A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

SOUND DESIGNER AND ENGINEER MAURIZIO ARGENTIERI EDITS AND MIXES THE IMAGINATIVE TRANS-OPERA FILM THE GIRL FROM NAGASAKI WITH METRIC HALO

Maurizio_ArgentieriSAFETY HARBOR, FLORIDA: After earning a degree in classical guitar and finding that the world does not value classical guitarists as it should, Maurizio Argentieri retooled his education and fueled his passion for sound on the other side of the microphone. He dove in just as the industry was lurching from its analog foundations to its digital future, and he secured a very educational three-year gig as the on-location sound mixer for a small documentary crew that filmed Greenpeace activities around the world. “From there, I dreamed of recording sound for movies,” he laughed. Twenty years later, it’s clear that his dream became a reality. Argentieri has recorded and mixed for directors such as Mario Monicelli, Marco Bellocchio, Bernardo Bertolucci, Giuseppe Bertolucci, Mel Gibson, Barry Levinson, Spike Lee, Woody Allen, Ridley Scott, and Michel Comte. Comte is the visionary behind The Girl From Nagasaki, and Argentieri used his Metric Halo ULN-8 to record and tweak almost every aspect of the trans-opera’s sound.

“When I have the opportunity, I always love working both as the recordist on location and as the post-production engineer,” said Argentieri. “On location, I get the benefit of hearing the director explain the motivations and feelings behind every scene. We shot The Girl From Nagasaki in some very peculiar locations, and I naturally became impressed by the real sounds in those locations. That inspired my post-production work and gave it a better connection than it would have otherwise had. Moreover, everything Michel said about sound on the set came back to me in post-production, which gave me an excellent starting point. My goal is always to lead the audience’s emotions in a specific direction with the sound. And I always want that direction to be the one that most naturally conveys the intentions of the director.”

Argentieri met Comte in Los Angeles before production on The Girl From Nagasaki began and had a long conversation about his vision for the soundtrack. “It was his first feature film, and he was very well prepared,” said Argentieri. “He showed me a book with reference pictures for the movie, and we talked about sound. He was very precise about the imagery, but I found that when we actually got to shooting, the imagery we were capturing was even better!” A self-described “trans opera,” the movie is surreal and combines elements of opera, film, and performance art that evoke emotions as much as they tell a story. As such, Argentieri had a great deal of freedom to create an intense soundtrack. His roles were many. He recorded sound during production, he edited all the dialog and sound effects, and he recorded several of the musical tracks, including a number sung by Marianne Faithfull. He also collaborated with the music composers Alessandro Cipriani and Luigi Ceccarelli, helping them to mix and record the score to the film, and he performed the film’s final mix.

Argentieri recorded all of the production sound and music using his single-rack space, eight-channel Metric Halo ULN-8 combination mic preamp/converter. “I also used it to record a couple of huge live performances, but I really can’t say much about them because they are to be a surprise,” he said, teasingly. A few of the highlights that he is willing to divulge include the recording of the very active Stromboli volcano and a surround recording of some Puccini arias that are featured in the film. Argentieri stepped up to the ULN-8 from the Metric Halo 2882 interface that he has had since 2004 (and continues to use when he needs more than eight channels), which he first used on HBO’s series, Rome. “In my opinion, the Metric Halo ULN-8 is the very best portable interface,” he said. “It has fantastic preamps and fantastic converters.” Not only does Argentieri use the ULN-8 on location, he prefers it to all his other options as an AD/DA for his Pro Tools rig.

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

ROSWELL HIGH SCHOOL FOOTBALL FIELD COMES ALIVE WITH DANLEY GENESIS HORNS AND SUBS

Roswell_HS_StadiumROSWELL, NEW MEXICO: For too many years, football fans and supporters of Roswell Independent Schools in Roswell, New Mexico suffered the poor performance of small paging horns that squawked announcements no one could understand and that emitted music no one could feel. It was a sad, uninspiring, and yet not uncommon situation. When money finally became available to make improvements, the school hired local firm J&G Electric to oversee the project. Relatively new to the Pro Audio market, Mike McClain of J&G Electric sought, without bias, the very best sounding system for his client at the most reasonable price. A thorough search turned up Danley Sound Labs, and Roswell Schools now benefit from a pair of Danley GH-60 Genesis Horns for vivid full-range output and a pair of beefy Danley DBH-218 subwoofers for low-frequency support.

