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Archive for November, 2011

Aaudio Imports Introduces Exquisite Three-Way Speaker by Lansche Audio of Germany

No. 5.1 Speaker in optional finish of European burled maple

Model No. 5.1 Boasts Legendary Corona Plasma Tweeter and
Musical Reproduction as Natural and Engaging as Live Performance

PARKER, CO, Nov. 22, 2011 — Aaudio Imports, a leading supplier of world class high-end audio products, introduces into the U.S. market the No. 5.1 Three-Way Loudspeaker by Lansche Audio of Germany, featuring Lansche’s legendary Corona Plasma Tweeter.

The No. 5.1 Loudspeaker is designed to produce music that sounds as direct and natural as when it was originally performed. With the speaker presenting no restrictions in dynamic range, frequency spectrum or reproducibility, listeners feel as if they had been transported into the middle of a live music experience.

The No. 5.1 Speaker replaces Lansche’s Model No. 5. It includes a new, improved version of the Corona Tweeter, a new midrange driver from Audio Technologies, a new crossover design, a slightly taller cabinet with a new aluminum front baffle, a new internal cabinet design, and a higher quality finish for the cabinet.

It reproduces sound using a 4-inch cone driver for midrange frequencies, two 8.7-inch long-throw drivers for bass, the Corona Plasma Tweeter for higher frequencies, and a passive bass reflex port. The low mass of the 4-inch driver seamlessly integrates the crucial midrange frequencies with the plasma tweeter, while the 8.7-inch woofers produce a solid bottom end, well beyond the usual home volume levels.

The Corona Plasma Tweeter, a hallmark of Lansche technology, comes closer than any other tweeter to the ideal of a point-shaped sound source with zero mass, since it employs an 8mm-long electric arc to directly activate the surrounding air as a sound transmission medium. The tweeter’s arc of resonance-free, voltage-modulated air helps it avoid the limitations of conventional tweeters to achieve outstanding impulse, phase and amplitude response, and an exact, three-dimensional sound. As a result, the No. 5.1 delivers faithful, coherent musical reproduction with incredible precision, speed and economy.

The No. 5.1 Speaker also boasts a meticulously crafted, 41-inch high cabinet with sandwiched composite walls that are the basis for the loudspeaker’s outstanding audio performance. Thanks to the cabinet’s extensive internal cross-bracing matrix and the application of custom-made damping materials, cabinet wall resonances have been reduced to vanishingly low levels. There is no opportunity for the cabinet to develop any resonant response of its own. Inputs include one for the midrange frequencies and tweeter, one for the bass, and a bi-wiring terminal on the back that can be adjusted to help the tweeter better match a room’s acoustic characteristics.

Lansche’s No. 5.1 Loudspeaker is available now from Aaudio Imports at suggested prices of $40,000/pair in a Satin Veneer 
finish, and $45,000/pair in a High Gloss Veneer
 or a Piano Black Lacquer finish.

About Audio Imports
Based in Parker, Colorado, Aaudio Imports is a leading supplier of truly world-class high-end audio products to top quality dealers. Its high-end manufacturers, selected from companies around the world, also stand out from the crowd, and include Acapella in Germany, Audiotop in Switzerland, Bergmann Audio in Denmark, Einstein Audio Components in Germany, Isoclean Power in Hong Kong, Lansche Audio and Millennium Audio in Germany, Stage III Concepts in the U.S., Thomas Labusga of Germany, Weizhi Precision in Taiwan, and Ypsilon Electronics in Greece. Aaudio Imports dealers are true music lovers, selected for their product knowledge, listening skills, and desire to seek out only the best for their customers.
For further technical information, visit Aaudio Imports’ website at www.aaudioimports.com.

