A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

SYMETRIX JUPITER 12 APP BASED TURN-KEY DSP AND ARC-WEB BRING SMARTPHONE SOUND TECHNOLOGY TO PARK CITY’S GRUB STEAK RESTAURANT

PARK CITY, UTAH – FEBRUARY 2013: Families and friends love to convene at Grub Steak Restaurant in Park City, Utah, and the establishment carves out a unique niche by providing flexible meeting and event space for local businesses, clubs, and revelers. Grub Steak’s spacious dining room is adjoined by the Miner Room and the even larger Moose Room. However, an aging, patched-together sound reinforcement system was making it hard for the management to accommodate the multimedia needs of the restaurant’s rental clients. Performance Audio, of nearby Salt Lake City, designed and installed a new system centered on a Symetrix Jupiter 12 App-Based Turnkey DSP loaded with nearly forty customized presets to cover every conceivable configuration.” Grub Steak’s managers and regular clients select the presets and adjust input and output volumes from their smartphones using robust Symetrix ARC-WEB technology.

“Grub Steak originally had a zone for each of the three main dining and meeting spaces,” explained Jake Peery, system design & installation expert with Performance Audio. “But its collection of old mixer/amps was making it difficult or impossible to get signal from one place to another. We integrated everything with a Symetrix Jupiter 12, which delivers a tremendous feature set for a very affordable price. In addition, we gave them another zone for the restroom and lobby area. Now they can combine, distribute, and adjust inputs any way they like.” The inputs include iPod docks, line level jacks, microphone jacks, a pair of wireless microphones, background music sources, and a live feed from the main dining room’s modest stage.

Peery also created nearly forty custom presets to cover every possible input selection and routing scenario the restaurant management requested. He also created four Symetrix ARC-WEB panels that, with password clearance, can be accessed from any smartphone or other Internet-connected device. Each ARC-WEB panel provides individualized control of a specified zone. “They also recognized that with so much flexibility, they had the potential to dig themselves into trouble,” said Peery. “So we also gave them a hardwired Symetrix ARC-2e wall panel remote in the office with a ‘reset’ selection that recalls a sensible default setup and gain structure.”

A new Ashly TRA-4150 amplifier delivers 250W to each of the four 70V zones. A handful of blown loudspeakers made way for new Atlas replacements, whereas the rest were in good shape and remain with the new processing and amplification.

“I’ve never created so many presets as I did with this job,” said Peery. “But it was easy to do with the Jupiter’s app based programming, and the client is very happy with the system’s new functionality. In fact, it’s so simple to use that Grub Steak has shared the ARC-WEB password with a few regular clients, such as the local Rotary Club.” Chris Haymond, Grub Steak manager agreed, “Yes, the new system is easy, flexible, and reliable. We’re now set up to make excellent use of our meeting and event space.”

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management.  For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

NEW COLUMBIA HIGH SCHOOL STAYS ON BUDGET WITH PERFORMANCE DRIVEN ASHLY AMPS AND DSP

COLUMBIA, MISSOURI – FEBRUARY 2013: The population of Columbia, Missouri grew by over twenty-percent between 2000 and 2010 and is on pace to continue that growth in the current decade. Responding to the obvious need for increased classroom space in a school system designed for a smaller citizenry, the Columbia School District secured funds to build a fourth high school, which will relieve crowding in the existing high schools and middle schools. Muriel Williams Battle High School will open in fall 2013, but already many of its facilities are nearly completed, including band and music rooms that will help jumpstart new musical traditions for the fledgling school. An Ashly ne1600pe amplifier with onboard Protea DSP in each of those rooms will facilitate playback of instructional audio, including stereo recordings of the students themselves.

Lonnie Theer & Associates (Omaha, Nebraska) designed the modest band and music room audio playback systems with an eye toward performance, reliability, and transparent user control, all while meeting the school district’s budget. Each system is an exact duplicate of the other so that faculty and staff need only learn one system to learn them both. “Including only the necessary controls within a robust design make these twin systems just the right speed for the new high school,” said Paul Jonas, director of installations at Theatrical Media Services (Omaha, Nebraska), who installed the system.

A 16-channel Yamaha MG166C mixer provides an intuitive user interface in each room. A handful of microphones, a CD player, and a solid-state recorder form a manageable and flexible input set that’s useful for benchmarking students’ performances against both professional performances and against the students’ earlier performances. One Ashly ne1600pe amplifier with onboard DSP resides in each room, providing equalization, limiting protection, and power for Renkus-Heinz CFX121 full-range loudspeakers. A pair of CFX121s in each room deliver full stereo playback.

