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Archive for July 3rd, 2013

DiGiCo SD8 Brings Oktophonie Opus To Light At NYC’s Park Avenue Armory

Karlheinz Stockhausen‘s electronic masterpiece OKTOPHONIE made its New York premier at the end of March at Park Avenue Armory in Manhattan. Stockhausen was a compositional pioneer who grappled with spatial music as he bent the rules and redefined the listening experience. The German composer’s magnum opus “Licht” (or “Light”) OKTOPHONIE is a trailblazing electronic musical experience where the audience is surrounded by eight groups of loudspeakers, enveloping them in a sonic environment. The piece was performed by Kathinka Pasveer, an early Stockhausen collaborator, and Igor Kavulek who has been Stockhausen’s personal sound technician since 1998. A DiGiCo SD8 and Meyer sound system was specified by Kavulek for the show and provided by Production Resources Group.

Staging the work as the composer originally intended—in outer space—artist Rirkrit Tiravanija was commissioned by the Armory to create a ritualized lunar experience, a floating seating installation within the Armory’s soaring drill hall that heightens the listeners’ octophonic experience and transports them to another realm. The audience donned white cloaks for the journey, carried along by the all-encompassing score, which was broadcast from the SD8 console placed at center stage.

Pasveer has worked with DiGiCo consoles (SD7s, SD8s and D5s) over the last several years on previous performances around the globe and has been impressed with their ease of use, flexibility and reliability.

“Igor always specifies DiGiCo consoles and Meyer loudspeakers on our technical rider because they sound fantastic together and translate the music the way the composer wanted it to be heard,” explains Pasveer. “Oktophonie encompasses 64 channels that were mixed down to eight tracks, which were totally spacialized and played back from a laptop into the console. This very simple but sophisticated sound system gave us huge sound but was not too loud. The DiGiCo SD8 being so compact and flexible is very easy to work with and we use it often for our large productions. You can set it up exactly the way you like and individualize all the channels very easily. And the sound was so beautiful in the Armory. I think everyone was impressed by the sound and sound quality.”

About Park Avenue Armory
Part palace, part industrial shed, Park Avenue Armory fills a critical void in the cultural ecology of New York by enabling artists to create—and audiences to experience—unconventional work that cannot be mounted in traditional performance halls and museums. With its soaring 55,000-square-foot Wade Thompson Drill Hall—reminiscent of 19th-century European train stations—and array of exuberant period rooms, the Armory offers a new platform for creativity across all art forms. Since September 2007—Aaron Young’s Greeting Card, a 9,216-square-foot “action” painting created by the burned-out tire marks of ten choreographed motorcycles—the Armory has organized a series of immersive performances, installations, and works of art that have drawn critical and popular attention. Among the highlights are: Bernd Zimmermann’s harrowing Die Soldaten, in which the audience moved “through the music”; the unprecedented six-week residency of the Royal Shakespeare Company, in their own theater rebuilt in the drill hall; a massive digital sound and video environment by Ryoji Ikeda; a sprawling, gauzy, multisensory labyrinth created by Ernesto Neto; the final performances of the Merce Cunningham Dance Company; and the New York Philharmonic performing Stockhausen’s Gruppen with three orchestras surrounding the audience. The most recent project was the event of a thread, a site-specific installation by Ann Hamilton.

DiGiCo-Driven Broadway Shows Take Home Coveted TONY Awards

Building on the success of the DiGiCo D5T, still in current use on shows such as Cinderella, SD7T consoles have become a mainstay in the audio trenches on Broadway and in the West End (UK) for many a year, with their potently powerful hardware, Stealth engine and theatre software kit capable of handling the most intricate demands of theatre audio today. This June, a slew of the newest productions utilizing DiGiCo consoles took home coveted 2013 TONY Awards.

Using an DiGiCo SD7T:
Kinky Boots – Best Musical; Best Performance by an Actor in a Leading Role in a Musical (Billy Porter); Best Choreography (Jerry Mitchell); Best Original Score (Music and/or Lyrics, Cyndi Lauper); Best Sound Design of a Musical (John Shivers); Best Orchestrations (Stephen Oremus).

