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Archive for March 7th, 2012

K-array Makes its Debut at the Boston Opera House, Architectural Jewel and Boston Ballet’s Sole Performance Venue

Boston, March 7, 2012– The Boston Opera House is a striking example of the finest theatre architecture set in opulent French and Italian styles. Originally constructed in the late 1800s but extensively renovated in 2002, the 2,677-capacity theatre has been the sole performance venue of Boston Ballet since fall 2009 and was originally constructed as a tribute to vaudeville’s greatest impresario: Benjamin Franklin Keith. As a credit to both the original design its recent painstaking renovation, the Opera House is nothing short of stunning, featuring outstanding acoustics and superb craftsmanship throughout.

Recently, this landmark performance facility took its breathtaking natural acoustics one step further by installing a discrete and ultra-compact K-array sound reinforcement system for the Boston Ballet, customized and painstakingly finished to match the luxurious décor of its interior. The system, designed and installed by Talamas Broadcast Equipment, includes Sennheiser distributed K-array KK100 and KH15 speaker arrays plus KL18 and KS4 subwoofers, together with KA10 and KA40 Class D power amplifiers — all of which have been installed to maintain the visual and sonic integrity of the original space.

Nick Jabour of Talamas Broadcast Equipment, a Boston-based company serving the audio and video needs of New England’s film, television and broadcast production industries, worked with Boston Ballet’s Ben Phillips, production manager and technical director, and Benjamin Young, sound designer, on the design of the system. “There are three KK100 vertical arrays on each side of the proscenium arch,” explains Jabour. “Those are primarily for the orchestra level and the first few rows of the balcony.”

To allow shading of the coverage patterns of the KK100s, two arrays are driven from each channel of a KA10 amp. The KK100 is an ultra-slim vertical line array comprised of multiple two-inch neodymium transducers in a stainless steel chassis. Two KL18 subs, which each feature an 800W, 18-inch driver, are positioned below the left and right main arrays to provide low frequency reinforcement.

Flown systems provide additional coverage of the orchestra and balcony seating sections of the 2,500-capacity theatre. “There are two KH15 arrays and a KS4 sub array on a truss that’s flown above the downstage lip of the stage,” says Jabour. “The KH15s mostly cover the balcony. There’s another KH15 positioned behind the KS4 pointing straight down at the orchestra level to complete the stereo image.”

The self-powered KH15 is an ultra-compact two-way line array that provides consistent 120-degree horizontal coverage. The self-powered, ultra-compact KS4 subwoofer offers a unique dipole figure-8 coverage pattern capable of delivering very high SPLs.

Talamas worked closely with power distribution specialists Motion Labs and Sennheiser, exclusive distributor of K-array products in the U.S. and Mexico, on the unusual A.C. power set up for the system. “KA10s and a KA40 amplifier power the KK100s and the KL18s,” Jabour elaborates. “The KA10 and the KA40 amps are being run at 120 volts, but so that we could use a more standard style cable for the power run to the truss we run those speakers, which are self-powered, at 230 volts.”

The theatre’s acoustics were originally designed to deliver the spoken word to every seat in the house in an age before microphones and amplifiers. “So Boston Ballet wanted something that they could use very, very subtly,” comments Jabour. “But they have a choreographer who, for one of his pieces, requires the theatre to get very loud. So we had to be able to cover both extremes.”

“The K-array system helped us accomplish everything we set out to achieve,” says Benjamin Young. “The subtle reinforcement of a gentle orchestra is undetectable, and the intricacies of more modern electronic orchestrations are clear as can be, while powerful at the same time. I am certain that the majority of the patrons don’t even realize that they are there; they are the ninjas of speakers!”

“The key point in our original directive was that the speakers could not interrupt the aesthetic of the stage — and Talamas and Sennheiser worked with us to achieve that goal,” he adds. “All in all the system has turned out to be a huge success for us.”

The newly installed K-array system made its debut on March 1 with the opening of “Play With Fire.” The production features “Rooster,” choreographed by Christopher Bruce to the music of the Rolling Stones.