“The ease and simplicity of the Ashly ne Series with optional onboard DSP is a real benefit in a job like this,” said Jonas. “Having Ashly’s flexible Protea™ software inside the amp lets us install the system with less wiring and with less time spent wiring. Moreover, there’s a cost savings to having the DSP housed within the amplifier. A separate unit would add significantly to the expense. Ashly’s reputation for building reliable equipment also factors into the benefits.”

The school district will take possession of the new building in the summer, on schedule and on budget.

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

MARLAN BARRY RECORDS TENOR NICHOLAS PHAN AT A MULTI-MILLION STUDIO AND THEN WITH A METRIC HALO ULN-8 AND MACBOOK PRO

NEW YORK, NEW YORK – FEBRUARY 2013: Nicholas Phan is one of the most exciting new voices in classical music today, as evidenced by the tremendous praise heaped on him from just about every media outlet in the country. He frequently records with New York-based sound engineer Marlan Barry, and the two worked together on 2011’s critically-acclaimed Winter Words. The New York Times flagged it as one of the best classical recordings of 2011. The duo joined forces to record 2012’s Still Falls the Rain, which yet again made The Times’ “best of” list. Of course, the talent and artistry of Phan and his fellow musicians, together with the sonic vision of Barry, deserve the credit for those critical acknowledgements, but it’s interesting to note the distinction between the gear used to record those two albums. For Winter Words, Barry piloted the console at a multi-million dollar recording studio, whereas for Still Falls the Rain, he piloted a MacBook Pro interfaced with a single-rack-space Metric Halo ULN-8. Neither session was a compromise.

In celebration of the centennial of his birth, Still Falls The Rain is an album of songs and chamber pieces by composer Benjamin Britten. Philadelphia Orchestra principal horn player Jennifer Montone, pianist Myra Huang, and Harpist Sivan Magen joined the amazing young tenor, and the actor Alan Cumming complemented the music with a reading of Edith Sitwell’s poetry. Avie Records released the recording, which took place within the exquisite and often-recorded acoustics of SUNY Purchase’s Recital Hall C.

In contrast both to the earlier studio recording and to Barry’s previous habit of lugging a studio’s worth of equipment to location sessions, the engineer traveled light for the two-day engagement in Recital Hall C. A MacBook Pro coupled to a pair of Avastor external hard drive served as the recording medium, and Barry’s Genelec monitors provided a familiar reference. Apart from a simple custom talkback system, the only other equipment consisted of microphones, stands, cables, and the Metric Halo ULN-8. “It was very minimal,” laughed Barry. “I’m into minimal these days.”

Four Sennheiser and Schoeps omni-directional microphones provided primary pickup of the musicians and their interaction with the acoustical environment. Depending on the composition and the instrumentation, Barry moved the microphones around to strike a perfect balance between direct pickup and imaging. A pair of Neumann mics covered the room’s nine-foot concert grand Hamburg Steinway D piano. For one of the more essential components of the recording session, Barry also used two Gunter Wagner U-47 tube microphones to capture Phan’s incomparable voice, as well as a stereo pair on the harpist.

“This was the first time I used Wagner’s U-47 without an external preamp,” Barry explained. “I went directly out of the power supply into the Metric Halo ULN-8. I wanted to capture the detailed sound of that mic and its unique tube saturation, without imposing any other circuitry’s coloration on it. Nick’s voice is so light and airy and beautiful – that mic and his voice form a magical combination. Sure, the ULN-8 has circuitry of its own, but I’ve found that unless I’m intentionally using Metric Halo’s ‘Character’ algorithms, the ULN-8’s signal path is refined, short, and transparent.”

Barry cites the Metric Halo ULN-8’s stable integration with his MacBook Pro via Metric Halo’s MIO Console software as a critical component in fostering confidence in the stability of his sessions. Despite using the Metric Halo on a near daily-basis, he has never had so much as a tiny hiccup in its performance. “Conducting a recording session with the rock-solid ULN-8 not only gives me peace of mind, it affects the musicians as well,” he said. “A reliable, high-quality recording setup inspires confidence. It is an amazing testament to Metric Halo that I have never had a single issue with my ULN-8 or its performance on my laptop or desktop.”

When not in session, Barry uses a Metric Halo ULN-8 as the primary interface at his studio. While useful for voiceovers or overdubbing, it more commonly acts as the digital-to-analog converter that allows him to monitor his editing, mixing, and mastering work in Pyramix, Pro Tools, or Logic. “That’s really the last check before a recording goes public,” he said. “Truthfulness is paramount, and I’ve learned that I can trust what I’m hearing through the ULN-8.”

