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A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

API A2Ds Making Headlines at NBC Network News

NBC_News_A2Ds_Closeup2LOS ANGELES, CALIFORNIA: NBC Network News relies on six of API’s A2Ds when filming popular news programs such as Morning Joe, The Today Show, and Nightly News with Lester Holt in their Los Angeles studio. The six A2D mic pre amps are put to work all day long, and are used in both the “Newsroom Set” and “Studio W” or Studio West. Audio engineer Stan Ouse explains: “The backdrop of the Newsroom Set is a functioning news room. In Studio W we support all of the NBC networks and we do shows and live shots all throughout the day. For example, last week we did Hardball with the host plus the guests. That studio can do a single live shot or a whole show, whatever we need.”

Ouse says he’s known about the API brand “since the ‘90s – I had a recording studio of my own here in Burbank.” NBC’s selection of API gear, according to Ouse, was a natural progression after NBC’s recent relocation from the studios in Burbank to Universal Studios. “The previous NBC studio had the API 200 series [processing] and the mic pres. In designing the new racks, I looked again to API for something with an AES signal flow. The APIs had that and an analog out so I could DA the microphones, and they would be available to other control rooms in the building. That basically sealed the deal for me.”

Considering the studio belongs to a major news organization, it is always busy and the work unpredictable. “We never know what we’re going to have to do, it all relies on the news,” Ouse says. That unpredictability makes it “necessary for any of our mics to be available at any time in any of the control rooms for maximum flexibility. We’re starting to implement a Dante system in the studios and we will continue to use our API A2Ds in the process.” Ouse also appreciates his new upgrades even though he had gotten comfortable with the API 200 series, “I like the controls on the A2Ds better.”

NBC purchased all six A2Ds from RSPE in L.A. NBC Network News is owned by NBC Universal.

ABOUT API (AUTOMATED PROCESSES, INC.)
Established 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

Metric Halo’s Thailand Distributor Kimleng Audio Hosts 2015 Competition

KIMMIX_ArtSAFETY HARBOR, FLORIDA – MARCH 2015: Metric Halo’s distributor for Thailand, Kimleng Audio, is hosting KimMix 2015, a Sound Engineer Mixing Competition. The contest is running now and ends March 8th. There is no purchase necessary. Contestants receive a brief training about the Metric Halo product line, which includes high-end multi-channel interfaces and beautiful-sounding plug-ins, and then mix a song provided by Kimleng Audio using a Metric Halo interface, Metric Halo plug-ins, Focal studio monitors & headphones, and the DAW of their choice (Logic, Cubase, or Pro Tools). The training and mixing take place at Kimleng’s demo studio in Bangplee, Thailand.

First, second, and third place prizes will be awarded to both students and professionals. Students can win a Metric Halo 2882 2D Expanded interface or a Metric Halo ULN-2 2D Expanded interface, as well as Metric Halo plug-ins and Focal loudspeakers and headphones. Professionals can win a Metric Halo LIO-8 interface or a Metric Halo ULN-2 2D Expanded interface, as well as Metric Halo plug-ins and Focal loudspeakers and headphones. Complete prize details are here: http://ow.ly/JR7TV

ABOUT METRIC HALO Based on the Gulf Coast of Florida, Metric Halo provides the world with award-winning software and hardware recording, processing, metering and analysis solutions.

www.mhlabs.com

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Metric Halo Supports SCA Spring Fling

PrintSAFETY HARBOR, FLORIDA – FEBRUARY 2015: Metric Halo, maker of high-end professional audio interfaces and plug-ins, is proud to support the Seattle Composers Alliance (SCA). Metric Halo will donate two Production Bundles for the SCA’s online auction in the weeks leading up to its annual Spring Fling fundraising gala, music showcase, and silent auction (Monday, March 9, 2015). The Production Bundle is Metric Halo’s complete collection of great sounding, easy-to-use plug-ins, including ChannelStrip (the enduring classic), Character (signal path modeling), HaloVerb, Precision De-Esser, Multiband Dynamics, Multiband Expander, TransientControl, and the new Dirty Delay.

