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Archive of the AES Newslink Category

CHARLESTON SOUND’S 32-CHANNEL API 1608 TURNS OUT THE HITS

CHARLESTON, SOUTH CAROLINA – AUGUST 2013: Four years ago, Charleston Sound set itself apart with a 32-channel 1608 analog console with API’s P-mix automation and additional custom 500-Series expansion slots. Acclaimed studio designer Wes Lachot ensured that the facility’s sonic signature is technically balanced and subjectively stunning. As examples, the live room and isolation booths employ modern conveniences and construction techniques to generate a classic, inviting feel. At the same time, the control room offers creature comforts and an honest, accurate rendering of the auditory work at hand. But the core of Charleston Sound’s success is the 1608.

“The 1608 has been great,” said Jeff Hodges, chief engineer and owner of Charleston Sound. “We have a ton of API 550A and 550b equalizers, and they sound fantastic. The 1608 is also tremendously practical. Its bus architecture is easy to use and flexible, as is the patching. We have, to my knowledge, the only 1608 with sixteen additional 500-Series expansion slots [beyond the sixteen slots afforded by a stock 32-channel 1608]. We’ve loaded those slots up with API modules and a huge range of third-party processors. And there’s still some room to spare.”

Charleston Sound was also the first studio to have automation installed on its 1608. “We love API’s P-mix automation. We rarely do anything in Pro Tools these days,” said Hodges. “It’s so much more intuitive and inspiring to do the fader moves right there on the analog board. It’s actually fun.”

Recently, Charleston Sound attracted country superstar Darius Rucker, American Idol contender Elise Testone, and R&B singer/songwriter Ashanti to lay down some tracks. Many of these are already topping the charts, such as Ashanti’s “Never Should Have” and Darius Rucker’s “True Believers.”

Apart from the console’s sound and functionality, Hodges has also been impressed with the service he has received from API. “They’re fantastic,” he said. “We can always get API service technicians on the phone and they always take care of us… We feel like we’re part of a family, not just a customer.”

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

SIX DANLEY GENESIS HORNS AND FOUR DANLEY SUBS DELIVER FLEXIBILITY  AND UNPARALLELED PATTERN CONTROL TO OLIVET NAZARENE UNIVERSITY’S NEW STUDENT LIFE AND RECREATION CENTER

BOURBONNAIS, ILLINOIS: Located an hour south of Chicago in Bourbonnais, Illinois, Olivet Nazarene University serves over 4,500 undergraduate and postgraduate students. In order to support the campus community and to promote student health and wellness, the university recently completed construction on the new Student Life and Recreation Center. Among many other amenities (including a four-story climbing wall!) the new facility features a 72,000 square-foot field house with four full basketball courts ringed by a running track. Olivet Nazarene University plans to eventually use the space for concerts, ceremonies, and other large events in addition to its day-to-day activities. With that goal in mind, the field house sound reinforcement system is a high-powered combination of Danley Sound Labs GH-60 Genesis Horns (with SH-100 loudspeakers for fill) paired with Danley TH-118 subwoofers which are configured in a steered cardioid array.

AVI Systems, of Bensenville, Illinois, designed and installed the system with significant design and commissioning assistance from Johnson AV Engineering of Chicago. The Assistant Director of Audio and Lighting Production, Matt Steinacker already had their heart set on the sound of the Danley GH-60 Genesis Horn,” explained Aaron Johnson, president and principal engineer at Johnson AV Engineering. “AVI brought us on board based on our prior experience with Danley systems. I agreed with their choice. The GH-60 sounds great and, like all Danley boxes, exhibits excellent pattern control. Good pattern control was essential to keep direct energy off of the walls as much as possible.”

The system they arrived at uses six Danley GH-60 Genesis Horns in two groups of three arrayed in a ring at the center of the field house. A Danley SH-100 provides down-fill below each cluster of GH-60s. Depending on the configuration of the room, the university’s A/V staff can use the entire ring of loudspeakers for full 360-degree coverage or they can split the ring in half and use only one side or the other. A line of ten additional Danley SH-100s cover the bleachers along one side of the room.

