Article

Friday, February 27, 2009

New Zealand’s Above Productions Deploys New JBL VERTEC Line Arrays At Fireworks Spectacular

In providing live sound reinforcement for the TSB Bank Fireworks Spectacular, Above Productions deployed a VERTEC system using a total of 24 VT4887A compact line array elements, configured in two arrays of 12 per side

Audio rental system provider Above Productions of Hamilton, New Zealand, recently purchased new JBL VERTEC portable line arrays for regional events, including VT4887A compact line array elements and VT4880A full-size arrayable subwoofers, supported by JBL VRX compact constant-curvature systems and powered by Crown amplifiers. Above Productions recently deployed the new system for the TSB Bank Fireworks Spectacular, held at the TSB Bowl in New Plymouth, Zealand.

The TSB Bank Fireworks Spectacular drew an estimated crowd of 18,000 people, who enjoyed an outdoor-stage concert, capped with a climactic display of fireworks, choreographed to music. Talent for the event included local singer-songwriters and Auckland-based variety-funk band Lieutenant Funk.

In providing live sound reinforcement for the event, Above Productions deployed a VERTEC system using a total of 24 VT4887A compact line array elements, configured in two arrays of 12 per side. Eight VT4880A arrayable subwoofers with 2269H Ultra Long Excursion, 18-inch woofers were in use (four enclosures per side).

Additionally, a delay ring was positioned farther back in the seating area on the grassy slope, using a total of eight VRX932 speakers, set up as four pairs on poles. All JBL speakers were powered by Crown I-Tech 4000 and 8000 amplifiers, with Harman’s HiQnet System Architect software in use for remote control and monitoring. A Whirlwind E Snake, sharing the same VLAN-configured network as the I-Tech control, was used to transport digital signals from the FOH mix position.

Challenges onsite included configuring the hanging loudspeaker arrays to cover an audience area that was separated from the shell’s main stage platform by a body of water. Above Productions relied on JBL’s VERTEC   Line Array Calculator software to predict coverage and sound level results for the gently rising large outdoor audience area, and for selecting correct locations for the supplemental, low-profile signal-delayed speaker arrays.

“As this was a family-oriented show, smooth coverage and moderate levels were an event sound system design goal,” explained Stele Martin, Owner of Above Productions. “This system deployment turned out quite well. We had good, smooth high-frequency coverage as predicted and then sound from the delay arrays kicked in. Overall we had a great sound for the event.”

Martin also noted that his new JBL VERTEC VT4887A system was very quick to set up and easy to tune. “With JBL’s new V4 DSP presets, the FOH EQ was pretty much flat,” he observed. “Overall we achieved a great sound for the event.”

“Using a compact line array system for larger outdoor audiences requires careful pre-event planning as regards overall SPL and coverage expectations,” observed David Scheirman, Vice President, Tour Sound for JBL Professional. “Achieving success with sound reinforcement projects like the TSB Bowl outdoor-stage community events, Above Productions has proven that when smaller, regional sound reinforcement firms make use of JBL’s available system support information and technologies, the results will be predictable and satisfactory to the system owner, their client and the audience.”

JBL Professional Website

{extended}

Behind The Scenes: Rat Sound’s New L-Acoustics K1 System,  Perspective From Dave Rat

Take PSW's exclusive photo gallery tour of Rat Sound's new system

Rat Sound Systems recently joined the L-Acoustics K1/KUDO Pilot Program with select other companies like Firehouse Productions, Sirius, and Black Box, and as a result, took delivery of a stadium-sized sound reinforcement system primarily comprised of 48 new K1 enclosures, 16 K1-SB subwoofers, 16 LA-RAK touring racks loaded with LA8 amplified controllers, and 24 SB28 subs.

The Pilot Program was created to provide advance field proofing of the new K1 flagship line source array enclosures for stadium and festival tour sound applications prior to its official product release in the next 24 months or so.