“The SCA is a non-profit group of professional composers, students, and others interested in composing for film, video games, and other media – as well as concert works,” said Brian Monroney, guitarist, composer, long-time Metric Halo user, and Seattle Composers Alliance Board Member. “We’re pleased to have Metric Halo’s support. Metric Halo interfaces and plug-ins give composers high-end studio quality sound, with reliability, flexibility, and a proven record of future-proofing that further increase their value. Importantly for composers, Metric Halo hardware and software give great results fast. That fuels creativity. The SCA presents a variety of educational and networking events throughout the year, and the money we raise at the Spring Fling will help support these efforts.”

“Metric Halo is dedicated to expanding the bounds of human excellence and the sum of human knowledge,” said Stu Buchalter, Metric Halo’s vice president of worldwide sales. “By bringing likeminded composers together, the SCA fosters innovation and motivates members to achieve greater creative heights. And because Metric Halo strives to provide useful and inspiring tools for professionals in the music and audio industries, we’re a natural fit with the members of the SCA.”

ABOUT METRIC HALO
Based on the Gulf Coast of Florida, Metric Halo provides the world with award-winning software and hardware recording, processing, metering and analysis solutions.

www.mhlabs.com

For more details about the event and the online auction visit: www.seattlecomposers.org

Ashly Saves the Day at Rocky Mountain Classical Academy

RockyMountain_ClassicalAcademyCOLORADO SPRINGS, COLORADO – FEBRUARY 2015: Founded in 2005, the Rocky Mountain Classical Academy is a successful K-8 charter school in Colorado’s second-largest city, Colorado Springs. However, RMCA was split between two locations until the recent completion of a $17 million, 100,000 square-foot building to house all of its 1,000 students, with additional room to grow school enrollment by 33%. The building is community-oriented, featuring lots of open areas and gathering spaces with an abundance of natural light. Among them are an adjacent gymnasium and auditorium. With a clever arrangement of movable partitions, the two facilities share a stage that can be used for a wide range of events. When unforeseen budgetary issues threatening the audio/video systems in both rooms, the school district hired local A/V integration firm Sight & Sound Technologies to engineer a fix that would preserve the hoped-for functionality and reliability at a more affordable price. Sight & Sound swapped out the original design’s pricey processors and amplifiers for Ashly Audio’s affordable, network-ready DSP and nX Series amplifiers.

“As sometimes happens, the new building ran into extra expenses that they hadn’t planned for,” said Kris Johnson, COO with Sight & Sound Technologies. “They brought us in, and we got as close to the original system’s functionality as we could while still passing on a savings that amounted to hundreds of thousands of dollars. A significant component of that was moving to Ashly processing and amplification, which offers tremendous value in performance and reliability at a much more affordable cost. Importantly, all of the Ashly equipment that we installed is network-ready, so we can dial into the system from our offices to make any adjustments that the school requests.” In addition to the two sound reinforcement systems, Sight & Sound installed a Martin Professional PC-based control system with Chauvet Ovation series fixtures-based lighting system and a Panasonic HD projector/Draper motorized screen-based video system.

To handle the huge range of functions anticipated in the original design, Johnson installed an Ashly ne24.24M Protea™ digital matrix processor that, with the help of a Crestron control system, allows users to select preset scenarios and make adjustments to individual input channels. An Ashly ne4800 4-in x 8-out Protea DSP System Processor handles loudspeaker conditioning for the auditorium side, and an Ashly 3.6SP 3×6 DSP processor handles loudspeaker conditioning for the gymnasium side. A collection of five Ashly NE and nXe-Series network amplifiers, including an ne8250 8-channel 250W amp, an nXe4002 2-channel network 400W amp, two nXe8002s 2-channel network 800W amps, and an nXe1.52 2-channel 1,500W network amp, power the system. Tannoy VX12Q mains with six Tannoy VX6 fills cover the gymnasium, whereas Fulcrum DX1595 mains with US212 subwoofers cover the auditorium. Inputs to the system include a Behringer x32 console on a digital snake and an assortment of wired and wireless microphones. For simple events, the Crestron control system handles everything, so a tech is not needed.

