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A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

API 1608 TRAVERSES THE EARTH

JESSUP, MARYLAND: With hundreds of satisfied customers, API’s 1608 console continues to make a mark on the music industry with the company’s signature API sound. Available with or without P-Mix automation and up to 48 channels, 1608’s can be found in studios both large and small, in the U.S. and around the world. Here is a small sampling of some 1608s that have recently left the factory.

STUDIO K – Paris, France Situated on the fourth floor of a 17th century building in Paris, David Chalmin’s 32-channel automated API 1608 console is the perfect fit for his semi-private space. Chalmin began as a musician, but his interest in pro audio gear has turned him into an engineer who has worked on everything from alternative rock to classical music.

Chalmin did his fair share of research before deciding on the 1608 and chose the console based on the API sound, character, and API 500 Series format. “The preamps are amazing, so already while tracking you get your sound. Then, during the mix, you have huge headroom to play with. Automation is simple and straightforward. It brings the console to another level. This console is a dream!” says Chalmin.

VIRGINIA ARTS – Charlottesville, Virginia Next, Virginia Art’s (Virginia’s oldest operating commercial studio) opted for a 16 channel API 1608, again with P-Mix automation. The console will serve as the flagship in Virginia Arts Recording, owned by Chris Doermann and engineered by Sean Dart.

The 1608 has already served many local and national acts, such as John Grisham, Thomas Dolby, Those Darlins, Ra Ra Riot, The Walkmen, Cowboy Junkies, and William and Mary Accidentals.
“The API brand has long been known for its excellent products. Sound and flexibility were among the top factors [in purchasing the 1608]. The console’s small footprint and low power draw was the perfect addition to our relatively small control room. Also, API’s staff welcomed us into the factory on day one and answered every question we’ve had since. And the biggest thing – great sound,” said Sean Dart.

EMERY RECORDING STUDIOS – Novelty, Ohio Final example, studio owner, producer, engineer and mixer, Eric Emery, chose a 16 channel automated API 1608 to represent his workspace, Emery Recording Studios, and his band, Concordia. Working under Johnny K. at Groovemaster Studios, as well as Grammy Award-winning mixer Craig Bauer, Emery’s 1608 choice of console has added a level of API professionalism to his studio, which has been in operation since 2005 when he was just 15 years old.

“The first time I heard that magical API Sound I was hooked. It just has that special punch you can’t get from anything else,” said Emery. “This console gives my mixes something I couldn’t get from any other piece of gear. This is a definite no-brainer if you want to achieve that truly commercial sound.”

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

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SYMETRIX SYMNET RADIUS REVITALIZES THE AUDIO AT THE HISTORIC SUFFOLK THEATER

RIVERHEAD, NEW YORK – NOVEMBER 2013: The Suffolk Theater in historic downtown Riverhead, New York opened its doors for the first time in 1933, and the public faithfully filled its resplendent art-deco interior night after night. Movies put the theater in the black for decades, but proliferating strip malls, the rise of the multiplex, and America’s seedy love affair with the living room couch decimated the Suffolk’s crowds and led to its final performance in 1987. The story is hardly unique to The Suffolk, and twenty years passed before area residents realized what they lost in the bargain. In the past decade, the tides turned, and, under new ownership, The Suffolk Theater responded with the sound of renovation. It recently reopened to tremendous fanfare, and beneath its carefully-restored Depression-era art-deco façade breathes a 21st Century audio/video/lighting system that includes a 36-input/20-output Symetrix SymNet Radius 12×8 Dante networked DSP system.

