A virtual press conference from Sound & Video Contractor

Archive by Christopher Shuler

Starlight Theatre’s Sound Shines with L-ACOUSTICS

Kansas City's Starlight Theatre, home to a new L-ACOUSTICS KARA system

KARA system installed at Kansas City’s famed outdoor theatrical venue

KANSAS CITY, Missouri — Seating nearly 8,000 patrons, Starlight Theatre has been a staple of Kansas City’s performing arts community since it first opened in 1950. Hosting a full calendar of Broadway plays and musicals each summer season – not to mention numerous concerts, corporate events, weddings and fundraisers – many classic productions have trod the boards of the large open-air venue over the years, including Jesus Christ Superstar, Oliver!, Hair, Camelot, Sweet Charity and West Side Story.

As to be expected, Starlight, which is operated by the not-for-profit Starlight Theatre Association, has been through a few sound systems in its time, with the last one holding out for the past 14 seasons. But none of them have ever been able to deliver the critical combination of the intelligibility needed for theatrical dialog with the full-range frequency response necessary for music. Until this year, that is. A new L-ACOUSTICS KARA Modular WST line source sound system was installed over the winter and is already taking Starlight’s 2014 season to new heights.

48 KARA and 24 SB18 are flown above the stage

The new L-ACOUSTICS house system, designed by Dallas-based Idibri (formerly Acoustic Dimensions) and installed by Clair Brothers Audio Systems’ Nashville office, consists of a total of 48 KARA line array modules divided into three hangs of 16 each, positioned left, center and right along a steel framework above the proscenium stage. Flanking either side of the center hang and the outside of the left and right arrays are flown arrays of six SB18 subwoofers accompanied by eight ground-stacked SB28 subwoofers split between the left and right sides of the stage floor. Proscenium fills are handled by two ARCS WIDE and two ARCS FOCUS, one each per side, while six tiny 5XT coaxial loudspeakers and three larger 8XT enclosures comprise the front-fill complement. A total of 16 LA8 amplified controllers power the entire system.

“We put a lot of effort into choosing the new sound system,” states Justin White, Starlight Theatre Director of Operations and Theater Plant, noting the winnowing process began with five systems that Idibri Project Manager Ryan Knox suggested Starlight investigate. This field was eventually narrowed down to three finalists, for whom Idibri arranged a demo that let dozens of Starlight staffers, board members, donors and city officials listen to audio systems in the venue itself and do an A-B-C comparison using the same program material.

Three 8XT enclosures deliver the center front-fill

They emphasized the key criteria of intelligibility and music reproduction, as well as other areas of importance, such as the ability of the system components to endure outdoor use throughout what Barb Schulte, Starlight’s Director of Communications and Outreach, euphemized as Kansas City’s “challenging weather environment, especially in summertime.” And, says White, it became clear very shortly who the winner would be. “After as little as ten minutes for some individuals in attendance, it was unanimous: everyone loved the way the L-ACOUSTICS system sounded.”

Kent Andel, Production Manager for the theatre, says he was a fan of the previous system because of the warmth of its sound, but says that the new system exceeds its performance in a number of ways. “The intelligibility we need for diction and dialog are all there,” he says. “At the same time, it works for music. So the L-ACOUSTICS system won hands down.” This is especially impressive when considering that the compact modular KARA system went head-to-head with systems looking much bigger on paper.

The new L-ACOUSTICS line source array system was first used in late May for Starlight’s Blue Star Awards, a Tony Awards-style program to recognize metro area high school musical theatre talent. All of the system’s critical parameters were on the line, and it performed flawlessly. It will get an even more vigorous workout for the season’s first Broadway musical when The Wizard of Oz comes to Starlight in mid-June.

