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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

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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.

Sure Shot Adds DiGiCo’s SD10B Console To Its Newest Mobile Broadcast Truck

Sure Shot Transmissions is a mobile production and satellite services outfit with offices located in New York, Dallas, and Youngstown, Ohio. Last fall, owner Dennis Kunce added a fourth 40′ full-service expandable truck to its offerings. The Cynthia Lee, outfitted with DiGiCo’s SD10B console, will handle sporting and entertainment events under the direction of EIC Kory Loy. Kunce picked the SD10B based on a recommendation from one of the audio principals at ESPN, as the console has been a mainstay in X Games’ submix trucks for the past several years at events around the globe.

Since hitting the road back in September, the Cynthia Lee has made its debut handling install feeds at a host of high-profile events including the 39th Ryder Cup for the UK’s Sky Sports News, the 2012 Allstate BCS National Championship and the Daytona 500 for ESPN in the U.S., as well as the 2013 Super Bowl for Nippon TV in Japan. The console’s ability to interface with the other trucks via MADI and fiber networks, as well as its easy learning curve, made it a natural fit for these fast-paced events.

“Our intention when we built the truck was to meet ESPN’s need for a mid-level production truck; one that was more like a 6-8 camera production rather than the typical 10-15 one,” explains Sure Shot owner, Dennis Kunce. “We worked closely with ESPN to determine what audio board would be suitable for them in this specific application and DiGiCo is what they recommended and gave us their blessing. The people at DiGiCo worked with us to meet our price point to stay within the budget. But more importantly, the SD10B’s footprint, versatility, and power—all those things came into play in our decision. DiGiCo was also very supportive with their training; they came to our facility in Ohio and worked with Kory and our chief engineer Scott Tucker to show us the things needed to make the board workable out in the field. You’ve got to have a console that is very user-friendly or else you’re in trouble and the DiGiCo console offers us the kind of flexibility and versatility we have to have as an independent contractor working with all the major networks including NBC, Fox, Turner, ESPN, Sky Sports… right down the line. The exposure we’re getting by having the board in our truck has been very positive. Overall, it has been a very positive experience across the board.”

“As the engineer in charge of the mobile unit,” explains Loy, “I’m tasked with ensuring that all the pieces of equipment in the truck are up and running for the freelance crew to operate—everything from the audio console to the video switchers to the cameras. So, even though I’m not one of the hands-on operators at these events, I do have to train, or at least show the different operators how to use the console, with only a couple days training. A lot of our events are setup, shoot and strike and in a single, 10-hour day and I’ve got to give individuals that have never operated the console before a generic overview in 45 minutes to an hour time before I have to move on to doing other functions in the truck. And I believe I’m able to do that rather well because the console is very easy to use.”

This spring, Sure Shot will be covering a host of major league baseball and basketball events for the major networks and ESPN, as well events as for the NHK channel in Japan. “We will be handling a lot of split feeds for them, the same thing as we did for the Super Bowl,” Loy says. “Nippon TV operator Shuhei Anraku took generic feeds from the NFL, supplemented by several of their own cameras, to create and produce their own game with their own announcers, which was fed to the broadcast headquarters in Japan.”

Loy says the fact that everything can connect via fiber is a huge bonus for them. “Another benefit is that the console is scalable, you can literally have as many inputs/outputs as you want. So, if we ever find a need for more ins or outs, we can add a few and connect them via fiber. Having MADI available in and out (the SD10 has 2 MADI ins and 2 MADI outs), also makes it very flexible to integrate either into a router or an intercom system. Another added benefit of DiGiCo is being able to assign any input to any fader on the console.”

For Janice Stief, a 30-year audio veteran who has worked on sporting and entertainment events ranging from the Olympics to the most recent Ryder Cup in the Sure Shot truck, this was her first outing on a DiGiCo of any variety. “I was handling cut-ins for the Sky Sports news show back in London. I had about 8-10 mics set up around the course, from stick and RF mics to in-studio lavalieres. I was handling EVS inputs into my console for playbacks, as well as program feeds from NBC and the world feed, which added up to about 36-40 inputs on the console in addition to mikes I was controlling. Prior to getting started, I was given a quick tutorial from Kory, who was fantastic and very knowledgeable. There’s a lot to the console that clearly you have got learn over time; you can’t learn it all on one show. It has a lot of depth. I liked that once I would attention a fader, I could do most of my adjustments to that fader input right from the corresponding touchscreen strip, without moving to other areas of the console. Adding delay, which we often need to do on golf in order to sync up on-air talent to RF cameras, is quick and easy.”

“I think the neatest feature of the DiGiCo SD10B is the ability to have MADI interfacing to the trucks and Optocore to the SD Racks,” adds Shawn Peacock, who was the main console operator for the Daytona 500 and has worked with DiGiCo consoles on several X Games events in Los Angeles. “The ability for us to talk across MADI in these situations is huge.”