Award-winning theatre and A/V designer Stuart Allyn of A.D.R. Studios (Irvington, New York) designed and commissioned the new theatrical/audio/video systems at The Suffolk Theater, and Theatrical Services and Supplies (Hauppauge, New York) installed it. “Of course, a lot of thought goes into every aspect of a system like this,” said Allyn. “I went with the SymNet Radius 12×8 because it’s a cost-effective processor that is totally flexible, both in terms of its processing power and its input/output count.” The Suffolk Theater needed a large number of inputs and outputs because the entire system throughout the building is fed from the central FOH position. A wide number of areas (bars, offices, restrooms, backstage, etc.) are all capable of receiving the main show audio (and video in some cases) plus each area, at the touch of a button, can optionally receive a local source such as cable TV or a Blu-ray player. Each area when viewing the stage feed must be time aligned to the stage, and when viewing local sources that timing needs to be synced to the video. Each “zone” required speaker processing for each mode of operation. By having all the system processing centralized and separate, sound mixers using the digital mixing system are free to use whatever systems, EQs etc. they desire to use in the console, while the main speaker and system processing remains in place. The Symetrix system handled all that very easily. To the twelve inputs and eight outputs of the system’s single Radius 12×8, Allyn added two Symetrix SymNet xIn 12 expansion boxes and one Symetrix SymNet xOut 12. Like all products in the Symetrix SymNet Radius and Edge family, the expansion boxes connect to the processor via the robust, low-latency Dante network protocol.

“We’ve used a lot of Symetrix products in the past, and we’ve never had issues,” said Allyn. “Symetrix equipment sounds good and works well at commissioning and over the long haul. In addition, I like using SymNet Composer to build customized processing. I can see the entire system on one screen, and that overview is important to me. Then I can drill down as needed.” The system includes comprehensive Crestron control, but that didn’t stop Allyn from making cost-effective use of Symetrix’ inexpensive ARC-2e wall panel remotes. Eight ARC-2e’s placed at strategic locations in ancillary rooms and spaces allow users to select from presets and to change input sources and volumes. Indeed, several of the Symetrix ARC-2e’s send command strings to the SymNet Radius 12×8 system and to the system’s Crestron video switcher!

Although the super low latency Dante network plays no larger role in the system, the scalability of the Symetrix SymNet system via Dante was a critical factor in its selection. “We designed the system with foresight of possible future expansion in mind,” said Allyn. “There’s a lot of extra wiring in place that will allow them to expand the stage and the dressing room areas. If needed, we can simply add another Symetrix SymNet Radius 12×8 to the system via Dante to accommodate even more inputs, outputs, and processing. It is a beautiful venue that should provide great entertainment to Long Island for many years to come.”

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

METRIC HALO GEAR SCORES HIGH IN PROFESSOR WHALEY’S RAP-MATICS STEM-EDUCATION PROGRAM

WASHINGTON D.C./ATLANTA, GEORGIA – NOVEMBER 2013: As a founding member of the pioneering San Francisco hip-hop group Bored Stiff, Pablo Sierra Whaley (aka “Professor Whaley”) has been writing raps and producing music since 1988. He holds a bachelor’s degree in mathematics from U.C. Berkeley and a master’s degree in biomedical engineering from the Mayo Clinic College of Medicine. Between the two degrees, Whaley spent several years as a middle school math teacher and department chair in the Bay Area, where he first developed his innovative “Rap-Matics” program for boosting STEM (Science, Technology, Engineering, & Math) competency using elements of hip-hop, poetry, and technology. Today, Whaley continues to curate the Rap-Matics curriculum and operate his production studio, Sonic Legacy Music with the help of Metric Halo’s ChannelStrip 3.

“Music is in my DNA,” asserted Whaley. “I was born into a musical family. My mom, grandma, and great-grandma all played piano. I played the trumpet in middle school, and then started a hip-hop group with my friend ‘Equipto,’ a now-legendary Frisco MC. As a teacher, one of the problems I noticed early on was that students were not connecting with the subject matter in the math books we were using. So I decided to take a new approach. I knew that my students loved the hip-hop culture. As an MC, I knew that rapping was a tool that could be used to connect people with concepts and information. I had ‘math-raps’ and ‘chemistry-raps’ to prove it. So I decided to create a literacy program that fused rap with mathematics. This was in the spring of 2000. To my knowledge, I am the first educator in the United States to have created a hip-hop-based math literacy program.”

