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Community Introduces Commercial Design Series at InfoComm

Community introduces the new Commercial Design Series, a comprehensive family of ceiling, surface mount and pendant loudspeakers designed to meet the needs of installations requiring high performance at a competitive price. Commercial Design models offer a choice of 4.5-inch, 6.5-inch and 8-inch driver sizes, and deliver Community’s legendary sonic quality, exceptional speech intelligibility and proven reliability. The entire Commercial Design family features uniform sound quality throughout the series, providing excellent consistency from model to model.

The Commercial Design Series was designed to complement Community’s Distributed Design family of high-performance ceiling, surface mount and pendant loudspeakers in a combined installation. For this reason, Commercial Design utilizes many of the same technologies as Distributed Design, including real compression drivers and Tru-Phase™ phase plugs for high output and low distortion. Commercial Design ceiling models also incorporate labor-saving installation innovations like Community’s exclusive Drop-Stop™ technology, while the use of compression drivers and proprietary LF transducers results in higher sensitivity and higher maximum output than competitors’ models in a similar price range.

All Commercial Design models feature Euroblock input connectors, Community’s exclusive external loop-through wiring design, weather-treated drivers, and corrosion-resistant dual-layer

powder coated grilles. Commercial Design ceiling models are ETL listed to comply with UL1480, UL2043 and CSA60065, and the pendant model conforms to UL1480 as well. Commercial Design surface mount models have passed compliance testing for MIL-STD-810G and include a low profile multi-angle pan-tilt mounting bracket for precise aiming over a broad pan-tilt range. All Commercial Design models can be painted to match room décor and are equipped with a built-in autoformer for selectable 8 ohm or 70V/100V operation.

The new Commercial Design Series from Community provides an affordable solution to unobtrusively provide even coverage and great sound quality from zone to zone throughout an entire venue.

Historic St. Augustine’s Church Upgrades its Audio with Community ENTASYS and dSPEC

Founded in 1832, St. Augustine’s Catholic Church, in Minster, Ohio, built its first building, a log structure, in 1835. The brick church building, built in 1848, has gone through several significant renovations including replacement of the original, single tower with twin Gothic towers in 1874, installation of stained glass windows in 1878 and the addition of seven ceiling murals, painted by Joseph Vittur, in 1866.

St. Augustine’s beautiful interior is highly reverberant which is well suited for its pipe organ and 78-voice choir. However, the church’s acoustics have always been a challenge for voice intelligibility. So, in 2012, St. Augustine’s worked with Steve Merrill of Stage Right Productions to install a new sound reinforcement system based on Community’s Entasys 200 loudspeakers and dSPEC Loudspeaker Processor.

“The old sound system put the sound everywhere,” said Merrill. “The reverb and echoes were terrible and I had to overcome these problems.” Merrill had used Community’s original Entasys Column Line Array on another project and knew that Entasys could project the sound directly to the people and keep it off of St. Augustine’s rounded ceiling and hard floors. But, Merrill was attracted to Community’s newer Entasys 200 family because it offered several versatile models that he could use in different areas of the church.

Merrill chose Entasys 212s for the main church sanctuary and Entasys 203s for the front (chancel) area and the choir loft. “A single pair of Entasys 212s would have covered the entire sanctuary,” he said, “but I put a second pair about half-way back in the church and delayed them with the dSPEC processor. Now, the sound is great everywhere. The intelligibility is excellent and you can even hear breath noises!” Merrill put the Entasys 203s on a 70-volt amplifier and used dSPEC to delay the pair covering the choir loft. “The delay makes the sound system disappear,” he said. “The sound seems to come from the lector, not the loudspeakers.”

Merrill used existing electronics where possible to keep the cost down for the church but he replaced older lavalier microphones with new Audio-Technica head-worn mics and added new Ashly amplifiers to power the Entasys 212s.

Greg Oen, lead technical volunteer at the church said “The (dSPEC) processor is amazing. With the delay and equalization, you don’t even notice the loudspeakers.” Oen continued, “some of the older choir members have asked me ‘what did you do to the sound?’ because they can finally understand the message.

Community Provides Quality Audio for the Hippodrome, London

Willow SoundVision, a specialist integrator of audio visual systems and digital media solutions, has recently completed the audio and video installations for The Hippodrome Casino in London’s Leicester Square, incorporating over two hundred Community loudspeakers.