“The school gave J&G Electric free reign to choose the best audio system they could, given the constraints of the budget,” explained Noel Darby of DarbyReps (Denver, CO), who represents Danley in the Rocky Mountain Region and who consulted on the design. “They had heard great things about Danley – that Danley’s designs are uniquely efficient, natural sounding, and easy to work with. I’ve been selling loudspeakers for a long time, and I believe Tom Danley’s designs really are amazing. He’s not chasing the same old woofer/tweeter or line array concept.”

Roswell_HS_Scoreboard_SpeakersGiven that the existing light poles are all behind the seating, it didn’t make sense to use a distributed system. Instead, Darby suggested an end-fired system that would split the field down the middle and provide equal coverage to the home and visitor seating. A Xilica XP-2040 2×4 processor handles modest input conditioning and system EQ, and feeds two Danley DSLA 3.3k and two Danley DSLA 6.5k amplifiers. Those amplifiers in turn power two Danley Genesis GH-60 horns and two Danley DBH-218 subwoofers mounted above and behind the scoreboard. The Genesis Horns use Danley’s patent-pending Paraline acoustical technology to gradually attenuate output at lower angles so as to deliver even SPLs to all the seats, near and far.

The install proved to be the largest hurdle to overcome. “With the original site being built in 1968, and seeing numinous additions and upgrades, we had our hands full,” said McClain. Trenching was tedious in order to avoid underground utilities and unknown paths, so we were forced to dig slowly and carefully. When it was all said and done we had over 700 feet of trench at four feet deep. In order to avoid the necessity of repeating the arduous process at a later date a second “spare” conduit was installed. Dealing with the harsh desert heat cooling the equipment was also an issue. To avoid building a structure to hold the equipment, we used a self-contained climate controlled rack to house the amps and processors. Using the assistance of a local fabricator the forty-foot tall structure holding the loudspeakers was built. “After all the sweat and heavy lifting the system worked as designed and as promised.”

Deward Timothy of Utah’s Poll Sound came in for the final tuning, which, by all accounts, didn’t take very long given the natural sound of the GH-60s and the fact that they are true point-source devices. “The school district is amazed at how much output they’re getting,” said McClain. “The coaches are ecstatic! This is a huge leap up for them, and the system will serve them well for a long, long time to come.”

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

ONE OF THE LARGEST HIGH SCHOOLS IN OHIO MOVES TO ASHLY

Beavercreek_HighSchool_ExteriorBEAVERCREEK, OHIO: Beavercreek High School in the Dayton suburb of Beavercreek, Ohio is the third largest high school in the Buckeye State and supports an exceptionally active athletics program. The school’s girl’s basketball team has been especially successful, averaging eighteen wins per season over the past thirty-six years of coach Ed Zink’s tenure. With over 650 wins, Zink is the winningest girls high school basketball coach in Ohio’s history. Until recently however, poor sound system intelligibility put a damper on home games and dulled the excitement of award ceremonies. That’s all changed for the better with a new gymnasium sound reinforcement system centered on cost-effective Ashly Audio ne4400 Protea™ digital processing and KLR3200 amplification matched to Community R-Series loudspeakers.

“They used to have a few of what I call ‘nightclub speakers’ chained to the ceiling,” said Mike Staffan, owner of local A/V integration firm Lighthouse Sound and Communications. “The athletic director took a lot of grief about intelligibility in general, but especially at award ceremonies. Parents couldn’t hear their kids’ names being called, which is sure to generate complaints.” Under Staffan’s direction, independent engineer Jack Buttermore designed a new system in EASE that would deliver appropriate coverage, and Staffan and his staff installed it over the summer.

