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PNTA Joins Yamaha Dealer Network

BUENA PARK, Calif.—PNTA opened its doors in1975 as a local Seattle-area supplier of theatrical equipment and consumables. Since that time, PNTA has expanded staff and capabilities to provide a wealth of services for customers nationally. Employee-owned since 2008, the Company has increased its services to include audio, video, and lighting. As part of its recent growth, PNTA has joined the Yamaha Commercial Audio Systems, Inc. dealer network adding the new Yamaha QL Digital Audio Console to their ever-growing Yamaha arsenal.

With an expert technical services staff, PNTA installs and repairs equipment and supports both non-profit and private customers through their Event Services Department providing production requirements for events of all sizes. Masters at their craft, the Event Services staff enriches the company with backgrounds in systems design, lighting design, sound design, set design, stage management, equipment repair, event design and production, and graphic arts and design.
PNTA is located in a 20,000 square-foot facility near downtown Seattle. The facility notably includes a sizeable brick and mortar retail store supporting its dealer activity for leading entertainment and live production manufacturers, now including Yamaha Commercial Audio products. The company has an active walk-in customer business seeking to buy lighting, audio, video, staging and special effects, drapery and decorative fabrics, as well as an extensive assortment of consumables.

“We did an exhaustive internal review of what audio vendor we needed to strategically add to best accelerate our market progress in growing our overall audio business, states Dave Vaught, Event Services Production Manager at PNTA. We were particularly interested in broadening our offering in professional products appealing to our client base. We focused those efforts initially in audio control and sound reproduction as we needed more tools for sale, rental, and event services support. With the substantial market position and reputation of Yamaha and its many new and highly regarded products recently introduced, the answer became clear. We are happy to have become a Yamaha dealer and integrator of Yamaha’s Commercial Audio Systems products.”

Vaught said that PNTA wanted to add consoles that they expected to see high rental demand from for both existing customers and customers travelling into the state of Washington. “With the announcement of the QL Series, we found a very forward-thinking technological capability in a footprint that was easily transportable while being exceedingly powerful. The expandability of the QL Series clinched our choice and buying depth at key levels. Based on our client history, every need we could think of could be answered by some or all of the features of Yamaha QL desks. We were impressed with a number of the features, including onboard recording, signal and effect processing, auto-mixing, and iPad integration.” For rentals and event services, PNTA also invested in a speaker line extension, moving into the Yamaha DXR and DXS Speaker Series.

“While our company size has grown along with the expanded services we now offer, PNTA retains what we started with when we first opened our doors—a dedication to meeting the needs of our valued customers and finding creative solutions to tough problems,” states Richard Carlson, President. “By adding Yamaha products to our product line, we can now offer the ultimate in quality and reliability to our audio customers. Yamaha consoles are specified on many riders and fill rental needs as well as being versatile for our production needs.”

For more information on PNTA, visit www.pnta.com.

For more information on Yamaha Commercial Audio products, visit www.yamahaca.com.

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Photo ID: From left to right: Jon-Philippe Ruhumuliza, Rental Manger; Bill Woodland, Custom Sales; Dave Vaught, Event Services Manager

About Yamaha Commercial Audio Systems, Inc.:
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.

API’s BOX FILLS IN THE “MISSING PIECE” AT THE CASINO IN NASHVILLE

NASHVILLE, TENNESSEE – AUGUST 2014: The BOX has settled into a new home in a Nashville studio – The Casino. Owned and operated by Eric Masse, The Casino records LPs and EPs for signed artists and bands within the city. Masse consulted Chad Evans at Vintage King while he upgraded his studio, and now admits that the “feels like the missing piece” to his former setup.

“I had been craving the next step up for my sixteen I/O studio for a while,” said Masse. “When I heard about the BOX last year, I started gearing up for it.” The Casino, which also houses two lunchboxes®, six 512c mic pres, a 5500 dual equalizer, and a 2500 stereo compressor, stayed in the API family when looking to gain control over pans and add inserts.

