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Arsenio Audio Staff (Fist) Pumped About Yamaha CL Digital Consoles

BUENA PARK, Calif.—The Arsenio Hall Show premiered in September 2013 and features a mix of comedy, music and celebrity guests, adding a new perspective to the late-night scene. Hosted by comedian and actor Arsenio Hall, the daily, one-hour nationally syndicated late-night talk show is anchored by the Tribune Broadcasting Station Group and produced by CBS Television Distribution.

Peter Baird is the sound system designer as well as the music mixer for The Arsenio Hall Show and together with the production mixer, house and monitor engineers, chose five Yamaha CL Digital Audio Consoles and six Rio3224-D input/output boxes to kick off the season. Two CL5s and one CL3 are used at front of house with two CL5s at the monitor mix position.

“When production mixer Ish Garcia asked me to come in as the show’s music mixer, we spent some time together strategizing about what an ideal system would look like, states Baird. We knew the show would be very music-heavy and wanted the system requirements to check four main boxes: 1) 160 inputs available to split between the house band, guest artists, and production, 2) tight integration and future-proofing, 3) stability and reasonable immunity from buzzes, hums, and grounding issues, and 4) incontestably great sound.”

Baird said he did a lot of research and was surprised to find that most major professional audio manufacturers still think in terms of single consoles with local input/output resources rather than integrated, networked systems. “It’s true that some manufacturers have implemented various modes of moving audio around including MADI and EtherSound, but only Yamaha had really perfected the relationship between separate console operators using shared resources. And, the more I read about Dante, the more I thought a large Dante network might be the best answer for us.”

Garcia and Baird have been through the audio selection process before, having been the mixing team on Lopez Tonight and, explains Baird, “in a project like The Arsenio Hall Show, the audio team needs to be able to move inputs and outputs around quickly and flexibly to deal with whatever the production team might throw at us. For example, we need to be able to quickly integrate any number of players suddenly showing up to sit in with the house band, while at the same time keeping the whole system as simple and understandable as possible for the operators. Yamaha’s incremental approach to console operations and CentraLogic™ meant that our FOH and Monitor Mixers, James Young and Greg Keslake, were already largely familiar with the console surface conventions from the very first day.”

Baird added that the economics of networked audio are not insignificant. “Traditionally a show like The Arsenio Hall Show would have at least three 56 pair of three-way transformer splitters with all of the associated interconnect copper between them, and in some cases, hundreds and hundreds of feet. Those 504 outputs (3 x 56 x 3) would feed separate consoles, with each output requiring a separate head amp. As mixers, we know that the best-sounding consoles are the ones with the best head amps, and a console with 64 top-drawer head amps costs more money than one with 64 mediocre head amps. But a networked system only needs one really great head amp per channel no matter how many consoles it’s connected to! With the CL series having only 8 head amps on board, Yamaha was able to spend time and money making the console as ergonomically correct as possible rather than trying to re-engineer head amp design to fit a small footprint. Also, in the case of Dante, local interconnects are on Cat 6 cable, with point-to-point connections on fiber, a monumental savings over the same capabilities in copper. And to clarify, the head amps in the Rio3224-D input/output box are spectacular! They are clear and detailed, yet with great body, warmth, and musicality; a great foundation for a system in a critical installation like The Arsenio Hall Show.”

Monitor Engineer, Greg Keslake says he’s a big fan of Yamaha digital consoles having been introduced to digital over 15 years ago with the Yamaha 01V, and since that time, has extensively used all of the larger format consoles. “We are using Dante exclusively for FOH, Monitors and Music Production, and I am even using a Dante MY16 Card in my house monitor console for high level returns from production.”

Keslake said for monitors he’s using one CL5 dedicated to the house band and one dedicated to the guest bands. “The house band is using the new Aviom 360′s, and I am sending the band each a mixture of direct outs, mixes and matrices. This has given them the comfort of being able to adjust the instruments of their choice very quickly but hasn’t limited my ability to supplement their mixes as needed. The Yamaha CL has also made it extremely easy to swap around what channels I send the house band based on weekly sit-in artists via Dante patching.”