Inputs to the new system include Shure wireless microphones and a Denon CD/iPod player, which feed a Shure SCM800 mixer. Its mono output meets an input on an Ashly ne4400 4-In x 4-Out Protea™ Matrix Processor, which handles all necessary equalization, automatic microphone mixing and feedback suppression. The ne4400′s four outputs feed three dual-channel Ashly KLR3200 amplifiers, rated at 1,600W into a 2-Ohm load or 800W per channel into a 70V line. Four of those amplifier channels power the four Community R.35 loudspeakers that cover both sides of main floor seating. The two additional channels power ten Community R.15 loudspeakers – five to a side – for coverage of the gymnasium’s balconies.

Beavercreek_Gymnasium“I’ve been using Ashly equipment for a while now because the products are solid and, perhaps more importantly, the customer support is excellent,” said Staffan. “For me, trust and a good relationship are the most important things. Ashly is always ready to help, which is critical when I’m in the field and need answers to move an installation forward.”

“The newly installed sound system in the Beavercreek High School gymnasium is awesome, to say the least,” said James Smerz, the school’s previously besieged athletic director. “We finally have sound that covers the entire gym area with clarity and heightened volume. For the first time in the school’s history, the sound in the main gym will reach everyone effectively, even in a packed house!”

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

www.ashly.com

OUR LADY OF LOURDES ACADEMY ENJOYS A NEW MULTIPURPOSE GYMNASIUM WITH ASHLY POWER AND PROCESSING

OurLadyofLourdes_GymMIAMI, FLORIDA: In addition to being the alma mater of pop icon Gloria Estefan, Our Lady of Lourdes Academy (OLLA) is a paragon of Catholic academic excellence and has been since it was founded in 1963. To continue to effectively fulfill its mission in the twenty-first century, however, the school embarked on a four-phase, $15 million improvement project, which included construction of a state-of-the-art gymnasium. Revelation Sound, Inc. (RSI), a state licensed A/V specialty electrical and integration firm that has niche markets to houses of worship and their associated academic institutions since 1984, was awarded the contract for the audio, video and intercom portion of the project.

The acoustic consulting and analysis for the project was done in partnership with Robert Bernecker of SEFI Consulting in Dallas, Texas. RSI has partnered with SEFI on numerous projects, with the collaboration resulting in excellent A/V designs.

“The gymnasium is brand new construction and is intended to accommodate a huge range of functions, including masses, classroom assemblies, presentations, alumnae events, performances, and, of course, gym class and sporting events,” said Michael Melcher, president of Revelation Sound. “The A/V system had to be as easy to operate as a toaster! Thus, the A/V portion of the project features reliable, cost-effective Ashly Audio KLR-series amplifiers and an 8 x 8 Ashly ne8800 networked audio processor.”

RSI cited the value of Ashly’s superlative technical support and customer service as a key aspect of OLLA’s new system: “What we bring to the table is dependent on how our manufacturers support us,” Melcher said. “We have to be more than just a number on a sales sheet. Working with Ashly gives us that support. When we call, we always speak to a knowledgeable technician immediately – someone we know and have a relationship with. We sell that support as part of our bid. It is critical. Because Ashly provides such excellent support, we’ll stick with Ashly. We’re very conservative and very loyal.”

Inputs to OLLA’s new systems include a well-chosen collection of wireless, standard wired and podium microphones, as well as a Tascam combination CD/iPod/MP3 player and four Mystery Electronics brass court floor boxes. A roll-around rack holds a small Allen & Heath mixer, which provides one level of user control. All of the inputs wend their way to the Ashly ne8800 8-In x 8-Out Protea DSP Processor, which provides gain-sharing auto-mixing for turnkey operation. The processor in turn feeds six Ashly KLR-3200 1600W two-channel amplifiers.

“The Ashly KLR Series packs an unbelievable amount of power and reliability into a two-rack space at a price-point that is fiercely competitive,” Melcher said. “The value to our customers is great, and the fact that the KLR-3200 can power low-impedance boxes or up to 800W into a 70-volt constant voltage system is a huge plus.”

