A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

DRAWMER’S TEC AWARD-NOMINATED MC2.1 MONITOR CONTROLLER SHOWCASED AT WINTER NAMM

LAS VEGAS, NEVADA – JANUARY 2014: Whether it’s at the recording stage, the mixing stage, or the mastering stage, Drawmer MC2.1 Monitor Controller gives engineers all of the tools they need to deliver great recordings that will translate anywhere. It has two essential assets that are rarely found together. First, the MC2.1 Monitor Controller is designed and quality-controlled to provide a pristine, ultra-low distortion signal path and amplification stage that transparently conveys the signal at its selected input from 20Hz to 40kHz, +/- 0.2dB. Second, it provides comprehensive I/O selection to permit quick, benchmarked comparisons across four inputs, three loudspeaker outputs (with an additional mono output), and two headphone outputs. All outputs have individual left/right trims to permit perfect volume matching. A talkback microphone and comprehensive mix-checking controls (left/right cut, phase reverse, mono, dim, and mute) complete the MC2.1 Monitor Controller’s feature set.

“Everyone knows that if you can’t properly hear what you’re recording, mixing, or mastering, you can’t be sure that the end result will hold up,” said Brad Lunde, president of TransAudio Group, the U.S. distributor of Drawmer’s legendary and growing line of signal processors. “The new Drawmer MC2.1 Monitor Controller was painstakingly designed by Ivor Drawmer and his team of engineers to possess brutally honest circuitry that will reveal every nuance at its input, both the good and the bad. Moreover, its comprehensive collection of inputs, outputs, and mix-checking features will speed an engineer’s workflow and make referencing different loudspeakers and headphones easy. This is a significant advancement over the status quo of comparable products.”
US-MSRP $650.00

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

STOP BY AND SEE US AT NAMM 2014, BOOTH #6945

API ANNOUNCES THE WEST COAST DEBUT OF “THE BOX” AT NAMM – PLUS THREE NEW 500 SERIES MODULES

JESSUP, MARYLAND – JANUARY 2014: API’s professional project studio console, THE BOX, was the hit of AES in New York City, and now API showcases it at NAMM 2014 in Anaheim, California to the west coast recordists. THE BOX is the ideal analog console for small studios that are centered on DAWs, providing four input channels with preamps and processing; sixteen channels of classic analog summing (twenty at mixdown); cue sends with talkback; and monitor control. Most importantly, THE BOX uses the classic discrete analog circuitry that is found in all of its products, including the 1608 small format console and the Legacy Plus and Vision large-format consoles.

API also debuts three new 500 Series products at NAMM: the new eight-slot 500-8 lunchbox®; the 505 DI direct input, which like the module-based API 205, accepts a guitar, bass or keyboard direct input while minimizing any loading effect on Hi-Z instrument pickups; and the 565 Filter Bank module with circuits that are true to the musical filters of the famed 215 module found in large format API consoles.

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment. www.apiaudio.com

STOP BY AND SEE US AT NAMM 2014 BOOTH #6204

RF VENUE AND PROFESSIONAL WIRELESS PARTNER ON INNOVATIVE PRODUCTS AND SERVICES

ASHLAND, MASSACHUSETTS – JANUARY 2014: In a unique supply agreement, RF Venue remote antennas, RF distribution equipment, and other accessory products for wireless microphones, IEMs, and intercoms are now available through Professional Wireless Systems, a Masque Sound company.

“Professional Wireless’ team is among the elite groups in wireless audio system configuration, coordination, and management worldwide,” commented RF Venue CEO Chris Regan. “We are thrilled to add our products to their RF toolkit and now be able to offer our customers the best in class frequency coordination and onsite RF services.”

RF Venue’s innovative Diversity Fin, RF Spotlight, and CP Beam antennas represent all-new approaches to solving signal dropout and interference problems for wireless audio systems of all sizes. Professional Wireless offers a complementary range of RF hardware and software systems in addition to a wide range of consulting, design, and show management capabilities.

“Quite simply we found kindred spirits with Chris and his team at RF Venue,” stated Geoff Shearing, president of Masque Sound and Professional Wireless. “We share a passion for solving RF problems for users of wireless audio products and I am greatly looking forward to the exciting things that will come from this collaboration.”