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Renkus-Heinz Celebrates ISE, Eyes Lively PL+S

Frankfurt, Germany, March 2012… As Renkus-Heinz celebrates an exciting and productive ISE, the company is gearing up for an even busier ProLight+Sound 2012 in Frankfurt.

ISE 2012 saw the first European showing of the new ICONYX ICR-MkII digitally steerable installation loudspeaker, with its innovative new triple tweeter design. “We now have a complete, equally spaced, array oh high frequency devices extending the whole length of the array” comments Rik Kirby, VP Sales and Marketing. “This gives the new, forth generation, column even better steering ability, reduced side lobes, and greater fidelity.”

Equipped with RHAON (Renkus-Heinz Audio Operations Network) the ICR-II series is available in 8, 16, 24 and 32 driver formats, enabling sophisticated large-scale coverage of even the most imposing spaces. Typical applications will be cathedrals, airports, train stations and other large, acoustically challenging spaces.

An IC16-R-II will represent the new series on the Atlantic Audio booth at ProLight+Sound in Hall 8.0 Stand F60, alongside another of the latest and most exciting additions to the Renkus-Heinz digital beam steering ‘family’: the high power IC2 (IC Squared), offering digital beam steering for applications with higher output requirements while still maintaining the intelligibility that Iconyx products are known for. The most powerful digitally beam steered loudspeaker system in the world today, IC2 will also feature on the outdoor Concert Sound Arena stage with four live demonstrations every day (11:15, 13:15, 15:15 & 17:15).

Also on show will be the new CF101LA Modular Point Source Array system, which offers installers a modular, scalable point source, providing flexible solutions where a single cabinet is not loud enough, yet the vertical space or budget are not available for a traditional line array.

The same is true for rental systems providers, as the CF101LA provides line array benefits of increased vertical directivity and increased output over a single cabinet, but with far fewer cabinets. A winning solution for both provider and client, the CF101LA can be the centerpiece for many applications.

The same is true for rental systems providers, as the CF101LA provides line array benefits of increased vertical directivity and increased output over a single cabinet, but with far fewer cabinets. A winning solution for both provider and client, the CF101LA can be the centerpiece for many applications.

Now in full production, the first CF101LA installations are up and running in a growing number of European locations

Finally, Renkus-Heinz will be participating in the Atlantic Audio party on Thursday March 22, and the team is looking forward to a fun event with colleagues and customers from around the world.

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

Tommex Designs Community Solution for World Heritage Designated Centennial

Wrocław, Poland, March 2012… Tommex Zebrowscy Sp. J. has recently completed the design and delivery of a Community loudspeaker-based pro audio and voice evacuation system for the prestigious Hala Stulecia (Centennial Hall) in Wrocław, Poland. Constructed in 1913, Centennial Hall is undergoing a comprehensive program of renovation and new development that transforms it into a state-of-the-art venue for its centenary. The installation of the sound system, handled by Asseco, is one of the final parts of this ambitious development programme.

Centennial Hall was built to commemorate the Battle of Leipzig in 1813, which ended Napoleon’s occupation of the region. It was designated as a UNESCO World Heritage Site in 2006, chosen as one of the most important achievements in 20th century architecture. At the time it was built, Centennial Hall was the largest reinforced concrete structure in the world and featured the biggest dome to have been constructed since the Pantheon in Rome eighteen centuries earlier. The Centennial Hall complex serves the citizens of Wrocław and Lower Silesia as a venue for trade fairs, conventions, theatrical and opera performances, concerts, international sporting competitions, political and business meetings as well as recreational and spiritual events.

“The system’s prime function is to provide for voice evacuation, meeting strict Polish Fire Department standards,” explained Marcin Zimny, Manager of Tommex’s office in Wrocław. “But it also has to deliver a dual function as a pro audio system for voice paging and entertainment for the main hall, where the audience capacity has been increased from 7,000 to 10,000.”