Pippin – Best Revival of a Musical; Best Performance by an Actress in a Leading Role in a Musical (Patina Miller); Best Performance by an Actress in a Featured Role in a Musical (Andrea Martin); Best Direction of a Musical (Diane Paulus).

Matilda The Musical – Best Book of a Musical; Best Scenic Design of a Musical (Rob Howell); Best Lighting Design of a Musical (Hugh Vanstone); Best Performance by an Actor in a Featured Role in a Musical (Gabriel Ebert).

Since his involvement designing The Lion King for Singapore in 2010, John Shivers has been using DiGiCo SD7Ts on just about every show since. The award-winning sound designer says the console offers a lot of flexibility, especially with the “T” software, which he says brings features and functionality specific to their needs on theatrical productions as well as a solid sounding foundation in a very compact package. 



“The SD7T software has added these very beneficial features thanks to [award-winning sound designer] Andrew Bruce’s involvement in the development. Having onboard compression, gating and delay—along with the programmability and recallability of those parameters on every channel—opens up possibilities that you just can’t have with an analog console. It’s definitely been an upgrade for us from that standpoint. A positive byproduct has definitely been the size of the console, which allows you to get into smaller spaces and require less seats be removed and has served as a large financial windfall for producers. For me, from a purely creative and design standpoint, it’s about the capabilities of the console. I’m not one to follow the crowd necessarily, but the SD7T has become a standard of our industry and the reason everybody’s using them seems clear. It has proven itself to be a very capable and reliable console.”

Additionally, Rodgers & Hammerstein’s Cinderella, which utilized DiGiCo’s 5DT, was awarded Best Costume Design of a Musical (William Ivey Long).

To discover more about DiGiCo’s line of theatre-ready digital consoles, please visit: www.digico.biz

Rollin’ Across The Globe With Limp Bizkit, Rat Sound & DiGiCo

After two decades and over 40 million albums sold worldwide, Limp Bizkit is back with a new lineup, a new album (Stampede of the Disco Elephants) and a new tour hitting mid-sized venues in the US and Europe through the summer. Rat Sound is handling the production, consisting of a DiGiCo SD5 and a 16-input SD Mini Rack at FOH with a 56-input SD Stage Rack. 

Engineer Bryan Worthen spec’d the SD5 for the tour, following its use on a string of shows with the Foo Fighters promoting frontman Dave Grohl’s “Sound City” documentary.

“I’ve used the D5 extensively with the Foo Fighters since 2005 and with Limp Bizkit since 2009,” he states. “Now that there is a next generation of D5 available, I chose the SD5 for the Sound City Players shows because it was so great on that. Consequently, I brought it with me over to Limp Bizkit world from RAT Sound. I don’t have very much experience using other digital consoles, but enough to be able to say that the DiGiCo sounds a ton better than most. It’s versatile and all 3 screens are functional, giving me the visual of an analog console. The layout makes it very easy to make things happen fast.”

“Limp Bizkit is 43 inputs from stage,” he explains. “In front, I have a Left and Right out, with subs running sometimes off an Aux. Subs off two Matrix outs (sometimes when subs are stereo) and I also have I/O’s for three Avalon 737 preamps and 4 channels of XL 42 mic pres, plus nearfields at left, right and sub outs.

Additionally, my recording is very minimal, used for virtual sound check purposes only. I’m recording out left and right to a hard disc recorder and multi-tracking to Logic with my MacBook Pro via the DiGiCo UB MADI interface.”

In the past year, Rat Sound has added DiGiCo SD5 and SD10 consoles to its rental inventory. “In our quest to provide our clients and engineer friends with the tools they desire and to maintain our focus on offering world class pro audio gear,” says president Dave Rat, “the SD5 and SD10 expand the diversity of premium consoles we offer. There are a lot of choices out there with a wide diversity of applications and preferences, and DiGiCo consoles are among the best of the bunch. The SD5 and SD10 are currently out on tour with Ed Sharpe and the Magnetic Zeros as well as Limp Bizkit respectively.”

