A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

VIETNAM TELEVISION (VTV) INSTALLS EIGHT SYMETRIX SYMNET EDGE DANTE AUDIO DSPs

SEATTLE, WASHINGTON: Vietnam Television, or VTV, is the largest broadcaster in Vietnam and has been in operation for over forty years. With six nationwide broadcast channels currently in operation and two more under development, VTV is building a state-of-the-art infrastructure. Recently, HD Vietnam, the Symetrix distributor located in Hanoi, supplied VTV with eight SymNet Edge DSPs. HD Vietnam designed and installed this new audio backbone, and their customer, VTV, programmed the system without additional assistance – a testament to SymNet’s ease of use.

Each of the eight SymNet Edge frames has four slots to accommodate different input or output formats. VTV loaded them up with an even split of four-channel digital input and four-channel digital output cards. They accept and return digital audio to and from a server and studios via AES. The Dante network connects all of the frames together, effectively pooling all of the inputs, outputs, and DSP resources into one massive audio processing hub. “A big part of what VTV was looking for in the new system was the ability to route any input to any output,” explained Nguyen Huyen Dieu, owner of HD Vietnam. “They wanted full matrixing and audio processing on all channels.” In conjunction with the SymNet Edge system, Ross Video audio de-embeders and audio embeders strip and re-associate audio with its respective video stream.

“The SymNet Edge is a unique processing system,” said Dieu. “It is very powerful and flexible, yet easy to program. Symetrix has proven its reliability in the Vietnamese broadcast industry through its long line of broadcast processors.” Because VTV’s programs are currently broadcasting in multi-channel audio to serve different dialect regions and because program material frequently possesses only two-channel information, VTV uses the SymNet Edge processing to enable a smooth transition. Whenever program material on channels three and four is absent, the SymNet Edge processor duplicates channels one and two on channels three and four.

“VTV is very happy with the capabilities of the SymNet Edge system, and the VTV engineers are also very happy with its ease of use,” said Dieu. The national broadcaster is already planning new HD channels that will employ SymNet Edge processing. If VTV grows beyond its current I/O count or DSP resources, it will be a simple matter to add input/output or more Edge frames and to connect them seamlessly to the existing system via the Dante network.

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

SYMETRIX EXPANDS LIBRARY OF APPS FOR JUPITER TURN-KEY DSP

SEATTLE, WASHINGTON: Symetrix announces the addition of seventeen new apps for its family of Jupiter app-based turn-key DSPs. The three different hardware units in the series – Jupiter 4, Jupiter 8, and Jupiter 12 – differ only in their input/output counts and are user-controllable from Symetrix ARC wall panel remotes, third-party systems, and Symetrix ARC-WEB browser-based software for smartphones. The addition brings the total number of available Jupiter apps close to one hundred and expands the already impressive range of situations for which the Symetrix Jupiter provides reliable processing at an extremely competitive price point.

“We’ve been listening to our customers,” said Trent Wagner, senior product manager at Symetrix, “and we’ve carefully chosen the new apps to release to ensure they offer functionality that addresses the breadth of requests we’ve received. Additionally, we’ve enhanced nearly all of the existing apps with multi-channel gain and mute controls to simplify user control.”

Everyone loves a free app that has more functionality, saves time and makes the user look smarter than the next guy (or gal). So, go to our website and download the apps that will make your next Jupiter installation a virtual breeze.”

Six core apps form the heart of the addition and are elaborated according to the input/output counts of the three Jupiter hardware devices. “BGM Zone Mixer 1” provides background music routing to multiple zones with two levels of priority. “Dual Matrix Mixer 1” provides flexible mixing and routing and allows integrators to assign any input to a mix, assign those mixes to submixes, and route submixes to outputs. “Gain-Sharing Automixer 3” provides a gain-sharing automixer with feedback processing on the outputs together with matrixed outputs. Similarly, “Gating Automixer 3” provides a gating automixer with feedback processing on the outputs together with matrixed outputs. “Priority Zone Mixer 2” provides a multi-zone priority mixer with paging and SPL computing. Finally, “Sound Reinforcement 12” provides heavy input processing and full-range outputs with feedback processing.

