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Yamaha Presentation Room Set for Parsons Audio Expo

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BUENA PARK, Calif.—For the 28th straight year, Parsons Audio will hold its annual Audio Expo at the Dedham (MA) Holiday Inn on Thursday, November 6. Select audio manufacturers will hold demonstrations and presentations from 10 am – 7 pm with exhibits open from noon – 6:00 pm.

For 28 years, Yamaha Commercial Audio Systems, Inc. has supported the Parsons Audio Expo and this year, in its Presentation Room, the following products will be demonstrated: Yamaha NUAGE Advanced Production DAW system with David Lees and Chris Hinson; CL/QL Series Digital Audio Consoles, DXR Speaker Series, and Commercial Installation Solution (CIS) presentations and demonstrations by Yamaha Commercial Audio Systems regional district manager, Martin Dombey. Yamaha will also team up with members of the Audinate staff for Dante networking software presentations as the software pertains to Yamaha products.

Industry veterans Bob Clearmountain, Bob Ludwig, Frank Filipetti, Kevin Killen, and Jimmy Douglass, will be on hand throughout the Parsons Audio Expo for various mixing and mastering discussions, and the group will hold a mixing panel discussion as well. Details can be found on the Parsons Audio Expo site.

For more information and to register for the Parsons Audio Expo, visit www.expo.paudio.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

DANLEY DOES DOUBLE DUTY FOR RICHWOODS CHRISTIAN CHURCH AND SATELLITE LOCATION

Richwoods_ExteriorPEORIA, ILLINOIS – OCTOBER 2014: Richwoods Christian Church was founded in the late 1990s by pastor Jim Powell in Peoria, Illinois. Its congregation was initially small, a scant sixty-five people, but those congregants were motivated to grow the church. They succeeded, and today Richwoods Christian Church brings 1,400 people together every weekend, spread across four services at two locations. The larger location built its current sanctuary in a former high-end furniture store, where, despite low ceiling height, local A/V integration firm Advanced Audio and Lighting gave the church a highly-intelligible and musical sound reinforcement system based on Danley Sound Labs SH-50 full-range loudspeakers and TH-115 subwoofers. Not wanting to compromise at the satellite location, Richwoods Christian Church asked for Danley again. There, a collapsible system of self-powered Danley SH-96 loudspeakers and TH-118 subwoofers meets that goal.

“Everyone we worked with at Richwoods had a clear vision of what they wanted to achieve without getting overly involved in the nuts and bolts of how it would be achieved,” said Trent Keeling, vice president at Advanced Audio and Lighting. “Quality audio was high on their priority list. They wanted a system that would deliver their very contemporary praise and worship style with authority. Because there’s a lot of musical talent in the church, they needed something that would serve everything from orchestral music to a five-piece rock band, on top of having excellent intelligibility.”

Richwoods_PerformanceWhile the church’s new location in a former furniture store would serve it well in terms of location and accessibility, it was not ideal for sound reinforcement. There was only a nineteen-foot distance between the floor and the low steel, which was compressed even further by a modest stage and drop ceiling. “That’s not a standard hang height,” laughed Keeling. “One of Richwoods’ signature programs is its Christmas pageant, which involves, at various points, up to thirty children running around stage with open omnidirectional lavalier mics. If we could place the PA twenty-five feet up and twenty-five feet forward, then just about any loudspeaker could pull that off. But here we were going to be right above the stage, sixteen feet up. That’s where you separate the men from the boys.”

Keeling’s solution was to cover the room with four Danley SH-50 full-range loudspeakers, two close-packed on each side of the stage. “Danley’s Synergy Horn loudspeakers, like the flagship SH-50, have excellent phase coherency and precise pattern control down to 350Hz and lower,” he said. “Because of that pattern control, the SH-50s can be right above the stage without collapsing into feedback. In addition, the fact that the SH-50 is a three-way enclosure gives Richwoods great vocal intelligibility.” Two flown Danley TH-115 subwoofers provide low-end support. The system is nominally stereo, but because the six hundred-plus seat room is so wide, the techs are “discouraged from doing any hard panning,” in Keeling’s words. Biamp Audia provides modest processing, Lab.gruppen amplifiers power the system, the FOH desk is a Yamaha M7, and Shure microphones provide input.

