By PSW Staff • April 25, 2012 Notice: Array to string conversion in /storage/av03466/www/public_html/wp-content/plugins/timber-library/vendor/twig/twig/lib/Twig/Environment.php(462) : eval()'d code on line 157 Array One of the primary event spaces at the Detroit Institute of Art (DIA), the second-largest municipally-owned museum in the nation, is benefitting from a sound system upgrade that centers on an Ashly Audio PEMA integrated processor/amplifier and FR-16 network fader remote control. “The walls, floors, and ceiling of the event space are solid stone,” observes Dennis Phillips, owner of Phillips Pro Audio, the company that designed and installed the new audio system. “It’s an art institute, after all. But solid stone makes the space tremendously reverberant.” The previous sound system solution was to bring in temporary speakers-on-sticks for events that required music and/or microphone support, but because the room is 40 feet by 50 feet, the direct sound was often overwhelmed by the indirect sound. Moreover, requests for sound system support began to arrive with ever-greater frequency, making the set-up/tear-down cycle an ever-greater burden. “They had passed a tipping point and wanted something simple, permanent, and intelligible,” summarizes Phillips. The combination of the Ashly Audio PEMA integrated processor/amplifier and the Ashly Audio FR-16 remote fader met that criteria. PEMA packs full, open-architecture Protea processing and either four or, in this case, eight channels of reliable amplification into just two rack spaces. The FR-16 (and its smaller sibling, the FR-8) provide user control via sixteen (or eight) integrator-assignable faders and buttons, plus a “master” (also customizable). The FR-16 and FR-8 receive power and communicate via Ethernet, which simplifies integration. Phillips designed a custom wall recess in which to house the DIA’s FR-16, along with an iPod dock and a CD/DVD player. Because of the Ashly FR-16’s implementation, user control of the new system is simple. Each fader controls the volume of an input source, and each associated button toggles between mute and unmute. Inputs include two wireless microphone systems, the museum’s central paging system, and various music/video sources. “It’s exactly what the DIA was hoping for,” says Phillips. “They have all the control they need, but no more. The faders are simple and intuitive. On our end, the system was painless to set up and worked as expected from the start.” Atlas FAT-series recessed ceiling speakers now distribute sound across the space, which dramatically improves the direct-to-indirect ratio, and thus intelligibility, throughout the event space. Phillips was alerted to the integrated Ashly solution through the work of Mike Somerville, MI sales rep with McFadden Sales (Westerville, OH). “Mike is great,” Phillips says. “He keeps us up to date on the latest technology, and he provides with excellent recommendations when we request them. With the Ashly PEMA and FR-16, Mike came through again.” Because the PEMA and FR-16 are competitively priced, Phillips was able to provide this powerful solution while staying well within budget. Ashly Audio Comments Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *Comment Name * Email * Website Tagged with: Amplifiers Ashly Audio Installations Poll Processors · all topics Subscribe to Live Sound International Subscribe to Live Sound International magazine. Stay up-to-date, get the latest pro audio news, products and resources each month with Live Sound.