“Centennial Hall is an acoustically challenging building,” continued Zimny. “Its UNESCO status also meant we were restricted in the placement of loudspeakers. Unable to use, for example, a central cluster under the main dome, we had to position the loudspeakers around the lowest ring of the dome. This required loudspeakers with precise coverage patterns, excellent voice reproduction and very high SPL.”

Tommex designed a system based on fifty-two high-output, dual 12-inch Community R-Series R2 loudspeakers and eight wide-angle, dual 8-inch Community WET W2-2W8 loudspeakers. “From long experience we knew Community offered the solution to the complex set of demands for this venue,” said Zimny. “A combination of 50×20, 70×70 and 90×40 degree devices were used to give us complete, consistent coverage. Additionally we knew that the Community loudspeakers would meet the intelligibility and SPL requirements and would pass the Fire Department tests, which included being subject to 250 degrees for half an hour.”

Tommex chose Switzerland’s g+m elektronik to provide the voice evacuation and amplification systems and a Dynacord P64 system for the digital audio matrix. With a digital console, transport of the audio is via fibre optic cable from FOH to the amp room.

“This was a very demanding installation and we are very proud that the result is a system that meets every requirement,” concluded Zimny. “The client is very happy with the system’s audio and operational performance, and also that the loudspeakers and their installation have been very sympathetic to the aesthetic needs of this beautiful historic building.”

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Community Professional Loudspeakers has been a leading supplier of professional sound systems since 1968. Headquartered in Chester, Pennsylvania, Community distributes its products to over fifty countries on six continents. Visit www.communitypro.com for more information.

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EAW® Loudspeakers Provide Great Sound for “In Performance at the White House: Red, White and Blues”

EAW®’s NTL720 Line Array and NTS250 Subwoofers, installed by Anderson Audio, tame the White House’s East Room with powerful sound for the President, First Lady and guests

Part of the annual “Black History Month” celebration, the event featured blues legends including B.B. King, Jeff Beck, Mick Jagger, Derek Trucks & Susan Tedeschi, Warren Haynes, Keb’ Mo’, Shemekia Copeland and others playing live for President Obama, who joined the ensemble for a verse of “Sweet Home Chicago”

Whitinsville, MA, USA, March 7, 2012 – On Tuesday, February 21, 2012, President Barack Obama and First Lady Michelle Obama marked Black History Month at the White House with a celebration of that most American of roots music – the Blues. “In Performance at the White House: Red, White and Blues” brought together some of the greats of the genre, including B.B. King, Jeff Beck, Mick Jagger, duo Derek Trucks & Susan Tedeschi, Warren Haynes, Keb’ Mo’ and Shemekia Copeland for a once-in-a-lifetime concert. And another great American name was there too, making sure it all came together: EAW®, which has been the choice of Anderson Audio of Harrisburg, Pennsylvania, a premier audio vendor in the Mid-Atlantic region, providing professional audio design, consultation and installation, and the long-time sound reinforcement provider for this auspicious series of concert events. The event was produced by public television station WETA; Ken Ehrlich, executive producer of The GRAMMY® Awards; and Robert Santelli, executive director of The GRAMMY Museum®, for AEG Ehrlich Ventures. Fortunately, many more than those present that evening got to experience the once-in-a-lifetime performance: the event was also broadcast on PBS on Monday, February 27, 2012, and was streamed live on http://whitehouse.gov and http://pbs.org, as well as aired to service members around the world via the American Forces Network.

The PA system consisted of two arrays of four EAW NTL720 Self-Powered Line Array Systems and four NTS250 Large Format Flyable Subwoofers per side, in the front of the 40-ft x 80-ft East Room. Other EAW products used included JF60z Compact Full-Range Loudspeakers for front fills and NT29 Self-Powered Full-Range Loudspeakers for out fills.