The growing library of Jupiter apps are optimized for specific applications and venues including houses of worship, auditoriums, retail and hospitality establishments, sports facilities, and transportation terminals. The time needed to learn the software is zip. With Jupiter turn-key DSP sound contractors end up doing what they do best, which is to dial in really great sound.

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

MOONRISE ROOFTOP SOUND SYSTEM USES ASHLY PEMA 8250 PROCESSOR/AMPLIFIER

ST. LOUIS, MISSOURI: Although it is only a few years old, the Moonrise Hotel in the Loop district of St. Louis, Missouri is already a cultural icon. Cut from no mold, the unique, 125-room hotel incorporates space-themed décor and a five-star attitude to deliver a one-of-a-kind experience in a neighborhood that is already well regarded for its originality and authentic culture. Half of the Moonrise Hotel’s L-shaped roof served as an outdoor bar right from opening day, and the hotel recently expanded to cover the entire roof. Consistent with its top-flight approach, the Moonrise Hotel hired local live sound and A/V integration firm ISI Installations, a division of Ironman Sound Industries, to design and install a great audio system for the extension. Ironman in turn relied on Ashly Audio processors, amplifiers, and user controls to deliver fidelity and reliability at a fair price.

“The owner is well known in the Loop district,” said Chris Schlueter, design specialist with Ironman Sound Industries. “He’s environmentally conscious and also a savvy businessman. He loved the idea of mounting solar panels on the hotel, and, since they could double as a shade roof, it was an easy decision.” The new rooftop bar will mainly be used as a small wedding or event space, so the sound system had to be able to deliver sound from in-house sources and to accommodate a DJ’s output. Importantly, the system had to be “DJ-ready” because the hotel did not want them bringing in their own “five-million watt systems” (Schlueter’s joking words) at the risk of disturbing sleeping lodgers below.

Inputs to the new system include a Yamaha five-disc changer with a flexible USB input, a Muzak service, a wireless microphone, and two wall panel jacks positioned at strategic locations, with XLR and RCA inputs each. The inputs feed an Ashly Pema 8250, which includes a comprehensive 8×8 Protea™ DSP Matrix Processor together with an eight-channel amplifier (250W per channel at four ohms) in just two rack spaces. Outputs from the Pema 8250 feed six Yamaha IF2208 loudspeakers, four Yamaha VS6 loudspeakers for the outside patio, and three Yamaha IS1112 subwoofers.

“We’re primarily a rental company, but we’re happy to do installations for established customers like the Moonrise Hotel,” said Schlueter. “That said, we can use whatever gear we want. I had recently been introduced to the Ashly Pema series, and I admit I kind of freaked out. I’ve done a lot of mid-scale systems, and the Pema’s capability at its price point is awesome. For a fraction of the cost of other such systems, I can give the client a two-rack space solution that contains everything inside a black box. There’s nothing for them to mess up! In addition, the fact that it’s network-ready right out of the box makes it easy to connect in from the CAT5 jack that we put by each of the two wall panels. For events, I can control the system without having to go behind the bar, where the day-to-day user control is located.”

That day-to-day user control is an Ashly FR-16 remote fader panel. “It’s neat and tidy,” commented Schlueter. “Other user interfaces include menus. I like how straightforward the FR-16 is. Each fader controls the volume and/or mute of an input source. It’s so simple. And the small but significant fact that Ashly placed the labels behind glass is nice. There’s nothing for the staff to pick off or overwrite.” The system is “user-proof,” so to speak.

Now that the new system is installed, the staff who work the old bar are petitioning for the same sort of upgrades. Ironman Sound installed an XLR line that goes back and forth between the two systems so that one bar can listen to the content of the other. “That’s good, but it doesn’t allow independent selection in the old bar,” said Schlueter. “Nevertheless, it’s nice to see evidence that everyone’s excited about the system we put in! Maybe we’ll end up revamping the old bar sooner rather than later?”

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

API 1608 FEATURED IN FIRST EVER HIGH SCHOOL RECORDING STUDIO

NASHVILLE, TENNESSEE – AUGUST 2013: The Grand Opening of the new recording facility at Nashville’s Pearl-Cohn Entertainment Magnet School on May 8th featured the first API 1608 console in a high school setting. Many important names in the recording industry rallied to show their support of the “Music Makes Us” initiative by welcoming the new API-equipped studio, which will serve almost nine hundred students this year alone.