ABOUT PROFESSIONAL WIRELESS SYSTEMS As a wholly owned subsidiary of Masque Sound, Professional Wireless Systems specializes in developing brand new gear for the increasing demands of RF equipment. PWS supplies and supports wireless systems for any kind of live and broadcast event. www.professionalwireless.com

ABOUT RF VENUE RF Venue is a new wireless audio company specializing in remote antennas, RF distribution equipment and RF signal management and monitoring systems for audio/video installations and live sound events. www.rfvenue.com

ASHLY PROCESSING, AMPLIFICATION, AND CONTROL AT ROCHESTER, NEW YORK’S HISTORIC SIBLEY BUILDING

ROCHESTER, NEW YORK – JANUARY 2014: The “new” Sibley Building in downtown Rochester, New York rose out of the ashes of the original Sibley Building, which served as the city’s first department store and burned down in 1906. It has remained an architectural fixture ever since and was admitted to National Register of Historic Places in 1984. The lower levels serve as retail space and help to anchor Rochester’s current downtown revitalization. Its public areas recently benefited from a sound system overhaul that centered on processing, amplification, and control provided by commercial audio manufacturer Ashly Audio of nearby Webster, New York.

“Although it had been fine when it went in, the old sound system was twenty years old,” said Alan Clayton, sales representative with the local integration firm, The Presentation Source, that designed and installed the new system. “The owners wanted to add some outdoor loudspeakers to the entrances, and they wanted to be able to play different music sources at different entrances. The old system had zero multi-zone support.” The different music sources will be used to affect some innocuous crowd control: some exciting music at the sidewalk entrances to draw in passers by and some not-so-exciting music near a different entrance to discourage loitering.

A new Ashly ne24.24M modular matrix processor outfitted with four inputs and twelve outputs forms the heart of the new system, and an Ashly neWR-5 networked remote control provides relevant user controls. “The neWR-5 is a great way to give the client just the right amount of control,” said Clayton. “It’s a fine line. I want to allow them to do everything they want to do, but not allow them to get into trouble. The neWR-5 lets me hone in on just the right amount.” To power the existing indoor loudspeakers as well as the new One Systems outdoor loudspeakers, Clayton installed an eight-channel, two-rack space Ashly ne8250.70 amplifier.

“A lot of things go into choosing this kind of equipment, not the least of which is the inclusion of local manufacturers when possible,” said Clayton. “That’s especially significant given the historic nature of the Sibley Building. Just as important is our previous experience with Ashly equipment and Ashly support. Both are excellent. The equipment sounds great, holds up reliably, and the people at Ashly are very easy to work with.”

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

www.ashly.com

Symetrix SymNet Edge Deployed at Atlanta’s Stone Mountain Park

ATLANTA, GEORGIA – JANUARY 2014: On a clear day, you can see downtown Atlanta from Georgia’s Stone Mountain Park, and crowds flock there from the city and the surrounding states to enjoy the park’s awe-inspiring geology and nature. In addition to a massive laser, fireworks, pyrotechnics, and projection show that has operated on summer evenings since 1983 and is almost synonymous with Stone Mountain Park, the park’s attractions include the mountain itself, camping, a cable car to the summit, a collection of historic plantation buildings, Geyser Towers playground, the Sky Hike family ropes adventure course, a children’s activity area, and Crossroads Base Camp, a town with restaurants, retail stores, a movie theater, mini-golf, and craft stores. With so much going on, the owners hired Atlanta-based Full Spectrum to begin deploying a Symetrix SymNet Edge Dante networked audio DSP system that will grow and eventually expand to cover all of the park’s attractions via an inexpensive CAT5 network.

“The owners built Crossroads about a decade ago, and the original sound system did a passable job of supplying background music,” explained Paul Creasy, partner at Full Spectrum. “But as the development grew and several of the establishments set their sights on more and different events, the constraints of the original system became apparent. The upshot was that they needed something that was completely flexible. Moreover, the owners wanted to expand system coverage to several of the other attractions, but they didn’t want to have to start from scratch every time they expanded. The Symetrix SymNet Edge DSP system offered the perfect solution. Each Edge frame has modular I/O, and its open architecture programming allows us to customize system features and performance. The fact that the Edge DSP system networks via Dante will allow us to easily expand across the park.” Currently, eight SymNet Edge frames populate Crossroads, each in a different building.