“Enter stage right – the BOX,” jokes Masse, who is amazed by the capabilities The Casino is now able to fulfill. “I can hardly contain my head from exploding from all the options. It’s the center of my studio. I can route things in the mix like never before, and parallel compress things all analog. I can add outboard effects post-conversion to individual tracks, and I don’t have to use my converters to feed the hear-back headphone hub. I can instead build a mix with the sends, and use the inserts for direct ‘more me’s’ and use all sixteen converters for audio. I’m digging it.”

Apart from the functions, the customizable 500 Series inputs allow The Casino to create its own unique sound. “I like that I can utilize the 500 Series slots on the program bus, while still using the input channels. So far, to be honest, I like everything about it.”

Since installing the BOX, Masse has put the final touches on singer/songwriter Rayland Baxter’s second album, and is currently mixing alternative artist Mikky Ekko’s record. He is also ready to record the second country music album Charlie Worsham. The versatility of the BOX helps meet the needs for each unique artist, and allows Masse to utilize the space he needs to record and grow. “I like that it’s a console, and not a console.”

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

Symetrix Jumps Into Space-Age Sound and Control at Manhattan’s Intrepid Sea, Air & Space Museum

NEW YORK, NEW YORK – AUGUST 2014: Space Shuttle Enterprise was the first reusable spacecraft ever built in the United States, and the extensive prototyping and experiments that it underwent led directly to the construction of space shuttle Columbia and the rest of NASA’s fleet. After the retirement of the space shuttle program, NASA awarded Space Shuttle Enterprise to Manhattan’s Intrepid Sea, Air & Space Museum, where it was installed after a much-publicized NYC flyby and Hudson River barge ride. Leo Garrison, senior integration specialist at Metro Sound Pros, designed and installed a flexible sound reinforcement system for the museum’s purpose-built Space Shuttle Pavilion using the cost-effective Symetrix Jupiter 8 DSP with smartphone-based control provided by Symetrix ARC-WEB. Unfortunately, Hurricane Sandy badly damaged the pavilion a few short months after it had opened to the public, but the Intrepid Museum rebuilt the exhibit with several improvements, including a second Symetrix Jupiter 8 DSP for expanded functionality.

Garrison used the Symetrix Jupiter 8 hardware, which has eight inputs and eight outputs, together with the Priority Zone Mixer #1 App, which automatically configured the Jupiter hardware for routing and processing needs of such a system. “The Symetrix Jupiter DSP delivered a lot of processing power at an affordable price,” said Garrison. “The budget was very tight, and the client selected powered loudspeakers that required a lot of the Jupiter’s processing capabilities in order to sound properly tuned.” The museum’s AVP of technology opted to rely on Symetrix’ robust ARC-WEB Internet-based control, with one Symetrix ARC-2e wall panel remote for backup. Garrison custom designed the ARC-WEB interface just as he would a hardware ARC interface and gave the museum the ability to select different input sources in the Pavilion’s entryway and in the Pavilion itself.

The original Symetrix Jupiter 8 hardware survived Hurricane Sandy, which collapsed the inflatable dome due to loss of power. Because the museum had to start over again, they had the opportunity – unwelcomed as it was – to redesign the exhibit with knowledge of what worked and what could have worked better,” said Garrison. The second Symetrix Jupiter 8 was added to the system and also uses the Priority Zone Mixer #1 App. One analog output was dedicated to feed into the first unit’s priority input 1. That allows single source material from the second Jupiter to feed the entire exhibit, when desired. Together, the two units possess sixteen outputs, with roughly half feeding audio induction loops for assisting the hearing impaired. For day-to-day use, different zones loop zone-specific audio, such as recordings of radio transmissions between NASA ground control and Enterprise during test flights or educational movie content.

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

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

Middle Atlantic Debuts Low Profile, Safety Certified Display Solutions

Fairfield, NJ––The new FlexView™ Series from Middle Atlantic provides AV integrators with display solutions that offer unmatched strength, mounting flexibility, aesthetics and user friendliness. A collection of display stands and carts ideal for corporate, hospitality and education environments, FlexView models feature a slim profile, contemporary design aesthetic and safety certification, offering hallmark Middle Atlantic strength and durability.