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

METRIC HALO’S ULN-8 CONVERTER PERFECT FOR PRODUCER DOC MCKINNEY

SAFETY HARBOR, FLORIDA – FEBRUARY 2013: Veteran producer Doc McKinney has worked with a wide range of innovative musicians, including Drake, Florence & the Machine, Santigold and most recently, The Weeknd. A close friend and accomplished mix engineer turned Doc on to the clear, faithful preamplification and conversion of the Metric Halo ULN-8. Doc now uses the ULN-8 for most of his audio production work.

“A good friend initially told me about the ULN-8, and when I heard it, I was blown away,” said Doc. “Shortly after that I went to a Santigold show that sounded incredible. Afterwards, her musical director, Ian Longwell, told me they were using the Metric Halo ULN-8 I/O for everything and thankfully put me in touch with them. I absolutely love the ULN-8’s depth and clarity. I feel like I can hear everything. I know it’s a cliché, but it’s really true: there is a night and day difference; the improvement is not at all subtle.”

Doc used the ULN-8 to take The Weeknd’s debut label release, Trilogy, to the next level, both sonically and emotionally. Trilogy is comprised of remixed versions of three lo-fi “mix tapes” that were originally freely available on the Internet. However, the three bonus tracks included were all recorded on the ULN-8. “This started as a lo-fi project, and of course that has its own charm,” said Doc. “But it’s nice to open the songs up and to bring them to a higher level sonically.”

Doc has integrated the use of his Metric Halo ULN-8 into all of his production work. “I work with many different types of musicians, from singer-songwriters – who tend to have everything mapped out in advance – to urban pop or electronic artists, where recording is integral to the writing process,” he said. “The Weeknd is a very fast and very prolific writer. He comes up with a lot of stuff right off the top of his head. Whatever the situation, it’s important to have a transparent and flexible recording process that inspires, rather than kills, creativity. And when the quality of the recording is lacking, it can lead to other production decisions, which is poor compensation for an element that isn’t doing what it should be doing.”

With over 100,000 albums sold in its first week out, Trilogy’s success speaks to the power of great production. After all, everything except its three bonus tracks was freely available on the Internet in a more lo-fi form. “The overwhelming consensus is that ‘Trilogy’ takes The Weeknd to the next level,” concluded Doc.

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

SYMETRIX SOLUS 16 STANDALONE FIXED I/O DSP PROVIDE UNIQUE, ZONE-SPECIFIC AUDIO SYSTEMS IN 50 BEST BUY STORES

SEATTLE, WASHINGTON – FEBRUARY 2013: Starting with a single location in West Saint Paul, Minnesota, in 1966, Best Buy has worked to become the largest electronics retail store in the eastern United States. It currently operates over one thousand stores around the country and in select locations throughout the world. In its rise to the top, Best Buy has innovated and re-conceptualized the way consumers buy electronics, and the company continues to innovate to keep ahead in the fast-paced and ever-changing world of consumer technology. In that tradition, fifty renovated and newly-constructed Best Buy locations are pioneering a new concept in store sound. Rather than blanketing the entire footprint with a wash of music, discrete zones with very little bleed give the stores a feeling of calm and deliberately direct guests’ attention to the sources of the sound. Because of its powerful open-architecture programming, high sound quality, easy networking, and cost-effective pricing, the Symetrix SymNet Solus 16 standalone fixed I/O DSP underpins the new concept.

“They wanted sound in some areas of the store, but not in other areas,” explained Jon Bormann, owner of Bormann Marketing and the designer of the new system. “It is a directed approach, which is very different from the usual approach taken in retail stores. For example, the store’s Magnolia Audio/Video section, which features really high-end equipment, is better served if sound isn’t spilling into it from the ceiling. In another application, they play a video message every fifteen or thirty minutes, and we’ve arranged the sound so that it effectively emanates from the screen’s location. Since our brains are programmed to look toward the source of a sound, the video message is way more effective than if the audio were raining down from wall to wall.”

The new concept identifies four separate zones per store, the output of which is realized via concentric rings of unobtrusive, ceiling-mounted Innovox miniature steerable line arrays. A pair of energy-efficient Lab.gruppen E-Series amplifiers power the system, and their asymmetrical design allows different loads to be placed on each channel. The 16-input/8-output SymNet Solus 16 DSP handles all of the processing, including robust ambient noise sensing and gain compensation, sophisticated equalization for the line arrays, and flexible multi-zone performance. The emergency and telephone paging systems tie into the new system.

