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

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

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

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

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

STOP BY AND SEE US AT INFOCOMM BOOTH #922

His Heart Is In New York: H.S. Concert Hall Gets ‘Thumbs Up’ From Tony Bennett

BUENA PARK, Calif.—In 1999, singer Tony Bennett and his wife Susan Benedetto, then a public school teacher, were inspired to start a public high school for young artists and envisioned a school that would integrate the arts with rigorous academics, require a commitment to community service, and help students cultivate a lifelong love of, and dedication to, their artistic passions and crafts.

With assistance from the New York City Department of Education and the not-for-profit Exploring the Arts (ETA) who assisted in raising the necessary funds required, the Frank Sinatra School of the Arts (named for Bennett’s long-time friend) opened in 2001 at a temporary space. In 2009, the school moved to its permanent home on the Kaufman Astoria Studios complex, in Astoria, Queens. Ennead Architects LLP (New York City, formerly Polshek Architects) designed the school, under lead architect Susan Rodriguez.

The Tony Bennett Concert Hall is a state-of-the-art performance 800-seat venue built specifically for use by the students. Tom Young, long-time front of house engineer for Mr. Bennett, was brought in at his bequest to specify the theatre’s sound system. “The original audio design by David Harvey (Harvey, Marshall, Berling Associates) and myself was initially a typical value-engineered system required by any New York City school but with our added mission of creating a good sounding space,” says Young. After Young took the Bennett’s to hear a demo of the Yamaha Active Field Control (AFC) system, they all agreed, that AFC would be a key component of the concert hall. Active Field Control is a reverberation enhancement system that adjusts and enhances the acoustic characteristics of a facility while preserving natural characteristics.

The theatre’s AFC system is a hybrid AFC3/LAP3 system with both the standard AFC3 system utilizing a new AFC-FIR card for processing and the enhanced option of using a dedicated FIR processing computer with the LAP3 external computer. System 1 is used for reverberation enhancement in the house and under balcony areas. System 2 is designed for reverberation enhancement/energy exchange on the stage adding a sense of spaciousness to the normally “dead” sounding stage area, aiding performers to hear others on the stage.

The main loudspeaker system in the concert hall is based around a NEXO GEO S12 line array, NXAMP4X4 amplifiers equipped with EtherSound cards connected to the existing EtherSound network; four Yamaha DSR115 self-powered Yamaha speakers for stage fills/monitors, and a Yamaha M7CL-48ES digital audio console.

In a joint statement the Bennett’s said: “Putting the finest sound system in the Tony Bennett Concert Hall at Frank Sinatra School of the Arts has turned it into one of the best sounding halls in the United States. How fortunate we are that both Tom’s team and Yamaha were able to create this for the public school children of New York City.”

For more information on Yamaha and NEXO products, visit www.yamahaca.com.

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Photo ID: Cheri Walsh, Director of Exploring the Arts, Larry Italia, VP/GM Yamaha Commercial Audio Systems, Tony Bennett and his wife Susan, and Tom Young

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.

White Mark Designs A New Audio Facility For Extreme Music

Studio and design consultancy White Mark Ltd has completed a major project for Extreme Music to design and install an entire audio complex at the company’s new headquarters in London. The complex includes a large mastering studio, a mixing studio that can also be used for tracklaying and three self-contained audio editing suites.

Extreme Music, the production music arm of Sony ATV, was obliged to move premises to accommodate its rapid business growth.

The company’s Senior Vice President, Dan Pounder, says: “We have been growing at a rapid rate and needed more space to accommodate staff and to provide more audio facilities. Fortunately we were able to take over offices vacated by another Sony company and the move gave us the opportunity to re-design the space so that it exactly suited our workflow. The open plan design is now split between work stations for marketing and administrative staff and the audio suites. Thanks to the exceptionally high standards employed by both White Mark and BNP Paribas, which handled the design of the non-technical space, we now have a working environment that exceeds our expectations and has the wow factor we were looking for.”

The audio complex flows along one side of the building and consists of a large mastering room with natural daylight that is equipped with a Pro Tools system, PMC monitors and a range of audiophile processing equipment from Analaogue Tube, Avalon, Manley, Weiss and T.C. Electronics. There is also a secondary multipurpose room equipped with Universal Audio, Sonnox and T.C. Electronics processing with PMC monitors capable of mixing, tracklaying and mastering duties. The two rooms can work in tandem for larger tracklaying projects, with the mastering room doubling up as a live space. The complex also houses three self-contained edit suites of varying sizes, all of which are linked to a common DDP audio server in a separate machine room so that work can easily be transferred between any of the five audio rooms.