Initial acoustic models of the space suggested the room would have a very long reverb time. Johnson knew that it would be essential to control the low-frequency energy. To that end, he worked with Danley Sound Labs’ DDT 2D modeling software to design a steered cardioid subwoofer array whose pattern would approximately match the coverage pattern of the GH-60 Genesis Horns. He used two hangs of two Danley TH-118 subwoofers each. Each TH-118 is separately processed and powered, and the net effect delivers low-frequency energy centered at 60Hz in a ring which is steered down towards the floor with very little LF energy radiating up towards the ceiling. When only half the space is used and the GH-60 Genesis Horn ring is cut in half, the subwoofer array can also be cut in half to focus low-frequency energy in the appropriate direction.

Biamp Audio DSP provides all of the system processing, with Lab.gruppen C-series amplifiers providing the power to the Danley loudspeakers and subwoofers. AVI designed the system so that the main GH-60s, the downfill SH-100s, the bleacher SH-100s, and the subwoofers are all capable of independent control. For daily use, a Crestron control system provides intuitive input selection and volume control.

“The reverb time turned out to be close to 5.5 seconds,” said Johnson. “That’s very long, but with the high directivity of the Danley loudspeakers and the subwoofer array, the direct-to-reflected ratio is really good. The original plan called for acoustic treatment, but when the school officials heard the installed system and considered their budgetary priorities, they opted to forestall the acoustic treatment. It’s really to Danley’s credit – a less controlled system would have required significant acoustic treatment just to sound passable.”

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

SYMETRIX ZONE MIX 761 TURN-KEY DSP MANAGES ROCK STAR MANSION-THEMED RESTAURANT IN PUNTA CANA’S HARD ROCK CAFE

PUNTA CANA, DOMINICAN REPUBLIC: Rolling Stone Magazine proclaimed Chef Kerry Simon to be the “Rock ‘n Roll Chef,” a distinction fitting for his latest creation: Simon Mansion and Supper Club. The establishment is part of the Hard Rock Hotel & Casino Punta Cana in the Dominican Republic. Beyond an artfully composed menu and spirits list, the lure of Simon Mansion and Supper Club is its unique and imaginative layout, which recreates the decadent, eccentric rooms of a rock star’s mansion. Guests can dine in the living room, the bedroom, the bathroom, the library, the studio, the patio, and, of course, the dining room. A/V integration firm Audio Diseño designed and installed a custom, high-SPL sound system for Simon Mansion and Supper Club using the cost-effective, high-fidelity Symetrix Zone Mix 761 fixed architecture, standalone digital signal processor.

Miguel González del Rey led the installation on behalf of Audio Diseño. “The purpose of the sound system at Simon Mansion and Supper Club is two-fold,” he said. “Most of the time it functions as a background music system, with noticeably higher volume than your average restaurant. At other times however, the system may be driven up to 96dB. After all, this is the Hard Rock Hotel, and this restaurant is a rock star’s mansion! Beyond the necessity of high volume and high fidelity, the style required an unobtrusive installation. Therefore, almost all of the loudspeakers and subwoofers are mounted in the ceiling.”

Inputs to the system include background music from a computer and a music streaming device, as well as two in-ceiling microphones for sensing background music. With twelve inputs, six outputs, and comprehensive processing facilities, the Symetrix Zone Mix 761 sits at the heart of the system. Its outputs feed several separate zones, including the kitchen, the dining room, the bedroom, the bathroom, and the smoking room. ElectroVoice CPS 4.5 and PA2250T amplifiers ably power a distributed array of SoundTube CM890d, CM500i, and SM590i loudspeakers and SoundTube CM1001d-T subwoofers. The restaurant staff and management can select input sources and adjust the volume from a Symetrix ARC wall panel remote.

“The Symetrix Zone Mix 761 has the right input/output count and processing facilities for a job like this,” said del Rey. “Its ambient noise-sensing algorithm is usable and natural, as are the dynamic controls that provide amplifier and loudspeaker protection. Most importantly however, the Zone Mix 761 sounds fantastic. Configuring the Symetrix ARC wall panel controllers was also easy and flexible. The client made several requests for user control, and we were easily able to accommodate all of them.”