Waves Maxx Technologies Used in Cambridge Audio’s Minx Air Wireless Speaker Systems

— Minx Air units employ Waves MaxxAudio® technology for a more immersive sound experience —

— Ongoing marketing campaign includes an exclusive giveaway via the Waves Facebook page —

TEL AVIV, ISRAEL, July 2, 2013 — Following the recent launch of the successful Minx Air wireless speaker systems in Europe and North America by U.K.-based Cambridge Audio, Waves Audio, the industry leader in professional audio digital signal processing for the consumer, live sound and professional audio market sectors, is pleased to announce that its MaxxAudio® DSP technologies are being employed in the products for a more immersive sound experience. In addition, Cambridge Audio and Waves will be giving away a Minx Air 200 via Waves’ Facebook page (https://www.facebook.com/waves) to one lucky visitor between July 7–14, 2013.

The Minx Air units are two powerful, compact wireless speaker systems designed to play music from nearly any phone, tablet or computer in superb, high-fidelity quality. Minx Air’s 24-bit DSP runs processors featuring MaxxAudio technology developed by Waves, whose professional audio plugins are used in the creation of hit records, major motion pictures and top-selling video games worldwide. The units’ advanced DSP allows them to produce studio-quality sound, delivering a listening experience that is louder, clearer and richer than other portable systems.

“Cambridge Audio is highly regarded as a leading manufacturer of high fidelity and home cinema components, with a well-deserved reputation for quality and innovation,” stated Tomer Elbaz, Executive Vice President, Waves Consumer Division. “By adding Waves MaxxAudio to their Minx Air wireless speaker systems, they have taken an already well-engineered set of products and made them sound even better, with cutting-edge technologies derived from our extensive line of professional studio processors.”

An extensive global market campaign has begun with the launch of the new Minx Air units, and consumers who visit Waves’ Facebook page (https://www.facebook.com/waves) between July 7–14, 2013, will be eligible to win.

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

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Vintage King Installs Carl Tatz Design MixRoom™ Concept at New Nashville Location

- Acclaimed PhantomFocus™ System (PFS™), paired with the Carl Tatz Signature Series™ by Auralex®, renders the revolutionary MixRoom™ concept, providing an unprecedented sales tool
for the new Vintage King Nashville (VKN) -

Nashville, TN: In a bold and sweeping decision, Nashville’s new Vintage King complex has chosen to implement the Carl Tatz Design (CTD) MixRoom™ concept to demonstrate the company’s vast selection of high-end and boutique outboard gear, consoles and microphones.

“Never before have audio professionals had the opportunity to make critical gear purchase decisions while making their evaluations listening through the incredibly accurate and revealing PhantomFocus™ System (PFS™) as part of the affordable and acoustically transformative MixRoom,” states Chad Evans, one of VKN’s two veteran sales consultants.

VKN sales consultant Kurt Howell adds, “For example, Vintage King Nashville customers will be able to sit at the console (currently the API 1608) in front of the PFS in the CTD MixRoom during mic shoot-outs, while a vocalist is in the VKN Microphone Locker switching between any number of gorgeous large-diaphragm microphones, and really be able to hear the subtlest nuances!”

Studio designer and PFS creator Carl Tatz, principal of Carl Tatz Design LLC (CTD) says that the inspiration for the MixRoom concept was to emulate the look, feel and performance of his award-winning custom control room designs in a turnkey application and at a fraction of the cost. “I think we’ve more than succeeded with that,” volunteers Tatz. “By pairing the acclaimed PhantomFocus System with the Carl Tatz Signature Series™ by Auralex®, the MixRoom is a revolutionary concept that needs to be experienced to be believed. Its performance is without peer, defining a new standard for the audio professional at a realistic price point. The MixRoom can quickly and affordably transform a simple rectangular room into the ultimate monitoring environment – bar none.”

Photo File 1: VKN_Photo1_MixRoom.JPG
Photo Caption 1: Carl Tatz Design MixRoom™ concept at new Vintage King Nashville (VKN) control room/show room featuring the PhantomFocus™ System and Carl Tatz Signature Series™ by Auralex® – custom desk for the API 1608 console by Sound Construction & Supply

Photo File 2: VKN_Photo2.JPG
Photo Caption 2: PhantomFocus™ System utilizing the Barefoot Micro Main 27 monitors at Vintage King Nashville

Photo File 3: VKN_Photo3.JPG
Photo Caption 3: Vintage King Nashville control room/showroom, showing entrance to Microphone Locker

Photo File 4: Howell_Evans_Tatz_Menrath.JPG
Photo Caption 4: Pictured L-R: Vintage King Nashville (VKN) Sales consultants Kurt Howell and Chad Evans, studio designer Carl Tatz, and VK head of strategic development Tom Menrath, at VKN grand opening event

Photo File 5: Smith_Tatz.JPG
Photo Caption 5: Pictured L-R: Auralex president Eric Smith and studio designer Carl Tatz at VKN grand opening event

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GUITAR CENTER OPENS NEW STORE IN PORT ST. LUCIE, FLORIDA

— 249th Guitar Center location features on-site lessons and repair services, along with GC’s vast inventory selection —

Westlake Village, CA (July 2, 2013) – On the evening of Thursday, June 27, 2013, Guitar Center held the grand opening of its new location in Port St. Lucie, Florida, located at 1707 NW St. Lucie West Blvd. Suite 142, Port St. Lucie, FL 34986. The Port St. Lucie store (Guitar Center’s 249th retail location) is part of a new wave of Guitar Center retail stores that feature lesson spaces, which allows the brand to offer additional music lessons, special programs and expanded opportunities for local musicians.

Port St. Lucie Store Manager John Fowler stated, “I’m so excited to be a part of the Port St. Lucie music community. After seven years and two store openings with Guitar Center, my own love for making music continues to grow and expand with every single customer I meet. Helping people make music, isn’t just our slogan, it’s our job and our passion – the whole Port St. Lucie staff is made up of local musicians who are dedicated to providing the best experience, most knowledgeable assistance and top tier teaching techniques, both on the sales floor and through the in-house, state-of-the-art Guitar Center Studios lesson space that’s been built into this new location. Immersing ourselves in the local music scene surrounding the store is also important to myself and the staff.”

Guitar Center Port St. Lucie: What Musicians Will Find In-Store

Guitar Center Studios – Deeply vested in expanding and enhancing the local music scene, Guitar Center Port St. Lucie also brings Guitar Center Studios to the new location. The fully-equipped, in-house lesson space is giving Port St. Lucie residents of all ages and skill levels access to affordable music lessons. Sourcing locally trained store employees as certified instructors, courses will be offered on guitar, bass, keys and drums, as well as vocals and recording techniques using Pro Tools and Logic Pro and GarageBand.
Vast Product Selection and Low Prices – Guitar Center Port St. Lucie brings an unprecedented selection of products to Port St. Lucie, all backed by Guitar Center’s guarantee and available at attractive prices. The store features the latest in guitars, amplifiers, percussion instruments and keyboards, as well as live sound, DJ, lighting and recording equipment.
Guitar Center Garage – Guitar Center Port St. Lucie includes GC Garage, the store’s on-site guitar repair service, offering a host of services, including electronics repair, hardware customization, fretwork, structural repairs, cosmetic enhancements, setup and maintenances.

Guitar Center Port St. Lucie: Additional In-Store Programs and Opportunities Include:

Guitar Center’s “Endless Aisle” – Port St. Lucie customers can now shop from Guitar Center’s new multi-channel “endless aisle,” which extends the in-store inventory to over $400 million in new and used products from across the nation. Shoppers will be able to purchase in-store, online and via phone, with the option to have products shipped to their home or to the store for convenient pick up.
At: Guitar Center Programs – Throughout the calendar year, Guitar Center Port St. Lucie will host an array of free events, such as artist workshops, lessons, product launches and performances, as a part of the company’s ongoing commitment to educating and assisting unsigned artists. These programs aim to provide musicians with the opportunities and exposure essential to achieving their music goals.
Recording Made Easy – Available at all Guitar Center locations, the Recording Made Easy program is a four-week, user-friendly series of weekly classes occurring Saturdays from 10:00 to 11:00 a.m.