About Lansche Audio
Based in Konstanz, Germany, on the shores of Lake Constance, Lansche Audio was founded by Rudiger Lansche in 1998, shortly after beginning manufacture of the Corona Plasma Tweeter. The tweeter is exclusive to Lansche and legendary for its extraordinarily accurate three-dimensional sound. Through considerable research, Lansche developed midrange and bass drivers fast enough to keep up with the Corona’s lightning-quick response. Speaker models No. 3, Cubus, No. 4.1, No. 5, No. 8.1, No. 7 and No. 5.1 followed, providing Lansche with a powerful line of highly expressive high-performance speakers. Lansche also implemented steady design improvements in the Corona Plasma Tweeter making it, in Lansche’s opinion, the best tweeter in the world.

For further technical information about Lansche Audio, visit www.ib-lansche.de.

For further press information, visit www.JBStantonPressRoom.com. In-Room/Lifestyle and Product Photos are available online.

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COLDPLAY WORLD TOUR USES EARTHWORKS MICROPHONES

November 23, 2011 – Milford, NH – Coldplay’s current massive world tour is using a number of Earthworks microphones. Their live sound engineer Dan Green recently auditioned a number of Earthworks microphones from UK distributor Unity Audio, specifically for drummer Will Champion’s kit.

“Since moving to the Earthworks drum microphones my drum sound has really expanded. The transient response of these microphones is incredible. Before I use to rely on transient enhancing plug-ins to get a similar sound, now it is all from the SR40 overheads. One of the other benefits of the new DP30/C periscope microphones are their new very rugged flexible arms, this gives me so many options on placement. They are a great addition to any Studio recording or Live performance.” Dan Green – Coldplay FOH engineer.

The full complement of drum microphones includes, SR40MP (matched pair) for overheads, SR30/HC for kick and hi-hat, including the Earthworks KickPad™ for the kick mic, 5x DP30/C drum periscope mics for snare top & bottom, and all toms.

Dan also took the opportunity to test Earthworks new SR40V hand held condenser and ordered several for backing vocals and the industry standard M30 measurement microphone for analysing PA systems.

Coldplay’s use of Earthworks drum microphones now is in addition to other international artists such as Steve Gadd, Keith Carlock (Steely Dan), and The Killers.

Earthworks offers complete drum mic kits with the 3-piece DK25 and DK50 Series for live or recording, as well as the CMK CloseMic™ Series and DFK Drum FullKit™. Any of these microphones can also be purchased individually. The small diaphragm Earthworks microphones boast the flattest frequency and fastest transient response available, coupled with an unrivalled 15 year warranty.

www.earthworksaudio.com

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METRIC HALO’S ULN-8 PERFORMS DOUBLE DUTY FOR FUMUJ

HOPEWELL JUNCTION, NEW YORK – NOVEMBER 2011: Fumuj is not an ordinary band. Formed in 2003 by drummer Romain Pasquier and bassist Fred Guillon in their home country of France, the band has released three studio albums with wide popular appeal and critical praise. In support of their latest effort, Drop a Three, Fumuj is touring with a unique and forward thinking approach. Using specially designed LED drums, vibrating towers, inflatable vibration receivers, and real-time music modified video systems, their tour encourages members of the deaf community to attend and participate. Pasquier, who also moonlights as a sound engineer, recording and mixing for French post-production facilities Piste Rouge, Transatlantic Video, and Metropole Television, uses the band’s Metric Halo ULN-8 preamp/interface both live and in the studio.

Although the band has now blossomed to include five members, Fumuj’s music is still sufficiently complicated that some backing tracks must come off of a DAW when the band plays live. Ableton Live sequencing and synthesis software gives Fumuj an inspiring balance of prepared material and spontaneous modifications, and the stems that it outputs filter through Metric Halo’s MIO Console software before wending their way to the external world via the Metric Halo ULN-8. A Midas Venice console grabs the stems and mixes them with Fumuj’s other electronic instruments, such as a Studio Electronic SE-1, an Access Virus, and various vintage analog synths. Rather than merely feeding the Midas’ outputs to the house, several of the signals are first delivered to amps, which gives them a more authentic and lively feel.