Built in 1986, the Pearl-Cohn Entertainment Magnet High School is located in north Nashville and is the sole entertainment magnet school in the country, offering courses in everything from audio engineering to television broadcasting. With the hard work of The Recording Academy® Producers & Engineers Wing® members and a partnership with the Warner Music Nashville label, this world-class facility is the home of the first ever student-run record label. The API console will serve as a major part of the school’s Academy of Entertainment Management and Academy of Entertainment Communication divisions. Students will learn audio production from song creation to production and on to distribution.

The school’s motto, “Together as One” rang true as a wide variety of important pro audio individuals contributed to and celebrated the opening of the studio. The Recording Academy® P&E Wing® as well as Nashville Mayor Karl Dean, Senior Vice President of A&R for Warner Music-Nashville Scott Hendricks, and API President Larry Droppa were among some of the attendees at the ribbon cutting ceremony for the expert-designed $1.2 million multi-room facility and control room.

“What a tremendous opportunity it is to have such a facility in a high school,” commented Larry Droppa at the introduction. “API is honored to have placed a 1608 as the centerpiece for audio education in the Pearl-Cohn school. Our ongoing commitment to support young and upcoming students in audio engineering is well represented by this, the first high school anywhere to have a 1608.”

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

(PHOTO CAPTION) (From left to right) Terry Palmer, (Terry Palmer Services); Ben Fowler, (Producer/Engineer and P&E Wing Committee Member); Steve Durr, (Owner, Steven Durr Designs and P&E Wing Committee member); Vickie Perdue, (Acoustics In A Box/Perdue Acoustics); Jay Perdue, (Acoustics In A Box/Perdue Acoustics); Larry Droppa, (API President/Owner); Jon Randall Stewart, (Singer/Songwriter/Producer and The Recording Academy Nashville Chapter President); Jeff Balding, (Producer/Engineer and P&E Wing Sub-Committee Chair); Julian King, (Producer/Engineer and P&E Wing Committee Member); Chuck Ainlay, (Producer/Engineer and P&E Wing Committee Chair).
(PHOTO CREDIT) Courtesy of The Recording Academy®/WireImage.com © 2013. Photo by Frederick Breedon.

ASHLY GETS INTO THE PUNCH BOWL!

PORTLAND, OREGON – AUGUST 2013: Punch Bowl Social is a unique entertainment concept that got its start in Denver, Colorado and is steadily making its way to a city near you. The second and most recent Punch Bowl Social occupies 32,000 square-feet on the top floor of Pioneer Place Mall in downtown Portland. Within that space, patrons can bowl, sing karaoke, shoot pool, throw darts, play ping-pong, shoot marbles, play board games, rock ‘80s video games, and more. Of course, Punch Bowl Social patrons can also grab a drink (often literally from a punchbowl) or dine on delicious, creative fare. The idea, of course, is that in the age of big screen TVs, the human animal still craves connection, and games and music have provided the context of that connection for millennia. To keep the music engaging, Denver-based A/V integration firm PRIME used Ashly Audio processing at both locations.

“Punch Bowl Social proved to be a far greater success in Denver than the owners had dared hope for,” said Robert Higdon, owner of PRIME. “The Denver location is expansive, but still considerably smaller than the new Portland location. In Denver, we used a single Ashly ne24.24M to do all system routing and conditioning for the Flexsys F8, F12, and F15s over the lanes. The owners were so pleased with Higdon’s solution that they hired PRIME to design and install the system at the new Portland location.

One of the new features at Portland is a pair of karaoke rooms that groups can rent for private parties. A single Ashly ne24.24M outfitted with sixteen inputs and eight outputs raises their sound quality far beyond the standalone karaoke systems that bars typically employ. Four wireless microphones per room allow group performances in combination with a cloud-based karaoke server. A Lexicon dual effects processor provides the professional polish that takes ace karaoke stars to the next level – and softens the rough edges of newbies. Powered loudspeakers from dB Technologies provide robust output, and users can dial in appropriate volumes for the music, their voices, and the effects from an Ashly FR-8 wall-mounted remote control. Because the FR-8 provides a simple slider for each function, users can operate it successfully with zero training.