In addition to special programs at the new Port St. Lucie store, Guitar Center offers year-round programs designed to spearhead creativity and highlight promising undiscovered talent. Port St. Lucie residents will now be able to participate in these ongoing events from their hometown. Programs have included Your Next Record, Guitar Center On-Stage, Guitar Center Singer-Songwriter, Guitar Center’s Battle of the Blues and Guitar Center’s Drum-Off.

Guitar Center Port St. Lucie Store and Studio Hours
Mon-Sat: 10 AM-8 PM
Sun: 12 PM-7 PM

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Lowell Manufacturing Offers Compact 30A Hardwired Surge Protection

PACIFIC, MO, July 2, 2013 — Lowell Manufacturing Company, a U.S. manufacturer of professional A/V products, expanded its COMPAC™ line of “zero failure” technology 15A and 20A standalone surge suppression products with a 30A compact hardwired surge protection device, Model No. ACSP-3001-HW. With the highest current capacity available in a device of its size, the 30A surge protection device also offers a Voltage Protection Rating (VPR) of 400 or less as defined by UL 1449, 3rd edition, making it suitable for protection of multiple pieces of the most sensitive electronic equipment on a single circuit.

The 30A compact unit also shares the versatile installation capabilities of the entire COMPAC line, shipping with two mounting brackets designed to be hidden or exposed, which allow the device to be located almost anywhere, such as under a counter, on a wall behind a flat panel TV, in cabinetry, or in a rack. Optional mounting ears (Model No. ACC-1ME) are available to mount the unit in standard EIA 19-inch rackmount installations. The device, which weighs 5 lbs, features a low-profile steel casing that measures just 1.75 in. (H) x 6 in. (D) x 9 in. (W).

Model No. ACSP-3001-HW features Lowell’s exclusive TCR™ technology, which defeats surges up to 72,000 amps with zero failures. It suppresses the line to neutral with zero ground leakage. LEDs provide visual system status.

The new 30A surge suppressor includes a 6-ft. non-metallic flexible conduit that can be field-cut to shorter lengths, and is connected with a flexible coupling for ease of installation. Included is a blank plate with knockout that allows the 30A receptacle to be converted to hardwired output in the field to meet code requirements, where applicable.

Lowell COMPAC Model No. ACSP-3001-HW is ETL listed and complies with ANSI C62.41. It features a 10-year warranty.

For more information, please visit www.lowellmfg.com or e-mail Lowell at sales@lowellmfg.com.

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All Mobile Video Upgrades Its Broadcast Trucks With HARMAN Studer Vista 9 And Vista 5 M3 Consoles

NEW YORK, New York – All Mobile Video (AMV) is one of the country’s premier providers of end-to-end video and audio solutions for broadcast, entertainment, programming and events, with sound stages and studios throughout Manhattan, while also maintaining a fleet of mobile trucks nationwide. The company was one of the first to embrace high-definition video and keeps itself in the vanguard of broadcast technology, as evidenced by its recent purchase of HARMAN Studer Vista 9 and Vista 5 M3 digital mixing consoles for two of its broadcast trucks.

The Vista 9 is being installed in AMV’s “Revolution” truck, a 53-foot double-expando trailer formerly known as “Resolution.” The Studer Vista 5 M3 is going into a 50-foot broadcast truck called “NYLA.” Both vehicles are being completely refurbished with the latest video and audio gear. Once back on the road, both trucks will be ready to handle any mobile broadcast situation—AMV has done production for the MTV Video Music Awards, the Metropolitan Opera’s live-to-theater broadcasts, the Macy’s 4th of July Fireworks Spectacular, the Victoria’s Secret Fashion Show and many other high-profile events.

