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FSR’s Jon Melchin Joins Expert Speakers at BICSI Conference

Woodland Park, NJ – Jon Melchin, FSR Inc.’s Director of Architectural Development, is among the expert speakers presenting at the 2013 BICSI Fall Conference & Exhibition. BICSI, a professional association supporting the information technology systems (ITS) industry, is an internationally recognized source of information, education, and world-class technology training. The event, which will take place from September 15-19 at the MGM Grand Hotel and Conference Center in Las Vegas, NV will feature a full schedule of sessions delivered by BICSI master instructors and industry experts.

“I’m honored to be chosen as a participant in a conference that considers training and education a priority, and recognizes the financial and physical benefits of keeping industry professionals informed,” noted Melchin.

Melchin’s presentation – The New Face of Design: Building Information Modeling and What it Means to the AV Industry – will feature a look into Building Information Modeling (BIM) – a 3D design, modeling and simulation technology that has changed the way architecture is practiced. It will delve into its impact on the AV industry and use an actual BIM designed project as an illustration. The session is scheduled for Wednesday, September 18 at 1:30 -2:30.

Melchin is an accomplished speaker and a Passport Provider with the American Institute of Architects Continuing Education System (AIA-CES) who conducts presentations that result in audience accreditation. His position as Director of Architectural Business Development with FSR underscores his solid relationship with the architectural and design community making his contributions to the Conference especially valuable. Melchin has authored numerous articles that have been published in international trade publications targeting the construction and audiovisual industries.

FSR Inc. manufacturer of audio and video switching, control products, and connectivity boxes, is exhibiting a compliment of products at BICSI in Booth 117.

Further information regarding all FSR products can be found at: www.fsrinc.com.

About FSR
FSR, established in 1981, manufactures a wide variety of products for the audio / video, education, hospitality, government, and religious markets, including AV floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers and CAT-5 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 Communications
Harriet Diener • 845-512-8283 • harriet@desertmoon.tv

ACIR Professional Buys Building, Expands Space

Mays Landing, N.J.—Summer continues to be busy for the staff at ACIR Professional with shows in Cape May, the Count Basie Theatre, Ocean Grove, New York City, along with support of audio and backline for Atlantic City and surrounding areas, all as the company’s installation business continues to grow.

Perhaps the biggest news for ACIR this is summer is that they recently purchased a building in Mays Landing, New Jersey, a stones-throw away from the old location in Egg Harbor Township. Realizing their dream of expansion and growth, the company outgrew their lease space and made the move to purchase a building with additional room to grow.

In a joint statement, the three owners Ed DiBona, John Grasso, and Tom Young said, “Our new space enables us to further our customer service and support as we continue to purchase the gear needed to fulfill our clients’ requirements.”

ACIR’s new address is 1421 Cantillon Boulevard, Mays Landing, NJ 08330. The company phone number remains the same: (609) 677-5500).

For more information, visit www.ACIRpro.com.

-END-

PHOTO CREDIT: Digital Warmth

ASHLY GETS INTO THE PUNCH BOWL!

PORTLAND, OREGON – AUGUST 2013: Punch Bowl Social is a unique entertainment concept that got its start in Denver, Colorado and is steadily making its way to a city near you. The second and most recent Punch Bowl Social occupies 32,000 square-feet on the top floor of Pioneer Place Mall in downtown Portland. Within that space, patrons can bowl, sing karaoke, shoot pool, throw darts, play ping-pong, shoot marbles, play board games, rock ‘80s video games, and more. Of course, Punch Bowl Social patrons can also grab a drink (often literally from a punchbowl) or dine on delicious, creative fare. The idea, of course, is that in the age of big screen TVs, the human animal still craves connection, and games and music have provided the context of that connection for millennia. To keep the music engaging, Denver-based A/V integration firm PRIME used Ashly Audio processing at both locations.

“Punch Bowl Social proved to be a far greater success in Denver than the owners had dared hope for,” said Robert Higdon, owner of PRIME. “The Denver location is expansive, but still considerably smaller than the new Portland location. In Denver, we used a single Ashly ne24.24M to do all system routing and conditioning for the Flexsys F8, F12, and F15s over the lanes. The owners were so pleased with Higdon’s solution that they hired PRIME to design and install the system at the new Portland location.

One of the new features at Portland is a pair of karaoke rooms that groups can rent for private parties. A single Ashly ne24.24M outfitted with sixteen inputs and eight outputs raises their sound quality far beyond the standalone karaoke systems that bars typically employ. Four wireless microphones per room allow group performances in combination with a cloud-based karaoke server. A Lexicon dual effects processor provides the professional polish that takes ace karaoke stars to the next level – and softens the rough edges of newbies. Powered loudspeakers from dB Technologies provide robust output, and users can dial in appropriate volumes for the music, their voices, and the effects from an Ashly FR-8 wall-mounted remote control. Because the FR-8 provides a simple slider for each function, users can operate it successfully with zero training.

The main sound reinforcement system at Portland’s Punch Bowl Social uses a separate Ashly ne24.24M. Inputs include five cable boxes, a Blu-ray player, two DJ inputs (one per each side of the building), a jukebox, a paging server, and an Apple Airport Express that can stream Spotify, Pandora, and the like. dB Technologies Flexsys F8 loudspeakers and Sub 15D subwoofers populate twelve output zones logically divided by amusement type. Three separate sets of four bowling lanes get a pair of F12s and a Sub 15D hung by chains from the ceiling. A Crestron control system paired with an Apple iPad mobile pro app provides input selection and volume control. The control features a schematic of Punch Bowl Social from above. Users tap the section they want to control and make the necessary adjustments.

“For every project I’m involved in, I try to give the end user the best sound quality possible,” said Higdon. “I always use Ashly processing, and I carefully tune each zone at commissioning. Sound quality is evident to me because I work with sound for a living, but sound quality is just as important for patrons who aren’t audio professionals. For them, it’s a subconscious thing. If the sound quality is lacking or, worse, annoying, they’ll want to leave. That, of course, is the last thing the owners want. But a well-tuned system is fantastic. My favorite thing to do when a job is finished and open is to go back and watch people enjoying it. I see them singing along, bopping their heads. That’s almost payment enough for me.” Higdon will be accompanying the Punch Bowl Social enterprise as it heads to Austin in a few months.

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

ALTINEX CONNECTIVITY INTEGRAL TO GENERAL ELECTRIC’S NEW CONFERENCE TABLE

**** Photo: Paul Downs ****

Plainville, CT – August 2013… The ability to facilitate easy connectivity to AV equipment as well as provide network and Internet access are critical concerns during the design of today’s state-of-the-art conference facilities. For their new conference room, Plainville, CT-based GE Industrial Solutions adopted a 360-degree approach with multiple video displays—and central to their AV connectivity are PNP417 Pop-N-Plug interconnect boxes and AC301-250 Dual Button Controllers from Brea, CA-headquartered Altinex. more

MIX ENGINEER ARIEL BORUJOW EXPANDS HIS METRIC HALO PALETTE TO INCLUDE THE PRODUCTION BUNDLE

NEW YORK, NEW YORK – AUGUST 2013: Ariel Borujow is chief engineer at New York City’s Stadiumred studios (www.stadiumred.com) and a multi-platinum, Grammy-nominated mix engineer who has worked with artist and producers such as Kanye West, Madonna, The Black Eyed Peas, P Diddy, J-Lo, Chiddy Bang, Just Blaze, and others. His success stems from his passion for audio, which makes his typical ten-hour day (clocked seven days a week) the key ingredient in a life well lived. Indeed, when we caught up with him, Borujow was happy to be getting back into that groove after being sick for a few weeks. “I didn’t know what to do with myself,” he laughed. “I was just stuck there, roaming around in my apartment, which is usually just a place to sleep at the end of a long day. I guess the upside is that I got to know my apartment better?” Now back in the studio, Borujow is finishing up projects with Modern Machines, Charlie Red, and Low Country Kingdom using the Metric Halo Production Bundle, which includes ChannelStrip 3, TransientControl, Multiband Expansion, Multiband Dynamics, Character, Precision DeEsser, and HaloVerb plug-ins.

Modern Machines (www.facebook.com/ModernMachines) is a pair of New York City producers who are making some of the most engaging and danceable electronic dance music on the planet, and Borujow recently mixed their single, “We Are the Night.” “They come from an engineering background, so the tracks sounded good coming in,” he said. “Nevertheless, they gave it some grit on purpose, and the challenge was to keep that feel while making sure the music would still translate effectively at a dance club.”