The former Hippodrome Theater and adjacent buildings have been transformed into The Hippodrome Casino by father and son team Jimmy and Simon Thomas, who have invested more than £40 million ($60.4 million) creating a high-end, opulent casino, blending theatrical history with contemporary, luxurious furnishings. The complex comprises three floors of gaming with the main gaming floor based in the original 60-foot theater atrium. What truly sets the venue apart is its further facilities, which include a 180-seat cabaret theater, an impressive restaurant, four private dining rooms, five bars and a number of lounges and events spaces.

With around 40 networked zones, Willow SoundVision carefully selected every audio product to be the best solution for the building and the multi-purpose way it is used.

One hundred and forty-six Community Distributed Design D4 ceiling loudspeakers, twenty-two DS5 surface mount loudspeakers and seven Community D10 ceiling Subs provide the main music and public address system for the gaming areas, restaurant, bars and event spaces. They were chosen for their audio quality and high intelligibility above ambient noise levels. Well controlled dispersion was also a critical factor in avoiding spill, as many zones are open to adjacent areas.

Fourteen Community VERIS 6T loudspeakers, six VERIS 26T loudspeakers and six VERIS 210S subwoofers were used for their powerful, high quality music ability in the lower ceiling height multi-purpose lounges. Symetrix SymNet provides the system networking and Media Technology Systems PAG amplifiers power the Community loudspeakers. Custom control software by Willow SoundVision allows complete system control via mobile phones or iPads.

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Marghera, Venice Installs Audio Warning System with Community Loudspeakers

Sound systems are normally associated with venues or sites, but occasionally for public safety this can expand to a need for a system which covers whole cities and regions. Such is the case with Marghera City, in the province of Venice, Italy, which has recently had an audio warning system installed utilizing Community loudspeakers.

Marghera is situated on the area of dry land facing Venice. It arose in its present form in the early 20th century to provide Venice with an industrial area and port, essential for competing with the other centers of the Mediterranean. The project was crowned by the building of a residential district inspired by the city-garden model, to merge life, work and the natural environment.

Port Marghera was bombed in World War II which stopped its operation, but after the war it resumed activities and development throughout the 1950’s to become one of the best known industrial hubs of Italy. In the 1960’s it experienced its greatest expansion, reaching an impressive number of production activities including chemical and aluminum, naval shipyard, petroleum refinery, metallurgy, electricity and the commerce of petroleum products.

The proximity of the industrial port Marghera to the residential Marghera City has been a subject of concern and even legal action for decades. Inside the industrial facility there are different types of warnings and alarms, both acoustic and non-acoustic, for employees and visitors in the event of any problem, typically the leakage of toxic and harmful chemical material from the processing and storage plants. The Servizio di Protezione Civile of the City of Venice has now wisely implemented the provision of an acoustic alarm system for the residents of the neighboring city, to warn them quickly of toxic pollutants in the air and allow residents and the relevant authorities to operate pre-planned actions and counter-measures

The Consorzio Venezia Ricerche (CVR, Venice Research Consortium) was charged with the design of the system and defining and managing the various installation stages. Having recently completed the large scale audio warning system that forms part of the flood defense system for Venice, all of the experience the project would demand was available to tackle the new project. The CVR established a Marghera Acoustical Warning System Task Force, consisting of internal staff and specialized professionals. The installation was managed by Sofitel from Treviso, while the acoustic simulation activities were carried out in full within the CVR. The Task Force included Marco Ferrari for the architecture of the communication system and Gianluca Sorbara for the electrical aspects, coordinated by the acoustic and electro-acoustic expert Umberto Nicolao, who also managed the overall design.

The system designed by Nicolao utilized the water tower of Marghera, one of the highest buildings available, as a central ‘acoustic lighthouse’. The tower is fitted with thirty Community PC1542M loudspeakers with M4 drivers, covering a precise 220 degrees horizontal. Critical coverage angles were calculated and implemented to avoid nearby ‘Cita skyscrapers’ from excessive SPL. In addition to the central tower, and to create an acoustic umbrella of typically higher than 75 dB-A over the city, Nicolao designed five additional sub-locations each using four Community RSH462 loudspeakers.

A Biamp Vocia system VA8600 system controls the audio network and automated monitoring, while AM600C power modules drive the Community loudspeaker systems.

Building on and adapting the extensive acoustic transmission and perception work carried out on the Venice system, the warning tones of the system have been finely tuned to give appropriate warnings without creating undue alarm.

The sophisticated warning system combined with the appropriate counter-measures has given the residents of Marghera City the level of security they have sought for many decades.

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Community Delivers the Sound for Singapore’s First Olympic-Size Ice Rink

Electronics & Engineering (E&E) has recently completed the installation of a Community sound system at Singapore’s first Olympic-size ice rink at JCube.

