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Archive for April 16th, 2014

FELLOWSHIP BIBLE CHURCH UPGRADES TO DANLEY SOUND LABS

TACOMA, WASHINGTON – APRIL 2014: Fellowship Bible Church in Tacoma, Washington started as a gathering of friends in a living room on July 7, 1977 (7-7-77) and grew over the decades that followed to become a beacon in the community. The church moved into its current 750-seat sanctuary in 1996 and developed an engaging contemporary worship style complete with a small band. However, the church members were long dissatisfied by the sound quality in the sanctuary. So when they recently raised the funds, they sought high and low for the very best sound reinforcement system to replace it. That search took them to Audio Video Electronics, a Twin Cities-based A/V integration firm with extensive experience designing and installing systems based on Danley Sound Labs components. Now, Danley synergy horn loudspeakers and DBH subwoofers provide beautifully articulate, musical reinforcement with even coverage.

“Their old system was in a pretty sorry state when we first arrived to meet and understand their needs,” said Stefan Svard, president of Audio Video Electronics. “They were most interested in getting a new system that would be consistent; Consistent not only in its day-to-day performance, but consistent in its coverage of the seating area. One of the things I really like about Danley is the phase coherency of its designs. It makes for consistent patterns and, perhaps more importantly, remarkably consistent sound quality within that beam. I’ve been a Danley supporter for a long time now, and I’ve really come to believe in [President] Mike [Hedden] and the rest of the company.”

The new system is much simpler than the old system. Three Danley SH-50s comprise a center cluster with a pair of Danley SM-60s providing side fill. A pair of Danley DBH-218 subwoofers generates ample deep bass. Svard used Danley’s modeling software to optimize the positioning and component selection. Three Powersoft Duecanali 3904 amplifiers with integrated DSP power all of the full-range boxes, with a channel to spare for an additional down fill that the church will have funds for in the future. A single Powersoft K20 with integrated DSP powers both subwoofers. A Midas PRO2 console serves as a flexible, easy-to-use front end. “The whole system is much simpler now,” said Svard. “They have a nice console with a digital snake and a clean rack. Although it’s not complicated, it gives Fellowship Bible Church a lot of punch and room for growth.” In addition to the sound reinforcement system, Audio Video Electronics also gave the church a new Vivitek d6010 6000 lumen projector and a 16×10’ pearlescent Da-Lite snap-screen.

“I love that when I cluster the Danley boxes, they act like one large speaker,” said Svard. “Other manufacturers generate comb filtering and lobing, which can cause some nasty feedback when the cluster is above the pulpit. Danley doesn’t do that. Danley gives me excellent pattern control with uniform sound. The clarity of a Danley box is unmatched, in my opinion. The low-end at Fellowship Bible Church is tremendous. We had a few of their new DBH-218s at a much larger, 5,000-seat church in Tulsa, Oklahoma, and they were great. We arranged Fellowship’s two DBH-218s to give some directivity to the low end, which gives them nice on-stage volume and ample bass in the seats. In all, we gave them a premium system all the way across, from the console… to the amps… to the loudspeakers and subs. They’re very happy with it.”

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

TRUE COLOURS MIXES BIGGER PROJECTS WITH THE BOX® FROM API

PADUA, ITALY – APRIL 2014: Located in one of the oldest towns in northern Italy, True Colours Studio is dubbed a ‘well-heeled project’ by owner Mauro Santinello. What began in 2005 as a single recording and control room has now grown into a facility with three recording rooms for commercial audio projects, jingles, and most recently some major Italian recording artists. To accommodate the needs of its growing presence in the music scene, True Colours has added THE BOX® to its studio, citing its “high quality manufacturing, and the unique API sound”.

Mauro wanted a project console that would provide a cost-effective, versatile solution to handle the needs of his growing studio in the decades to come. Along with his booming presence in the recording artist scene, True Colours has a growing demand for complete post-production, musical arrangements, and the creation of music for movie productions and short films. “I chose THE BOX because it represents the right console for a modern studio.”

The small-format recording and mixing console offers features that are not provided by most DAWs, including mic preamps, input signal processing, a high-quality mix bus, cue sends with talkback, and monitor control – all in a compact and versatile package. True Colours has a growing number of external preamps, EQs, and compressors, which includes some existing gear from API. The ability to personalize setups was a major factor that drew Mauro to THE BOX. “I didn’t want a big console with 32 preamps and 32 EQs that are all similar.”