Borujow was a longtime user of Metric Halo’s ChannelStrip 2, and he’s pleased that ChannelStrip 3 retains the same “out-of-the-box sound” while adding features that make it even more functional and flexible. “The size is great and the interface is even more intuitive, but the most exciting improvement is the incorporation of a spectrum analyzer,” he said. “It’s a big deal and it’s on almost all of the Production Bundle plug-ins.” As with all of his mixes, Modern Machines benefitted from plenty of ChannelStrip 3. For the all-important kick drum, he used ChannelStrip 3 to dial in the right timbre and dynamics and then used TransientControl to punch it up. “I’ve used other manufacturers’ transient plug-ins,” Borujow said, “but Metric Halo has given TransientControl something that is noticeably better, but in a subtle and interesting way. I can’t exactly put my finger on it, but there’s no doubt that it really improves the dynamics without over-processing them.”

Borujow is using a slightly different part of his brain to mix Charlie Red [www.wearecharliered.com], a duo that fuses hip-hop, blues, and rock to come up with a very unique style. The music is all live instruments and the band recorded the tracks at home. “These guys are real artists and they go by feel,” Borujow said. “All of the tracks are masterfully performed, but some of the technical stuff needed polishing.” Again, he used TransientControl to add shape and dynamics to the drums, and ChannelStrip 3 found use everywhere. The tracks were also noisy at times and Borujow used the Multiband Expander to carve out the noise. The very accurate spectrum analysis feature allowed him to zero in and position the bands for maximum effect.

Because Charlie Red’s recordings weren’t made in a purpose-built live room there was a certain “boxiness” to the recordings. Rather than EQ out the room mode frequencies, Borujow used Multiband Dynamics to carve them out dynamically. “Again, the spectrum analyzer was a tremendous help,” he said. “To lessen that boxy sound, Multiband Dynamics is preferable to EQ because EQ tends to lose something. Multiband Dynamics leaves the life in the recording. It’s a much more pleasing solution. Metric Halo’s version sounds great and is quick and easy to work with.”

With another “this meets that” description, Borujow finds Low Country Kingdom (www.lowcountrykingdom.com) at the intersection of Gorillaz meets the Beastie Boys. “These guys are just super musical! They produced all the music in Logic and sent me the stems,” he said. “To give it more of a ‘sound,’ I used Character. I especially like the ‘American Solid State’ algorithm. It’s subtle and not overboard, and it doesn’t sound digital. It sounds authentic. It’s been a go-to plug-in and setting for me lately. It’s all over the Low Country Kingdom album.” He also used the Precision DeEsser quite a lot. “I use it a lot of the time for vocals, sure, but I use it for a lot of other instruments as well,” he explained. “For example, the Low Country Kingdom snare sound was a little too bright at times. Rather than EQ it out, which kills those frequencies even when they’re not annoying, the Precision DeEsser allows me to keep them down only when they’re too much. I put the TransientControl behind it, and the snare sounded awesome.”

All three projects benefitted in roughly equal degrees by Borujow’s newfound access to HaloVerb. “I’m a huge fan of the ‘Sizzly Plate’ preset,” he said. “I find that as I get older, I use reverb as much as I used to, but I want to hear it at the front of the mix less and less. It’s more effective as a subconscious thing – an element that puts instruments in a common space. I don’t want to hear it, I want to feel it.” He used HaloVerb for Modern Machines’ synths, Charlie Red’s guitars and drums, and Low Country Kingdom’s vocals.

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

FSR’s Digital Ribbon Cables Receives rAVe Reviews at InfoComm 2013

Mega-Bandwidth HDMI Cables Take Home “Best New Accessory” Award from rAVe [Publications]

Orlando, FL – FSR’s new Digital Ribbon mega-bandwidth HDMI cables were a hit with attendees and judges alike at this year’s InfoComm. The cost and time saving innovation received an outstanding reception by attendees, and was recognized with a 2013 Best of InfoComm Award as “Best New AV Accessory” by rAVe [Publications].