Owned by CapitaMall Trust, JCube is located out of town in Jurong East. Managed by CapitaMall Asia, JCube differentiates itself from the usual shopping and dining mall experience with the ice rink in the center of the building. The 60 x 30 meter rink has a 460-seat gallery and can be used simply for community skating, or for more competitive sporting events including speed or figure skating and ice hockey. It can also host live streaming events and concerts in the space.

The sound system at JCube rink provides both high intelligibility speech and entertainment quality music, and additionally allows for the multi-use requirements of the venue. To meet the specifications of the rinks management, E&E worked closely with Community’s Singapore-based Director of Business Development, Thomas Mittelmann, who liaised with the technical team at Community’s HQ in the US.

Seventeen Community WET W2-2W8 loudspeakers are mounted around the rink edge. The W2-2W8’s dual 8-inch horizontal drivers with centrally located 1-inch horn provide the optimum 120-degree wide horizontal dispersion required for the venue. Additionally the W2-2W8’s extreme all-weather capabilities handle the environmental conditions of the rink and its provision in white ensured the loudspeakers blended perfectly with the venue’s aesthetics.

In addition to the distributed W2-2W8 system, the audio design includes a ceiling loudspeaker system for the audience areas. The upper spectator stand comprises thirteen Community D8 8-inch coaxial ceiling loudspeakers. The D8 loudspeakers deliver consistent coverage with their Tru-Phase high frequency waveguide providing a wide uniform dispersion. In the lower stand there are thirteen Community D6 ceiling loudspeakers, providing the same consistent quality as their larger sibling, but equipped with a 6.5-inch low frequency driver. A further ten Community D4 ceiling loudspeakers and four Community DS8 surface mount loudspeakers are installed at back of house.

Five Ashly Audio NE2400 2-channel amplifiers power the Community loudspeakers. The network enabled amplifiers feature full control and monitoring capabilities via standard 10/100 Ethernet protocol and Protea software. An Ashly Audio NE4250 amplifier powers the back of house system.

Processing is provided by a Symetrix Symnet 8×8 digital signal processor, supplied with SymNet Designer software which equips the rink with more than 300 DSP modules, including feedback elimination, loudspeaker management and auto mixing. The built-in modules enable the audio engineer at the rink to switch quickly and easily from one processing mode to another depending on the function of the rink at any given time.

Completing the audio system are a Mackie 1642-VLZ3 I6-channel compact recording mixer and Shure SLX24/SM58 handheld wireless microphones for concert type events.

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Timothy Dorwart Appointed Community CEO

Community Professional Loudspeakers is pleased to announce the appointment of Timothy Dorwart as CEO. Dorwart brings over 30 years of sales, manufacturing and management experience in the pro audio and music industries. In his new role, Dorwart is tasked with overseeing the company’s overall business and sales strategies, and leading Community into a new era of exceptional growth.

Dorwart’s previous roles have included director and VP positions with Bose Corporation and DMX Music. Since 2007, he led the Stanton Group through a successful turnaround as their CEO. Dorwart joins Community from Gibson Guitar Corporation where he held the position of General Manager, Pro Audio and guided the integration of Stanton Group assets to form Gibson’s new Pro Audio Division.

“I am delighted to join Community at a pivotal time in their history,” said Dorwart. “The company is poised for considerable expansion and I look forward to leading the company into the future.”

Dorwart joins Community at an important stage of the company’s development. The company started as a loudspeaker component and lighting company 45 years ago when it was founded by current president and chief engineer Bruce Howze. Today Community is a prominent loudspeaker manufacturer with an advanced product range, supplying acoustic solutions to high profile installations worldwide and enjoying its highest level of sales in domestic and international markets.

“Community has continued to grow throughout the economic recession, with its diverse profile of high value, high performance outdoor and installation products,” remarked Howze. “I’m confident that under Tim’s leadership, Community will not only continue its strong performance, but start an upward trajectory of unprecedented growth. Tim will be the major driving force in the company’s future. I’m thrilled to welcome him to Community.”

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St Joseph’s University Gets Dual Community Sound Systems

Philadelphia, PA, – When St Joseph’s University decided to transform their McGuire campus’ former chapel into a contemporary multi-use student center, they called upon Maryland-based RJC Designs to create an A/V and media solution that could address a multitude of challenges, from the acoustical and logistical to the aesthetic, while maintaining the room’s classic architectural lines.