“We do niche A/V,” said Creasy. “You can’t call up a preset for a place like Stone Mountain Park. I appreciate the flexibility and intuitive layout of SymNet Composer open architecture software. It’s easy to work with, even with a complex system like this one. Moreover, any time I have a question, Symetrix’ tech support is available and ready with an answer.” Within the next year, Full Spectrum plans to expand the sound reinforcement system via Dante and additional remote Edge DSP units to incorporate the Plantation, the Sky Ride cable car complex, and, perhaps most exciting, Stone Mountain’s famous laser show!

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

LSU ROARS WITH DANLEY!

BATON ROUGE, LOUISIANA – JANUARY 2014: The Louisiana State University Tigers football team plays all of its home games at Tiger Stadium on the school’s Baton Rouge campus. Nicknamed “Death Valley,” the stadium’s deafening roar of 92,500 Tigers fans is notorious for scrambling the communications and sapping the confidence of the Tigers’ unlucky opponents. Indeed, the NCAA ranked Tiger Stadium as the loudest stadium in college football, noting as an example that fans’ euphoric response to a last-minute LSU touchdown in 1988 measured as a minor earthquake on the campus seismograph! Despite this, Tiger Stadium persisted until recently with an underpowered sound reinforcement system that one list-serve commenter likened unfavorably to a car radio. No more. With a beefy Danley Sound Labs sound reinforcement system that includes eighteen Jericho Horns and six “Rock Monster” subwoofers, Tiger Stadium’s music playback system is now positioned to whip LSU fans to even greater fervor.

“The old system was expressly designed for public address, not music playback,” explained Larry Lucas, director of audio engineering for Anthony James Partners (Richmond, Virginia) and the person responsible for designing LSU’s new sound reinforcement system. “Given the game-day experience demanded from fans these days, a serious upgrade was a necessity. The point-source system that we designed flanks the LED screen on the north end of the stadium and throws eight-hundred feet across to the south end zone seating. With the Danley Jericho Horns, we were able to throw 8kHz that full distance with program material that measured 105dBA. That’s an unprecedented technical leap!” Baker Audio of Norcross, Georgia installed the system.

Fourteen Danley J3-64 full-range Jericho Horns comprise the bulk of the new system, while four Danley J4-31 high-frequency Jericho Horns contribute to the system’s amazing high-end throw. Six Danley TH-812 “Rock Monster” subwoofers fill out the bottom of the system with thunderous low end. Four Danley SH-96s, four Danley SH-64s, four Danley SM-80s, and twenty Danley SH-MINIs provide fill for areas not directly covered by the Jericho Horns. A 32-channel Yamaha LS9 provides a familiar front end, while a QSC Q-Sys processing system feeds twenty-four Lab.gruppen PLM 10000Q and 20000Q amplifiers behind the scenes.

Mike Hedden, co-founder and president of Danley Sound Labs commented. “We measured the frequency response of the completed system at hundreds of positions around the stadium and the system is remarkably consistent with solid bass down into the mid 20Hz region and top end extending into the 10kHz range even at seats eight-hundred feet away. This is unprecedented performance in a venue this size and could only be achieved within the limitations of the scoreboard using Danley’s unique technologies.”

The north end scoreboard sits over eighty feet from ground level, and each loudspeaker and subwoofer had to be lifted individually by crane to that height. Then the Baker Audio rigging crew set up a beam trolley system with rigging motors to lift each set into position, to secure final rigging hardware, and to lock in the angles and aiming points. Because Tiger Stadium is in a hurricane zone, everything had to be slightly over-engineered to make sure that the rigging tolerances would hold up to hurricane force winds.

“There are always questions about how a system’s real life performance will compare to the acoustical models we work with in the design process,” commented Chris Moore, senior project manager with Baker Audio. “Given the throw distances at Tiger Stadium, a few degrees in coverage pattern or small variables in the overall acoustic performance could have been very time consuming to correct in the field. No one wants to do a redesign in the field, especially given the rigging elements that we had to use on this job. Thankfully, the Danley speakers performed exactly as the design models predicted they would, so we did not have to change any rigging angles or aiming points once we had the speakers hanging in the air. That made the installation process fast and efficient. It’s always a good day when everything performs as planned.”