On the guest band console, Keslake has dedicated mixes 1-16 as stereo in-ears, 17-24 as wedges, matrix’s 1-7 are effects sends, and matrix 8 is a drum sub mix. “The dedicated mixes have allowed me to have a very good starting point for almost any guest band with very little information. I have found the ability to map my own channels to custom fader banks immensely valuable specifically on the CL5 guest band console. I am using the C5 and C6 banks to map my daily used mixes enabling me to bounce around very quickly between them. I was also extremely impressed with the addition of the Premium Rack in the CL Series.”

With an audience of 201, James Young, front of house engineer is using a CL3 for the house band with six stems to the CL5 production console: left, right, sub, two vocal stems, lead and BGV, and a ‘guest’ stem for when someone sits in with the house band. Guest bands land in a separate CL5 with a similar 6 stem set up. “The Dante network has been very stable, and the Yamaha CL consoles are very easy to set up and use with classic Yamaha reliability. I also appreciate the extra DCA’s, effects rack, and custom fader banks.”

For more information on The Arsenio Hall Show, visit www.arseniohall.com.

For more information on Yamaha CL Digital Audio Consoles, visit www.yamahaca.com.

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PHOTO ID: Left to right: Greg Keslake, Peter Baird, James Young

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

LSU ROARS WITH DANLEY!

BATON ROUGE, LOUISIANA – JANUARY 2014: The Louisiana State University Tigers football team plays all of its home games at Tiger Stadium on the school’s Baton Rouge campus. Nicknamed “Death Valley,” the stadium’s deafening roar of 92,500 Tigers fans is notorious for scrambling the communications and sapping the confidence of the Tigers’ unlucky opponents. Indeed, the NCAA ranked Tiger Stadium as the loudest stadium in college football, noting as an example that fans’ euphoric response to a last-minute LSU touchdown in 1988 measured as a minor earthquake on the campus seismograph! Despite this, Tiger Stadium persisted until recently with an underpowered sound reinforcement system that one list-serve commenter likened unfavorably to a car radio. No more. With a beefy Danley Sound Labs sound reinforcement system that includes eighteen Jericho Horns and six “Rock Monster” subwoofers, Tiger Stadium’s music playback system is now positioned to whip LSU fans to even greater fervor.

“The old system was expressly designed for public address, not music playback,” explained Larry Lucas, director of audio engineering for Anthony James Partners (Richmond, Virginia) and the person responsible for designing LSU’s new sound reinforcement system. “Given the game-day experience demanded from fans these days, a serious upgrade was a necessity. The point-source system that we designed flanks the LED screen on the north end of the stadium and throws eight-hundred feet across to the south end zone seating. With the Danley Jericho Horns, we were able to throw 8kHz that full distance with program material that measured 105dBA. That’s an unprecedented technical leap!” Baker Audio of Norcross, Georgia installed the system.

Fourteen Danley J3-64 full-range Jericho Horns comprise the bulk of the new system, while four Danley J4-31 high-frequency Jericho Horns contribute to the system’s amazing high-end throw. Six Danley TH-812 “Rock Monster” subwoofers fill out the bottom of the system with thunderous low end. Four Danley SH-96s, four Danley SH-64s, four Danley SM-80s, and twenty Danley SH-MINIs provide fill for areas not directly covered by the Jericho Horns. A 32-channel Yamaha LS9 provides a familiar front end, while a QSC Q-Sys processing system feeds twenty-four Lab.gruppen PLM 10000Q and 20000Q amplifiers behind the scenes.

Mike Hedden, co-founder and president of Danley Sound Labs commented. “We measured the frequency response of the completed system at hundreds of positions around the stadium and the system is remarkably consistent with solid bass down into the mid 20Hz region and top end extending into the 10kHz range even at seats eight-hundred feet away. This is unprecedented performance in a venue this size and could only be achieved within the limitations of the scoreboard using Danley’s unique technologies.”

The north end scoreboard sits over eighty feet from ground level, and each loudspeaker and subwoofer had to be lifted individually by crane to that height. Then the Baker Audio rigging crew set up a beam trolley system with rigging motors to lift each set into position, to secure final rigging hardware, and to lock in the angles and aiming points. Because Tiger Stadium is in a hurricane zone, everything had to be slightly over-engineered to make sure that the rigging tolerances would hold up to hurricane force winds.