“The Metric Halo ULN-8 is tremendously powerful in this capacity,” said Pasquier. “I treat several of the stems with Metric Halo’s peerless Character modeling, which gives them a subtle honesty that helps with the overall mix. In addition, I can use the ULN-8 and MIO Console to record the dry output from the Midas as well as a mastered output using the ULN-8′s onboard DSP. Despite everything that it’s doing, the ULN-8 presents absolutely no perceptible latency and is perfectly reliable. We never deal with bugs or crashes, which is obviously a hugely important factor when taking a piece of gear on stage.”

Pasquier first encountered a Metric Halo interface during the mastering of Fumuj’s second studio album, The Robot and the Chinese Shrimp. He was at London’s famous mastering house, The Exchange. Now, when they are in the studio, Fumuj uses the Metric Halo ULN-8 together with Pro Tools, Logic, or Digital Performer, the platform depending principally on which of the many studios throughout France the band is using at the moment. “MIO Console is fantastic for a band that moves as often as we do,” said Pasquier. “No matter the DAW, MIO Console integrates transparently. It’s also a creative tool. With real zero-latency and high-end DSP, we often experiment with Metric Halo’s re-amping, distortion, and complex signal routing.” On their recent projects, including Drop a Three, Fumuj used the ULN-8 to record all vocals and synthesizers. A Euphonix MC Control integrates seamlessly with Pasquier’s setup to deliver simple hardware control of MIO Console.

For future recordings, Pasquier hopes to add additional Metric Halo input channels. “I think Metric Halo converters are simply the best,” he said. “And that’s not just compared to other compact interfaces, but also to the expensive standalone converters that do nothing but convert. The ULN-8 out-converts those boxes, and does so much more… all in one rack unit! The power to mix within the box with 80-bit summing is also critical. We once had a blind test in a studio that pitted our ULN-8 against a very famous, very expensive, and dedicated analog rack summing unit. Having sunk so much into that box, the studio owner was disappointed when the ULN-8 came out on top!”

ABOUT METRIC HALO
Based in New York’s Hudson Valley, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware. www.mhlabs.com

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L-ACOUSTICS K1 Used To Inaugurate New Kiev UEFA Stadium

KIEV, Ukraine — Fotis Sound, L-ACOUSTICS’ Polish rental network agent, has provided an L-ACOUSTICS K1 WST line source system for the opening of the Olympic Stadium in Kiev in preparation for the UEFA Euro 2012 Football Championship.

The opening ceremony, under the guidance of director Alexey Batkovsky, was based on Ukrainian history, with more than 2,000 volunteers and dancers involved in the larger performances. At the concert’s finale, Shakira appeared on stage to a backdrop of spectacular fireworks before an audience of 50,000, including Ukrainian president Victor Janukovich. more

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MSL Equips New Hed Kandi Brighton With Wall-To-Wall Martin Audio

Following the success of Hed Kandi’s inaugural bar in Clapham earlier this year, installation company MSL has again chosen Martin Audio as its preferred loudspeaker brand for the new Hed Kandi flagship bar which opened recently in Brighton.

Situated on West Street in the City’s bustling Lanes area, the former Luminar-owned Tru Nightclub has been completely overhauled and redesigned by Julian Taylor Associates with MSL entrusted with the full audio visual installation—including a high-impact Martin Audio system, networked across two floors.

Part of the Ministry of Sound Group of companies, Hed Kandi has become a globally recognized brand with club events all over the world and a huge music catalog over many dance music genres. It was the Ministry’s then technical manager Alex Barrand who recommended MSL and Martin Audio on the strength of its performance at the premier London dance club, where it is used exclusively.

MSL project managers Darrel Olivier and Bradley Watson teamed up to produce a comprehensive solution for the main bar area, seated booths, VIP areas and basement Shooter Bar, while Olivier produced a lighting and video solution, utilising a wide range of LED static and moving fixtures, to further enhance the public spaces.