The church was so pleased with the quality of its Danley sound reinforcement system that it motivated the approach they took to designing a satellite location, Richwoods East. “They recognized that the quality of their services was an important component of Richwoods’ success,” said Keeling. “They wanted the satellite to live up to the quality of the ‘Mother Ship’.” The 500-member congregation of Richwoods East meets at an Embassy Suites ballroom using a portable, plug-and-play system. Keeling maintained the ‘Mother Ship’s’ quality by designing a ground-supported system of two self-powered Danley SH-96s and two self-powered Danley TH-115 subwoofers.

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

FSR Demonstrates Ever-Expanding Leadership Role In Education Market With Launch of Dedicated Website

Woodland Park, NJ – FSR, an industry-leading manufacturer of products for the Pro AV market, continues to make serious inroads in the education market by announcing the launch of its new, dedicated education website (www.fsr.education). Jan Sandri, FSR president, announced details from the company’s headquarters in Woodland Park, NJ, of how it will continue to strengthen and grow its presence and brand recognition even further within education — a key segment of the market. This news follows FSR’s appointment earlier this year of Gina Sansivero as its new director of educational sales.

“We clearly take schools, learning and the education market extremely seriously and feel that many of the initiatives we’ve taken this year have demonstrated FSR’s ever increasing commitment to this important market segment,” said Sandri. “We welcomed Gina to the FSR team in early 2014 to help us continue to expand our role as a leader in this market. Now, we take our commitment even further by launching a web site completely dedicated to this same segment. As technology for learning continues to evolve, along with the needs of those working in various areas of this core industry, it’s imperative that we keep providing our customers with the advanced tools and technologies they need to properly prepare the next generation of thought leaders.”

The new website, which is dedicated to tech managers and end-users, delivers the latest news on technology and infrastructure solutions for higher education and K-12 school systems. Among key social and dynamic features is a blog that helps keep visitors informed of new and emerging industry trends and ideas, a related Twitter handle (FSR_EDU) and a place for visitors to sign up to receive an education specific monthly e-newsletter that will feature current information about trends in education, articles, news and FSR’s products and solutions specific to the education market. Further, the newest FSR case studies are posted to exemplify how FSR’s technologies are used throughout all areas of the education market and how new products and solutions are ever evolving to create an even more comprehensive and cohesive offering to the company’s highly regarded education customers. Additionally it will be a resource for those involved with educational technology to share feedback, requests, challenges and successes so that FSR can address them with solutions tailored to their need.

FSR is committed to teaching those working in higher education and K-12 about the company’s newest opportunities and solutions for interactive and collaborative learning systems. The new website features the latest company news and events that will offer those interested the opportunity to meet with FSR staff in person at various industry and market specific shows and conferences.

About FSR
FSR, established in 1981, manufactures a wide variety of signal management and infrastructure solutions for the audio / video, datacom, education, hospitality, government, and religious markets, including floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers and HDBaseT & CAT-X signal delivery solutions.

The company is an Energy Star Partner and complies with the American Recovery and Reinvestment Act of 2009 to demonstrate its deep commitment to preserving the planet. FSR offers live 24/7 technical and sales support throughout the country from expertly trained technicians and sales representatives. For more information: www.fsrinc.com.