Video is centered on a Panasonic WUXGA DLP projector sending HD video to a Draper retractable 108″ x 192″ screen. The rear wall and both wings are hung with additional 60″ LED monitors, each of which can be tied into the main display or used as separate presentation areas. Digital technologies were used within the development of the infrastructure to support the various displays and also reduce the size and cost of the pathways. All the LED monitors are tied into the campus signage and information network. HDMI, DVI, Component, and other analog and digital sources are available on the buffer wall and in the front presentation areas.

Audio is provided via dual integrated sound systems, each addressing a critical niche. A pair of Community ENTASYS high-performance column line arrays mounted to either side of the proscenium hones in on spoken word intelligibility, augmented by VLF208 subwoofers. High-level musical performance is covered by a pair of iBOX iHP3594 three-way cabinets, with low frequency muscle from a couple of i215LVS dual 15-inch subwoofers. Crown CTs amplification powers the system, with DSP covered by a Biamp AudiaFLEX CM.

RJC Designs President Rich Coluzzi remarked, “clear and intelligible sound along with dynamic program audio makes for an exciting audio experience for the Saint Joseph’s University students and other attendants.”

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ENTASYS Helps Bring Modern Technology to Historic Church

The rolling hills and fertile farmlands along the Delaware River were among the first to be settled by European colonists, and the area is rich in historic buildings and landmarks. Among them is Alexandria First Presbyterian Church, whose main sanctuary was built in the late 1800s, and is listed on the National Registry of Historic Places.

Despite being one of the older buildings in the area, Alexandria First Presbyterian is all modern on the inside, thanks to a sophisticated audio and video system designed and installed by Blackwood, NJ-based JD Sound and Video. The system includes distributed HD video, with multiple screens throughout, as well as a sound system featuring Community Professional Loudspeakers’ ENTASYS column arrays and VLF Series subwoofers.

“It’s not a large building, and it’s not very ornate,” says JD Sound’s Joe DiSabatino. “But they’ve invested wisely with the technology they’ve installed.”

As DiSabatino explains, the building’s old stone walls and hard surfaces make for a highly reflective acoustical environment, and achieving good spoken word intelligibility has long been a challenge. “It’s a large, boxy room with high ceilings, hard plaster walls, and lots of hard wood,” says DiSabatino. “It sounds great for the choir, but not for the sermon.”

JD Sound recommended a pair of Community ENTASYS column loudspeakers to cover the entire space. “We set up a temporary system for them to use during a service, and they were immediately convinced,” says DiSabatino.

The church uses quite a bit of music in their program, and DiSabatino recommended a pair of VLF208 subwoofers to fill out the frequency range. “We built the subs into the altar, underneath the stage,” he says. “They provide just that little bit of extra low end and kick.”

The ENTASYS also addressed the church’s aesthetic concerns. “The columns are painted to match the walls, and are barely visible,” says DiSabatino. Crown amps power the system, and a Rane HAL system provides DSP and enables the church to make multi-channel recordings of their services, with an eye toward webcasting in the future.

The church’s previous system, a pair of Community CSX loudspeakers, has been repurposed. “The kids have a gathering spot down in the basement, and the original Community system is still working fine, so it was perfect for that,” says DiSabatino.

“The ENTASYS system was the perfect solution,” DiSabatino concludes. “Coverage is consistent to every seat, even under the balcony, and we’ve got far more gain before feedback. And they sound terrific.”

Community Seeks EN54-24 Compliance for R-Series Loudspeakers

Large venues of every kind need intelligible voice evacuation and mass notification capabilities, yet many typical fire-alarm voice-evacuation systems provide neither the voice intelligibility nor the sound levels (volume) needed to effectively communicate with very large numbers of people over the ambient levels of a real-life emergency situation.

Throughout Europe, venues such as stadia, sports and convention centers already have high intelligibility, high-level sound systems for entertainment and voice paging which can communicate effectively. For such systems installers could comply with the BS EN 60849 Standard for the installation, but there was no common laboratory test for the loudspeaker equipment. This remained subject to different requirements in every country. The introduction of the EN54-24 Standard dramatically changed this, providing a harmonized EU standard to test to.

To enable its loudspeakers to be used in voice alarm systems in venues across Europe, Community Professional Loudspeakers has applied for EN54-24 Certification of many of its large-scale loudspeaker systems through the international laboratory network of European Notified Body, Intertek. Their newly opened Life Safety & Security testing facility in Leatherhead UK had been developed to accommodate larger products used in fire detection and evacuation and had the capacity to test Community’s loudspeakers which weigh between 40 and 145 kilos.