ProSoundWeb is providing a behind the scenes photo gallery of the new rig, backed up by a video tour a Rat Sound-hosted K1 training seminar (the first one ever, in fact) and subsequent K1 demonstration at ShowBiz Studios in Van Nuys, California. Further, we’re happy to present video commentary by Dave Rat and Florent Bernard, talking about the K1 as well as a wide range of system design concepts.

Rat Sound is a longtime V-DOSC (and, more recently, KUDO) user, with Dave Rat explaining about the decision to utilize the system: “Over a decade ago, I went down and listened to the L-ACOUSTICS V-DOSC and heard something entirely unique. Its amazing sound clarity and line source configuration changed the industry. Through my work as sound engineer for the Red Hot Chili Peppers, I have mixed on every sound system on the market, and the K1 is the first time I have heard something as exciting as when I first heard the V-DOSC. This is the new barometer by which all sound systems will be judged. Not to mention the fact that these hang 24 deep, they have a super-cool captive rigging system, and the radiation consistency is amazing.”

At Winter NAMM ‘09 in Anaheim last month, I talked with Dave about his considerable investment in this new, substantive, and specifically, wanted to know his thought process in making such a big expenditure 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.

“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.”

Dave also blogs on a regular basis, and if you haven’t visited his Roadies In The Midst site, I highly recommend it. He offers a lot more insight there about the K1.

Enjoy learning more about the new system with our photo gallery.

{extended}

Thursday, February 26, 2009

VTC Pro Audio Elevation Series Line Array Flies In Toronto’s Air Canada Centre

The VTC Elevation Series was used in all So You Think You Can Dance Canada events

VTC Pro Audio’s Flagship Elevation Series Line Array was used exclusively on the So You Think You Can Dance Canada tour, including a February 2009 stop in Toronto’s famed Air Canada Centre. 

The 665,000-square-foot Air Canada Centre is a prestigious live music and event facility in Canada’s largest urban center. Seating 20,000 for concert events, it is consistently ranked #3, #4, and #5 worldwide in the top three concert industry trade magazines (Venues Today, Pollstar and Billboard respectively).

Production and staging for the SYTYCD Canada Tour was handled by Metalworks Production Group, based in Mississauga Ontario Canada. Metalworks handled all technical logistics for the entire tour including stops in Edmonton’s Rexall Place, Vancouver’s GM Centre and the Place des Arts in Montreal as well as shows in Calgary, Saskatoon, Regina, Winnipeg, Thunder Bay, Sudbury, Ottawa, Hamilton, and London.

The VTC Elevation Series was used in all SYTYCD Canada events, including 48 EL210T cabinets and 16 ELS212T subwoofers providing concert sound for the Air Canada Centre show. All system time alignment, tuning and signal processing was handled with VTC Pro Audio DLMS4080 processors.

VTC Pro Audio Website

{extended}

Monday, February 23, 2009

Outline Butterfly Chosen For Main PA At Royal Wedding In Dubai, UAE

To meet the needs of such a huge venue, Events Productions decided to significantly increase its stock of Outline equipment by purchasing more than 80 boxes, including Butterfly Hi-Packs, subwoofers, HARD monitor wedges, and more.

Dubai-based production company Events Productions deployed multiple hangs of Outline Butterfly line arrays to cover the large-scale indoor venue at the Al Maktoum Wedding Celebration hosted last month by the ruling family of Dubai (UAE).

To meet the needs of such a huge venue, Events Productions decided to significantly increase its stock of Outline equipment by purchasing more than 80 boxes, including Butterfly Hi-Packs, subwoofers, HARD monitor wedges, and more.

Hosted at halls 5, 6, 7 and 8 of the Dubai World Trade Centre Exhibition Halls, occupying a total area of 14,400 square meters and with a Royal Banquet seating capacity of 6,000, this was one of the largest sit-down dinners ever hosted in the region. A total of nine line arrays were deployed to cover the area and ensure the clear, consistent audio.