True Colours mixes and records music of all genres, with only metal and electronic music yet to make the list. The crew has recorded a wide-range of Italian artists including famed singer Zucchero, piano master Stefano Bollani, and jazz trumpet player Enrico Rava. Most recently, Mauro used THE BOX for a session with singer Alberto Micaglio, whose acoustic presence is expanding from Italy, to London and New York. He has an album due out later this year.

“I have always wanted to buy an API console,” admits Mauro. “THE BOX offers a high-quality analog sound, and no compromises.”

ABOUT API (AUTOMATED PROCESSES, INC.)
Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Soundfirm Installs Australia’s First Meyer Sound Cinema System for Dolby Atmos Dubbing Stage

Soundfirm, which has received more awards than any other Australian audio post facility, has selected a Meyer Sound cinema loudspeaker system for its Dolby Atmos dubbing stage in its new Melbourne location. The large mixing room is the country’s first to feature an all-Meyer Sound screen channel and surround loudspeaker system.

The Meyer Sound system was selected by owner Roger Savage, a veteran re-recording mixer whose film credits include the family classic “Babe” and the musical “Moulin Rouge!”

“When we decided to install an Atmos room, we needed surround loudspeakers capable of full-range response, and Meyer Sound sounded so much better than anything else we’d experienced,” says Savage.

The monitoring system incorporates three Acheron® 80 screen loudspeakers, eight HMS-12 and 29 HMS-10 cinema surround loudspeakers, six X-800C high-power cinema subwoofers, and two 500-HP subwoofers in the rear for surround low end.

Chris Goodes, Soundfirm’s chief re-recording mixer, has mixed a number of projects in the new room. “The first thing I took to was the top end,” he says. “The Acherons are so much better than what we’d been using before. The dialogue clarity is outstanding, and you can trust what you’re doing with equalization. You never have to question whether the speaker is changing the sound. And you can work for 10 or 12 hours on this system without fatigue.”

Projects mixed by Goodes since opening include “The Monkey King,” an Atmos mix for the Chinese market; “Predestination,” a feature starring Ethan Hawke; “Deep Sea Challenge,” a James Cameron documentary; and “Hidden Universe” for IMAX release.

Savage appreciates the streamlined installation of the 48 V remotely powered surround loudspeakers. “Installation and setup was much easier than the conventional approach,” he notes. “You simply run a single cable with 48 V power and audio for the internally bi-amplified surrounds. This saves installation costs, particularly when you’re dealing with an Atmos system.”

The new mixing theatre also includes a Harrison Trion mixing console with 240 inputs, five Avid Pro Tools systems, a 10-meter-wide screen, and a Christie 4K projector with 3D capability.

“The independent mixers who use the room all comment on how great it sounds,” reports Savage. “The Meyer Sound monitors have lived up to our high expectations, and exceeded them—particularly with Atmos.”

Established in 1983, Soundfirm lists sound mixing credits for such iconic films as “Crocodile Dundee,” “Mad Max 2,” and “Mad Max Beyond the Thunderdome.” In addition to its Melbourne location, Soundfirm also maintains post-production facilities in Sydney and Beijing.

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Nashville Music Club Thrives with Dante™ Audio Networking

Dual-path Dante network simplifies audio transport and reduces labor, increasing flexibility and lowering installation costs

Portland, OR, April 15, 2014 – Dante, the market leading media networking solution created by Audinate, has transformed Nashville’s legendary 12th and Porter concert venue with a networked state-of-the-art sound system. The world-famous 12th and Porter has operated as Nashville’s premier label showcase venue, and has hosted thousands of live performances over the years.

Morris Light & Sound was hired to help restore the club’s reputation as a premier live performance venue. New owners gave Mills the freedom to specify the end-to-end audio system, given the company’s 25 years of experience in audio and lighting for live events and fixed installations.

The systems integration team at Morris Light & Sound, which handled the audio upgrades, also significantly reduced labor costs in choosing Dante as its audio networking solution. John Mills, vice president, commented that Dante allowed his team to simplify connection terminations in the digital signal processing racks and eliminate an analog front-of-house snake. The presence of two separate networks gives house sound engineers and the band’s sound engineers more options in networking audio between front of house and the stage, while increasing channel capacity and contributing to sound quality improvements.

