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Archive by Heather Davis

SYMETRIX PROMOTES HOCK THANG TO REGIONAL SALES MANAGER ASIA/PACIFIC

SEATTLE, WASHINGTON – MAY 2013: Spurred by Symetrix’ increasing global presence and the rise of a robust Asian market, former Symetrix Technical Sales Engineer Hock Thang has been promoted to the newly-created position of Regional Sales Manager – Asia / Pacific. Based in Singapore, Thang’s mastery of the Symetrix product line – including Jupiter app based turn-key DSP, Solus standalone fixed I/O DSP, as well as Edge and Radius Dante network audio DSP – has been winning Symetrix converts throughout the region.

“Since 2006, Hock has been an invaluable resource for Symetrix in Asia,” said Mark Ullrich, Symetrix international sales manager. “From his home base in Singapore, Hock has been providing trainings and superior support to the Asia-Pacific Symetrix distributor network. He will continue with this fully but will now also add new focus on strategic sales activities, territory management, and increased connection and support for our distribution partners.”

“I’m privileged to work with such a great team at Symetrix,” said Hock Thang. “Together with our extremely committed distribution partners I look forward to growing Symetrix further in my new role. As our products evolve and become more sophisticated and competitive, we must have the presence and sales infrastructure in place to support it. With the recent release of SymNet Radius AEC Dante network audio DSP, for example, I’ll be focusing heavily on growing the awareness of our full range of conferencing solutions. I look forward to working even more closely with distributors, consultants, and end-users alike, to continue to install superior Symetrix DSP products in the Asia-Pacific region.”

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.

JAY RUSTON, AN ESTABLISHED CHANNELSTRIP USER, ADDS METRIC HALO’S PRODUCTION BUNDLE PLUG-IN COLLECTION TO HIS UPDATED RIG

SAFETY HARBOR, FLORIDA – MAY 2013: Apart from being a seriously nice guy, veteran engineer and producer Jay Ruston is a monster talent behind a mixing console, be it physical or virtual. He’s been at it for twenty years and recently leveraged his seasoned perspective and sonic-smashing tricks to mix Anthrax’s return-to-form masterpiece Worship Music and Steel Panther’s much-lauded mocurockery Balls Out. Ruston took to Metric Halo’s ChannelStrip plug-in for those efforts, citing its musical sound and useful presets as part of what made those works so effective.

Even more recently, Ruston relented to the rising tide of incoming Pro Tools sessions that were incompatible with his “if-it-ain’t-broke-don’t-fix-it version” 7.4 and upgraded to 10. Associated with that giant leap and given Pro Tools 10’s move to AAX, he had to reconsider his plug-in pallet. “I was pleased with the results I was getting with Metric Halo’s ChannelStrip, and I saw that the company was now selling a Production Bundle of plug-ins,” he said. “I needed a de-esser, a multi-band compressor, an enhancer, and more. Coming from the same minds that made ChannelStrip, I figured the Production Bundle would be a good bet.” As it turns out, it was.

The upgrade to Pro Tools 10 was happening just as Ruston was finishing the mixes for the debut album from The Winery Dogs, a super group composed of Richie Kotzen (Mr. Big, Poison), Billy Sheehan (Mr. Big, David Lee Roth, Steve Vai), and Mike Portnoy (Dream Theater). He held on to the 7.4 mixes in order to give them one more tweak with the new system and the new Metric Halo plug-ins. “The vocals were critical, and after doing some basic equalization and compression with ChannelStrip, I used the Production Bundle’s Multiband Dynamics to smooth out the top end and upper midrange,” he said. “I’ve always used multiband compressors, and Metric Halo’s version is very effective. In addition, I cleaned up some sibilance with Metric Halo’s Precision DeEsser, and I’ve since found that it works just as well with female vocalists.”