According to Carol Olympus, technical manager and systems engineer for Events Productions, “You could walk right across the venue and further away from the array and still have an uncanny consistency in both SPL levels and frequency response, especially in the vocal range. The Butterflies amaze me every time we use them, in small venues as well as large-scale applications.”

A DigiDesign D-Show was used as the primary mixing console with a 48 x 32 Stage Rack to take advantage of plug-ins and parallel multi-track recording on Pro Tools. Performances from prominent Arabic Artists included Hussein Al Jasmi, Rashid Al Majid, Mohammed Abdou, Alisha, Mehad Hammad and Abdullah Bulkhair.

Hammad Al Ansari, an audio engineer noted for his widespread experience with Arabic bands, handled the master mix. A Fujitsu Siemens T-Series Lifebook and HP tablet computer were used to remote the D-Show to balance levels initially. EAW Smaart with an Earthworks S30 measurement microphone aided the engineers in balancing the system as well as monitoring the PA indoors.

There were two band setups with 10 Outline HARD 115 SP and twelve Outline HARD 212 SP foldback wedges. High consistent levels are normally expected by Arabic musicians, especially the percussionists, and the monitors met this requirement over the course of the nine-hour event.

Further, eight Outline SPECTRA 5040 were used as stage fill and four Outline Kanguros used for drum fill. Shure UR4Ds paired with KSM9 UR2 wireless handheld microphones and Shure PSM 700 in-ear monitors were used by the singers.

Outline Website

{extended}

New Highland Baptist Church Facility Features Quality Sound By Digital Resources & L-ACOUSTICS

“My own experience of attending concerts and being in other venues, combined with our research, pointed us toward L-ACOUSTICS as our first choice.” - Highland Baptist Church Worship Pastor Gary Rhodes

After nearly four decades of holding worship services in its original sanctuary, the staff and congregation of Highland Baptist Church in Waco, Texas have now moved into a new multipurpose Life Center, which is equipped with a full loudspeaker and amplifier package from L-ACOUSTICS.

Aside from regularly hosting two Sunday morning services, the 1,800-capacity Life Center is a highly versatile environment designed to accommodate everything from concerts and theatrical productions to banquets and community events to basketball and volleyball games.

The specification for L-ACOUSTICS components were initially generated by the end user. “When we began the process of planning our new multipurpose worship space, the one area I asked our church leadership not to compromise on was in the sound system,” notes Highland Baptist Church Worship Pastor Gary Rhodes. “My own experience of attending concerts and being in other venues, combined with our research, pointed us toward L-ACOUSTICS as our first choice.”

Southlake, Texas-based Digital Resources, Inc. served as the design-build systems integrator for the project. “We agreed that L-ACOUSTICS fit the room very well, especially seeing that the church wanted to position itself as a premier venue for high-quality Contemporary Christian performances,” says Digital Resources Senior Systems Designer Rick Robinson, who has 22 years of experience in designing technology solutions for houses of worship. “L-ACOUSTICS’ technical rider compatibility was obviously an important consideration for attracting touring acts, but, in my opinion, the primary benefit of their products is that they can be run at high levels without being ‘offensive’. The frequency response and coverage are both extremely smooth.”

After Robinson designed the required acoustic treatments for the room, which is essentially a wide rectangle with 24-foot ceilings, he worked closely with the L-ACOUSTICS US team to design the optimal loudspeaker configuration for the Life Center using the manufacturer’s SOUNDVISION prediction software.

The resulting setup is comprised of eight dV-DOSC loudspeakers and three dV-SUB boxes flown per side. Two 8XT coaxial enclosures are deployed as far left and right side fills, while four SB28 double-18-inch subs are positioned under the stage for added low-end punch. All of these systems are powered, processed and controlled by a total of eight LA8 amplified controllers.

One of Highland Baptist Church’s first opportunities to truly test the new system’s mettle came during an event known as the Waco Community Hymn Sing, which featured vocal performances from Steve Green, Cynthia Clawson, Kurt Kaiser, Rodrigo Rodriquez and Keron Jackson. Under the direction of Nashville-based arranger/producer David Hamilton, the artists were backed by a 55-piece orchestra and 300-member choir made up of singers from more than 20 area church choirs.