The PA system had its work cut out for it on this show. First, instead of the stage being located at one end of the long room, as is usual for most performances in the East Room, the stage for “Red, White and Blues” was set up along one of the long side walls, necessitating hanging the speakers from the lighting truss 16 to 18 feet up and angled sharply downward. This required the ability to widely and evenly disperse the sound. Secondly, the backline was an array of Marshall and Fender amps, two drum kits, a horn section and keyboards – in other words, it was going to get loud.

“This was the loudest show we’ve ever done at the White House,” recalled Chris Anderson, President of Anderson Audio (who has done sound for shows in the East Room since the George W. Bush Administration using EAW equipment), adding that the volume was measured at 105 dB during rehearsals. “We’ve worked with many of these artists in concert before, including Jeff Beck and B.B. King, and we knew they were going to play louder than the other concerts we’ve done in the East Room, so the PA had to sound good at higher volume levels than usual.”

But there were still more challenges: the room itself is highly reverberant, with plaster walls and parquet floors, and since the event would be televised, the sound system had to be nearly invisible. The PA system would have to address all of these issues and do it reliably and with the best sound possible. As Anderson recalled, “I needed low-profile, high-output enclosures with a wide horizontal dispersion pattern, and EAW provided the solution. There are many challenges involved in an event like this – we are shooting a TV show, and the sound system has to be effective in translating the energy and excitement of the show while not getting into any of the camera shots. Frequency response must be smooth and accurate to not interfere with the broadcast mix audio. The EAW system did it all.”

The volume was up there for the show, but, Anderson said, “No one winced. When a sound system sounds honest and real, volume is much less of an issue.” In fact, Ron Reaves, the FOH Mixer on the show, who had just come from mixing the GRAMMY Awards a week earlier, remembers President Obama stopping by during the rehearsal and being asked by an aide if it was too loud. “I knew that the President was going to be sitting literally 12 feet from Jeff Beck’s guitar amp, so when he was asked about the volume, I really wanted to hear what he said,” said Reaves. “The President said, ‘No, it sounds fine,’ so the sound got the Presidential seal of approval before we even started, which was great. The show went fine and sounded fantastic, and that’s what everyone was after.”

For more information, please visit www.eaw.com.

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Chicago’s Earhole Studios Chooses Genelec Active Monitors

NATICK, MA, March 7, 2012 — Original music and audio post production house Earhole Studios in Chicago has installed a Genelec 5.1 Active DSP Monitoring System as part of an upgrade to surround sound mixing capabilities in Studio B. Concurrently, composer and engineer Eric Lambert acquired a Genelec SE (Small Environment) DSP Monitoring System for his home studio to enable him to seamlessly transfer projects between Earhole Studios and his home composition room.

The new 5.1 system in Earhole’s Studio B comprises five Genelec 8240A Bi-Amplified DSP Monitors for the front LCR array and rear surrounds, with a 7260A Active DSP Subwoofer. Lambert’s home 2.1 setup consists of an 8130A Digital Monitoring System plus an SE7261A Active DSP Subwoofer, which is designed specifically for use with the 8130A stereo pair.

Initial plans were for an aesthetic makeover of Studio B, which is one of three rooms at Earhole, says Lambert. “But we said, while we’re at it, let’s see if we can make some sonic improvements. We have surround capability in my composition room but that was being used primarily for music and we didn’t really have time to do mixes in that room. We wanted to move mixing to another room so we bought the Genelec 5.1 DSP system.”

Genelec’s AutoCal™ software, the industry’s first integrated process for automated measurement, analysis and adjustment of every monitoring loudspeaker in the control network, has been especially useful, according to Lambert. The system’s multiple setup capability, in particular, which allows the 5.1 Active DSP Monitoring System to be calibrated for several listening positions, has become very popular with Earhole’s clients, he says.

“If you’re sitting in the engineer’s position you have the monitors calibrated specifically for those two ears,” explains Lambert. “But we have a huge room with clients sitting all over the place. A lot of times they’ll be frustrated by the fact that when they’re listening to a surround mix it doesn’t seem focused on them. With that DSP, we can calibrate that sweet spot to those other positions. So you can set up multiple listening positions, expanding the flexibility of the system.”