Ruston used Metric Halo’s HaloVerb on Portnoy’s otherworldly drum tracks. “All of these Metric Halo plug-ins are so easy to use,” he said. “HaloVerb has only a handful of well-labeled knobs, and it immediately sounds good using any of the presets. I dialed in the sound using the presets as a starting point.” Those statements about HaloVerb generalized: “The Production Bundle is simple to look at and understand. The parameters are sensibly labeled with meaningful descriptions like ‘release’, ‘attack’, ‘Q’, and so on; none of those weird parameter names I find in other manufacturers’ plug-ins.” Despite the fact that The Winery Dogs recorded the album in Kotzen’s house, Ruston couldn’t be happier with the way the final mixes sound.

Of course, well-labeled parameters would only be appreciated on a plug-in that sounded fantastic, and Ruston described the Production Bundle by way of ChannelStrip. “ChannelStrip is so useable because it sounds so musical and pleasant,” he said. “I can slide the EQ curves around and it all sounds good. It’s just a matter of finding the most effective position given the track and everything else that’s happening in the mix. It can go from extremely broad and smooth to extremely tight and clinical, depending on what I need. All of the Metric Halo plug-ins share that same sonic quality – smooth, musical, and yet precise. They do what they’re supposed to do, like a piece of high-quality analog equipment. In that way, they’re also speedy, which is important because I like to work as quickly as possible.”

Ruston also used Multiband Dynamics, Precision DeEsser, HaloVerb, and, of course, ChannelStrip for the drums and vocals on Steel Panther’s follow-up to Balls Out. In addition, he’s had a chance to try out some of the other goodies in the Production Bundle. “The Character plug-in is versatile and sounds, to me, like tape emulation,” he said. “I can use it on bass, which adds some nice grind and really lets it tear. That’s especially useful with Steel Panther because they don’t always lay a rhythm guitar underneath a solo. Another trick I found was putting the snare and kick on a separate bus, compressing with ChannelStrip, and adding Character for drive. Then I mix that back in with the clean tracks to get a really punchy sound.” In addition, Ruston uses TransientControl to dial in percussive attack where needed.

“I know that a lot of mix engineers are anti-preset,” said Ruston. “Not me. I want the maker to show me what a plug-in was designed to do. I want to learn all the secret weapons and tricks that they built into it. The Metric Halo presets are totally usable. I can use the presets for a particular task or I can fire through them and listen for something that catches my ear. Either way, I usually dial things in from there.”

Ruston is excited to use the new Metric Halo Production Bundle on a live DVD for Anthrax that was recorded in Santiago, Chile. Previously, he had to rent rooms to do surround work, but now his system is set up for surround. “For the first time, I’ll be able to use all of my own stuff on a surround recording,” he said. “It’s gonna be great!”

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

BOX HILL INSTITUTE CHOOSES API 1608 FOR STUDIO R

MELBOURNE, AUSTRALIA – MAY 2013: When the Box Hill Institute’s Centre for Creative Industries console needed replacing, they looked no further than the API 1608. The 32-channel console can be found in Studio R of the Institute’s Whitehorse campus in Melbourne, Australia. Here, students use the console to earn degrees in Applied Music, specializing in audio production courses that teach both analog and digital recording techniques.

Adam Quaife, former freelance engineer and producer, who is now a lecturer in audio production, heard of API in past professional experiences with other respected engineers and producers. “We searched for a new console that would give our students the very best experience of what analog audio could offer.” he said. The obvious choice was the API 1608.

The API 1608 was chosen for its quality of sound, level of control and solid build, as well as the reliability and timelessness of API’s products. “We are very happy with our choice of an API 1608. The sound of the console and the 550A EQ is awesome. The whole thing feels and functions like a high-quality studio instrument,” said Quaife. The department also uses other API products such as the 2500 stereo bus compressor, 5500 dual equalizer and the A2D mic pre amplifier.