The main sound reinforcement system at Portland’s Punch Bowl Social uses a separate Ashly ne24.24M. Inputs include five cable boxes, a Blu-ray player, two DJ inputs (one per each side of the building), a jukebox, a paging server, and an Apple Airport Express that can stream Spotify, Pandora, and the like. dB Technologies Flexsys F8 loudspeakers and Sub 15D subwoofers populate twelve output zones logically divided by amusement type. Three separate sets of four bowling lanes get a pair of F12s and a Sub 15D hung by chains from the ceiling. A Crestron control system paired with an Apple iPad mobile pro app provides input selection and volume control. The control features a schematic of Punch Bowl Social from above. Users tap the section they want to control and make the necessary adjustments.

“For every project I’m involved in, I try to give the end user the best sound quality possible,” said Higdon. “I always use Ashly processing, and I carefully tune each zone at commissioning. Sound quality is evident to me because I work with sound for a living, but sound quality is just as important for patrons who aren’t audio professionals. For them, it’s a subconscious thing. If the sound quality is lacking or, worse, annoying, they’ll want to leave. That, of course, is the last thing the owners want. But a well-tuned system is fantastic. My favorite thing to do when a job is finished and open is to go back and watch people enjoying it. I see them singing along, bopping their heads. That’s almost payment enough for me.” Higdon will be accompanying the Punch Bowl Social enterprise as it heads to Austin in a few months.

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

MIX ENGINEER ARIEL BORUJOW EXPANDS HIS METRIC HALO PALETTE TO INCLUDE THE PRODUCTION BUNDLE

NEW YORK, NEW YORK – AUGUST 2013: Ariel Borujow is chief engineer at New York City’s Stadiumred studios (www.stadiumred.com) and a multi-platinum, Grammy-nominated mix engineer who has worked with artist and producers such as Kanye West, Madonna, The Black Eyed Peas, P Diddy, J-Lo, Chiddy Bang, Just Blaze, and others. His success stems from his passion for audio, which makes his typical ten-hour day (clocked seven days a week) the key ingredient in a life well lived. Indeed, when we caught up with him, Borujow was happy to be getting back into that groove after being sick for a few weeks. “I didn’t know what to do with myself,” he laughed. “I was just stuck there, roaming around in my apartment, which is usually just a place to sleep at the end of a long day. I guess the upside is that I got to know my apartment better?” Now back in the studio, Borujow is finishing up projects with Modern Machines, Charlie Red, and Low Country Kingdom using the Metric Halo Production Bundle, which includes ChannelStrip 3, TransientControl, Multiband Expansion, Multiband Dynamics, Character, Precision DeEsser, and HaloVerb plug-ins.

Modern Machines (www.facebook.com/ModernMachines) is a pair of New York City producers who are making some of the most engaging and danceable electronic dance music on the planet, and Borujow recently mixed their single, “We Are the Night.” “They come from an engineering background, so the tracks sounded good coming in,” he said. “Nevertheless, they gave it some grit on purpose, and the challenge was to keep that feel while making sure the music would still translate effectively at a dance club.”

Borujow was a longtime user of Metric Halo’s ChannelStrip 2, and he’s pleased that ChannelStrip 3 retains the same “out-of-the-box sound” while adding features that make it even more functional and flexible. “The size is great and the interface is even more intuitive, but the most exciting improvement is the incorporation of a spectrum analyzer,” he said. “It’s a big deal and it’s on almost all of the Production Bundle plug-ins.” As with all of his mixes, Modern Machines benefitted from plenty of ChannelStrip 3. For the all-important kick drum, he used ChannelStrip 3 to dial in the right timbre and dynamics and then used TransientControl to punch it up. “I’ve used other manufacturers’ transient plug-ins,” Borujow said, “but Metric Halo has given TransientControl something that is noticeably better, but in a subtle and interesting way. I can’t exactly put my finger on it, but there’s no doubt that it really improves the dynamics without over-processing them.”

Borujow is using a slightly different part of his brain to mix Charlie Red [www.wearecharliered.com], a duo that fuses hip-hop, blues, and rock to come up with a very unique style. The music is all live instruments and the band recorded the tracks at home. “These guys are real artists and they go by feel,” Borujow said. “All of the tracks are masterfully performed, but some of the technical stuff needed polishing.” Again, he used TransientControl to add shape and dynamics to the drums, and ChannelStrip 3 found use everywhere. The tracks were also noisy at times and Borujow used the Multiband Expander to carve out the noise. The very accurate spectrum analysis feature allowed him to zero in and position the bands for maximum effect.