“The Danley J3-64 Jericho Horns, together with the additional Danley fill speakers, combined to provide uniform coverage throughout the stadium, including the far upper end zone seating,” said Doug Stancil, senior engineer with Baker Audio. “The coverage was complicated by Tiger Stadium’s extended sideline seating, which reaches up to 175 feet at its highest point. The Danley system covers all of those seats very well. I was also impressed by the performance of the Danley TH-812 subs in the far field. Although I have been in stadiums where the low end starts to fall off at the fifty-yard line, this is definitely not the case at Louisiana State University. Fans will feel the full impact of the ‘Tiger Roar’ wherever they sit!”

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

GREG SUCHOMEL JOINS SYMETRIX TEAM AS TECHNICAL SALES ENGINEER

SEATTLE, WASHINGTON – JANUARY 2014: Symetrix – a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories – announces experienced A/V engineer Greg Suchomel has joined the team as a Field Technical Sales Engineer. Based in New Jersey, Suchomel will promote Symetrix products in the East and Northeast regions in North America by delivering technical certification and specialization training to Symetrix partners and supporting Symetrix partner eco-system with both remote and on-site design and installation help.

“We are excited to welcome Greg to our growing Symetrix sales and support team,” said Craig Richardson, vice president of global sales. “He has over twenty years of real-world A/V experience and a broad background in conferencing and audio system design and installation. His expertise will be a key component in our strategy to increase focus and technical coverage for our partners in the East and Northeast.”

“Symetrix has a great history in the industry with current and future forward-thinking products and solutions and is focused on making life sound better, a philosophy that very much appeals to me,” said Suchomel. “Audio is a critical piece of the puzzle and I’m looking forward to helping Symetrix build the best solutions possible.”

Symetrix designs and sells DSP equipment for managing audio in a broad range of commercial applications used by large and small businesses, retail establishments, houses of worship, hotels, restaurants, sport venues, schools, and more. Symetrix DSP expertise and software design tools are the preferred solution for thousands of unique applications in venues worldwide. As an acknowledged provider of best in class DSP management products, Symetrix is dedicated to making life sound better.

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

NOMINATED FOR TWO 2014 GRAMMYS, MIX ENGINEER GARY NOBLE GOES WITH METRIC HALO’S 2882 INTERFACE, PLUG-INS AND SPECTRAFOO

SAFETY HARBOR, FLORIDA – JANUARY 2014: It’s been a busy year for Grammy Award-winning mix engineer and avid blogger Gary Noble. His two highest-profile projects each earned a Grammy nomination for Best Urban Contemporary Album. The first nominated work is Mack Wilds’ New York: A Love Story, which was released earlier this year on Louder Than Life/Sony Music. Producer and frequent collaborator Salaam Remi brought that project to Noble for mixing, and he also asked Noble to mix three of the tracks on his own work, ONE: In the Chamber, which was released on Flying Buddha/Masterworks and also earned a Grammy nomination. For the latter work, Noble mixed Remi’s collaborations with Ne-Yo, Corinne Bailey Rae, and Stephen Marley. As always, Noble relied on his Metric Halo 2882 interface for monitoring and 80-bit summing; the Metric Halo Production Bundle plug-ins for flexible, great-sounding processing; and Metric Halo SpectraFoo sound analysis software to ensure the technical perfection of his work.

For both projects, Noble mixed at either 88.2kHz or 96kHz, depending on the recording rate. In a few cases, the original material was recorded at 44.1kHz or 48kHz, and Noble up-sampled the files to the higher rates for consistency. “I’ve been using my Metric Halo 2882 on a daily basis for a decade, and it has worked flawlessly,” Noble said. “Metric Halo has been great about keeping it up to date; working at higher sampling rates is never a problem. The only problem I ever experienced wasn’t the unit’s fault… a bus-powered FireWire drive had a bad port and damaged the 2882. I shipped it to Metric Halo and had it back in fine order a few days later with a 2D upgrade.” Although he admits it is a bit of a cliché, Noble states that his 2882 is like a Swiss Army Knife. He can use it for all things audio wherever he goes, including hotel rooms. Several of the tracks on New York: A Love Story and ONE: In the Chamber progressed in hotel rooms with the help of the 2882 and a pair of good headphones.