Both Pastor Rhodes and Highland Baptist Music Associate/AV Coordinator Tim Cates were extremely pleased with how the system sounded that night. Although the Life Center project marked Digital Resources’ first experience installing L-ACOUSTICS, Robinson remarks that it will hardly be the last. “Dan Palmer and his team in Oxnard were very helpful and easy to work with and the rig has performed flawlessly since it went in,” he adds. “We’ll absolutely be recommending L-ACOUSTICS again for future projects that require uncompromising quality and performance.”

L-ACOUSTICS Website

{extended}

Friday, February 20, 2009

Ontario Church Opens New Worship Facility With Electro-Voice XLD Line Arrays

The church required a rider-friendly system capable of accommodating the needs of any visiting touring bands

Metropolitan Bible Church (affectionately called, “the MET”) in Ottawa, Ontario, Canada recently celebrated the opening of a new facility headed by a stadium-style sanctuary that can seat over 1,200, with plans already set to expand this space to accommodate a congregation of 2,200.

The high-end sound reinforcement system serving the room is headed by Electro-Voice very compact XLD line arrays. After confirming the XLD’s performance with EASE data and working with EV’s tech support team to cross-check details, Wall Sound installed 12-box-per-side XLD281 arrays flown at stage left and right, with a center hang of four XLCi215 subs.

Alan Borschewski, Facility Manager and Lead Audio Technician for the Metropolitan Bible Church explains why its EV system is an essential part of this thriving church: “The church required a rider-friendly system capable of accommodating the needs of any visiting touring bands, as well as providing exceptional audio quality for the wide-range of services held in the space, which include contemporary services with a blend of hymns and contemporary songs, and typically have a full choir and a complete band.”

Ten EV TG5 amplifiers power the left and right hangs, and one TG7 amp drives the flown subs. Each amplifier comes equipped with RCM-26 remote control DSP modules.

In addition, four EV ZX1 boxes are used as front-fills.

“We initially flew the subs because we didn’t have room beneath the stage,” says Borschewski. “But now that they’re up, we’re very pleased. The coverage is very even and not at all like ground-stacked subs, where the first two rows might get a rumbling effect. We don’t get that at all. Everyone is talking about how great the sound is, about the wide coverage and intelligibility the XLD281s provide. The sound is very even, both front-to-back and side-to-side.”

EV IRIS-Net supplies system control and monitoring, running via AES-50 audio transfer from front of house to the amps.“What I really needed from IRIS-Net was to be able to turn the amplifiers on and off remotely, instead of having to run back and forth from an amp rack,” Borschewski explains. “With IRIS-Net, I can monitor everything, hit one button, and the whole thing powers off. It’s so easy. With other systems there’s a lot of extra wiring and more gear in the rack, but IRIS-Net helps streamline things, both in terms of hardware and operation.

“I also used the GPIO on the amps to connect to a fire alarm contact closure,” he adds, “so when a fire alarm is triggered, the amps mute. We truly have control over everything. I love IRIS-Net because it takes care of all the details. I get to stop micromanaging and start having fun running the system.”

In addition to the impressive installation in the main sanctuary, Wall Sound also installed EV ZX5 loudspeakers and SbA760 subs in the church’s 200-seat theatre, primarily used for youth services.

The new system will get to stretch its legs later this year, when the Metropolitan Bible Church plans to host a Promise Keepers event, and a Southern Gospel concert. Borschewski reports that the church is very happy with its new sound; when the time comes to upgrade the stage monitors and augment the system for the sanctuary expansion, EV will be at the top of the list.

Electro-Voice Website

{extended}

Wednesday, February 11, 2009

New Surface-Mount Subwoofer Joins QSC AcousticDesign Series

Dual eight-inch system is suited for large or small applications

As the latest addition to the QSC Audio AcousticDesign (AD) Series, the model AD-S28Tw surface mount subwoofer is acoustically matched to all other offerings within the AD Series.

