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WIND OVER THE EARTH ADDS AN API 1608 TO ITS DEMO ROOM STUDIO

BOULDER, COLORADO – AUGUST 2014: Situated in the foothills of the Rocky Mountains, Wind Over the Earth (WOTE) offers recording sessions for local bands, singer/songwriters, and voice-overs, as well as post-production and training services within its demo studios. It doesn’t promote itself as a commercial studio, but rather uses its space as a base of knowledge to be shared with the community. As a longtime user of API gear, WOTE has now commissioned an in-house 1608 console to offer real world knowledge and applications to its customers.

“Jumping into the 1608 is something we wanted to do for quite some time,” stated Mark Venezia, studio manager at WOTE. “The classic sound of API is something WOTE has been advocating for years, so when we were making the decision to install a console, the 1608 was the right fit.”

Since the commissioning, the 1608’s headroom, imaging, and overall depth of sound have made an immediate impact. “The 1608 has brought us up to another level of visibility,” shared Venezia. “It has made our life that much easier. The work flow on everything we do is smoother.”

Part of what makes the 1608 a success at WOTE is the setup. “We have everything wired into four bays as of right now, and the ease of use revealed itself in our first session. We custom-build all of our cables here at WOTE, and the last two 1608 consoles we have sold have included custom wiring packages for specific client needs,” explained Venezia. “In each case, customers who have been in our demo room learned first-hand the ease of use. The versatility of moving modules around is nice as well.”

With some post-production projects, recording sessions, and a series of live shows using the 1608 already complete, WOTE is eager to pursue further trainings. “We are putting together a series of master’s mixing seminars, where we will be flying out some high-profile engineers for an evening of knowledge sharing in the mixing environment. We love hosting seminars like this, as community is our number one priority,” shared Venezia. Part of the glue that holds all the future works together is the knowledge WOTE is able to pair with the gear it offers. “The 1608 is the centerpiece of the room, and everything is based around it.”

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

HARD HIT BY SANDY, LONG BEACH HIGH SCHOOL REBUILDS ATHLETIC FIELD USING ASHLY AUDIO

LIDO BEACH, NEW YORK – AUGUST 2014: Long Beach High School is situated on a barrier island on the southern side of New York’s Long Island, where it received a terrific pounding from Hurricane Sandy in late October 2012. For more than a year afterward, student athletes had to pass the trashed and unusable athletic field as other rebuilding efforts took precedence. The job would be large. In addition to rebuilding the field itself, the school had to replace the field’s fatally damaged sound reinforcement system. Installed by Advance Sound of Farmingdale, New York, the new system centers on an Ashly ne24.24M modular processor and two Ashly ne8250 eight-channel amplifiers. Advance Sound installed a similar system at Long Beach Middle School prior to Hurricane Sandy, and that system weathered the fateful storm and remains functional to this day.

“Long Beach High School was very hard hit by Sandy,” said Thomas DePace, chief operations officer at Advance Sound. “The wind, the sand, and the water turned what was once a grassy field into a swampland. The goal of this rebuilding effort was to prevent such loss to a future storm. We’ve had great success with the robustness of Ashly gear, so that was easy to specify. In addition, the school wanted to move to a more distributed system to avoid noise conflicts with neighbors that had been a source of some tension with the old end zone-fired system. We needed a lot of amplifier channels, and Ashly’s two-rack space, eight-channel ne8250 filled that need perfectly.”

Inputs to the system include a CD player, an iPod input, and a handful of wired and wireless microphones, all of which feed an Ashly ne24.24M modular processor outfitted with eight analog inputs and twelve analog outputs. Two Ashly ne8250 amplifiers deliver sixteen 250W channels to drive six bi-amped One Systems 212CIM loudspeakers and a collection of indoor loudspeakers for the press booth. The 212CIMs are weatherproof, and Advance Sound was allowed to install each speaker on its own dedicated sound pole. Thus, coverage was not constrained by the locations of existing structures, and the SPL at the adjacent residences is significantly lower than with the previous system.

“With an eight-fader Ashly RD-8C remote control, the new system is also very easy and intuitive for the non-technical staff to operate,” said DePace. “That’s important because we’re an hour away from the school, and troubleshooting on game day is not something we want to be engaged in. With the RD-8C, all they have to do is turn the fader up for the input they’d like to hear. That’s as easy and repeatable as it gets!”

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

L.A.’s CHALICE RECORDING GETS DOWN WITH DANLEY

HOLLYWOOD, CALIFORNIA – AUGUST 2014: The client list at Chalice Recording Studio in Hollywood, California is so extensive that it is challenging to think of a celebrity who is not on it. For example, the “B” section includes the Backstreet Boys, Barbara Streisand, Beastie Boys, Justin Bieber, Beyoncé, the Black Eyed Peas, Blink 182, and Britney Spears and the “P” section includes Paris Hilton, Perry Farrell, Prince, and Puff Daddy. Those clients use Chalice Recording Studio as the medium through which they turn ideas into platinum albums and Grammy Awards. So Chalice is always humming – almost literally – with the next big thing. Because top-volume monitoring (think 120dB+) and deep, authentic bass at those extreme SPLs have become so critical to so many hip-hop and top-40 artists, engineers, and producers, Chalice Recording Studio has installed Danley Sound Labs TH-115 subwoofers in studios A and B.

“Before we installed the Danley subs, we were blowing our subwoofer drivers once or twice a week,” said Lowell Pickett, head studio tech at Chalice. “It’s because the monitoring volume is often really extreme; more and more, our clients are using the main system to gauge the music’s impact at club volumes. It’s a visceral thing – they want to feel it as much as hear it. Anyway, I did some research, and more than one person suggested that I check out Danley.”

Compared with conventional designs, Danley Sound Labs’ patented Tapped Horn (TH) subwoofer technology delivers deeper low-end extension, a more even frequency response, and much lower distortion. Indeed, few people understand how distorted conventional subwoofers are until they hear a Danley Tapped Horn subwoofer. To help make their decision, the Chalice staff A/B’d the Danley TH-115s against their existing big-name subwoofers in Studio A.

“The Danley subs were way, way better,” Pickett said flatly. “Previously, there was no place in the room where the bass seemed focused. With these subs, I could really hear what was going on in most places in the room. Everything tightened up and became clearer, and our low end got even lower.” “There’s a magic that happens when the Danley subwoofers at Chalice pair up with the full-range system,” added Kenny Andrews, the area Danley rep. “It’s a very musical sound.”

As part of the Danley installation, Chalice did something very few studios are willing to do (yet). They put the entire monitoring signal through a Danley DSLP48 digital processor, which provided clean crossovers, as well as flexible equalization and filtering for tuning the room. “We were nervous,” Pickett admitted. “We had previously used high-end analog crossovers and equalizers. This was a jump, but everyone agrees it has been all up side and no down side. The sound is as transparent as ever, and the uniform channel processing has tightened up the stereo imaging. The DSLP48′s equalizers are great and have helped the acousticians who tune the room.” As a bonus, Chalice uses the DSLP48 to provide different presets to different clients.

Output from the Danley DSLP48 feeds a Danley DSLA3.3K dual-channel amplifier, which in turn powers the two Danley TH-115 subwoofers. The processor output also feeds the existing full-range system, an Augspurger GA215H with 15-inch TAD 1601 B woofers and TAD 4002 beryllium compression drivers. All the loudspeaker components, as well as the Danley TH-115 subwoofers, are soffit mounted.

“Our clients noticed the improvement right away, and we stopped replacing subwoofer drivers on a weekly basis,” said Pickett. “With the Danleys, the volume can be so great that the light fixtures fall from the ceiling! That really tickles the clients!” With Studio A booked out completely, Chalice made the same change in Studio B. Now Studio B has a pair of Danley TH-115s, backed by additional Danley processing and amplification.

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

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

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

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

Symetrix Appoints Millar Electronics as Rep in Southeast U.S.

SEATTLE, WASHINGTON: Symetrix, manufacturer of a wide range of DSP solutions for the installed sound market, from turnkey Jupiter processors to Dante-based, open architecture Radius and Edge processors, announces the appointment of North Carolina-based Millar Electronics as its rep in the Southeast. Millar Electronics will cover North Carolina, South Carolina, Georgia, Tennessee, Alabama, and Mississippi, where it has a deep history and a well-established network of connections. Millar Electronics was founded ninety years ago – in 1924 – as a components company selling capacitors, resistors, and the like. Over the decades, it grew with the times to become an audio/video manufacturers rep firm.

“Millar Electronics has built its success on relationships,” said Craig Richardson, vice president of global sales with Symetrix. “When I talk with people who do business with Millar Electronics, they always relate the trust they have in the salesmen they work with. Those salesmen are always out in their territories, talking with their clients, and keeping on top of what’s going on. They help their clients make the right choices for success now and in the long run.”

“We’re excited to work with Symetrix,” said Pete Petty, sales manager with Millar Electronics. “Symetrix builds cutting-edge DSP solutions, and its Edge and Radius products use Dante as a networking platform. Of course, Dante is becoming a big part of the industry, and Symetrix’ native Dante capacity will work hand-in-hand with a lot of the other equipment we represent and provide our clients with a complete solution. Moreover, great people work to make Symetrix what it is, and, having personally worked with them before, I know they’ll make it easy for us to go out and do our job. We’re looking forward to delivering a substantive increase in Symetrix’ market share in our territories.”

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

COLUMBIA PERFORMING ARTS CENTRE DANCING TO ASHLY’S NX-SERIES AMPS

COLUMBIA, MISSOURI: The Columbia Performing Arts Centre in Columbia, Missouri is a private, not-for-profit dance school for children founded in 1998, and its students range in age from toddlers through college age. The school recently completed a major addition including four new studios. The addition replaced the nearby, but separate, studio annex allowing them to have all eight studios under one roof creating a safer environment for the students. Local A/V integration firm Sound Concepts Inc. was hired to design and install high-fidelity sound systems, both for the new studios and to preemptively replace the older components in the existing studios. Sound Concepts Inc. delivered an impactful, energy-efficient sound system centered on the Ashly nXp8002 two-channel Network Amplifier rated at 800W per channel with a built-in Protea™ DSP Processor. All nX Series amplifiers can be programmed to trigger a defeatable sleep mode where the amp draws less than 1 Watt of AC power.

“The Columbia Performing Arts Centre is always brimming with energy and activity, and high-quality sound reproduction is an important component in its success,” said Chris Howe, manager at Sound Concepts Inc. “In addition to supplying the new studios with great, easy-to-operate sound systems, the center’s directors wanted us to harmonize functionality and quality in the existing studios as well. That way, instructors trained in one studio will be able to use any other studio without a hiccup.” Howe completed the installation in stages, beginning with the new rooms and progressing to the existing rooms as class schedule logistics permitted.

As requested, each studio is nearly identical. Each features a Denon DM700C CD player for a primary music source. Howe used its digital output with the Ashly nXp’s optional digital input card. In addition, he gave each system a 1/8-inch iPod-style jack and connected it to the nXp’s analog input. “If an instructor wants to use the CD player, they just use it and it works,” he said. “If they want to connect their digital music source from a player, phone, or computer, they just turn the Denon player off, and the nXp automatically fails over to the analog input. It’s really simple and removes a layer of equipment that we (and they) would have had to deal with.” He used the nXp’s back-panel volume control option to wire a 10k potentiometer for a simple volume control. Depending on the room, the nXp powers either four 8ohm Renkus-Heinz TRX182s or two 8ohm Renkus-Heinz TRX151s. Each room gets the full benefit and liveliness of stereo sound.

“There were a lot of good reasons to go with the Ashly nXp combined amplifiers/processors,” said Howe. “Of course the built-in DSP is one of the first features that drew us to the nXp line, we needed smooth compression and limiting to protect the system as well as a good EQ to fine tune the speaker response to each space. The fail-over functionality was huge, as was the unit’s super low power consumption at idle. That kind of intelligent power management is great in a situation like this! The fact that they’re American made with a huge five-year warranty is excellent. And of course, the sound quality and reliability is tremendous. When we got the first nXp8002 in, we A/B’d it with an amp from our rental stock in the adjacent room. That rental amp’s got a good name and a good reputation. Everything else about the two rooms was exactly alike – same size, same speakers, same everything. I assumed I wouldn’t be able to hear a difference, or if I did hear a difference, I’d have to strain to hear it. I was surprised that the Ashly nXp8002 was obviously better. It was the kind of difference you just hear, no straining needed.”

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

DANLEY EXPANDS LINE OF OS “OUTDOOR SERIES” FULLY-WEATHERIZED LOUDSPEAKERS

GAINESVILLE, GEORGIA: Danley Sound Labs, maker of innovative loudspeakers and subwoofers, announces the expansion of its OS “Outdoor Series” of fully-weatherized loudspeakers, including a new fully-weatherized subwoofer. Although all Danley products are optionally available with level-2 weatherization, which includes fiberglass seams, stainless steel hardware, and protective coatings over all wooden components, the fact remains that those wooden components will have a shorter life span in the elements than they would have had in an indoor installation. In contrast, Danley OS products are constructed of molded plastic with a custom injection molded shell rated to last fifty-years. The cabinet is sealed so the inner components are also protected from harsh outdoor elements. The materials are sourced from within a half-hour of Danley’s Gainesville, Georgia headquarters – a boon for large orders and/or short lead times.

“Like all of our Synergy Horn loudspeakers, the Danley OS-80 sounds fantastic,” said Mike Hedden, president of Danley Sound Labs. “Fidelity is excellent and distortion is remarkably low at all SPLs, and the OS-80 has the same highly-articulated coverage pattern and arrayability for which Danley is known. What sets the OS-80 apart is that its construction and materials make it impervious to the weather, for years and decades to come. Our local sources and molding machinery make it easy for us to turn over large Outdoor Series orders on short notice. Moreover, the molding process itself is very efficient, which allows us to sell the OS products at fiercely competitive prices.”

Soon, the OS-80′s versatile 80-degree conical coverage pattern will be joined by other OS models with a diversity of coverage patterns that will give designers greater flexibility to meet the needs of a range of outdoor situations. These will include the OS-90 and OS-100. In addition, the new Danley OS-115LF subwoofer will extend the bottom end of the OS line and the OS Nano will be the power of Danley in the palm of your hand.

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

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