“We are proud to add this award to our growing trophy room!” said FSR president Jan Sandri. “It’s an amazing honor to have our Digital Ribbon Cables singled-out as the best-of-the-best by rAVe at InfoComm 2013, an event that showcased more new products and technology than ever before.”

Based upon a proprietary composite technology, FSR’s Digital Ribbon Cables took home the “Best New AV Accessory” award for its capacity to carry 1080p and 4k x 2k HDMI signals up to 325 feet, nearly twice that of other “extended” solutions, with crystal clear accuracy. The product’s ultra-simple, fast installation (just pull and plug), and money-saving ability to operate without transmitters or receivers add to its appeal.

Shipping now, additional information can be found at: http://www.fsrinc.com/products/dr-pcb-hxxm.htm

About FSR
FSR, established in 1981, manufactures a wide variety of products for the audio / video, education, hospitality, government, and religious markets, including AV floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers and CAT-5 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 Communications
Harriet Diener
845-512-8283 • mailto:harriet@desertmoon.tv

FSR’s Digital Ribbon Cables Offer Price-Pleasing Solution for Simple Installions

Award-winning Innovation Made Global Debut at InfoComm

Woodland Park, NJ – FSR president Jan Sandri has announced the availability of the Company’s new Digital Ribbon mega-bandwidth HDMI cables. First shown at InfoComm 2013, the innovation received an outstanding reception by attendees, and was recognized with a 2013 Best of InfoComm Award as “Best New AV Accessory” by rAVe [Publications].

FSR’s Digital Ribbon Cables save installation time and money while providing the highest quality Images over the longest distances. Based upon a proprietary composite technology, the cable packs 10.2 Gb/Sec of bandwidth in a cable profile that is only 5mm x 2.5mm. This allows Digital Ribbon to carry 1080p and 4k x 2k HDMI signals up to 325 feet, nearly twice that of other “extended” solutions, with crystal clear accuracy.

“We didn’t want just another ‘me too’ HDMI extender product. In fact, we already have two of those. We wanted something new, something that outperforms everyone else, that is easier to install and costs less. Digital Ribbon is the answer,” exclaimed Sandri

Digital Ribbon is a money saving solution. First, Digital Ribbon is a cable. Simply pull the cable, plug it in on both ends and you are done. Installation could not be faster. Second, Digital Ribbon does not require transmitters or receivers to work. This means no black boxes to hide and no wall warts to plug in. Lastly, Digital Ribbon is far less expensive than an “extender” transmitter / receiver pair and the wire needed to connect them.

Digital Ribbon supports HD resolutions up to 1080p, 4k x 2k, 3D, Deep Color and more at distances up to 325’ while maintaining HDCP and EDID compatibility. Cables are available in a variety of lengths from 50’ to 325’, are UL listed and Plenum rated.

For further information: http://www.fsrinc.com/products/dr-pcb-hxxm.htm

About FSR
FSR, established in 1981, manufactures a wide variety of products for the audio / video, education, hospitality, government, and religious markets, including AV floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers and CAT-5 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 Communications
Harriet Diener
845-512-8283 • mailto:harriet@desertmoon.tv

API IN BRAZIL – VISOM DIGITAL AUTHORIZED AS 1608 DEALER

RIO DE JANEIRO, BRAZIL – AUGUST 2013: Brazil’s Visom Digital has become the latest of authorized API 1608 dealers. Joining the ranks of other API distributors in South America, Visom began carrying the API product line back in 2012. “After their obvious success with API module products, it was logical that Visom now take on representation of the 1608,” said Gordon Smart, API’s managing director.

Located in Rio de Janeiro, Visom Digital is a working studio, audio technology development center, and audio equipment dealer specializing in high-quality, high-profile sound recording. “We only sell what we use and this makes all the difference in credibility for our people,” said owner, Carlos de Andrade.

With a wide range of clients, Visom Digital caters to everything from independent and major recording studios to TV and radio stations. “As an engineer I have always used API, as a salesman I believe in the product, and as a businessman it’s just a good seller,” said de Andrade of the API product line. Visom stands behind the products they represent, while aiming to understand the needs of their customers and partners in order to offer appropriate solutions. They also offer after-sales services, such as warranty, installation and training.