“We saved well over $1000 in labor costs by using Dante instead of the traditional analog snake.” said Mills. “The minimal termination requirements saved us a lot of time. Using Dante, I am saving money at the end of the day because I can get the job done much quicker.”

Mills knew he wanted a clean and modular networked solution to route multi-channel audio, while offering plenty of flexibility – as well as room for growth.

“We established two separate networks so that a band could easily patch its own console straight into the system DSP,” said Mills. This ensures the owner doesn’t have to call me to the club to remove the main console every time a band wants to use its own. And the modularity of the Dante network gives the club owners plenty of room for expansion.”

The main network includes a Dante-enabled Yamaha CL3 console, with a Yamaha Rio stagebox, with the second network running between the System DSP and the NEXO amplifiers. The complete solution accommodates high-capacity audio I/O and extremely versatile routing, with Dante playing an important role in overall sound quality.

“The quality of the gear we put in this club is amazing, and Dante is an important reason why everything sounds great,” said Mills. “The CL3 console with the Dante allowed us to replace all the old analog cabling and is a very clean and cost effective way of moving audio. The response from the club owners, musicians and attendees alike has been extremely positive.”

Dante-enabled equipment used:
(1) Yamaha CL3 consoles
(1) Yamaha RIO I/O stageboxes
(1) Yamaha MTX5D System DSP
(2) NEXO NX4x4 amplifier

About Audinate
Audinate revolutionizes AV systems to customers to thrive in a networked world. Audinate’s patented Dante media networking technology has been adopted by the leading manufacturers in the professional audio/visual industry. Dante is used extensively for live performance events, commercial installation, broadcast, recording and production, and communications systems. Audinate offices are located in US, United Kingdom and Australia. Visit www.audinate.com for the latest news and information on the company. Dante is Digital Media Networking Perfected.

Dante is a trademark of Audinate Pty Ltd, Audinate is a registered trademark of Audinate Pty Ltd.

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Media Vision Launches Microphone Buyback Program

An appealing campaign just launched by Media Vision is stirring the industry: the first microphone buyback program. For a limited time, until July 15th 2014, Media Vision is offering $50 per microphone to customers trading in their obsolete or inadequate technology for a new TAIDEN conferencing microphone system. The program is supported by Media Vision’s nine offices across North America and Europe.

Media Vision’s buyback program is available to all. “We accept to trade in any microphone from any manufacturer” says Kevin Stoner, Director of Operations at Media Vision “whether your old solution is a wired, wireless, ceiling-mounted or boundary microphone system, we will take it back and give you $50 per mic.”. With these open terms, Media Vision is making it easy for most organizations to upgrade to conferencing microphones and finally experience intelligibility in their meeting environment.

To get the full trade-in value Media Vision only requires that the used microphones be returned with all accessories, including main unit and cables or batteries, as the company will attempt to recondition them for resale or donation. “If the system is in working condition, we will strive to find an organization in need of those products that you no longer want” says Kevin, “The goal is to keep electronics out of the waste stream”. However, if the old microphones are damaged and reuse is not possible, Media Vision offers to recycle them according to local regulations.

Media Vision’s microphone buyback program combines a financial incentive with sustainable practices; now, wouldn’t you agree it is time to upgrade your microphones?

For more information on the program, including a video presentation, complete FAQs, as well as all registration details, Media Vision has created a dedicated support line on their website and via email: buyback@media-vision.com

About Media Vision
Media Vision is a leading provider of professional wired and wireless conferencing solutions for multipurpose meeting rooms, VTC boardrooms, training centers, council chambers and auditoriums. Supported by feature-rich, flexible technologies, powerful software, and a dedicated product engineering team, we work with system integrators and consultants to design conferencing solutions that improve the audio intelligibility in the room and on the far end for distance communication. Additional information can be found at www.media-vision.com

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Masque Sound Takes Lincoln Center Theater Audiences on a Sonic Tour of New York City in Moss Hart’s Autobiographical Play, Act One

NEW YORK, APRIL 16, 2014 – Masque Sound, a leading theatrical sound reinforcement, installation and design company, returned to the Vivian Beaumont Theater at Lincoln Center to support Sound Designer Dan Moses Schreier with a dynamic custom audio equipment package for Lincoln Center Theater’s newest production, Act One.

In Act One, James Lapine directs his own adaptation of Moss Hart’s classic autobiography, which chronicles the legendary playwright and theater director’s struggle to escape poverty and forge a career in theater. This led to his collaboration with George S. Kaufman, and culminated in his first great success, Once in a Lifetime.

Schreier’s biggest challenge in designing the sound was dealing with the acoustics of the theater itself. “The Vivian Beaumont Theater is notorious for requiring special acoustic systems, since there is no natural reverb in the room,” says Schreier. “When the theater was constructed it was built with traps all the way around the back wall of the auditorium, which gives the effect of an acoustically dead space. Technologies have evolved so much since the theater opened in 1965, however, that it is now possible to make the room feel alive.”

Part of the aesthetic of Act One is driven by the set design, as it features a three-story structure built on an 80-foot revolving turntable. Each part of the turntable highlights a different New York City locale throughout the play. “It’s very monumental, it’s very theatrical and it’s a very beautiful structure,” adds Schreier. “All of the sound effects were driven by the look and the movement of this turntable, which signifies that specific time period of Moss Hart’s life. In addition, every time it spins, you get a different sonic picture of New York City — sometimes it’s the subway, other times the street or a playground. The idea behind the sound design was to create a sonic version of New York City. With Masque Sound’s help, I think we did a wonderful job.”

Another key component of the sound design was the use of Yamaha’s DME 64 Programmable DSP Engine. “I worked very closely with my Associate Sound Designer Joshua Reid to create nine different zones that all have different timings to help with the architecture of the space,” says Schreier. “Because of the theater’s shape, a third of the audience is always looking at the back of an actor. A big part of the sound design was to compensate for this, which is why we created these different time zones based on the actor’s locations on the set.”

In order to achieve the sound he was looking for, Schreier chose the Yamaha CL-5 digital mixing console. With a three-section fader layout for efficient hands-on control, the CL-5 is an ideal choice for a diverse spectrum of live sound systems, giving Schreier exactly what he needed. He utilized 12 discreet outputs of the console going to various areas of the theater in order to provide real sound effects, such as the sound of the subway moving across the back wall of the theater at the same time as dogs barking upstage. This added real depth and three dimensions to the design.

For his PA, Schreier thought a lot about what speakers would be right for the space. “The Vivian Beaumont Theater seats like a coliseum with a three-quarter fan shape,” he continues. “There was one speaker in particular, the d&b audiotechnik E12-D, that I thought would solve the problem of the theater very elegantly, and it did. The coverage is smooth and it’s amazing how well the speakers work. I think the sound reinforcement part of the design sounds quite fantastic and I really have to thank Masque Sound for that, because they had to purchase this particular model for this production.”

Schreier chose the d&b E12-D for its rotatable horn, as it provides a very wide dispersion. By rotating the horns up and down, he was able to cover the theater almost entirely with one cabinet, thus eliminating the need for an array. Masque Sound also provided d&b Q-subs as well as Meyer Sound M1Ds for the rear orchestra fill and balcony delay ring. In addition, Schreier also utilized the Beaumont Theater’s Qin-house PA system for some of the sound effects when he wanted to envelop the audience.

Act One opened on Thursday, April 17 at the Vivian Beaumont Theater. The show features a cast of 22 including Tony nominees Tony Shalhoub and Santino Fontana and Tony Award-winner Andrea Martin. The limited engagement is currently scheduled to run through June 15, 2014.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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West Coast Catalyst AV Distribution Network Member Custom Plus Distributing Announces Expansion in Northern California

Auburn, WA – April 16, 2014 – Custom Plus Distributing and manufacturers’ rep firm Oliver Marketing today announced the addition of a new distribution warehouse in San Jose, California. This is the second location for the sister companies in Northern California.

This announcement represents the fourth location for Custom Plus Distributing and Oliver Marketing, headquartered in Auburn, WA – with additional locations in Portland and Sacramento.

The new location will be led by San Jose resident Kevin Mitchel, who brings a strong background in custom home audio and video, including years as a Regional Sales Manager for Atlona Technologies.