AMV has a long history with Studer, having purchased its first Vista 8 console eight years ago and being the first company in the USA to install a Studer console on a mobile truck. “At the time, it was a big gamble and we were making a real statement to the industry about our confidence in the product,” said Ian Vysick, AMV Audio Development Specialist. When AMV decided to upgrade the Revolution truck, the Vista 9 was AMV’s only choice. The Vista 8 formerly used in Revolution isn’t being retired—it’s being moved to one of AMV’s Manhattan sound stages.

“From the minute we started using Vista consoles it quickly became clear that aside from their exceptional sound quality they offered outstanding ease of use,” Vysick said. He noted that AMV crews manage different jobs every day with different people and the ability to quickly bring users up to speed is crucial. “The Vista 9 and Vista 5 M3 make it easier to get people comfortable with technology in a short amount of time.”

For Vysick, “it’s always been about the Vistonics™ touchscreen,” which places key control elements up front and displays everything in real time. He finds the FaderGlow™ color-coding to be invaluable as it allows AMV to configure all their broadcast and studio consoles with the same color-coding for the same functions.

“From a user standpoint one of the most important attributes of the Vista consoles is that the controls are fast and responsive and don’t overshoot—on some digital consoles there’s a lag between the time you move a control and the time it responds, meaning that you’re always going back and forth until you get to where you want things to be,” Vysick pointed out. He also likes the consoles’ ability to momentarily gang select all inputs at once and make changes to all the selected channels instantly—a real timesaver for AMV when configuring a console.

Things don’t always go as planned in live broadcast mixing and Vista consoles are the ones Vysick wants in his corner when the unforeseen happens. “The History mode is a huge advantage,” he stated. “If a problem occurs for whatever reason, you can look at the meter bridge, identify the issue and resolve it without any guesswork required.”

In the unlikely event Vysick might lose a fader or a screen, he finds the Vista 9, 8 and 5 M3’s repeating modular control layout—he calls it “sections of 10”—and dual redundant computers operating in real time enable him to configure the console live and in real time.

Studer’s level of factory and hardware support is a key factor in the equation. “If something does go wrong and we can’t fix it on site, we need to know a company has people we can get in touch with and parts in stock to ship,” Vysick noted. “When I call and say I’m going live tomorrow at five, I’m not kidding! Studer is always there to help and listen and take suggestions from people in the field. For me, keeping things running smoothly is as much about support as it is about hardware and software.”

For more information on All Mobile Video, please visit www.allmobilevideo.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 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Listen Technologies Announces Bray Brockbank as Product Marketing Manager

Listen Technologies adds deep product marketing management capabilities to continue its strong business growth worldwide.

Listen Technologies Corporation today announced the appointment of Bray Brockbank to head up its product marketing team.

Bray Brockbank will be responsible for managing the continued development and innovation of Listen Technologies’ product marketing efforts worldwide. In his new position, Brockbank will report directly to Tim Schaeffer, Listen Technologies Corporation Vice President of Strategic Development.

Brockbank brings nearly 20 years of marketing, product marketing, marketing communications, PR and AR management experience in the software and high tech industry. Prior to joining Listen Technologies Brockbank had served in various levels of senior and executive marketing leadership for tech startups, SMB and enterprise businesses.

“Listen is growing and is focused on developing a high-performance world-class product marketing team to help expand our markets and ensure we are meeting the constantly evolving needs of our industry.” Tim Schaeffer said. “Bray’s history with marketing technologies across several industries will help Listen continue to expand its market reach and penetration. It’s a pleasure to have a technology veteran with solid product marketing management experience on the team. I know that he will make an immediate impact to our short and long-term strategies.”

Commenting on the opportunity, Brockbank said, “Listen is a market leader in high-quality audio solutions that genuinely makes a difference in people’s lives. I’m excited to join the Listen team and to help build a stronger product marketing team and future.”