But even between those shows, the L-ACOUSTICS system is showing its versatility; it’s already been divided into three mini arrays – each with two SB18s, six KARA modules and all four ARCS enclosures – and used indoors in the Jeannette and Jerome Cohen Community Stage that’s part of the Starlight Theatre complex for off-season private events, receptions and parties. “In addition to sounding great, it’s also a very flexible system,” White says. “It’s as loud as we needed it to be, super clear, flexible and just a great choice for us.”

About Starlight Theatre
Starlight Theatre, winner of the 2013 Venue Excellence Award from the International Association of Venue Managers (IAVM), is the largest and oldest performing arts organization in Kansas City and the second-largest outdoor producing theatre in the country. Opened as a theater in 1950 and as a not-for-profit organization in 1951, Starlight presents and produces Broadway musicals and concerts. It also offers extensive community outreach and educational programming, including classes, scholarships and Starlight’s Blue Star Awards, one of the largest high school musical theatre award programs in the nation. Located on 16 acres in Swope Park, Starlight’s venue includes rehearsal halls, gift store, club area for dining, concessions, gardens, fountains and a 10-story, climate-controlled stage. For more information, visit www.kcstarlight.com

About L-ACOUSTICS
L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

Credit for all images: Bob Compton

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Santa Monica Pier’s Breathtaking View Accentuated by Pulsar

ChromaPoint floor lighting system installed at Tongva Park’s scenic Ocean Avenue overlooks

SANTA MONICA, California — Dramatic lighting always adds to the ambiance of public spaces at dusk as lovers take a romantic stroll, especially around a $42.3 million setting like Santa Monica’s Tongva Park.

Helping to create different, colorful moods for the park’s striking walkway, which opened last fall, Horton Lees Brogden (HLB) Lighting Design tapped lighting manufacturer Pulsar for key equipment.

According to HLB lighting designer Clifton Manahan, it was never a question which vendor would be selected for the project along two of Tongva Park’s scenic Ocean Avenue overlooks at the Santa Monica Palisades Garden Walk.

“At the time of design, Pulsar’s ChromaPoint IP66 was one of the only wet-rated miniature color-changing in-grade lights available on the market,” Manahan points out.

HLB ended up specifying 75 Pulsar ChromaPoints, which are weatherproof, as well as two Pulsar ChromaZone PSU/controllers, for the installation’s dramatically lit structures, which sit on the park’s western edge, just one block east of the famous Santa Monica Beach and Pier.

“The ChromaPoints were the right choice because their IP weatherproof rating is ideal for this salty outdoor setting. In addition to being durable, the ChromaPoint LEDs feature an exceptionally smooth color mix and excellent dimming curve,” comments Vicci Stewart, account executive with Entertainment Lighting Services (ELS), the dealer on the project.

Commenting about the environmental elements, HLB’s Manahan adds: “The light output and effect highlighted the architecture very well, and the color-changing ability allowed the owner to program special effects for events or holidays. The IP rating and marine grade stainless steel finish also will help with fixture longevity at this location right next to the ocean.”

Stewart notes that the setup, which was installed by Cupertino Electric, also called for a Nicolaudie computerized lighting controller programmed by ELS system engineer Rick Corley to scroll the static Pulsar LEDs through a variety of colors.

Adding flexibility and a creative flair, the color schemes may be reprogrammed as desired by the operator or client – in this case, the City of Santa Monica.

HLB has done a fair amount of public park or plaza-type projects, although to Manahan’s knowledge it was the first time in the past few years that HLB’s Los Angeles office has used Pulsar fixtures.

Manahan credits Omar Arnold from Quantum Sales and Technology and Vinny Finnegan from Group One Limited, which distributes Pulsar in the U.S., with being “quite helpful in procuring samples for us and answering our questions or connecting us with the factory for further information when required.”

The Pulsar ChromaPoint is an extremely compact LED fixture that features three RGB TriColor emitters, which produce stunning mixed color right from the source. It is supplied with an optional opal disc and retaining O-ring that can be fitted internally to give an evenly illuminated disc of light rather than viewing the LEDs directly.