The Metric Halo Production Bundle of plug-ins played a prominent role in Noble’s Grammy-nominated mixes. The most creative use was perhaps to help Mack Wilds’ vocals pop against the backdrop of a luscious recording of a full orchestra. “The Multiband Dynamics plug-in is great for sounds that take up a lot of space,” Noble said. “The orchestra tracks were huge and beautiful, and I didn’t want to sacrifice that. But at the same time, Mack’s vocals had to figure prominently in the mix. I used Multiband Dynamics to carve out a space from the orchestra to make room for Mack.” Noble also used HaloVerb to liven up tracks that needed it and Character to impart an organic, analog feel to tracks that sounded too digital by themselves. Of course, Noble’s longtime favorite plug-in, Metric Halo’s ChannelStrip, played a prominent role as well, providing analog-sounding equalization and flexible dynamics processing on almost every channel.

Metric Halo SpectraFoo is an indispensible part of Noble’s workflow, and these two Grammy-nominated albums are no exception. “I always run SpectraFoo in the background when I mix,” he said. “And I always check it to see that what I’m hearing is accurate, and it’s especially useful in unfamiliar rooms. It’s not uncommon to have the low end sound okay in the room, but SpectraFoo shows me that it’s too much or too little. It’s a good reference that’s free from the variables that can affect sound in a particular room.”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

DANLEY JERICHO HORNS THROW 600 FEET AT BOISE STATE UNIVERSITY

BOISE, IDAHO – JANUARY 2014: Boise State University is justifiably proud of its Broncos football team, which has only lost four games at home since 1999. In ninety-one other contests, the visitors left Bronco Stadium’s famously blue field in defeat. As the program gained regional and national notoriety, Bronco Stadium grew from 14,500 seats to its current 36,000, but the stadium’s original sound reinforcement system failed to grow with it. When a local beef producer promised money to update the stadium’s similarly outdated scoreboard, the university scrambled to match money so that it could leap forward with a cutting-edge video board and sound reinforcement system. Although the timing was far from ideal, local A/V integration firm Production Services International complemented the scoreboard expertise of Daktronics (Brookings, South Dakota) by designing, installing, and commissioning the new sound reinforcement system in just six short weeks. Danley Sound Labs delivered its high-SPL, high-fidelity, USA-built Jericho Horn loudspeakers, BC subwoofers, and OS-80 weatherproof loudspeakers to meet that tight deadline, and the results are, by all accounts, fantastic.

“The original system was designed for a much smaller stadium, and it was pretty much designed for speech only,” explained Brian Kohagen, the sales and audio engineer with PSI who designed the new sound reinforcement system and oversaw its installation and commissioning. “The Boise State University marketing department was forever asking for a high-energy, full-range sound system that could really pump up the crowd.” Kohagen drew up his original value-engineered design with a different loudspeaker manufacturer, but the 120-day timeline placed some serious challenges in the way. “It all came together so fast, it was hard to find any manufacturer that could deliver,” he said. “I had heard a Danley system at Brigham Young University, so I knew that Danley’s growing reputation for high-SPL, high-fidelity stadium sound systems was well-founded. I spoke with [Danley President] Mike [Hedden], and he assured me that their US-based manufacturing plant could deliver.” And they did.

He continued, “The real challenge at Bronco Stadium is throwing sound from the scoreboard clear across the field and past the other end zone to the opposite seating two-hundred yards away. There is no place for a real distributed system to exist, as there is no roof system at Bronco Stadium. It has to be an end fired single source.” Four Danley J3-64 Jericho Horns, two on each side of the new Daktronics scoreboard, provide the lion’s share of the coverage. Their exceptional pattern control keeps the sonic energy on the fans and prevents it from spilling outside of the stadium – an important achievement given neighbors’ frequent complaints about the old system’s pattern-free leakage. Four Danley OS-80 weatherproof Synergy Horn loudspeakers provide fill for the seating area directly below and in front of the new scoreboard where the Jericho Horns overshoot. “We easily met all of our coverage and SPL requirements,” said Kohagen. “All of the Danley full-range boxes have tremendous clarity, and we were fortunate not to have to rig any fly system. The catwalk in front of the scoreboard gave us perfect aim. All we had to do was make some adjustments left and right and then lock them in place.”