Connect with Bray Brockbank on LinkedIn
www.linkedin.com/in/braybrockbank

Follow Listen Technologies on LinkedIn
http://www.linkedin.com/company/listen-technologies-corporation

About Listen Technologies Corporation
For more than a decade, Listen Technologies has brought power and clarity to the sounds that enrich your life—by overcoming the challenges of noise, distance, lively debate and hearing loss to deliver precise and personalized audio in any setting or environment. With Listen solutions, you can cut through the clutter and connect to an experience of pure, focused sound. Listen solutions are used in gathering places around the world including schools, houses of worship, factories, entertainment venues, government agencies and more. For more information on Listen solutions, contact Listen Technologies at 1.800.330.0891, +1.801.233.8992, or visit www.listentech.com.

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Components from Bose® Professional Systems Selected for University of St. Thomas Campus-Wide

After integrator EMI Audio added a new sound system to the University’s St. Thomas Aquinas Chapel, the results were so good that they added Bose® components to several other locations around campus

Framingham, Massachusetts, July 1, 2013 – Four years ago, the University of St. Thomas, based in Minnesota’s Twin Cities, and one of the largest and oldest Catholic institutions of higher learning in the United States, realized it needed better sound in the St. Thomas Aquinas Chapel on the school’s campus. Locally-based EMI Audio was hired to do the job, and they chose components from Bose® Professional Systems Division, including several Panaray® MA12 mid/high modular line array modules, as well as ControlSpace® Designer™ software (a graphical user interface tool for the design configuration and control of systems consisting of Engineered Sound Processors), PowerMatch® PM8500N power amplifiers, and Bose CC-64 control centers.

The outcome was so good that the University decided next to outfit its football stadium with 16 Bose Panaray 802 Series III loudspeakers. The school then asked EMI Audio to enhance the sound in the Atrium of its Minneapolis Campus Law School, where two Bose MA12EX mid/high modular line array modules were installed, and in the law school’s boardroom, where a Bose Panaray 502 A loudspeaker was installed. EMI Audio employed ControlSpace software to design both systems.

Based on the success of these installations in terms of sound quality and reliability, over the course of the next four years, EMI continued adding more Bose technology and products across the St. Thomas campus, including the following projects and components:

Athletic complex:
Field House: 24 LT 9400 mid/high-frequency loudspeakers; six MB12 modular bass loudspeakers)
Arena: Four LT 9400s, six LT 6400s, four MB12 and 28 FreeSpace® DS 100SE loudspeakers)
Aquatics center: 33 DS 100SE loudspeakers
Hall Of Fame: Panaray MA12 and DS 16S loudspeakers

Student Center:
Scooters nightclub/restaurant: 25 DS 100F loudspeakers and 14 FreeSpace 3 Series II Acoustimass® modules
Living Room lounge: Two L1® Model II portable systems
Bowling Alley: 31 DS 100F loudspeakers
Wolfe Ballroom/Pre-function: 54 FreeSpace DS 100F loudspeakers and five FreeSpace 3 Series II modules
Outdoor plaza: Two Panaray MA12EX modules.

“Bose was the obvious choice for these applications,” says Jeff Geisler, Director of Outside Sales at EMI Audio. “Bose was the only company with all of the right components to address all of the unique spaces here. Some are small and intimate, others are huge and expansive. Some require water- and weather-resistant coverings, like the speakers installed by the pool and on the Student Center’s outdoor patio. A restaurant, a basketball court, football stadium – you name it, the school has it, and Bose was able to provide the perfect product for each of them.”

Geisler especially credits the Bose ControlSpace ESP-88 processor – the school has 18 of them installed around its campus – for keeping the systems perfectly tuned for each space and application. And over all that time there have been, in Geisler’s words, zero equipment failures. “When you combine that with the kind of tech support we always get from Bose, and really unique products like the Bose Modeler® predictive analysis software and the Auditioner playback system that lets us literally step inside the design and accurately experience the sound system’s performance, there’s just no reason to go anywhere else,” he says.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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