This tiny fixture has a wide viewing angle of 100 degrees making it ideal as a decorative point light source in architecture, interior design or stage and set design and is IP67 rated for temporary immersion up to 1 meter for 30 minutes max. The external ChromaZone power supply and LED driver allows for full DMX control of RGB levels, plus its numerous internal sequences provide impressive operation without the need for a dedicated external control system.

About Group One Ltd.
Group One Ltd. is a US importer and distributor for a number of professional audio and lighting manufacturers. The company’s audio division currently distributes Blue Sky powered nearfield monitors, DiGiCo digital mixing consoles, MC2 high quality innovative amplifiers, and XTA digital signal processing equipment. The lighting division currently distributes Avolites lighting control consoles, ElektraLite controllers and intelligent lighting, and Pulsar LED lighting.

# # #

Contact:
Pulsar / Group One Ltd.
70 Sea Lane, Farmingdale, NY 11735
Tel: 516.249.1399 / Fax: 516.249.8870
Email: sales@g1limited.com
Web: www.g1limited.com / www.pulsarlight.com

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, News |

Britney Spears Doubles Down on DiGiCo in Vegas

Marc Delcore, Britney: Piece of Me's musical director and keyboard player, seated at the DiGiCo SD10 house console with FOH engineer Robert "Cubby" Colby (left) and 3G Productions' Julio Valdez just outside the mixing bunker

Robert “Cubby” Colby and Johnny Balistrere both using SD Series desks for Britney: Piece of Me residency at Planet Hollywood’s AXIS theater

LAS VEGAS — Britney Spears is currently taking a break from touring, settling into a two-year residency on the Las Vegas Strip at Planet Hollywood’s AXIS theater, which was revamped for the purpose at a reported cost of $20 million with new staging, lighting, projection, and sound equipment, including a pair of DiGiCo digital audio mixing consoles. Britney: Piece of Me, which has already grossed nearly $18 million, brings a dance club atmosphere to the 4,600-seat theater, where the singer, backed by 14 dancers and a four-piece band, performs hits from her 15-year career.

Marc Delcore, the show’s musical director and keyboard player, appreciates the finesse with which veteran front-of-house engineer Robert “Cubby” Colby, using the DiGiCo SD10 console, is able to deliver every nuance of the band’s performance to the audience. “I spend as much time as I can during soundcheck with Cubby,” reports Delcore, who joined Spears in early 2000 as a keyboard sound designer and programmer before first appearing onstage with her on the 2009 Circus tour. “If I ask him to bump a track that might not be sitting where I need it, the flexibility to make that change but also keep what we just did is really important for me.”

According to Colby, the DiGiCo console’s snapshot functionality enables him to translate the tracks coming off stage, which have been carefully crafted by the musicians, to the audience. “With the help of virtual soundcheck and snapshots I’m able to recall sequenced tracks that are a very big part of a show like this, especially a dance show,” he says. “Britney sings every song live, but there are additional tracks when they’re doing the heavy dance numbers. Snapshots give Marc the security of knowing that these levels that they work on so hard translate to the live environment.”

“Britney pretty much has to stick to her script, but I have a lot of freedom to play different chords or different sounds,” continues Delcore. “Anything that the band throws at him, Cubby hears right away and he makes the adjustment. He catches everything and is able to make those adjustments with the console. It’s important for him to be able to make those changes on the fly. He’s such a great engineer.”

Monitor engineer Johnny Balistrere, generating 42 sends to side fills and wedges for Spears and the dancers, with in-ear feeds for the band, had not previously used a DiGiCo console. Once he learned that he would be using an SD5, Balistrere spent some time on the phone with Matt Larson, national sales manager at Group One, DiGiCo’s U.S. distributor, who also directed him to an online video tutorial. “It’s a great training video,” says Balistrere. “I was able to retain most of what I watched and apply it to this console. It’s the most impressive, well-thought-out console I have ever used in my career. You can operate it with ease.”