Extreme Music’s Chief Mastering Engineer Nick Cooke says: “We chose White Mark for this project because we had worked with them in the past and knew they could deliver the results we wanted. As our new premises are located in a mixed tenancy building, we had to ensure that all of the studios and edit suites were really well isolated to avoid causing noise nuisance to our neighbours. White Mark was able to completely isolate all of the rooms and ensure that the completed facilities sounded great and were acoustically accurate.”

White Mark’s previous involvement with Extreme Music involved upgrading the mastering studio in its old premises to improve the sound of the room and create more space. That project, which was completed in just four weeks in order to minimise downtime, involved the use of White Mark’s Fast Studio construction method that allows producers, composers and studio owners to build high performance facilities in far less time and at far less cost than would normally be anticipated. This unique system uses properly constructed and individually specified acoustic modules that are assembled off-site, making them very quick and easy to install. Fast Studio panels are ideal for rooms using free-standing monitors and in which there is no need for full isolation.

White Mark’s managing director David Bell says: “Although Extreme Music’s new facility required a more traditional approach to studio building to achieve adequate isolation, we were able to incorporate the company’s existing Fast Studio panels into our design for the acoustic treatment of the edit rooms.”

Established in 1997, Extreme Music is renowned for the quality of its production music and is committed to delivering an unrivalled roster of talent. Among its stable of Award-winning producers and composers are Timbaland, Hans Zimmer, Quincy Jones, Snoop Lion, Vince Clarke, Xzibit and Steve Jablonsky.

“All of our mastering is handled in-house and because we are committed to excellence, we need audio facilities that reflect this philosophy,” Nick Cooke adds. “White Mark has achieved remarkable results with our studios and we are delighted with them. Being able to feed work between all five rooms has significantly improved our workflow and increased flexibility. The additional space has also made it possible for composers to come in and be truly involved in the mixing and mastering process.”

Dan Pounder adds that the move has not only given Extreme Music the extra space it needed, but also helped integrate the audio side of the business. “The layout works really well,” he says. “Everyone enjoys working here and the look and feel of the new premises also creates a very good impression for visitors because they can literally see our workflow in action.”

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About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last fifteen years it has designed and supervised the construction of over 500 production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Germano Studios in New York, Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 140 audio studios and many broadcast and video editing facilities for more than 60 companies in Soho alone. The list of clients includes Grand Central, Hackenbacker, Envy, De Lane Lea, Scramble, Lipsync, Molinare, DeLuxe, 750mph, NBC/Universal, Wave, Unit and Boom. Advertising agency clients include worldwide facilities for Hogarth International and AMV/BBDO on four continents.www.whitemark.com

Canadian Duo Uses Yamaha CL Digital Console On International Tour

BUENA PARK, Calif.—Tegan and Sara’s 13-year career has seen them build an avid global following of fans and fellow musicians alike. Born in Calgary, Alberta, the Quinn sisters’ unique ability to bridge the pop and indie worlds has allowed their music to cross all traditional boundaries of genres, from being covered by The White Stripes to collaborating with superstar DJs such as Tiesto and David Guetta. Having sold nearly 1 million albums and touring with acts from The Killers to Neil Young, Tegan and Sara are on the road in support of their 7th studio album – “Heartthrob”.

A Yamaha CL3 digital audio console with two Rio3224-D racks has been provided by Gearforce of Coquitlam, BC, Canada for front of house mixing by Scottie Baldwin. Robert Nevalainen, President of Gearforce said that it became obvious early on that the CL line represented a leap forward in audio quality. “Yamaha managed to retain the Centralogic interface that so many engineers love, and the company has such market penetration, that it just made sense.”

“The CL Series sounds amazing; a perfect blend of the sonic purity and coloration add up to the most musical console on the market,” states Baldwin. “I’ve found the Dante networking to be not only simple to set up, but incredibly reliable as well. The simple setup of the Dante network gets me where I need to be: into the music. Baldwin says he makes extensive use of the console’s Premium Rack; specifically, the Neve compressors and EQ’s as well as the multi-band compressors.

Baldwin has been a Yamaha end user engineer from the first days of Yamaha digital consoles. In 2002, the Yamaha PM1D was the first large-scale digital console he used for a Prince tour. He’s used Yamaha consoles exclusively since. “The thought behind where an engineer’s hands and eyes will be during a show are most impressive, Baldwin adds, completely intuitive to live mixing, that allows maximum capability to focus on the most important element of all: the music.”