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

SYMETRIX SYMNET SOLUS 8 OPEN ARCHITECTURE, FIXED I/O DSP GIVES BACKSTAGE PERFORMANCE AT THE UNIVERSITY OF DUBUQUE

DUBUQUE, IOWA: Located in the city of the same name, the University of Dubuque is a private Presbyterian university in Iowa that educates 1,600 undergraduate and graduate students. The school recently finished construction on its new Performing Arts and Campus Center, which features a 1000-seat performance hall and a flexible black box theater that can be arranged to seat anywhere between a twenty- and two hundred-member audience. A flexible backstage paging system centered on a single Symetrix SymNet Solus 8 open architecture, fixed I/O DSP paired with four Symetrix ARC-2e wall panel remotes provides exceptional functionality on a very tight budget.

Threshold Acoustics (Chicago, Illinois) designed the FOH and backstage sound reinforcement systems, and Professional Audio Designs (Milwaukee, Wisconsin) installed them. “This was a challenging project because the building itself ran over budget and the university was forced to make deep cuts elsewhere,” explained Kim Leonard, president of Professional Audio Designs and a Dubuque native. “We worked with Threshold Acoustics to value engineer the system to about half the cost, with as little reduction in functionality, performance, and reliability as possible.”

The auditorium, which will host lectures, ceremonies, dramatic productions, musical productions, and concerts, as well as religious services, features an Allen & Heath iLive console at FOH, with QSC amplification and EAW loudspeakers and subwoofers. The black box theater, which has abundant infrastructure to allow stage positioning in any cardinal direction, as well as theater in the round, features a smaller version of the auditorium’s FOH system. Although there were savings to be found in the FOH systems by a careful reconsideration of the design, savings elsewhere would spare as much of the original FOH design as possible.

The backstage paging system can be shared between the two spaces, or it can be separated. Each venue has its own portable stage manager console, which includes a Symetrix ARC-2e wall panel remote that allows simple push-button user control over page destination. Two additional ARC-2e, located at the tech table position and at the FOH mix position, provide paging system communication. The Symetrix SymNet Solus 8 DSP collects the microphone inputs from those locations, performs the necessary output matrixing as determined by the ARC-2e wall panel remotes, and provides input- and loudspeaker-conditioning to maximize intelligibility. QSC amplifiers power 70-volt Atlas loudspeakers.

“With configurable open architecture programming, the Symetrix SymNet Solus 8 DSP is very flexible and yet also cost-effective,” said Leonard. “It provides a uniform paging environment throughout the facility with all of the intuitive functionality we needed. It allowed us to work within the revised budget without sacrificing performance or reliability.”

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

UNIVERSITY OF MICHIGAN’S DUDERSTADT MULTIMEDIA CENTER NOW FLUSH WITH API ANALOG CONSOLES

ANN ARBOR, MICHIGAN: The Duderstadt Center on the University of Michigan campus is a unique facility, not only because it is outfitted with three API consoles. In addition to housing libraries for the Art, Architecture, and Engineering programs and various computing facilities, the Duderstadt Center also houses the Digital Media Commons, which now includes three audio creation, recording, and production rooms designed by Walters-Storyk Design Group. Two of the rooms are recent additions and, in conjunction with the original Audio Studio’s 48-channel API Vision console, feature a 32-channel API Vision console and a 16-channel API 1608. As one might expect, the sophisticated, yet easy to navigate, rooms are used for art, music, and recording classes and provide students with first-hand experience in professional facilities. Importantly, any University of Michigan faculty member, staff member, or student can receive training on the use of the Duderstadt Center facilities and then use those facilities for any purpose whatsoever, school-related or not.

“The Duderstadt Center functions more like a lab than it does a classroom or a commercial studio,” explained David Greenspan, managing producer, University of Michigan. “We complement the audio facilities with video production resources, including computer animation workstations, a video capture studio, and editing suites. Users can take their video projects directly into the audio rooms. We were careful to design the whole facility in a way that would effectively flatten the learning curve. We would much rather have our users creating inspired art than worrying about which buttons to push. Because all three audio rooms use API consoles, users can [easily] move between them.”