Balistrere continues, “It’s a very musical console. Certain things I want to be digital, certain things I want to be analog. The fact that I can customize digital and analog sounds in my mixes, separating inputs into a digital head amp or putting a DigiTube [tube emulation] on and making it a little more gritty, is one of the greatest features.”

By chaining effects, Balistrere is also able to deliver significant sound pressure levels to Spears’ wedges without having to worry about feedback, he says. “With condenser mics and headsets, I’ll take a vocal and send it to five or six effects, turn the sends down, and use them as vocal boosts with minimal effect. I’m able to get 112 or 113 dB, A-weighted, three feet from the wedges with her Crown CM-311A headset mic without even a hint of feedback. I’d never experienced that in my life until I used a DiGiCo console.”

Balistrere prefers to fix problem inputs at the source rather than use subtractive EQ. “But with the DiGiCo console I find I’m running even flatter EQs than I was previously in other consoles. So I can experiment more with my mic technique and placement, and not have to go right to the EQ section and cut it. It’s a very easy, precise, smooth console. I’ve got to say, it’s hard to go back to anything else!”

Julio Valdez, systems engineer and designer for 3G Productions – the rental house that supplied the show’s DiGiCo desks and d&b loudspeaker system – notes that the SD10 and SD5 were the natural choices for this massive production that is nightly drawing capacity crowds. “The sheer number of channels, pristine 96K sound, and ease of use were all huge factors in making these consoles the right gear for the job,” he says. “They say you’re only as good as your tools, but I really must compliment Cubby on the consistently exceptional mix he’s providing. He really makes the SD10 shine and I know he’s very happy with DiGiCo, as we all are.”

Cubby agrees: “My relationship with DiGiCo goes back to the company’s inception and I can honestly say that out of all of the digital consoles available to musical productions and mixers around the world, DiGiCo holds the key to undisputed audio quality and function. And with spill sets and other new features, the company continues to set the bar even higher. I love the SD10.”

“I also have to give a lot of credit to Marc Delcore,” he adds. “To be able to work on pursuing the best possible musical experience and audio quality with a musical director and keyboard player of his caliber really benefits this whole production. The same can be said of production manager Jason Danter, who has worked with Lady Gaga, Beyoncé and many others. Music is the number one focus of this production, and it has been a pleasure to be part of a show with such great audio facilities and a band that really cares about how it sounds.”

Britney: Piece of Me began its most recent leg on April 25. Following a summer break the show is scheduled to run through August into early September, tentatively wrapping up in February 2016.

About DiGiCo
DiGiCo is a UK-based manufacturer of some of the world’s most popular, successful and ground-breaking digital mixing consoles for the live, theatre, broadcast and post production industries and is exclusively distributed in the U.S. by Group One Ltd. of Farmingdale, New York. For more information, go to: www.DiGiCo.biz

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, Large Venue, News |

L-ACOUSTICS Grows North American Team With Three Hires

Left to right: André Pichette, Chris "Sully" Sullivan and David Brooks

David Brooks, André Pichette and Chris “Sully” Sullivan join L-ACOUSTICS US

OXNARD, California — Bolstering its commitment to both the permanent installation and touring markets, L-ACOUSTICS announces the strategic appointment of three new employees to its US team: David Brooks, André Pichette, and Chris “Sully” Sullivan. The announcement comes from Laurent Vaissié, General Manager, L-ACOUSTICS US.

Having served as Applications Engineer for L-ACOUSTICS’ worldwide headquarters in Marcoussis, France for the past nine years, David Brooks has now joined the Oxnard, California office as Applications Engineer, Touring Liaison, USA. With 30 years of experience to his credit – including running monitor mixes for N’Sync, among many other artists – Brooks is now tasked with providing additional support for touring clients, liaising with production and sound companies, and facilitating education for FOH and system engineers.