“For most distributors a line like API is a gem to be catered to with great consideration of its tradition,” said de Andrade. “For Visom, API is not a brand. It is a passion and a bit of our history. We will not just sell API. We will evangelize and educate our clients on the ownership of an important part of professional audio.”

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

Martin Audio MLA Compact Keeps Sound Inside Urban Amphitheater

––RMB Audio Uses System To Stay Within Rigorous City Noise Limits––

The Red Hat Amphitheater is located in downtown Raleigh, North Carolina with the stage facing a large convention center covered with reflective surfaces located next to a parking deck. Just a few blocks to the rear of the stage are residential neighborhoods.

Home to a summer-long series of concerts, Red Hat is obviously a challenging environment for shows in terms of controlling noise levels. Cooper Cannady of RMB Audio in Raleigh has produced several shows there and knows those problems all too well: “The city contracted a large study at multiple sites around the venue and came up with an SPL limitation of maximum 95dB SPL for one minute at given test points. And that’s tough when you’re doing a show there. Someone like Dylan is manageable, but Smashing Pumpkins and a Snoop Dogg performance is a real challenge to the sound ordinance.

Fortunately, RMB used their Martin Audio MLA Compact system for a recent show featuring American Aquarium, Cravin Melon and the Chris Hendricks band. As Cooper explains, “We put our MLA Compact rig in there and made a presentation to the city how the system’s new software algorithms functioned. We wanted to bring the sound closer to the audience, avoid the reflections from the building and back it off at the stop points we had selected.

“So we kept working on the sound with the software and finally got it to where there’s no reflection coming off the building. Only people with the MLA Compact can get that kind of control. Everyone else is going to have sound washing over those surfaces and throw it everywhere.

“The wonderful part about MLA is that the coherence of the system actually makes it sound louder than the SPL meter says it is,” Cooper adds, “which is a real benefit for the audience and the promoters. The city told us we couldn’t have any flags at the 95dB test point and we were able to do that without any problems whatsoever.”

RMB Audio’s setup for the show consisted of 12 MLA Compact enclosures per side, with six DSX subs a side stacked on the wings of the stage. The side fills consisted of two Martin Audio W8Ts and two WS218 subs a side, with WS18X subs for drums, and four W8LMs for lip-fills across the front of the stage. LE1200s were used for on stage monitoring.

Engineer Wayne Sowder was also impressed: “Roger Dennis of RMB put me on the FOH Console for Cravin Melon, and it was my first chance to mix on the MLA Compact. It was unlike any system I’ve ever mixed on––incredible clarity yet very natural, warm sounding and powerful. The software was also a major plus in helping the system techs refine the system performance based on temperature and humidity in the venue as well as changing the start and stop points without re-hanging boxes. It’s a very powerful tool in the hands of skilled technicians.”

Summing up, Cooper adds, “The city thought the MLA Compact system sounded excellent and that the system was consistent throughout the audience area and had greatly reduced SPL beyond the audience space. I sent one of my staff with a representative from the city with an SPL meter across the street from the park and the sound was diving 10 to 15dB. And if they walked a little further out, the decrease in SPL continued. Once that happened, they actually got it.

“The MLA Compact has been a lifesaver for this venue. This is the answer for an urban area with residences in close proximity. We’ve been able to make everybody happy––the audience, the acts, the city and the neighborhood. MLA has been a real unifying experience. Not many people can deal with those kinds of restrictions and say they did OK, and we did smashingly well.”

For more about RMB Audio, please click to www.rmbaudio.com

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

DANLEY SOUND LABS LOUDSPEAKERS AND SUBS WIN THE SHOOTOUT FOR INCLUSION AT MT. MORIAH BAPTIST CHURCH’S NEW SANCTUARY

CHARLESTON, SOUTH CAROLINA – AUGUST 2013: Lou Jones, president of NBS Media Systems in Charleston, South Carolina, has been working with the members of Mt. Moriah Baptist Church for over twenty years. He helped to design and install their previous three sound systems, each a response to the church’s continued growth. Recently, Mt. Moriah expanded yet again, building a new 2,250-seat sanctuary on its property. Again, Jones and his company helped the church meet all of its audio/visual needs. He arranged a sound reinforcement system shootout, pitting three well-regarded line array systems against a Danley Sound Labs point source system. Danley came out on top sonically and, as a bonus, was the least expensive system under consideration. The church used some of the money it saved to add a few extra Danley boxes, which absolutely guaranteed clear, high SPLs required for the full impact of its energetic gospel services.

