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Archive for September 19th, 2013

Meyer Sound LEO Eliminates Delay Towers at Sweden’s Way Out West Festival

Located in Gothenburg, Sweden’s Slottsskogen park, this year’s Way Out West was headlined by Alicia Keys, Public Enemy, and Bat For Lashes. Swedish full service event technology provider Starlight provided all lighting, staging, and sound equipment for the festival. For the main Flamingo stage, it provided a Meyer Sound LEO™ linear large-scale sound reinforcement system, which provided the long throw and headroom that allowed the crew to waive the delay support typically required in this venue. 

“The equipment we deploy is all driven by demand, and this is why we invested in LEO,” says Håkan Axlid, production manager for Starlight. “The clarity of this system at 120 meters is totally flabbergasting, and we’ve been able to eliminate all our delay towers.”

Marcus Agnesund, FOH engineer for Swedish artist Daniel Adams-Ray, concurs: “The experience was great—so much headroom and clarity meant less to worry about. With LEO, you get a completely constant EQ. Unlike many other systems, the sound doesn’t change when you turn it up, which is fantastic. The configuration here meant a lot of thump at the bottom end. I’d recommend LEO to all engineers.”

The Flamingo stage system consisted of 16 LEO-M and two MICA® line array loudspeakers per side, with nine 1100-LFC low-frequency control elements flown beside each array. Four rows of 32 700-HP subwoofers in end-fired configuration stretched across the front of the stage. Two hangs of 12 MILO® line array loudspeakers per side provided out fill. A Galileo® Callisto™ loudspeaker management system featuring four Galileo Callisto 616 array processors and one Galileo 616 AES processor provided system control and optimization.

System techs for the Flamingo stage were Starlight’s Fredrik Arwidson and Oscar Meijer.

“LEO is a great step forward,” says Meijer. “The system is very exact, and flies quickly. I’m also fond of the pull-back possibility to make the array stay angled as you wish, whether you’re taking it upwards or downwards.”

In addition to the LEO, Starlight provided a Meyer Sound M3D line array loudspeaker system for the festival’s smaller Azalea stage.

Watch Way Out West interviews here.

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Oslo Concert Hall Upgrades 27-Year-Old Meyer Sound System to MICA

The Oslo Concert Hall (Norwegian: Oslo Konserthus) in Norway has relied on the durability of its Meyer Sound equipment since 1986. A quarter century after installing eight UPA-1 and two USW-1 conventionally powered loudspeakers, the venue again turned to a Meyer Sound solution when it came time for an upgrade. As a result, a MICA® line array loudspeaker system was supplied and installed by Oslo-based AVAB CAC.

The 1,404-capacity Oslo Concert Hall regularly features a diverse schedule of classical, blues, jazz, and rock performances. The hall’s legacy Meyer Sound equipment has proven its worth, and venue management was ready for a system with more power and flexibility.

“I think it’s unique that our UPA-1 system was so old yet sounded so good—that’s what everybody who used it said,” says Jan Olsen Skare, long-time production manager of Oslo Concert Hall. “Now with the MICA, we have a system that really delivers great reinforcement for many different types of music. In terms of coverage, every seat in the house is a great seat.”

Oslo Concert Hall added 18 MICA loudspeakers, four 600-HP subwoofers, and a Galileo® loudspeaker management system with a Galileo 616 processor for system management and processing. The new components are used alongside the venue’s existing Meyer Sound inventory, including four each UPA-1P, UPM-1P, and CQ-1 loudspeakers.

“MICA delivers the high output and smooth, extended high-frequency response that Oslo Konserthus requires,” says Asle Nilsen, head of sound at AVAB CAC.

Since the audio upgrade, the concert hall has hosted many jazz and classical performances, as well as American singer/songwriters Emmylou Harris & Rodney Crowell, Melody Gardot, Nanci Griffith, and Norwegian singer Wenche Myhre.

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Meyer Sound LEO Powers Metallica’s First Shows in China

For the band’s first-ever performances in China, heavy metal legends Metallica delivered two packed shows at Shanghai’s Mercedes-Benz Arena. A Meyer Sound LEO™ linear large-scale sound reinforcement system was deployed by Ling Hua ProSLV.