Ultimately, however, the measure of a good manufacturer goes beyond that of its gear, and Loy says DiGiCo’s customer support is stellar. “When every single thing in the truck is a computer, chances are stuff is going to fail. It’s how a manufacturer supports its products after the gear is sold and installed that gives a good or bad impression. DiGiCo’s training and customer service in that area is exceptional.”

SAMMY HAGAR’S RED ROCKER STUDIO CONTINUES TO ROLL OUT THE PROJECTS WITH ITS API 1608

JESSUP, MARYLAND – MARCH 2013: The original plan was simply to upgrade Sammy Hagar’s project studio – Red Rocker – so that he and his super group Chickenfoot could deliver decent-sounding demos, but in consultation with his engineer, John Cuniberti (Stevie Wonder, Dead Kennedys, Joe Satriani), Hagar ended up purchasing a 16-channel API 1608 analog console. They recorded Chickenfoot’s first demo on the 1608 several years ago, and, owing to the magic of a few takes and the sonic integrity imparted by the 1608, several of those demo recordings made it to the album. Inspired by what they could accomplish at Red Rocker, they did the entire recording for the ironically-named follow-up album, Chickenfoot III on the 1608. Currently, Hagar is tracking on the 1608 for an as-yet unnamed solo project.

“We’re an old school bunch, it’s true, and we wanted the feel and sound of an analog console for Red Rocker,” said Cuniberti. “We weren’t going to go so far as to roll in a two-inch tape machine – we’re not that old school! We appreciate the virtues of digital recording and editing when it’s handled properly. But a nice analog console would tie things together with a workflow and a sound that we were all comfortable with.”

Cuniberti has spent over three decades behind vintage consoles of all stripes. “They have their charms, of course, but they’re also a pain in the ass,” he said. “You really need full-time maintenance. I didn’t want to burden Sammy or myself with that level of investment. We wanted something new, and I was therefore happy that API released the 1608. API is one of my favorite console manufacturers of all time, but I don’t think we could have justified the jump to one of their large-format consoles. It turns out that the 1608 was an excellent choice. In four years, we’ve never had a single issue with it – not even a burned out light! Having spent so many years dealing with unreliable vintage consoles, it’s nice to know that when I show up to the studio, everything will be working.”

Cuniberti finds the sound of the API 1608 meets the high expectations he had from his previous work on other large API consoles. “It’s classic API,” he said. “It has clarity and punch, and it’s very pleasant sounding. I don’t want to say it’s transparent; I just want to say that it has a great sound. It passes signal like nothing I’ve ever heard. It has tons of headroom. You can abuse it and it still sounds great.”

The 1608’s architecture allows Cuniberti to maximize his productivity with just sixteen channels. “API worked hard to optimize the flexibility of the 1608’s signal path,” he said. Its modular design allows one to swap 500-series processors to suit the needs of a project, and Cuniberti replaced the four stock API 560 graphic EQs with four API 550b four-band sweepable EQs. Because it’s been such a pleasure to work on, Hagar and Cuniberti are currently contemplating adding a 16-channel expansion unit for their 1608 to bring Red Rocker up to 32 channels.

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

ACIR Professional Assists Masters of Illusion Live at The Basie Theatre

EGG HARBOR TOWNSHIP, New Jersey—Whether in Las Vegas or on television, magic has never been hotter. There are more television specials and series involving magic than ever before, and now the hit television show, Masters of Illusion: Impossible Magic, is out of the box and into live theatre. Masters of Illusion: Live is one of the greatest magical touring shows in history, bringing the art of stage illusions live in real time to audiences full of magic fans.

In a recent stop at the Count Basie Theatre in Red Bank, New Jersey, ACIR Professional (Egg Harbor Township) provided engineer Stephen Bonamassa with a Yamaha CL5 and two Rio3224-D input/output racks for use at front of house.

“My work consists of 90% corporate work and about 10% music and entertainment work,” states Bonamassa. “I will say that the CL5 sounds better than other digital Yamaha boards I have used. Features like the touch screen made patching and routing a whole lot easier. I also liked being able to color code input and output channels on the surface.” Bonamassa said another cool feature was being able to assign the right-most bank of eight faders to different presets on the fly. “Having the same option, but different presets, available on the center eight is cool as well. The functionality of the graphic EQ’s on the center eight faders, and the way the input layers flip on the console, independent of what you have punched up on the center and right set of faders are also some helpful features.”

In addition to the CL5, ACIR brought in an entire audio production system including 14 d&b Audiotechnik Q1 Line Array Speakers, two Q Subs, D12 amps’ four Yamaha T3n amplifiers; and Shure SM58s and ULXS4 wireless systems.

For more information on ACIR Professional, visit www.acirpro.com.