“Box Hill institute has long been regarded as a great institution to study creative arts, audio production and music,” said Quaife. “Our students immediately appreciate the flexibility and quality of sound that this console brings to their productions.”

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

CRAIG RICHARDSON, Ph.D., JOINS SYMETRIX AS V.P. OF GLOBAL SALES

SEATTLE, WASHINGTON – MAY 2013: Symetrix announces today the appointment of Craig Richardson to the position of Vice President of Global Sales. Richardson assumes responsibility for management of the company’s worldwide sales and business development. Richardson most recently served as Vice President of A/V Integrator Market Development with Polycom and prior to that was the Vice-President and General Manager of Polycom’s Installed Voice Business for many years. According to Symetrix CEO, Paul Roberts, “Craig Richardson is a major player in the world of audio for voice and video conferencing. We’re extremely excited to have a person of his caliber on board as we rapidly add teleconferencing products to our complete range of digital signal processors and accessories.”

“At Symetrix, I found a company with talented and dedicated people, a reputation for great products and customer-support, and a palpable level of enthusiasm for their new products and direction,” said Richardson. “It’s exhilarating to experience the passion and focus a rapidly growing company like Symetrix has for creating best-in-class products and services.”

During InfoComm Richardson will deliver a session called, “Designing and Troubleshooting Audio Conferencing Systems” on Wednesday, June 12th from 8 am to 10 am.  The session will focus on the lifecycle of an audio conferencing system: from the needs assessment and design guidelines to troubleshooting during installation and commissioning. “This session will streamline participants’ installation efforts and allow them to finish an installation sooner and with greater customer satisfaction,” said Richardson. “From a solution perspective, Symetrix’ new conferencing products, including SymNet Edge, the SymNet 4 Channel AEC Input Card, and SymNet Radius AEC, have a number of unique strengths including audio performance, audio routing options, form-factor, and price points. Their flexible architectures support both cost-effective smaller conferencing systems typically with eight or fewer microphones, and large, complex, conferencing systems connected via a Dante network over Ethernet.”

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.

STOP BY AND SEE US AT INFOCOMM BOOTH #922

SYMETRIX EXPANDS GLOBAL CTS CERTIFICATION BOTH ON SITE AND ONLINE

SEATTLE, WASHINGTON – MAY 2013: Symetrix, manufacturer of high-end professional audio solutions, specializing in DSP hardware and software, is pleased to announce the global expansion of its INFOCOMM accredited training. The announcement parallels the growth of Symetrix’ international sales.

“As we continue to expand internationally, the need for training also increases,” said Mark Ullrich, International Sales Manager with Symetrix. “We’re excited to now offer worldwide training courses that are INFOCOMM accredited. We have trainers covering Europe, Africa, the Middle East, Asia, and Australia, and the full-day course carries four CTS renewal points. Alternatively, for those who are unable to join in person for training, our self-paced online training provides renewal points as well. With CTS becoming more popular everyday among A/V professionals we’re glad to be able to offer this extra benefit for those attending our training.”

Ryan Curtright, Senior Technical Sales Engineer with Symetrix, will deliver domestic training throughout the United States. Hock Thang, Symetrix Technical Sales Engineer for Asia, will cover Asia. Iain Cameron, Director of Technical Support and Training with World Marketing Associates, will provide training throughout Europe, Africa, and the Middle East. Udo Stoof, Product and Project Manager for Digital Audio Products with TRIUS GmbH & Co., will focus on training in Germany. Matt Vance, Technical Training Specialist with Production Audio Video Technology, will deliver trainings in Australia. Mark Ullrich himself will provide training throughout the world based on demand. Online trainings are also available worldwide.

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.