Whaley founded Sonic Legacy Music in 2005. “I’ve used hundreds of different plug-ins from the freeware to the top-of-the-line stuff,” he said. “But nowadays, whenever I make music, I use Metric Halo ChannelStrip 3. It’s an extremely versatile plug-in. I’m using it for mixing and mastering several of my own projects right now, including unreleased Rap-Matics tracks and client projects. I have also used its de-noising, equalization, and compression to clean up audio from Rap-Matics video footage. The EQ is amazing, especially on drums and vocals. The scalable GUI is awesome. The presets are truly useful and the EQ curves are easy to grab and manipulate. The compressor is clean, but I can tweak it to get a more grimy sound when I need it. Overall, the ChannelStrip 3 is my go-to plug-in for all things requiring gating, compression, or equalization… which is pretty much everything!”

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 JUMPS ON ECLECTIC FUMUJ RELEASE

PARIS, FRANCE: The French band Fumuj blends elements of hip-hop, dub, electronica, and – in the words of co-founder, sound designer, engineer, and drummer Romain Pasquier – “loud music” on their fourth studio effort FUMUJ – Eponym Album. The five-song EP surveys the eclectic content of Fumuj’s prior work and reframes it with an urgency and intensity that suggests a band that has matured into form. Beyond its genre-bending take on composition and style, Fumuj is also known for its unique and vibrant sound, which is carefully curated by Pasquier. Metric Halo hardware and software figures prominently in that sound: Fumuj and its members own one or more Metric Halo ULN-8s, ULN-2s, and 2882s, and most of Pasquier’s processing and mixing relies on Metric Halo MIO Console (the free routing and recording software that runs the interfaces) and Metric Halo’s ChannelStrip plug-in.

“The new EP is somewhere between Mogwai, Helmet, and Bill Laswell, I guess,” said Pasquier. “We had a lot of fun creating these songs because we felt free to do anything. There were no limits. We all love to deconstruct and reconstruct elements, playing on contrasts, and building something new and inspiring through that process.” Having equipment with the flexibility and reliability to let that process unfurl naturally and without interruption is essential, and after first discovering Metric Halo a few years back, Fumuj has enjoyed the inspiration that comes with a transparent workflow.

“In anticipation of our recording sessions, a friend lent us some high-end, customized preamps and some crazy mics,” said Pasquier. “They were fun to use, but at some point in the first day I decided to use the ULN-8 preamps because I wasn’t feeling very happy or confident about the sound we were getting. It was like I turned to the ULN-8 because I wanted to know what was actually going on in the new room we were using. I realized I just wanted that Metric Halo transparency! I can trust what I hear from the ULN-8, ULN-2, or 2882. There’s no compromise. The preamps are great, the converters are great, the DSP – including the 80-bit summing mixer – is great, and it all fits in one rack unit! We can recall the MIO Console for each song, which makes the workflow easy.”

Pasquier used the Metric Halo ChannelStrip 3 plug-in extensively on FUMUJ IV. “I love ChannelStrip because the equalization and compression can be so subtle,” he said. “It’s very painless to use, and the newly-integrated spectrum analyzer makes it easy to see where adjustments will be most effective. I know it’s a small thing, but I’m also grateful for the ability to resize ChannelStrip 3.” In addition to his work with Fumuj, Pasquier also uses ChannelStrip and his Metric Halo hardware to do freelance work in Paris, which gives him an authentic sound that sets his work apart from engineers that use run of the mill equipment.

Fumuj’s FOH engineer, Alain Lesparat, recently purchased two Metric Halo 2882 interfaces and is now using them with Apple MainStage as a virtual effects rack and as an archive recorder for all shows. Although Pasquier has used his ULN-8 together with Ableton Live and the band’s hardware synthesizers, he looks forward to acquiring another 2882 or LIO-8 to dedicate to the live rig. “I can’t live with the ULN-8 in the rack on the days off,” he laughed. When asked what makes Metric Halo interfaces so useful for Fumuj’s live applications, Pasquier cited “a fat, open sound” and the tremendous flexibility of MIO Console. In addition, he said, “They’re also completely reliable. They just work, period. All the other members of Fumuj now have a ULN-2, and they aren’t engineers! They would have no patience for bugs or latency. With Metric Halo, they can simply make music.”

