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DPA Microphones Brings ‘Technicolour’ To Sam Lee’s Voice

Folk singer Sam Lee finally ended his long search for the right vocal microphone when he discovered DPA Microphones d:facto™ Vocal Microphone.

Lee, who was nominated for a Mercury Music Prize in 2012, was introduced to the DPA d:facto Vocal Microphone by Front of House sound engineer Jamie Orchard-Lisle.

“Finding a microphone to match my voice has never been easy,” Lee says: “After successive attempts to find the gear to capture the full colour and dynamics of my voice, I’ve always been left feeling a bit cold. It wasn’t until Jamie introduced me to the DPA d:facto Vocal Microphone that the full Technicolor really left the stage and illustrated the depth and clarity of my range.”

Multi-talented Lee is not just a folk singer – he also teaches and hosts radio and TV programmes. His debut album Ground of its Own is an unusual folk collection comprising traditional songs he learned first-hand from the Roma, Gypsy, Scottish and Irish traveller communities. These songs have been passed from generation to generation, over centuries, and Lee scoured the UK to find them.

Earlier this year, Lee took part in an international showcase at the WOMEX Convention in Thessaloniki, Greece, and it was here that Jamie Orchard-Lisle first introduced the DPA d:facto Vocal Microphone, which was supplied by DPA’s UK distributor Sound Network.

Orchard-Lisle, who is a long term fan of DPA’s microphone technology, says: “DPA’s products always deliver fantastic results and, having tried the d:facto Vocal Microphone with other singers, I felt it would be perfect for Sam. The d:facto really brings out the dynamics of his voice and his on-stage performances now sound absolutely amazing. Since WOMEX, we’ve used the d:facto Vocal Microphone for all of his recent gigs and I’ve been getting compliments about his vocal sound from other sound engineers. The d:facto is a remarkable microphone and I can’t sing its praises highly enough.”

Sam Lee adds: “WOMEX is the largest annual world music conference, and one that is attended by world music aficionados and sound snobs. Thanks to the DPA d:facto Vocal Microphone, the reaction to my performance was unanimously positive and the bookings poured in. I am now so impressed with this microphone that I hope never to leave home without one. Any self-valuing singer should really be questioning whether they can afford not to carry one, in my opinion.”

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Meta4 Chooses DPA d:vote™ 4099 Instrument Microphones

Finnish string quartet Meta4 has invested in four DPA d:vote 4099 Instrument Microphones, which they are using to capture the sound of two violins, a viola and a cello.

Meta4’s Atte Kilpeläinen says: “These are, without doubt, the best microphones we have ever tried. The finest thing about them is their ability to produce a very natural sound that truly reflects our performance.”

Formed in 2001, Meta4 consists of Antti Tikkanen and Minna Pensola on violin, Atte Kilpeläinen on viola and Tomas Djupsjöbacka on cello. This internationally successful string quartet has won numerous accolades and awards including first prize in the 2004 International Shostakovich Quartet Competition in Moscow, where it was also awarded a special prize for best Shostakovich interpretation. The quartet enjoyed continued success in 2007, winning the first prize in the International Joseph Haydn Chamber Music Competition in Vienna. Later that year the Finnish Minister of Culture awarded Meta4 with the annual Finland Prize in recognition of an international breakthrough. Meta4 was also selected as a BBC New Generation Artist for 2008-2010.

Meta4 decided to upgrade its microphones after hearing very positive reviews from other musicians about the DPA d:vote 4099 Instrument Microphone range.

“We approached DPA’s Finnish distributor Jyrki Makinen at Noretron Audio and arranged a demo,” Kilpeläinen says. “Having tested the microphones ourselves and really liking the sound they delivered we decided to have a set of our own. We are using clips for the violins and violas and these are working well. It takes a bit of concentration to get them in place but once they are in the right position they work extremely well.”