Because Charlie Red’s recordings weren’t made in a purpose-built live room there was a certain “boxiness” to the recordings. Rather than EQ out the room mode frequencies, Borujow used Multiband Dynamics to carve them out dynamically. “Again, the spectrum analyzer was a tremendous help,” he said. “To lessen that boxy sound, Multiband Dynamics is preferable to EQ because EQ tends to lose something. Multiband Dynamics leaves the life in the recording. It’s a much more pleasing solution. Metric Halo’s version sounds great and is quick and easy to work with.”

With another “this meets that” description, Borujow finds Low Country Kingdom (www.lowcountrykingdom.com) at the intersection of Gorillaz meets the Beastie Boys. “These guys are just super musical! They produced all the music in Logic and sent me the stems,” he said. “To give it more of a ‘sound,’ I used Character. I especially like the ‘American Solid State’ algorithm. It’s subtle and not overboard, and it doesn’t sound digital. It sounds authentic. It’s been a go-to plug-in and setting for me lately. It’s all over the Low Country Kingdom album.” He also used the Precision DeEsser quite a lot. “I use it a lot of the time for vocals, sure, but I use it for a lot of other instruments as well,” he explained. “For example, the Low Country Kingdom snare sound was a little too bright at times. Rather than EQ it out, which kills those frequencies even when they’re not annoying, the Precision DeEsser allows me to keep them down only when they’re too much. I put the TransientControl behind it, and the snare sounded awesome.”

All three projects benefitted in roughly equal degrees by Borujow’s newfound access to HaloVerb. “I’m a huge fan of the ‘Sizzly Plate’ preset,” he said. “I find that as I get older, I use reverb as much as I used to, but I want to hear it at the front of the mix less and less. It’s more effective as a subconscious thing – an element that puts instruments in a common space. I don’t want to hear it, I want to feel it.” He used HaloVerb for Modern Machines’ synths, Charlie Red’s guitars and drums, and Low Country Kingdom’s vocals.

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

API IN BRAZIL – VISOM DIGITAL AUTHORIZED AS 1608 DEALER

RIO DE JANEIRO, BRAZIL – AUGUST 2013: Brazil’s Visom Digital has become the latest of authorized API 1608 dealers. Joining the ranks of other API distributors in South America, Visom began carrying the API product line back in 2012. “After their obvious success with API module products, it was logical that Visom now take on representation of the 1608,” said Gordon Smart, API’s managing director.

Located in Rio de Janeiro, Visom Digital is a working studio, audio technology development center, and audio equipment dealer specializing in high-quality, high-profile sound recording. “We only sell what we use and this makes all the difference in credibility for our people,” said owner, Carlos de Andrade.

With a wide range of clients, Visom Digital caters to everything from independent and major recording studios to TV and radio stations. “As an engineer I have always used API, as a salesman I believe in the product, and as a businessman it’s just a good seller,” said de Andrade of the API product line. Visom stands behind the products they represent, while aiming to understand the needs of their customers and partners in order to offer appropriate solutions. They also offer after-sales services, such as warranty, installation and training.

“For most distributors a line like API is a gem to be catered to with great consideration of its tradition,” said de Andrade. “For Visom, API is not a brand. It is a passion and a bit of our history. We will not just sell API. We will evangelize and educate our clients on the ownership of an important part of professional audio.”

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

DANLEY SOUND LABS LOUDSPEAKERS AND SUBS WIN THE SHOOTOUT FOR INCLUSION AT MT. MORIAH BAPTIST CHURCH’S NEW SANCTUARY

CHARLESTON, SOUTH CAROLINA – AUGUST 2013: Lou Jones, president of NBS Media Systems in Charleston, South Carolina, has been working with the members of Mt. Moriah Baptist Church for over twenty years. He helped to design and install their previous three sound systems, each a response to the church’s continued growth. Recently, Mt. Moriah expanded yet again, building a new 2,250-seat sanctuary on its property. Again, Jones and his company helped the church meet all of its audio/visual needs. He arranged a sound reinforcement system shootout, pitting three well-regarded line array systems against a Danley Sound Labs point source system. Danley came out on top sonically and, as a bonus, was the least expensive system under consideration. The church used some of the money it saved to add a few extra Danley boxes, which absolutely guaranteed clear, high SPLs required for the full impact of its energetic gospel services.