FlexView solutions feature the lowest profile display mount in the industry as well as a smaller base for unimpeded, up close display interaction. In addition, it enables mounting of larger displays than competitively-priced solutions currently available in the market, including most 90” screens with VESA 800 mounting or smaller.

Models are available with electric or manual display height adjustment for options in ergonomics and flexibility. FlexView solutions are also available in stationary or mobile configurations with rugged casters that provide long-lasting use and seamless maneuverability, even when wheeling over door thresholds.

FlexView options enable integrators to do more within a slim profile with features like the Lever Lock™ system for small component mounting and a locking easy-access door for quick maintenance. All carts and stands are integrator and end-user friendly with storage where it’s needed and useful options and accessories to provide more flexibility in customizing the solution to the application.

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

Middle Atlantic Products has been part of the Legrand group since its acquisition in 2011.

Legrand is the global specialist in electrical and digital building infrastructures. Its comprehensive offering of solutions for use in commercial, industrial and residential markets makes it a benchmark for customers worldwide. Innovation for a steady flow of new products with high added value and acquisitions are prime vectors for growth. Legrand reported sales of close to $5.8 billion in 2012. Legrand has a strong presence in the North American market, with a portfolio of well-known product lines that include Cablofil, Electrorack, Middle Atlantic, NuVo, On-Q, Ortronics, Pass & Seymour, Vantage, Watt Stopper and Wiremold. The company is listed on NYSE Euronext and is a component stock of indexes including the CAC40, FTSE4Good, MSCI World, ASPI and DJSI (ISIN code FR0010307819). www.legrand.us

ASHLY AUDIO PROCESSING AND MULTI-CHANNEL AMPS REVAMP CHICAGO AREA MALL

VERNON HILLS, ILLINOIS: Built in the early 1970s, Westfield Hawthorn Mall is located in the Chicago suburb of Vernon Hills. Its classic mall architecture boasts 4 anchor stores, 180 retail spaces, and 1.3 million square feet of space. However, until recently, its sound system possessed the lifeless quality of 1970s-era contractor-grade components. Music was low-fidelity, speech was of poor intelligibility, and volume throughout was too loud during slow times and too quiet during busy times. Renaissance Communications Systems, located nearby in Franklin Park, Illinois, overhauled Westfield Hawthorn Mall’s sound system. In addition to replacing the ceiling speakers, Renaissance also gave the mall modern auto-leveling control and multi-zone support using two Ashly Audio ne8800M 8-In x 8-Out Protea™ DSP System Processors and two 8-channel Ashly ne8250.70 Network Amplifiers.

“Certainly, one big issue was the sound quality itself,” said Mike Shares, CEO with Renaissance. “The components needed to be modernized. Beyond that, they were having problems with the volume control. First, the system wasn’t zoned properly, so low-ceiling areas had to share the same volume with high-ceiling areas such that neither area could be ideal. Moreover, traffic in the mall varies widely; it’s very slow on a weekday afternoon but very busy on a weekend afternoon or in the rush up to the holidays. The management wanted the sound system to play at appropriate volumes without having to manually track it. They have enough other things to worry about.”

Shares divided the system into thirteen zones based on location, purpose, and ceiling height. Input sources to each zone may be selected independently, and the target volume-over-noise in each zone may also be selected independently. Sensing microphones in several of the zones feed the pair of Ashly ne8800M Protea™ Digital Processors, which analyze the ambient noise and adjust the music or paging output to hit the target sound pressure level. A pair of Ashly ne8250.70 8-Channel Network Power amplifiers deliver 250-Watts per channel to all thirteen zones while taking-up only 4 rack spaces. Nearly 200 full-fidelity Community D6 loudspeakers now deliver the background music with modern impact and convey pages with crystal-clear intelligibility. Of course, paging and alarm overrides provide Westfield Hawthorn Mall patrons with a secure environment.

“I’ve been using Ashly for twelve years now, and I’ve always had excellent results,” said Shares. “The equipment is extremely reliable, and its five-year warranty was a selling point for the client. I have a good relationship with the Ashly support staff, and they helped with the most efficient plan for Westfield Hawthorn Mall. The ambient noise detection and adjustment feature in the Protea software works very well, and the fact that we could fit all of the processing and amplifier channels into just 8 rack spaces was great. That saves space and power consumption.” Based on the success of Westfield Hawthorn Mall, Renaissance has already secured another mall renovation job, where Shares will again use Ashly processing and amplification to deliver excellent performance at a fiercely competitive price.