The smallest of the three rooms is lovingly referred to as EMS A, short for Electronic Music Studio A. It is organized around the API 1608 console, which features slots for any 500-series modular processor. EMS A employs that flexibility to offer users three flavors of compression in dual-channel pairs: two API 525s, two API 527s, and two Pendulum Audio OCL-500s. Monitoring uses a 5.1 combination of Adam full-frequency loudspeakers and Genelec subwoofers. The larger EMS B is organized around the 32-channel API Vision console, which was custom built by API to deliver either 7.1 or 8.0 surround sound via Genelec 1037 loudspeakers and subs. Comprehensive networking between EMS A, EMS B, and the original Audio Studio’s 48-channel Vision allow sharing of resources – and even synchrony for large and involved productions.

When deciding what consoles to install in the new rooms, many factors came into play. “First, I wanted to protect the University of Michigan’s investment,” said Greenspan. “Signal flow is signal flow, whether you’re working with an analog console or a digital console. But digital protocols change, and I couldn’t promise the provost that a digital console we installed today would still be relevant twenty years from now. With an analog heart, we can be flexible and stay current with the evolving digital technologies that surround it.”

Given the Duderstadt Center’s positive experience with the original API Vision console, Greenspan was inclined to fill the new rooms with API consoles as well. “When they go out of warranty, it will be less expensive to maintain a single manufacturer than it would be to maintain multiple manufacturers,” he said. “But it also makes the training less onerous and the transition from room to room much easier. That sounded like the most inspiring approach to take.”

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 NE800.70 AMPLIFIERS POWER RENOVATION AT BIG PALLET FUKUSHIMA CONVENTION CENTER

KORIYAMA, JAPAN: The Big Pallet Fukushima Convention Center regularly hosts meetings, exhibitions, festivals, and even sporting events, but the 250,000 square-foot facility suffered damage in Japan’s 2011 tsunami. Big Pallet recently reopened after extensive renovations, many of which were planned even before that devastating event unfolded. Revamped sound systems in the 31,000 square-foot exhibition hall and 1,000 square-foot convention hall were among them. Now completed, these systems use Ashly ne800.70 amplifiers to deliver clean, reliable power to One Systems loudspeakers.

Morimoto Naniwa Sound Projects Co., Ltd. of Tokyo designed the system, and local integration firm Esu Esu Techno Co., Ltd. installed it. “This project was to renew their old infrastructure,” said Masaki Morimoto, co-owner of Morimoto Naniwa Sound Projects. “Big Pallet was built in 1998, and all of its facilities – including sound reinforcement – were beginning to show their age. We drew up the renewal planning early in 2011, but the project was obviously postponed due to the huge tsunami in the spring of that year.” Morimoto said that the sound reinforcement systems in the exhibition and convention halls would primarily be used for announcement, “so high intelligibility and plenty of power were required.”

Existing inputs to the system include announcement microphones and background music sources, which feed an existing mixing console at the tech position. They were also able to repurpose some existing Panasonic DSPs for input and loudspeaker conditioning. New One Systems 112IM mains and 108IM/70 in-ceiling loudspeakers replaced the old loudspeakers, one for one. “It was easy to reuse the large Panasonic low-impedance amplifier for the 112IM loudspeakers,” said Morimoto. “But the options for a high-impedance power amplifier with large output were limited. Ashly Audio’s low cost, reliability, and sound quality made it the obvious choice.” Three Ashly ne800.70 amplifiers therefore power all of the 70-volt loudspeakers.

Morimoto tuned the system at commissioning, and Big Pallet’s staff operates the system day-to-day from the mixing console. “The sound quality of the new system is very good,” he concluded. “All announcements are clear and intelligible, even above the noise of an exhibition or event.”

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

ST. JOHN’S UNIVERSITY WELCOMES STUDENTS WITH SYMETRIX

NEW YORK, NEW YORK: St. John’s University in New York City is one of the world’s leading Catholic institutions of higher education and serves over 20,000 undergraduate and graduate students. Welcoming prospective students and introducing them to all that St. John’s has to offer is a tremendous undertaking. To put its best foot forward, the university recently updated its welcome center. Included in that update is new A/V presentation technology underpinned by a standalone Symetrix SymNet Solus 16 open-architecture DSP. Shadowbox Design Management of Hicksville, New York designed and installed the new system.