“We’re excited about the appointment of Kevin Mitchel as Branch Manager,” said Mike Munger, General Manager for Custom Plus Distributing, adding “Kevin will be able to provide superior support to customers through his deep understanding of custom integration needs.”

The location will carry Nest, APC, EnGenius, Atlona, TiVo, IC Realtime, ClearView CCTV, Vivitek, ICE Cable, Perfect Path, Vanco, Rapid Racks and Mounts, Catalyst Wire & Cable, 2GIG, Sony, Russound, Klipsch, SpeakerCraft, URC and more.

The warehouse is merchandised for integrators to evaluate and select their items in a self-serve shopping environment. This allows them to see the breadth of product available to them, easily identify deals, and through quick product selection, move on to their jobs.

Bob Oliver, President and Owner of Custom Plus Distributing and Oliver Marketing, commented, “Silicon Valley is a hotbed of growth and we are committed to delivering the same superior products and levels of customer support that our company has become known for in the markets we serve.”

The new Custom Plus Distributing location is 751 Charcot Ave, San Jose, CA 95131.

For more information visit http://www.customplusdistributing.com/sanjose.html or email info@customplusdistributing.com

About Custom Plus Distributing
Established in 1996, Custom Plus Distributing is a leading Distributor covering Washington, Oregon, Idaho, Alaska, Montana, Northern California and Nevada territories. Custom Plus Distributing specializes in both car and home categories, providing audio, video, security, and networking products. CPD is also a founding member of Catalyst AV, a consortium of consumer electronics distributors, serving over 15,000 dealers nationwide. www.customplusdistributing.com

About Oliver Marketing Inc.
Oliver Marketing, Inc., a manufacturers’ representative firm, was founded in 1986, and represents major brands Sonos, Harman, Sony, Kenwood and Rockford Fosgate, among others.

About Catalyst AV
Founded in 2012, Catalyst AV is a network of 12-independent consumer electronics distributors serving the residential and professional AV channels in the U.S. Catalyst AV grants manufacturers a consistent and cohesive nationwide distribution model to more than 15,000 professional integration specialists. Catalyst AV benefits integrators by delivering all the products and support necessary to execute the demands of job specifications with confidence. The Catalyst AV Board of Directors consists of Mike Hench (Electronics Source Distributors); Steve Presti (Easy Access Distribution) and Wally Whinna (Allnet Distributing). www.catalystav.com

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PixelFLEX Adds FLEXLite to Growing Line of LED Screens

The new FLEXLite tile, perfect for installs, weighs just 28 pounds.

Nashville, April 16, 2014 — Leading LED screen manufacturer PixelFLEX has introduced another product in their diverse, growing line of flexible, lightweight and durable LED video screens with the addition of the FLEXLite LED tile. Available in both indoor and outdoor options, FLEXLite was designed for clients who asked for an economical solution to meet their needs for permanent installations and lightweight event screens.

The indoor version comes in pitches of 3.0, 5.2, 6.9 and 7.8 mm and is great for tradeshows, other events and signage. Where FLEXLite really outdistances the competition, however, is its abitlity to translate for television broadcasts. Because of its extremely high refresh rate, FLEXLite is camera friendly and an ideal solution for televised and filmed events.

In outdoor situations like advertising and large music or sporting events, FLEXLite is bright enouh to compete with sunlight. A dedicated outdoor product that comes in both blowthrough and non-blowthrough designs allows the customer to have even more creative control. It is manufactured in pitches of 6.25, 8.9 and 12.0 mm with brightness of 5,000 nits.

The universal appeal of FLEXLite, both indoor and outdoor, lies in its practicality. The frame is made of die cast aluminum, resulting in a lightweight yet durable tile that weighs 28 pounds each. PixelFLEX has taken all of the aspects it has been known for in its touring products and transformed them into a single product that makes sense for installation. It can be installed and dismantled by one person, making FLEXLite time and labor efficient. The LED panel also comes in a rectangle shape — versus the traditional square — and consequently covers more space with less tiles.

“We saw a demand from our customers asking for a product like FLEXLite,” said Director of Marketing David Venus. “It was our goal to create a product that not only fit the lightweight and durable characteristics of the PixelFLEX brand, but also was an economical choice that looked phenomenal.”