FSR Contact: Jan Sandri
973-785-4347 • sales@fsrinc.com

Press Contact: Desert Moon Public Relations & Advertising
Harriet Diener
845-512-8283 • mailto:harriet@desertmoon.tv

Martin Audio OmniLine Solves Problems For St. Andrews Cathedral

Sydney, Australia––Wizard Projects, supported by the engineering team from Technical Audio Group (TAG) have installed a large 140-element Martin Audio OmniLine system in St Andrew’s Cathedral, Sydney. The system originally needed to be commissioned in time for the visit by the Duke and Duchess of Cambridge as part of their tour of Australia and New Zealand.

St. Andrew’s is the oldest cathedral in Australia and one of the city’s finest examples of Gothic Revival architecture; however such beautiful architecture comes at an acoustic cost with challenging reverberation times making clarity and evenness of coverage across the congregation a constant issue.

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Having struggled with a sound system that failed to deliver clear speech intelligibility and effective live music reproduction, the church’s decision to install a new system reached emergency status with the Royal visit at hand.

Ross Cobb, Director of Music at St Andrew’s, and Canon Chris Allan were given the job of bidding for design, installation and commissioning of a state of the art system with absolutely no compromise in sound quality––to be fulfilled in just two weeks.

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The task was awarded to Wizard Projects, led by senior engineer Michael Sheldrick with an electro acoustic design team of Glenn Leembruggen and David Gilfillan; the final piece in the jigsaw was the proven Martin Audio OmniLine micro line array, supplied by the manufacturer’s Australian distributor, Technical Audio Group.

Cobb had heard OmniLine in similar church installations and was impressed with the system’s consistent coverage, fidelity and low-key aesthetics.

The team identified a number of key design challenges: the church’s long RT time, sub bass placement and beam steering. The unusual logistics of church services involves a 360 degree presentation from the pulpit, a center transept area where choirs and clergy require sound reinforcement and a church where the congregation could sit anywhere at any service and expect perfect sound. On top of that, priests would move through the nave on headset radio mics with open mics for question and answer sessions.

Wizard’s design solution was to deploy an unprecedented 140 OmniLine elements (distributed over 22 hangs) along with six Martin Audio AQ212 dual 12 inch sub bass. Not only was the quantity of elements enormous but so was the DSP control.

Having used OmniLine in other reverberant environments they recognized that a unique aspect of the system is that it can be mechanically arrayed and aimed when used in passive mode but can also be deployed in an MLA [Multicellular Loudspeaker Array] active configuration.

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In MLA mode, each element in the array is separately amplified and processed using FIR filters, based on custom software. This enables the system to not only be mechanically and electronically steered, but allows consistent frequency response throughout the listening area without the lobing associated with straight columns.

OmniLine is used in a combination of active arrays for the critical areas and passive hangs for spot fill, distributed across 60 channels of 200W-per-channel amps.

The main Western Nave arrays include two banks of 12 active OmniLines with a further two banks of 10 active arrays for the outer northwest pews, while the Eastern Nave has two banks of eight active elements with a further four positions of six active OmniLine for the center of the transept.

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The sub bass system is floor mounted in two banks of three AQ212 with separate amplification and processing for each cabinet, which enables the low frequency to be electronically steered. According to TAG technical director, Anthony Russo, “Because OmniLine has such an extended and usable frequency response to 75Hz, the spectral balance between arrays and subs is even and consistent—a feature not normally associated with a compact array and large bass system.”

TAG also recommended advanced DSP and enabled the church to control the system with iPads, using custom designed GUI screens for simple services, or interfacing with the mixer and digital stage box for full scale services.

Other ingenious design features enable the pulpit’s local OmniLine, mounted a mere 19.6” above, to be ramped down, panned and re-EQed to its opposite partner array via the use of an under-carpet pressure mat whenever a priest uses the pulpit with a live mic. OmniLine’s smooth response is such that only 6dB reduction was required to achieve the pass mark required for gain before feedback criteria.

As Glenn Leembruggen commented, “OmniLine amazes every time we use it; the CAD and filtering predictions are absolutely usable; it’s an amazing engineering feat; there is nothing I have ever worked with that comes close to this product.”