The new AD-S28Tw is specified as having a continuous power handling capacity of 250 watts and capabilities for managing up to 700 watt peaks, the new subwoofer has a 70/100-volt multi-tap transformer with eight ohm bypass, frequency response of 42 Hz-165 Hz, and sensitivity of 94 dB (1W/1m).

Two eight-inch woofers are outfitted with polypropylene cones for added protection in humid environments. The loudspeaker’s bandpass enclosure incorporates a pair of chambers - one that is completely sealed, and another with a large port.

Giving added precision to low frequency extension down to 36 Hz, the highly efficient design is further complemented by an onboard low-pass filter set at 120 Hz.

The enclosure offers marine-grade plywood construction, a zinc-plated steel grille with a black foam backing, molded ABS endcaps, and a rotatable logo, and it has also been fitted with a recessed rear input panel covered by a hinged door.

Nickel-plated input and output terminals accept wiring ranging from 18 AWG to 12 AWG. One switch selects between the 70/100V transformer taps, while another enables or disables the passive low-pass filter.

Attached rubber feet allow the device to be used on either the floor or a shelf. Forged-shoulder eyebolts, a steel yoke, and all related hardware are additionally included with each loudspeaker to offer options for suspended installation.

QSC Audio Website

{extended}

Tuesday, February 10, 2009

Several Yamaha and NEXO Applications At Super Bowl XLIII

ESI Audio, formerly known as E-Tech Systems of Tampa, deployed most of its 72 NEXO GEO-T line array boxes at more than 10 pregame parties and rallies, and many of these events also utilized Yamaha consoles.

At the recent Super Bowl XLIII in Tampa, the sound reinforcement systems for pregame and halftime performances, as well as several sound systems for related events, featured Yamaha digital consoles.

ATK Audiotek of Valencia, CA, supplier of audio production services to the Super Bowl, chose two Yamaha PM5D consoles for the system serving Raymond James Stadium for the big game, featuring performances by Faith Hill and Jennifer Hudson.

The halftime show received an assist by long-time Bruce Springsteen sound company Audio Analysts (Colorado Springs, CO), which provided two Yamaha PM1D consoles at monitors for the performance by Springsteen and the E Street Band.

Meanwhile, Mike Wolf of Clair notes that a PM5D was used in the monitor rigs at both the Tampa Pepsi Smash and the NFL Saturday Night Bash in Orlando prior to the game. Another PM5D, provided by ASR Pro Events of Orlando, was used at front of house for a performance by Tony Bennett at the NFL Owners Party.

ESI Audio, formerly known as E-Tech Systems of Tampa, deployed most of its 72 NEXO GEO-T line array boxes at approximately more than 10 pregame parties and rallies, and many of these events also utilized Yamaha consoles.

For example, ESI Audio supplied two PM5D-RH consoles for 38 Special’s performance at the Ritz Theater, two Yamaha M7CL-48 consoles for Sister Hazel at Whiskey Park North, and a Yamaha LS9-32 console for Lo Cash Cowboys at Channelside.

Further, two more PM5D-RH consoles, along with 10 GEO-T 4805s, two GEO T 2815s for downfill, and eight NEXO S2 subs, were provided for a performance by Wyclef Jean and Sean Kingston at the J.P. Morgan Event Center for ESPN.

.

In addition, another LS9-32 console and 16 NEXO PS8 loudspeakers were featured for an NFL Players Association jazz gig, while 14 GEO T 4805s and four GEO T 2815s for downfill were utilized at a Sarah Evans concert. Both were held at the Tampa Bay Performing Arts Center.

The busy ESI Audio also supplied the Maxim Party at the Ritz Theater with an M7CL-48 console, the NFL Players Association DJ with an M7CL-48 at A La Carte; and a concert at Progress Energy Park for DirecTV with a PM5D-RH, 14 GEO-T 4805s, four GEO-T 2815 for downfill, and 16 CD18 subs.