“In contrast to the typical store audio system, this system delivers high fidelity, foreground-quality music, and voice,” said Bormann. “Symetrix is well known for building equipment for installed systems that has studio-quality sonics. Moreover, the SymNet Solus 16 is priced right, which helps allow this new system to go into many stores.” Each SymNet Solus 16 is given a unique IP address, and an engineer stationed at Best Buy’s Richfield, Minnesota headquarters monitors and adjusts system performance in all fifty stores. Although it is seldom used, a Symetrix ARC-2e wall panel remote in each store can override the system’s preprogrammed auto-gain in the event that program material appears too quiet or too loud.

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

ASHLY AMPS SERVE UP RARE AND WELL DONE AT PERRY’S STEAKHOUSE AND GRILLE

TEXAS – FEBRUARY 2013: Perry’s Steakhouse and Grille truly is rare and well done. From its humble beginnings as a butcher shop more than thirty years ago, Perry’s has grown to become one of the premier steakhouses in Texas. Today with nine locations, each uniquely customized to the neighboring community, Perry’s Steakhouse is located in greater Houston, Austin, Dallas, and San Antonio.

One of the premier A/V integration firms in Central Texas, Intelligent Lighting Services, has designed and installed state-of-the-art sound systems in the most recent Perry’s Steakhouse locations. Intelligent Lighting Services’ Eric Bernstein recommended Ashly’s ne8250pe eight-channel Network Amp with integrated Protea™ signal processor for the Katy, Dallas and San Antonio restaurants.

“I was already looking to make some changes after the first installation at Austin because the big-name DSP we installed there seemed to time-out every other day,” explained Bernstein. “I’d had previous good experiences with Ashly gear and knew that it was reliable. Since I already knew we’d be using Tannoy CMS801 ceiling-mounted loudspeakers, I had my tech wire up an Ashly ne8250 amplifier and another from the manufacturer we had used at the first location. I did a blind comparison in controlled conditions and came away convinced that their clientele would hear no perceptible difference, at least with those loudspeakers. So there it was: an affordable, great-sounding amplifier with optional on-board DSP that I knew was flexible and reliable. And to top it off, Ashly is a nice, contractor-friendly manufacturer. We went forward in the next three locations – Dallas, San Antonio, and Katy, Texas – with the Ashly ne8250pe at the heart of the design.”

Because ambient live music is an integral part of the Perry’s experience, all three locations feature an Allen & Heath console adjoining a modest stage. Its output joins a handful of cable TV channels, a Muzak player, and a wireless microphone at the input to the Ashly Protea DSP environment. Because each of the Perry’s Steakhouse locations is unique, the Dallas location uses four Ashly ne8250pe eight-channel amplifiers, whereas San Antonio and Katy use three. The Ashly Protea DSP Matrix Mixer is used as a room combiner in the private dining rooms, allowing the restaurant to host any size dinner meeting or event. Other common zones include the bar area, lobby, hallways, restrooms, entry, patio plus four or five private dining rooms. Because the Ashly ne8250pe includes separate processing on each output, Bernstein was able to perfectly signal align all of the zones for maximum impact and coherence.

User control is simple. At the Dallas and Katy locations, each zone features a Ashly WR-5 programmable wall-mounted remote. Its simple push buttons allow selection of different input sources and overall volume. The San Antonio location adds a URC KP-4000 wired controller behind the bar for more in-depth control, along with a URC MX-5000 wireless remote that allows the manager to make changes on the fly from any location.

Perry’s Steakhouse and Grille is currently considering new location sites. Because the owner has fallen in love with the sound of the newest restaurants and the way his team is able to so easily control them, Bernstein’s Ashly-based design will serve as the blueprint for all future Perry’s Steakhouse and Grille locations moving forward.

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

RFvenue AND CUSTOM AUDIO MAKE PRO BOWL

HONOLULU, HAWAII – FEBRUARY 2013: Managing wireless audio systems at football games is notoriously challenging. There are critical coach communication channels, referee mics, and ENG sideline systems that crowd out a lot of useable RF spectrum. Hawaii-based Custom Audio, Inc. has been working the NFL Pro Bowl for many years and specializes in production sound, corporate video, as well as installation projects for commercial, educational, and government clients. For this year’s Pro Bowl, Custom Audio turned to RFvenue’s Diversity Fin remote antenna for rock-solid signal reception from their stage mics throughout the halftime show – even in adverse RF conditions.