“Ashly has been my go-to processor and amplifier manufacturer for years,” said Johnson. “I always know exactly what I’m going to get, and I love the programming interface. At RMCA, we did all of our programming ahead of time at the office, which made for a smooth installation. Ashly’s sound quality is excellent; it’s always clean and quiet. In fact, I don’t even think to worry about that anymore! The Ashly Protea processing is flexible enough that we were able to give the school all of the functionality they had hoped for in the original design. Ashly’s reliability has always been bulletproof, so I know we won’t be going back to deal with flakey gear.”

He continued, “Several school officials, including the president of the board, have to come to us to say how amazing the system is and how pleased they are that we made it work with their restricted budget. Before we came in, there was talk of cutting the A/V system entirely! It’s quite a turn-around.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A.
www.ashly.com

ABOUT SIGHT AND SOUND TECHNOLOGIES Sight and Sound Technologies exists to help churches, school and other organizations with their audio, video, lighting systems.  Designing full building integrated systems down to simple equipment purchases. Based in Colorado SST works all over the country.
www.sightandsoundtech.tv
facebook.com/sightandsoundtech
@sightnsoundtech

Additional Danley Speakers Handle Seating Expansion at Life Pentecostal Church

LifeChurch_RockRun_Interior_1JOLIET, ILLINOIS – FEBRUARY 2015: Life Church of Rock Run is a Pentecostal church in Joliet, Illinois with an unabashed flair for engaging, contemporary services. Outfit with drums, bass, guitar, keyboards, and plenty of spirit, Life Church rocks its message every Sunday. Knowledgeable in technical matters, the church had acquired a high-performance Danley Sound Labs sound reinforcement system but for budgetary reasons had omitted low-end from the system. Understandably, the church was keen to shore up that omission, and it timed subwoofer installation to correspond with the addition of new seating that would require additional system coverage. The church hired Chicago-based Advanced Systems & Technologies (AST) to design and install the additional coverage and to overhaul the existing system. To Life Church’s existing Danley SH-60 and SH-DFA, AST added two Danley SH-mini loudspeakers for fill, four Danley SM-100M loudspeakers for on-stage monitors, and two thundering Danley TH-115 subwoofers.

“With the new added seating, Life Church can now accommodate approximately four hundred,” said Terry McCarthy, partner and systems specialist with AST. “The church knew they had good speakers but the installation was greatly lacking in proper coverage and tuning. In addition, there was no low end. For our part, we knew we’d be able to get the existing Danley speakers tuned up nicely – the bigger issue was extending coverage and frequency response. Based on their exceptional fidelity and pattern control, it made sense to stick with Danley boxes for the new fills and subwoofers.”

LifeChurch_RockRun_Interior_2The original system is comprised of a single Danley SH-60 for main coverage with a Danley SH-DFA for down-fill, both flown from the main beam of the sanctuary’s A-Frame architecture. In addition to the new coverage the church’s sound system had been pieced together over the years and was in great need of a professional up fit. AST removed all the inadequate cable and outdated components, installed proper wiring, new amplification and several new Danley boxes. Two Danley SH-mini loudspeakers were installed stage left and right. This gives great coverage to the new seating, as well as to areas that were lacking proper coverage from the original install. Two new Danley TH-115 subwoofers were also added providing Life Church with the low-end, fidelity and thump that it was missing. Four new Danley SM-100M loudspeakers give the Pastor, vocalists and musicians the same transcendent experience that was formerly reserved for the house.

AST installed QSC PLX-series amplifiers to provide clean, reliable power. They also installed a Juice Goose power sequencing system to protect the loudspeakers and minimize unnecessary hands turning things on and off. AST also re-tasked an existing Symetrix Jupiter 8×8 DSP and tuned the system to perfection.

“Once all the new gear was installed and tuned we worked closely with the Pastor and worship team to dial everything in. This is a critical element to make an installation complete,” explains McCarthy. “It allows us to see how the system is being used, provide essential training, and it adds an element of personal service that we’ve become known for. The final tuning is done “Live.” This way we can make discreet adjustments during a normal Sunday morning experience. The church leaders, worship team and church members alike all expressed how excellent the system sounds. It was a total win!”