Finally, the Fab Four performance at the Tampa Bay Performing Arts Center was served by 10 GEO T 4805s and two GEO T 2815s for downfill, and Max Weinberg’s Tropicana Field show used an M7CL-48 console. 

Yamaha Website
NEXO Website

{extended}

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.

{extended}

Tuesday, February 03, 2009

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

{extended}

Monday, February 02, 2009

Dynamic New System At Pentecostal Church of Memphis

"They wanted it loud, but clear, and with even coverage. The church and its accomplished band and choir deserved better. In addition, the vibe from a top-tier sound system might help sell the property in the same way that a new coat of paint can help sell a house."

The Pentecostal Church of Memphis had outgrown the 1,000-seat building that had been the church’s home for the past 15 years, and new land a few miles away was already in its possession.

Everyone was excited to break ground for a new building, but there was one snag: the same economic forces that have made selling a home so difficult have also cast a pall over the church market. Without a buyer for its current facility, the church was stuck in its current location.

Much of the excitement over moving to a new location sprung from a desire to leave the existing building’s many problems behind, not the least of which was a decades-old sound system with a tendency to blast some seats while barely whispering to others.

If the church had had no intentions of moving, it would have been a slam-dunk case for buying a new sound system.

“Although the system was perhaps the best it could have been given technology and the church’s budget 15 years ago, many components were in constant distortion, and the coverage was abysmal,” explains Curt Taipale, president of Taipale Media Systems and designer of the sound system for the new, still-in-the-planning building.

A year prior, the church had approached Taipale with a very specific concern: the sound system was completely incapable of reinforcing the choir without feedback, and he recommended replacement microphones, properly positioned. The difference was startling and immediate - the choir was present, loud and authoritative.

“It was that same thought process that went into the decision to replace the existing sound system,” says Taipale. “They wanted it loud, but clear, and with even coverage. With an unknown departure date, the church reasoned that they had tortured themselves long enough. The church and its accomplished band and choir deserved better. In addition, the vibe from a top-tier sound system might help sell the property in the same way that a new coat of paint can help sell a house.”

Summit Integrated Systems installed the Taipale-designed system, which is headed by four Danley Sound Labs SH-50 full-range loudspeakers covering the main floor in an exploded mono arc, each with a Renkus-Heinz TRX81/9 for downfill. Four Bag End TA6000S loudspeakers provide front fill.

Five delayed Danley SH-95 full-range loudspeakers cover the upper balcony with appropriate dispersion beam widths, while eight more TRX81/9s cover the under balcony.

(Our Photo Gallery of this project provides several views of the loudspeaker set.)

“In the ‘pre-Danley days,’ I used to be able to get away with just a mid-high box for the choir monitor,” remarks Taipale. “The low-end wrap around from the main speakers was sufficient to fill in the bottom. With Danley’s low-end directivity, those days are gone. For this church, I used two Danley SH-95s for choir monitors for clarity. The wonderful trade-off, of course, is that gain-before-feedback with the Danley system is amazing and it arrays seamlessly.”

Taipale also specified two Danley TH-115 subwoofers to sit beneath the front platform, with carpenters building a custom stage extension to accommodate them.

Biamp Nexia providings digital processing and routing, while Lab.Gruppen C-series power amplifiers drive the loudspeakers. Topping it all off is a new Allen & Heath GL2400 mixing console.

“This new loudspeaker system provides clear, full, even sound coverage across all seating areas, with plenty of ‘weight’ from the subwoofers. That in turn means that the system doesn’t have to be driven
excessively loud to enjoy,” concludes Taipale.

{extended}

Friday, January 30, 2009

Kanye West Tours Europe With Canegreen And Meyer Sound MILO, MICA

Systems Tech Dan Seal also used Meyer Sound’s MAPP Online Pro acoustical prediction program to plan out the system configuration and streamline setup time

Hip-hop icon Kanye West had a successful tour across Europe in late 2008, making stops in Brussels, Rotterdam, Manchester, and at London’s massive O2 Arena.