He continues, “The clients love that it sounds better, but they’re also impressed that a company like ours has that technology. We’ve even had engineers from other facilities around town come in, guys who have been around a long time and really know what’s going on, and they have been really, really impressed. It blows some people’s minds that there is the technology to do that, and it makes Earhole look good, because they’ve never seen that anywhere else.”

The GLM.SE™ (Genelec Loudspeaker Manager for Small Environments) software and the extended AutoCal capabilities of the 7260A Active DSP Subwoofer have allowed Lambert to overcome some challenges in his home studio. “I’ve had a lot of acoustic issues in that room. There’s only so much I can get away with as far as sonic treatment goes. When you share a house with somebody else they don’t necessarily want it to look like a studio, so you make compromises. All of the other speakers that I’ve tried sounded okay but there were always some pretty big issues. But when I got to hear the Genelec DSP system in action at Earhole I realized it actually works. The following night after we got the DSP system installed at work I bought the SE system for home.”

The new SE setup ensures that projects translate accurately and consistently between the studio and his home, according to Lambert. “I’ll start a project at Earhole and have to finish at home, or get a call late, when I’m not at work, and decide to work on things at home. It’s nice to have a similar, consistent monitoring environment at home. They’ve really made all the guesswork go away.”

Lambert reports, “All of our rooms have Genelecs. The other two rooms have older Genelecs that we’ve had for several years. We have some other composers who work in other areas; a couple of them also have Genelecs. It was about 10 years ago that we bought our first pair, and we’ve been happy with Genelecs ever since.”

Tom Wiebe, co-owner of Wiebe Music, which was established in the early 1990s, opened Earhole Studios in December 2003, moving the business and staff, including Lambert, into a new location in Chicago’s River North neighborhood. Simultaneously, the company made the transition from a jingle house into an original music and audio post production venture. Today, recent Earhole clients include Chrysler, UPS, Sprite, Motorola, Allstate, BP and MGD, among others.

For more information, please visit www.genelecusa.com/.

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HARMAN’s JBL Loudspeakers Show Their Star Quality On The X Factor

Jeff Peterson designed the audio system built around JBL VERTEC line arrays for The X Factor.

NORTHRIDGE, California – It’s not hard to put a finger on the popularity of The X Factor, which recently completed its first season in the United States. The top-rated singing competition TV show (which aired on FOX) pits contestants against one another to see which pop singer has that certain indefinable, yet undeniable star quality—that all-important “X Factor.” To provide high-impact audio on the set of The X Factor, Valencia, California-based ATK Audiotek installed a HARMAN JBL VERTEC® line array system designed by Jeff Peterson.

On The X Factor, competitors in various categories have to sing, dance and perform in front of celebrity judges Simon Cowell, Paula Abdul, L.A. Reid and Nicole Scherzinger—and a national audience of voters. It’s a high-pressure atmosphere, especially since the shows are taped in front of a live audience.

“The contestants aren’t the only ones who have to perform under pressure,” noted Brett Valasek, general manager of ATK Audiotek. “Since the show is taped before a live audience, the performers have to be heard loud and clear, and the system has to be dynamic and powerful to connect the audience with the excitement of the moment and the performers.”

“The producers wanted concert-level energy for the show,” Peterson said. “With the 400-person audience routinely reaching 105-108 dB SPL, the sound system had to cleanly deliver the music and performances over the roar of the crowd.”

As the PA mixer as well as sound designer, Peterson’s job had multiple facets. “I had a responsibility to keep the broadcast dialogue clean, while at the same time ensuring that every audience member and contestant could understand what was being said,” he noted. “When performances happen, production wanted a rock concert feel, with the audience on their feet, clapping, cheering, hooting and hollering. You can see how the dynamics of the show were huge.”

Peterson was in constant collaboration with Eric Schilling, the broadcast music mixer on performances. “My mix in the house—which naturally leaks in to the audience microphones—had to blend cleanly with the broadcast mix,” Peterson added. “If I was using an effect in the house that was different from what was on the air, it was noticeable to viewers.”