“The school wanted to invest in newer presentation technology to create a good impression for prospective students and for new students,” said Joseph Ondrek, vice president of Shadowbox Design Management. “Moreover, they wanted to make the presenters’ jobs easier.” Inputs to the system include a Denon Blu-ray/DVD player with RS-232 control, a satellite TV feed, a permanent lectern computer, an auxiliary laptop computer jack, two Sennheiser wireless microphones, and a permanent podium microphone. Two Sharp 80-inch LED monitors with independent output via a Kramer 4×4 HDMI matrix switcher complete the video portion of the system.

The audio inputs feed a Symetrix SymNet Solus 16 standalone open-architecture DSP, which features sixteen inputs, eight outputs, and flexible third-party control options. Shadowbox programmed the Solus 16 to use a gain-sharing auto-mixer for the three microphones, which provides a well-balanced output volume regardless of differences in voice volume or mic technique, as well as robust feedback protection. “The Solus 16 has plenty of inputs for this system, which includes a number of stereo input sources,” said Ondrek. “There’s still room for future expansion if the school chooses to add additional devices. Its open architecture software allowed us to tailor the functionality, and its comprehensive RS-232 controls allowed for easy integration with a third-party controller from RTI. Of course, Symetrix always delivers dependable processors, and that was an important consideration too.”

An RTI RK3V 3.5-inch color touchscreen controller permanently mounted to the presenter’s lectern allows independent source selection for video and audio, as well as individual volume and overall volume control. Users can also use an Apple iPad to wirelessly control the system from anywhere in the room. An RTI XP-6 central control processor is the cornerstone of the user control system. “The ability for the Solus 16 to respond to RS-232 commands was perfect for this installation,” said Ondrek. “Our experienced RTI programmer set up the system to create a user interface that allowed the university staff to get the most functionality in the quickest and simplest way. Any questions we had were addressed quickly by Ryan Curtright and the other Symetrix techs that we spoke with.”

A four-channel QSC CX-204V 70-volt amplifier powers twelve QSC AD-C152ST-WH shallow-mount, full-range ceiling speakers and four QSC AD-C81Tw flush-mount ceiling subwoofers. Both the full-range loudspeakers and the subwoofers are divided into true stereo to retain the full life and vitality of media-supplied audio. “This is a fairly large number of speakers in a relatively small space, and it allows the volume to be kept at a lower level by distributing the sound throughout the listening area,” said Ondrek. “As a result, adjacent office and meeting spaces remain quieter than they would if we had used fewer speakers with greater individual volume.” The Solus 16 DSP routes all microphones through the full-range loudspeakers only, whereas program audio is also routed through the subwoofers.

In addition to the main output, the SymNet Solus 16 also generates a separate audio mix as an auxiliary feed. That feed can be used to record a presentation or for overflow into an adjoining room. Although the microphone mute toggles and program audio source selection made via the in-room controllers are duplicated in the auxiliary audio mix, their levels may be independently controlled if so desired.

ABOUT SYMETRIX
Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

AUSTRALIAN MUSIC INDUSTRY VETERAN PHIL RIGGER CHOOSES METRIC HALO HARDWARE AND SOFTWARE

SYDNEY, AUSTRALIA: Phil Rigger got his start in the music business the old fashioned way – in a rock band. That was the early 1980s, and the band was Outline. With Rigger on trumpet (boosted by a board loaded with pedals that launched his horn to the stratosphere) and acing the role of front man and lead vocalist, Outline tore up Australia, headlining packed shows and opening up for international acts that stopped down under. It was only a few years after the band split that Rigger formed Monstereo Music, a music and video production company that Rigger heads to this day. Now several decades into a financially successful and stable career, Rigger has written hit songs for other Aussie artists, produced and engineered innumerable albums, composed and produced for television and film, and, above all, continued to let his enthusiasm for the creative life keep him on a path that’s true. Along the way, he found Metric Halo and is now a dedicated user of Metric Halo’s hardware interfaces, its sound analysis program SpectraFoo, and its flagship plug-in ChannelStrip.