As with PixelFLEX’s existing line of LED video screens, FLEXLite is simple to operate and set up; videos and images can be sent to the screen using any computer with a DVI-D or HDMI connection. In addition, the quality of the FLEXLite screens keep with the standard PixelFLEX holds all of its products to. It uses the latest debugging technology to prohibit issues with gray scale level, allowing for clear, crisp content playback. The LED screen also has a powerful 140 degree viewing angle so more of the audience gets the full impression of the desired content. With FLEXLite, clients get PixelFLEX quality that fits various budgets.

For more information on PixelFLEX’s FLEXLite, visit http://www.pixelflexled.com.  Follow PixelFLEX on Facebook and @LEDCurtain.

 

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HARMAN’s dbx DriveRack PA2 Loudspeaker Management System Makes A Night and Day Difference for Live Sound Engineer Whitney Day

SALT LAKE CITY, Utah – Audio engineer Whitney Day is an independent audio professional who has worked with many of the larger companies in Las Vegas, in venues such as the Smith Center for the Performing Arts and for productions including The Phantom of the Opera, Hairspray, The Lion King, Cirque du Soleil, Mannheim Steamroller and many others. Production managers know they can rely on Day to deliver superb live sound with exceptionally clear, detailed and well-balanced mixes and Day is always on the lookout for tools to deliver better sound – like HARMAN’s dbx DriveRack PA2 Loudspeaker Management System.
The DriveRack PA2 enables a loudspeaker system to be quickly and accurately optimized for the best-possible sound quality. The PA2 is ideal for bands, musicians and artists who carry their own PA and for a wide range of installed sound applications. The DriveRack PA2 makes it easier than ever to set up a system and control it on the fly via a mobile device or laptop.

“As a live audio mixing engineer, DSP and loudspeaker EQ are fundamentally important tools for me and I’ve always been impressed with the digital signal processing in HARMAN products,” Day stated. “I’m constantly looking for new ways to achieve better sound and when the PA2 was introduced I felt it was something that would help me do my job in smaller to medium-size shows.”

The dbx PA2 offers a host of loudspeaker tuning and system optimization features, including a new Wizard setup utility, AutoEQ™ room EQ, Advanced Feedback Suppresion (AFS™) and more. The PA2 provides dbx compression, graphic and parametric EQ, speaker delay, dbx’s exclusive Subharmonic Synthesis for enhanced low-frequency response, a built in loudspeaker crossover (for full-range, 2-way and 3-way systems) and additional features to get the most from any speaker system it’s used with, in any room.
“The PA2 is exactly what I was looking for,” Day said. He found it simple to set up and use without reading the manual. The PA2’s wireless control gives him the freedom to make adjustments while walking around a venue and listening to the loudspeakers from various locations, which Day finds a major advantage in making sure every listener in every seat enjoys the best-possible sound.

Day is particularly impressed with the PA2’s natural, transparent EQ. “Sometimes even on the best consoles when you engage the EQ you might notice a change in the character of the sound but can’t really put your finger on what it is. On the worst consoles it puts a mask over the sound. It’s like covering the speakers with a bed sheet. When I take the EQ in and out on the PA2 it’s flawless – I don’t hear any change in sonic character.”

The PA2 does its sonic job with precision. On a lot of even highly touted digital consoles, if Day thinks he needs a 2dB cut he’ll make a 5dB cut and slide the fader back and forth until he hears what he wants. “With the PA2, 99 percent of the time the EQ adjustment is exactly what I think it should be. If I want to make a 1dB cut, I hear a 1dB cut. For the PA2’s price point I was amazed – that’s a very good EQ.”

He also feels that when it comes to EQ, the edict “first, do no harm” applies. “People think about EQ in terms of improving the sound, but in order to do that your EQ needs to sound fundamentally good to begin with. I find that with some gear, applying EQ can be extremely destructive to the signal and really mess up the phase relationships between frequencies. That’s simply not an issue with the PA2. I’m really stunned at how good the unit is, and the fact that it’s this good at its price point.”

“We designed the unit with the goal of bringing the highest levels of audio quality and control to smaller venues and live events and having an audio engineer of Whitney’s caliber talk about the precision of the PA2 is the best compliment we can receive,” stated Jason Kunz, Market Manager, Portable PA and Recording & Broadcast for HARMAN Signal Processing.

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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