Pastor, Brent A Brosam added, “Life Church of Rock Run purchased our current facility five years ago. After moving in we struggled with some major challenges with our sound. The existing church building was built in the 1960s and not conducive for good sound. After failed attempts to fix the problems, we contacted Terry McCarthy of AST – Advanced Systems & Technologies, to install a Danley system, and I am so glad that we did. With the help provided by the folks at AST & Danley Sound Labs they were able to detect and find proper applications to meet our unique sound challenges. Finally our sound is exactly what we have been looking for to enhance our weekly services. The sound is incredible now. Problems solved!”

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

Ashly Audio Appoints Sound Directions Ltd as Its Exclusive Distributor in the United Kingdom

Ashly_SoundDirectionsWEBSTER, NEW YORK – FEBRUARY 2015: Ashly Audio, manufacturer of high-value, high-performance amplifiers, signal processors, and user-interfaces for the installed sound market, announces the appointment of Sound Directions, Ltd. as its exclusive distributor in the United Kingdom. Closing in on two decades at the forefront of the education, hospitality, house of worship, theater, government building, and museum sectors for installed sound, Sound Directions caters to consultants and A/V integrators with peerless systems knowledge and a free system designing and programming service. The Chessington, Surrey-based company will distribute Ashly’s entire line of products, including Ashly’s networked multi-channel amplifiers, Protea DSP-equipped amplifiers, and customizable user interfaces, such as Ashly’s client-dazzling iPad app.

Stanislas Boivin-Champeaux founded Sound Directions in 1998. “From the very start, we’ve worked closely with our customers to demystify the vast array of technologies that are available in the installed A/V market,” he said. “When it benefits our clients, we happily design and program systems that work flawlessly under the pressures and challenges of the real world. We’ve seen countless systems designed by others that left end-users with a system that they did not understand and could not operate. We go the extra mile to ensure that this is never the case for the systems we design. A job is never complete until everyone is perfectly satisfied.”

The effort Sound Directions puts into system design and programming for its audio professional clients is unique among distributors,” said Mike van der Logt, EMEA sales manager with Ashly Audio. They have a strong technical team that has depth of experience in the markets their customers operate in. They understand the pressures their customers face and work alongside them to create on-time solutions, within budget. That ultimately wins more projects for everyone involved. We’re pleased to partner with such a well-respected and forward-thinking distributor. Our existing UK customers will be pleased, and we expect Sound Directions’ reach to win legions of new Ashly fans.”

“We have travelled the world to pull together a portfolio of products that work flawlessly together, and Ashly Audio has a well-deserved reputation for building reliable, well-engineered solutions at exceptionally competitive prices,” said Boivin-Champeaux. “Ashly’s hardware, software, and user interfaces complement our existing partner brands perfectly, and their products are very flexible and Dante- and CobraNet-compatible, allowing us to leverage Ashly solutions in a huge range of designs.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

Producer/Engineer Jack Miele Finds the Right Tools with Daking

DCIM100GOPRONEW ORLEANS, LOUISIANA – FEBRUARY 2015: Based in New Orleans, Jack Miele is a talented producer, engineer, and multi-instrumentalist with several Grammy nominations, and Emmy and Silver Telly wins to his name. His long list of high-profile clients includes Blues Traveler, Zac Brown Band, John Oates, Better Than Ezra, and Ani DiFranco; a list that just so happens to include a handful of the projects that have benefitted from Miele’s discovery of Daking analog processors. Miele works out of Music Shed Recording Studios and his own project studio both of which are now well stocked with Daking equalizers and compressors.