“There are always questions about how a system’s real life performance will compare to the acoustical models we work with in the design process,” commented Chris Moore, senior project manager with Baker Audio. “Given the throw distances at Tiger Stadium, a few degrees in coverage pattern or small variables in the overall acoustic performance could have been very time consuming to correct in the field. No one wants to do a redesign in the field, especially given the rigging elements that we had to use on this job. Thankfully, the Danley speakers performed exactly as the design models predicted they would, so we did not have to change any rigging angles or aiming points once we had the speakers hanging in the air. That made the installation process fast and efficient. It’s always a good day when everything performs as planned.”

“The Danley J3-64 Jericho Horns, together with the additional Danley fill speakers, combined to provide uniform coverage throughout the stadium, including the far upper end zone seating,” said Doug Stancil, senior engineer with Baker Audio. “The coverage was complicated by Tiger Stadium’s extended sideline seating, which reaches up to 175 feet at its highest point. The Danley system covers all of those seats very well. I was also impressed by the performance of the Danley TH-812 subs in the far field. Although I have been in stadiums where the low end starts to fall off at the fifty-yard line, this is definitely not the case at Louisiana State University. Fans will feel the full impact of the ‘Tiger Roar’ wherever they sit!”

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

NOMINATED FOR TWO 2014 GRAMMYS, MIX ENGINEER GARY NOBLE GOES WITH METRIC HALO’S 2882 INTERFACE, PLUG-INS AND SPECTRAFOO

SAFETY HARBOR, FLORIDA – JANUARY 2014: It’s been a busy year for Grammy Award-winning mix engineer and avid blogger Gary Noble. His two highest-profile projects each earned a Grammy nomination for Best Urban Contemporary Album. The first nominated work is Mack Wilds’ New York: A Love Story, which was released earlier this year on Louder Than Life/Sony Music. Producer and frequent collaborator Salaam Remi brought that project to Noble for mixing, and he also asked Noble to mix three of the tracks on his own work, ONE: In the Chamber, which was released on Flying Buddha/Masterworks and also earned a Grammy nomination. For the latter work, Noble mixed Remi’s collaborations with Ne-Yo, Corinne Bailey Rae, and Stephen Marley. As always, Noble relied on his Metric Halo 2882 interface for monitoring and 80-bit summing; the Metric Halo Production Bundle plug-ins for flexible, great-sounding processing; and Metric Halo SpectraFoo sound analysis software to ensure the technical perfection of his work.

For both projects, Noble mixed at either 88.2kHz or 96kHz, depending on the recording rate. In a few cases, the original material was recorded at 44.1kHz or 48kHz, and Noble up-sampled the files to the higher rates for consistency. “I’ve been using my Metric Halo 2882 on a daily basis for a decade, and it has worked flawlessly,” Noble said. “Metric Halo has been great about keeping it up to date; working at higher sampling rates is never a problem. The only problem I ever experienced wasn’t the unit’s fault… a bus-powered FireWire drive had a bad port and damaged the 2882. I shipped it to Metric Halo and had it back in fine order a few days later with a 2D upgrade.” Although he admits it is a bit of a cliché, Noble states that his 2882 is like a Swiss Army Knife. He can use it for all things audio wherever he goes, including hotel rooms. Several of the tracks on New York: A Love Story and ONE: In the Chamber progressed in hotel rooms with the help of the 2882 and a pair of good headphones.

The Metric Halo Production Bundle of plug-ins played a prominent role in Noble’s Grammy-nominated mixes. The most creative use was perhaps to help Mack Wilds’ vocals pop against the backdrop of a luscious recording of a full orchestra. “The Multiband Dynamics plug-in is great for sounds that take up a lot of space,” Noble said. “The orchestra tracks were huge and beautiful, and I didn’t want to sacrifice that. But at the same time, Mack’s vocals had to figure prominently in the mix. I used Multiband Dynamics to carve out a space from the orchestra to make room for Mack.” Noble also used HaloVerb to liven up tracks that needed it and Character to impart an organic, analog feel to tracks that sounded too digital by themselves. Of course, Noble’s longtime favorite plug-in, Metric Halo’s ChannelStrip, played a prominent role as well, providing analog-sounding equalization and flexible dynamics processing on almost every channel.