“I was immediately struck by the linearity of the LEO system, even when it was pushed to very high levels,” says Freddy Kot, chief engineer for Ling Hua ProSLV. “Even with sustained readings of over 112 dB at FOH, there was no distortion. And of course, the audience was just ecstatic with what they heard.”

The system configuration for the show was handled by “Big Mick” Hughes, Metallica’s long-time FOH engineer, with assistance from consultant “dB Dave” Dennison. The core flown LEO system comprised main front hangs of 18-each LEO-M line array loudspeakers, 32 1100-LFC low-frequency control elements deployed in dual steerable arrays, and a Galileo® Callisto™ loudspeaker management system featuring four Galileo Callisto 616 array processors and one Galileo 616 AES processor.

“The mix position was placed quite a long way from the stage so as to avoid taking up good audience seats,” says Hughes. “This wasn’t really problematic as the main LEO system easily threw that far. The crowd was great and sang along to a lot of the songs, despite the language barrier.”

Rounding out FOH reinforcement were dual side hangs of 14-each MILO® line array loudspeakers, six MICA® line array loudspeakers for down fill, six MILO loudspeakers for front and lower corner fill, and 18 floor-stacked 700-HP subwoofers.

On stage, 20 Meyer Sound monitors were placed around the band’s two-level platform, with twin hangs of five-each MICA loudspeakers for side fill.

Hughes mixed behind a Midas XL8 console, while monitor engineer Bob Cowan and monitor assist Adam Correia manned Midas PRO9 and PRO2 boards. On stage, Metallica’s vocals were captured by Shure Super 55 Deluxe Vocal Microphones.

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Meyer Sound MINA Covers All Sonic Subtleties for Polish Musical Theatre

The 900-seat Musical Theatre ROMA in Warsaw, Poland has installed Meyer Sound MINA™ line array loudspeakers to support its repertoire of musical productions. Designed and supplied by Warsaw-based Polsound, the new system was installed in the historic, early-20th century auditorium just prior to the opening of its latest production, Singing in the Rain.

“Our goal for many years has been to install a Meyer Sound system, and we simply love it,” says Wlodek Kowalczyk, the venue’s principal sound engineer. “The MINA system delivers sparkling definition, and a dynamic range that covers all the subtleties of sound in musical theatre. It responds to what I wish to achieve, without compromises.”

The main FOH system comprises 28 MINA loudspeakers, which include twin left and right hangs of 11 each and a center cluster of six. Four 1100-LFC low-frequency control elements are deployed as dual end-fired arrays. Completing the Meyer Sound system are eight UPM-1P loudspeakers for front fill, two UPA-1P loudspeakers for corner fill, and a Galileo® loudspeaker management system with two Galileo 616 processors for system drive and alignment.

Polsound has also provided 24 channels of Shure ULX-D digital wireless microphones and a Shure PSM 900 in-ear monitoring system.

“The new MINA system fits the venue perfectly,” says Pawel Danikiewicz, commercial director for Polsound. “It’s surprisingly powerful, yet smaller than what was installed before. MINA sounds like a big hi-fi system.”

Originally built in 1935 as a “Catholic House” in the classic style reminiscent of Italian opera halls, the Musical Theatre ROMA auditorium was one of the few buildings in Warsaw to survive World War II. It was home to the Polish National Opera from the post-war era through 1963. Past productions at the venue include Cats, Grease, Miss Saigon, The Phantom of the Opera, and Les Misérables.

Since introduced in 2010, the MINA loudspeaker has won rapid acceptance in Poland.  In addition to Musical Theatre ROMA, Polsound has recently installed other MINA systems at Malopolski Ogrod Sztuki [Garden of Art in Malopolska] in Cracow, CK Zamek [Poznan Castle] in Poznan, and Teatr Studio in Warsaw.