STOP BY AND SEE US AT INFOCOMM BOOTH #922

DANLEY’S NEW OS80 TAKES THE LEAD AS A FULLY-WEATHERIZED OUTDOOR LOUDSPEAKER WITH PATENTED SYNERGY HORN TECHNOLOGY

GAINESVILLE, GEORGIA – MAY 2013: Danley Sound Labs brings its revolutionary Synergy Horn technology to the great outdoors with the Danley OS80. Like its Synergy Horn siblings, the OS80 delivers tremendous output, both in terms of sound pressure level and transparency, as well as precise pattern control. Unlike its Synergy Horn siblings, however, the OS80 is housed in an enclosure that is utterly impervious to weather, making it the ideal loudspeaker for outdoor installations at sports venues, arenas, athletic fields and complexes, theme and recreational parks, public gatherings, race tracks, community centers, cruise ships, hockey rinks, water parks, swimming areas, and more.

“The Danley OS80 brings high fidelity to outdoor loudspeakers,” asserted Mike Hedden, president of Danley Sound Labs. “Until now, installing a fully-weatherized loudspeaker meant significant compromises in fidelity and impact. But like all Danley products, the OS80 doesn’t play by those rules. The OS80 not only delivers the kind of clarity and power that characterizes our flagship SH-50 loudspeaker, but it can do it in a driving rain or after a winter spent buried under snow. In addition, the OS80’s precise pattern control created by the large horn makes it possible for outdoor sound reinforcement systems to deliver superior Synergy Horn fidelity to every seat.”

The Danley OS80’s coverage pattern is 80 deg conical with an operating frequency range that spans 113 Hz to 18 kHz (+/- 3 dB). It has 101 dB SPL sensitivity and a maximum output that rates 127 dB SPL continuous and 133 dB SPL program. A single high performance 12-inch driver and a single 1.4-inch driver energize the Synergy Horn and are hidden away inside a thermal molded poly-composite exterior measuring 32.25 inches high by 26-inches wide by 14.5 inches deep. Total weight is 51 pounds, and a U bracket is included as are other flexible mounting options which allow the Danley OS80 to make itself at home in any circumstance.

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

SEE US AT INFOCOMM BOOTH #143 – COME TO HEAR THE OS80 IN DEMO ROOM W203B

METRIC HALO’S SPECTRAFOO THE BACKBONE OF THE OAK RIDGE BOYS LIVE ENGINEER MARKO HUNT

SAFETY HARBOR, FLORIDA – MAY 2013: Marko Hunt is closing in on four decades behind the mixing console, and he has spent the last thirty-two of them with The Oak Ridge Boys – first at monitors and then later at FOH. Before securing that enduring gig, Hunt cut his teeth touring with the Little River Band in its heyday. He also spent several years touring with Johnny Cash. Suffice it to say, Hunt is no newbie! And after all those countless gigs in the innumerable venues of the nation and the world, he can hear things with awe-inspiring precision and objectivity, although he’s too modest and soft-spoken to admit it. Perhaps because of that ability, Hunt is also keenly aware of the multiple advantages of regularly “calibrating” his ears with the analysis software that has been his constant companion for the last decade: SpectraFoo by Metric Halo.

“As good as my ears may or may not be (that’s an opinion!) it’s still a good idea to use a measurement tool to maintain accuracy,” Hunt said. “Anybody who does what I do knows that there are so many things in a room that can throw you off. I can hear a frequency and call it. By now, I’m good at that. But I can still get fooled; it’s not uncommon to mistake a frequency for one that’s an octave higher or lower. Moreover, I’m used to calling frequencies in the standard 1/3 octave bands. But with SpectraFoo, I can objectively see what’s going on with much greater resolution, switching to 1/6 or even 1/12 octave, which allows me to pinpoint a frequency on my parametric EQ. Very often, that center point may sit between the 1/3 octave bands.”

In addition to the tricks and phantoms that acoustical spaces and PA systems love to conjure, there are often physiological reasons why the objectivity afforded by SpectraFoo and Hunt’s Earthworks M30 omni-directional measurement microphone can be a life saver. “Because of the timing of things, there are some days when I go over the mountains flat on my back in a bunk,” he said. “God never meant for you and your ears to go over the mountains on your back! Or I may fly, and the pressure change may leave my ears completely whacked. But my computer doesn’t care. My mic doesn’t care. And SpectraFoo doesn’t care. I can still tune a room – close to perfectly – even if my ears are still recovering.”