“They wanted to be absolutely certain that they would have a sound system capable of delivering high-end, concert-quality SPL and low-frequency output for their full production, which includes a 150-voice choir, drums, bass, guitar, sax, keyboards, B3, and soloists,” said Jones. “And they wanted to be rider-ready for touring Christian acts.” It was destined to be an impressive sound system, and the church wanted to be sure it would get the best components available. At the request of the church officials, Jones arranged a loudspeaker/subwoofer shootout, sequentially bringing in four well-respected manufacturers, including Danley Sound Labs.

Except for Danley, the other three systems were all line arrays, consistent with the size and format of the room. All of the systems sounded good, but the church’s task was to pick the best. “They were impressed by the Danley system,” said Jones. “They liked its warm, hi-fi quality. The subs were also tremendous and more than capable of putting out the kind of solid low end that they were hoping for. They had the money in the bank for even the most expensive of the four systems, so their decision was based purely on performance. Nevertheless, the Danley system would save them some money. In addition, the Danley point-source system affords them better sight lines than they would have had with a line array.”

Engineers at Danley Sound Labs assisted Jones with a system model. Three Danley SH-96 HO full-range boxes provide main coverage in an exploded LCR arrangement. The new “HO” suffix on many of Danley’s full-range loudspeakers denotes a new high-frequency element that allows the entire box to operate at higher SPLs with Danley’s characteristic flat, undistorted response. A pair of Danley SH-95-HOs provide delay on either side, and two more SH-95 HOs deliver down-fill for the choir. Two Danley SH-Micros serve as apron fills, and two SH-Minis fill in the dead zones on the Deacon and Deaconess boxes on the platform. Eight Danley SH-LPMs serve as stage monitors. A pair of flown Danley DBH-218 subwoofers convey ample low end from either side of the stage. The DBH-218 is Danley’s nuanced take on conventional subwoofer design. Finally, forty-five Tannoy ceiling-mounted loudspeakers distribute sound throughout the rest of the building. A Yamaha M7CL accepts 48 of 96 possible inputs at a time, and three Biamp Nexia processors provide routing, crossovers, and loudspeaker conditioning. Crown CTs-Series amplifiers power the system. He system also includes a full compliment of stage microphones and six Shure SLX combo wireless mic systems – each including a Shure SM58 handheld mic and a Countryman E6 head-worn mic with belt-pack.

NBS also designed and installed the HD video system for the project. This system includes three two Vaddio HD-19 and one Vaddio HD-20 1080p remote PTZ camera (and they are adding a fourth), controlled by Vaddio’s joystick controller. Video processing and distribution is done using a Roland V1600HD video switcher. Camera inputs are all HD/SDI and outputs to projectors and flat-screens are DVI. There are five Digital Pro E-Vision 7,000 lumens/WUXGA DLP projectors. Two projectors are “stacked” per side to illuminate 16’x10’ VU Easy fixed screens on either side of the proscenium. The fifth E-Vision projector illuminates a Draper 137-inch 16:10 ratio screen above and in front of the choir seating position and behind the proscenium arch (not visible from the audience). Additional flat-screen monitors are located in various areas on the platform on rolling low-profile mounts so that the celebrants can see the video presentation. There are also flat-screens installed in the Pastor’s Study and conference room with numerous other locations in the building being “roughed-in” for the addition of future displays.

The theatrical lighting system was designed and installed, in partnership with NBS, by High Output with local offices in Charleston and headquartered in Boston. Mark Shore from the Boston office was High Output’s lead engineer and designer on the project.

The theatrical lighting system includes twelve LED Prism Projection RevEAL Profile 14 degree color-changing fixtures at the front of house pipe batten position. There are three lighting pipe battens suspended over the platform area, behind the proscenium with thirty LED Elektralight ElektraLED 1018 color-changing wash fixtures with Source 4 barn doors. The system includes a 1×12 opto-splitter, a programmable wall controller and a Leprecan LPC-96V 96-channel console with touch-screen at front of house.

ABOUT DANLEY SOUND LABSDanley 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

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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