To date, Meta4 have used their new DPA d:vote 4099 Instrument Microphones in a concert hall environment, performing Kaija Saariaho´s Nymphea for string quartet and live electronics and Black Angels by George Crumb.

“Regardless of whether we were in Finland, Belgium or Spain – all of which are places we have performed recently – the sound engineers are always very happy with our DPA microphones,” Kilpeläinen add. “Our next challenge is to use them in a rock or jazz venue – and we’re really looking forward to that!”

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

DPA Microphone’s d:facto™ Vocal Microphone Delivers a Noticeable Difference

DPA Microphones’ new d:facto™ II Vocal Microphone has made internationally acclaimed jazz singer Claire Martin OBE very happy indeed. Since switching to the new microphone, Claire says she has never heard so much clarity in her voice and the difference is so noticeable that all the sound engineers she works with are making positive comments.

“This is definitely the right microphone for me,” she says. “It picks up all the colours in my voice and I can hear every breath, which makes it easier to control phrasing. It almost makes singing easier as I can try out vocal idea’s and actually hear myself changing the timbre of my sound – something I felt was lost with other microphones. It also delivers without me having to be right in too close to the mic, so I can definitely play around with lower end notes by coming in a little closer for a bassier response. This works really well in ballads, I feel.”

Claire, who has been singing professionally for over 25 years has garnered numerous awards and rave reviews for her work, including winning the BBC Jazz Award for Best Vocalists and six British Jazz Awards. She has released a total of sixteen albums, all on the Linn label, and has collaborated with various prominent musicians including Martin Taylor, John Martyn, Stephane Grappelli, Kenny Barron, Sir Richard Rodney Bennett, Jim Mullen and Nigel Hitchcock. In addition to her singing career, she is also a co-presenter for Jazz Line Up on BBC Radio 3 which is now in it’s thirteenth year.

Claire’s decision to try DPA’s d:facto Vocal Microphone was inspired by a sound engineer who was working with her at the Pizza Express Jazz club in London’s Soho.

“The engineer was raving about the mic and saying how it would suit my voice,” she explains. “Other singers and also my record company Linn Records, had often talked about the quality of these microphones – so at last I was able to try one out in an intimate club setting. I was immediately impressed by its lightness and handling.”

The d:facto Vocal Microphone was supplied by DPA’s UK distributor Sound Network and after that initial try-out, Claire was hooked.

“The d:facto captures every nuance of my vocal sound and, once I had worked out the direction handling, it actually made me feel very confident about my diction and tone. I also notice that I don’t lose any level when I give my sound more power and pull away from the mic. The sound is still clear and full and more rounded. You can hear the whole breath and, as a jazz singer, this is the sound I’m after. This microphone certainly delivers what I want and I definitely feel I’m using the best microphone there is.”

Claire’s d:facto Vocal Microphone is now in use at every one of her concerts – and thanks to its ability to deliver high quality audio she feels she can cope much better with whatever the PA system throws at her.

“In jazz clubs, some PAs are better than others and this microphone gives me a fighting chance of getting a great sound,” she says. “I also love how light it is.”

In June 2011, Claire was appointed Office of the order of the British Empire (OBE) for services to music. She is currently touring with Brighton based cellists the Montpellier Cello Quartet, showcasing new arrangements for voice and cello quartet by Sir Richard Rodney Bennett, Mark Anthony Turnage and Djano Bates. She plans to return to the recording studio later this year to begin work on her 17th album.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

NEXO GEO S12 Boosts Sound in College Concert Hall

BUENA PARK, Calif.—Built originally as a private high school located in a residential neighborhood of Montreal, the school has transitioned to College Regina Assumpta, recently designing a 705-seat concert hall as part of the revitalization of the college. “An interesting feature of this project is that the concert hall is found inside a courtyard,” states Guy Desmarteaux, main designer and consultant, GO multimedia inc. “This offers the advantage of having the sound of city noise insulated. Specialized in music and dance education, the school now has a powerful tool for development and improvement.”