When working with The Oak Ridge Boys, a well-tuned room is essential. With four vocalists, four soloists, and percussion, there is a lot going on and a lot of open mics. Indeed, the high pass for bass vocalist Richard Sterban (think “oom-pa-pa-oom-pa-pa-mau-mau” from “Elvira”) is often as low as 80Hz, and he’s a fairly quiet singer. If Hunt doesn’t take care of the 200 to 300Hz especially, his mix will invariably turn to mud. “Although I travel with my own console, every night I’m faced with a different room and a different PA,” he said. “SpectraFoo helps me to maintain consistency from night to night.” Of course, Hunt also relies on his ears – you can often find him walking around a venue before a show listening to Steely Dan, Diana Krall, Herbie Hancock, Chick Corea and other “clean recordings” that he’s very familiar with.

Apart from helping Hunt to objectify his experience, SpectraFoo can also make it easier to communicate with others about sound, which can otherwise be a very subjective topic of conversation – or of disagreement. “I remember one time when I was setting up, and the left side of the PA sounded funny,” he said. “I talked with the venue technicians, who insisted that they had just had someone out to tune things up and that the problem must therefore reside with our gear. So I showed them with SpectraFoo: first the right side where everything looked good, then the left side, where things were obviously messed up. Then they said, ‘it has to be your console!’ So I hooked up the console output to SpectraFoo and it was obvious that both channels were fine. They couldn’t fix it that day, but they did call me later to say thanks and that, yes, a few of the components had been wired out of phase.”

Although he doesn’t use them all, Hunt appreciates the huge diversity of tools available in SpectraFoo, and he uses a fair number of them – both on the road and in the studio. “The main tools that I use for tuning a room and for the actual performance are the Spectragraph (volume versus frequency) and the Spectragram (volume versus frequency versus time),” said Hunt. “I’ll usually compare the output from the console with the output from my Earthworks mic using the Transfer Function (source versus mic). If I hear a frequency poke up, I can turn to the time-based Spectragram, and that lets me know where it is and whether it’s in the console or only in the room.” He uses many of the additional tools, such as the oscilloscope, the Lissajous phase scope, THD Distortion Analyzer and the Phase Torch to confirm the operation of his equipment and to help out in the studio. “I also can route my monitor buss to the source input and compare any channel on the console to what’s coming out of the P.A. or using separate busses compare any two channels on the console, i.e. kick and bass guitar. Once you’re set up it’s as simple as switching window sets.”

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 1608 STARS IN ONE-OF-A-KIND STUDIO IN MILAN

MILAN, ITALY – MAY 2013: A new studio in Italy features a 16-channel API 1608 as the main attraction for a one-of-a-kind studio experience. INDIEHUB, located in Milan, is a “co-working” facility with a primary focus on creating music. Here, engineers, producers and musicians can rent space using either their own equipment (such as a laptop, audio interface, etc.) or supplied equipment and the recently installed 1608.

It all started with the idea that people in the music industry should have access to quality equipment in order to create quality music. Giving them the opportunity to meet each other and encouraging the comparison in a professional workflow is the goal of the INDIEHUB.

Owner Andrea Dolcino was introduced to a similar idea in a different type of facility, and thus the idea for INDIEHUB was born. “Before starting INDIEHUB, I’d been working for ten years as an audio engineer, specializing in post-production for advertising jingles. Three years ago, a customer took me to a co-working facility for a job,” says Dolcino. “So I decided to start the first co-working facility dedicated to music production.”