Once the integrators realized the priority that the operators wished to give to the sound reinforcement, 15 wall-mounted Martin Audio AQ8 (8” LF + 1” HF) full range enclosures were specified to provide punchy coverage throughout the ground floor space, while the low frequency extension is delivered using four floor-standing Martin Audio AQ212 (2 x 12”) and a single Martin Audio AQ210 (2 x 10”) sub bass enclosures.

The reception spaces, outside facade and the Shooter Bar have all been provided for, with four Martin Audio ultra-compact C4.8T ceiling enclosures, while the next phase will see the addition of an AQ112 sub (1 x 12”)—plus separate DJ input—downstairs in the basement.

A BSS Soundweb London BLU-100 manages the backbone of the audio system, with a pair of BLU-BOB expansion extenders providing the additional outputs required for the multi zone site (along with remote BLU-3 and BLU-8 control panels).

DJ’s upstairs are equipped with a top-specification booth which also includes a pair of Martin Audio Blackline F8+ (8” + 1”) high power enclosures for DJ monitoring upstairs.

“Martin Audio was recommended because it’s a proven product, with longevity and reliability, and they were happy to go down that route,” said Bradley Watson. “Although it’s not a nightclub it needs nightclub type levels — and they were very comfortable with the brand.”

MSL senior project manager Darrel Olivier, working with Julian Taylor Associates meanwhile developed a comprehensive architectural and moving light solution while a Mitsubishi 4500 lumens DP projector and full Kramer Electronics transmission equipment complete the lighting and video solution, allowing the operators to project in full HD a wide variety of media.

The complete system, from the architectural LED to the ceiling mounted moving heads, are all programmed and managed by a ShowCAD Artist 512 control system, with a 19” touch screen display monitor and an Edirol MIDI keyboard for instant scene and sequence recall.

True to its signature style the Brighton bar decor showcases the stunning Hed Kandi girls and glamorous party nightlife. And with the dance brand’s world famous DJs playing through the Martin Audio house system, Hed Kandi Operations Director, Phil Faversham, expects this to quickly become Brighton’s hottest party destination.

All photography kindly provided by Charles Turner
www.charles-turner.com

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Government of Canada Selects Christie for Major Hercules Simulator Upgrade