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 APPOINTS STUDIO CONNECTIONS AS AUSTRALIAN DISTRIBUTOR

NUNAWADING, AUSTRALIA: API proudly announces the appointment of its new Australian distributor, Studio Connections for both API modules and 1608 console sales. Studio Connections has been a dominant player in the Australian pro audio market for over twenty years, and has recently completed relocation to its new facility in the Melbourne suburb of Nunawading. The new location is designed with the professional in mind, and prominently features a 1608 demonstration room, offering pros hands-on experience with the console and other API gear.

“Our new facility is fabulous and funky,” said Studio Connection’s Managing Director, Deb Sloss. “We intend to be a relaxed and welcoming space where customers can drop in for a coffee, a chat, and be able to experience all the great gear from API, including our own fully-operational 1608 console.”

Studio Connection’s longstanding association with the finest audio manufacturers highlights their commitment to the Australian pro audio market. Working closely with their network of dealers, the staff at Studio Connections pride themselves on customer service and are eager to expand the API presence in Australia. “We have witnessed an unprecedented level of interest in API products from our dealers and end users alike,” said Sloss. “API carries a rich heritage of extremely high-quality audio products and consoles. It’s been extremely gratifying to receive such wonderful support and endorsement from this appointment.”

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

SYMETRIX SYMNET RADIUS 12X8 DANTE NETWORKED AUDIO DSP DELIVERS PRESENT AND FUTURE AUDIO EXPANSION FOR WISCONSIN HIGH SCHOOL

JACKSON, WISCONSIN: Kettle Moraine Lutheran High School serves over four hundred students from in and around Jackson, Wisconsin, a town 45-minutes northwest of Milwaukee. In the last decade, the school has expanded its facilities, and the crowning jewel of that expansion is the 750-seat Performing Arts Center. The center includes facilities for the school’s choirs, bands, and theatrical productions, as well as a state-of-the-art venue for Kettle Moraine Lutheran High School and other area schools and artistic organizations. Because funds were limited, the school asked Professional Audio Designs of Wauwatosa, Wisconsin to build a cost-effective sound reinforcement system that could start with simple coverage for Sunday services and have the ability to scale up to handle full theatrical productions as the funds became available. To accommodate that challenging request, Professional Audio Designs built the system around the Symetrix SymNet Radius 12×8 Dante Network Audio DSP.

“At the outset, the money allocated to the sound reinforcement system was generous, but the building itself ran way over budget,” explained Kim Leonard, president of Professional Audio Designs. “They came back to us and asked us to pare down the sound reinforcement system initially, while at the same time laying the foundation for the more expansive system that they will eventually have. That future vision includes a full-sized mixing console, dozens of mics and inputs, and a full stage monitoring system. But for now, they have a modest four microphones and a line-level input. We’re using the SymNet Radius 12×8 to auto-mix them.”

With the core system now in place, Fulcrum Acoustics loudspeakers powered by QSC amplifiers provide high-impact, high-fidelity coverage of the auditorium’s seating area. Three Symetrix Radius 12x8s provide the modest processing needed for basic sound reinforcement and will go on to provide the more advanced processing necessary. A Symetrix ARC-2e wall panel remote control gives users simple and intuitive control of volume for all four microphones, volume control for the line level input, and an overall master volume control.

When they get the funds, the school can simply plug in the digital mixer, the assisted listening system (ALS is installed now), the online streaming system, and a back stage monitoring system. Additional Symetrix ARC-2e units in the control room, in the house, and on a future portable backstage paging rack complete the system. Importantly, the simple quick-mix system that is already in place is selectable from the main ARC-2e so that the school and church can hold simple events and services without requiring an audio technician on hand.

“The whole system is networked via Dante,” said Leonard. “We built a primary network and a secondary network for backup. We’re glad Symetrix is leading the charge with fully-integrated Dante technology. It’s extremely cost-effective and robust and the fidelity is excellent. In addition, we always use Symetrix with Fulcrum loudspeakers because the FIR filters required by Fulcrum are fully supported within the SymNet software.”