When it came time to choose a console, INDIEHUB worked with Paolo Orizio of Funky Junk in Italy. The API was the clear choice. “For our budget, the 1608 was the only console with a strong personality and a comfortable and modern routing,” says Dolcino. “It’s modern and vintage at the same time. The routing is perfect for HD recording and the 1608 preamplifiers are really attractive, especially for their response to the bass frequencies. For that money, it’s the best choice.”

The INDIEHUB facility invites clients to rent space for as little or as long as they like and can also host concerts and showcases, making this a unique experience – not only because of the facility, but also because this is the first 1608 console in Milan. “We are excited to spread our wings in Italy,” said Mark Seman, API sales. “This is a great endeavor for both API and INDIEHUB.”

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 AUDIO INTRODUCES THE nX AMPLIFIERS: A WAVE OF TREMENDOUS POWER, EFFICIENCY, AND FLEXIBILITY FOR THE PRICE OF A MODEST SPLASH

WEBSTER, NEW YORK – MAY 2013: With founder Billy Thompson’s invention of the “Loud Amp” in the early 1970s and the introduction of its path-breaking MOS-FET amplifier technology in the early 1980s, Ashly Audio established itself as a company that would lead the industry in technological innovations. It continues that tradition with the new Ashly nX family of Class D amplifiers, which deliver up to 12,000W of clean power while drawing less than 1W in sleep mode. nX amplifiers are offered in four- or two-channel versions with selectable high-Z (70/100V) or low-Z output on each channel. nX model variants include the addition of Ethernet control, and onboard Protea™ DSP with load monitoring, to meet the many and varied requirements of modern fixed installation and live sound applications. True to the craftsmanship that launched the company, Ashly hand-builds nX amplifiers in the United States and backs their performance with a five-year warranty.

“nX amplifiers are lightweight and efficient, yet pack a tremendous amount of power and flexibility into a 2U chassis” said Anthony Errigo, director of communications for Ashly. “We have designed them to meet the demanding requirements of stadiums, arenas, performance venues, worship spaces, and convention centers – anywhere big sound and modern performance requirements are needed. nX amplifiers are especially appealing for value-engineered installs because they offer features, performance, and reliability that Ashly is known to deliver.”

Ashly is offering three series of nX amps with feature sets that build upon each other. The base nX amplifiers are available in four- or two-channel models at 3000W or 1500W per channel (@ 2 Ohms) and feature a defeatable automatic sleep mode. nXe series amps add Ethernet control, serial data control, aux preamp outputs, programmable standby mode, preset recall, fault condition logic outputs, event scheduling, and optional network audio and digital audio capability (CobraNet® or AES3). Finally, nXp series amps feature everything in nXe plus onboard 32-bit SHARC Protea DSP processing (48 or 96kHz sampling rate) and precision swept load-impedance monitoring.

Additional features include multiple independent power supplies for increased channel separation and reliability; front panel power switch and level controls (defeatable in nXe and nXp models); front panel LEDs for temperature, current, signal, clip, mute, bridge mode, protect, sleep, and more; Neutrik® Combo XLR – 1/4” TRS jack plus Euroblock input connectors; Neutrik speakON® twist locking loudspeaker connectors for security, safety, and reliability; rear panel DIP switches per channel for selection of high pass filter, limiter, input gain, and High-Z or Low-Z speaker output configuration; remote DC level control on each input channel; switch mode power supply automatically detects 120V or 240V AC operation; and extensive protection circuitry, including continuously variable cooling fans.