“They wanted to be absolutely certain that they would have a sound system capable of delivering high-end, concert-quality SPL and low-frequency output for their full production, which includes a 150-voice choir, drums, bass, guitar, sax, keyboards, B3, and soloists,” said Jones. “And they wanted to be rider-ready for touring Christian acts.” It was destined to be an impressive sound system, and the church wanted to be sure it would get the best components available. At the request of the church officials, Jones arranged a loudspeaker/subwoofer shootout, sequentially bringing in four well-respected manufacturers, including Danley Sound Labs.

Except for Danley, the other three systems were all line arrays, consistent with the size and format of the room. All of the systems sounded good, but the church’s task was to pick the best. “They were impressed by the Danley system,” said Jones. “They liked its warm, hi-fi quality. The subs were also tremendous and more than capable of putting out the kind of solid low end that they were hoping for. They had the money in the bank for even the most expensive of the four systems, so their decision was based purely on performance. Nevertheless, the Danley system would save them some money. In addition, the Danley point-source system affords them better sight lines than they would have had with a line array.”

Engineers at Danley Sound Labs assisted Jones with a system model. Three Danley SH-96 HO full-range boxes provide main coverage in an exploded LCR arrangement. The new “HO” suffix on many of Danley’s full-range loudspeakers denotes a new high-frequency element that allows the entire box to operate at higher SPLs with Danley’s characteristic flat, undistorted response. A pair of Danley SH-95-HOs provide delay on either side, and two more SH-95 HOs deliver down-fill for the choir. Two Danley SH-Micros serve as apron fills, and two SH-Minis fill in the dead zones on the Deacon and Deaconess boxes on the platform. Eight Danley SH-LPMs serve as stage monitors. A pair of flown Danley DBH-218 subwoofers convey ample low end from either side of the stage. The DBH-218 is Danley’s nuanced take on conventional subwoofer design. Finally, forty-five Tannoy ceiling-mounted loudspeakers distribute sound throughout the rest of the building. A Yamaha M7CL accepts 48 of 96 possible inputs at a time, and three Biamp Nexia processors provide routing, crossovers, and loudspeaker conditioning. Crown CTs-Series amplifiers power the system. He system also includes a full compliment of stage microphones and six Shure SLX combo wireless mic systems – each including a Shure SM58 handheld mic and a Countryman E6 head-worn mic with belt-pack.

NBS also designed and installed the HD video system for the project. This system includes three two Vaddio HD-19 and one Vaddio HD-20 1080p remote PTZ camera (and they are adding a fourth), controlled by Vaddio’s joystick controller. Video processing and distribution is done using a Roland V1600HD video switcher. Camera inputs are all HD/SDI and outputs to projectors and flat-screens are DVI. There are five Digital Pro E-Vision 7,000 lumens/WUXGA DLP projectors. Two projectors are “stacked” per side to illuminate 16’x10’ VU Easy fixed screens on either side of the proscenium. The fifth E-Vision projector illuminates a Draper 137-inch 16:10 ratio screen above and in front of the choir seating position and behind the proscenium arch (not visible from the audience). Additional flat-screen monitors are located in various areas on the platform on rolling low-profile mounts so that the celebrants can see the video presentation. There are also flat-screens installed in the Pastor’s Study and conference room with numerous other locations in the building being “roughed-in” for the addition of future displays.

The theatrical lighting system was designed and installed, in partnership with NBS, by High Output with local offices in Charleston and headquartered in Boston. Mark Shore from the Boston office was High Output’s lead engineer and designer on the project.

The theatrical lighting system includes twelve LED Prism Projection RevEAL Profile 14 degree color-changing fixtures at the front of house pipe batten position. There are three lighting pipe battens suspended over the platform area, behind the proscenium with thirty LED Elektralight ElektraLED 1018 color-changing wash fixtures with Source 4 barn doors. The system includes a 1×12 opto-splitter, a programmable wall controller and a Leprecan LPC-96V 96-channel console with touch-screen at front of house.