André Pichette, who most recently served as Director of Integration and Operations at Solotech Las Vegas since 2010, comes to L-ACOUSTICS as Head of Applications, Install, USA. Similarly bringing three decades of audio experience to his new role with the loudspeaker manufacturer, Pichette has performed audio design and engineering work for numerous Cirque du Soleil productions, Olympic Games, and high-profile tours like Billy Joel and Elton John, Backstreet Boys, and Barenaked Ladies over his career.

The new position of Application Engineer, East Coast, USA has now been filled by Chris “Sully” Sullivan, who previously served as Optimization Engineer for Elite Multimedia in addition to mixing touring FOH sound for Gary Allan, Luke Bryan, Joe Nichols, Jaci Velasquez, and Point of Grace. Involved with live sound for almost 30 years as well, Sully takes charge of L-ACOUSTICS’ first technical support position based on the East Coast for increased support and future development in the Northeast.

“L-ACOUSTICS US experienced a steep 74 percent growth in permanent installations in 2013, as well as a very strong demand from production rental companies for our variable curvature products following the introduction of K2,” says Vaissié. “As this trend continues into 2014, I am pleased to announce the appointments of David, André, and Sully to key strategic positions in support of our touring and installation clients, and dedicated local support in the Eastern US, respectively. These men each share a passion for uncompromised high-performance audio, education, and customer support that fits perfectly with our values. Benefiting from nearly 90 years of combined experience, our North American customers and end users can count on, now more than ever, premium support for their L-ACOUSTICS sound systems.”

L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

MerleFest 2014: The Tradition Continues with DiGiCo

Merle Haggard and his band performing on MerleFest 2014's Watson stage, which featured DiGiCo SD10 house and monitor desks (plus an SD11 for the adjacent Cabin stage)

SE Systems deploys numerous SD series consoles for 27th annual event

WILKESBORO, North Carolina — Country music superstars Alan Jackson and Merle Haggard, as well as bluegrass icons Dr. Ralph Stanley and Ricky Skaggs, were among the 130 acts over four days in late April whose tunes wafted pristinely from MerleFest 2014. As has been the case for the past 26 years, DiGiCo consoles processed much of the music emanating from the Wilkesboro, NC festival’s 13 stages, helping to cement MerleFest’s reputation as a highly celebrated perennial American music event.

MerleFest was founded in 1988 in memory of Eddy Merle Watson, son of bluegrass legend Doc Watson, as a fundraiser for Wilkes Community College and to celebrate “traditional plus” music, a term coined by Doc Watson to describe the wide variety of musical genres and styles celebrated at MerleFest.

Since the festival’s beginnings, Greensboro-based SE Systems has been handling sound for MerleFest. SE Systems CEO and Founder Cliff Miller was working with Doc Watson at the time and helped put the audio production in place for the first MerleFest, which was quaintly mounted on the back of a flatbed.

Ricky Skaggs & Kentucky Thunder mixed via a pair of DiGiCo SD10 desks on the Watson stage of MerleFest 2014

Sound quality is SE Systems’ primary consideration in anointing DiGiCo as its console supplier of choice. “The SD10s have been our workhorse for the last few years; they just sound great,” says Miller, a pro sound pro, as well as a first-rate musician himself; after Merle died in a tractor accident, Miller started filling in on guitar at many of Doc’s gigs.

DiGiCo consoles, according to SE Systems Media Relations Director Bryan Smith, are ideally suited for country music and bluegrass. “Acoustic instruments come across in a very natural way,” he says. “When you put acoustic instruments in front of a mic, you don’t want the preamps, effects or processing to change the sound. Cliff carried the DiGiCo SD10s on tour with Alison Krauss and we currently have two out with her now. When you’re mixing the number one female Grammy Award winner, it better sound good. The DiGiCos have proved that night after night.”