Christie® today announced that Defence Research and Development Canada (DRDC) -Toronto, an agency of the Canadian Department of National Defence, has selected the award-winning Christie Matrix StIM™ projection system as part of a major technology upgrade to train threat reaction by aircrew of the CC130 J-model transport aircraft and other military aircrafts. Stationed in Canada’s new 17,000 square meter Air Mobility Training Centre in Trenton, Ontario, the two projectors are installed in the Department’s Hercules Observer Trainer (HOT) simulator. The HOT includes a correctly-sized mock-up of a CC130 J-model transport aircraft with a re-configurable crew station, swappable door and window, overlooking a 1.5 meter radius hemispherical screen and computer-generated images of gunfire, missile, and airborne threats.
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The Royal Canadian Air Force uses the revolutionary HOT simulator to train loadmasters in “true-to-life” scenarios. HOT simulates combat and search and rescue scenarios, training military personnel to become faster and more accurate in detecting threats and search targets. This increases the speed of their adaptive responses so that a quick assessment of imminent threat is communicated and defensive actions initiated. Equally impressive, the HOT can network with other flight simulators, allowing entire crews and even multiple aircrew to train together as a team.
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Christie worked with the DRDC and industry partners during the design phase to ensure that the projection system met the program requirements. With the upgrade, its visual system is now powered by two dual-input Christie Matrix StIM™ projectors that provide a higher resolution image and wider field of view from the aircraft for a more realistic training experience. Employing their headset and countermeasure dispenser, students train for day and night missions, stimulating their night vision goggles (NVG) with the Christie Matrix StIMs, something that couldn’t be achieved with a single projector with the first version of HOT. Results of data showed that with the HOT, trainees made 79 percent fewer errors and reduced their response time by 11 percent.
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“We have worked with Christie before and their products and expertise are both reliable,” said Stuart Grant, Defense Scientist, DRDC. “When we were looking for the latest-generation visual systems with Infra-red capabilities, the Christie solution was the most mature system available. The Christie Matrix StIM has the means for delivering the features we needed for NVG stimulation, as well as blending, warping and other capabilities. We also selected it for its low heat emission due to its LEDs, an important consideration for our trainees who were often subject to uncomfortable heat levels.”
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According to Jeff Clark, President of Renaissance Sciences Corporation, and NVG visual system integrator on the HOT project, “We recommended the Christie technology for its ability to provide four color NVG scenes, instead of the three-color industry standard. Our software is capable of deploying six different wavebands of simulation on one video card, so working with the Christie Matrix StIMs led to an impressive convergence of NVG stimulation technology.”
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“Christie integrated simulation solutions are comprised of leading-edge display technology and world-class system integration expertise,” noted Zoran Veselic, vice president, Christie Visual Environments. “Canadian federal agencies are making impressive gains in simulation training and development, and Christie is proud to play a role in helping them implement the latest, cutting edge visual technologies with the most important, sought-after features and the lowest cost of operation.”
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The award-winning Christie Matrix StIM is the world’s first true solid state LED-based simulation projection system and the first to provide simultaneous and independent control over both the visible and near-IR spectrum using LED illumination. It utilizes Christie TrueIMAGE™ integration tools for geometry, image blending and warping, color and brightness uniformity, low-latency and overall reliability and sustainability. Built with no consumables for a virtually maintenance-free system, the StIM features extraordinarily long life, image quality and ease of service.

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Oxygen DCT Launches a Website For Cinedeck Hire & Rental


Following continued market demand Oxygen DCT has launched a new website that helps production companies, film makers, facilities and broadcasters to gain access to Cinedeck production equipment.

Cinedeck film and TV production recorders are dramatically changing the production scene and leading the way to full tapeless production for film and television projects around the world.

Steve Hathaway, Managing Director of Oxygen DCT which distributes Cinedeck in UK and parts of mainland Europe, says: “The cost savings over more traditional production kit are enormous, especially for drama, series and film work but it is the tapeless work flow and instantaneous editing that really score with post houses, allowing faster turnaround. Directors, producers and crews all over Europe are realising the benefits of Cinedeck and there is an enormous and growing demand for hire and rental.”

Oxygen DCT delivered the first Cinedeck systems to European customers in July 2010 and has seen a dramatic acceleration in take up this year. It expects this demand to accelerate particularly in 2012 when many international broadcasters will have a UK base to cover the Olympic summer games. The company holds stock of both the EX and RX models to support its customers and, as a high service orientated organisation, is addressing hire demand by creating a forum for hire companies and production companies with the Cinedeck hire and rental website, www.cinedeckhire.com or www.cinedeckrental.com.

Whether users are looking to hire, rent, buy or just to advice on CineDeck EX and RX models, www.cinedeckhire.com is their first port of call. It puts production users in control, enabling them to competitively source exactly what they need, when they need it. The website also acts as a central portal for information where by users can easily find out about production stories, how to get the best out of their systems, interfacing to various types of cameras, technical information and even software updates.

Oxygen DCT is encouraging all of its Cinedeck clients to list themselves on the new site so they can maximise their investment in this technology by making their kit available for hire/rental.

“Any rental company in Europe that owns a Cinedeck should be on this site, so that production companies can find them and rent from them when they are working in their country,” Hathaway adds. “Getting on board is easy – all the rental company has to do is complete a short form online and we’ll do the rest.”

One company that has already taken advantage of the new site is Bestlight, whose director Steve Eveleigh says: “This is a great idea and a marvellous addition to the support you usually get from Oxygen DCT. Making it easier for film makers to hire Cinedeck will also help spread the word about these products and how good they are. It gives them the opportunity to try before they buy.”