The Director of the College, Pierre Carle, was on a mission to make the venue a place where the sound quality could compete with the best concert halls. The team of GO professionals listened to the requirements and combining their knowledge, Carle, accompanied by the Director of the Equipment Christophe Bancilhon, and Eric Brunet, responsible for the audio-visual, worked in obtaining the desired result.

Desmarteaux was assisted by Julie Quenneville, architect and scenograph, with Simon Lemieux, Éric Berteau and Pascal Malenfant Tremblay as the consultant team from GO multimédia inc. The architectural firm for the project was Architectes Gagné & Villeneuve. Electrical and structural engineers collaborated with great ease, and always in the interest of the client, to create a professional level concert hall. “From the beginning of the project, the architects and engineers were happy to work with us to achieve a unique space,” says Desmarteaux. “The design was a team effort. The shape, volume, and parameters of the hall were the results of our discussions and proposals.”

“Technologically, it seemed normal and unequivocal to install digital,” notes Desmarteaux. “The scale of the challenge was mainly in the integration of clusters of speakers; quite a challenge to integrate the main sound system in a non-apparent way at higher proscenium.” The main PA consists of four NEXO GEO S1230, eight NEXO GEO S1210, and two RS18 Ray Subs. Three NEXO NXAMP4x4 amplifiers, allowing an active configuration, power the entire system. A set of loudspeakers provides the surround sound reproduction as well as front fills. All signal processing is accomplished using a digital controller with several adjustable settings via a control and management system using a touchpad. Solotech, Montreal, completed the system installation under the supervision of Charles Cadieux and Gilles Côté.

The clusters are installed with a charge differential between the top and bottom speakers. An important physical exercise was necessary in order to integrate them so as to sonically cover the entire audience. NEXO NS-1 software that determines the methods of possible hanging was suggesting that it was an off-standard or impossible installation. Michel Trépanier and his team at Yamaha assisted in facilitating the integration of the clusters. The optimal positioning of the cardioid subwoofers was determined after several tests and measures to match the acoustic phase and frequency response. “The sound image is an important factor not to be neglected,” adds Desmarteaux.

During the concert hall’s construction, interest was raised from internationally known conductor Yannick Nézet-Séguin. Once the project was completed, the venue’s acoustics charmed him, and a three-year agreement was signed between the College and the Montreal Metropolitan Orchestra, conducted by Nézet-Séguin, for the concert hall to be used as their practice space.

For more information on Collège Regina Assumpta, visit http://www.reginaassumpta.qc.ca.

For more information on GO multimedia inc. visit www.gomultimedia.net.

For more information on NEXO 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.

Yamaha StageMix 4.0 Now Available

BUENA PARK, Calif.—Initially launched in 2010 the Yamaha M7CL StageMix application for the iPad allowed wireless remote control of M7CL mixing parameters for the first time. The combination of the iPad interface and StageMix concept turned out to be very successful, providing unprecedented monitor setup, freedom and flexibility. Versions for the Yamaha LS9 and CL Series soon followed.

Yamaha Commercial Audio Systems, Inc. has announced the latest updates available in StageMix Version 4. Version 4 includes 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 will work seamlessly with Yamaha CL, M7CL, and LS9 Series Consoles and bring our end users more convenience and efficiency in setting up for live sound events,” states Kevin Kimmel, Systems Application Engineer, Yamaha Commercial Audio Systems, Inc.

Yamaha StageMix Version 4 is scheduled for release in May of 2013, and will be 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.

BNY PRODUCTIONS ELIMINATES IEM DROPOUTS WITH RF VENUE’S CP BEAM ANTENNA

SIOUX CITY, IOWA – APRIL 2013: Fed up with in-ear monitor signal dropouts, popular Christian rock band Bread of Stone’s lead guitarist Bill Kirstijanto set out to find the best IEM remote antenna to end his band’s wireless headaches once and for all. And with a packed schedule for The Promises Tour with Sanctus Real, JJ Heller, and Unspoken, those headaches were starting to feel like migraines.

“On our last tour, I was getting a lot of complaints from the guys about drop-outs on our ears monitors,” said Bill. “We were having trouble getting a consistent signal with our paddle antenna, so that led us to seek out a solution for our IEMs.”

Whenever Bill isn’t on tour with Bread of Stone, he’s at the helm of Sioux City, Iowa-based live production and consulting company BNY Productions. Equally at home configuring wireless systems for clients as he is on tour using IEMs in Bread of Stone, Bill follows a common routine for system setup. “We always perform an RF scan a couple times before setting up, and then walk the stage area to see if there are any dropouts,” explained Bill. “I also try and place the pack beside our belts, instead of on our backs, so that the signal has fewer objects to travel through and ideally has line of sight when the transmit antenna is positioned at the side of the stage. IEM antenna placement is important; side stage versus rear stage can make a big difference and influence where IEM packs should be positioned.”

Bill found time in between shows to transform the BNY shop back in Iowa into a wireless test range, comparing the leading directional antennas on the market to the CP Beam from RF Venue.

“We did a normal field test – where the CP Beam performed very well – and then we did something a little more rigorous. We tuned the IEMs to occupied frequencies, and recording each antenna’s performance from the same spot. This was to test the worst case scenario.” As a result of their extensive shootout, BNY Productions now recommends the CP Beam to its clients, and Bread of Stone relies on it for The Promises Tour.

“Under extreme conditions, using the paddle antenna, we got pretty spotty performance- like we’d experienced on tour. With other helical antennas it was much worse, dropping out for ten seconds or more at time. The CP Beam was hands down the best antenna we tested,” remarked Bill.

The circularly polarized CP Beam is designed for IEM systems as well as long range wireless microphone applications, providing high gain and consistent signal, all in a lightweight foldable design that fits in a 2RU rack drawer. RF Venue CEO Chris Regan commented, “We are encouraged to see live production companies and artist monitor teams adopting the CP Beam for their IEM systems. Last year was really the first full tour season for the CP Beam, and while performance is paramount for any wireless equipment, the portability and lightweight design of the CP Beam has made a big impression on monitor engineers who are used to hauling heavy flight cases.”

“Since we’ve been using the CP Beam no one has said anything about dropouts,” commented Bill. “And in fact we’ve noticed there isn’t as much background noise with the CP beam either, so audio quality in general has improved.”

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

ABOUT BNY PRODUCTIONS BNY Productions provides turnkey production services for an extensive list of worship, entertainment, and commercial clients in the Midwest. The company specializes in live audio systems, video projection and distribution, as well as staging and production consulting. For more information about BNY Productions, visit: www.bnypro.com

JD PRODUCTIONS TO INSTALL 32-CHANNEL API LEGACY PLUS IN NORTH CAROLINA STUDIO

SANFORD, NORTH CAROLINA – APRIL 2013: A new API Legacy Plus Console with Vision automation will find a home at JD Productions in Sanford, North Carolina later this year. The 32-channel console is being built by API with many custom features for the Raleigh-area space. The recording studio’s design is being overseen by the legendary Wes Lachot of Wes Lachot Design for well-known producer John Davenport.

John Davenport grew up in Sanford, where his passion for music soon took him to New York, where he learned the recording business from the ground up. When he began in the late 70s at Secret Sound Studio, he learned the craft from some of the best engineers and producers of the times.

John spent the 80s as a recording engineer at the iconic Hit Factory in New York where he worked with a variety of impressive acts such as the Rolling Stones, Bruce Springsteen, John & Yoko, Cindy Lauper, Judy Collins, and Little Steven. He received Platinum Album awards from the United Nations for Little Steven’s Sun City, where he was chief engineer. Now returning to his hometown, it seems John has come full circle, in more ways than one.