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

PLEASE STOP BY AND SEE US AT INFOCOMM BOOTH #335

DANLEY’S PRECISE AUDIO FIDELITY ANCHORS THE NEW PERFORMING ARTS CENTER AT FINGER LAKES COMMUNITY COLLEGE

CANANDAIGUA, NEW YORK – APRIL 2013: Given its exceptional faculty and its extensive facilities for Music and Music Recording Technology, the Finger Lakes Community College in Canandaigua, New York is rare among community colleges. The résumés of its faculty include some of the best-known commercial recording studios in the world, and the campus is home to the Constellation Brands-Marvin Sands Performing Arts Center (CMAC), a popular outdoor venue that seats 5,000, and a John Storyk-designed recording studio. Recently, the school committed to building a new Student Life Center building, which, among many other amenities, includes a 410-seat Performing Arts Center and a smaller multipurpose room with flexible seating. The performing arts center is acoustically- and technologically-flexible and capable of effectively delivering acoustic music, high-SPL rock, and everything in-between. Both rooms rely on Danley Sound Labs loudspeakers and subwoofers to convey high-fidelity sound reinforcement with precise pattern control.

“It was only after we had designed the room for acoustic music that the school added high SPL amplified music to the list of requirements,” explained Seth Waltz, principal of AVL Designs (Penfield, New York). “It was originally designed as a classic recital hall, and we did all of the acoustic work with that in mind. Our initial plan called for a small central cluster of loudspeakers that would be used strictly for voice reinforcement. But then they changed things and wanted to be able to accommodate rock bands and dramatic theater. So we had to move backwards, working around the acoustics and the lighting positions that were already in place.” JMZ Architects (Glens Falls, New York) led the project, and AVL Designs designed the acoustics, rigging, lighting, video, and sound reinforcement for both rooms. Platinum Sound (Victor, New York) installed the audio and video systems, and BMI Supply installed the rigging and lighting.

“Given the new requirements, we had to find a very well-controlled loudspeaker that would keep energy off the walls and ceiling, yet deliver tremendous SPL with audiophile fidelity,” said Waltz. “Because of sight lines, lighting positions, and the geometry of the room, a line array was out of the question. Danley Sound Labs’ Synergy Horn technology was the obvious, and perhaps only choice.” AVL designed stereo clusters mounted at either edge of the proscenium, each composed of a Danley SH-64 with a Danley SH-95 for downfill. Four Danley TH-112 subwoofers support the low end from below the stage.

A Digidesign Venue SC48 sits at FOH and feeds an Ashly ne24.24M modular I/O processor configured four eight inputs and sixteen outputs. “In terms of sound quality for the dollar, I love the Ashly processors,” said Waltz. “The Ashly ne24.24M is the perfect FOH processor.” A pair of four-channel Lab.gruppen c48:4s power the Danley TH-112 subwoofers and the Danley SH-64 loudspeakers, and a c28:4 powers the SH-95s. Crestron control integrates all of the A/V system functionality and lights. A high-definition Christie Digital LX1500 projector illuminates a Da-Lite 270-inch screen for cinema-quality video, and ETC lighting with 192 channels of dimming allow for flexible and dramatic staging.

The design goal was not merely to make the Performing Arts Center acceptable for a wide range of music and performances, but to make it excellent across that range. Because they have such low distortion and because it is largely independent of the output volume, the Danley loudspeakers and subwoofers contribute significantly toward that goal. Going further, AVL Designs incorporated a Yamaha AFC electronic reverberation system for the room. A series of sixteen hidden microphones feed a processing engine that outputs to approximately forty hidden loudspeakers with small subwoofers built in. Using the Yamaha system, the room’s reverb can be adjusted between 1 and 2.5 seconds.

Although much smaller in scope, the multipurpose room was the first space in which the college’s discriminating faculty had an opportunity to hear Danley loudspeakers installed. A pair of Danley SH-100Bs provide stereo output with integrated subwoofer support. “The faculty – and these are all veteran recording engineers – were blown away by the Danley SH-100Bs,” said Waltz. “And when these people say that they like the way a loudspeaker sounds, it really means something!” A Yamaha 24-channel digital console feeds another Ashly ne24.24M, this time configured as 8×12. A QSC PLX 3102 amplifier powers the system.

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

STOP BY AND SEE US AT INFOCOMM BOOTH #143, DEMO ROOM #W203B

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