The site also includes a section with new and used equipment for sale and Oxygen DCT will continue to develop the site over coming months with additional features such as ‘Pimp My Cinedeck’, a one-stop shop where Cinedeck owners and rental customers can access add-ons such as batteries, SSD drives, hoods and other production equipment.

For more information about the Cinedeck range or to organise a demo, please contact Oxygen DCT either direct or via the new Cinedeck website.

-ends-

About Oxygen DCT:
Oxygen DCT is a broadcasts systems solutions provider with a deep knowledge and understanding of the broadcast and professional media markets. This dynamic organisation has amassed in just over five years, a very extensive and comprehensive products portfolio of over 3000 carefully designed broadcast and production products that represent the pinnacle of engineering excellence. Oxygen DCT was the first company in the broadcast industry to fully implement online facilities for its customers and its unique, comprehensive online ordering facility automatically configures equipment systems for customers, saving time and provides industry professionals with the convenience of immediate online pricing. The ‘one-stop-shop’ website caters for the smallest requirements whilst also allowing users to prepare their own quotes and place orders online with immediate order confirmation. Oxygen DCT also provides advice, support and expertise as part of its ‘life cycle’ care scheme, ensuring that customers are fully serviced throughout their career life cycles. www.oxygendct.com

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STACKED WITH TECHNOLOGY. CALIFORNIA’S STACKED RESTAURANTS FEATURES IPADS AT THE TABLES AND ASHLY NE8250PE AMPLIFIER/DSP BEHIND THE TUNES

WEBSTER, NEW YORK – NOVEMBER 2011: Remember the on-board food ordering systems aboard the starships in the (pick your favorite) Star Trek series? After a long day battling deadly aliens, navigating thorny philosophical predicaments, and contextualizing the human experience, Captain (pick your favorite) would select a meal on a TV screen mounted on the wall and, moments later, food would be either delivered via high-tech dumb waiter or fabricated on the spot from raw chemical constituents. Well, now thanks to the iPad(r) and the visionary team behind Stacked, you too can order your food on a screen (deadly aliens, etc. optional). With an iPad at every table and an addictive app that allows customers to visually build their ideal burgers, pizzas, salads, and desserts, Stacked offers a glimpse into the future. And because everything about the California-based chain needs to live up to our hopeful expectations about that future, A/V integrator No Static Pro Audio Inc. (Burbank, California) delivered hi-fi sound to all three existing locations using eight-channel Ashly Audio ne8250pe amplifiers with onboard DSP and out-of-the-box network-ready integration.

From the customer’s perspective, the iPad ordering system is transparent and easy to navigate. For example, the hamburger builder allows the user to drag tomatoes, lettuce, mushrooms, etc. from one side of the screen to a virtual burger on the other side of the screen. When they’re finished, they hit “send to kitchen” and a sophisticated triangulation system determines the table of origin and then communicates the order to the cooks. When they’re finished, customers have the option of using the built-in credit card readers to pay for their meal with the iPad. “I think it’s worth pointing out that the food is really, really good,” asserted Eugene Gordon, CEO of No Static Pro Audio Inc. “The technology will get people in the door once, but the quality of every other aspect of their experience will keep them coming back.”

Music is a high priority at Stacked. Chief information officer Brian Pearson is passionate about selecting upbeat tunes from across a range of contemporary genres. The songs reside on a gigantic MegaSeg repository from which a week of back-to-back songs will never repeat – and never let the carefully molded Stacked brand topple. No Static Pro Audio Inc. came to the project on a recommendation from another contractor already involved in the creation of the restaurants, and the pairing couldn’t have worked out better. “It’s fun working with Brian,” Gordon said. “He’s knowledgeable and excited about new technology and great sound.” To tie the Stacked music experience into the Stacked iPad experience, Gordon worked out a little app that allows patrons to review the last five songs that played, right from the table’s iPad.