Metric Halo SpectraFoo is an indispensible part of Noble’s workflow, and these two Grammy-nominated albums are no exception. “I always run SpectraFoo in the background when I mix,” he said. “And I always check it to see that what I’m hearing is accurate, and it’s especially useful in unfamiliar rooms. It’s not uncommon to have the low end sound okay in the room, but SpectraFoo shows me that it’s too much or too little. It’s a good reference that’s free from the variables that can affect sound in a particular room.”

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

Join Renkus-Heinz at NAMM 2014

Anaheim, CA – January, 2014… The New Year is off and running, and Renkus-Heinz will kick off 2014 with the upcoming NAMM show in Anaheim, January 23-26, 2014. We will be in our usual spot in the Anaheim Convention Center, Hall A, Booth 6420, and would be delighted to have you drop by for a visit.

Renkus-Heinz will also be part of the CMT NAMM Canadian Reception, providing a full IC2 steered beam line array system to the event. The Reception, hosted by Norris-Whitney Communications, will be held on Thursday, January 23rd from 8:00 PM until Midnight, in the Plaza Ballroom of the Sheraton Park Hotel, 1855 South Harbor Boulevard in Anaheim.

A short drive away, The Gaslamp Bar and Restaurant in Long Beach will host surf rock legend Gary Hoey on Saturday, January 25. The club’s VARIA line array has helped to make it one of the premiere music venues in Southern California, and this show is a great opportunity to hear the system at its high energy best. Doors open at 7:00 PM, with guests Damage, Unit 287, and Dunluce. The club is guaranteed to fill up early.

So come by the booth, view the IC2 and Iconyx displays, and visit with Renkus-Heinz staff. Drop by the Sheraton and attend the CMT NAMM Reception. Or come over to the Gaslamp and catch a great night of Southern California surf rock. Whatever you decide, we’ll see you at NAMM.

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

 

William Kentridge’s Soundscapes Come Clean with PreSonus

tumblr_musesiMeAL1r064gzo4_1280 copyJohannesburg, South Africa – January 2014…  Acclaimed South African-born artist William Kentridge has a well-deserved reputation for the unusual. His work spans the audio and visual spectrum, from drawings and prints to operas and charcoal drawn animations. In his latest installation, “The Refusal of Time,” Kentridge fuses sculpture with digital video and complex, multi-layered soundscapes to create a multimedia work that is both powerful and compelling.

The viewer is immersed with five video screens covering three walls, running separate but interwoven program material accompanied by a multi-channel music and sound sculpture. There is a sculpture of a man holding a big megaphone, as well as a giant wooden, breathing elephant in the middle of the room, making reference to Charles Dickens’ Industrial Revolution. The soundtrack includes music composed by Philip Miller, as well as spoken word, including Kentridge’s own voice from the megaphone, and of course, the elephant’s breathing. The end result is a clearly unique and intricate audio/visual installation.

2-2013-06-10 309 copyThe man charged with the logistics of running this complex and unusual setup is engineer/sound designer Gavan Eckhart. With an installation requiring sophisticated mixing and matrixing and powerful signal processing, Eckhart chose the PreSonus AudioBox 1818VSL as the central audio hub.

A four-channel bed of music forms the sonic foundation, blending samples of African languages and chants atop Miller’s orchestral array of trumpet, trombone, tuba, grand piano, and various percussion. The quadraphonic surround mix is sent, via four of the AudioBox 1818VSL’s outputs, to four JBL Eon powered monitors.

On top of this mix is Kentridge’s spoken-word soundscape: the man with the megaphone. Here, Eckhart had to think of a creative way to achieve just the right metallic, low-fi sound. “The megaphones are a big component of the whole piece,” he says. “I came up with the idea to just grab some car speakers and mount them in tin cones on tripods and see if it worked. Fortunately, it did. That low-quality rattle and hum those cones produce is actually part of the beauty of the piece.” Four more outputs from the AudioBox 1818VSL feed the car speakers via a four-channel amplifier.

1-2013-06-10 325 copyThe installation includes a total of seven Mac minis: five running video playout, a sixth running the audio, and one more as master controller. With most of the installations residing in large warehouse spaces, it’s easy to imagine the potential for things to degenerate into a muddy-sounding cacophony. But Eckhart says the AudioBox 1818VSL is more than up to the task.

“The AudioBox 1818VSL gives me enough matrixing and discrete outputs to route all the individual signals,” he says. “But more than that, it has a nice, well-defined sound that really allows me to get a good separation between the beautiful musical backdrop and the spoken word with these distorted car speakers.”

The AudioBox 1818VSL’s onboard signal processing helps to further define and refine the mix, says Eckhart. “I find that the EQs are very useful for shaping the sound and achieving separation. If it’s a very bass-heavy room, I can just roll off a bit of lows or bring a bit of sparkle to the speakers instead of having to remix and re-export it. It lessens the processing demands on the computer and gives me a tremendous amount of control to create a clear and well-defined soundscape.”

Since its debut at the Dokumenta 13 festival in Kassel, Kentridge’s “The Refusal of Time” has been installed at numerous museums worldwide, including Rome, Paris, and Eindhoven, with new installations scheduled in Germany, Japan, Australia, and the United States.

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About PreSonus 

Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

Trade IN, Trade UP Program Announced by Yamaha

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. has announced a Trade IN, Trade UP program that will take place January 8 – March 31, 2014. This program is available to all customers who own a Yamaha M7CL-48 (this configuration only) Digital Mixing Console. The trade-in console must be in acceptable* condition. Upon proof of condition and return, the customer will receive a $15,000 credit toward the purchase of a new Yamaha CL5 Digital Mixing Console. This promotion is on a first-come, first serve basis, while supplies last.

“This limited time program will provide end users with the opportunity to own a new Yamaha CL5 console that they may not have had the budget to purchase,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “The trade UP to a CL5 will fulfill many of the features and benefits engineers have been asking for in an affordable package.”

End users should contact their preferred Authorized Yamaha Commercial Audio Systems, Inc. (YCAS) Dealer for more details. A complete listing of YCAS Dealers, Terms and Conditions as well as all other pertinent information can be found by visiting www.yamahaca.com/cltradeup.

*Yamaha has the sole right to determine if your M7CL-48 console is in an acceptable condition to participate in the program. If it is determined to be unacceptable, they will contact you to arrange its return to you.

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Broadcast Networks Delivers Key Infrastructure Projects Across Europe

Systems integration specialist Broadcast Networks completed a number of diverse broadcast system projects during 2013 for international organisations such as Chellomedia, News UK the Dutch Parliament.

The projects showcase Broadcast Networks’ SI expertise in fixed and mobile solutions including live production and studio systems, transmission and content distribution systems, Outside Broadcast and Satellite News Gathering vehicles and command and control facilities.

“2013 was a successful year Broadcast Networks with both new and repeat business,” says Managing Director Tom Haye. “As we start 2014, our new partnership with IEC gives us the investment we need to push the company to the next level, while the expansion of our team allows us to deliver the added value customers now demand.”

As the preferred SI partner for Chellomedia, Broadcast Networks completed various key infrastructure projects for the international media company including the installation of a 24 channel playout system for a new Arts channel, the rebuild of Chellomedia’s Master Control Room, an entire upgrade of the broadcaster’s automation system to ITX2 and the installation of a number of smaller playout systems.

For Slovenian national broadcaster RTV, Broadcast Networks was contracted by Sony PSE to design and build two new 16-channel Outside Broadcast vehicles, which are now being used to capture various sporting events including the 2014 Winter Olympics in Russia.

Back in the UK, Broadcast Networks installed a Master Control Room and three new television studios at News UK’s headquarters in London. The studios are now being used by The Sun newspaper to create news content for its online editions.

Other notable projects completed during 2013 include the installation of audio and video equipment at the Dutch Parliament, enabling meeting to be streamed over the internet, and the design and build of an 18 camera armoured surveillance vehicle for the Dutch police, which is now being regularly used to support large scale events.

As a systems integrator with more than 25 years’ experience, Broadcast Networks has a proven record in the delivery of high-quality broadcast, digital media, security & defence systems to an international client base.

Tom Haye believes the company’s proactive approach to customers’ projects is key to its current and future success, especially during a time of intense change for the broadcast industry.

“The traditional broadcast model is changing, with 4k now a serious contender as a new archive format and IP and data manipulation becoming increasingly crucial in our customers’ daily lives,” he explains. “As a systems integrator with experience in the live production and playout arenas, Broadcast Networks is ideally placed to deliver the leading edge solutions our customers demand and consolidate our position as a leading international systems integrator.”

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About Broadcast Networks
Broadcast Networks is a UK-based Systems Integrator with over 25 years’ experience in delivering solutions to clients the world over, including national broadcasters and global media organisations. From live production systems and OB vehicles, studios and broadcast infrastructure, satellite uplinks to content distribution, the company offers totally integrated and innovative solutions. With a highly experienced and knowledgeable team of solution architects and project managers, a flexible approach and a real commitment to customer service, Broadcast Networks works closely with organisations to meet their business and operational objectives and to deliver game-changing ideas.
Learn more: www.bcnet.co.uk

Funky Junk Takes On UK Distribution For Sandhill Audio

Funky Junk, Europe’s leading supplier of new and refurbished professional recording equipment and services, has been appointed exclusive UK distributor by Finnish microphone manufacturer Sandhill Audio.

Established in 2008 by sound engineers Riku Pasanen, Petteri Taponen and Sammy Roiha, Sandhill Audio launched its first product in 2011 – the 6011A ribbon microphone.

“We’re continuously working on new designs and prototypes and eventually the range will grow,” says co-founder Petteri Taponen. “However, any product we release has to justify its existence. We will not put out anything just to have more items in the catalogue.”

Taponen adds that Funky Junk was chosen to handle Sandhill’s UK distribution because it has a strong reputation for handling innovative pro audio products.

“Funky Junk’s catalogue is exceptional and, being a high-end studio microphone, the Sandhill 6011A fitted nicely into their product range,” Taponen says. “I was also really impressed with Mark Thomson (Funky Junk’s Managing Director), who sent me a long email in response to my initial enquiry even though he was on holiday in Italy at the time. His straightforward way of communicating suited our approach to doing business and it also helped that the company came highly recommended by a number of our contacts.”

Sandhill Audio’s 6011A Ribbon Microphone is designed to sound exceptional while being free of the usual limitations of ribbon microphone technology. Although primarily designed for high end studio applications, the microphone is sufficiently versatile that it can also be used in live environments.

Mark Thompson, Managing Director of Funky Junk, adds: “The guys at Sandhill have achieved the seemingly impossible; they’ve designed a microphone that retains the airy warmth of the best ribbon mics with a rugged construction capable of coping with a kick drum, a jumbo jet or a producer screaming at a tape op. The Sandhill 6011A isn’t cheap, but great performances demand great microphones. We carry demo stock for discerning tests.”

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About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Spain and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.

For more information please visit www.proaudioeurope.com

Yamaha MTX New Firmware and Software Enables AEC and Dugan MY Card Compatibility

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. has announced Version 1.2 firmware and application software for the MTX Series Matrix Processor, the core product of the Commercial Installation Solutions (CIS) product line. MTX v1.2 now makes the processor compatible with the MY4-AEC acoustic echo cancellation card required for distance conferencing and the Dugan-MY16 auto mixing capability card.

The Yamaha CIS Series, launched in 2012, includes the VXC Series Ceiling Speakers, VXS Series Surface Mount Speakers, XMV Series Multi-channel Power Amplifiers, and the MTX Series Matrix Processors specifically designed for the commercial installation solutions market. Now with MTX v1.2, there is an even more comprehensive range of flexibility that will meet the demands of installed applications.

The new software enables compatibility with the two MY cards that was previously only available for use primarily with Yamaha’s DME Series Digital Mixing Engines. The MY4-AEC card eliminates unwanted acoustic echo that is caused by secondary signals of speaker output or reflections from room surfaces that are common in teleconferencing applications. The card is equipped with a noise reduction function that removes steady-state background noise caused by air conditioning components, projector fans, etc. Once the card is installed in the processor, parameter settings can be controlled using the AEC window in the MTX Editor program.

The Dugan-MY16 card, developed by Dan Dugan Sound Design, automatically optimizes the gain distribution of multiple faders simultaneously, allowing sound engineers to focus on their mix rather than keeping track of mic levels. Auto mixing parameters can be set using dedicated software that works in conjunction with the MTX Editor and is available via free download at www.dandugan.com.

“Ever since we launched the Yamaha CIS Series, we have received very strong, positive reactions from the installed sound market regarding its DSP power and the scalability the series provides when configuring a sound solution using amplifiers and speakers,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “MTX v1.2 is based on a number of requests from our customers regarding certain functionality and capabilities that are relevant to their applications. So, by adding compatibility with the MY cards, integrators will be able to address an even wider variety of installed sound applications and offer powerful functionality similar to the DME (Digital Mixing Engine) but at a lower cost to customers using the MTX5-D processor.”

Lopez also said that with the recent addition of the Wireless Digital Controller App for Android available free of charge at the Google Play Store, the MTX Series continues to bring extraordinary value to the Yamaha Commercial installation Solutions product line.

Yamaha MTX v1.2 will be released in mid-January and can be downloaded free of charge by visiting www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

DANLEY SOUND LABS SH-50s AT THE COUNTRY’S LARGEST CHURCH – LIFECHURCH.TV

JENKS, OKLAHOMA: With weekly attendance topping 46,000, LifeChurch.tv is, by many counts, the largest church in the country. It has eighteen physical campuses stretching from New York to Florida and back to its headquarters in Oklahoma. As one might guess from its embrace of the “.tv” suffix, LifeChurch.tv also has a vibrant online presence, including a weekly online service and a virtual church in the online virtual world – Second Life. Its Jenks, Oklahoma location recently opened its doors and welcomed new members (or in LifeChurch.tv’s parlance, “partners”) to a progressive church experience anchored by a dynamic live band. As in many of the more recent LifeChurch.tv locations, stereo clusters of Danley Sound Labs SH-50 full-range loudspeakers deliver the full impact of the band and convey spoken word and video playback with crystalline intelligibility.

Summit Integrated Systems of Lafayette, Colorado began working with LifeChurch.tv six years ago and has designed and installed the A/V systems at most of the campus locations. “The fact that LifeChurch.tv continues to build new campuses has given us the opportunity to critique and grow with each design/build project,” explained Shane Beeson, church relationship manager and director of sales and Marketing at Summit Integrated Systems. “After every project, we meet with the LifeChurch.tv technical staff to evaluate the systems and discuss what we can improve upon. Danley Sound Lab products have been a part of Summit’s product line since Danley launched in 2005, and Danley became a part of the LifeChurch.tv conversation five years ago. We were exploring ways to improve the audio quality of their multi-site campuses while still being mindful of budget and to meet their request for a stereo system using point-source boxes.”

Although LifeChurch.tv requests stereo coverage of the worship auditorium at most sites, it also typically compromises on the architecture such that the ceiling height is lower than would be optimal. “Like every church, LifeChurch.tv operates within a budget,” said Beeson. “The ceiling height makes it challenging to get the right coverage and impact. Moreover, acoustic treatment is usually the minimum needed to get the space up and running. That was the case at Jenks, so we designed two 3-box clusters of Danley SH-50s. The supreme pattern control and smooth phase response of the Danley SH-50 gave us the control we needed for excellent coverage of the seats and minimal coverage of the walls. Danley’s innovative solution allowed us to increase performance and offset budget challenges by using a loudspeaker product with maximum pattern control to keep the sound in the seating areas without overexciting the room reflections.” In addition, Beeson noted that because the Danley SH-50 is passive, it required a minimum number of processor and amplifier channels, which helped the project stay on budget.

The Jenks system begins with a Yamaha CL5 paired with RIO stage boxes, which act as a digital snake and patch bay to collect inputs from the stage. The output from the CL5 feeds a Biamp Audia Flex, which handles loudspeaker management and processing. Lab.gruppen C-Series amplifiers power the system. Mounted at the seventeen-foot ceiling, three close-packed Danley SH-50s per side provide the main stereo coverage for the room with forty feet between them. Four subs provide low-frequency extension from below the stage. Six Danley SH-Mini loudspeakers complete the system by providing side-fill at the edge of each cluster and front-fill from the edge of a portable stage when needed.

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

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