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

DUKE ENERGY POWERS CONFERENCE ROOM WITH SYMETRIX SYMNET EDGE DSP WITH AEC

CLIFFSIDE, NORTH CAROLINA – AUGUST 2013: Duke Energy’s Cliffside Steam Station dates back to the 1930s. It was renovated several times over the decades. It’s most recent renovation, costing nearly $2 billion and incorporating advanced pollution control technologies, went on line recently. The project also included major upgrades to the 1930s-era office space and conference room. The 75-seat venue is now fully-modernized based on a teleconferencing system built around a SymNet Edge Dante network audio DSP, with four-channel AEC card providing state-of-the-art acoustic echo cancellation and noise reduction.

A/V integration firm A Sound Experience of Boiling Springs, North Carolina, designed and installed the system. “Duke is an enormous company and they perform training in different locations,” said Preston Hinson, owner of A Sound Experience. “They required an easy way to assemble people and the conference room was the place to do it.” Even before Duke officials requested teleconferencing capabilities, Hinson had planned to use a SymNet Edge DSP for the room’s audio processing and sound reinforcement. His decision was based on the ease of design and configuration with SymNet Composer software and the fact that SymNet Edge is Dante network enabled. “It’s a large building and there were a lot of scenarios they want to explore in the future,” said Hinson. “We wanted to give them a Dante system so that we can move audio with simple CAT5 wiring which, combined with SymNet Edge, future proofs the system.”

A video presentation system for training was the driver for the conference room renovation. “They didn’t think they had the budget for teleconferencing,” said Hinson. “But with the SymNet Edge frame as the basis for the design, it was a simple and cost-effective to add a SymNet AEC Card to the Edge frame’s modular I/O structure. That relatively small addition gave them all of the hardware and software necessary for state-of-the-art teleconferencing, including acoustic echo cancellation. The result was clean, clear, intelligible audio in the Cliffside room and in the remote locations it connects to.”

Inputs to the system include wireless lavalier and handheld microphones, remote location audio, a DVD player, and VGA and HDMI video. URC KP 4000 in-wall touch panels control A/V source selection, as well as individual and overall volumes. Self-powered ISP Technology SM 650B/W loudspeakers fill the room with sound, and a BenQ 6000 lumen projector delivers crisp video. A Furman sequencer powers the system.

“The system was designed to be simple and end-user friendly – it’s transparent and straightforward,” said Hinson. “There’s a lot of processing going on inside the SymNet Edge and the AEC card that makes it simple and robust. If Duke wants to expand the system in the future, it will be easy for us to move audio via Dante on CAT5 cable.”

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

ASHLY AUDIO APPOINTS NATIONAL AUDIO SYSTEMS (NAS) AUSTRALIAN DISTRIBUTOR

WEBSTER, NEW YORK – AUGUST 2013: Ashly Audio, longtime American manufacturer of professional audio signal processors, amplifiers, and end-user controllers, has appointed National Audio Systems (NAS) to distribute its products throughout Australia. Headquartered in Melbourne, and with satellite offices in Sydney, Brisbane and Perth, NAS has grown in the fifteen years since its founding to become one of Australia’s most trusted audio suppliers for the professional, commercial, and MI vertical markets. Ashly will join NAS’ prestigious line card, which includes d&b audiotecnik, Midas, Klark-Teknik, Cloud, SoundTube, Listen, Chiayo, and inDesign.

“We are happy to work with Ashly because we like the direction they are heading and the range of products they make,” said Richard Hulston, commercial audio sales specialist with NAS. “Ashly just licensed Audinate’s Dante Digital Network, and they are issuing a new DSP and amplifier series that meet the evolving needs of integrators. We see Ashly as a company developing relevant and new products that will satisfy the needs of our customers. We look forward to developing the Ashly brand within our portfolio and within the Australian market. We will build brand awareness amongst our customers through support and training and establish Ashly as a preferred product.”

“National Audio Systems is small enough to care and big enough to matter, without losing focus on the fact they are in business for their customers and suppliers,” said Anthony Errigo, Ashly’s director of marketing communications. “They have an established reputation of looking out for the needs of their customers and commanding an authoritative knowledge of the latest in audio equipment and trends. We at Ashly are pleased to be partnering with them in Australia.”

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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