EN54-24 specifies the minimum requirements for voice alarm loudspeaker as a component of a voice alarm system to provide intelligible warning when a fire emergency has occurred and provides a common method of testing their operational performance. It also specifies the common requirements for construction and robustness under climatic or mechanical conditions that might occur in a service environment.

With EN54-24 addressing the performance of products before and after they have been conditioned by factors such as corrosion, changes in temperature, vibration and impact, Intertek’s test and assessment engineers worked closely with the technical experts at Community to put various models through their paces.

Intertek’s newly built acoustic chamber enables test engineers to take audio readings at 4m as required by EN54-24 and their 998cm3 SO2 corrosion chamber (double the size of most corrosion chambers operating) is capable of conditioning larger products to simulate environmental aging.

Community is ahead of the compliance curve in this project having considered the EN54-24 requirements over a year ago and immediately initiating their plans, ahead of many other large-scale manufacturers selling into Europe.
“Sometimes new standards seem to result in nothing but red tape and bureaucracy”, said Chris Foreman, Community’s COO, “But EN-54-24 actually allows high quality professional audio systems – systems that often exceed the output capabilities of standard emergency products – to be used in emergency applications. Community systems, particularly R-Series Systems, are already the go-to product in Europe for outdoor entertainment systems. Given their exceptional voice capability, we expect that we will continue to enjoy great success as this directive progresses.”
– Ends -
www.communitypro.com
www.intertek.com/life-safety/

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Barber Motorsports Park is Loud and Proud with Community’s R-Series

Birmingham, AL – It was George Barber’s lifelong passion for racing that led him to become a driver with the Sports Car Club of America in the 1960s.

After his father’s death in 1972, the Birmingham native put his racing career on the back burner to take over the family dairy business. But by the late 1980s Barber’s obsession with collecting and restoring vintage cars and motorcycles eventually resulted in one of the most impressive collections in the world, and in 1995 he opened the Barber Vintage Motorsports Museum.

In 2003 Barber sold his dairy business and invested more than $50 million to build the Barber Motorsports Park. The sprawling 740 acre park, just east of Birmingham, is home to the Museum, as well as a 16-turn, 2.38-mile racetrack that has hosted both motorcycle and car racing events ranging from Grand-Am and NASCAR to AMA Superbike and Mustang Club of America.

“The state of Alabama has never had a race course as pristine as this one,” says Lee Brock of Birmingham-based Music Alley, the designer and installer behind the track’s high-end audio system. “It started out as a motorcycle course, but in no time at all it evolved to become one of the area’s most unique racing rings.”

As Brock explains, the track’s fast-growing popularity inspired a series of upgrades including a large-scale sound system covering the entire area. “When Indy got involved a couple of years ago, management decided it was time to get away from those old horns they were using and put in a system with full-range, high-quality sound,” says Brock. “They demoed a whole bunch of different loudspeaker products, and when we showed them the Community R-Series, that’s what decided it.”

The system is comprised of more than 100 Community R-Series loudspeakers, including a mix of R.25, R.5 and R.5SUB models. The R-Series’ legendary power and intelligibility was key to its selection, Brock observes. “The R-Series is unmatched when it comes to getting the announcers’ voices out there so people can understand it,” he says. “It delivers without having to work very hard.” QSC RMX and ISA-Series amplification powers the system, with a Rane RPM-88 providing digital signal processing.

The track hosts a wide range of events, from high-testosterone to more family-oriented fare, and Brock adds that the sound system had to be versatile enough to deliver both power and musicality. “Of course, for a racetrack environment volume is critical,” he says. “But their program material also employs quite a bit of music, from singing the National Anthem to a lot of high-energy material, and sound quality was an important consideration.”

Another major consideration was durability, says Brock. “We don’t get a lot of snow here, but we do get a lot of extreme heat and humidity in the summer, and some heavy winds in the spring. The R-Series loudspeakers survived the tornadoes we had in April, and were still sitting on the wheel fence. Honestly, the system’s been in place for a year now and we haven’t had to replace a single component.”

The track’s wide acreage presented one of the project’s biggest challenges, says Brock. “We had a number of speaker runs that were going to be well over half a mile, and that just wasn’t feasible using copper wire,” he explains. “But we were able to use the park’s existing fiber connections from Race Control over to four corner stations around the park, and convert it to analog from there. There are a lot of nice hills and turns where the fans can sit on the grass, put out a blanket and have a picnic, and now we can get them good quality sound wherever they are.”

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