He goes on to explain that the DiGiCo boards are “very transparent and sound like the old analog desks.” When comparing digital consoles, DiGiCo’s 96KHz performance was “what also helped us decide on the SD10s. All of the plug-ins and effects work perfectly and it’s a fairly easy console for guest engineers to mix on in a festival situation. We also see DiGiCo on many of the artist’s riders.” This detail was underscored by the fact that headliner Alan Jackson brought in a DiGiCo SD8 for his Thursday night set.

On the main Doc & Merle Watson Theatre stage this year, two DiGiCo SD10-36 consoles were used for mains and monitors. The adjacent Cabin stage, which was used for smaller acts while the primary stage was reset, featured a compact SD11 to mix mains and monitors and was positioned next to the primary stage SD10 FOH desk. Smith describes the SD11 as “a great small rack mount mixer with all of the ‘big boy’ features.”

Scythian and a DiGiCo SD9 monitor console in action at the MerleFest 2014 Dance stage (photo credit: Todd Dupree)

The Creekside stage used two SD10-24s for mains and monitors, while the Dance stage used two SD9s for mains and monitors. “This was the first year we used the SD9 at this stage,” Smith notes. “It worked fantastic; all the guest engineers loved it.”

An additional DiGiCo SD9 was used in the recording trailer. With every DiGiCo console deployed using either a D-Rack or SD Rack, all stages had fiber runs and SE recorded everything to a Live Tracker for archival purposes.

That DiGiCo still figures prominently in the MerleFest gear complement is hardly a surprise. Three years ago Miller bought two SD10s – SE Systems’ first DiGiCos, not to mention the first SD10 desks in the US – sight unseen. “I have been in the industry for a very long time and this was the first time that I ever purchased two new consoles without even putting my fingers on the faders! The sound quality is the best I’ve ever heard in a digital console, surpassing most analog consoles. The SD10 can be configured to operate like any old favorite console, but with hundreds more features,” he says.

About DiGiCo
DiGiCo is a UK-based manufacturer of some of the world’s most popular, successful and ground-breaking digital mixing consoles for the live, theatre, broadcast and post production industries and is exclusively distributed in the U.S. by Group One Ltd. of Farmingdale, New York. For more information, go to: www.DiGiCo.biz

# # #

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, Events, Large Venue, News |

Salina’s Bicentennial Center Salutes L-ACOUSTICS

The Salina Bombers play a home game in the venue

Parkway Communications updates 7,500-seat arena’s sound with ARCS WIFO arrays

SALINA, Kansas — For the past 35 years, the 7,500-seat multipurpose Bicentennial Center Arena in Salina, Kansas has hosted everything from concerts, theatre, circuses and civic events to rodeos, basketball, roller derby and home games for the local Salina Bombers, champions of the Professional Indoor Football League. But while the venue has undergone a number of changes over the years, the original sound system remained in place until Parkway Communications recently installed a new L-ACOUSTICS ARCS WIDE and ARCS FOCUS loudspeaker rig – aka “WIFO” – for the city-owned venue, which is managed by Philadelphia-based Global Spectrum. more

Christian Life Center’s New Worship Space Shines With ElektraLite

All Pro Sound installs “future-proofed” theatrical and house lighting systems

IJAMSVILLE, MD — In the beginning, which in this case was 1974, a small group of believers established a church plant in “The Little White Church,” home of the First United Pentecostal Church of Rockville, Maryland. In the decades since, the congregation has outgrown three locations and, in the process, changed its name to the Christian Life Center (CLC). Now occupying a 2,000-seat sanctuary in nearby Ijamsville, CLC’s new home is a virtual showcase of contemporary worship technologies with all audio, video, and theatrical and house lighting systems designed and installed by All Pro Sound (APS) of Pensacola, Florida. more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, Houses of Worship, News |

Avolites Titan Mobile Wing Makes US Debut at PLASA Focus: Baltimore 2014

Titan Mobile Wing

Sapphire Touch and entire Titan range also exhibited in Group One Ltd. booth

Avolites recently exhibited its flagship Sapphire Touch lighting console as well as the new Titan Mobile Wing on PLASA Focus: Baltimore 2014 stand 412 (Group One Ltd.).

