don’t know what I would do without it at this point.”

A large part of the “chaos” that Keppler describes as inherent in a NIN show comes in this case from the current tour’s Ghosts segment. Ghosts I-IV is a double CD of over 30 instrumental tracks released by Reznor in early 2008.

On tour, this segment, like the recording, features instrumentation that is largely acoustic and includes, amongst other things, a full size marimba, harmonium, glockenspiel, upright bass and various junkyard percussion instruments. This can be a mixing challenge for Keppler in an environment that requires the same SPLs as the rest of the show but is much more inherently conducive to excessive mic bleed.

Add to that the fact that the songs in the section change from night to night and the challenge intensifies. One problem in particular derives from the mic used on the marimba and its ideal sonic placement. The mic is a Royer SF24 stereo ribbon. This type of mic is a seemingly unlikely choice for a tour like this but during rehearsals, Prowda had ribbon mics on the brain after watching a DVD of The Band’s Last Waltz.

He contacted Royer who responded by dropping off two ribbon mics they consider road-rugged: the stereo SF24 and R121. The R121 found a place on the kick drum during rehearsals and although Prowda and Keppler loved the sound, “We kind of chickened out because it’s not a cheap mic to re-ribbon.” Initially, the SF24 sat on a shelf for the same reason until Trent Reznor announced his inclusion of songs from the Ghosts album to the set list. When a 5 ½-octave marimba showed up the SF24 was “un-shelved.”

Although they considered using a transducer system, they tried more conventional live mics and even briefly dealt with a MIDI mallet pad and sampler, in the end the SF24 just sounded too good to pass up.

Other microphones on stage for the tour come from Shure, Sennheiser and Audio-Technica. Prowda noted that he likes the fact that Reznor uses a SM58 for vocals as it forces him to sing right into the mic, making it very in-ear monitor friendly.

For those who have not heard any NIN recordings, they are very effects driven and can rely on a lot of intricate mix automation and editing. Keppler maintains, however, that he was under no pressure from Reznor to adhere to the mixes on the studio recordings. Keppler nonetheless includes a fair number of effects plug-ins in his own arsenal.

Prowda also uses several plug-ins on his monitor board, but professes to be a lot less “plug-in happy” than he was when he first started using Digidesign consoles. Some of the effects Keppler and Prowda swear by include: Digidesign’s Smack!, SansAmp, Echo Farm and Reel Tape Suite, Sony’s Oxford Reverb, and TubeTech’s CL1 B compressor.

One of Kepleer’s show duties besides putting his stamp on the mix, involves eventually providing Reznor with a multi-track recording of each show. This means that each night two Digedesign TDM systems are running simultaneously: one for recording via Pro Tools and one for the PA mix. Some of Keppler’s tracking recently appeared on the NIN concert DVD release Beside You In Time.

When NIN hit the stage for their show in Hamilton, there was some brief but noticeable concern on the faces of Keppler and System Tech Jamie Pollock that was accompanied by considerable running around with a Dolby Lake controlling PC tablet. The initial problems they were encountering remain a mystery to all but the engineers themselves.

What was noticeable, however, was that once the two engineers settled in, a good sounding show became a gem. The clarity of the mix, and added richness in the low-end coming from the PA was impressive. Granted there was a seasoned expert at the FOH position, but what was emanating from the line array was proof that the world of live sound reinforcement will soon have a powerful new weapon at its disposal.

Nine Inch Nails “Lights In The Sky” Tour Equipment Rider

Loudspeakers
32 – L-Acoustics K1
16 – L-Acoustics K1-SB
16 – L-Acoustics SB28
18 – L-Acoustics KUDO
18 – L-Acoustics DV-DOSC
2 – Firehouse F-15 Wedges
3 – L-Acoustics DV-SUB
2 – Genelec 1031
2 – L-Acoustics 108P

Power/Processing
12 – L-Acoustics LA-RAK with 36 LA8 Amplified Controllers
2 – Crown ITech 6000 Amplifiers
2 – Crown D-75a Amplifiers
2 – L-Acoustics LA48a Amplifiers
2 – Dolby Lake Processors
1 – XTA DP224 Processors
10 –  Aphex Dominator II

Consoles
2 – Digidesign Profile Mixing Surfaces
2 –  Digidesign FOH Racks
4 –  Digidesign Stage Racks

Wireless IEM, Microphones & Accessories
9 –  Channels of Sennheiser G2 In-Ear Monitors
1 – Sennheiser Antenna Combiner
2 – Sennheiser A5000-CP Antenna
1 – Professional Wireless GX8 Antenna Combiner
1 – Professional Wireless Helical Antenna
1 –  PSA1031T Thurlby Thandar palm pilot scanner
2 –  Sennheiser E902
5 –  Sennheiser E904
2 –  Sennheiser E905
3 –  Sennheiser E906
1 –  Sennheiser 602
3 –  Shure KSM137
5 –  Shure KSM32
2 –  Shure Beta52
5 –  Shure Beta56
12 –  Shure Beta58
1 –  Shure Beta91
5 –  Shure Beta98
4 –  Shure SM57
2 –  Shure SM58Switch
2 –  Shure SM91
1 –  Shure SM98
2 –  AudioTechnica AT4041
1 – Royer SF24
12 –  Countryman Type 85 DI
4 –  Radial J-DI

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