Aside from returning to his old stomping grounds, it appears as though John will also be returning to his analog roots. Being a former staff engineer at the Hit factory, John was trained on analog consoles exclusively. After a period in digital, he will connect with his analog past using the API Legacy Plus.

“The smile on my face is because, after three decades of working at professional and makeshift studios, I finally have the opportunity of building my own dream studio,” he says. “It didn’t take long to select my choice of console. API, the sound and workmanship, is like no other. Thank you, Dan Zimbelman (of API), Wes Lachot Design, and the craftsmen at API making my dream possible.”

John’s recording studio is located along the Deep River in North Carolina where he continues to develop artists and produce films. His skills as an engineer, producer, and artist developer have led him to the title of Co-Founder and Vice President of Music of JD Productions.

The studio will be built from the ground up as a 1,300 square foot space designed by Wes Lachot of Wes Lachot Design. “I can say that I recommend API consoles to my clients because they represent the very best in analog design and sound quality and always make the room sound the best,” said Lachot. “Very best sounding rooms are nothing without the best sounding gear.”

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

A TEAM OF ASHLY EIGHT-CHANNEL NE8250 AMPLIFIERS & THE STARR GROUP WIN THE GOLD AT THE LAKE PLACID CONFERENCE CENTER

LAKE PLACID, NEW YORK: Set in the breathtaking Adirondack Mountains of New York at the site of the 1932 and 1980 Winter Olympic Games, the newly-constructed Conference Center at Lake Placid pairs the splendor and story of its surroundings with amenities that far surpass those of most big city convention centers. The architecturally stunning three-story building boasts over 90,000 square-feet of flexible ballrooms, meeting rooms, and pre-function space, not to mention decks and verandas from which to enjoy the natural beauty of the surrounding landscape. Starr Entertainment Group designed and installed a flexible and abundantly powerful A/V system for the center, in part by relying on Ashly ne8250 eight-channel network amplifiers that deliver 250-Watts of power to 104 zones of distributed audio speakers.

The New York State Olympic Regional Development Authority (ORDA), which manages the state of the art conference center, tapped Starr Entertainment Group to design a thoroughly modern A/V system that could flexibly accommodate a wide range of uses. Pleased with the company’s competence and communication, ORDA invited Starr Entertainment Group to bid on the installation of its design. The bid was successful, and so the company saw its design through to completion.

The system collects its audio inputs from wireless microphone systems, wired microphones, media input panels, visual media players, and a background music system. In addition, several small-frame consoles in rolling racks accommodate events with live music. The inputs feed a Peavey Media Matrix NION processor, which allows system-wide inputs to be assigned to any output zone. Thirteen Ashly ne8250 eight-channel amplifiers deliver 250 Watts to each of the 104 zones distributed throughout the building. The meeting rooms and common areas use 180 JBL Control 26 in-ceiling loudspeakers, and the ballrooms use sixty 12-inch JBL Control 322 in-ceiling loudspeakers.

“ORDA wanted a high-quality system. They wanted to do it right,” said Peter Starr, owner and chief designer of Starr Entertainment Group. “About a year-and-a-half ago, we used some Ashly ne8250 amplifiers in a hotel system. I loved the fact that we could get 250 Watts per channel. It’s ideal for these kinds of systems. Of course, there are other multi-channel amps on the market, but nothing combines the specs, affordability, and reliability of Ashly’s ne Series. It is certain, the Conference Center at Lake Placid sounds great and is capable of some serious volume when needed.”

A 32 x 32 Crestron digital video matrix processor allow any video input to be shown on any combination of the center’s approximately 120 video output devices. Those devices include Sanyo HD projectors and flat-screen monitors. In addition, a large Visix-based digital signage system provides the conference center guests with way-finding and other information. A Crestron Pro2 system with 22 wall panels allow user control of every aspect of system performance, such as video and audio input selection and volume, room combining, as well as room functions such as room temperature and lighting. In addition, the building’s functions can be accessed via secure Internet and LAN connections. According to Bob Hammond, ORDA’s director of planning and construction, “the Starr Group has exceeded expectations,” and was noted by Ted Blazer, ORDA’s president and CEO, to be “the most dependable and cooperative contractor on the project.”