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 SYMNET EDGE AND RADIUS DSPs HANDLE PERFORMING ARTS CENTERS IN HOUSTON’S KATY SCHOOL DISTRICT

HOUSTON, TEXAS: The rapidly growing Katy Independent School District serves over 65,000 students in the greater Houston area. To meet their growing audio and visual media demands, school officials recently earmarked funds to update the performing arts center A/V systems in four of its seven high schools. Broadcast Works of Tyler, Texas was contracted to do the installation and used SymNet Edge and Radius AEC open architecture Dante network audio DSPs.

“The old A/V systems were 1990s vintage and entirely analog,” explained Aaron Comer, project manager with Broadcast Works. “The system designer, Erich Friend of Teqniqal Systems assessed their existing systems and determined that they could transform the performing arts centers from outdated to cutting-edge by revamping only the front end and control systems. The existing QSC amplifiers and Renkus-Heinz loudspeakers were basically in excellent shape.”

Although the original design called for another DSP manufacturer, Comer and his team lobbied hard for SymNet Edge and Radius DSP. “We had worked with this other manufacturer’s products in the past, and it was always a challenge,” he said. “In contrast, we’ve done a lot of Symetrix jobs, and they always go well. Ryan Curtright, Symetrix’ senior technical sales engineer, worked with us to put a nice package together centered on SymNet solutions. Based on our past experience, we knew it would work well and reliably… and would save the district some money.” The new systems make use of the Dante network’s stability and flexibility to send signal long distances without copper and provide digital patch bays that allow users (including first-year students) to select among each stage’s 70+ inputs for allocation to a 48-channel Avid SC48 console.

Stage inputs include a multitude of wired input plates together with a portable rack feeding a SymNet Edge and SymNet xIn12 expander. Rather than home running all of the stage inputs back to the sound booth, as in the old design, the new system uses a stage-located SymNet Radius AEC to collect them for transfer to the sound booth via Dante. That same Radius AEC, together with a SymNet xOut12 expander, receives the final house mix from the sound booth (again via Dante) for output to the stage-located amp rack. The portable SymNet Edge rack pairs up with a sixteen-count wireless microphone system or an additional twelve-count hardwired microphone collection and can connect to the system via any one of four Dante ports located around the stage.

Each sound booth contains three SymNet Radius AEC units with additional input cards, three SymNet xIn12s, and three SymNet xOut12s. Broadcast Works designed a custom computer interface using Symetrix’ SymVue software that allows users to connect any input source to any channel on the Avid SC48 console. In turn, the console outputs thirty-two channels that feed back into the SymNet system for transfer to the amp rack via Dante. “The students love it,” said Comer. “We trained a group of freshmen who had zero experience with a system like this. Within a couple of hours, they were completely comfortable and playing with the whole thing. Despite its complexity from our perspective, SymVue makes it simple from their perspective. They get it.”

For less elaborate events, Broadcast Works gave each school an iPad outfitted with Crestron control that would allow them to turn the system on with a minimal number of commonly-used microphones and input sources. The iPad gives them control over which commonly-used inputs are active, their individual volumes, and the overall volume.

The new systems’ easy learning curve made it possible for the theater and music departments in all four schools to start production on fall programs without delay. A few of the highlights include The Wizard of Oz, a Masquerade Serenade concert, and a play called The Cherry Orchard.

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

DANLEY SOUND LABS LOUDSPEAKERS AND SUBS CONTRIBUTE TO TRUE STEREO IMAGING AT FIRST FREE CHURCH

ROCKFORD, ILLINOIS: First Free Church has been a cornerstone of spiritual life in Rockford, Illinois since 1884. Over the decades, First Free has occupied several buildings of ever-growing size and, since the advent of A/V technology, ever-growing technical sophistication. Its current sanctuary seats close to 1,800 congregants in an arc spanning nearly 180 degrees, with a balcony and under-balcony area that stretches from wall to wall. Tired of poor coverage from a faux-LCR system of mid-1990s vintage, First Free hired SVL Productions of nearby Cherry Valley, Illinois to build a new system that would provide nearly every seat with crisp stereo imaging. Of course, this would be no small feat to achieve. SVL Productions turned to Chicago-based Johnson AV Engineering to help design and commission the new system, which relies on the tight pattern control of Danley Sound Labs loudspeakers to meet – and then greatly exceed – the church’s expectations.