Avolites’ Titan Mobile Wing, in particular, mades its official US debut at this show. Designed to complement the manufacturer’s compact Titan Mobile, the new wing is also perfectly suited for expanding the capabilities of any Titan range console.

Equipped with 20 smooth playback faders, the Titan Mobile Wing boasts a generous 30 User Program Executors, which are handy for controlling Cues, Lists, Palettes, Groups or user programmable Macros. The playbacks additionally feature Add, Bump, Flash and Go keys that are all configurable by using Key Profiles.

Sapphire Touch

“Titan Mobile Wing gives users direct access to items that are always needed, such as shape overlay cues, audience blinders, house lights for theatre, smoke machines, performer key lights for TV productions, and a variety of other things,” says Brad White, Group One’s national sales manager for Avolites.

“And the hardware lives up to its legendary Avolites name with a robust build quality that is both lightweight and compact. The panel construction is exceptionally solid, and the product benefits from the industry’s highest quality switches and faders.”

The entire Titan range – including the Tiger Touch II, Titan Mobile and Titan One – was also on display at the show, which took place on Thursday, May 8 and Friday, May 9 at Loyola University’s Reitz Arena.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: New Products, News, Tradeshow News |

SurgeX® International Merges with ESP/SurgeX

Brand principals retained as consultants and form Outerlimits Technologies

BLUE BELL, Pennsylvania — SurgeX® International, the industry leading manufacturer of AC power distribution and protection products for the global marketplace, announces that it has merged its global interests with SurgeX North America, owned and operated by Electronic Systems Protection, Inc. (ESP) of Knightdale, NC.

With all of SurgeX International’s intellectual property effectively now transferred over to ESP/SurgeX, the brand’s founders — Senior Principal Michael McCook, Director of Engineering Andy Benton, and Operations manager Kevin Bromberger — are carrying on in a consulting capacity with the North American company.

The recent merger frees up McCook, Benton and Bromberger to focus on their latest endeavor, Outerlimits Technologies, LLC, a new company dedicated to continued invention, manufacturing and marketing consulting. “When we established SurgeX through New Frontier Electronics 20 years ago, we were confident that it would eventually be recognized as the AC power conditioning field’s leading technology,” says McCook. “As Andy, Kevin and I now turn our attention to creating innovative solutions for a variety of industries, we’ve seen SurgeX International seamlessly transition into ESP/SurgeX and know that the brand is well positioned for continued success both here and abroad.”

SurgeX North America President Shannon Townley adds, “We are excited to extend our partnership globally and look forward building on the success of SurgeX International. This is an exciting time for SurgeX.”

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

About SurgeX International
SurgeX International, based in Blue Bell, Pennsylvania, USA, has been providing patented AC power protection and distribution products to the professional IT/AV, industrial, education, government and military markets for two decades. Prior to the merger, the SurgeX International brand was owned and operated as a division of New Frontier Electronics, Inc.

# # #

DiGiCo Delivers the Ultimate Desks for Ultra Music Festival

Beachsound deploys SD5, SD8, SD9 and SD11 consoles for Miami’s huge EDM event

MIAMI — Audio at an EDM festival, how hard can it be? Triple the usual number of subs and have the DJ send left/right to the console, hand him a wireless mic and crank it up. Easy. Right? Wrong. EDM shows require a specific kind of flexibility and complete reliability as evidenced by Miami’s Beachsound, which relies exclusively on DiGiCo consoles for one of the EDM world’s biggest annual events, Ultra Music Festival.

“We are managing a lot of audio,” says Beachsound crew chief Neil Rosenstock who has headed up the company’s audio team at Ultra for five years. “If you are on a show with 96 inputs and you lose a channel, there are still 95 channels of audio to listen to. If you lose a channel on an EDM show, you just lost half of the PA. The productions look cool, but without the music they’re just blinking lights.”