In addition to the intangible aspects of music production, Monstereo Music possesses a full-fledged recording studio and video production suite in Sydney. Like most people who get in the business and stay in the business, Rigger is opinionated about sound and the gear that improves (or sullies) it. The studio starts with a collection of tube mics from BeezNeez, Groove Tube, Neumann, and Rode, as well as solid-state microphones from those manufacturers and Shure, AKG, and Sennheiser. Outboard gear includes dual-channel Peach Audio tube preamps, Groove Tube SuPRE preamps, a Groove Tube MP-1 preamp, and a six-channel Audio Developments Class A mixer. The main Mac runs Cubase 7 and possesses 32GB RAM, 20TB of storage, and a Blackmagic video input card and 3GB output card. Event Electronics Opal studio monitors provide transduction at the other end. The video production suite possesses a cyclorama, three cameras, monitoring, and video switching. The video room and the control room are connected optically and via analogue so that users can monitor video input/output, as well as multichannel audio for webcasting and in-house shoots.

A collection of Metric Halo interfaces handles input and output conversion, as well as preamplification when Rigger is using a tube mic (he doesn’t necessarily like to go tube mic to tube pre for vocals). The collection includes one ULN-8, one 2882, and two ULN-2s, (one in the recording studio and one in the video production suite). “I got my first Metric Halo 2882 over a decade ago when my friend and frequent collaborator David Quinn discovered it,” said Rigger. “Because Metric Halo so faithfully supports its products with hardware and software upgrades, I’m still using that same 2882 today! What other piece of computer-related equipment evades obsolescence for so long? Between David and I we have three ULN8s, three 2882s and three ULN2s all with 2D cards.

He continued, “The reason I like Metric Halo interfaces is because they have that solid, high-quality sound. I’ve worked on a bunch of different high-end consoles over the years, and Metric Halo easily has the sound quality to compete with any of them. Of course, the portability is also fabulous. I’ve recorded so many live sets with my Metric Halo interfaces. They’re always solid and reliable.” Rigger also cites the on-board DSP as useful, especially the Character emulations that give the preamps different colors. “I’m a fan of the Classic British Pre emulation,” he said. “It adds a nice warmth to the recording that isn’t overbearing. In combination with a nice tube mic on vocals, the Metric Halo preamps produce a beautiful, rich recording.”

But Rigger’s use of Metric Halo gear doesn’t end there. In the studio, he keeps a second Mac up that runs SpectraFoo. It’s digitally connected to the main system for mixing and mastering. “SpectraFoo works beautifully,” Rigger said. “I’ve had it for nearly a decade. Other sound analysis programs have come along, but SpectraFoo’s display is par excellence. Having it up on a second computer works really well for me because the machine has nothing else to do but analyze the input. The great thing about that setup is that while I’m working, I can solo any individual track, any group, or even the entire song and analyze it.”

Finally, Rigger uses ChannelStrip as his go-to equalization and compression plug-in. “If I want to surgically adjust something, de-ess a vocal or brighten an acoustic track, ChannelStrip is fantastic,” he said. “It doesn’t put much of a load on the system, and although that isn’t such a huge concern these days, it’s a testament to good software design. I have a large collection of plug-ins, most of which I acquired for a particular sound or function, but ChannelStrip is more neutral and allows fine adjustment without imposing itself on the sound – a great feature! Metric Halo equipment and software are the foundation for my business.”

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

FULL SAIL UNIVERSITY INSTALLS 64-CHANNEL API VISION CONSOLE FOR RECORDING ARTS ACADEMIC PROGRAM

WINTER PARK, FLORIDA: Full Sail University’s Studio B is now the official home of a 64-channel API Vision console. The console will be the centerpiece of the university’s Recording Arts Academic Program. After a rigorous process, Full Sail’s new Vision eventually became the console of choice, primarily due to its distinct analog sound and highly teachable signal path. Installed on January 2nd, Full Sail has completely integrated the console into its Academic Program and is more than pleased with this next level of professional gear offered to students.

“We are excited to have the API Vision Console installed into one of our on-campus studios,” said Darren Schneider, advanced session recording course director at Full Sail University. “This addition to campus provides another opportunity to work on a professional platform and prepares them with knowledge of the technology they will encounter when pursuing careers in the music industry.”

Founded more than thirty years ago, Full Sail University, according to Rolling Stone Magazine, offers one of the top five best music programs in the country and is home to over 18,000 students from all over the world. “We’re honored to have an API console at such a prestigious educational facility,” API President Larry Droppa commented. “Students enrolled in the Recording Arts program learn all aspects of console technique and we’re convinced API products are an excellent way to both teach and understand signal path and signal flow.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

SYMETRIX SYMNET RADIUS 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.

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