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The scene at the recent Lone Star Jam in Texas with sound reinforcement delivered by TT+ AUDIO GTX arrays.

15th Annual Lone Star Jam In Texas Supported With TT+ AUDIO

Show Gear Systems deploys main system headed by GTX arrays and GTS subwoofers driven by XPS 16K amplifiers to support country music festival in Round Rock.

The most recent iteration of the Lone Star Jam, a two-day Texas Country Music Festival in its 15th year that takes place a half-hour outside of Austin at the Round Rock Amp in Round Rock, TX, featured performances by 16 Texas red dirt country artists and headliners Lee Brice and Robert Earl Keen, was supported by a main supporting system headed by TT+ AUDIO GTX arrays from RCF.

Thomas Smith, co-owner of Show Gear Systems (SGS), a Cedar Creek, TX-based professional production Services company specializing in live event production, has been involved in the festival for 10 years in providing a range of production gear including PA, front line, back line, monitors, lighting, event power and more.

This time out, the main system consisted of 12 GTX 12 three-way line array modules per side as mains, six GTX 10 two-way line array modules for front fill sitting atop six three-high ground-stacked GTS 29 subwoofers (a total of 18 GTS 29s), three GTX 10 for out fill, and 18 XPS 16K four-channel DSP amplifiers in three racks of three amps per side.

“When our local rep began talking to me about the flagship TT+ AUDIO line,” Smith says. “I was interested, but what really caught my eye was when Wayne Pauley, production manager and front-of-house engineer for Lee Brice, shared his enthusiasm for the TT+ AUDIO GTX line array system.”

Pauley had arranged for the system to be in Texas for the Jam. “I was then able to work out that we had the PA for Friday, Saturday and Sunday,” Smith continues. The Friday load-in gave him ample opportunity to talk in depth about the rig, the cabling, software, how it flies, and more with veteran live sound specialist Michael Lawrence, who worked as TT+ AUDIO’s GTX system tech for the show.

“You can simply look at the system and make sure that everything’s been pinned correctly because if it isn’t, there’s either a big yellow dot on the side or a big yellow stripe on the back,” says Smith, who also points to the captive hardware: “It is all recessed and all protected for transport. I really like that too.”

The GTX 12s can be flown in a standard or compression mode, he notes, and added that for audio connections, “I like that they are using the LK connectors where it’s a nice quarter turn, it locks in, it’s secure, and you don’t have to worry about anything coming loose.”

At the heart of the system were 18 XPS 16K four-channel amplifiers with DSP processing that provide ready-to-use configurations and presets for RCF passive speakers, including the GTX series. The XPS 16K amplifier hass two 40-bit floating point SHARC DSP chips that operate at 96 kHz for audio processing and two 32-bit DSP chips dedicated only to routing. They’re managed and monitored through RCF’s RDNet software.

“I got a crash course on the software, says Smith,” “and it’s very intuitive.” In addition to the RDNet control, the XPS 16K offers a large touchscreen. “I really like that it’s a full color display and you could read it in the middle of the day and understand it. No problem. It will color-coordinate things for you to help make it easier to understand what’s going from where to where, and manage those connections.”

In Texas, the concept of a passive line array has appeal for very hot summer days that leave powered cabinets with passive cooling in danger of overheating, he adds, plus the ability to assign amplifier resources to ensure ample headroom. “The big thing a lot of times is the weight, especially when you’re doing smaller shows,” he notes, “where the rigging capacity can limit what you can hang, and lighter passive cabinets can allow more speakers to be hung.

“No matter how loud you got it, it was still very clean and very smooth and natural sounding, with even coverage front to back,” he continues. “If I went from the front of the stage all the way to the very back bar, which was around 300 feet, the vocal range of the system was very, very smooth front to back. I was really impressed by the off-axis performance. There’s a lot of shows we do where I wouldn’t feel the need to hang an outfill because of the way GTX covers.”

With additional GTX 10s were available, three were deployed for a beer garden off of stage right. “And I’m glad we did,” Smith says. “It gave me a way to really listen to the 10s and then step into the main hang and just hear how smooth it was transitioning from the 10s to the 12s.”

On the second day of the Jam, Smith asked that the subs be configured cardioid. “When the first band started on the second day, I thought there was a problem in front of house. I didn’t think the PA was on. I was standing on deck and all I could hear was drums and guitar amps and bass rigs. Even the first day you could tell the subs were banging, but the tops, the way that box is designed, you don’t get that blow back on the stage I’ve experienced with other manufacturers.”

TT+ AUDIO’s GTX PA system is next set to appear in a GTX 10/GTS 29 configuration at the Montauk music festival, Montauk, NY, June 29 and 30. Also on June 30, a GTX 12/GTS 29 rig will be employed at the An Evening of Love Tour stop at Miami’s Kaseya Center.


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