“We were given 700kHz spacing between frequencies from the NFL game day coordinators,” said Custom Audio’s Jeff Kang. “So we were worried about intermodulation issues, but we also had to deal with a 24-foot wide LED video wall located directly next to the antenna position. RF emission from the wall was definitely a huge concern on our primary vocal mic.”

Custom Audio used a Shure UHF-R wireless mic system, with a U4R-D dual receiver and UR-2 handheld transmitter set at 10mW. The two antenna connections on the Diversity Fin provided polarization diversity performance from a single antenna mount position. The unique design of the Diversity Fin reduces the chance of a dropout due to cross linear polarization fades when wireless mics are moving around or where multi-path nulls are encountered indoors. It also prevents diversity microphone receivers from constantly switching RF input channels, which can create noise.

“We had dropout and noise issues on some other active paddle antennas we used on our wireless microphones, but there were no dropouts or noise on the Diversity Fin- and it got great coverage even when the transmitter wasn’t on the stage,” noted Kang.

RFvenue’s Chris Regan commented, “signal dropouts are routinely the number one complaint among wireless system managers and end users alike. We are pleased to see the Diversity Fin improving quality of signal on any brand wireless mic for live and installed systems.”

ABOUT RFVENUE RFvenue manufactures hardware wireless system accessories including remote antennas, RF distribution equipment, and cable assemblies. The company’s patent-pending antenna products include the interference mitigating RF Spotlight, the lightweight foldable helical antenna CP Beam, and the polarization diversity antenna dubbed Diversity Fin. For more information visit www.RFvenue.com

ABOUT CUSTOM AUDIO Custom Audio, Inc. is a complete live concert and installation sound system provider as well as pro audio/visual rental house in Hawaii. The company has provided equipment and services for major concert tours, professional sports events, and conventions among others. Installations include large theaters, houses of worship, schools, and government facilities. For more information about Custom Audio visit www.customaudiohawaii.com

WHEELER BROTHERS OUTFIT TEXAS STUDIO WITH A 32-CHANNEL API 1608

AUSTIN, TEXAS – JANUARY 2013: A notorious musical group has chosen an API 32-channel 1608 to outfit their unique studio in Texas. The Wheeler Brothers, a five-piece band hailing from Austin, Texas, plays heartfelt, soul-bending Southern rock suffused with the welcoming twang of indie country. The band works hard, playing a show roughly two out of every three days, and it has never played a hometown gig that was not completely sold-out. Their popularity has increased with the release of their debut album, Portraits, which has been met with critical acclaim. Summoning superhuman energy, the Wheeler Brothers are busy writing and recording their sophomore album between live dates at an expansive personal studio in Tarpley, Texas. A 32-channel API 1608 analog console is at the heart of the process, providing engineer Craig Lawrence with authentic sound and the immediacy of real knobs and faders for every track.

The 32-channel API 1608 is loaded with plenty of time-tested API processing. Twenty API 550b four-band EQs, twelve API 550A three-band EQs, and four API 560 graphic EQs sweeten the band’s instruments, not the least of which are their voices. “The board has that classic API sound… it’s open and punchy,” said Lawrence. “It has a big sound that’s really appropriate for the Wheeler Brothers. The EQ is precise but not clinical, and I love the way the bandwidth narrows as I go deeper into a cut.”

The 32-channel API 1608 interfaces with a 48-channel Pro Tools HD rig and a Studer A827 two-inch tape machine. An Endless Analog CLASP system mediates their interworking by recoding to and pulling from the tape with appropriate latencies. “One of the greatest things about having thirty-two analog API channels is that everything is right there in front of me,” said Lawrence. “I can just reach over and twist an EQ knob. The guys in the band can just lean in and turn things up or down. It’s very physical and intuitive.”

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

ASHLY KLR-3200 AMPLIFIERS POWER UP DOWNSTREAM CASINO AND RESORT

QUAPAW, OKLAHOMA – JANUARY 2013: With its parking lot in Kansas, its main entrance in Missouri, and its gaming facilities and guest accommodations in Oklahoma, Downstream Casino Resort is quite literally on top of the region’s historic tri-state junction. The Quapaw Tribe-operated facility opened in 2008 and attracts approximately two million visitors annually. Building on its tremendous success, Downstream Casino Resort undertook an ambitious expansion plan to add a six-story tower with 155 additional guest rooms, restaurants, event spaces, and spa services. The Tribe hired A1 Audio of nearby Branson, Missouri to design and install a comprehensive distributed audio system, and A1 Audio delivered, in part by specifying a modest rack of high-powered, low-cost Ashly KLR-3200 amplifiers.