For more information on Gearforce, visit www.gearforce.com.

For more information on the Yamaha CL, visit www.yamahaca.com.

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PHOTO ID: Scottie Baldwin at Yamaha CL3

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.

SYMETRIX EXPANDS GLOBAL CTS CERTIFICATION BOTH ON SITE AND ONLINE

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

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

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

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

STOP BY AND SEE US AT INFOCOMM BOOTH #922

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

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

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

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

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

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

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

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

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

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

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

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

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

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

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

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

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

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

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

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

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

www.apiaudio.com

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

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

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

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

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

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

PLEASE STOP BY AND SEE US AT INFOCOMM BOOTH #335

SE Systems Uses New NEXO STM System and Yamaha CL5s at MerleFest

BUENA PARK, Calif.—Held the last weekend of April in Wilkesboro, N.C., this year’s MerleFest included a roster of longtime roots artists like Leon Russell, The Charlie Daniels Band, Avett Brothers, Del McCoury Band, Donna the Buffalo, Jim Lauderdale, Michael Martin Murphey, Peter Rowan, Jerry Douglas, Sam Bush, and the Nitty Gritty Dirt Band. As locals know, the festival is named for famed guitarist Doc Watson’s late son, Merle, a gifted musician in his own right. Doc passed away in May 2012, so this is the first year he hasn’t graced the stage himself.

For the past 26 years, SE Systems of Greensboro, N.C. has provided audio production for MerleFest, and this year included a new NEXO STM rig shared and alternating between the main Watson Stage and the side Cabin Stage. The system consisted of 15 M46/B112 per side for mains, 16 S118 subs in cardioid mode per side, two M46 for front fills, and a three-stack of M46/B112s were used for out fills in the VIP area. A Yamaha DME64 digital mixing engine functioned as a converter from analog to Dante that was networked to all NXAMPs. 20 NEXO 45 N-12 line monitors were also used on the main stage.

“The NEXO STM system was very musical and even horizontally and vertically, states Chris West, front of house engineer at the Watson Stage. “The mix sounded the same on the ground and at FOH. The throw was incredible; we hardly used the delays.”

“The NEXO STM system sounded natural, even at high volume,” states Haley Miller, monitor engineer at the Watson Stage. “When dealing with acoustic music, the environment plays a large part, so a natural sounding system is always a plus. On stage it was quiet, and sometimes we couldn’t tell if the PA was on; the system allowed great isolation from stage to FOH with no bleed.”

Four new Yamaha CL5 digital audio consoles with Rio 3224 input/output boxes all connected with Dante were used on the Americana Stage for mains and monitors and at the Dance Stage for mains and monitors. “The overall impression was they sounded great,” states Myron Surber, Sales Associate, SE Systems. “The preamps were warm and the Premium Rack was a real plus with delays on the input channels and the additional 1/3 octave EQs.”

“The Yamaha CL5 is a great improvement on previous Yamaha consoles having mixed on both the PM5D and M7CL in festival situations,” states Josh Berneking, who mixed front of house for all the acts on the Americana Stage. “The CL5 is much better in that situation. The new premium rack plug-ins, especially the Rupert Neve EQ and Compressor, sound great. I also like the increased naming and labeling capabilities; and color-coding my channels was a huge help at the festival. I also found that it was similar enough in navigation to the M7s that guest engineers walking up to the consoles having no experience were able to jump right in on the desk and mix on the fly with very little help from me. The Dante network and stage boxes worked great; they were very easy to patch on, and setup. We were also able to connect my talkback mic to the monitor console through Dante.” Jeff Neubauer mixed monitors on the Americana Stage.

“The console sounded great and was sonically very clean,” states Todd Dupree who mixed monitors on the Dance Stage. “We had two Rio boxes on our stage; they are great devices, well made, and solid. The indicator lights for signal, peaking, 48v, and the Ping feature worked great in the frantic festival setting.” John Adair mixed front of house at Dance Stage.

For more information on SE Systems, visit www.sesystems.com.

For more information on NEXO and Yamaha products, visit www.yamahaca.com.

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Photo ID: L to R SE Systems Chris West, Yamaha’s Joe Rimstidt, Doug Staab and Mark Rush, and SE Systems Thomas Dameron. Avett Brothers are on stage.

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.

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