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HARDPOP CLUB ELEVATES TO DANLEY SOUND LABS SUBWOOFERS AND LOUDSPEAKERS

JUÁREZ, MEXICO – SEPTEMBER 2013: The Hardpop Club in Ciudad Juárez, Mexico is both a source of immense local pride and a beacon to serious DJs and electronic musicians around the world. Indeed, the hard-partying citizens and electronic music fanatics of Ciudad Juárez regularly fill the Hardpop Club to its 500-person capacity, and international DJ and club publications consistently rank it within the top one hundred clubs globally. Over the past two years, the Hardpop Club has – with the help of North Carolina-based Clarity, Inc. – switched out its old sound system for a cutting-edge Danley Sound Labs system with abundant headroom, crystalline fidelity, and honest, chest-crushing bass. The improvement over even the best conventional club sound systems is obvious, and artists and fans alike are hailing the new sound at Hardpop Club. In addition, Danley’s new optional club aesthetic makes a bold visual statement that underscores the unique sonic characteristics of Tom Danley’s innovative designs.

As a border town that was especially hard hit by Mexico’s drug war, Ciudad Juárez is both a city and a rallying point, and the returning health of its vibrant cultural life is a metric of hope for its citizens. “The owner of Hardpop Club is in a city that is attempting to recover from its bad reputation,” said Bill Weir, vice president of technology at Clarity and the mastermind behind the club’s sound design. “He feels that he has to go above and beyond to attract A-list performers from around the world. He wanted a new sound system that would be unique and that would reinforce Hardpop Club’s position as a leader in the industry.” With its focus squarely on the music – most of the club’s patrons are electronic music fans first and club-goers only second – that meant taking the new sound system to the next level.

“Clubs are obligated to refresh their sound and look every so often and Hardpop Club was due for an upgrade,” explained Rich Mason, president of Clarity. “Electronic dance music is one of the most demanding forms of music on a sound system because its creators fully and deliberately exploit the entire frequency range – from 20Hz to 20kHz. Rather uniquely, Danley offers a lot of legitimacy in the low end, particularly the bottom octave. Beyond supplying a ton of bass, Danley subwoofers are truly musical. Because Danley full-range boxes are horns, we can keep energy off the walls, and their phase coherency is phenomenal. Hearing a loud Danley system is a unique experience because it is devoid of the distortions inherent to conventional subwoofer and loudspeaker designs.”

Four Danley SH-96HO full-range boxes paired with four Danley DBH-218 subwoofers comprise the main output of Hardpop Club’s new system. Because of their excellent pattern control, which extends octaves below conventional designs, Weir was able to toe the SH-96HOs in to keep energy off the walls and on the main floor, reducing the room’s decay time by 300ms. Four Danley SM-96 full-range boxes paired with four Danley TH-118 subwoofers fill in the sound from the back of the room. Weir was careful to use the DSP capabilities of the Powersoft K- and M-Series amplifiers to properly delay and phase all of the system components so that everything sums in phase in the middle of the room and so that no components are fighting. A pair of Danley SH-46s and a pair of Danley TH-212 subwoofers at the DJ booth inspire great performances. A Lake LM44 DSP provides modest overall system tuning.

“Working with Danley on this project was great,” said Mason. “We suggested a number of add-ons or options that would raise the Danley brand in the eyes of club owners, and they took us up on every one. The most conspicuous suggestion was a bold color contrast between the horn and the rest of the box. For Hardpop Club, the horns are red and the boxes are black. It doesn’t even look like a speaker!”

“High-SPL sound reinforcement systems are typically either forgiving and lack resolution; or they have the resolution but are merciless and unforgiving of material produced in a less than stellar fashion. The greatly reduced distortion in the mid-band Danley means that even with material that’s less than perfect there is a level of effortlessness that is always present. And since the large format horns are full range and have no convergence error, the sound in the venue is exceptionally warm, friendly and consistent,” says Weir.

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

WSDG COMPLETES 130,000 SQ. FT. PRODUCTION COMPLEX FOR NON STOP TV IN BUENOS AIRES

BUENOS AIRES: Non Stop TV is a thirty-year-old, full-service TV production complex, which totally lives up to its name. Founded in 1983, Non Stop produces content and provides audio, video and sophisticated post-production services for top rank clients in Latin America, Europe and Asia. With a staff of over 450, the studio turns out over 800 hours of programming each year for Disney Channel, Sony, Fox Sports, History Channel and many other leading broadcast/cinema content producers.