Part of Miele’s success derives from his ability to clearly articulate his goals. “My goals as a producer are different from my goals as an engineer,” he said. “When I’m producing, I’m almost working as a psychologist to get the artist to forget about the stress and technology of the studio so that they can deliver an authentic performance that will connect with listeners on an emotional level. It’s all about believability and honesty, and when you get it right, you allow the artist to transfer a message to the listener. As an engineer, I’m trying to find a recording chain with gear that complements the artist. Just as everyone’s voice is different, everyone’s playing and performance is different. Their attack, their release, how hard they hit the strings or the drums or their own vocal cords. It’s all touch and feel and it’s all different for every artist. Somewhere out there exists a piece of gear with electrical characteristics that work best with a particular artist’s nuances.”

He continued, “So in my view, a big part of being a good engineer is knowing the characteristics of the tools I use. Just as a carpenter or a surgeon knows which particular tools are best for a particular situation, the engineer has to size up the talent and build a signal chain that will bring out their best qualities.” Miele’s friend, accomplished mastering engineer Bruce Barielle, introduced him to the Daking Mic Pre/EQ. “Bruce said that Daking had come out with an EQ in the spirit of the Trident A-Range, and so I obviously got excited,” Miele said. “The minute I turned the knobs, I knew I had to have it. Nothing else in my collection, which includes API, Neve, SSL, Universal Audio, Summit, Empirical Labs, had the same sound. The Daking Mic Pre/EQ is a unique tool.”

Miele often uses the equalizer and mic pre sections independently. “The Daking mic pre is brilliant and modern-sounding,” he said. “It’s very open and fast. I find it works great on acoustic instruments – guitar, cello, or grand piano – and female vocals – or really anything that I want to capture with a beautiful, open top end.” Because he has two Mic Pre/EQs, Miele frequently adds their equalizer sections to the mix buss on his Amek console. “I add or subtract a few frequencies and it just snaps the whole mix into place,” he said. “The equalizer section has a beautiful, smooth color. It adds brilliance without being harsh, and the number of bands and their range of parameters makes it tremendously versatile.”

Given his success with Mic Pre/EQ, Miele explored the rest of the Daking product line and fell in love with both the Daking FET II Compressor and the Daking Comp 500, which fits the 500-Series module form factor. “They’re both great, and they’re very different from one another,” he said. “The FET II is my favorite vocal compressor – there are very few vocalists that it isn’t perfectly suited for. In an act of due diligence, I tried ten compressors on John Oates’ vocals, and the FET II – more than any other – brought them to life. The fixed release times are useful and I often dial them in, but the auto-release feature is special. It’s very pleasing to the ear and can get a whole track breathing organically. I love it.”

Although Miele expected a small version of the FET II in the Daking Comp 500, he got more than that. “It’s an incredibly transparent compressor,” he said. “In fact, the first time I put it on, I had to triple check that it was actually working. The gain reduction was flashing and the track was holding in, but I didn’t hear the ‘sound’ of compression that I’m used to. The Comp 500 is incredible on drums. In fact, I wish I had one for every drum! It can grab the transients without squashing the hell out of them. It can get in and get out so that the drums stay punchy.” Miele put the Comp 500’s transparency to good use when he recorded Jessica Lange’s vocals for a sung David Bowie cover scene in American Horror Story. “Unlike records, where listeners expect artifacts, sound for screen has to be a lot more transparent,” he explained. “The Daking Comp 500 gave Jessica’s vocals the sound we needed without giving them an obvious ‘compressed sound.’” Miele also applauds the Comp 500’s Stereo Link feature, which works flawlessly and allows him to apply transparent compression to his mix buss.

“If it sounds good, it is good,” Miele summarized. “There are no rules. Sure, you can learn the ‘rules’ first and then break them, but you ultimately have to trust your ears. As excited as I am about Daking, I try never to fall into a ‘pride of ownership’ mistake… applying a certain piece of gear just because it’s the newest or most expensive. That said, almost everything sounds awesome through Daking. The Daking FET II Compressor and the equalizer section of the Daking Mic Pre/EQ have a definite color and vibe that’s really pleasant. The Daking Comp 500 and the mic pre section of the Mic Pre/EQ are really transparent and colorless. They’re a great set of tools to work with.