After supporting West on previous tours with Meyer Sound systems, London-based Canegreen provided a multifaceted Meyer Sound MILO and MICA line array system for the rapper’s latest shows.

Working alongside West’s FOH engineer Horace Ward, systems tech Dan Seal used Meyer Sound’s MAPP Online Pro acoustical prediction program to plan out the system configuration and streamline setup time.

“MAPP is absolutely stunning,” Seal says. “To me, it’s part of why we use Meyer Sound. I can plan my PA hang so precisely, I know I’m going to get the best out of every show.”

The main system included 12 MILO, two MILO 120, and four M3D® line array loudspeakers per side, augmented by sidefills of 12 MICA line array loudspeakers each.

A dozen 700-HP subwoofers per side provided bone-shaking low end, while four MICA loudspeakers and two 600-HP subwoofers covered stage sidefill duties.

Three M’elodie line array loudspeakers atop the subs delivered infill coverage, and a Galileo loudspeaker management system with two Galileo 616 units provided system drive and processing.

“The MILO and the MICA rigs work so well together,” says Seal. “They’re not all that different to EQ, and the transition between them is just seamless. It makes it really easy to get the same consistent sound throughout the entire house.

“The rigging is also fantastic—it goes up and down quickly. The Meyer line array is simply the best-sounding PA there is.”

The tour’s sound reinforcement also included a rear system featuring eight MSL-4 loudspeakers per side, flown four wide and two deep, along with eight more 650-P subwoofers on the floor.

“We only use the rear system for effects, and not until midway through the show,” Seal reports. “We’ve got a bunch of playback stuff on Pro Tools—it sounds like spaceships taking off, and an enormous jet flying around the room. It just comes out of nowhere midway through the show, and it’s absolutely massive. The crowd reaction is priceless.”

Meyer Sound Website

{extended}

Monday, January 19, 2009

JBL Professional Showcases Next Generation EON Loudspeakers At Winter NAMM ‘09

The new EON loudspeaker models feature deep-welled, full-size handles with ergonomically designed grip points, and also offer offering flexible mounting capability.

At Winter NAMM 2009, JBL Professional unveiled the next generation of EON portable loudspeakers, including five models spanning the new EON500 and EON300 Series.

The new EON loudspeaker models feature deep-welled, full-size handles with ergonomically designed grip points, and also offer offering flexible mounting capability.

“JBL has developed the new EON500 and EON300 series loudspeakers with the same dedication to performance and reliability as the original generation of EON products, while increasing portability, through an even lighter system and designed ergonomics,” said Simon Jones, Director of Marketing, Portable PA, JBL Professional. “The addition of five new models, including a subwoofer, addresses a variety of applications and customer needs.”

The EON500 series features three new models: the EON515 and EON510 two-way powered speakers, and the EON518S subwoofer. Each of the full-range EON500 series compact, lightweight models features an on-board mini-mixer with loop-thru or mix-out capability, allowing for greater control of the loudspeaker’s output.

The EON500 series loudspeakers also offer selectable EQ, multiple suspension points, soft-grip handle and a full screened backed grille for extra component protection. The EON500 series loudspeakers feature a combination of JBL’s patented engineered components, enabling a smaller enclosure and lighter weight than competitive models.

The EON515 and EON510 offer mic and line level inputs, as well as selectable system EQ, giving users a “loudness” type control and the ability to roll off the low frequency for maximum performance with a subwoofer or when used as a floor monitor.

Both models feature one XLR/ quarter-inch combo connector and additional quarter-inch inputs providing input flexibility and the ability to mix multiple sources. Each loudspeaker features one XLR output where the output signal is selectable, either the whole mix may be looped to another speaker (or sent to a mixing console), or simply the primary input for traditional “daisy-chaining.”

The EON518S is the first true subwoofer in the EON family of products. It’s comprised of a single 18-inch Differential Drive woofer in a vented enclosure and powered by a 500/1000 watts (continuous/burst) amplifier.