In 2010 this hugely successful facility had far outgrown its original B.A. home. Company principals reached out to the Walters-Storyk Design Group’s Argentine branch for architectural and acoustic design of a new 130,000 sq. ft. facility. The projected home for this major complex was the four-building compound of a former leading film production studio. WSDG was tasked with developing a design program for the entire full-service broadcast production facility.

WSDG Partner/Director of International Relations Sergio Molho, reports that the entire multi-office design team collaborated on developing a multi-purpose, state of the art, facility for Non Stop TV. “This 21st Century movie lot is literally a self-contained city in a Buenos Aires suburb,” Molho says. “The massive project called upon the expertise of members of WSDG designers, renderers, systems integrators and project managers in Europe, the U.S. and Latin America. Our collaborative effort over the past two years has enabled Non Stop TV to far exceed its position as the hub of Latin American entertainment programming production for the foreseeable future,” he adds.

Completed in April, 2013, the new studios feature six individual shooting stages, and more than three dozen individual production, post production and support service suites, distributed throughout the multi structure compound. Non Stop’s largest component is Studio Six, a 10,000 sq. ft. sound stage dedicated to producing original Disney Channel programming for Latin America. Amenities include (5) dressing rooms; make up, wardrobe, video library, dubbing stage, and set construction. Additional support services such as, Subtitle Division, Authorship, Media Asset Management (MAM), Electronic Art Department, Offline Editorial Suites, Multi-Format Production, Audio Recording and Mixing, and Live Transmission are also housed within the complex. Additionally, the facility houses two 5,000 sq. ft. stages, a 4000 sq. ft. stage with a spacious main control room, and a 1000 sq. ft. stage (devisable into two separate 500 sq. ft. shooting stages.)

Technology highlights include a six-channel HD EVS XT series server controlled by an EVS’ IPDirector suite of video production management applications; Final Cut PRO, Media Composer, Adobe Premiere Pro, Client-server architecture, Centralized Storage, Production Automation, Archive, Fiber Optics Connectivity, and a full complement of cameras, lights, microphones and related gear.

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Photos:

1. Non Stop TV Master Control
2. Non Stop TV CMR
3. Non Stop TV Studio Six
4. Non Stop TV Production Offices
5. Non Stop TV Exterior
6. Non Stop TV Floor Plan

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, Sergio Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as: Frank O. Ghery (Novartis Campus,) Rafael Vignoly (Jazz at Lincoln Center,) Norman Foster (El Aleph,) Oscar Niemeyer (CAMG,) Phillipe Stark (Faena Hotel,) Grimshaw (Zurich Airport,) and Santiago Calatrava (Berklee Valencia.) WSDG is a seven time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for NY’s Jungle City. WSDG maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

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THE ICE PLANT STEPS INTO THE MODERN MUSIC FRONTIER WITH AN API 1608

BROOKLYN, NEW YORK – SEPTEMBER 2013: When Wayne Silver and Adam Zirkin chose the analog API 1608 console as the sonic centerpiece of The Ice Plant, they knew they would deliver big-studio sound at rates that working musicians could afford. Recently established at the heart of a thriving New York City music scene in the Williamsburg neighborhood of Brooklyn, The Ice Plant is the creation of these long-time friends. Both owners are accomplished multi-instrumentalists, composers, and arrangers, as well as effective producers and engineers. Drawing on those strengths, The Ice Plant offers everything a musician could hope for, from straight-up recording to full production, arrangement, and performance services.

The project has a rich history. Zirkin and Silver formed their friendship when they were just ten years old. In the decades between then and now, they have mastered their instruments. Silver prefers the guitar and Zirkin favors the piano, but both are proficient on a range of instruments. Now studio owners, they both have plenty of experience – some good and some bad – in the musicians’ role.

“My passion for great gear started a long time ago,” said Zirkin. “I purchased some of The Ice Plant’s equipment well over ten years ago, and for as long as I’ve been collecting gear, Wayne and I have been talking about what a modern studio should be and what it should offer. Ultimately, we want the room itself to serve as a creative tool. We want not only to get great recordings, but we want to inspire better performances and better songs.”