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

Danley’s Massive New Caleb Horn Debuts at the University of Iowa’s Kinnick Stadium

University_Iowa_1IOWA CITY, IOWA – FEBRUARY 2015: The University of Iowa Hawkeyes football team plays all of its home games in the 70,500-seat Kinnick Stadium, which is located on the west side of campus. It is adjacent to residences on one side and to campus buildings on the other side, one of which is the University Hospital. Although it’s fair to say that almost all Iowans stand behind the Hawkeyes (there is no pro team in the state) it’s also true that Iowans who are recovering in the hospital deserve peace and quiet, even on game day. When school officials became disenchanted with the lo-fi sound and poor coverage of Kinnick Stadium’s old sound reinforcement system, they worried that elevating it to modern standards would only increase game day complaints from the hospital. Those worries have been allayed. Kinnick Stadium’s new high-powered Danley Sound Labs system – the first in the world to use the massive Caleb Horn – delivers reference-monitor-quality audio while keeping sound energy in the bowl. The new audio system provides Danley’s famous pattern control, rich low-end, airy high-end, unrivaled speech intelligibility, and prevents appreciable spillover into the adjacent neighborhood and hospital.

“As Hawkeye management and fans traveled to other stadiums, they kept hearing sound systems that were far better than the one they had at home,” said Marvin Smejkal, owner of Sound Concepts (Cedar Rapids, Iowa), the company under retainer with the University for audio system maintenance and operation. “As the complaints mounted, they asked us to research the sound systems in the five best stadiums they had heard. Three of the five were Danley systems, which resonated with my previous experiences involving Tom Danley’s creations – I was a huge fan of his ServoDrive subwoofer back in the 1980s and 1990s. Based on previous experience and a very impressive blind comparison, we recommended a Danley system for Kinnick Stadium.” The design, installation, and commissioning was a collaborative effort by consultant Anthony James Partners (Richmond, Virginia), with input from Sound Concepts and Danley Sound Labs.

“The design of the new sound system presented a number of significant challenges,” said acoustician and Director of Danley University Doug Jones, who designed the speaker system using Danley’s new Direct modeling software. “Architectural considerations ruled out a distributed system, so we were asked to throw sound eight hundred feet across the stadium… without affecting the hospital just beyond. The only way to do that is with highly directional horns, which is Danley’s specialty.”

Although a range of Danley components – including Jericho Horns and BC-415 subwoofers – contribute to coverage of the entire bowl, the real hero in Iowa is Danley’s new Caleb Horn. Measuring ten feet tall by four feet wide by five feet deep, the Caleb Horn delivers precision pattern control to extremely low frequencies and provides seemingly magical coverage of the opposite stands – and little else – at Kinnick Stadium. It is a single, massive horn with 108 drivers (12 x 18-inch drivers, 32 x 6-inch mid-range drivers and 64 x one-inch high-frequency compression drivers, 40 x 15 degree coverage pattern) with a frequency response that extends down to 30Hz.

“Danley’s Caleb Horn is a game changer,” said Larry Lucas, director of audio engineering at Anthony James Partners. “Given the architecture of Kinnick Stadium, the Caleb’s default 15 by 40 degree beam width was perfect to hit the far section, but Danley was willing to modify the horn exit to hit any target we required. Apart from the precision coverage, which extends to vastly lower frequencies than can be obtained with any other solution, the Caleb shares another Danley feature: clean, musical sound without comb filtering or other interference issues.”

Kinnick Stadium is the first project to use Danley’s new freely available Direct modeling software from conception to completion. Unlike other modeling software, Direct makes predictions down to subwoofer frequencies, which allowed Jones to predict the low-frequency interactions around the bowl and, critically, at a point where the stadium is open to the hospital. By carefully adjusting the timing and phasing of the subwoofers relative to the Caleb’s substantial low-frequency content, Jones placed a low-frequency null near the hospital within the Direct software. The predicted null translates to reality; although the crowd will still enjoy abundant bass, the nearby hospital is significantly spared. “In addition to being accurate across the spectrum, Direct is very quick to render and easy to use,” commented Jones.