And Canon Chris Allen added, “This has not only been an extraordinary effort but the compliments from the congregation on the clarity of the system are never ending.”

For more about Martin Audio, please click to www.martin-audio.com.

About OmniLine®
OmniLine is a versatile, micro-line array designed for installation in a wide variety of architectural environments. Its modular approach and scalability extend its use from foreground applications to sound reinforcement in large acoustic spaces. Intelligent software enables an array to be configured to deliver sound precisely over any vertical angle to fit the venue profile without spilling onto surfaces where sound is not required. Additionally, elimination of high-frequency side-lobes gives OmniLine the advantage over currently available DSP steered columns, making it suitable for high quality music reproduction as well as speech in large, reverberant spaces. Each array is constructed by connecting multiple modules. Up to 32 modules can be connected where both high output and vertical focusing down to low/mid frequencies are required. Smaller number of modules (down to 4) can be used for shorter-throw applications, where vertical focusing of the low/mid frequencies is less important. This scalability means that OmniLine can be used in a variety of applications. Visually, an OmniLine array is slim and unobtrusive, with soft lines that minimize its visual presence in an architectural environment.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

DIGGERLAND USA: FIRST CONSTRUCTION-THEMED ADVENTURE PARK BUILT UPON ASHLY

Diggerland_USAHAMMONTON, NEW JERSEY – OCTOBER 2014: Diggerland USA is the country’s first construction-themed adventure park, allowing children and their families to operate real construction equipment in a safe environment. The 14-acre park is located adjacent to its sister attraction, Sahara Sam’s Oasis, in New Jersey in the suburbs southeast of Philadelphia. Spellcaster Productions of nearby Hammonton, New Jersey designed and installed the system on a very tight timeframe; from land clearing to opening took just six months. An Ashly Audio ne24.24M modular Protea™ matrix processor outfitted with twelve inputs and twelve outputs provides all of the equalization, delay, ducking and routing for Diggerland USA, and seven Ashly KLR-3200 amplifiers power the park’s seventy-plus Community loudspeakers. Ashly’s networked neWR-5 wall-mount user control allows staff members to adjust input and volume within a given zone, and Ashly’s iPad app gives management complete control of the park’s audio from anywhere via Wi-Fi.

“While I was working on this project, our Ashly rep stopped by,” said Mike Shafer, project manager of Spellcaster Productions. “I showed him what we were up to, and he suggested the ne24.24M processor and the KLR-3200 amplifier. I did my homework and realized that moving to Ashly would save the client some money and would give us all the functionality and power we needed. We also designed and installed the sound system at Sahara Sam’s Oasis, and the client wanted to be assured Ashly would meet the same standard. I assured him that Ashly has been making quality equipment for over thirty years and that they are well known for their reliability. Ashly’s five-year warranty and my positive experiences assured him.”

The sound system permits Diggerland USA to play background music and advertisements, either of which will duck for pages made from a Shure wireless microphone or from the park’s phone system. All of the input sources feed the Ashly ne24.24M processor, which in turn feeds a rack of seven Ashly KLR-3200 two-channel amplifiers. The KLR-3200 is rated at 1600W into a 2 Ohm load, 1100W at 4 Ohms or 800 Watts per channel into a 70V line. This versatility makes it a perfect choice to power the Community Sound-centric loudspeaker system. Community D4LP loudspeakers cover indoor areas with low ceiling height, Community DP8 pendant loudspeakers cover a food pavilion and an arcade, and Community R.15 and R.35 loudspeakers throw from light poles to cover the vast outdoor spaces.