ATK Audiotek supplied 16 JBL VERTEC VT4889 fullsize line array elements, more than 200 JBL Control® 23 mid-high output loudspeakers and Control 25 compact speakers, plus SRX712M 12-inch high-power stage monitors and VRX928LA and VRX932LA Constant Curvature loudspeakers.

The VERTEC VT4889 line arrays were installed in a left-center-right configuration to maintain the striking visual appearance of the set. “The system design was supposed to be eight per side, which abruptly changed on the first day of load-in,” Peterson said. “The show highlighted the scenic and video screens almost as much as the performers and judges. The set looked amazing, and my clusters were too large to maintain the clean look. We quickly redesigned the system to a left-center-right layout, with six VT4889’s as the left and right clusters and four VT4889′s making up a center cluster.”

In addition, the height of the scenery on stage was only about eight feet lower then the rigging grid. “The speaker clusters, with their chain motors, had to fit within that space in order to avoid blocking any video,” Peterson said. “In addition to that, there was a large ‘X’ shaped ceiling piece that was made of hard flat surfaces. The ceiling piece blocked my horizontal coverage towards the center, which necessitated the center cluster.”

To deliver the show’s dialogue, the Control 23 and Control 25 loudspeakers were placed under every third seat in every other row. “We needed to make sure that everyone in the audience could hear the judges now matter how loud things get during the show,” Valasek said. “It’s a challenge to maintain the dialog at a specific level on a show like this. That’s why we chose the under-seat system using the Control 23 and Control 25 speakers—so we didn’t have to put much of the dialog through the main PA.”

ATK Audiotek also built three SRX712M monitor wedges into a trough behind the judges seating to enable them to hear all the music and performer’s comments clearly.

“JBL VERTEC line arrays are what we use in the vast majority of our projects because of their clarity, controlled coverage pattern that is easy to work with, and ability to adapt to a variety of installation applications,” Valasek stated. “We have a very high comfort level with them and they always deliver outstanding performance.”

“A properly designed VERTEC VT4889 system never ceases to deliver,” Peterson concluded. “I have the highest confidence that I’ll be able to get both the high SPL levels needed without distortion, and clean low volume dialogue out of the same system.”

For more information about ATK Audiotek please visit www.atkcorp.com.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

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ASHLY PEMA™ POWERED PROCESSORS IN THE BIG HOUSE

LONG ISLAND, NEW YORK – MARCH 2012: Although the universe of institutions that require professional sound reinforcement includes churches, schools, and other places that can make a sound integrator feel warm and fuzzy at the end of the day, it is also populated by places like the Yaphank Correctional Facility (YCF) on Long Island, New York. The new $133-million building will house 650 inmates when it is finally commissioned for operation in the spring of 2012. To deliver both routine and safety-related information, Pro Sound Alliance (Troy, New York) a division of Live Sound, Inc., provided a three-tiered redundant paging system centered on the (figuratively) bulletproof Ashly Pema™ powered processor.

The new YCF is designed around six “pods,” each of which will house one-hundred, or so, inmates in a way that maximizes the efficiency with which they can be guarded. Beyond the pods, common areas, food preparation quarters, medical facilities, etc. require dedicated paging zones as well. Pro Sound Alliance general manager Dominick Campana served as project engineer at YCF. “It was a little bit complicated, as we were a subcontractor to a subcontractor to a subcontractor to a prime contractor for the owner, Suffolk County Department of Public Works,” he laughed. “They were counting on our expertise to design and install a system that would deliver the functionality and performance required by the Sheriff’s department together with the architect and engineer’s specifications and concept drawing.”

He continued, “Acoustics are seldom addressed in such facilities. There are little or no absorptive surface materials. All of the speakers are hindered by heavy-duty vandal-proof hardware. The potential background noise is extremely loud. Most input signals are generated from telephone-quality paging and security systems. And so, with all that stacked up against me, I had to find a processor and amplifier capable of multi-layer priority ducking, matrix routing, extensive signal processing, and significant output power to make sure that all pages and announcements are heard loud and clear.” The Ashly Pema multi-channel amp with on-board Protea(tm) DSP processor met all of those requirements at a fair price-point and with Ashly’s reliability and support.

The system covers thirty-plus zones with one Ashly Pema 8250.70 and six Pema 4250.70s powering over 600 Lowell 805-T72 loudspeakers. Both Pema models provide full-blooded 8×8 DSP together with eight (8250) or four (4250) 250-watt amplifier channels in just two rack spaces. Three redundant paging systems at different priority levels provide input.

An industrial-grade Black Creek security intercom system provides top-priority paging: any Black Creek handset or computer-controlled announcement or alarm will immediately take control of the PA system. The most commonly used paging source occupies the second level – a comprehensive Stentofon IP telephone paging system with sixteen microphone stations located throughout the facility. Finally, built-in microphones and program sources at each of seven head ends provides the third-level input.

“We were introduced to the Ashly Pema through our extensive use of the Ashly ne24.24M modular DSP,” said Campana. “We love the flexibility, simplicity, and power of the Protea software platform. Moreover, Ashly’s ‘network-enabled’ equipment is vastly easier to use than other equipment in its class. Instead of opening up control panels, messing with ‘COMM-this’ and ‘PORT-that’ for two hours, the Ashly equipment plugs into the computer and just works.” While Campana says he welcomes that speed and simplicity at any job, it was especially important at YCF. “Getting in there for any changes will not be easy,” he laughed. “The process can take quite awhile! With the Ashly Pema in place, I was able to make efficient use of my time. It will be even trickier to go back for any updates or a service call when the inmates are in residence, so I’m glad, first, that the Ashly gear is so solid, and, second, that it’s so quick to work with in case I have to go back.” Campana reported that the sales support from Charlie Eaton at Eaton Sales and Marketing was exemplary.

Campana commissioned the system in the presence of prison officials and security system integrators. “They were stunned at how wonderful it sounded,” he said. “They’re not used to working with people from a true audio background. I wasn’t just trying to make the pages intelligible, I was trying to make them pleasingly so!” Where most security integrators might tap a loudspeaker at 0.5 or 1 watt, Campana leveraged the muscle of the Ashly Pema units to tap loudspeakers at between 5 and 7.5 watts. “I know that people are under the impression that there are tons of powerful amps out there,” he said. “But I defy anyone to come close to the Pema’s eight channels at 250 watts each with full DSP in just two rack spaces at the price point Ashly manages. It’s a godsend. It’s perfect.”

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

Verrex Appoints James Shanks to Lead EMEA Region

LONDON, UNITED KINGDOM & MOUNTAINSIDE, NEW JERSEY USA / 7 March 2012 / — Verrex, a global design-build integrator and managed services provider of conferencing, collaboration and presentation technologies, today announced that James Shanks has joined the company as Managing Director of EMEA. In this appointment Mr. Shanks will be responsible for overseeing Verrex’s continued growth in the region by directing overall operations and resources. He will report directly to Verrex President & CEO, Thomas Berry, Jr.

“Verrex is committed to serving the Global 500 and EMEA is a vital part of that strategy,” said Mr. Berry. “With the scope and scale of our ambitions, James is an exciting addition to our global team. He has a clear vision of strategic direction and the tactical plans needed to support it. We are excited to expand Verrex’s EMEA footprint under his leadership.”

Mr. Shanks brings a broad background in sales, technical and operational team structures, focused on quality management, business development, project management and client, partner & vendor relations. Career highlights include Managing Director of systems integrator AVE Systems Ltd. where he was responsible for all aspects of day-to-day business operations and a staff of 56. Mr. Shanks was promoted to this senior role after serving as AVE’s Sales & Marketing Director. Prior to AVE, he held increasingly senior roles at Pendax UK Ltd., including Southern Regional Sales Manager and National Sales Manager.