“Music is a vital component of First Free’s services,” said Aaron Johnson, president and principle engineer at Johnson AV Engineering. “The old system had three clusters to cover different wedges of the room’s wide arc, but despite the fact that they were set up as a Left-Center-Right system, none of the seats had any true imaging to speak of. The church wanted true imaging, where each instrument seems to emanate from the empty space between the loudspeakers, but that’s very hard to achieve in such a wide arc. You can’t simply place a couple of clusters on either side of the stage and expect even coverage and convincing imaging. The relative volume and time delay of each loudspeaker at the listener’s location have to be nearly equal to make the stereo effect work.”

The solution was to divide the room into three 60-degree wedges, each of which would receive its own stereo image. Although that’s easy to conceptualize, it’s very difficult to actually implement because almost all loudspeakers spill energy “off-axis.” That spillover would cross the dividing line between one wedge and the next and destroy the stereo imaging effect. “Danley’s tight pattern control made it the obvious choice for this application,” said Johnson. “No other loudspeaker manufacturer comes close to Danley’s razor-sharp pattern control, which extends even to lower frequencies.”

Because of their specific coverage patterns and the geometry of the room, Johnson specified a Danley SH-60 on top of a Danley SM-96 at each loudspeaker location for coverage of the main seating area. A total of six such clusters comprise the main system: three sets of left and right. Four monophonic Danley SH-Micros provide front fill for seats very near the stage. Partitions separate six under-balcony areas, four of which seat thirty to forty each and two of which seat only eight. For the larger partitions, a stereo pair of Danley SH-Micros deliver convincing stereo imaging, whereas a single Danley SH-Micro in each of the smaller partitions deliver a monophonic summed signal.

“I don’t know of another loudspeaker that can achieve the kind of pattern control that Danley has managed,” said Brent Hayes, president of SVL Productions. “Aaron and I walked the room during commissioning, and it was truly astounding to step just past the edge of one loudspeaker’s pattern. It fell off immediately. One more step and we were clearly into the pattern of the next loudspeaker. I remember seeing it on paper, but it’s a whole other thing to experience it.” Johnson agreed: “I love that Danley products always model exactly like they work, and they work exactly as you expect them to.”

But the miracles of great pattern control don’t stop with the loudspeakers at First Free Church. Johnson designed a directional subwoofer cluster comprised of three Danley TH-118s flown near the ceiling, just in front of the stage. By paying careful attention to each unit’s phase and signal delay, the bass volume on stage is a full 18 dB lower than it is in the seats, which is an obvious and significant difference. The dividing line is, in Johnson’s words, “like a curtain,” and even the first row of seats is fully immersed in bass. By keeping so much low-frequency energy off the stage, the sound quality captured on stage by open microphones is much better and far less likely to growl or feed back.

Processing support for the new system is extensive, as proper alignment required a separate processing channel for almost every individual loudspeaker and subwoofer. BiAmp Audia provides that fine-scale level of control. Because the Danley loudspeakers and subwoofers require only a single amplifier channel, the total number of amplifiers was kept to a minimum, but the sheer number of loudspeakers and subwoofers involved still amounted to an impressive 26 channels. Powersoft K-Series and Ottocanali-Series amplifiers provide that power. “The new system requires more power to the loudspeakers and subs than the old system did, but the efficiency of the Powersoft units allow us to draw less AC power!” said Hayes. “As a result, we didn’t have to call in an electrician. Moreover, their physical compactness left an entire rack from the previous installation wide open. In summary, we had more processing channels, more amplifier channels, and more loudspeaker power, but less current draw and less space consumed.”

New video projectors and screens, together with a new high-end Chauvet lekos and LED lights completed the installation.

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

NOW YOU CAN MIX IN THE BOX

JESSUP, MARYLAND – OCTOBER 2013: Automated Processes Inc. (API) takes great pleasure in announcing the latest addition to its line of highly acclaimed analog consoles: THE BOX® project console. THE BOX is specifically designed for audio professionals with project or home studios who require a smaller format console with that “big console sound.” True to its heritage, THE BOX features the same circuitry, performance and legendary API sound as the company’s highly successful Vision, Legacy Plus and 1608 consoles. The new console debuted to a highly enthusiastic AES show in New York, and is now shipping from the company’s factory in Jessup, Maryland.