The sound system Gordon designed for Stacked is both high-performance and cost-effective. Eight-ohm ElectroVoice ZX1-90 full-range loudspeakers provide audio throughout the establishment and JBL SRX718S 18-inch subwoofers kick up the kicks around the bar and dining area. An Ashly ne8250pe paired with an Ashly WR-5 wall-mount remote control comprise the rest of the audio system. The ne8250pe delivers eight channels at 250 watts per channel into 4 ohms (and since Gordon ran two 8-ohm loudspeakers per channel, that’s what they deliver). Moreover, the ne8250 has onboard Protea(tm) DSP and network integration – all in a single unit that is only two rack-spaces high.

Gordon reduced the cost of the project by turning to the Ashly model ne8250pe for the sound system amplification, matrix mixing, control and digital processing. The on-board 8-in x 8-out Protea(tm) DSP processor and matrix mixer provides overall equalization for the system, loudspeaker alignment & delay, and matrix mixing to allow, for instance, satellite TV audio for the bar and, at the same time, background music everywhere else. It also provides auto-leveling and brick-wall limiting. The programmable Ashly WR-5 allows Stacked staff to change volume separately in each zone. In addition, it allows them to select the MegaSeg playlist or the satellite TV as the input source for each zone.

“The Ashly ne8250pe is a high-performance, cost-effective, space saving solution for a place like Stacked,” said Gordon. “We were able to tuck the two rack-space unit into the server rack located in the equipment room, which was dominated by the back-end iPad infrastructure. The amp is reliable, great sounding, and powerful – indeed, Stacked has tons of clean headroom. Mostly to offer peace of mind, we employed the ne8250′s network capability so that we could monitor and change its status remotely.”

Be on the lookout for more Stacked locations opening up nationwide. Their plan is to open four to five of the restaurants each year!

ABOUT ASHLY AUDIO
With a greater than thirty-seven year history, Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of quality signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets.

www.ashly.com

WRIGHT CONSULTING ASSOCIATES INC. CREATES DESIGN SOLUTIONS USING DANLEY MINI SUBS AND GENESIS HORNS

INDIANAPOLIS, INDIANA – NOVEMBER 2011: Since its formation in 1985 on the burgeoning north side of Indianapolis, Indiana, College Park Church has grown consistently and rapidly. Its early meetings at a local hotel quickly overflowed and inspired a move to a local warehouse where, after a few years of fundraising, College Park set down roots in a new building all its own. But its blessing of growth continued apace, inspiring one, then two, then three Sunday services. Now, decades later, College Park Church is celebrating the completion of a new 4,000-seat sanctuary with raked seating that can accommodate the entire congregation (for now at least!). David Wright, president at Wright Consulting Associates, recommended a subwoofer solution with Danley Sound Labs TH-MINI subwoofers, which are small, (true to their name), tremendously efficient, and truthful (true to their brand). WCA arranged an audition for the church A/V tech team and recommended that subwoofers already designed be replaced with Danley models instead.

College Park Church’s musical style is best described as contemporary, diverse… and big. A live band, a full choir, and an orchestra complement the sermon. Indeed, the services often incorporate dramatic reenactments and prerecorded multimedia support, both of which require full sound reinforcement.

“Originally some soft ideas about ground stacking subwoofers in fairly arbitrary positions along front walls and corners of the room led to inconsistent low end,” said Wright. “Flying subs is always preferred by Wright but structural considerations conspired to nix the idea. The next best idea was to hide subwoofers underneath the center dais.

“But the space underneath the dais kept getting smaller during construction,” Wright continued. “It was an ideal application of the Danley TH-MINI subwoofer, which we had flown successfully in other projects. The TH-MINI is the only subwoofer on the market that could be hidden under the dais and yet still deliver compelling deep bass to 4,000 seats.” Although audio products used in audio systems are important, Wright is quick to point out that they are nothing without proper balancing and commissioning. “That intangible part of the system was done exceptionally well by Acoustic Dimensions, who we originally recommended to Aspen Group, our architect. By cleverly employing delays, listeners anywhere in the sanctuary naturally localize all sounds to the stage, the best part of the design and key to the performance of the system.”