The EON518S features a pole mount cup for sub/satellite applications, level control, dual inputs, a stereo crossover network, peak limiter and polarity reverse switch.  It also has a speaker level input increasing connectivity, flexibility and system configuration options.

The new EON300 series loudspeakers are the result of cutting-edge mechanical design and expertise in materials, making them as compact as possible but at significantly lighter weight than competitive models. Each of the EON300 series two-way loudspeakers offers a high performance-to-price ratio, with a very simple user interface, along with multiple handles and suspension utility.

The EON315 15-inch two-way loudspeaker system offers a total of 280/560 watts (continuous/burst) power and weighs just 35 pounds (15.9 kilograms). It features a 15-inch JBL woofer and a 1-inch exit compression driver with a neodymium motor on a 100 x 60-degree wave guide.

...

The input is mic-line switchable and offers connectivity flexibility in the form of a balanced XLR/quarter-inch combo connector. The EON315 also features one XLR output to facilitate signal loop through.

The EON305 is a 15-inch passive 2-way loudspeaker featuring 250/500/1000 watts (continuous/program/peak) power handling. It offers a 15-inch JBL woofer and a 1-inch exit compression driver with a neodymium motor on a 100 x 60 wave guide. The inputs include two Speakon/quarter-inch combo jacks linked in parallel. 

For more information:
JBL Professional Website

{extended}

Thursday, January 15, 2009

Rat Sound Takes Delivery Of New L-ACOUSTICS K1 System

Longtime V-DOSC (and, more recently, KUDO) user Rat Sound now joins New York’s Firehouse Productions on a very short list of North American touring companies to take part in the manufacturer’s K1/KUDO Pilot Program.

L-ACOUSTICS US announces that fellow Oxnard-based company Rat Sound Systems has just joined its K1/KUDO Pilot Program with the delivery of a stadium-sized sound reinforcement system primarily comprised of 48 new K1 enclosures, 16 K1-SB subwoofers, 16 LA-RAK touring racks loaded with LA8 amplified controllers, and 24 SB28 subs.

Longtime V-DOSC (and, more recently, KUDO) user Rat Sound now joins New York’s Firehouse Productions on a very short list of North American touring companies to take part in the manufacturer’s K1/KUDO Pilot Program.

Offered primarily to select existing members of the L-ACOUSTICS RENTAL NETWORK, the program was created to provide advance field proofing of the new flagship line source array enclosures for stadium and festival tour sound applications.

Rat Sound Founder Dave Rat spoke about the decision to utilize the system: “Over a decade ago, I went down and listened to the L-ACOUSTICS V-DOSC and heard something entirely unique. Its amazing sound clarity and line source configuration changed the industry.

“Through my work as sound engineer for the Red Hot Chili Peppers, I have mixed on every sound system on the market, and the K1 is the first time I have heard something as exciting as when I first heard the V-DOSC. This is the new barometer by which all sound systems will be judged. Not to mention the fact that these hang 24 deep, they have a super-cool captive rigging system, and the radiation consistency is amazing.”

“Our relationship with Rat Sound obviously goes back many years, so it’s no secret that we’re very pleased to have them participate in our K1/KUDO Pilot Program,” adds L-ACOUSTICS VP of Sales and Marketing Paul Freudenberg. “Dave Rat’s personal experience deploying L-ACOUSTICS systems and his innovative approach to sound design will undoubtedly rub off on the exposure of the K1 and KUDO product.”

L-ACOUSTICS has announced that the K1/KUDO Pilot Program is expected to last for a period of 24 months, a necessary time prior to the official launch of the future L-ACOUSTICS stadium line array system.

K1/KUDO Pilot rental companies will closely collaborate with the L-ACOUSTICS R&D team and their technical support. Emphasis will be put on preset validation, stadium system configurations design, rigging and general system set-up and operation.

Rental K1/KUDO Pilot companies will then be offered a path leading to system ownership prior to its formal market introduction.

L-ACOUSTICS Website
Rat Sound Website

{extended}

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

{extended}