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

Clearwing Holds Top Manufacturers, One Event Showcase

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. is one of many manufacturers that will be on hand at Clearwing’s Vendor Showcase on Tuesday, August 26, 2014 between 10:00 am – 4:00 pm. Mike Eiseman, District Manager, will be on hand bringing along the new Yamaha QL5 Digital Audio Console as well as a CL1 digital console, Rio3224-D input/output box, and DXR12 speakers. He will also demonstrate the Yamaha StageMix application and Nuendo Live v1.1.

Manufacturers include Robe, Clay Paky, Shure, Rane and others.

The event is free of charge and will be held at Clearwing, 11101 West Mitchell Street, Milwaukee. For more information, telephone 414-258-6333.

RSVP: http://clearwing.com/html_email/cw_event_vendor_MKE_2014/vendor_MKE_2014_landing.html

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DANLEY LOUDSPEAKERS DELIVER AUDIO HORSEPOWER AT CHURCHILL DOWNS

LOUISVILLE, KENTUCKY: Churchill Downs in Louisville, Kentucky held the very first Kentucky Derby and Kentucky Oaks horse races in 1875, the year it opened. The track acquired its now-iconic twin-spires grandstand in 1895 and subsequently added to it on either side in pieces during the last century, bringing the grandstand’s current capacity to 52,000. In anticipation of the 2014 Kentucky Derby, Churchill Downs commenced installation of a 171-ft. by 90-ft. video screen, the largest 4k video board in the world. Because the facility’s low-fi sound reinforcement system had been designed ages ago for only spoken word reproduction, the new screen would require a serious sound system upgrade to realize its full potential and impact. Dallas-based Marsh/PMK International, LLC designed the new sound reinforcement systems for all of the outdoor areas including nearly sixty clusters in the grandstands comprised of Danley Sound Labs SH50, SM96 and SM60F loudspeakers as well as TH212 subwoofers.

Encompass Develop, Design & Construct oversaw the installation of both the new video board and the new sound systems and they hired Marsh/PMK. Dave Stearns and Tim Lindstrom worked with Marsh/PMK to execute the sound system project from conception to completion. “The timeline for such a large-scale project was incredibly short – only six-and-a-half months from start to finish,” said David Marsh, owner of Marsh/PMK. “We were selected as the consultant in early October and delivered the design to Encompass at the end of December with two addenda following in January. Siemens was awarded the installation contract at the beginning of February. They won the bid in part because they have an ongoing contract to operate and maintain the sound systems at Churchill Downs. As such, they were already familiar with the facility and all the relevant operational aspects. Minor installation work and punch list corrections were still going on after the opening of Churchill Downs’ spring meet on April 26. Final testing and adjustments followed to make the system fully ready for the Kentucky Oaks and Kentucky Derby race days on May 2nd and 3rd.”

“I’ve been listening to Danley systems at trade shows for years now,” said Marsh. “I like the company’s philosophy of building large horn systems instead of adding to the already flooded market of line arrays. We see line arrays used in many permanent installations where properly designed horn arrays would work better. People have the idea that line arrays are a panacea, the cure-all for every situation, because they can throw sound long distances and because the main sound lobe can be electronically shaped and steered. True, but there is another side to that story.” Marsh goes on to explain, “Constructive and destructive interference that makes line arrays work also causes noticeable variations in tonal quality. Interference also produces lobes of sound in unintended directions, including behind the array. Lastly, most line arrays have wide horizontal dispersion, the angle of which is usually fixed by the basic building block of the array. In such cases, it is not possible to vary the horizontal dispersion angle along the length of the array to optimally match the intended coverage area.”