“THE BOX offers an easy, turnkey solution for recording and mixing,” said API President Larry Droppa. “It’s a great option for people who record a few channels at a time, but demand the warmth and punch that a large API console delivers. In addition to four inputs, full center section control, and 16 channels of API’s famous summing, the icing on the cake is a classic API stereo compressor on the program bus. Now you can truly record and mix… in THE BOX.”

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

HISTORIC GIBSON’S BOOKSTORE EXPANDS USING AN ASHLY NE8250.70PEM PROCESSOR/AMPLIFIER FOR DIVERSITY OF PLANNED EVENTS

CONCORD, NEW HAMPSHIRE – OCTOBER 2013: Gibson’s Bookstore opened in Concord in 1898 and has been a cornerstone of the community’s cultural and intellectual milieu ever since. Seizing on the revitalization of the city’s historic downtown, owner Michael Herrmann recently moved the bookstore down the street to the first floor of a brand new five-story office building. At 10,000 square-feet, the move more than doubled Gibson’s floor space and incorporated the newly-acquired Imagination Village educational toy store. The fact that it was new construction gave Herrmann the opportunity to design the store to his exact specifications. Included within those specifications is a sophisticated sound reinforcement system that will gracefully accommodate events of varying sizes and styles. A single, two-rack space Ashly ne8250.70pem eight-channel 250W network amplifier with an on-board Protea™ DSP processor is paired with four Ashly neWR-5 wall-mounted remote controls to form the cost-effective heart of the new location’s flexible, easy-to-use sound system. Factory-installed microphone preamp inputs complete the amplifier package.

“The old location was small enough that a simple, consumer-type sound system could do the job,” explained Rick Elliott, production manager at MFI Productions, the firm that designed and installed the new sound system at Gibson’s Bookstore. “When the owner was looking over the plans with designer Kat Whouley of Books In Common, he realized it would take something more high-tech to do it right. He wanted the flexibility to accommodate any type of event, but he also wanted to make sure that his staff could operate the system intuitively.” Herrmann stopped in at Concord’s Capitol Center for the Arts (literally right across the street from the new location) for recommendations, which led him to MFI Productions. The firm worked with Herrmann for an entire year to ensure that the sound system they installed would be right in every respect from the beginning. After all, they had the opportunity to install it while the building-to-be was still nothing more than steel and concrete.

As the design evolved, the number of zones grew from just a few to eight. Separate Pandora music boxes allow different content to play in the children’s section, the main floor, the café, and the on-hold phone system. A handful of line and microphone inputs accommodate a simple acoustic music setup, a presentation, or a lecture. Two outdoor speakers handle the café’s outdoor seating area, while Twenty-four Electro-Voice Evid C8.2 coaxial ceiling speakers cover the bookstore and are zoned so that speakers can be either muted or used for events of various sizes in either the children’s section or the main section. Since it was easy to install during construction, Elliott ran a few extra input lines that the store can grow into if needed. Four Ashly neWR-5 network wall-mounted remote controls placed at strategic locations allow staff to intuitively select zone inputs and control the volume in each zone.

A single, two-rack space Ashly ne8250.70pem provides all of the necessary microphone preamplifiers, input processing, I/O matrixing, and loudspeaker processing, along with eight channels of amplification at 250W per channel into 70V. “The Ashly ne8250.70pem was the right solution because of its simplicity and flexibility,” said Elliott. “It could do everything that the expanded Gibson’s would require, and, when paired with four Ashly neWR-5 wall-mounted remote controls, could deliver that functionality in a way that would be transparent for the staff. When you consider that the two-rack space ne8250.70pem is handling all of the processing and amplification for the entire store, its cost is more than fair.” To help with the evolving system use, the IT contractor allowed Elliott to get through the bookstore’s firewall so that he can make adjustments to the ne8250.70pem from anywhere in the world.

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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