Diggerland_USA_ArcadeThe Ashly Remote App for the Apple® iPad or iPad Mini is used to provide the theme park management team with a customized wireless remote control. “I arranged it so that the app’s home page lists each zone with a radio button to select the input source,” said Shafer. “That, together with a volume slider for each zone, allows them to do everything they need to do. Because we gave them Wi-Fi throughout the park, they can make adjustments right there in the park – no walking back and forth to an equipment closet.” For staff within the arcade, the picnic area, and the concession stand, Shafer installed Ashly neWR-5 wall-mount remotes, which allow input selection and volume selection.

“The installation was smooth and straightforward,” said Shafer. “Programming the ne24.24M was easy – just a matter of connecting the right nodes and then tuning the system. Even some of the less common requests were easy, like a real-time page from a security monitoring company for afterhours if the park’s security system detects movement. The page warns intruders that the police have been called. Since the opening in June, we’ve been back to adjust things as they’ve determined how exactly they want things to function.”

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 40-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

PIE MAN SOUND ENSURES LONGEVITY WITH 32-CHANNEL API 1608 CONSOLE

Pie_Man_SoundCARY, NORTH CAROLINA – OCTOBER 2014: Pie Man Sound opened last month in Cary, NC, – co-owners Max and Mitch Dancik were so eager to start using their 32-channel 1608 that it’s already been used to record several local projects. Mitch said the studio is already booked solid through the year with musicians from a variety of genres anxious to record. Among others, the studio is looking forward to sessions with a young jazz/rock band working on their debut album, a quartet of Mexican classical guitarists, and a quartet of classical sax players. Mitch believes the 1608 has been a huge part of Pie Man’s early success: “My standard setup allows me to switch from record to mix mode instantly. In a ‘mix as you go’ world, this capability is critical, and a very good reason for 1608 users to consider that extra sixteen tracks.”

Pie Man was designed and built from the ground up by Wes Lachot, who told the Danciks that the 1608 would take the studio from ‘great to WOW!’ “I visited various studios,” Mitch Dancik added, “including Manifold, and my ears said it was worth it. Another important consideration was reliability and maintenance. My friend Neil Steingart was an engineer at the Record Plant in NYC and he always spoke about the indestructible API console on their mobile studio truck.” While practical elements like these helped Dancik make his decision, he said, “The most important feature is the magic that the API imparts to the sound. API is one of only a few companies keeping the best of the analog technology alive and I hope consoles like the 1608 will always be available.”

The console has not only been used on a variety of projects, but also for a wide variety of technical processes. Dancik was excited to explain how multi-faceted he has found his new gear: “The 1608 is integrated with my DAW solutions, with everything going through the API on the way in and the way out. I do hybrid mixing, with fine adjustments in the box, and broad moves on the API.” His experience with API gear is not limited to his own console, though. He attended a session with producer Joe Chiccarelli at Studio La Fabrique, “and every time he got frustrated with a piece of malfunctioning outboard gear, he’d switch to an equivalent piece of 500 series gear in an API lunchbox he had brought along. The API gear always worked as expected. I told Joe I was considering a 1608 for a new studio, and he said ‘go for it!’”

ABOUT API (AUTOMATED PROCESSES, INC.) Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

METRIC HALO LAUNCHES DIRTY DELAY

MH_Dirty_Delay_webSAFETY HARBOR, FLORIDA – OCTOBER 2014: Metric Halo is pleased to announce the immediate availability of its brand new MH Dirty Delay plug-in.

Dirty Delay is a visceral, gritty, fantastic-sounding musical feedback delay processor with integrated Character and filters in the delay path. It can create awesome vintage echo and tape-delay style sounds as well as lush and subtle spaces in a mix. New users are already finding that it is more “real” sounding than alternative in-the-box delay processors.

Not just a musical feedback delay, MH Dirty Delay is something special. With the integrated filters and Character in the feedback path you can make it clean or dirty, vintage or futuristic, subtle or nasty.

With dual delay lines, cross-feed, feedback and distortion control, Dirty Delay is capable of creating extraordinarily rich and complex textures and patterns from your audio. Dirty Delay adds texture and movement without the veiling and darkening of the sound that is often associated with other feedback delays.