Looking to the future, Wright will again employ eight Danley TH-MINI subwoofers in Indianapolis’ Shortridge High School, an historical location. In a state where basketball is king, (eighteen of the largest high school gyms in the USA are located in Indiana – and it was the inspiration for the movie Hoosiers) the school’s new 4,000-seat gymnasium will be large enough to host large sectional tournaments. Wright and his employees Daniel Farrar and Russ Hoppel carefully modeled the space in EASE and determined that the bass component would be best served by flying two end-firing subwoofer arrays, each lobe aimed at one of two gigantic bleacher sections, to minimize spill from room surfaces.

But the modeling served an acoustics purpose first. “We worked to simultaneously keep the acoustic budget in line even while bringing a six-second reverb down to one-and-a-half seconds,” explained Wright. “We considered a number of full-range solutions and planned to present them to the client as a ‘good, better, best’ option set.” But we were surprised that the “best” option was two Danley Genesis GH-60 horns, one for each bleacher section. Its efficiency and tight pattern control would work in synergy with well placed acoustical treatments to maintain impact and clarity. “The numbers led us to the realization that the Danley solution would be less expensive than the original design. Wright said. “The Genesis Horn coverage and efficiency allowed us to replace nine other boxes with just two Danleys. The reduction in the total loudspeaker cost combined with the reduction in installation labor made the Danley solution the least expensive and also best performing.”

ABOUT DANLEY SOUND LABS
Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

API 1608 INSTALLED IN PARIS STUDIO

PARIS, FRANCE – NOVEMBER 2011: A testament to API’s growing global market appeal, one of the company’s renowned 1608 analog consoles has recently been installed in the Paris recording facility STUDIO K. Owned and operated by French musician, composer, engineer and producer David Chalmin, STUDIO K resides in the very center of Paris and offers recording and mixing services to artists from all genres.

“When I decided to invest in a new console, I knew right away that I wanted something with a distinctive sound,” said Chalmin. “I was going to invest a lot of money, and I didn’t want my console to have a ‘transparent’ mixer; I can reach transparency in the digital world. I wanted analog. When you think of analog, you think of color-and when you think of color, you think API. I knew the 1608 had the color I loved: warm and crisp,” he said.

Chalmin, who has worked with acts such as Nadeah, the Labéque Sisters and Nicola Tescari and Sophia Charaï, has been part of the French music industry since joining Beatles “re-elaboration” contemporary, rock band B for Bang in 2006. He is also a guitarist for Nadeah and member of two other groups – experimental/improvisational rock band Dimension X (guitarist) and rock duet Red Velvet (singer, guitarist). Developing a passion for recording, producing and engineering through a makeshift home studio, Chalmin officially opened STUDIO K in 2009 and soon after decided he needed a top-rated console – the API 1608.

“I also chose the 1608 for its modularity,” Chalmin said. “Being born in the digital era, I’m used to having a lot of different EQs [through plug-ins], and, to me, it was great being able to have a console that allowed me to choose different flavors through EQs and other processors. With the 1608, I can evolve the mix along with my tastes or change it by using different modules depending on which project I’m working on.”

Expandability was also a key reason Chalmin chose the console for STUDIO K. “I designed the console’s furniture to fit an expander, which I hope to welcome someday soon. The fact that the 1608 allows you to build upon it little by little makes this top-quality board really affordable.

“It has exactly what I need and not a thousand things I don’t,” Chalmin said. “It’s simple and comprehensive. And it’s the most beautiful console, isn’t it?”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment. www.apiaudio.com

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Related Topics: AES Newslink, InfoComm, NAMM Newslink, News |

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