The KLR-3200 amps power three clusters of three Renkus-Heinz CFX-151 loudspeakers each, plus two Renkus-Heinz CFX-18s subwoofers flown above center court.

Members of OLLA’s staff harness the new system’s flexibility using three Ashly neWR-5 Network Programmable Wall Remotes. As the school completes its iPad integration, that control will also be available via the Ashly Remote App for the Apple® iPad and iPad Mini. Like the future iPad control, the three neWR-5s provide preset configuration, input selection, and overall volume control. Because different uses require different configurations, the presets automatically turn different collections of loudspeakers and/or subwoofers on or off along with other subtleties, such as enhanced bass output for games.

To round out the project, Revelation Sound installed a large EIKI Hi-Def projector mounted on an SVS lift and paired it with a retractable Da-Lite screen.

The result: An excellent user-friendly, high-tech A/V system that meets the needs of one “constantly evolving” learning environment that aims at assisting the school to effectively fulfill its mission.

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

www.ashly.com

AUSTRALIA’S STUDIO ONE FLIGHT UP ACHIEVES “FANTASTIC” SOUND WITH AN API 1608

Studio_One_Flight_UpSYDNEY, AUSTRALIA – OCTOBER 2014: A self-proclaimed ‘analog-minded person,’ Nick Irving, owner of Studio One Flight Up in Sydney, works with independent singers, songwriters and musicians who are driven to create great records. While the studio is home to several vintage analog outboard gear pieces, Irving wanted a brand-new, reliable analog console to bring together the sound he works to achieve. Deb Sloss of Studio Connections Australia advised him towards a 32-channel API 1608 console, fitted with twenty-four classic API 550A EQs, and eight 560 EQs.

“It’s a dream console, really,” said Irving. “Computers make great multi-track recorders, but for the actual work of recording and mixing sessions, I need to be ‘hands-on”.” The moveable size of the 1608 played a role in Irving’s decision, allowing the studio to eventually grow into a new building. It also comes in 16-channel sections, allowing the actual console to expand, or even be retrofitted. “It’s chock full of API’s sensational EQs and mic preamps, silky-smooth faders, nice, bright, clear LED lights in all the buttons, and full metering with the brightly-lit VU meters.”

Studio One Flight Up uses the 1608 for both recording and mixing needs. “My sounds just get better and better now that I have an API console. Switching the metering between input and direct out is fantastic and very useful. Having buttons to engage the insert points is also a great and useful feature.” With the 1608, Irving and his crew do not need extra DI boxes, as each channel of the console has an instrument input. “It’s also great that the power supplies are quiet enough that they don’t have to be housed in a separate machine room,” Irving added.

Now that the studio renovations are complete, Irving is recording and collaborating on an album with Grammy award-winner Myles Heskett (ex-Wolfmother). “It is proving to be lots of fun. We’re really enjoying working on the API console. Everything I’ve done on it sounds fantastic – solid, crisp, clear.” Irving proclaimed, “I’ll never need another console in my lifetime!”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

WIDE HIVE STUDIOS REOPENS WITH EXPANDED 48-CHANNEL API 1608

Howe_VeilleuxALBANY, CALIFORNIA: Wide Hive Studios in San Francisco’s Bay Area re-opened its doors earlier this year after a number of recent renovations and updates. A decade ago, veteran producer, engineer, and musician Gregory Howe folded his costly studio in San Francisco for a cozy, less expensive space in nearby Albany, California. He centered his Albany studio around a 16-channel API 1608, which he later expanded to 32 channels through a 16-channel expander. Now, with his most recent round of upgrades, Howe has added another 16-channel expander to create a 48-channel API 1608.

“I’ve been working with API gear for a long, long time,” Howe said. “I love the API sound. To me, it walks the perfect line between cleanliness, straight-up rock, and audiophile fidelity.” The recently-expanded 48-channel 1608 unifies the studio’s sound, streamlines its workflow, and also allows clients to tap into Howe’s massive collection of world-class outboard gear with ease. “The new sixteen channels primarily serve as returns from the equipment racks. We now have the flexibility and sound to do whatever we want.”