Dirty Delay is equally at home in production and performance.

One License, All Formats
The license for Dirty Delay covers the Native version for VST, AU, and Pro Tools AAX on both Mac and Windows. Dirty Delay is available individually or as part of the Production Bundle. MH Dirty Delay supports both computer-based licensing and optional iLok dongle-based licensing.

A Lot of Performance, Not A Lot of Price
Dirty Delay is available from dealers or directly from http://mhlabs.com. New software licenses for Dirty Delay are available for a MSRP of $179 each, with an introductory price of only $75 each (until 10/31/2014). New Production Bundle licenses (which includes Dirty Delay) are available with a MSRP of $699, and are currently on sale for only $299 (until 10/31/2014).

A free 30-day trial of Dirty Delay is included in the Production Bundle trial and is available from https://mhsecure.com/DemoCentral/

ABOUT METRIC HALO Based on the Gulf Coast of Florida, Metric Halo provides the world with award-winning software and hardware recording, processing, metering and analysis solutions.

https://www.mhsecure.com

PANORAMIC HOUSE CELEBRATES ITS FIRST YEAR WITH GREAT OCEAN VIEWS AND AN API 1608

Baccigaluppi_PanoramicHouseWEST MARIN, CALIFORNIA – OCTOBER 2014: Panoramic House is a personal recording studio and vacation home owned by John Baccigaluppi and Bobby Lurie, located on the western Marin coast north of San Francisco. The duo, who own and operate studios on both the east and west coasts (The Dock in Sacramento, CA and Mavericks in NYC), renovated the historic 1960s structure, which was built entirely from recycled architectural materials salvaged from the Bay Area. Now, Panoramic House is celebrating its first year of operation with equipment relocated from Baccigaluppi’s former recording studio, The Hangar, which includes his recently-expanded API 1608.

When the five-year-old 1608 moved to Panoramic House, it was expanded to 32 channels to accommodate the studio’s 16- and 24-track analog tape decks. “With more analog tracks, we needed more console real estate,” said Baccigaluppi. “The 1608 has served me very well. I love that it has the same API circuitry that runs its large-format consoles. Eight aux sends and eight groups paired with the modular 500-series slots make it a very versatile board. We have a lot of EQ flavors, including a handful of API 550A’s, 550b’s, and 560′s.”

Baccigaluppi’s familiarity with API equipment is a contributing factor to what has made the 1608 the heart of the new studio. “Panoramic House is definitely analog-centric,” he said. “The first console I ever worked on was an API 2488 at The Evergreen State College in Olympia, Washington, and I love that the 1608 continues in that tradition. Moreover, clients are always impressed. API is a trusted name in the industry.”

Panoramic House has already been host to several big-name indie bands, including My Morning Jacket, Band of Horses, and Thee Oh Sees. With the first year behind them, Baccigaluppi and Lurie are looking forward to the fall and winter in Stinson Beach and Bolinas. “It’s funny,” Baccigaluppi said, “that most of the vacation renters come to town during the summer when it’s foggy to the point that you feel like you’re in a cloud. But that’s when people take vacations, I guess. Conveniently, most musicians are touring during the summer. The other three seasons are lovely, and that’s when most musicians want to settle in and create. Plus, that’s when the surfing is the best!”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Websites to include:
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Yamaha NUAGE Ignites Post Market in Spokane

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BUENA PARK, Calif.—Bing Bang Boom! In Spokane, WA specializes in integrated music and sound design for film, television, advertising, video games, and the Internet. Their award-winning work can be heard on projects for CBS, ABC, NBC, Spike TV, HBO, Warner Bros. Films, and many blockbuster theatrical trailers.

The company recently added a new Yamaha NUAGE Advanced Production DAW System to their production arsenal. CEO Bill Byrne said that up until the purchase of the NUAGE system, he had been recording and mixing using multiple Mackie consoles, until Mackie was no longer providing the unlock
codes for their software, making it impossible to work on them.