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

www.ashly.com

PLEASE STOP BY AND SEE US AT INFOCOMM BOOTH #335

DANLEY GETS INTO THE IVY LEAGUE: THE HUN SCHOOL OF PRINCETON UPGRADES THEATER SOUND SYSTEM WITH DANLEY SOUND LABS LOUDSPEAKERS AND SUBWOOFERS

PRINCETON, NEW JERSEY: The Hun School of Princeton is a private school for students in sixth grade through high school. Located near Princeton University in Princeton, New Jersey, the school serves five-hundred students from over a dozen states and nearly two-dozen countries. A third of the students board there. School assemblies, dramatic and musical performances, and other events take place in the Hun School’s 350-seat proscenium theater, but a low ceiling and overly-diffuse loudspeakers had given the it poor sound reinforcement for many years. Recently, the school hired local A/V design and integration firm Reid Sound, Inc. to identify the weak links in its sound reinforcement chain and to make strategic improvements on a budget. Reid Sound installed Danley Sound Labs loudspeakers and a subwoofer. Their combination of high fidelity and excellent pattern control elevated the theater’s sound quality from poor to excellent.

“The theater is used for a variety of events, including musicals, dramas, presentations, dance performances, and more,” said Darren R. Sussman, owner of Reid Sound, Inc. Sussman designed the new system together with Timothy Pearce, Reid Sound’s director of installation services. Sussman continued, “Vocal reinforcement was a major concern, but the system had to deliver excellent music reproduction as well. The space is very wide, but it’s not very deep. Moreover, the ceiling height is only around eighteen feet. Because the loudspeakers would be hanging very near the front of the stage, precise pattern control was critical.”

The previous system consisted of a pair of popular commercial powered loudspeakers mounted to the walls next to the proscenium. Although a number of deficiencies existed within the entire system, the project’s budget only allowed for a partial replacement, and Sussman and Pearce identified the loudspeakers as the most significant weakness. “The old loudspeakers weren’t very directional,” Sussman explained. “They spilled a lot of energy onto the walls and ceiling, which contributed to poor intelligibility, and there were seats that were inadequately covered by direct sound.” In short, the coverage was indistinct and uneven.

The team selected a pair of Danley Sound Labs SH-50 loudspeakers for the center cluster. “The arrayed pair gives excellent 100-degree horizontal coverage to the entire seating area, and the tight 50-degree vertical coverage keeps energy off the ceiling and on the seats,” said Sussman. The center cluster is primarily responsible for vocal reinforcement. They also installed a pair of Danley Sound Labs SH-95s, one on either side of the proscenium, for reproduction of program material or reinforcement of musical instruments. Again, the SH-95s deliver pattern control that excites the listeners, but not the space itself.

Although Reid Sound had done a handful of smaller systems involving Danley Sound Labs loudspeakers, this was the company’s first experience with a Danley subwoofer. “Normally, I would have installed a pair of subwoofers, but when I read the Danley TH-118’s specifications, I realized that a pair would be tremendous overkill,” said Sussman. “Those specifications proved to be accurate. A single TH-118 provides an incredible amount of low-frequency extension in the space. It’s not even turned up halfway, and it can shake the room.” In addition to the Danley loudspeakers and subwoofers, Sussman and Pearce installed a new Biamp Nexia processor and new QSC CX-Series amplifiers.

“We completed the job in February and we’ve heard nothing but great comments from the school,” said Sussman. “They just completed a production of Hairspray using the new reinforcement system. Spoken word was perfectly intelligible and music was full-frequency and engaging. The new Danley system is a great improvement for the Hun School of Princeton.”