For low end, Hedden recommended a pair of Danley’s new BC-415 subwoofers, which are designed to provide exceptional bass response and exceptional directivity, especially when two units are coupled. Kohagen used them that way, placing both subwoofers just above a pair of the J3-64s. “Wow, does that bottom end throw!” exclaimed Kohagen. “It’s amazing! I can sit two-hundred yards away on the stands behind the opposite end zone, and the bass still shakes the structure. It’s completely full range and sounds fantastic. Everybody that we’ve talked to has been extremely happy with it.”

Kohagen was pleased with his first-time experience working with the people at Danley Sound Labs. “Mike [Hedden] helped me out with the preliminary design,” he said. “In the weeks running up to the installation, I was completely in the loop regarding the manufacturing and shipping schedules. When it came time to commission the system, [Danley Application Engineer] Chad [Edwardson] flew out to help me voice the system. He was extremely knowledgeable and we finished the job in just one day. There were a few challenges as well, and Danley was right on top of them. One of the subwoofer drivers had glue that had not set properly, which I discovered during testing at the shop. I was on the phone with [Danley Chief Engineer] Ivan [Beaver] Sunday before the first game, and we had the replacement on Tuesday.

The most memorable moment was during the system commissioning, when we powered up the subwoofers to see what they could do. “The video board installers had been working all day and prevented a full system test up to this point, so we hadn’t heard the system at full volume,” relates Kohagen, “At 4pm we got the all clear that they were off the structure, and we lit up the low end. About sixty seconds later my phone was ringing, the head football coach was asking how long this was going to take. It turns out, his office is directly below the scoreboard, and the low end coming off the BC 415s was shaking the wall and items on his shelf. One picture actually fell off the wall.” At that point, I knew we had a kickin’ system in place, and the response from the football fans have been nothing but positive.

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’S NETWORK MATRIX PROCESSOR AND AMP SIMPLIFY USER CONTROL DURING STRESSFUL TIMES AT MICHIGAN FUNERAL HOMES

ROYAL OAKS, MICHIGAN: A.J. Desmond & Sons Funeral Directors have been serving families in suburban Detroit, Michigan for nearly a century. The family-owned business has maintained a commitment to serving the bereaved and the community as a whole through counseling, grief recovery groups, and other educational programs, earning A.J. Desmond & Sons Funeral Directors multiple Pursuit of Excellence awards from the National Funeral Directors Association and induction into the association’s Hall of Excellence. This is not a firm that operates by half measures, and so the small frustrations that accumulated from their sound system at the Royal Oaks location motivated them to hire Abel Electronics of St. Clair Shores, Michigan to build a state-of-the-art sound reinforcement system with intuitive operator controls. Now, an Ashly Audio ne24.24M matrix processor, a ne4250.70 multi-channel amplifier, and (critically) three WR-5 programmable remote controls give the funeral home robust, easy-to-use sound reinforcement.

“They used to have to go into the equipment closet to select input sources or change the gain for music or microphone inputs,” explained Mark Monarch, owner of Abel Electronics. “Different people would be in there, and none of them were necessarily technically inclined. It was easy for the gain structure to get messed up.” With an improper gain structure, of course, the sound quality wasn’t commensurate with the caliber of service that Desmond is known for. In addition, the sound system was old and ready for replacement. With Ashly’s modern user control solutions, Abel Electronics could robustly and inexpensively supply each of the home’s three visitation rooms with its own customized control.

At its heart, the new system consists of an Ashly ne24.24M processor outfitted with eight inputs and four outputs paired with a four-channel Ashly ne4250.70 amplifier. The amplifier delivers 250W per channel to new 70-volt SoundTube in-ceiling loudspeakers. In addition, a Marantz USB recorder allows loved ones to record a funeral service. Four new AudioTechnica wireless microphones (two handheld and two lavalier) join two existing CD players and two auxiliary inputs (suitable for iPods and the like) on the input side. Perhaps the most important improvement from the user’s perspective is the addition of three Ashly WR-5 programmable remote controls – one for each sub-dividable space. Monarch programmed them to allow appropriate selection of inputs, input volumes, and output volumes. In addition, they allow simple room combining functionality.

“We love working with Ashly equipment,” said Monarch. “It’s easy to use, easy to program, and we have zero problems with it. We have no customer call backs on account of Ashly gear. Once it’s set, it’s set, and the sound quality is excellent. Desmond loves the new user control because no one has to go into the equipment closet anymore. The closet is now under lock and key! They understand the WR-5 and are happy to have all of the relevant controls so accessible.”

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

www.ashly.com

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