Marsh said, “I’ve been looking for the right project for Danley. Churchill Downs became the one. Danley clusters positioned along the front edge of Level 300 serve the largest covered seating tier and all the trackside sections in front of the grandstand building from one end to the other. A tight vertical pattern with sharp cut-offs was critical in our long-throw situation. We had to throw sound all the way down to the edge of the track without ‘sizzling the hair’ of people seated below the clusters where Level 200 protrudes out from the building. The system performs as intended. I was also pleased by the performance of Danley’s TH-212 subwoofers. This is a tapped horn design that delivers an impressive amount of bass in a relatively small package.”

Our original design was based on a different loudspeaker manufacturer, but they couldn’t guarantee that their products would be delivered on time,” said Marsh. “Danley had slightly greater vertical coverage patterns in similar box sizes [to those of the other manufacturer], which allowed us to modify our design to use one less box per cluster. That would ultimately be a cost savings. Danley emphatically stated that the boxes would be delivered on time and that sealed the deal. They made good on their promise.”

Danley Sound Labs, Inc. President and CEO Mike Hedden commented, “One of the things we are very proud of is our U.S.-based manufacturing. From the time we got the order until it was shipped complete was four weeks; 250 fully weatherproofed loudspeakers in four weeks, that’s unheard of in this day of off shore production! During this time the south got hit by two severe snowstorms that wreaked havoc on the region. Even with raw goods being lost in logistics which delayed shipments, we still delivered the products in organized pallets so that each load represented a finished cluster on the job site in four weeks.”

Unlike a typical baseball or football stadium, the grandstand building at Churchill Downs has seating tiers that are stacked vertically, straight up and down. Moreover, various expansions have occurred over the years adding sections on either side of the historic “twin spires.” All of these sections have slightly different profiles. There are varying ceiling heights, seating depths and column spacing. It was a unique situation that required careful planning. Unfortunately, Churchill Downs did not have CAD drawings of the facility. In fact, PDF drawings provided to Marsh/PMK trickled in over a period of weeks and none of them were to scale. “This put the already tight design schedule in serious jeopardy.” Marsh said. “How were we going to get this project into EASE [for coverage modeling] and how were we going to produce usable CAD backgrounds?”

Tim Lindstrom worked with Melvin Saunders, another consultant working on the Marsh/PMK team, to meet the challenge. Tim used dimensions obtained during the initial site survey to create re-scaled PDFs. Melvin used Google Earth to confirm or correct the dimensions and then created a SketchUp model of the complicated grandstands. The SketchUp model was imported into EASE, which finally allowed Dave Stearns to get into the detailed loudspeaker system design. Tim subsequently set about creating the necessary CAD backgrounds. “I was very proud of our team’s resourcefulness.” Marsh declared.

Two basic cluster types alternate along the length of the grandstand, just under the front edge of the Level 300 ceiling. There are nearly sixty clusters in total. The first type of cluster includes a Danley SH50 long-throw box and a companion TH212 subwoofer. The SH50 covers the seating in front of the grandstand building all the way out to the edge of the track. The second type of cluster replaces those boxes with a Danley SM96 to provide near coverage in between the horizontal cut-off angles of the SH50s in the adjacent clusters. Both cluster types include a rear-firing full-range SM60F aimed toward the top of the Level 300 seating tier and a more-or-less down firing SM96 with its woofer removed.

Marsh/PMK expanded existing Q-Sys DSP and QSC amplification to power the system. Existing Renkus-Heinz and QSC loudspeakers were repurposed and added to as necessary to improve coverage on the “porches” in front of upper level suites and on Level 200 of the grandstand building. Renkus boxes were also used on the front edge of Level 200 to cover walkways in front of the building and the rear of Level 100 seating where the Danley coverage is shadowed by overhangs. Existing Community loudspeakers were repurposed and added as necessary on poles to cover seating that extends beyond the building as well as the track infield, the entry plaza and the paddock area. “Re-use of existing equipment where possible was a goal of our design, but Danley now provides the major audio horsepower for the grandstands at Churchill Downs,” said Marsh, claiming no pun intended.