In stark contrast to the live room/control room paradigm, The Ice Plant gets its creative vibe by placing almost everyone – including the producer/engineer – in a single room. “It’s a warm, comfortable atmosphere,” said Silver. “There are different stations, such as guitar, keyboard, and bass, as well as an isolation room for the drums. Everything is out in the open and ready to play. A musician could walk in here empty-handed and be ready to go. We’ve got everything.” And yet the duo deftly organized the room so that it doesn’t feel crowded. “The idea,” explained Zirkin, “is to create an environment that is conducive to creativity and communication. Whatever we may lose in terms of isolation, we more than make up for in vibe and collaboration.”

The 16-channel API 1608 shares the space with the musicians and is loaded up with twelve API 550A EQs, four API 560 EQs, a vintage API 525b compressor, and a handful of other processors that fit the API 500-series protocol. “The API 1608 is a small-format board with large studio quality, and that was very attractive to us,” said Silver. “It has an earthy vibe – that true warm analog sound. I basically harvest all of the music that’s happening in the room through the 1608, and everything sounds better through it. With the sonic part of the process taken care of, I can focus on helping the musicians stay in their zone.”

The Ice Plant’s API 1608 is flanked by one of the most eclectic collections of gear in the industry. The outboard racks and microphone cabinets include many studio staples alongside products from some of the industry’s best up-and-coming “boutique” manufacturers. Zirkin is an avid guitar and keyboard collector, and he and Silver have made their entire collection of nearly fifty instruments available to clients. With seemingly everything from sixty-year-old Guilds and Gibson, to modern-day Suhrs and McInturffs, Zirkin and Silver hope The Ice Plant’s instruments will inspire ideas and performances that were elusive in their client’s rehearsal spaces and writing rooms.

On the brave new frontier of modern music, The Ice Plant is stepping outside the box to maintain focus on the most important link in the chain: the music itself.

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

To learn more about The Ice Plant visit: www.theiceplant.com
To “Like” them on Facebook: www.facebook.com/IcePlantMusic

SPARTAN STORES HEADQUARTERS SOUND MASK WITH ASHLY PEMA 4250.70 DSP/AMPLIFIERS

GRAND RAPIDS, MICHIGAN – SEPTEMBER 2013: Spartan Stores operates over one hundred locations throughout Michigan, Ohio, and Indiana under the Family Fare, Glen’s Market, D&W Fresh Market, Felpausch Food Center, and VG’s Grocery brands. Its operations are headquartered Grand Rapids, Michigan, where the company originally opened as a coop in 1917. Spartan Stores continues to flourish in the 21st Century, and it recently added office space at its corporate headquarters to accommodate additional personnel. Because cubicles would populate the open space, Spartan Stores hired ASCOM Communications Contractors of Holland, Michigan to design a masking system that would allow its employees to focus amid the noise of conversations, as well as afford them privacy in those conversations. ASCOM used the Ashly Pema 4125.70 combination processor/four-channel amplifier to give Spartan Stores a reliable and cost-effective sound masking system.

“The Ashly Pema 4250.70 gives us all of the processing power we need – including the noise source itself – and four 250-Watt amplifier channels in just two rack spaces,” said Tim Vandermeer, project manager at ASCOM. “We divided the space up into multiple zones so that each could be precisely equalized to meet the sound masking NC 40 standard. Moreover, if they come back to us to request paging functionality or music playback, we can simply add the feature. That’s always a much better answer than, ‘sure, but it will cost you a bunch extra.’ We can also add scheduling, if they like.”

In addition to the Ashly Pema 4250.70 and the necessary wiring, the only other component in the system is a collection of forty Atlas M1000 loudspeakers. For more effective masking, the loudspeakers are installed above the suspended ceiling facing up. “Although the DSPs and amplifiers of some other manufacturers can often be challenging to connect to, the Ashly products are always fast and trouble-free,” he added. Vandermeer used SysTune to tailor the Pema 4250.70’s equalization curves to precisely match the prescribed sound masking frequency response.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

ENRIQUE IGLESIAS FOH ENGINEER TIM HOLDER DOES IT ALL WITH METRIC HALO

SAFETY HARBOR, FLORIDA – SEPTEMBER 2013: At front-of-house, Tim Holder has defined the live sound of Enrique Iglesias for over thirteen years – longer than any of the youngest Iglesias’ current band members! He got his start in the music industry decades before, playing bass for Mother Station, a Memphis-based roots-rock group that eventually folded under the pressures associated with a record deal that didn’t carry the band as far as had been hoped. Being the kind of musician who always had recording and sound reinforcement gear – and the know how to use it – Holder smoothly transitioned to life as a full-time “knob twister.”

In addition to his regular stints with Iglesias, which take him around the world, Holder is a Clair Brothers employee of fourteen years and is currently doing “weekend warrior” work with Blake Shelton as a system engineer. Part of what defines his approach to live sound is an endless effort to improve sound quality. In recent years, Holder’s Metric Halo ULN-8 interface, together with Metric Halo’s SpectraFoo, ChannelStrip, Character, and HaloVerb software, have raised the bar, giving Iglesias a huge, warm, well-defined sound.

“In addition to forming the heart of my home studio, I use my ULN-8 in a unique way,” he explained. “The live digital console that we use has a lot of great things going for it but I’m not totally happy the way the stereo bus sums nor the overall quality of the converters. To work around these issues I send stems to my ULN-8 via AES and sum them in Metric Halo’s MIO Console. That gives me the ULN-8’s superior summing and bypasses the converters in the console’s FOH rack.” He uses the ULN-8 as the clock source, which gives him the ability to drive the sound system via analog or AES.

A huge part of what Holder loves about his job is that he gets to fully engage his creative side. He enjoys the new challenges that arise on a daily basis and finding creative solutions to them. Nevertheless, he acknowledges – even embraces – the fact that his creative work is underpinned by a solid science. “We often use local PA systems, so tuning the system is a big part of my job,” he said. “I walk into a new challenge every day.”

For over a decade, SpectraFoo has been Holder’s sound analysis software of choice, in part because its interface is so intuitive and useful and in part because it integrates beautifully with his Mac and the ULN-8.

Holder time aligns a PA system using SpectraFoo in combination with Metric Halo plug-ins to delay, equalize, and filter as appropriate via MIO Console. “The flexibility of MIO Console is unparalleled and its dependability is rock solid. I should also mention that I use it for multi-track recording. I can record the same stems that I’m driving the PA with and mix them down later. Alternatively – or in conjunction – I can create a custom record mix within MIO Console. I’m limited only by my imagination.”

Holder’s go-to Metric Halo plug-ins include ChannelStrip, HaloVerb, and Character. Although he does some general coarse-level filtering and EQ’ing on Iglesias’ vocals using the board, most of the substantial processing takes place using ChannelStrip on a stem that he sends to the ULN-8. He uses its comprehensive equalization and compression to dial in a perfect representation of Iglesias’ voice and then sends that signal back to the console with no conversion necessary and no perceptible latency. He also uses HaloVerb on vocals and the snare drum. “I love how easy HaloVerb is,” he said. “No matter what I do, I find something I like.” In addition, he uses the “Soft-Sat” emulation in the Character plug-in on the whole mix. “The way that algorithm translates to a big PA is unbelievable. All I do is push one button and any edginess or harshness goes away, replaced by a huge, warm sound. It’s an amazing plug-in.”

“By using the ULN-8 in combination with the Metric Halo software, my mixes have been transformed from cold and compressed to astonishingly warm, deep, and clear. I first tried this method on a short six-show run in India. The venues were all outdoors with minimal acoustic issues, and we used local PA. They were the best sounding shows of my career. The local sound guys appropriately named my ULN-8 the ‘magic box.’ I have not mixed a show without it since,” he concluded. “The difference is that big.”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, 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

BTX’s ProBlox and Custom Panels Transform Video Control Room at Brooklyn Academy of Music

Solution Allows New Performance Space to Easily Set up, Transport, and Store its Video Infrastructure

HAWTHORNE, N.Y. — Sept. 18, 2013 — BTX Technologies, a value-added distributor and manufacturer of interface, integration, and systems products, today announced that the company’s ProBlox and custom panels from its Pro Plates and Panels division, have been supplied to Brooklyn Academy of Music’s (BAM’s) new Fisher performance space by AbelCine — a leading production equipment and service provider that has recently expanded into system integration. The BTX ProBlox connectors and panels were installed to create greater flexibility for the institution’s video control room by designing a system that can be rapidly mounted and easily transported to different locations within the facility. more

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