University_Iowa_2To either side of the Caleb Horn, a Danley J3 Jericho Horn paired with a Danley J4 Jericho picks up the distant sideline seating. The J4 is a highly-directional, high-frequency array of 64 compression drivers that compensates appropriately for atmospheric losses. Mike Hedden, Danley president commented, “The J4 is a very unique product. Sound from 64 compression drivers seamlessly exits the large format horn via a patented combiner system. This allows unprecedented audio quantity and quality to be provided at extremely long distances. The J4 is capable of reproducing audio several octaves higher than the competition, sounds much more natural, covers a larger area, and is a better value.” Another pair of J3 Jericho Horns, one on each side, provide near-throw coverage of the main seating areas. Despite their placement on the scoreboard, which is right above the near end zone seating, Danley’s exceptional pattern control allows them to operate “without liquefying the fans immediately below,” in the choice words of Hedden. Four Danley SH-64s are time-aligned and balanced on the near side to complete the even and consistent audio coverage in the stadium. Adding icing on the cake (for those who love a little bass) are four Danley BC-415 subwoofers that complement the Caleb’s low-end output and can shake the press box windows down to 21Hz. Arranged two tall by two wide, the configuration provides a favorable front-to-back output ratio, again keeping energy in the bowl and off the street. Lab Gruppen amplifiers with integrated Lake processing power the system with nearly 150,000 watts.

“Unlike the stadium’s old system, the new Danley system provides independent zone control,” said Smejkal. “Special events used to be a nightmare because we had to more or less engage the whole system, which added to the noise complaints. Now, we’re able to fire up only certain components of the Danley system. It sounds better, doesn’t waste energy, and keeps the neighbors happy. Even with the entire bowl audio system operating, we found in recent testing that areas around the stadium, where noise complaints used to be frequent, that sound from the stadium is now unmeasurable over ambient background volumes. The reduction in sound spill out of the stadium is truly amazing.”

With the new Danley Caleb Horn paired with six Jericho Horns, four Danley SH-64s, and four BC-415 subwoofers, Kinnick Stadium is capable of SPLs it will never have the opportunity to tap into. But all that sheer muscle – usually taken as the primary measure of a sound system’s mojo – is really just a side effect of the system’s extreme pattern control. “There’s no other way to get that kind of pattern control down to such low frequencies,” said Jones. “That was a huge issue at Kinnick Stadium. As a bonus, they will run the system considerably below its potential, which will keep components cool and extend its lifetime.”

Like other Danley systems, Kinnick Stadium was comparatively easy to commission. “Line array systems involve a huge numbers of boxes, all of which interfere with each other in complicated ways,” continued Jones. “They require delicate aiming, endless tweaking, and plenty of DSP manipulation. Even after all that, the results are never satisfying to an audiophile – they involve huge compromises, especially at larger distances. In stark contrast, we can simply point Danley’s horns where they need to go, and we’re most of the way there. I used only five EQ points for the entire system! We mainly adjusted levels so that the small overlap zones were consistent. The whole process took only six hours.”

Kinnick stadium currently houses the best point source, long throw audio system ever assembled, until the next Danley Sound Labs innovation again changes the playing field.

ABOUT DANLEY SOUND LABSDanley 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

Highland Park Baptist Church Prepares for the Future with Danley Speakers and Ashly Processing and Amps

HighlandPark_Church_InteriorCOLUMBIA, TENNESSEE: As it approached its hundred-year anniversary as a congregation, Highland Park Baptist Church in Columbia, Tennessee sought to revamp its four hundred-seat sanctuary. It hired Church Interiors of High Point, North Carolina to help design and organize the work, which included structural and aesthetic improvements, as well as a new Sharp/Extron video system based around three huge LED screens and a cutting-edge sound reinforcement system. Now, Danley Sound Labs horn-loaded loudspeakers and subwoofers deliver musical and highly intelligible sound, with power and processing supplied by rock-solid Ashly Audio amplifiers and digital signal processors. The sound system is zero compromise, exceeding Highland Park’s hopes for fidelity and quality while still meeting their budgetary requirements.