“I have been a long time Cubase user and wanted to upgrade for at least the past five years having so many legacy projects in Cubase for Bing Bang
Boom Music and Sound Design Libraries, states Byrne. Even though stereo is still the main delivery format for the libraries, I still get calls to customize tracks, and to switch to ProTools or any other system with thousand of tracks would not have been cost or time effective. There really wasn’t any other system available that was completely integrated like NUAGE, plus it sounds amazingly good!”

Byrne said he’s been doing more and more mixing “in the box” but with most projects having 100+ tracks, navigating with a mouse was becoming impractical. “I had been working with Ron Cheney from RSPE for at least three or four years trying to come up with a suitable system. Every year, we would meet up at NAB in Las Vegas and look at new systems along with trips I would take to the RSPE office every three or four months. While there are a lot of systems out there, I really needed total integration with Cubase, and no other system really offered that but NUAGE.” Last April, Byrne and Cheney met up again at NAB and were given at great run through on NUAGE, heading back to the Yamaha Commercial Audio booth over the course of the show with more questions for the NUAGE team who he said were quite helpful.
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“Ron Cheney was extremely patient and helpful; his goal was to make sure I had the right system for my needs and not to just sell me something, Byrne says. I am very impressed by how hard he worked to make this happen for me. At around the same time, I saw a NUAGE system on a magazine cover with Hans Zimmer and other film industry notables. They were discussing surround sound in headphone mixes, which was quite interesting. So RSPE arranged a private demo with the NUAGE team, and I was impressed to see their level of commitment, a good sign that they would be there to support the product.”

After a basic run through using the RSPE Mac and installing the tools for NUAGE on his Mac Book Pro and hook up the system, Byrne was able to run one of his projects off his laptop. “We spent several hours going through the system and the “what ifs” needed to integrate a large I/O system into the setup. We discussed the Yamaha NIO and RIO boxes and how they could be integrated. At the end of the demo, I knew the NUAGE system was perfect for me. I was also quite excited (for the first time in many years) about all the new creative and productive possibilities.”

One of Byrne’s biggest issues was the need to have at least 32 live inputs and multiple cue mixes for his tracking room as he still records with a lot of real instruments. “I needed something that wouldn’t tax the main CPU as I always have lots of virtual instruments playing in every project that hit the CPU hard. The NIO and RIO boxes totally solved that problem for me, and having remote control over the mic pre-amps through the RIO is fabulous! I’m able to work with a 128 buffer on the main CPU and that makes tracking live players while all my VSTi’s are running too a snap.”

Of course having total integration with Cubase made it a no brainer notes Byrne. “Having the knobs and buttons labeled and dedicated to Cubase/Nuendo functions meant I wouldn’t have to spend any time at all mapping functions like I would have had to do had I purchased a third party system. Getting around my projects is so fast now. When I was mixing “in the box” with a mouse and also my iPad remote, because of the time factor in navigating around or even just automating fader moves, I tended not to try and experiment with different mix options. Now, with the NUAGE and the touch sensitive faders, if I want to try something different, it’s so easy to do and I can instantly get back to where I was if I don’t like it. For Cubase, it’s brilliant!”

“For old school guys that have worked a lot on analog consoles like Tridents, APIs, and Neves,, the seamless integration of the live input NIO and RIO I/Os, channel control, master, and DAW functions really does make it feel like you are working on a console, adds Byrne. The way the knobs and buttons light up to give you hands-on access to the functions and being able to program lots of Quick Controls for the functions I use all the time is great too. The jog wheel
feels great and the transport functions make it a snap to navigate and edit very quickly.”

Byrne said he’s owned a lot of Yamaha products over the years that are still in use, “The fact that they are providing the hardware and also own Steinberg gave me great confidence that the product would continue to develop and be supported. I had been waiting a long time for the NUAGE system and Yamaha/Steinberg have delivered way beyond my expectations!

Bing Bang Boom! recent projects using NUAGE include a music track for the home video release of How To Train Your Dragon 2 and a new BBB trailer sound design library called Arsenal of Awesome.

For more information on Bing Bang Boom! visit www.bingbangboom.net.

For more information on the Yamaha NUAGE Advanced Production System, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Leading Saudi Arabia University Goes All Renkus-Heinz

 Riyadh, Saudi Arabia – October 2014… Founded in 1953, Imam Muhammad ibn Saud Islamic University today enrolls over 35,000 students in a campus network that spans across Saudi Arabia’s capital city. Islamic tradition specifies that men and women attend school separately, so the University has a campus for each.

Most of the university’s multiple lecture halls and auditoriums on both the men’s and women’s campuses have long struggled with intelligibility and reverberation issues, and university officials recently embarked on a massive, multi-year retrofit of the school’s sound reinforcement systems. After a thorough review of the various facilities, Madrid, Spain-based engineering and architectural firm TYPSA recommended systems based around Renkus-Heinz ICONYX digitally steerable line array loudspeaker systems. Local Riyadh contractor/integrator Baud Telecom Company was selected as the installing contractor.

“Renkus-Heinz ICONYX was the clear choice for a project of this magnitude,” observes TYPSA design supervisor Sergio Onrubia Alvarez. “Steered-beam technology was the obvious solution for these challenging spaces, and Renkus-Heinz is the recognized leader in digital beam steering. We wanted consistency in sound quality throughout the campus, and we were confident that Renkus-Heinz systems were versatile enough to deliver the performance and coverage requirements of these many different spaces.”

 The scope of the women’s campus installation included 40 lecture halls, each with 112 seats, and two 200-seat auditoriums used for small conferences, presentations and special lessons. A pair of ICONYX IC16-R-II columns was installed in each of the 40 lecture halls. The two auditoriums are outfitted with a pair of IC16-R-II arrays, augmented by three SG61-R compact 6.5-inch two-way Complex Conic loudspeakers for front fill coverage. A CF15S 15-inch high-performance subwoofer handles LF reinforcement.

“Prior to installation, we measured the total reverberation time in the halls at 1.2 seconds, with resonances on the mid and low frequencies,” states TYPSA technical supervisor Victor Fernández Garrido. “As we expected, the ICONYX systems improved intelligibility significantly.”

The men’s campus is divided into dedicated buildings for the various colleges (engineering, medicine, language, etc), each with two 400-seat auditoriums. For these halls, TYPSA specified left and right arrays of five PN102LAR RHAON-empowered point source arrays. Each array includes IC212S-R dual 12-inch subwoofers, and three SG61-R boxes are installed on the stage lip for front fills.

The main conference building on the men’s campus includes two larger halls used for conferences and presentations. A major concern in both halls was an older acoustic drop ceiling that magnified room resonance and audible vibrations. A pair of ICONYX IC Live ICL-FR-DUAL columns is installed in each of the rooms.

 By employing IC LIVE systems in these two halls, we were able to achieve consistent coverage while addressing the vibration and resonance issues, as well as improving intelligibility by reducing room reverberation,” said Alvaro Guiterrez Moreno, TYPSA architectural support.

For two smaller 60-seat and 100-seat auditoriums in the administration building, TYPSA recommended left-right IC8-R-II and IC16-R-II systems, respectively, with the larger venue also receiving three SG61-R boxes for front fills.

“This was a very large and multi-faceted installation,” concludes Victor Fernández Garrido. “We needed to be able to address intelligibility problems in the halls and auditoriums, as well as deliver consistent coverage and high performance in all the rooms across the campus. We were confident that Renkus-Heinz was the only company that could meet all of the University’s strict criteria, and officials are very happy with the results.”

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About Renkus-Heinz - Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

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