“As a global systems integrator and managed services provider, Verrex stands apart from the traditional industry offering,” said Mr. Shanks. “The company demonstrates what can be achieved by providing partner relationships with our clients, in a more comprehensive manner than our competitors, focused on enterprise needs. I look forward to promoting Verrex’s 65-year culture of superior execution to the EMEA market as well as collaborating with the entire Verrex team to articulate that globally.”

Mr. Shanks is based out of Verrex’s EMEA headquarters in Hertfordshire, United Kingdom and can be reached at +44 (0) 1992 667 000 or by email at jshanks@verrex.com.

About Verrex
Founded in 1947, Verrex is a global design-build integrator and managed services provider of complex conferencing, collaboration and presentation technologies. Specializing in enterprise-wide corporate solutions, clients engage Verrex to unify and enrich how they communicate, collaborate and articulate through videoconferencing, digital signage and other AV systems locally and globally. Superior performance is Verrex’s hallmark offering exceptional execution and consistent best-in-class standards in systems design, integration, installation, support and staffing. With principle offices in North America, Europe and Asia, Verrex has positioned its presence to serve key corporate hubs around the globe. For more information, visit verrex.com.

Verrex, the Verrex Logo and GMS are registered trademarks of Verrex Corporation and/or its affiliates in the U.S. and other countries.
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Media Contact:
Theresa Hahn, Director of Marketing & Business Development
Verrex
Phone: +1 908 664 8391
Email: thahn@verrex.com

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API 1608 INSTALLED IN BELGIUM STUDIO

pieter_apers.JPGBRUSSELS, BELGIUM – MARCH 2012: Brussels-based Studio La Buanderie has recently installed a 16-channel API 1608 – a console that its owner and engineer, Pieter Apers, calls, “the holy grail in recording.” Apers purchased the fully-analog console through API dealer Amptec, who is credited with quickly bringing multiple 1608 consoles into Belgium.

“I have always been an audio enthusiast, so I have known about API for a very long time,” said Apers. But when I was choosing a console for my studio, I considered a number of alternatives. To be fair, some others offer deeper DAW integration and more bells and whistles than the 1608. However, when it comes to sound and sheer build quality there is no doubt – the 1608 stands high above the others.”

Apers founded Studio La Buanderie in his home eight years ago to fulfill a longtime more

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AVI-SPL Control Room Group to Exhibit at AFCOM Data Center World Expo

 

 

 

WHO: AVI-SPL’s Control Room Group (CRG), which specializes in meeting the unique requirements of mission critical facilities and control center operations, is set to exhibit at this year’s AFCOM Data Center World Expo, the largest global conference for data center and facilities management professionals.

WHAT: AVI-SPL’s Control Room Group team will demonstrate and discuss:

  • Cyber Security: How utilizing a Network Operations Center (NOC) can protect against cyber security threats
  • Network Operations Center (NOC): How CRG can design, build, install and support NOCs to monitor the health and welfare of a client’s network and data centers
  • Physical Security: How CRG’s comprehensive “whole room approach” integrates physical security solutions, like intrusion detection and enterprise facility access control, to help data center and facilities professionals effectively manage and respond to security challenges

WHEN: March 18-22, 2012

WHERE: AFCOM Data Center World Expo, Mirage Hotel and Event Center, Las Vegas, Booth #101 

About AVI-SPL’s Control Room Group

The Control Room Group, a division of AVI-SPL, specializes in the design, integration, installation and support of 24/7/365 mission critical control room facilities and Physical Security Systems. By working with more than 600 manufacturers of control room components, the Control Room Group consistently provides custom designed control room facilities utilizing common off the shelf (COTS) components that meet the unique requirements of its clients. For more than eight years, the Control Room Group has designed and built mission critical control room facilities for a variety of high level government, utility, transportation, corporate and process control clients. For more information about the Control Room Group, visit http://crg.avispl.com/  and connect with us on Twitter, Facebook and LinkedIn.

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