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

TWO SYMETRIX SYMNET RADIUS 12×8 DANTE NETWORKED AUDIO DSP CONTROLLED BY A CUSTOM IPAD MIXER AT SIGNAL HILL LUTHERAN CHURCH

BELLEVILLE, ILLINOIS: Signal Hill Lutheran Church is located in Belleville, Illinois, southeast of St. Louis. Its sanctuary is gorgeous and inviting, seating 125 people in rows of wooden pews under a natural wood framework that supports a sharply peaked ceiling. Natural light filters through stained glass, and a beautiful alter forms the focus of the cozy room. However, Signal Hill’s sound reinforcement system was not cut from that same fine cloth, a fact made evident by the church’s recent move toward more contemporary music in worship. The sound quality was not very good and a complete lack of user control meant that if something sounded bad, it stayed that way clear to the end of the service. Committed to remedying the problem, Signal Hill hired A/V integration firm Film Otter Inc. and design firm Design and Ideas Inc. The first round of upgrades is now complete, and a pair of Symetrix SymNet Radius 12×8 Dante network audio DSPs provide sophisticated audio processing and, together with a CommandFusion iPad interface, remote user control from anywhere in the pews!

“Signal Hill is a traditional church with a sound system that was not only old, but no longer an appropriate fit for their style of service,” said Phil Mahder, the semi-eponymous owner of Film Otter Inc. “The most difficult issue was that they have no tech booth and no tech person. The sound system equipment was in a closet that no one touched. If the system worked, it worked. But if it didn’t, there was no recourse.” The church contacted Mahder, a commercial A/V veteran of three decades, keenly aware of their problems but unsure whether an affordable solution existed.

Given the church’s budget constraints, Mahder will execute a complete renovation in stages, only the first of which is completed. Signal Hill’s existing amplifiers, loudspeakers, and lighting will be upgraded as funds become available, but for now things are sounding worlds better with just the inclusion of two Symetrix SymNet Radius 12×8 Dante network audio DSPs. Inputs to the system include spoken word microphones at the pulpit, lectern, and altar, as well as wireless microphones, Praise Band inputs, with microphones for up to five vocalists. The reason for two Radius 12x8s is was to get the input count necessary. The processed outputs feed the amplifiers for the speakers in three independent zones, monitor lines for powered stage monitors, ALS, and a digital recorder. The inputs and outputs at each Radius 12×8 meld via the Dante network into a fluid whole, and their open architecture design allowed for a powerful, customized processing and user control.

“Symetrix processing is excellent, and – critical for this job – the Symetrix automix/gain-sharing algorithms are stellar,” said Mahder. “The Radius 12×8 allowed us to create a predominately automatic system with convenient and simple manual controls that communicate wirelessly via a custom configuration of CommandFusion’s iViewer 4 iPad app. This solution is better than giving them a dedicated tech booth because the operator can sit with his family in the pews! Moreover, the tool is simple enough that an usher can easily run sound for the more traditional service and, by simply including additional pages on the iPad app, complex enough to mix sound for the band, multiple singers, and two monitor mixes.” CommandFusion iViewer 4 software integrates robustly with the Symetrix hardware and software to provide that customized iPad control.

Mahder continued, “This small traditional church with a small budget had the foresight to invest in tools that will allow them to grow not just in their musical expressions, but also in the technical infrastructure that enables those expressions. They went from an archaic system to one that is way ahead of the curve. The credit for this change goes to the church leadership’s willingness to trust advice even though it is something that they had never heard of, and especially to the system design and programming genius of the system designer, Philip Houser of Designs and Ideas. He not only programmed the DSPs, but actually built a custom interface that provides all the functions that they needed from a traditional audio mixer using the CommandFusion platform. There is no conventional audio mixer in the system; it is entirely the iPad app wirelessly controlling the two DSP units. The church was even able to select fader size, color, labeling, layout, and much more. Have you ever before seen a church that was able to have a mixer built to perfectly meet their needs and imagination?”

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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