A1 Audio got its start in the 1960s in the energized venues of Las Vegas, Nevada. Its reputation for putting on successful shows with nary an unprofessional hiccup launched successful ventures in Hollywood, California, and, later, Branson, Missouri. Today, the Missouri office upholds the unwavering commitment to service that made the company so successful at its start. For years, Downstream Casino Resort has relied on A1 Audio for live show rentals and technical support. When plans materialized for the new expansion, the Quapaw called on A1 Audio to bring that same level of professionalism to its new facilities.

For reasons outside of A1 Audio’s control, the timeline on the new project was incredibly tight. “Massive crews from all the trades swarmed the new construction,” explained Pete Savel, vice president of A1 Audio. “At one point when we were pulling cable, they had something like 250 guys on drywall! It was a huge undertaking.” Despite the rush, the new system is elegant and refined, in consonance with the architecture and professionalism of the casino and resort staff.

In strategic locations throughout the tower, eighty Community loudspeakers from the 70-Volt D4, D6, and D8 wide-dispersion series deliver articulate, full-frequency content. In a few locations with less than six inches of ceiling space, low-profile Community D4LP deliver comparable performance. Yamaha DME-N series processors provide all input conditioning and matrixing, and an AMX system provides user control via an intuitive and engaging iPad interface. Five dual-channel Ashly KLR-3200 amplifiers power the entire system.

“The Ashly KLR-Series amplifiers are tremendously powerful, yet remarkably affordable,” said Savel. “Nothing else comes close on a performance-to-cost basis. We’ve used them in several installations now, and they worked from day one without a single glitch. That’s the kind of reliability we count on.”

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

LIGHTNING-STRUCK MONASTERY BLESSED BY ASHLY AMPLIFIERS

ERIE, PENNSYLVANIA: Mount Saint Benedict Monastery in Erie, Pennsylvania is the spiritual center of the Benedictine Sisters of Erie and a nursing facility for elderly women. Its main chapel seats approximately one hundred individuals, and the sisters hold two well-attended services a day. Recently, the chapel was struck by lightning, which damaged all of the electronics in its sound reinforcement system beyond repair. The company that had installed that system, Fact AV Technologies of North East, Pennsylvania, quickly stepped in with a loaner system. In only a month’s time, Fact AV had designed and installed a new system based on Ashly ne Series amplifiers. All of the sisters and nursing home residents noticed the new system’s improved intelligibility and clarity.

“Almost all of the sisters can hear way better than I can,” laughed Eric Johnson, owner of Fact AV Technologies. “When we were commissioning the original system, they complained of a high-pitched hum. I couldn’t hear it, and only one of the three guys on my crew could hear it… barely. But they were right. I tracked down the problem and removed the hum.” In addition, everyone who attends services at Mount Saint Benedict Monastery regularly calibrates their ears to acoustic music. The services are frequently supported by woodwind ensembles, acoustic guitar, piano, bell choir, an a cappella choir, and myriad guest musicians.

Johnson duplicated the original system’s processing and user control, with a few minor updates. Ten wired and six wireless microphones, and a CD player provide input to a Lectrosonics processor. An AMX user-control system provides customized control of input selection and output volume. None of the building’s twelve-inch coaxial loudspeakers were damaged by the lightning strike. In contrast, Johnson took the amplification in a new direction in the new system. An eight-channel Ashly ne8250 powers the main speakers for the sanctuary. A two-channel Ashly ne800 powers the stage monitors, and a two-channel Ashly ne800.70 powers the 70-volt systems on the building’s first and second floors.

“Ashly’s feature set per cost is unsurpassed,” said Johnson. “Ashly offers a range of configurations that are very useful to me as I design optimal systems in different scenarios. Ashly amplifiers, and the ne Series in particular, are lightweight and compact. The units are always reliable. I’ve almost never had service issues, but when I have, Ashly’s support staff turns the repairs around right away or sends advance replacements. Either way, they take care of me.”

He continued, “In addition, they sound great. As you might imagine, the monastery is very quiet, and the amps are perfectly silent. And their fidelity is excellent.” Despite all of the similarities between the old system and the new system, the sisters and the nursing home residents have noticed an obviously discernable increase in the system’s intelligibility and clarity. “The new Ashly amplifiers have played a huge role in that improvement,” concluded Johnson.

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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