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

AV Stumpfl gives Norwegian rock ‘Wings’ for Pink Floyd tribute concerts

YouTube video: watch?v=BeOmGmiHa-s&feature=youtu.be © Blank

Unique projection mapping, blending and warping in spectacular setting

Everyone is familiar with the idea of a rock concert, but few events take the word ‘rock’ as literally as the recent series of outdoor gigs staged in Norway by the Pink Floyd tribute band Puls. Against the dramatic backdrop of the Kilden-Fjæreheia quarry in Grimstad, the band played six sold-out nights to audiences who were wowed not just by the music but by the spectacular projection-mapped backdrop that was created courtesy of AV Stumpfl’s Wings AV multi-image control technology.

Event design and production for the Puls concerts was the responsibility of Norwegian company Blank. Tomas Håvik, CEO of AV Stumpfl’s Scandinavian distributor Preqbi AB, recalls the project’s technical origins:

“Blank were searching for a solution that could deliver edge-blending and warping of multiple projected images, automated according to a timeline and with built-in media serving capability. We advised them that Wings AV could deliver exactly what they needed, and once the decision had been taken, we helped them with education and support.”

Kent Bakke, General Manager at Blank, explains: “Our challenge was that we wanted to map the actual face of the quarry that provides a backdrop to the band’s stage set. The face of this ‘mountain’ measures about 55 metres wide by 20 metres high, and our render size for the project was 3120 x 1200 pixels, with a 256 pixel overlap between the two halves of the image.

“The Vioso module of Wings split the image into a multi-display, blending and warping the output of six high-output HD projectors with ease. We also used Vioso to create and edit the video content, building up an exact replica of the ‘mountain’ in 3D.

“The content was stored and played back using the Wings Engine media server, with the Wings Avio control protocol allowing secure and perfectly synchronised connection via MIDI to the show’s lighting-control desk. This meant that the video timeline was perfectly sync’d to the music and associated lighting cues, every step of the way.”

With an audience of around 950 people per night seated in a U-shaped amphitheatre exactly opposite the quarry wall, each show culminated in a spectacular climax that echoed the finale of Pink Floyd’s ‘The Wall’, with pieces of rock from the quarry appearing to break up and fall towards the stage and theatre.

Tobias Stumpfl, Commercial Director, AV Stumpfl, concludes: “From video editing to large-scale projection, interactivity and show control, our Wings platform does it all. With the support of local partners such as Preqbi AB and the superb creativity of customers like Blank, our technologies are delivering spectacular results that wow audiences all over the world.

“We congratulate everyone involved with the Puls concerts in Norway and look forward to many more exciting applications of Wings to come!”

Some useful links:

Facebook:
@AV.Stumpfl.Pro
@blank.no
@Preqbi-AB

More information about Preqbi AB can be found at www.preqbi.se.

About AV Stumpfl
AV Stumpfl is an award-winning Austrian company that designs, manufactures and markets a range of high-performance mobile and installation projection screens and multi-display and show control systems for professional and business applications. As a family business, its founders started the company out of a passion for the advancement of presentation and installation technologies. The product range is warranted for 24/7 usage. AV Stumpfl is located in Wallern, Austria, and is supported by a global network of distribution and service partners.
www.avstumpfl.com

Slamhammer and Martin Audio Step Up At All-Star Game Concert

Minneapolis, MN––The Target All-Star Concert was held at the TCF Bank Stadium on the University of Minnesota campus a few days before the 2014 Major League Baseball All-Star game.

Slamhammer Productions provided audio, staging and video for the sold-out show that featured Grammy Award winner Imagine Dragons and local hip-hop phenomenon Atmosphere playing to an enthusiastic crowd of over 30,000.

To get the depth and impact of coverage required, Slamhammer set up a Martin Audio loudspeaker system consisting of 16 W8LCs a side for the main hangs; 10 (stage right) and 14 W8LCs a side as outfill; a hang of 2 W8LMDs as center downfill; 4 W8LMs across the front lip of the stage for additional front fill, and 40 WSX subs ground-stacked in front of the stage. Two delay towers with 12 W8LM speakers each were set up 175 feet back in the audience.

Even though Slamhammer had done three smaller shows at TCF Bank Stadium, there were still particular challenges given the size and high profile nature of the event.

According to company President Peter Skujins, “We were faced with long throws of over 400 feet and were limited in terms of rigging capacity. The mobile stage we were using is a beautiful structure with a huge total capacity, but you eat that up pretty quick with multiple hangs weighing over 6400 lbs on the roof. We were also concerned about having a major sightline problem with the delay towers because it was a seated house.

“Fortunately, these all turned out to be non-issues because the W8LM is a very compact box and the Martin Audio system did what it’s supposed to do. It sounded great and everyone was really happy with the coverage and audio quality, including our client Major League Baseball who called the concert ‘a huge success.’”

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

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.

TRANSAUDIO GROUP TO DISTRIBUTE BETTERMAKER’S UNIQUE ANALOG EQUALIZERS WITH PLUG-IN REMOTE CONTROL

LAS VEGAS, NEVADA: TransAudio Group, U.S. distributor of high-end professional recording equipment, is pleased to partner with Bettermaker, the creator and manufacturer of the world’s first analog equalizers that can be controlled, automated, and recalled from a plug-in or Eprom. The Bettermaker’s flagship EQ232 possesses two (strictly analog) audio channels, each with a mastering-quality switchable high-pass filter, Pultec-style passive equalization, and clean parametric equalization. The modular 500-series EQ502P and EQ542 possess only the passive equalizers and only the parametric filters, respectively, and are also stereo.

Although its 100% handmade construction and stunning sound quality puts it in league with the very best boutique analog equipment on the market, Bettermaker’s unique niche is plug-in control (available in RTAS, 32-bit or 64-bit VST, and AU), which gives it all of the convenience of a digital plug-in, including automation and recall. The plug-in provides an A/B comparison feature, which goes beyond “bypass/in” to allow comparison of two separate equalizer settings. It’s also worth noting that engineers who aren’t using the plug-in can still store up to 399 presets for instant recall from the front panel via Eprom.

Marek Walaszek, an accomplished mix engineer, producer, and DJ based in Warsaw, Poland and the chief engineer and owner of Addicted to Music Studios, conceived, prototyped, and is now manufacturing the Bettermaker. “It started with the dream of a stereo Pultec that I could use on my stems or my master bus,” explained Walaszek. “Because I’m a mix engineer, I mostly work with other people’s session files. I recognize the convenience of recall – I can work on a mix, send it to the client, and then make requested changes weeks later. I wanted that same convenience in my outboard gear.” Walaszek got together with a friend and began prototyping his vision for a best-in-class analog equalizer that could gracefully accommodate the modern workflow.

After the usual false starts and an abundance of tinkering, the Bettermaker emerged and quickly found an eager audience. Grammy Award-winning engineers, such as Bob Katz, Jaycen Joshua, Dave Pensado, and Jimmy Douglass, as well as mastering engineers, such as Tim Boyce and Ludwig Maier, immediately put the Bettermaker in their “indispensible” racks and praised it loudly. The industry as a whole took notice as well: the Bettermaker earned a Resolution Award nomination in 2013 and won the Music Tech Excellence Award in 2012 and NAMM’s Best In Show award in 2013.

“As often happens with great inventions, it may seem obvious in hindsight,” said Brad Lunde, president of TransAudio Group. “There is, of course, tremendous value in great analog processing paired with plug-in control, automation, and recall. But I should also emphasize that the Bettermaker is not merely a gimmick. The Bettermaker’s sound quality would win converts and awards in its own right, and the plug-in functionality is well designed and robust. These two zero-compromise features come together in the Bettermaker to create something extraordinary. We at TransAudio Group were excited to learn that Marek is already cooking up new Bettermaker products that will pair analog audio circuitry with plug-in control!”

In addition to the three “stock” Bettermaker models (the EQ232P rack mount with all equalizer channels, the modular EQ502P Pultec section, and the modular EQ542 parametric section), Bettermaker offers two optional modifications of the flagship EQ232P. The first option converts its dual mono operation into M/S operation, a popular choice among mastering engineers. The second option forgoes the front panel controls entirely (at a cost savings) for users who plan to use plug-in control exclusively. These two options can also be combined.

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.www.transaudiogroup.com

The Bettermaker products are now shipping.
MSPRs: EQ502P: $1,775.00 • EQ542: $1,775.00 • EQ232P: $6,100.00

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