Rock-solid reliability is a must and it is telling that Beachsound has DiGiCo SD5, SD8, SD9 and SD11 desks in its inventory, and during Ultra every console in the shop goes out on the gig.

“For Ultra 2014 we had an SD5 at the Main Stage feeding an SD11 as the production console,” Rosenstock reports. “We have been all-digital from the time the signal hits the SD-Rack for about four years now. Everything from the console to the amps is run AES and the connection from the SD-Rack to the SD5 is all fiber. We are taking S/PDIF outputs from the DJs to feed the PA along with an analog feed as a backup.”

Beachsound's DiGiCo SD5 at Ultra Music Festival's Main Stage (photo credit: Tom Laveuf)

Lorin White was the house mix engineer on the festival’s primary stage this year and his role is a little different at Ultra than on the typical rock gig. “About two-thirds of the acts travel with their own engineer, but that term in EDM can mean a lot of things,” he says. “Some of them are more like a producer. They’ll show up and check out the PA, and during the show may actually be onstage with their client while I mix. Some will stand with me and supervise, and some are hands-on with the faders. For that last group of guys it is crucial that the console offers the ability to have every control they need during the set immediately at hand and not buried in another layer. The DiGiCo desks give us that ability.”

Ultra is one of the biggest EDM events in the world, drawing some 200,000 attendees to Bayfront Park in downtown Miami every spring. In addition to the SD5 and SD11 at the Main Stage this year, Beachsound provided an SD9 on the Radio Stage and an SD8 for one act on the Live Stage.

In addition to ease-of-use and overall sound quality, Beachsound turns to DiGiCo for some very specific needs for Ultra. In particular, the onboard dynamic process as well as the ease of integration with the Waves plug-in architecture.

“DJs have EQ and that can be a challenge,” says Rosenstock. “The DiGiCo EQ and compression allow us to keep an overall consistency in the sound despite every DJ providing us with very different EQ. The onboard dynamics processing is crucial in managing overall volume no matter how hard the act is pushing the inputs. Ultra is shoehorned into a relatively small area for a music festival and we have to keep it down to 106 dB A-weighted, which can be a challenge.”

The compact DiGiCo SD11 served as the Main Stage production desk (photo credit: Tom Laveuf)

“What we are doing is really managing the outer edges of the sonic spectrum,” adds White. He points to DiGiCo’s easy integration of multi-band compression plug-ins as a must-have for these gigs. “Some of the DJs have been known to overdrive the inputs and there is the ever-present low-end whose impact has to be maximized without taking us past our SPL limit. But there are also these high-frequency filter sweeps that many DJs incorporate as an effect. Those can get very harsh and brittle sounding through a big PA without some treatment. The ability to access excellent multi-band compression–be it via the onboard dynamics or plug-ins–means we can treat each part of the spectrum separately. We never have to sacrifice in one area to get another part of it right.”

And Beachsound is spreading the DiGiCo gospel to other parts of the EDM world. “Last year, we had an act come in whose engineer was not familiar with DiGiCo and because of an issue with his console he had to use our SD5,” White recalls. “Initially, he was not happy about it, but he seemed to soften up during the actual show. This year, he was back and told me he has been touring with an SD11 ever since last year’s Ultra.”

Beachsound owner Andre Serafini sums it up by adding, “As a rental house we stock several console brands to meet rider requirements. But when the decision is ours, the choice is always DiGiCo. We wouldn’t do a gig like Ultra with anything else.”

About DiGiCo
DiGiCo is a UK-based manufacturer of some of the world’s most popular, successful and groundbreaking digital mixing consoles for the live, theatre, broadcast and post production industries and is exclusively distributed in the U.S. by Group One Ltd. of Farmingdale, New York. For more information, go to: www.DiGiCo.biz

# # #

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, Events, News |

About

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.

Calendar

August 2014
M T W T F S S
« Jul    
 123
45678910
11121314151617
18192021222324
25262728293031

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication