A virtual press conference from Sound & Video Contractor

Archive of the InfoComm Newslink Category

QSC Q-Sys Offers Acoustic Echo Cancellation as a Standard Feature

Q-Sys CoreCosta Mesa, CA –(October 19, 2012) QSC Audio Products, LLC is pleased to announce that Acoustic Echo Cancellation (AEC) is now available as a standard component of their acclaimed Q-Sys integrated system platform, which has quickly become the preferred choice worldwide for audio system control and signal transport.

Ideally suited for Q-Sys clients that utilize AV conferencing systems in such places as corporate boardrooms, meeting and convention spaces, hospitality installs, and government and legislative venues, the powerful QSC AEC process is easily deployed in Q-Sys Designer software as a simple, draggable component. And unlike AEC offerings from competing manufacturers which must be purchased as costly add-on input cards, the Q-Sys solution is 100% integrated into the Q-Sys Core without any additional cost to the user.

“Because of the powerful Q-Sys DSP processing engines, we have been able to offer Acoustic Echo Cancellation as an integrated feature to serve our customers,” says Joe Peavey, QSC Product Manager, Software. “The tight integration between the Q-Sys processor, DSP, hardware and control software, gives Q-Sys the ability to do AEC on audio signals coming from any number of sources such as mics, remotes, I/O frames and even over IP streams.”

Current Q-Sys customers can enjoy the AEC feature at no charge by upgrading to Q-Sys Designer Release 3.0 or newer. More information on the upgrade, as well as a new Q-Sys AEC whitepaper can be found at: www.qscmarketing.com/aec.

“We are excited to be able to offer AEC to our customers with Q-Sys,” adds Peavey. “And we continually have plans in the QSC pipeline to add more advanced and powerful features to Q-Sys which will benefit our customers. “

Q-Sys, the complete integrated system platform that encompasses everything from the audio input to loudspeakers, provides all the audio routing, processing, control and monitoring necessary for any facility while maintaining the audio quality and reliability QSC has come to be known for. Designed for the rigorous requirements of both small and large-scale venues, the power of Q-Sys has been demonstrated worldwide in a variety of applications, including stadiums and arenas, theme parks, performing arts venues, transportation hubs, corporate boardrooms, convention halls, government facilities, hotels and casinos and houses of worship.

About QSC Audio
QSC Audio Products, LLC is a leading manufacturer of power amplifiers, loudspeakers, digital signal processors, digital sound transport, and network audio for professional audio systems worldwide. qsc.com

###

Train’s ‘California 37′ 2012 Tour Lays Tracks Across U.S. With Dual DiGiCo SD10s

Grammy Award-winning pop-rockers Train have been laying tracks across the continental United States and Canada this summer and fall with their San Francisco 2012 tour. The band pulled out all the stops, rolling through material both old and new, including songs from their latest studio album, California 37. Because of the tour’s beefed-up band and increased input list, engineers Rob Thomas and Robert Greene opted for a pair of SD10 systems at FOH and monitors (provided by Delicate Productions and Hi-Tech Audio), to simplify the production and the technology requirements.

“Rob Greene and I have used many different platforms working together with Train over the years,” Thomas explains, “but for this tour, it got a little more involved. Train is typically a three-piece band, but with this tour there are eight musicians onstage and we needed at least 52 inputs/outputs for the band and the accompaniments, including bass, guitar, vocals and background singers, in-ear mixes and stage monitors. We wanted the best-sounding console and one that was most configurable, and that’s how we came up with the SD10s. Having two of the DiGiCo’s out there was the best option for the tour, allowing us to pick each other’s brains about functionality and also streamline the technology. This is the first time that I’ve toured with a DiGiCo product, although I’ve used and am familiar with the D1 and D5 Series. In my time with the SD10 at FOH, I found that it truly sounds great; it’s one of the best-sounding digital consoles that I’ve been able to get my hands on. Choosing DiGiCo was one of the easiest decisions we had to make early on.”

System Tech Philip Reynolds and FOH Engineer Rob Thomas

“Going into this tour back in early 2012 we knew that we were going to move up above the 48-channel level,” adds Greene. “We had a chance to check out both the SD10 and SD7 and they were both impressive. The SD10 had everything that Rob and I needed so we decided to save the band a little dough and take out the SD10.”

The FOH system uses the DiGiCo SD Rack loaded with 56 inputs, 16 analog outs, and eight AES. “We are using both AES and analog to drive the PA via a Martin Merlin processor ,” clarifies Systems Tech Philip Reynolds. “The system is run in AES to the Martin Merlin 4 in 10 out matrix. From there, the rig is analog throughout. We have a very cool setup with the headliner independent of the support act settings. We use a separate group output off the console to drive three more inputs on the Merlin, also using AES. I am also using both the SD Rack and FOH outputs to feed hearing assist, video recording/ monitor, back of house audio as well… all controlled off the matrix on the desk.”
Thomas says he’s done some slick routing at FOH thanks to the flexibility of the DiGiCo interface. “The compact surface of the SD10—taken from the SD7 approach where any fader can be configured the way I want—allows me to take a musical approach vs. a typical console layout and was a plus. Unlike other consoles, you can minimize your layers, and the SD10 gives us flexible, multiple layers to choose from, so I tend to use less because of how I’m able to lay the console out just on the first layer. What would normally take me three to four layers on the console, I can now do in one, maybe two, because the desk is able to be laid out in almost any configuration of inputs, outputs, etc. I’m not doing anything too crazy; just some fun routing and grouping stuff. We created a Systems/Playback layer that had a few input channels—iPod, pink noise, the input from the support desk—so that any announcements between bands and system tuning is all in one layer.

“I also throw in some dynamics as in the compressed vs. the noncompressed group, which is no trade secret, and I’ve had such awesome results because of using that dynamic section on a wet/dry situation. Everything else on the desk I use simply straight up, it sounds that good. I don’t really need to do a lot to it. As soon as you plug into the desk you’ll hear a difference, from the preamps to the outputs, and that’s the icing on the cake. I love the compression, too. The multiband compression and the dynamic EQ are the best tools on the console. The dynamic section of the console is tops. It’s part of that DiGiCo sound that I just love and that’s one of the reasons I went after the console in the first place.”

Initially, he was making use of the Waves SoundGrid bundle but for simplicity’s sake, found that he was able to get everything he needed within the desk. “I’ve actually forgone the Waves plug-ins and am using all the delays, reverbs and time-based effects on the SD10 itself. The only outboard situation that I take the desk into is a Crane Song HEDD 192 digital signal processor/harmonic sweetener. I take a Subgroup of all of the band and run it through that and it adds a little sparkle to it. I then run it back to the desk and rejoin it with my vocal groups.”

As far as outputs, Thomas says that changes daily. “For our PA situation, I typically use two Left/Right outs these days and then matrix out through either a Lake-type system or the new Martin MLA system feeding left, right sub, front fills, side hangs, delays, lawn and hearing assists. On any given day, we can go from four to 16 sometimes, plus an additional three outputs for our Rational Acoustics Smaart 7 system where we were able to monitor left, right and any input or output off the second solo bus. Being able to see and hear without having to change and manage levels was great. We used one for the nearfield monitors, and the second for the Smaart.”

For recording and virtual soundcheck, Thomas is among the first wave of engineers making use of DiGiCo’s new UB MADI 24-bit/48-channel USB 2.0 interface to get a MADI stream in and out of his MacBook Pro. “I’m using it every night and it’s worked flawlessly,” he says. “I love it. We are at more than 48 channels but I’ve taken the primary inputs, track for track, to a MacBook Pro to a LaCie 4TB Thunderbolt hard drive and I record 48 tracks every night. I also use the ‘Listen to Copied Audio’ function for the Virtual Soundcheck mode, so I can play back the previous night’s show right back to the desk, channel for channel, 1-48. Also, the UB MADI is not DiGiCo proprietary, so the interface will work with any MADI-ready console, which is so cool. Initially we were set up to run with Pro Tools, but we found that if you have Pro Tools Native, it only allows you to go up to 32 channels with the standard PT system, and that was a real bummer. Not taking anything away from Pro Tools or the users of Pro Tools, it’s a great editing system for tracking, but for what we’re doing it’s not. We went and bought a $60 Reaper program that’s absolutely phenomenal. It’s flawless and allows me to listen back to my MADI rack. It sounds really good, too.”

Over at monitor world, Rob Greene is digging the SD10′s flexibility, routing and onboard effects—some of which, including snapshots, are a revelation for the engineer.

“I love the dual solo busses and being able to route a solo to either buss or both,” he says. “It’s very important as a monitor engineer not to have a click-track blasting through your cue wedge. I can also cue up someone’s in-ear mix and wedge mix at the same time. Almost everyone in the band uses Sennheiser in-ears, but my lead singer and guitar player rely heavily on wedges and sidefills. On the first day of rehearsals we decided to run the console at 96kHz. Overall, the console’s sonic quality is superb. It’s got the closest sound to an analog console and sounds better than most of the leading brands of digital consoles.

“I also like the ability to move inputs and outputs to wherever you want on the SD10. I have all the outputs that I need to listen to most often on the first bank so I don’t have to just move banks around too much. Speed is so important. I’m also digging the snapshots on this console. This is the first time I’ve used snapshots for a show. I’ve always been afraid to use them because it’s easy to get lost in them, but I found them easy to understand and they give you a lot of control.”

With the summer/fall leg of the tour coming to a close at the end of September and European dates on the horizon in 2013, Thomas and Greene have been happy with the flexibility the console has offered and will continue to rely on the console’s flexibility to support the show’s diverse structure.

“We’ve tried to keep the audience involved with kids coming onstage to sing, etc.” explains Thomas. “There’s a kind of Vegas show theme to our shows in that there’s always something going at any given time onstage. Using the small footprint of the SD10, which is a condensed screen surface, and having the ability to lay out the console where you need it and for what you need most to be on top and in your hands was key. I went to DiGiCo initially because it sounds the best. And having the ability to have what you need, where you need, when you need it is obviously of the utmost importance with any console. The ergonomics of the SD10 makes it tops. I’ve seen and experienced it all, and having this DiGiCo in my hands every day makes my job easier. And with the tour heading overseas, in fly-date situations, we don’t get to carry our backline, so DiGiCo has now been added to that fly spec of our rider. We’re hoping that everyone will jump on the SD10 format to the extent that we request one from Alabama to Asia. That’s what we’re looking to help do: get it out there and into people’s hands and let them know that this is a very serious product. And the SD10 fits into a lot of regional sound company budgets. It’s a hard-working, great-sounding desk that’s very powerful, and I think it’s going to be one of those consoles that is a staple of the regional and major sound companies. It’s affordable and everyone needs one in their inventory.”

QSC AcousticDesign Loudspeakers Reinforce the Ambience at Atlantic City’s New $2.4 Billion Revel Casino-Resort

Revel CasinoNearly 570 QSC Loudspeakers Deliver Consistent Coverage and High-Quality Audio to Gaming Floor

Atlantic City, NJ (Oct 18, 2012) — Montreal-based Scéno Plus, renowned for its theatre design work in Las Vegas, Canada, and around the world, recently completed a major, multi-venue project at Revel, the new $2.4 billion casino-resort at the north end of Atlantic City’s famed boardwalk. Scéno Plus was the lead designer for all of the entertainment spaces at the Revel, including the Revelry casino floor, where the company designed, specified and optimized nearly 570 QSC Audio Products AcousticDesign Series ceiling- and surface-mount loudspeakers.

Scéno Plus was responsible for the design of two large, multipurpose, transformable venues, several bars and various interconnecting spaces at Revel. The resort, which fronts onto the beach, covers 20 acres and, at 47 stories, is the tallest building in Atlantic City.
In a break with traditional casino design, Revelry’s 130,000-sq.-ft. gaming floor includes windows offering panoramic views of the Atlantic Ocean. As daylight fades, audiovisual, lighting and interior design elements dynamically change the ambiance of what are referred to as “neighborhoods” on the floor as the night’s entertainment begins. “The client wanted to have a high-end theatrical experience on the gaming floor,” explains Simon Léonard, AV Designer, Scéno Plus.
The constant-voltage distributed audio system on the Revelry casino floor includes 274 QSC AcousticDesign AD-CI52ST ceiling speakers, which employ 5.25-inch LF transducer, a 1-inch titanium dome tweeter and a ported enclosure for greater low frequency extension; 170 QSC AcousticDesign AD-S52T two-way surface mount speakers, also incorporating a 5.25-inch woofer and 1-inch neodymium tweeter; and 125 QSC AcousticDesign AD-C81Tw ceiling-mount 8-inch subwoofers, providing additional low-frequency extension.
“The AcousticDesign line was a great choice, because the client really wanted to have fullness and richness of both the high-end and the low-end,” says Léonard. “So we needed a product that could suit that large, broad spectrum, and would also be really comfortable to listen to.”
Despite the significant differences in ceiling height and of finish materials between one neighborhood and the next, the QSC AcousticDesign products were remarkably easy to dial in, according to Léonard. “The voicing of the whole line is very nice. You go from a low ceiling area to an open part of the casino, where AVI/SPL & CALVI worked hard to maintain a certain level of consistency in the trim heights, but the voicing is really similar. You could also get more of the same response between the ceiling and the surface mount versions, which is very nice. We were really astonished at how we could easily, without eq’ing for hours, get the same response everywhere.” He continues, “We were surprised to hear how the AD speakers sounded right out of the box, off-, as well as, on-axis. You can really get something that is consistent throughout the whole coverage area.”
The speaker system on the casino floor also needed to be of high quality, capable of acting as an extension of the sound systems in several of the featured spaces. These include The Social, a two-story, high-energy show-bar in the center of the gaming floor that hosts a variety of events, including musical guests; the Digipit, an area with a raised runway, two raised stages and space for acrobatic and aerial performances; and the Immersive Dome, an overhead, 360-degree digital video projection installation. “There are a couple of features like that on the Revelry floor that the system can take its source from,” says Léonard. “So we put a lot of attention into how we were going to zone the system, just to make sure that we would be able to maintain something that makes sense with the architecture.”
The changing environments and various show elements are preprogrammed and played out through show control automation. “So the floor manager at any time can override the timeline and select something at the catwalk, or later if there’s something happening in the bar and they want to extend the experience onto the floor, they are always able to do so. That’s why we had to provide a sound reinforcement system that would reflect or extend the quality of a live event. It’s more or less an extension of a concert system,” he elaborates.
Scéno Plus collaborated on the Revel project with Claude Ricard and Marc St-Jacques of SF Marketing, the QSC distributor for Canada. “We had the opportunity to do a mock up in their facility, so we could really compare what EASE Address was saying to compare it with the real life installation, or as close as we could get it. Those guys were really a big help,” says Léonard. We were really happy about how it turned out.” More importantly, he comments, “The client is really pleased with the results.”

About QSC Audio
QSC Audio Products, LLC is a leading manufacturer of power amplifiers, loudspeakers, digital signal processors, digital sound transport, and network audio for professional audio systems worldwide. qsc.com

Dual Yamaha DM2000s Used at Hofstra Presidential Debate

BUENA PARK, Calif.—Hofstra University on Long Island (NY) was the site chosen for the second of three Presidential debates between President Barack Obama and former Massachusetts Governor Mitt Romney. Held on Tuesday, October 16, Hofstra previously hosted the 2008 debate between President-elect Obama and John McCain. Audio production was provided by On Stage Audio (OSA) Las Vegas.

Michael Abbott, owner of All Ears, Inc. (Los Angeles) chose a pair of Yamaha DM2000 digital consoles for audio control. “The dual DM2000s were chosen for the Presidential debate specifically to provide two separate audio streams,” states Abbott. “Size and audio I/O capabilities also played a key role in the set up. We routed six Yamaha AD8HR 8-channel preamps to eight groups: four for the house mix and four for the broadcast pool truck.”

In addition, Abbott said Dugan-MY16 cards were inserted for the 24 Town Hall participant mics along with moderator and candidate microphones.

For more information on All Ears, Inc., e-mail michaelsound@earthlink.net.

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

-END-

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

DiGiCo Captures Electrifying Tedeschi Trucks Band Live On 2-CD Set

Brilliant musicianship and roof-raising performances characterize the Tedeschi Trucks Band’s live concerts. The perennially touring, 11-piece ensemble covers myriad genres from Delta blues and Rock to Funk and Jazz and is led by husband and wife team singer-guitarist Susan Tedeschi and slide guitar virtuoso Derek Trucks. So it made perfect sense for the group to follow-up their Grammy awarded debut release with a live testament to their incendiary shows. The two-disc Everybody’s Talkin’ marks the TTB’s first anniversary and features highlights recorded last fall while the band toured behind Revelator. Described as “a warm-sounding, ‘organic’ concert document, DiGiCo’s SD8 console played a major role in the recording of that CD under the discerning ear of monitor engineer Bobby Tis. The group’s touring audio kit (supplied by SK Systems) also features an SD10 (replacing a DiGiCo D5) at Front of House with Brian Speiser.

“For that 2011 tour,” Tis recalls, “I brought out a rack of Neve and API outboard preamps and a few sweet vintage compressors. We used them for some of our most important channels and fed the pre amps line-in to the DiGiCo stage rack. I recorded to two systems simultaneously throughout the whole tour. I had Cubase running on my MacBook Pro through a MADIface as my backup recorder, which I also used for playback for the band and virtual soundcheck. The main recorder (the one we mixed the album from) was a Joeco BBR-64 MADI. The Joeco recorder integrated seamlessly with the DiGiCo and gave us 64 recordable tracks via MADI. It was easy to use, stable, and amazingly. Neither recorder crashed the whole tour and the tracks sounded great. Having the DiGiCo for these recordings made the project very easy… I was even able to assign a stereo aux to a pair of tracks and print a rough mix along with the multitracks as the show was going on. I would do it again the same way.”

Speiser uses his SD10 in tandem with an RME MADIFace into a MacBook Pro running Logic to track the occasional show for virtual soundcheck purposes. Most shows, however, he’s recording a board mix through that same setup as a reference for the band to listen to.

Both Tis and Speiser are no strangers to DiGiCo and the decision to carry the consoles on the newly minted tour in 2011 was an easy decision to make. Both had been introduced to the DiGiCo platform on D1s and D5s while working with SK Systems during the early 2000s, and Speiser used one or the other on tours with They Might Be Giants, 311 and with the Indigo Girls—where he moved from a D1 to an SD8 and finally an SD8/24 to get the most “bang for my buck while keeping a small footprint,” Speiser says. “Having been on DiGiCo consoles for a long time, I’ve really enjoyed the sonic differences as the processing technology and power have gotten more intense. Once I moved over from the D series consoles to the SD consoles, going backwards just wasn’t an option. I definitely find the DiGiCo SD consoles to be the best sounding digital desks available. If you use the A>D converters to their full potential and convert the right amount of signal, you can really achieve great rich sounds. As an analogue connoisseur, it’s very important to me that you can’t hear anything ‘digital’-sounding in my mix and the quality of converters in DiGiCo gear, along with its floating point 40-Bit Super FPGA, achieve that more so than any other digital desks I’ve mixed on.”

Speiser says the flexibility and dynamic EQ/multiband comp capabilities are the most rewarding features of the SD10. “It helps to be able to put any sort of fader or output in any slot I want. I can keep everything I need in front of me and move channels I don’t need as often. Having an 11-piece band, you really need to make the most out of the space you have, and I can personalize the console exactly as I see fit. The dynamic EQ is a great way to maintain the life of a vocal or instrument and still pull certain trouble frequencies out only when they start to get out of control. One other feature that has come in quite handy on the SD10 is the multiple User Defined Keys (macros). With so much going on on our stage, and musicians moving around to different mics, I’m able to use the macros to change what mics show up on what channels, allowing me to keep everybody’s settings the same for their voice or instrument no matter where on stage they decide to play.”

As for outboard gear, he keeps it to a bare minimum for consistency’s sake. “It was important to me when I started working with TTB to try and keep everything in the box so that I can advance to have an SD8 or SD10 on fly dates and still be able to keep my session sounding the same. On our tour, the only piece of gear I have with me is a Dolby Lake Processor on my mix outputs so that I can walk around and EQ each venue on a tablet computer. I plan to try adding a Waves SoundGrid in the future, but we haven’t had the chance to implement it just yet.”

Over in monitor world, Tis says his favorite features on the SD8 are the console’s routing flexibility and functionality, as well as the snapshots, which help him to achieve consistency. “I’m mixing the band through post-fade groups for the most part. Everyone gets themselves pre-fade off their channels and everything else in the mix is coming in post-fade through groups. This allows me to mix the show off the main faders and have the fader movement translate proportionally in everyone’s mix simultaneously. I’ve been using this technique for a while, but it’s definitely the best it has ever been with the SD8.

“Being able to have multiple versions (MultiPatch) of the same input to be used in different mixes on the stage, on the fader bank layers, and the flexibility of the mixing surface all help me keep those additional faders organized and streamlined,” he adds. “I also really like having the macros even though I’m using them for not so exciting stuff. I have them set up as buttons that I’d like to have that are not built-in on the surface, for instance, ‘Gain tracking On/Off’ for all channels, ‘Fader Flip On/Off,’ ‘Save Session,’ and I have a couple assigned to specific channel mutes and mute groups. I don’t use a lot of snapshots, but I do have a few for certain tunes where our vocalists or keyboard/flute player moves to different positions on the stage.

“I’m also a huge fan of DiGiCo’s snapshot scope, which is second to none in my opinion. The few that I’m using, which are scoped to see aux-send level and mute, have helped me to solve some issues of consistency I’ve had in the past when our vocalist or keys/flute player change positions on stage. Also, on some legs of the tour the band will do some stripped-down blues tunes, which is pretty much an ‘audio scene change.’ The snapshots have helped me keep that portion of the show very consistent without having to flip though every mix and make adjustments. I’m also a big fan of the Multiband Compressors and Dynamic EQ’s, they really help me to keep the most musical parts of my lead instruments in focus on a stage with 11 musicians, 10 wedge mixes and 2 drum fills!”

And the band has certainly noticed the forward progression of their audio production since bringing the DiGiCo SD’s out on this tour. “We’ve had several positive comments about the consistency of the sound of our show from the band,” relays Tis. “In monitors, I’ve heard certain band members feel great because they can musically communicate with each other, which, I believe, is because of how the SD8 allows me to mix the show. With Brian at FOH with his SD10, too, there’s been a plethora of rave reviews from fans and critics, but the band has especially noticed that they are getting their musical statements across to the audience in a very focused, conducive, and high-fidelity manner night after night, and overall the audiences have become more energetic because of this. The consoles have helped us raise the bar for this organization. In my opinion the DiGiCo SD series consoles are, hands down, the best sounding and most flexible digital consoles on the market. I’ve used almost all of the digital consoles that are out there over the years and not one of them is capable of out performing my SD8 for its application with this band. This console makes my job fun everyday because I know I can do anything I need to. We are grateful, loyal and proud DiGiCo users.”

Indianapolis Traders Point Christian Church Upgrades Audio System & Gets A Windfall of Additional Features & Benefits

Traders Point Christian Church in Indianapolis, Indiana has a rich history dating back to humble beginnings with a handful of worshipers in 1834. The congregation now totals close to 4,000 members. With an eye (and ear) to updating its audio footprint and wireless technology, Technical Systems Engineer Brent Whetstine—with the help of Daryl Cripe and Nate Krause of Church Solutions Group—set out on a mission to upgrade TPCC’s main mix and monitor/IE consoles in its newest Worship Center, where the church relocated to in 2007. With the addition of a pair of DiGiCo SD10s and SD racks set up for 96 inputs and 48 outputs, not only did TPCC get a world-class and expandable system that will allow them to grow in the coming years, but also a pristine-sounding clarity to its services. Additionally, it offered its volunteer staff of engineers an educational learning tool.

“We had outgrown our previous consoles both in channel count as well as output, so we had started looking specifically for consoles that doubled our existing capabilities,” Whetstine explains. “Our philosophy was that if we’re going to pay a premium for the next level of digital console, there was no sense in only gaining 12 more inputs, or only eight more outputs, especially knowing that our worship team and its needs would be growing over the next few years. We had looked at the SD8 and really liked the package, but felt like we still needed to double our channel and output capability. When we saw the advertisement in Live Sound magazine for the ‘New SD10 at 96/48,’ we said, ‘That’s our console!’

“We knew we were getting a better console, and we knew of DiGiCo’s reputation for creating stellar-sounding products. What we didn’t bank on was that the volunteers would take to it so quickly. Our volunteer team felt it was easier to get around on than our previous boards and have felt right at home from day one. More than that, we’re constantly in awe at the sound quality. The comment ‘Wow, that sounds great,’ or ‘Wow, I didn’t know it would do that,’ is heard pretty often these days around here.”

The main SD10 console interfaces with a Yamaha DME64 processor by way of AES/EBU, to drive a large LCR array of HPV MAD A-9s, SB412s, MTM-1s and VLFs, all powered by Yamaha PCN series amps. The monitor desk feeds 16 stereo mixes (10 of which are PSM900, with more to be added), two wired mixes for bass and drums offering better low end, and four wireless IEM systems TPCC owned prior to the upgrade.

Some of the system’s feature set proved helpful for their needs—for example, smart keys that allow the operator to easily make quick mix changes like effects and sub boosts without having to hunt down channels. The programmability of scenes with specific recallable functions is way more in-depth than their previous board, allowing for very detailed scene recall per song, and even within songs for dramatic shifts of effects and mix details. And the volunteer engineers cite Snapshot Notes and Virtual Sound Check as veritable blessings.

“I found the EQ to be both subtle and musical,” says Whetstine. “We’re able to do very narrow boosts in upper regions that previously would have been piercing, but on this board, it just makes things stand out of the mix while still sounding natural even when the boost might look wildly dramatic. Minor tweaks of a dB or less are immediately heard, but not sonically noticeable. Even when cuts of 9db or more are applied, it still sounds proper with no odd ‘carved’ or unnatural sounds. Everything just sounds right.

“Also, the effects presets are just perfect,” he adds. “Our mixes, even in our auditorium, sound more live and energetic with stock programs, versus sounding like a concert hall—or very distant-sounding. The stock reverbs just sound like natural ambience without drawing attention to the effect itself. We’ve also upgraded our native plug-ins to TDM. We’re using the Waves’ Blackface CLA-1176 plug-ins on nearly everything, including vocals, drums, bass, acoustics, etc. Having it in-line and not compressed brings a really familiar quality to the vocals. We’re also using a PuigTec EQ on the bass and a PuigChild compressor on guitars. We’ve only purchased these few, as they were what I was familiar with from my time learning audio in Nashville. My next focus will be to step into some mastering plug-ins to help bulletproof audio feeds to recording, video and building systems. I’m also really turning over the idea of some of the different channel strips that are available for plug-ins. We’ve worked for several years with an end goal of developing a sonic signature for the music we produce, and I’m curious if some of those might be a step in that direction. It’s kind of nebulous and evolving, but when you have really cool tools like this available, it makes it really energizing to always be deconstructing what we do to try and make it better.”

Team FOH Main - (L-R) Jeff Johnston (volunteer), Jonathan Ficklin (Vol) Levy Stout (Vol), Mike Blackburn (Vol), Wes Fahlsing (Vol), Brent Whetstine (Technical Systems/Staff)

Another unexpected bonus the console brought to TPCC: it’s been a tool for educational growth for its volunteers, who now have the ability to record rehearsals and tweak the mixes after the fact. TPCC is currently set up to record 48 channels through an RME MADI card on a Logic Audio system, and Whetstine says they hope to purchase a second card to be able to record a full 96 channels without having to juggle inputs between racks. These recordings are currently used for training and virtual soundcheck purposes.

“The training portion is an unbelievable windfall for a church,” he says. “Being able to track our rehearsals and then work on our mixes without the pressure of other people in the room has not only made our mix engineers incredibly good, it has turned out to be an incredible teaching tool. We can bring all of our audio team members in and talk through ideas of channel setup and EQ without the need for a band to do this with. As a church worker and leader of volunteers, I can’t highlight this feature enough for its ability to aid training both new and existing volunteers in a safe manner that had previously been impossible. Also, the ability for a volunteer to work on his mix in a calm environment—some of whom spend up to four to five hours post-rehearsal—away from the stress of a fast-paced rehearsal has done wonders for our engineers, increasing the confidence of their work and the quality of their mixes. In short, the engineers are doing better work and enjoying the final execution more. It also makes Sunday morning that much more enjoyable in that they’re fully prepared, and completely relaxed.”

The SD10s, in addition, solved another sonic challenge. “Being so clean and comfortable to listen to, this console has bought us a lot of grace with our congregation, which has a broad range of ages,” Whetstine confesses. “What I mean by this is that we can be powerful and punchy-sounding without feeling like it’s loud. This was really evident with our previous console in that it was not as smooth as this console, so it sometimes sounded loud even at low volumes. The clarity within the mix is incredible. On some consoles, you can really only put a few things at the forefront of the mix, and the rest of the band is kind of part of the ‘bed.’ On the SD10s, we can hear way back into the mix, which not only makes it easier to pick out individual instruments, but has really kept us on our toes to be better at what we do because the average person can now clearly hear whether the mix is on or not. This board sounds so clean and nice! It’s exposed what we refer to as our ‘club engineer disease’—all of the bad habits developed mixing around sonic inadequacies of other gear we’ve been exposed to, or unrefined work that is the result of a narrow window for the mix to be heard through. There is so much space and subtlety to everything about this console, it’s like you can hear in HD and 3D at the same time. We’re able to mix with more power and volume, allowing the music to really connect with and engage the congregation, whilst not being perceived as being louder. In fact, we’ve even had comments like, ‘I’m glad you finally turned it down,’ when in reality we’re easily 4-6 dB louder!”

One trick he’s happy to impart regards working with the choir: “I’ve found that by assigning the four choir mics to both individual channels and as stereo pairs, I can dial the spread on the stereo pair to Wide and then mix it back in with the original four mics. This makes the choir sound as big as a house with literally no hard work of EQing stuff out. Also, using auxes on faders for monitors while having the knobs follow the selected mix makes it very easy for the monitor engineer to dial up an instrument with a hand on the pan knob and never having to take his eyes off the stage. The pan knob for that instrument is always the pan knob no matter what mix you’ve selected.”

All in all, the SD10 acquisition has offered TPCC incredible benefits for both staff and congregation alike. “The DiGiCo consoles have made us better at what we do in general,” Whetstine says, “and offer our worshipers a message that is sonically clear—and ultimately that is our greatest goal.”

WORXAUDIO TECHNOLOGIES LOUDSPEAKERS DEPLOYED AT FIRST BAPTIST CHURCH OF LENOIR

**** Photo: Buck Roberts ****

Lenoir NC – October 2012 … Recognizing that audio and video capabilities are well-entrenched in contemporary worship services, First Baptist Church of Lenoir decided the time had come to upgrade their sanctuary’s A/V facilities. While services are presently traditional in nature, church management wanted the new A/V system to have the versatility to handle a wide range of services and, for that matter, the occasional music program. Their previous sound reinforcement system suffered from poor speech intelligibility, phasing issues, and inconsistent dispersion. Determined to correct the situation, the church ultimately deployed a new sound system drawn from the catalog of Greensboro, NC-based WorxAudio Technologies. more

Community Expands Distributed Design Family with DA6

Chester, PA – October 2012...  Community Professional Loudspeakers has introduced the newest member of their highly acclaimed Distributed Design Series. The new DA6 is a high-output, full-range architectural surface-mount loudspeaker with an elegant, sconce-like form factor and contemporary styling designed to complement the most upscale environments including restaurants, resorts, hotel lobbies and ballrooms, and retail establishments.

The DA6 offers a unique, 115-degree cone-shaped coverage pattern that emanates from the face of the loudspeaker downwards at a 26-degree angle from the wall. The two-way, 6.5-inch surface mount DA6 integrates Community’s patented Carbon Ring Cone Technology™, delivering uniform voicing and consistent coverage from zone to zone when combined with other Distributed Design Series ceiling, surface mount and pendant loudspeakers, including the D10SUB ceiling mount and DS8SUB surface mount subwoofers.

The DA6′s true coaxial design achieves higher sensitivity and dramatically lower distortion thanks to the implementation of separate, discrete magnets for its LF and HF drivers. A built in autoformer offers selectable 70V or 100V operation in a distributed system, as well as standard 8 ohm use.

The DA6 is available in standard black or white finishes, and can be painted to match any décor. Enclosures are constructed of high-impact ABS plastic to reduce unwanted resonance, and the included flush-mount wall plate makes installation fast and efficient.

###

Community Professional Loudspeakers is a manufacturer and supplier of professional audio equipment.  Since 1968, Community has led the pro-audio industry with technological innovations which have become industry standards. Today, Community offers over 150 professional loudspeaker products, including installed loudspeaker systems, weather-resistant outdoor loudspeaker systems, ceiling loudspeakers, high level voice paging systems, and portable entertainment systems.  Visit www.communitypro.com for more information. 

 

FSR’s New DV Wall Plate Interface Allows Analog & Digital Video to Play in the Same Sandbox

INCORPORATING LEGACY ANALOG AND DIGITAL VIDEO INTO AV SYSTEMS DESIGN JUST GOT EASIER

Woodland Park, NJ – FSR, manufacturer of audio and video switching, control products, and connectivity boxes, has introduced the Digital / Analog Wall Plate Interface -part of the new Digital Video (DV) family – to aid in the design of AV systems that incorporate legacy analog and digital video. The DV Family, aimed at professional installations requiring HDMI support, reduces the integration challenges inherent in the deployment of digital video systems.

The Digital / Analog Interface fits in a standard 2 gang electrical box and has a dual Decora faceplate available in white, black and ivory to match the décor of the installation. It accepts HDMI or DVI input, computer video and analog stereo audio. The wall plate will auto switch between the analog and digital inputs, or it can be manually switched from the front of the interface. The output is HDMI via a CAT 5e or 6 cable and can transmit 1080p up to 165 feet.

FSR offers a variety of HDMI CAT x receivers, switchers and scalars to complete the design.

For further details contact FSR at (800) 332-3771 or via e-mail at sales@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.

FSR complies with the American Recovery and Reinvestment Act of 2009 and is a woman owned business. FSR offers live 24/7 technical and sales support throughout the country from expertly trained technicians and sales representatives. For more information visit www.fsrinc.com.

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

Press Contact: Desert Moon Communications
Harriet Diener
845-512-8283 • harriet@desertmooncomm.com

GV Audio Inc. Uses Yamaha CL5 to Mix Talent at Regina Folk Festival

BUENA PARK, Calif.—Held annually at Victoria Park in Regina, Saskatchewan on a weekend in August, the Regina Folk Festival is a much-anticipated celebration of folk music. With over 5,000 concertgoers in attendance each of the three days, the concert’s main stage this year featured Timber Timbre, Cold Specks, Shad, Mavis Staples, The Jim Cuddy Band, Great Lake Swimmers, Serena Ryder & The Heartbroken, Élage Diouf, Austra, Stars, The Barr Brothers, Pokey LaFarge & The South Country Three, Alejandra Robles, Arlo Guthrie Tribute to Woody Guthrie, and Emmylou Harris.

Regina Folk Festival used the production talents of local sound company, GV Audio, Inc. who chose a new Yamaha CL5 Digital Audio Console and two RIO-3224D remote I/Os for main stage front of house mixing. “Most of the visiting engineers were very familiar with Yamaha consoles, but since the CL5 is new, I first showed them the similarities to other Yamaha consoles and then ran them through features in the CL that they were interested in trying,” states Don Hricz, audio engineer, GV Audio. “They were able to quickly pull a mix together; some had brought their files with them that we easily converted to the CL5. One of the engineers downloaded the CL5 Editor the night before his show so he became quite familiar with the console.”

Hricz said that he and the other nine+ guest engineers were very impressed with the sound and feel of the console. “The Yamaha CL5 is my new favorite!”

For more information on GV Audio, Inc. visit www.gvaudio.ca.

For more information on the Yamaha CL5, visit www.yamahaca.com.

-END-

PHOTO ID: GV Audio’s Don Hricz mixing Serena Ryder

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

About

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.

Calendar

September 2014
M T W T F S S
« Aug    
1234567
891011121314
15161718192021
22232425262728
2930  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication