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SYMETRIX SYMNET RADIUS DANTE NETWORK AUDIO DSP BRINGS ATLANTA HISTORY CENTER INTO THE 21ST CENTURY

ATLANTA, GEORGIA: The Atlanta History Center (AHC), which was founded in 1926, is in a period of tremendous growth. Its mission to link people, history, and culture through innovative programming connects with 228,000 visitors, including 60,000 school children, every year. In order to accommodate an expanding membership, increasing visitor base and a broadening range of programs, AHC increasingly relied on the 400-seat Woodruff Auditorium that was constructed in 1975. Although minor upgrades to the audio/visual system had taken place over the years, the facility was still using some of the original 1970s vintage equipment – components that were themselves becoming historical artifacts.

“In today’s constantly evolving world of technology, we must be able to connect our visitors with history through a variety of methods, not just traditional exhibitions and displays,” said Hillary Hardwick, vice president of marketing communications with AHC. “We must adapt our methods to meet the current and future needs of our diverse and growing audience, and having the right technology plays a significant role in how we deliver innovative programming.”

AHC consulted with Rogers Dixson, president and owner of Atlanta’s Cape Dixson Associates Incorporated (CDAI). In addition to having worked on a number of exhibits and new facilities over the years, CDAI had consulted on a significant renovation to the Woodruff Auditorium’s acoustics a number of years before.

CDAI first reviewed AHC’s system requirements with Jackson McQuigg, AHC’s vice president of properties. These requirements include AHC’s historical theatre program as well as a wide range of lectures, presentations, and other types of events being held in the Auditorium. CDAI and AHC concluded that to accommodate AHCs new and expanding requirements, a comprehensive replacement of the existing audio/visual and stage lighting systems was needed. The Atlanta History Center was able to undertake this project thanks to a grant from The Goizueta Foundation, but the use of grant funds meant that the project team had to make every dollar count.

CDAI realized that, while modern technologies existed that would meet AHC’s needs, the budget posed several challenges to the project team. CDAI proposed that AHC consider a different approach for the project. CDAI brought in Sound Design & Innovation (SDI), a new audio/visual system integration company started by Aaron Catlin, a former CDAI employee. “It was interesting the way the project evolved into a collaboration between CDAI, SDI and AHC,” explained Dixson. “I think the critical component that made this approach work was the high degree of mutual trust and respect between all three parties.”

A number of outstanding products were considered for the project but all of the original options posed challenges for the tight budget. Ultimately, the team decided on Symetrix’ Radius 12×8 Dante network audio DSP as the best “fit” for the project. The key element of the Symetrix system is Dante audio networking protocol, for which SDI wired the facility with CAT6 cabling.

“The Symetrix SymNet Radius 12×8 DSP is the cornerstone of the system; without it, a system with these capabilities would not have been possible within the budget constraints. When Symetrix announced the release of the Radius 12×8 DSP it was like the heavens opened up and smiled on us,” said Catlin.

The Symetrix Radius 12×8 has a powerful open-architecture DSP. It is fully and reliably controllable from a third-party application and its I/O is flexible and expandable for the future via the Dante network. In this installation it’s handling all of the processing for the main auditorium and the two overflow rooms, including room combining, but we’re only using about twenty percent of its DSP horsepower. Because the whole place is now wired with CAT6, AHC can easily expand or bring in additional Dante-compatible equipment for larger events.”

Bose digital amplifiers power a pair of discrete three element Bose column arrays and subwoofers that, in combination with the CDAI-designed acoustical environment, provide an amazing sound quality improvement in the space. “We set up a demonstration of the Bose system for AHC and the decision to use it was made on the spot,” says Dixson.

Six new Shure ULX-D series wireless microphones provide the workhorse, day-in-day-out inputs to the system. “Because AHC is in the Buckhead area of Atlanta – an area that can be an RF interference nightmare – I was glad to have Shure’s new Dante-based system to provide a reliable front end,” said Catlin. Outputs from video players, microphones from two overflow event rooms, and a stage box comprise the remaining inputs to the system. Since they interface seamlessly into a Dante network, the Shure system is fully available for processing and matrixing within the Symetrix Radius 12×8 DSP and doesn’t use any of its twelve physical inputs.

A Key Digital® Compass Control® system provides iPad and iPod-based touch control of every aspect of the room’s functionality. It controls a new Digital Projection E-Vision 8000 lumen Video Projector, new DMX controlled stage lighting, the existing stage curtains, the projection screen, and a variety of music and video playback devices. It also integrates with the Symetrix SymNet Radius 12×8 DSP to control room combining, input selection, volume, and other relevant system controls.

“With this new technology, we can deliver high-quality programs that will engage a broader audience. It allows us to explore the ways in which we convey history – whether through lectures, music series, film series, our newly-launched museum theater performances, and a variety of other types of event,” said Hardwick. “This system was not only conceived and designed to meet AHC’s needs for a long time to come, it brings AHC into the 21st Century, where a cutting-edge history center belongs,” Catlin concluded.

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.

HANOI INTERNATIONAL FELLOWSHIP INSTALLS FIRST DANLEY SOUND LABS SYSTEM IN VIETNAM’S CAPITAL

HANOI, VIETNAM: The Hanoi International Fellowship (HIF) is a non-denominational church serving both expatriates and nationals in Hanoi, Vietnam. It draws together a congregation of over four hundred people, representing over forty nationalities. Because many of its members are itinerant or transient diplomats, students, and employees of NGOs, international businesses, and the like, HIF’s congregation turns over more rapidly than the congregations of most churches. HIF recently moved to its first permanent building, and its challenging acoustics demanded exceptional pattern control from its new sound reinforcement system. Singapore-based Soundsmith Solutions Pte. Ltd. designed the new system using Danley Sound Labs SM-80 and SH-micro loudspeakers and TH-mini subwoofers.

The new sanctuary seats just over two hundred people, and HIF’s services are punctuated by a full band playing contemporary music. “Previously, the congregation met at a local 5-star hotel, and the hotel provided them with the usual hotel sound system,” said Pastor Jinggoy of Hanoi International Fellowship. “That system was uneven. It was too loud toward the front and inconsistent throughout the rest of the room. The subs were boomy and the high-end was harsh.” In addition to designing the system, Soundsmith Solutions also supplied the components. Pastor Jinggoy helped coordinate the church’s own contractors to install the system based on Soundsmith Solution’s drawings and specifications.

Edwin Ng, project manager at Soundsmith Solutions Pte. Ltd., commented, “The big challenge in the new space was its very low ceilings. Moreover, it used to be a warehouse, so none of the walls were designed with acoustics in mind. The challenge was compounded by the fact that there were few places to position loudspeakers that wouldn’t interfere with sight lines. The Danley Sound Labs boxes were a very fitting solution due to their low profiles and their exceptional directivity.” The goal was to keep energy on the congregants and off the walls.

Inputs to the system collect at an Allen & Heath GL2400-424 console, which outputs to a Xilica XP8080 digital loudspeaker management processor. In turn, the processor outputs to QSC RMX 4050HD and RMX 5050 amplifiers. Those power two Danley SM-80 loudspeakers that provide main coverage, six Danley SH-micro loudspeakers that serve as delays, and one more Danley SH-micro that fills in the center front. “The SM-80s were ideal loudspeakers for the mains because they are so slim and could be mounted into the wall without any trouble,” said Ng. “Both the SM-80 and the SH-micro are highly directional, which was great for these low ceilings. The sound goes where it is supposed to go and nowhere else! Importantly, that directivity extends down to 400Hz. Moreover, the Danley tone is natural and not at all fatiguing.”

To provide low-end support for the system, Ng included two Danley TH-mini subwoofers, which the installers mounted into the front wall below the SM-80s. “The TH-mini has to be the smallest but loudest sub I’ve ever heard,” he said. “The amount of bass coming out of this box when properly powered is nothing short of amazing. Subjectively, every bass note is tight and punchy.”

He continued, “All together, the new system is way, way better than the system they used at the hotel. Everything sounds clear, crisp, and pleasant to the ears, and it doesn’t matter where you sit. The whole room is evenly covered. Even when the microphones are placed right underneath the center fill Danley SH-micro, there is no feedback. Hanoi International Fellowship couldn’t be happier.”

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

1608 IN KOREA – API NAMES MI CORP A 1608 DISTRIBUTOR

SEOUL, KOREA: When MI Corp signed on as a distributor earlier this year, it was clear that they would make a great API representative in Korea. Now, taking the next step, MI Corp has become Korea’s representative, making the coveted console available to an entire market that was previously untapped.

MI Corp experienced much initial success with API products such as the Lunchbox®, 500 Series modules and the 3124+. As they began to design recording studios, it was clear that one thing was missing: the API 1608 console.

“MI Corp is designing prominent recording studios and meeting the most difficult demands of sound engineers,” said Sunny Park, Manager of the Import Department. “Many engineers [in Korea] would like to own and operate an API 1608 console.” And thus, the authorization to sell the 1608 console began. The 1608 that was shipped just a few weeks ago features its own demo room at the MI Corp headquarters.

Situated in the Gangnam-Gu area of Seoul, MI Corp originated as a musical instrument distributor back in 1997. As of 2009, they began to expand their services, aiming to become a leader in the multi-media industry. Expanding to professional audio and video, as well as the architecture and design of studios, they have been known as MI Corp ever since. Sales director and former recording engineer, Ted Suh, was familiar with the API reputation and knew the impact it would have in Korea and API soon became a fundamental part of their inventory.

“In the current digital audio equipment market, customers missed analog music equipment. We think API is the leading company, not only for consoles, but analog modules,” said Park.

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

RASCAL FLATTS FOH ENGINEER JONATHAN LOESER RELIES ON METRIC HALO SPECTRAFOO SOUND ANALYSIS SOFTWARE

SAFETY HARBOR, FLORIDA: In only a dozen years, Jonathan Loeser has risen from newly-minted SAE Institute graduate to FOH engineer for multi-platinum country act Rascal Flatts. Along the way, he has worked as FOH engineer & production manager for Olivia Newton-John, FOH & monitor engineer for Prince’s “Welcome 2 America” tour, and FOH Engineer for Colbie Caillat’s 2011 Tour. The amiable engineer secured those gigs by delivering consistently excellent results, largely free of hiccups or hassles, through careful planning. One of his go-to tricks is careful metering and sound analysis. On the recommendation of colleagues, he recently upgraded to Metric Halo’s sound analysis software, SpectraFoo, which is paired with his Metric Halo LIO-8 interface, itself recently upgraded to include preamps.

“I originally purchased the LIO-8 to give myself a serious, professional interface that would be flexible enough to do anything I needed it to do,” said Loeser. “Prior to that, my converter was cheap. It felt like it was going to break in my hand. The LIO-8, together with its companion MIO Console software, gives me all of the routing and flexibility I need.” Although he had previously used a wireless DBX measurement microphone with line-level output, for the new Rascal Flatts tour, Loeser wanted to expand his monitoring options. “I added the mic preamp option for the LIO-8, which now gives me even more flexibility and portability.”

Previously, Loeser had used sound analysis software primarily for its transfer function. “With SpectraFoo, I’m still able to do that, of course, but I’m also able to do so much more,” he said. “SpectraFoo is very flexible. For example, when I do a time capture, I can move the point that I want to correlate with, which makes it a much more useful tool. Once I learned how to compose and save snapshot window sets, I configured SpectraFoo to show me everything I want to see for tuning and, separately, for the actual show.” Part of that functionality includes making up for his Studer Vista 5’s seeming only weakness: metering.

Tuning the system requires dealing with Rascal Flatts’ somewhat unconventional stage setup. “We have an extensive thrust, and there’s an apron in front of the stage that makes it hard to fill the gaps that it creates,” Loeser explained. “I have some under-hangs that do the trick, but they are touchy. For this tour, I’ve added two Audix measurement mics. During system tuning, I’m able to place them in the questionable zone of seating. Then, using SpectraFoo, I can actually see what the down-fills are doing. That’s critical because squeezing good vocal volume out when the main vocal mic is in front of the PA is my biggest potential headache.”

During tuning, Loeser’s custom SpectraFoo screen includes full-frequency transfer functions on the wireless RTA mic, as well as on the thrust mics. He also includes high-resolution, low-frequency transfer functions to properly align the subwoofers. For the show itself, Loeser flips to another custom SpectraFoo screen. He moves the Audix microphones to a near-audience position on stage that is also used by the monitor engineer for crowd capture. In addition to watching the transfer functions for those microphones, Loeser also takes a feed from the Vista 5 that parallels his send to the PA and gives it a big, fat meter in SpectraFoo.

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

Yamaha StageMix 4.0 Now Available

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. announces the availability of StageMix 4.0 for Yamaha CL, M7CL, and LS9 digital consoles. Updates available include new Dynamics Parameter Editing, Output Port Delay Editing, Output Port Levels (Gain/Attenuation), PEQ Copy and Paste, Phantom Power Switching, Mix Send Pre/Post Switching, HPF Slope Parameter (CL V1.5 only), Retina Display Support, and other enhancements.

“StageMix Version 4 raises the bar for digital mixer iPad control,” states Kevin Kimmel, Systems Application Engineer, Yamaha Commercial Audio Systems, Inc. “We’ve continuously set the standard since we released the first version in 2010.”

The StageMix App provides greater control and flexibility for both digital mixing consoles and enables the mixing engineer to freely adjust console parameters and sound levels by wireless control, rather than at the mix position. The App also provides features like Mute Group Masters; Channel Naming; Channel Pan; Send Levels in Meter Bridge; Tap Tempo; Selectable Input and Output Meter Positions; and DCA Faders (CL and M7CL only).

Yamaha StageMix Version 4 is available from the Apple iTunes Store as a free upgrade. For more information on StageMix Version 4, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

New NEXO STM Line Array Turns Up The Heat On Chesney’s ‘No Shoes Nation’ Tour

BUENA PARK, Calif.—Kenny Chesney has always brought country’s brightest lights to America, and this heated summer is no different as he taps newcomer and quadruple 2013 Academy of Country Music nominee, Kacey Musgraves, and 2012 ACM Single of the Year winner and multiple 2013 ACM nominee, The Eli Young Band, to open on many of his ‘No Shoes Nation’ tour stops. Country Music Association 2012 Album of the Year Winner and ACM nominee leader, Eric Church, has also taken the stage on 16 of the 19 stadium dates, while triple Grammy-winner and multiple ACM nominee, Zac Brown Band, joined for three stadium shows including a co-headline show in their hometown of Atlanta. The tour is in support of Chesney’s latest CD “Life on a Rock.”

The 46-date tour, which began March 16 at Raymond James Stadium in Tampa, Florida, has made a major change to its stadium line array. Morris Light & Sound (Nashville) has provided a new NEXO STM line array for the 2013-2014 tour. The system layout is configured with 74 M46 for mains, 74 b112 bass extensions, 48 s118 flown subs, 16 RS18 ground ray subs, 12 PS10s for front fills, 14 GEO S 1210s and two GEO S1230s, 22 NUAR amp racks, and two Yamaha DME 64 digital mix engines with LAKE Mesa EQ cards for system tuning and console switching.

At an early stop at Cowboy Stadium, the 45,000+ concertgoers were treated to improved sound at the venue when the STM rig arrived for the Chesney show. The in-house audio crew was extremely impressed by the NEXO system.

Morris Light & Sound was involved early in the development process of the new NEXO System. “We were involved with the STM system for about a year before the system launched,” states John Mills, Morris VP and systems engineer for the Chesney tour. “Since we were the first company with a system of this size, Chris Rabold (Chesney FOH engineer) and I provided NEXO with tons of input on how it was performing and what we were doing with it from a tuning perspective.”

Mills said NEXO support was unparalleled. “We had at least one programmer and one system specialist with us for the first few weeks of rehearsals and shows. Beyond that, we sent them our tuning files and SMAART measurements and they incorporated our preferences into a new preset. Since then we honestly do very little to the PA each day. From stadium to shed, 70,000 seats to 10,000 seats, our tuning is almost always the same. The consistency and accuracy of the PA is like none I have ever tech’ed. From what my NS1 model predicts to what we measure is really the best software/hardware/measurement relationship I have ever experienced. It really makes my job as a system engineer easier because it is so accurate.”

One of the first things that attracted Morris Light & Sound to the NEXO STM, Mills continued, was the modularity. “It really works; we have done large and small venues and even some small ground stacked systems. It is great to have a system that sounds the same no matter how you deploy it. The modularity and scale-ability coupled with the accuracy are second to none. Sonically, the throw of the system out performs anything on the market. Vocals, guitars, and even high-hat and cymbals are still clear and musical at 400 feet away. It is very accurate and revealing. Very small moves in the system EQ are very noticeable. STM was everything I hoped it would be, and more.”

“From the first meeting we had with NEXO discussing the concept of the STM, I was very intrigued,” states Morris L&S President, David Haskell. “Then, after subsequent meetings, trips to the factory, and getting to better understand both the product and the people behind it, I am proud to say that this relationship with NEXO has been amazing. From concept drawings to manufacturing and implementation to ongoing support, the STM and the fine folks behind it can only be summed up in one word…flawless!”

The NEXO STM Series (Scale Through Modularity) loudspeaker cabinets are the first of its kind on the market. Ideal for touring, festivals, and sound company rental, the new system combines the best of Alpha functionality with the technical innovation of NEXO’s patented Hyperbolic Reflector and venting design in which all radiating surfaces are in phase, delivering a powerful, flexible, and easy to use system. STM enables line array systems to scale up or down depending on event audience size, from 1,000 to 100,000 people.

When asked how the STM sounds to him, front of house engineer, Rabold, said the system sounded hi-fi and clean. “Even when I drive it hard, it won’t distort. My ears have yet to feel fatigued after a show; that’s indicative of a clean system. On a mixing level, I’m getting some great sounds. There was a bit of a learning curve in the beginning as was to be expected. I have a specific sound that I want to achieve everyday. Once I learned what the NEXO STM wanted to do naturally, I married that with my own goals and we’ve been in great shape ever since. John Mills and NEXO obviously had a good line of communication by the time I arrived on the tour, and they were extremely proactive with any of our suggestions early on.”

“The Seahawks Stadium show was spectacular, and the audio was superb,” states Fred Micera, Audio Engineer, CenturyLink Field in Seattle. “I heard things/parts I had never heard before in past Chesney shows. Kenny’s voice was captured perfectly and has never sounded more natural. The mix was very well balanced and exciting. Tonally, it was bright and crisp without being harsh or overly sibilant. Clearly understanding everything Kenney had to say between songs was another new revelation. The definition between instruments, especially the multiple guitars were remarkable. Subtle use of panning and EQ made the 4-part guitar exchanges, in particular, stand out while staying musical and not overbearing in any way. The drum sound was quite impressive, and the bass guitar/bottom end was tight and well defined. The lack of overtones and clarity in the low end stopped me dead in my tracks as I crossed in front of the FOH mix position. The STM brings out a whole new dimension to the music.”

Micera said the volume level was steady throughout the night. “The PA system’s coverage was very consistent as we walked the house. Even in areas that are usually disappointing, the sound was solid and uncompromised by the surroundings. We were literally stunned. Seriously, stunned! The success of the system deployment and tuning was not lost on us either. John Mills really addressed the venue and clearly knows how to use the tools at his disposal. The fact that the opening acts sounded so good and all the mixes came together so quickly is another testament to John and the tour’s well-oiled machine.”

For more information on the “No Shoes Nation Tour”, visit www.kennychesney.com.

For more information on Morris Light & Sound visit, www.morrislightandsound.com.

For more information on the NEXO STM system, visit www.yamahaca.com.

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PHOTO CREDITS: Keith Clark and John Mills

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

Summerfest: 11 Days, Over 800 Acts, and 10 Yamaha Consoles

BUENA PARK, Calif.—With nearly 900,000 attendees over eleven days, Summerfest in Milwaukee, Wisconsin set new records in providing the backdrop for the music industry’s hottest stars, emerging talent, and local favorites to create unforgettable live music experiences in a world-class festival setting.

Clearwing Productions, Inc. (Milwaukee), with support from Yamaha Commercial Audio Systems, Inc. provided new Yamaha CL digital consoles along with PM5D-RH consoles, M7CL and LS9 consoles to 7 of the 11 stages. Yamaha staff provided support to those visiting engineers who have not yet had the experience of mixing on a CL console.

“The decision to use the new CL and other Yamaha consoles was very easy,” states Bryan Baumgardner, Operations/Logistics, Clearwing Productions, Inc. “With how reliable and rider-acceptable Yamaha consoles have been for us, there was really no question that the CL5s were ready to be put to use at Summerfest.”

US Cellular Stage had two Yamaha CL5 consoles, one at front of house and one for monitors. The Uline Warehouse Stage consisted of a CL5 at FOH and an M7CL-48 at monitors. The Johnson Controls World Stage also used a CL5 at FOH and an M7CL-48 at monitors. The Marcus Amphitheatre used a PM5D at monitors and so did the BMO Harris Pavilion and the Miller Stage. The Kohl’s Children’s Area was outfitted with a Yamaha LS9-16.

“I converted my PM5D file using Console File Converter, which worked beautifully,” states Jerry Wong, front of house engineer for Loverboy who performed on the Uline Warehouse Stage. “Then, I added several of the Rupert Neve compressors and an 1176 on the fly at the start of the show, and even in a festival situation everything just seemed to fall right into place and mix itself. The CL is a great sounding console and now will be on our rider.”

Morris Day & the Time performed on the Johnson Controls World Sound Stage, and Ed Irons, front of house engineer said the console delivered warmth and clarity. “The signal flow, control surface perks, and blending of vintage processing makes the CL5 a hands-down winner for me. Loved it!”

“The Yamaha CL is a very user-friendly console and sounds amazing,” says Ryan Nichols, Switchfoot FOH engineer. “I love the mic pre’s, and the Premium Rack is just one of many great upgrades from other Yamaha desks. I’ve only used the CL a few times before, each in festival situations, but found it really easy to get around on quickly.”

Spin Doctors front of house engineer, Rob Killenberger, echoed some of the same sentiments. “I’m really happy with the CL Series. It’s on my rider; I love the much-improved sound of the CL and all of the toys inside. It’s very responsive and well thought out.”

“As the band engineers have stated, the Yamaha CL console sounds good, it’s user friendly, and the File Converter makes coming from any Yamaha console a breeze. Those attributes are a must in a festival environment as demanding as this one,” adds Baumgardner.

For more information on Clearwing Productions, Inc. visit www.clearwing.com.

For more information on the Yamaha CL and all Yamaha Commercial Audio Systems products, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

DIVERSITY FIN ANTENNA ON TOUR WITH BRYAN ADAMS

VANCOUVER, CANADA – JULY 2013: Veteran monitor mixer and founder of Vancouver-based audio company Gearforce, Robert Nevalainen ensures the many channels of wireless audio systems used on Bryan Adams’ international tours function flawlessly. After reading an article on polarization diversity for wireless microphone antennas, Nevalainen decided to evaluate the Diversity Fin cross-polarized antenna, from RF Venue, against other directional antennas while on a six-city tour through Australia. “We did an A to B type test comparing the Diversity Fin against our stock Shure and Sennheiser systems, and were quite impressed,” Nevalainen remembers.

“Gearforce supplies Bryan Adams with our universal tour kit which now includes RF Venue’s Diversity Fin,” says Nevalainen. “The kit also includes seven wireless channels using Shure UHRF receivers and UA845 amplifiers. Both Adams and lead guitarist Keith Scott use UR-1 body-pack transmitters with U845 combiners. For personal wireless monitoring they use Shure PSM1000s with a PA821A combiner.”

“I carry this exact same equipment around the world with me. So, when we change out a piece, its quite easy to see how well it works, because everything is known,” Nevalainen states. “In addition to its reliability and predictability, the Diversity Fin worked well because of its compact footprint in our congested left stage area. We were also quite pleased with the reduction in switching noise. The antenna basically forces the diversity receiver to choose between signals less frequently, and as a result you get more silent switching.”

Nevalainen has just returned from a series of June stadium shows in Denmark. “We have now been using the Diversity Fin exclusively with Bryan’s guitar setup,” he reports. “It has really simplified our setup and given us very reliable and predictable directional antenna coverage.”

ABOUT RF VENUE RF Venue manufactures wireless audio equipment including remote antennas, RF distribution equipment, and cable assemblies. The company’s primary antenna products include the interference mitigating RF Spotlight, the lightweight foldable helical antenna CP Beam, and the polarization diversity antenna dubbed Diversity Fin. For more information visit: www.RFvenue.com

METRIC HALO ANNOUNCES 2013 SUMMER SALE: BEST PRICES EVER

WHAT: Metric Halo announces their 2013 Summer Sale Extravaganza, running now until September 15, 2013. Featuring the best deals ever offered on Metric Halo’s award-winning products, the 2013 Summer Sale provides you with an excellent opportunity to experience Metric Halo’s legendary quality first-hand.

A 30-day, money-back guarantee backs Metric Halo’s hardware products so you can try them out in your studio with no risk. Metric Halo also provides a free 30-day demo for its software products, so you can try before you buy.

WHY: If you’ve been lusting after a Metric Halo interface, but it was just beyond your reach, Metric Halo’s announcement of the 2013 Summer Sale is great news for you!

WHO: Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and hardware.

WHEN: Now until September 15, 2013

WHERE: Metric Halo products are available during the Summer Sale from authorized dealers worldwide (http://mhsecure.com/metric_halo/buy/dealers.html) and direct from Metric Halo (https://www.mhsecure.com/mhdirect/home.php)

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

ASHLY AUDIO PRODUCTS NOW ALLOW USER CONTROL FROM APPLE iPAD, iPAD MINI, iPHONE, & iPOD TOUCH DEVICES VIA KEY DIGITAL’S COMPASS CONTROL TECHNOLOGY

WEBSTER, NEW YORK – JULY 2013: Ashly Audio is pleased to announce that all of its processors and amplifiers with Ethernet or RS-232 control capability are now compatible with Key Digital’s Compass Control Technology, which allows end-user control from Apple’s ubiquitous iPad, iPad Mini, iPhone, and iPod Touch wireless devices. Because many users already own these devices, offering user control via Apple’s wireless iOS products is both cost-effective and convenient. Moreover, the “wow factor” is sure to impress clients and win more work via word of mouth.

The Ashly Audio products that integrate with Compass Control include the ne24.24M modular matrix processor; the ne4400, ne4800, & ne8800 processors; the Protea 3.6SP & 4.8SP processors; the ne800, ne1600, ne2400, ne4250, & ne8250 amplifiers; the nXe & nXp amplifiers; and all Pema integrated processor/amplifiers. “In this age of highly integrated A/V systems, we at Ashly Audio are excited to be able to give our customers yet another means of controlling their pro sound equipment via Compass Control® and Apple iOS devices,” said Ashly CEO Mark Wentling.

“Resulting from cooperative efforts between Ashly and Key Digital, the integration of its audio products within the Compass Control® environment represents a powerful and user-friendly comprehensive solution delivering iOS-based control and entertainment functionality,” said Key Digital’s Vice President of Sales, Michael Lakhter. “The Compass Alliance™ Partners have come together to create a system that has full-driver integration already completed, increasing efficiency for integrators.”

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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