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

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Annual Telethon to Aid Poverty Stricken Uses Yamaha CL5 Consoles

BUENA PARK, Calif.—An annual telethon broadcast by the Canadian Broadcasting Corporation’s French Public Television Network enlisted the services of L’Audi-C Sonorisation of Trois-Rivieres, Canada for the live to broadcast 54th telecast of the Noel du Pauvre fundraiser to aid poverty stricken, and held at the Salle J.Antonio Thompson Theater in Trois- Rivières.

Under the direction of company président, Daniel Hardy, L’Audi-C Sonorisation brought in three Yamaha CL5 digital audio consoles, one each for monitors mixed by Patrice Gagnon, front of house mixed by Nicolas Ouimet, and for the stereo mix sent to the CBC mobile TV truck mixing by engineer Daniel Savoie. Two Rio-3224D input/output boxes were used, fully redundant, using the Dante network at front of house. The CL5 at the monitor position was used for “Master Gain Recall” using only the physical outputs of the Rio rack and sent to the stage monitors as well as in-ear monitors. “This set up allowed us to have the same sound quality on stage as in the house,” states Paul Ricard, systems engineer, L’Audi-C Sonorisation.

Ricard said that once soundcheck was complete, they were using the CL’s gain compensation in order to have the best ratio signal to gain without changing the monitor sends. “Each console engineer could use their own digital gain for trimming every input as needed, which worked very well and is essential for this type of system set up. The creation of a multicast group on the network allowed us to issue a single source to multiple receivers.”

For more information on L’Audi-C Sonorisation, visit www.laudi-c.com.

For more information on Yamaha CL consoles, 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.

METRIC HALO USER & DEALER AUDIOGUY EARNS SEVEN KOREAN MUSIC AWARDS NOMINATIONS AND ONE WIN!

SEOUL, SOUTH KOREA – MARCH 2013: South Korea’s Audioguy & Partners is an aptly named clearinghouse for all things related to great audio. Headed by the passionate (and terrifically busy!) Jung-Hoon Choi, Audioguy is a world-class recording studio, an audiophile record label for jazz, classical, and world music, and a dealer for high-end pro audio equipment. Choi proudly wears many hats at Audioguy, including CEO, producer, recording/mixing/mastering engineer, and sales manager. His hard work was recently rewarded by winning the 2013 Korean Music Award for “Best Jazz & Crossover – Performance Album” along with six other nominations in the Jazz and Crossover category. Consistent with a tireless pursuit of transparent sound, Audioguy is both a Metric Halo user and a Metric Halo dealer. Indeed, all seven of the KMA-nominated and winning works were recorded and mixed using Metric Halo ULN-8 and ULN-2 preamp/conversion interfaces.

Audioguy & Partners recently opened a state-of-the-art recording facility. Notably, it includes a Hamburg Steinway & Sons D piano, an SSL console, over seventy microphones (many vintage), and multiple Metric Halo interfaces. Although new to the scene, between 30% and 40% of South Korea’s jazz recordings already happen at Audioguy. “I always strive to make recordings that are timeless,” explained Choi. “I don’t want to be part of a trend. I want my recordings to be as engaging decades from now as they are today.” In addition to studio work, Audioguy provides location recording services throughout South Korea, as well as China, Japan, and even Europe. The portability and audiophile quality of the Metric Halo interfaces make them reliable travel companions.

“All of the Metric Halo hardware is great, but I especially love the ULN-8,” said Choi. “The ULN-8’s microphone preamplifiers are outstanding, and the conversion is pristine. I also love Metric Halo MIO Console, the software that controls the routing and DSP of all connected Metric Halo interfaces. It can do anything! Whatever a producer, engineer, or musician can dream up, MIO Console can do.”

Audioguy & Partners is also a record label that releases some of the most innovative and captivating classical, jazz, and world music of South Korea. “Our identity is strong because we handle all of our own planning, producing, recording, mixing, mastering, and promotion,” said Choi. “Metric Halo is a part of most of those stages, and all of our Korean Music Awards nominations and winning work were recorded, mixed, and mastered using the ULN-8 and ULN-2.” Those nominations include three for “Best Jazz & Crossover – Jazz” (Sorefa, Soar, and Ascetic) and four for “Best Jazz & Crossover – Performance Album” (Sorefa, Reverberation, Discover Myself, and Ascetic). To their excitement, Sorefa turned into a win for “Best Jazz & Crossover – Performance Album” during the evening’s awards ceremony.

Everything else that’s happening at Audioguy sets it apart as a pro audio equipment dealer. “All of our staff are recording engineers,” said Choi. “They understand the real-world performance of our products, and they accordingly offer our customers proper suggestions and service. They know more than the manual or the sales pitch; they know how our products operate in the field. Working with the people at Metric Halo is great. They are timely, competent, and always very friendly.”

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

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