“Highland Park’s old sound system had an undersized sixteen-channel board and frustratingly uneven coverage,” explained Wayne McKinney, sales engineer with Church Interiors. “They have solidly traditional services with a strong choir, piano, and organ, but they’re looking to incorporate more contemporary elements. They needed the new sound system to deliver better coverage and intelligibility for their existing program material and to facilitate (and not hinder) their anticipated growth.” Although McKinney was able to repurpose or reuse some of the old system’s components, such as a CD player, a CD recorder, and several up-to-date wireless microphones, most of the system had to be replaced.

HighlandPark_Church_Speakers“We ran several models and found that Danley loudspeakers and subs gave us much better coverage with significantly fewer boxes than the alternatives,” continued McKinney. “The performance would be better, particularly in terms of pattern control, and the cost would be lower. You can’t beat that. Moreover, the fewer Danley boxes give an overall cleaner look. It’s neat and tidy. Because the sanctuary has an over-balcony and an under-balcony, we used a delay system to supplement the main cluster.” Two flagship Danley SH-50s provide main seating coverage from above the stage, with a Danley TH-118 subwoofer mounted in the organ chamber for low-end support. Two delayed Danley SH-Micros cover the lower balcony while three cover the upper balcony.

Two Ashly 4.8SP four-by-eight Protea™ DSP system processors handle the output from an Allen & Heath GLD 112 console to deliver the perfect dynamics and frequency domain characteristics for the Danley loudspeakers and subwoofer. Six dual-channel, 1,000-watt-per-channel Ashly KLR-2000 amplifiers and three dual-channel, 1,600-watts-per-channel Ashly KLR-3200 amplifiers power the system. “I’ve been a fan of Ashly processing and power for over twenty years,” said McKinney. “They’ve always maintained excellent build quality and always come through with knowledgeable, fast customer service. The Ashly KLR-Series amplifiers give the Danley system the punch it needs at a very competitive price point. The Ashly processing is super easy to use, and all of the algorithms are transparent.”

With its newly renovated sanctuary up and running, Highland Park Baptist Church is well positioned for its next century of service.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

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

Tropical Oasis Houses API 1608 in Studio Getaway

Gileah_Chris_TaylorDESTIN, FLORIDA: Destin, Florida, already a destination getaway, is now even better thanks to the efforts of Ocean Reef Resorts owner and recording artist Chris Taylor, who recently added a private studio to the Miramar Beach location. He and his wife, Gileah, wanted a place to record music and experiment with sound without leaving their beach-side home and they knew API could help them create such a unique space. The idea was especially attractive because it eliminated the need for them to travel to Nashville or Los Angeles as they had in the past to achieve high-quality recordings.

The new studio is set apart not only because of its location, but also because the Taylors want it to remain private for as long as possible. “The resort is a family-owned business but this is just going to be for me and my wife. Hopefully it won’t ever have to become a commercial space.” Instead, Taylor hopes that if others come to use the studio, they will find it relaxing and rejuvenating. “We’d like to host writers’ retreats for specific people down at the beach. It’s really, really cool to just hang out, and it’s beautiful inside.” The space is currently unnamed, though the Taylors unofficially refer to it as “War Horse Studio.”

Taylor started considering the API 1608 for himself around 2007. “I was tracking a record of my own at EMI in Nashville and Allen Salmon had a lunchbox® and some of the [API] EQs. I thought it was really powerful and from then on I started noticing API everywhere!” By the time Taylor tested the 1608 at Vintage King’s demo facility in Nashville, he knew he’d need one of his own. “The time frame and the footprint on the 1608 impressed me more than others I was considering, but it was really as simple as using one. It’s easy to work with and that’s the whole goal!” The 1608 is not Taylor’s only piece of API gear; he also has an 8-slot lunchbox and a JDK R22 compressor, and he says ease-of-use is a shared trait among his API equipment. “With the lunchbox, I have EQs and compressors loaded in, and recording is as easy as just turning it on.” He adds, “You can tell the 1608 is a solidly built piece of gear. It’s like having a Range Rover parked out front.”

For more please see chrisandgileah.com and oceanreefresorts.com

ABOUT API (AUTOMATED PROCESSES, INC.) Established 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

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