Wide Hive books jazz, funk, hip-hop, and soul artists exclusively. Since the console’s expansion, Howe has used it to record several tracks, which are receiving airplay, brisk sales, and profuse blessings from critics. Of note, swing jazz guitarist Calvin Keys cut Electric Keys with the help of the 1608 and the Wide Hive Players, an in-house collective group of jazz musicians.

Howe’s commitment to recording is not lost on his listeners. Reviews of Wide Hive releases never fail to comment on their excellent sound quality. “I’m a huge believer in analog summing,” he shares. “Digital summing involves a massive calculation that necessitates sacrifices. I can hear those sacrifices in the music. I’m looking forward to the cohesion we’ll have when the whole console is API.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

(PHOTO CAPTION: Owner of Wide Hive, Greg Howe (left) pictured with Steve Veilleux owner of SVT Audio.)

TRANSAUDIO GROUP ANNOUNCES DRAMATIC PRICE REDUCTION ON DAKING PRO AUDIO SIGNAL PROCESSORS

Daking_FET_3LAS VEGAS, NEVADA – OCTOBER 2014: Daking Audio has changed the way it brings its American-made equipment to market in order to increase value to the end user. Purchasers of Daking Audio signal processors will benefit from the resulting dramatic price reduction, which applies to all of its products. These include the Daking Mic Pre 1, Mic Pre EQ, Mic Pre 4, FET II compressor, and FET III stereo compressor, plus all of the Daking 500 Series equalizers, compressors, and preamps.

“Daking has ended its traditional export distributor program and enacted a major price reduction to end users, without changing its designs or its U.S. manufacturing quality,” explained Brad Lunde, president of TransAudio Group, Daking’s U.S. distributor. “We at TransAudio Group think Daking’s value is exceptional at these new price points and will represent a major change to how Daking is perceived in the marketplace.”

THE NEW MAP PRICES ARE AS FOLLOWS:
Mic Pre 500: Was $649 – Now $499
Comp 500: Was $699 – Now $499
EQ 500: Was $949 – Now $699
500 RS: Was $5,019 – Now $3,844
Mic Pre One: Was $845 – Now $599
Mic Pre EQ: Was $1,549 – Now $1,099
Mic Pre 4: Was $2,599 – Now $1,799
FET 2 Compressor: Was $1,549 – Now $1,099
FET 3 Compressor: Was $2,150 – Now $1,549

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 AES 2014 BOOTH #1110

TRANSAUDIO GROUP HIRES ZACH WINTERFELD AS SOUTHERN CALIFORNIA REPRESENTATIVE

Zach_WinterfeldLAS VEGAS, NEVADA: TransAudio Group, U.S. distributor of the world’s best high-end studio recording equipment, has hired engineer, educator, and salesperson Zach Winterfeld to serve as its Southern California Rep. In that capacity, Winterfeld will represent all of TransAudio Group’s professional lines, including ATC monitors, Bettermaker, Bock, Drawmer, and Tube-Tech, as well as ATC’s hi-fi loudspeakers. Winterfeld’s diverse industry experience includes freelance engineering and positions with Mercenary Audio, Boston University, and Berklee College of Music.

“TransAudio Group President, Brad Lunde has assembled an amazing line of products and manufacturers,” said Winterfeld. “It is important to remember that we work in an unique industry. Our products serve to help people capture their artistic vision. Exposing dealers and, ultimately, end-users to products that will help them with their artistic vision is incredibly rewarding. I will continue the wonderful support TransAudio Group has given its dealers and will expand this in the L.A. and Southern California market.”

“Zach has extensive studio experience,” said Lunde. “He worked at Cello Studios (now East West Studios) and The Mix Room, and thus knows what great equipment can do for a project. As ‘Head of All Things Digital’ at Mercenary Audio, Zach got a premier dealer’s-eye-view of the industry that will serve him well at TransAudio Group.”

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 AES 2014 BOOTH #1110

PURE GROOVE SYSTEMS TAKES DANLEY TO THE DANCE!

Pure_Groove_DanleyLOS ANGELES, CALIFORNIA: In less than a decade, Danley Sound Labs has revolutionized the fidelity and efficiency of sound reinforcement in houses of worship and, more recently, arenas and sports venues. The key to that revolution is the innovative loudspeaker and subwoofer designs of Tom Danley, who spent his early years inventing electro-acoustic solutions for NASA and holds seventeen patents, only a fraction of which are for music reproduction devices. He is a broad and deep thinker, and the patented Synergy Horn and Tapped Horn technologies, upon which Danley Sound Labs products are based, cleverly sidestep the compromises that are inherent to conventional loudspeaker and subwoofer designs. Simply put, Danley devices sound glorious at any volume, with rich, honest bass and pleasant midrange. Moreover, the efficiency of Danley devices allows that better fidelity to happen with vastly fewer boxes (and thus with vastly fewer amps and processing). With the help of Pure Groove Systems, Danley Sound Labs plans to expand its revolution to the world of dance music.

“I know the current dance music industry standard, and Danley smashes it,” said Damian Murphy, founder of Pure Groove Systems and president of Liquified, the dance music and festival production veteran. “I thought I had heard ‘great’ systems before, but now that I’ve heard Danley, I realized that audiences were settling for something that isn’t that great.’ I feel that it’s my duty to get promoters, artists, and fans the true sound they deserve,” said Murphy. Pure Groove Systems distributes, rents and demos Danley products globally.

Danley Sound Labs made its first inroad in the house of worship market in part because that’s where the heart of company president Mike Hedden resides, and the company’s current expansion into the arena market comes with considerable insider knowledge. They lacked that connection to the dance music industry, however. “Danley approached me and suggested a demo for a show we were doing in the Atlanta area,” said Murphy. “They sent Ivan [Beaver] and Chad [Edwardson] with a system to cover 1,500 people. It was just four boxes – two tops and two subs. I admittedly, was dubious, but they assured me it would be more than enough.”

Murphy continued, “They were right. It was plenty loud. But more importantly, it sounded rich, clean, and powerful. It was immersive and no matter what was playing, I felt like I was inside the track; and I wasn’t getting my head ripped off, either, despite the volume. The advantages didn’t end there. The consistency of sound was also unparalleled. No matter where I went on the dance floor or on any of the venue’s three balconies, I heard the same enveloping sound. It was unlike anything I had heard in my 25 years in the industry. It was very special.” Murphy reports that all of the numerous Danley systems he has since been a part of share those qualities.

The second characteristic of Danley’s designs – efficiency – is also a huge advantage in the dance music industry. “We put up a twenty-box Danley system at a 12,000 person stage at the Lightning In a Bottle Festival,” said Murphy. “An adjacent stage used over 170 conventional boxes to cover a comparable crowd, and their sound was no where near as good as ours. Danley’s efficiency scales, too. Fewer boxes means less time and/or people rigging, fewer amps, less processing, less electricity, smaller trucks, less fuel, and so on. And the fact that the efficiency comes with a dramatic improvement in sound quality… well, you can see why I’m excited to move the industry toward Danley.”

Since its establishment in January 2014, Pure Groove Systems has provided Danley systems for several festivals. At Miami Music Week, forty of the world’s top DJs played to 15,000-plus people, over five days, using two Danley J1 Jericho Horns and two Danley BC-415 subwoofers. The previously mentioned “Lighting In a Bottle” Fest used four Danley J1 Jericho Horns, two Danley SH-96HOs, eight Danley BC-415 subwoofers, and six Danley TH-118 subwoofers. The system performed flawlessly fourteen hours a day through the extreme heat and dust of the California desert. Despite rain at Amsterdam’s “Lost In a Moment” outdoor event, DJs kept more than 4,000 people packed on the dance floor using two Danley J1 Jericho Horns, two Danley SH-96HOs, two Danley TH-812 subwoofers, and two Danley BC-415 subwoofers.

“Working with the Danley team has been inspiring,” said Murphy. “They’re justifiably confident in their products, but they welcome feedback and are constantly looking to improve. The products sound amazing with any type of musical genre, electronic, rock, pop, classical, etc. I’m devoting myself to traveling the world with these systems to make an impact in my industry. We sell and rent Danley systems or demo them to potential customers in the right situation. I’m willing to do that because I’m confident that once people hear a Danley system, they’re going to want to buy it. There simply is nothing comparable to the clarity and power of these speakers. The difference is obvious.”

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

FOR MORE INFORMATION ON PURE GROOVE SYSTEMS, VISIT: Web: PureGrooveSystems.com • Twitter: @PureGrooveLabs • Facebook: PureGrooveSystems

Two Symetrix Jupiter 8 Turn-Key DSPs and ARC-WEB Control Technology Power Corner Entertainment

1919HOUSTON, TEXAS: Corner Entertainment is a recently-opened entertainment constellation located in Houston, Texas. It features a restaurant (Corner Table) a bar/nightclub (The Oak Bar), and a second wine and mixed drinks bar (1919). Though distinctly named, the three concepts flow together, both physically and in the vibe that unites them. That vibe is perhaps best described as high-class, but relaxed. Though the aesthetic and the quality of the libations and cuisine might justify it, Corner Entertainment is decidedly not stuffy. Houston-based integration firm LoGo Audio Video Music designed and installed Corner Entertainment’s high-performance, cost-effective audio system using two Symetrix Jupiter 8 fixed architecture standalone DSPs with smartphone control for the managers provided by Symetrix ARC-WEB.

“For small- to mid-sized installations, the Symetrix Jupiter is the only processor I’ll use,” explained Jay Gonzalez, LoGo AV’s founder and chief designer. “I’ve used a wide range of processors from different manufacturers, and I’ve experienced a surprising number of failures. When I have issues like that with a processor, I can’t use it again. It’s just too stressful! In contrast, the Symetrix Jupiter is always rock-solid and incredibly easy to work with. My programmer has had zero issues and loves that connecting with the Jupiter is as simple as plugging it in. And of course, Symetrix’ studio-grade sound quality is amazing and gives my clients a sound system to be proud of.”

Corner Entertainment’s audio system is divided into two completely separate halves: one that runs the restaurant and a second that runs the bar. Inputs to the restaurant system include a wireless microphone for events, a tie-in from a small mixer on a patio where bands set up, an iPod dock, and a Pandora music service stream. With eight inputs, one Symetrix Jupiter 8 accepts those sources and provides all of the necessary equalization, dynamics, and routing control. Crown CTS-Series 70-volt amplifiers power SoundTube SM500 loudspeakers. The Jupiter 8’s eight outputs feed eight separate zones, selected to give Gonzalez and his team maximum flexibility to tailor output levels and processing for a perfectly tuned system.

CornerTable_PatioSource selection and volume control are provided by Symetrix ARC-WEB technology. “They were excited by ARC-WEB,” said Gonzalez. “It’s cool technology that’s also very practical and, like all the Symetrix products I’ve worked with, rock-solid.” The owners and managers are set up to use ARC-WEB, but in the event that they aren’t available, LoGo Audio Video Music installed a hard-wired backup. A Symetrix ARC-2e wall panel remote located at the equipment rack provides redundant control.

The area that Corner Entertainment beautifully renovated to form its bar areas was constructed in 1919 (hence the name) as a sawmill to process local oak trees (hence the name) for upscale residences in Houston. Its inputs include a wireless microphone, an iPod dock, a Blu-ray player, an HDMI audio de-embedder, and a DJ tie-in from the wine bar area. Again, a Symetrix Jupiter 8 DSP handles all of the system processing, and Symetrix ARC-WEB and ARC-2e control technology allows source selection and volume control. With sixteen QSC AD-S82Hs and two QSC GPW subwoofers powered by beefy QSC PLX-3602 amplifiers, “it can get dance club crazy” in the bar areas, in Gonzalez’ enthusiastic words. A separate VIP area, dubbed “Lexington’s,” has its own Symetrix ARC-2e wall panel remote for separate input selection and volume control, as well as a dedicated flat-screen for presentations or screenings.

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

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