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Iconyx Makes it Clear for Knollwood Baptist Church

Winston, Salem, NC – October 2013… In February of 1957, a group of about 80 faithful founded Knollwood Baptist Church, meeting at a local funeral hall until their first chapel was completed in July. More than half a century later, Knollwood’s congregation numbers in the thousands, and their 1000-seat sanctuary offers multiple services each week.

The sanctuary’s modernistic design is truly impressive, with its soaring peaked ceilings, abundant glass, and polished surfaces. But that same design has long been problematic for the church’s technical staff, who have struggled to achieve intelligibility and even coverage in the hall. As Dan Wood, President of High Point, NC-based Church Interiors Audio Video (CIAv) explains, the sanctuary’s recent renovation was an ideal opportunity to finally tackle the audio issues.

“It’s a beautiful space, but very challenging acoustically, and the original sound system just couldn’t provide adequate coverage,” says Wood. “Church Interiors was undertaking a major renovation, and it was a perfect time to rethink their audio system.”

The room’s airy, open architecture presented some significant challenges — particularly the chancel area’s wide design. “The chancel platform extends far into the room, and there was no possibility to hang an array or cluster without impacting line of sight,” says Wood. “Our only viable option was to locate the speakers behind all the open microphones — there was simply no other place to put them.

Consistent coverage was another major concern. Areas on the room’s extremities and up in the balcony suffered from poor intelligibility. Since the balcony is also home to the house mix position, this was particularly important to address.

With no option to substantially alter the room’s architectural and acoustical character, the solution clearly had to be found within the audio system design. With this in mind, CIAv selected Renkus-Heinz Iconyx digitally steered column array loudspeakers, placing a single IC24-R-II on either side of the chancel platform.

“The Iconyx allowed us to create multiple sound beams and steer them to the seats on the floor and balcony levels, while steering them away from the walls and windows and other reflective surfaces,” says Wood. “It also enabled us to provide focused coverage to the mix position up in the balcony.”

Wood reports response to the new system has been overwhelmingly positive. “With just two Iconyx columns, we’ve got consistent coverage and intelligibility everywhere in the room.”

 

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

CS&A APPOINTED AS SYMETRIX MANUFACTURER’S REP IN MID-ATLANTIC AND NEW ENGLAND REGIONS – EXPANDING CS&A’s COVERAGE TO ENTIRE NORTHEAST

SEATTLE, WASHINGTON – OCTOBER 2013: Symetrix, manufacturer of professional DSP products and accessories, announces the appointment of East Coast-based Cardone & Solomon & Associates (CS&A) as their rep in the critical Mid-Atlantic and New England regions.

Founded in 1997, CS&A focuses on audio, video, and information technologies for clients in the corporate, higher education, finance, legal, and Fortune 50 and 500 markets, as well as for houses of worship and live sound. With offices in metropolitan New York City, upstate New York, eastern Pennsylvania, Baltimore, and Boston, CS&A will represent Symetrix from Maine to Virginia.

CS&A will promote the entire Symetrix line of digital signal processors and control devices, including SymNet Edge, Radius, and Radius AEC Dante network audio processors. In addition to the Symetrix digital signal processing devices, CS&A’s customers will also benefit from the family of user interfaces including the modular ARC volume controllers and source selectors and the ARC-WEB browser based control interface for smart phones and other Internet-connected devices.

Noted Craig Richardson, VP of Global Sales for Symetrix, “We’re very excited to expand our relationship with Cardone & Solomon & Associates into our New England, and Mid-Atlantic regions. Through this appointment, Symetrix will be leveraging some of the best technical sales talent in the industry, improving our sales coverage, more consistently communicating with our partners, and supporting our continued growth in our audio and audio conferencing product lines. When you have a sales team like CS&A that is performing so well it is natural to expand their territory.”

“Symetrix has an enduring reputation for building quality equipment and backing it with phenomenal support,” said Mike Solomon, who, together with John Cardone, founded and continues to head CS&A. “Symetrix has positioned itself for growth, and its commitment of resources to that goal really impressed us.” Added Cardone, “We’re aiming to build the Symetrix brand in the A/V space and to return feedback from our integrators, consultants, and end users that will continue to allow Symetrix to stay ahead of the curve. Our expertise and connections in the New England and Mid-Atlantic regions will give a real boost to Symetrix.”

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

TC Furlong Celebrates 40th Anniversary

LAKE FOREST, Illinois—When TC Furlong started his company as the sole proprietor back in 1973 after graduating high school, he and best friend Tom Danley (as in Danley Labs) developed the Steamer loudspeaker, which is still in use today. “I’ve had a keen interest in making things louder since age 12, states TC Furlong. I was and still am fascinated by the idea of amplifying a sound source faithfully. There are a lot of obstacles in achieving high quality sound reinforcement, so it’s always a worthy challenge. Since the mid 60’s, I’ve built a lot of loudspeaker cabinets in the quest for vivid fidelity or in the case of musical instrument speakers, a lush tone.”

During the mid-seventies to mid-eighties, Furlong both manufactured and played as a professional pedal steel player. He founded a regional country/pop band called Jump in the Saddle, and the band went on to achieve a national Top 15 hit with “The Curly Shuffle”.

Another of Furlong’s earliest audio solutions was the development of a sound isolation helmet that would enable an engineer to mix a live radio broadcast while at the front-of-house mix position. It weighed close to 100 pounds. By the late eighties, Furlong’s design and interest in all things audio led to his full-time focus on professional audio sales and system design. Customers were requesting rental products, requiring his support of live events, box sales of his products and those of manufacturers he represents, and even sound reinforcement installations. In the early years, he represented Shure, Ramsa, Soundcraft, Ashley, and many others. The Company is a leader in the spread of wireless microphone systems, and as such, has been a long-standing Sennheiser, Shure, and Lectrosonics dealer.

“Professional audio products have very much evolved since I first started in 1973,” says Furlong. “Probably the two most dramatic examples are digital mixing consoles and loudspeakers. A live sound mixer can have infinitely more mixing tools and do it with a 90% reduction in size and weight. Loudspeaker manufacturers have developed elegant rigging systems that allow systems to be deployed quickly and safely; nothing like that was available in the 70’s.”

A national company, located in the Chicago, Illinois area, TC Furlong currently employs 12 full-time staff members comprised solely of sound engineers, technicians, and industry veterans—each equipped with the knowledge to design the perfect audio solution for their customers’ audio needs. Jeff Cech, General Manager, who has been with the company for over 24 years (11 years as a freelancer and the past 13 years as GM) said, “TC set the company up for success and that model continues today. The backbone of the operation is a talented staff of engineers and project managers. We’ve always used premium gear and have a culture that insists on doing things the right way. We don’t cut corners—ever—and that filters down to the gear we stock, the jobs we take, and the people we hire. The focus for 40 years has been on better audio by design.”

Now, 40 years later, TC Furlong continues his business as an authorized dealer of over 100 professional audio lines with a vast inventory including Meyer Sound Laboratories, Yamaha Commercial Audio Systems, Lectrosonics, Sennheiser (including the elite Digital 9000 RF series), Shure (including Axient), and many others. The company provides audio production rental systems, large and small, and continues to thrive in the sound installation market. Furlong’s motto for success is, “It’s not enough to just provide great audio equipment; our real strength is in listening to our clients and designing solutions.”

For more information on TC Furlong, visit www.tcfurlong.com.

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IDEAL ACOUSTICAL ENVIRONMENT MEETS 48-CHANNEL API 1608 AT STRANGE WEATHER STUDIOS

BROOKLYN, NEW YORK: With an API 1608 console, a jaw-dropping collection of analog equipment, and a straight-up rock ‘n roll recording vibe, Brooklyn’s Strange Weather studio is growing at an incredible rate. A move to a larger space with custom acoustical design by Wes Lachot of Wes Lachot Design is destined to help Strange Weather thrive in the years and decades to come.

In addition to Lachot’s accurate acoustic design and owner Marc Alan Goodman’s ever-growing collection of gear and his valued partner Daniel Schlett, the new space benefits from an expanded API 1608 analog console with 48 fully-automated channels and 24 expansion slots for API 500 Series modules. But beyond the particulars, the studio’s greatest strength derives from the cohesion of its acoustical, electrical, and creative environments.

Lachot takes a broad and balanced perspective to studio design and recognizes that a lot of what makes Strange Weather successful is out of his hands. “The most important component of a successful recording studio is the talent, and Marc is at the hub of a vibrant creative community,” he said. “They have the songs, the instruments, and the performances that have the potential to become enduring recordings. After the talent, the acoustics are most important. That’s coming from an acoustic designer of course, but if the acoustics aren’t there, then the musicians don’t feel right and the performance suffers. The accuracy of the acoustics on both sides of the glass also impact how well a performance is captured and how well it translates. After the acoustics, the console is the next critical component because everything will travel through it multiple times.”

Goodman acquired Strange Weather’s original API 1608 in 2008. “The idea of having something new and reliable with an honest vintage sound was very appealing,” he said. “I love the simplicity of the API 1608. It has eight aux’s, eight busses, and no crazy routing. Unlike everything else that’s being made today, it’s not overbuilt. And of course the sound is very attractive, especially to our mostly rock-based clientele.”

Lachot regularly recommends API consoles to his clients. “Our rooms are very quiet and very accurate,” he said. “When we’re finally done and we fire up the tunes, the quality of the console is obvious. And if the quality of the console isn’t there, it can be a brutal realization. API’s all-discrete analog consoles have a hugeness, clarity, and depth that’s unbeatable. And the people at API are great to work with. They stand behind their products.”

Because the API 1608 is expandable, Goodman was able to grow his console to its current 48 channel form, and even included an additional bucket to accommodate 16 additional 500-Series slots. “If anyone can fill those slots up fast, it’s Marc,” Lachot joked.

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

MEXICAN STADIUM – JUÁREZ VIVE – COMES ALIVE WITH DANLEY

CIUDAD JUÁREZ, MEXICO – SEPTEMBER 2013: Located in the US border city of Ciudad Juárez, Mexico, the recently-completed Juárez Vive is a stunning sports stadium and a proud symbol of the recently-embattled city’s rejuvenation. Indeed, the bold, exposed angles of its support structure give one the impression that the stadium is rising into the air. When the baseball season got underway in April, the newly-completed stadium accommodated 12,000 fans for a thoroughly-modern game-day experience. An important component of that experience is now a highly-intelligible, pleasantly-musical sound reinforcement delivered by Danley Sound Labs loudspeakers and subwoofers, with support from Ashly amplifiers and Symetrix processing. The Mexican government had great expectations for the sound system’s performance, and the Clarity Incorporated-design not only exceeded those expectations, it did so on the narrowest of budgets.

Ciudad Juárez’ strategic location in the context of Mexico’s drug wars threatened to smother the rich cultural life of its 1.3 million people, but things have turned around in recent years and the city is regaining its footing. The new stadium thus bears a level of personal investment from city and government officials that have influenced its design and construction. “The Governor of Chihuahua, César Duarte Jáquez, toured the construction site frequently to track and encourage the progress,” explained Rich Mason, president of North-Carolina-based Clarity Incorporated. “Our charge was to deliver ‘sound that was befitting the best of Mexico.’ They expected us to jump a very high bar.” The construction company, Afirma, only involved Clarity Incorporated after first determining that the original sound system designer wouldn’t be able to deliver that kind of performance on budget. As a result, Clarity Incorporated started the design three months late and operated on an emergency schedule.

Bill Weir, Clarity Incorporated’s director of technology designed the system with assistance from Ivan Beaver, Danley Sound Labs’ chief engineer. A small crew from Clarity Incorporated spent three weeks on site to assist Afirma with the installation. “This is a value-engineered system,” asserted Weir. “Occasionally, you get a big-budget project in which issues can be overcome simply by throwing money at them. You don’t have to give them a lot of thought. But in this day and age, and especially for a government client, money is tight and you have to carefully balance the tradeoffs inherent in any decision, but in such a way that no one feels that it’s a compromise. That’s a value-engineered system.”

Loudspeaker and subwoofer placement at the new stadium looks deceptively simple. Nineteen Danley SM-80 full-range loudspeakers ring the lip of the roof that covers the stands, and every other SM-80 is joined by a Danley TH-118 subwoofer. “We’ve been huge fans of Danley from the very first moment we heard their loudspeakers,” said Mason. “Their phase coherence and pattern control are unrivaled, and they present the most natural sound stage I’ve ever heard short of studio monitors.” Weir, a loudspeaker designer himself, originally drew up the plans with a Danley SH-69 and a Danley SM-96 at each location. “I was able to quite nearly create an equilateral triangle between the slant of the seats and the point at which the loudspeakers would hang,” he said. “I wasn’t aware of the new SM-80, and so the SH-69 and SM-96 would combine to give me the appropriate coverage. Ivan realized the SM-80 would be as effective, but at a fraction of the cost, and suggested them as a replacement. I’ve worked with him enough to trust his recommendation on an unproven product. Sure enough, he was right. I’m blown away by the SM-80.”

Weir observed that subwoofers are often omitted from stadium designs. “With conventional subs, it’s hard to retain low end definition or clarity in a stadium situation,” he said. “It’s just mud. In contrast, Danley’s tapped-horn subwoofers have vastly lower group delay and a very definite focus that you can’t get from conventional designs. Put another way, it doesn’t matter how loud or low something goes, it’s the manner in which it does so that matters. And Tom Danley’s bass is not only loud and low, it’s musical and defined.” The stadium’s roof and appropriate spacing also contribute to exceptional low frequency definition.

Heil microphones and a handful of other input sources feed a 16-channel Yamaha LS9 console, which in turn feeds a Symetrix 8×8 DSP with a Symetrix BreakOut 12 for additional outputs. “Given the circumstances, we didn’t have a lot of design cycle time on this job,” said Weir. “And as well as one might plan things out, the system requirements are likely to change on site. Symetrix has a reputation for building solid algorithms that are supported by well-designed analog circuitry. Its flexible open-architecture topology allowed me to perfectly tune the system functionality while I was in Juárez.”

Nine Ashly pe3800 and four Ashly ne2400 amplifiers power the system. All of the Ashly amplifiers are networked to allow Ethernet control from a central location. “Ashly is another company that puts sound and reliability first,” said Weir. “Their network amps are a great example of appropriate functionality. They sound great and maintain a robust low end even with a lot of speaker cable. Of course, that kind of sound quality is paramount. Beyond that, the network capabilities meet the client’s needs without adding any costly – but ultimately unnecessary – bells and whistles.”

He continued, “Clarity has no obligations to any manufacturer. I can use whatever I want in my designs. Given the design expectations and constraints at Juárez Vive, I’m certain that this is the only combination of gear that would have succeeded. It’s a very unique synergy, and I’ve never heard a better system for anything less than five times the price. From the client’s perspective, it’s simple: they have a far better audio system than even dared imagine possible, and they stayed on budget.”

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 SYMNET EDGE DANTE NETWORK AUDIO DSP REVITALIZES SOUND SYSTEM FOR THE LEXINGTON LEGENDS

LEXINGTON, KENTUCKY – SEPTEMBER 2013: Located in the heart of bluegrass country Whitaker Bank Ballpark is home to minor league baseballs’ Lexington Legends. Completed in 2001, its’ original sound system held up well until recent years. As components of the head-end began to fail, AV integration firm New World Resources helped maintain the system with band-aids and quick fixes. When the original DSP died New World replaced it with a SymNet Edge system that immediately revitalized sound quality while providing cost-effective ARC-WEB iPad and SymVue PC control.

“We provided the ballpark with a quote for a new head end a few years ago” explained New World Resources owner, David Humphreys. “This year, I updated everything in the quote and included the latest SymNet Edge hardware. Following installation the system ended up being more powerful and even less expensive than what we had previously quoted.”

Two SymNet Edge frames and a SymNet xOut 12 analog output expander handle all of the processing and matrixing. Inputs include a main announcers’ mic, four wireless microphones, three Click Effects units, a radio tuner, a CD player, and a handful of inputs on the field. On the output side the main stadium is divided into three sections, and each of those sections is further divided into three vertical coverage zones. Additional zones include the outfield bleachers, a kids’ zone, east and west concourses, bathrooms, a restaurant, offices, corporate suites, a picnic area, and a party deck.

“This was my first Dante project,” said Humphreys. “It was easier than the CobraNet systems I’ve done. I set up the busses from one SymNet box and it just worked. I didn’t even need a network switch.” Humphreys fitted one Edge frame with four 4-channel analog input cards and the second frame with four 4-channel analog output cards. The SymNet xOut 12 brought the total output count to twenty-eight.

The original quote specified a separate third party control system that, at the time, was one of the only ways to offer mobile control. “I hadn’t used Symetrix ARC-WEB and wasn’t sure that it could provide the control system functionality the client was looking for,” said Humphreys. “However, after I installed the SymNet Edge system, I set up ARC-WEB and handed it to the ballpark’s lead tech on an iPad. It gave him intuitive, customized control over input selection and zone-specific volumes. He was totally happy. Given ARC-WEB and SymVue PC-based control for the announcer, we removed the third party control system from the project. That saved them even more money which they allocated to replacing the few loudspeakers that had died prematurely.”

The SymNet ARC-WEB gives users control over zone volumes, and because it is deployed on an iPad, the tech can walk around the park while making the adjustments. The SymVue PC-based control goes further, allowing the user to drill down to adjust, for example, the three subsections within each of the three main stadium sections. The announcer has access to the SymVue control so that he can control inputs to the system during the game along with the Click Effects units. In addition, a hardwired Symetrix ARC-2e wall panel remote in the bar/restaurant allows the staff to switch between local inputs and the ballpark content. A second ARC-2e wall panel remote in the main office allows simple day-to-day system control for music during practices.

“All of the amplifiers and loudspeakers are from the original system,” Humphreys emphasized. “Yet the system now sounds noticeably better than it did with the original DSP. It’s like a whole new system. The clarity is better and the dynamic range is enhanced. They’re also very happy with the new user control. It’s a night and day difference!”

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’S FREE IPAD® REMOTE CONTROL APP A REAL VALUE FOR JIMMY’S FAMOUS AMERICAN TAVERN

SAN DIEGO, CALIFORNIA – SEPTEMBER 2013: The success of Jimmy’s Famous American Tavern in San Diego inspired owner and restaurateur David Wilhelm to open a second location an hour north in Dana Point, California. Both establishments effuse a hip, industrial vibe accented by a touch of mid-century modern and offer great regional American comfort food, wines, craft beers, and creative cocktails. Dana Point patrons can relax at the centrally-located bar, on the expansive patio (with two fireplaces and a living wall), or in the main restaurant itself. One of the luxuries afforded the staff and management at the new location is the new (and completely free) Ashly Remote App for the Apple® iPad®, which provides customized control of the two Ashly ne8250pe network eight-channel amplifiers with onboard Protea™ DSP processing that power its high-fidelity, eight-ohm sound system.

Based on the success of its work at the San Diego location, Wilhelm asked No Static Pro Audio of Burbank, California to design and install the sound system at the new location. No Static CEO Eugene Gordon personally commissioned the system. “I brought my own wireless router and iPad with me to make tuning the system easier,” Gordon said. “I showed the Ashly Remote iPad App to one of the managers, and he was intrigued. He pulled out his iPad and in literally ten to fifteen minutes, I had designed a custom interface made to order from scratch. It was incredibly simple. And because it’s zero cost to me and zero cost to them, it’s purely value added.” The Ashly Remote iPad App is available from Apple’s iTunes® store (a link from the Ashly website makes finding it a snap). The app can control all Ashly Network amps with onboard Protea DSP processors and the NE-series DSP processors.

“The Ashly iPad app is absolutely perfect for a restaurant,” said Wilhelm. “I can walk into any part of the restaurant with it and immediately adjust the volume to the appropriate level without having to run back and forth to a control panel in the back. The app has plenty of capacity for multiple circuits and changes the volume instantly. I wouldn’t use anything else now that I’ve tried the Ashly iPad app, and I plan on using it in all the new locations that we open.”

The core of the system is a straightforward restaurant/bar design with plenty of focus on fidelity and impact. Inputs include a music server, audio from the selected television channel, a DJ or band input, and a wireless microphone, all of which feed two Ashly ne8250pe network eight-channel x 250W amplifiers. The built-in Protea DSP Processor lets No Static replace an entire rack of separate components with two 2U boxes. The outputs feed seven zones – bar, dining area, private buffet, patio, private patio, restrooms, and kitchen – covered by twenty-one Community Veris 2-8B loudspeakers, four JBL SB210 subwoofers, and a handful of ElectroVoice Evid c8.2 in-ceiling loudspeakers for the restrooms and the kitchen. Three Ashly WR-5 wall-mounted remotes provide backup control.

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

FSR’s Jon Melchin to Present at Smart Building Conference in London

Woodland Park, NJ – Jon Melchin, FSR Inc.’s Director of Architectural Development, will share his in-depth expertise on Building Information Modeling (BIM) with delegates at the second Smart Building Conference. The event, which debuted in January in Amsterdam, will be held at Dexter House in London on 15 October. The Conference calls upon experts from different industries to unite behind the common cause of thinking, working and building smarter to drive the future of Smart Buildings forward.

The Smart Building Conference comprises an audience of building systems professionals including architects, facilities managers, consultants, developers and other groups who gather to enhance their knowledge and skill in integration, room and building control systems, fire and security, CCTV, networking, energy management, lighting and more.

Melchin’s presentation – Building Information Modeling: Designing better, faster and smarter with BIM – will explore BIM – a 3D design, modeling and simulation technology that has changed the way architecture is practiced. Melchin will discuss how BIM is becoming increasingly instrumental in smart building initiatives and highlight its ability to draw various parties together to share information about a building, its components and the energy efficiency performance assessment of the intelligent environment. The session is scheduled for Tuesday, 15 October at 2:30 PM.

“Being asked to present at this prestigious event is a significant honour,” said Melchin. “The Smart Building Conference brings together professionals from various but complimentary fields to provide an incomparable resource pool for those responsible for the future of Smart Buildings. I’m more than delighted to be able to make a contribution.”

Melchin, an accomplished speaker and a Passport Provider with the American Institute of Architects Continuing Education System (AIA-CES), works nationally with the architectural and design community to facilitate the specification of FSR products. Melchin has authored numerous articles that have been published in international trade publications targeting the construction and audiovisual industries, and has over 12 years of experience in the AV business.

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

Blaze of Glory: Yamaha CL5 Installed at NEP Studios

NEW YORK—NEP Studios in New York City recently installed a Yamaha CL5 in Studio 47, and TheBlaze has made it their home for production of many of its shows. TheBlaze is a news, opinion and entertainment network dedicated to delivering high quality programming 24/7. TheBlaze is available on over 25 television providers including DISH and Optimum TV. TheBlaze is also available as an online video streaming network.

The Yamaha CL is currently being used for production of Real News, Wilkow!, Liberty Treehouse and The B.S. of A. The exclusive provider of Glenn Beck’s daily television broadcast, TheBlaze offers a full slate of thought-provoking original news and opinion shows, enlightening documentaries and original specials.

The Yamaha CL5 in NEP 47 is equipped with four Rio 3224-D input/output boxes. “I had exhausted the analog console’s I/O,” states John Ariz, broadcast audio mixer for TheBlaze TV. “NEP and TheBlaze agreed to upgrade the studio and loved the cost-for-power ratio of the CL5. Having prior experience on Yamaha PM5D, LS9, and M7CL consoles, I could tell Yamaha had really listened to their user’s feedback and incorporated some of the best features in this model.”

Ariz cites features like the Dante Network’s ease of use, the console’s 24 mix busses, the ability to choose the direct outs and insert points, and its preamps. “The console sounds great. Lots of clean headroom, very dynamic and the new premium effects are exciting,” says Ariz.

“We had been looking for a digital console to replace the current analog console, and was pleased that Yamaha was able to provide an on-site demo of the CL5 and DANTE IO for our engineers and management,” adds Alex Joyce, Tech Manager for TheBlaze. “After the decision was made, NEP’s talented engineers pre-wired all patch bays and remote IO during our normal production schedule to allow for the installation of the CL5 over a three-day weekend, replacing the current analog console. We were under a very tight deadline to resume full production, and Yamaha provided an experienced technical rep on the launch day to ensure it was a success. We are very pleased with the Dugan-MY16 card option, as this feature greatly improves the intelligibility of our productions. Our staff and freelance audio engineers have been quite happy with the ease of operation and robust features of the CL5.”

For more information on NEP Studios, visit www.nepinc.com.

For more information on TheBlaze, visit www.TheBlaze.com.

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

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PHOTO ID: John Ariz at Yamaha CL5

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

HARDPOP CLUB ELEVATES TO DANLEY SOUND LABS SUBWOOFERS AND LOUDSPEAKERS

JUÁREZ, MEXICO – SEPTEMBER 2013: The Hardpop Club in Ciudad Juárez, Mexico is both a source of immense local pride and a beacon to serious DJs and electronic musicians around the world. Indeed, the hard-partying citizens and electronic music fanatics of Ciudad Juárez regularly fill the Hardpop Club to its 500-person capacity, and international DJ and club publications consistently rank it within the top one hundred clubs globally. Over the past two years, the Hardpop Club has – with the help of North Carolina-based Clarity, Inc. – switched out its old sound system for a cutting-edge Danley Sound Labs system with abundant headroom, crystalline fidelity, and honest, chest-crushing bass. The improvement over even the best conventional club sound systems is obvious, and artists and fans alike are hailing the new sound at Hardpop Club. In addition, Danley’s new optional club aesthetic makes a bold visual statement that underscores the unique sonic characteristics of Tom Danley’s innovative designs.

As a border town that was especially hard hit by Mexico’s drug war, Ciudad Juárez is both a city and a rallying point, and the returning health of its vibrant cultural life is a metric of hope for its citizens. “The owner of Hardpop Club is in a city that is attempting to recover from its bad reputation,” said Bill Weir, vice president of technology at Clarity and the mastermind behind the club’s sound design. “He feels that he has to go above and beyond to attract A-list performers from around the world. He wanted a new sound system that would be unique and that would reinforce Hardpop Club’s position as a leader in the industry.” With its focus squarely on the music – most of the club’s patrons are electronic music fans first and club-goers only second – that meant taking the new sound system to the next level.

“Clubs are obligated to refresh their sound and look every so often and Hardpop Club was due for an upgrade,” explained Rich Mason, president of Clarity. “Electronic dance music is one of the most demanding forms of music on a sound system because its creators fully and deliberately exploit the entire frequency range – from 20Hz to 20kHz. Rather uniquely, Danley offers a lot of legitimacy in the low end, particularly the bottom octave. Beyond supplying a ton of bass, Danley subwoofers are truly musical. Because Danley full-range boxes are horns, we can keep energy off the walls, and their phase coherency is phenomenal. Hearing a loud Danley system is a unique experience because it is devoid of the distortions inherent to conventional subwoofer and loudspeaker designs.”

Four Danley SH-96HO full-range boxes paired with four Danley DBH-218 subwoofers comprise the main output of Hardpop Club’s new system. Because of their excellent pattern control, which extends octaves below conventional designs, Weir was able to toe the SH-96HOs in to keep energy off the walls and on the main floor, reducing the room’s decay time by 300ms. Four Danley SM-96 full-range boxes paired with four Danley TH-118 subwoofers fill in the sound from the back of the room. Weir was careful to use the DSP capabilities of the Powersoft K- and M-Series amplifiers to properly delay and phase all of the system components so that everything sums in phase in the middle of the room and so that no components are fighting. A pair of Danley SH-46s and a pair of Danley TH-212 subwoofers at the DJ booth inspire great performances. A Lake LM44 DSP provides modest overall system tuning.

“Working with Danley on this project was great,” said Mason. “We suggested a number of add-ons or options that would raise the Danley brand in the eyes of club owners, and they took us up on every one. The most conspicuous suggestion was a bold color contrast between the horn and the rest of the box. For Hardpop Club, the horns are red and the boxes are black. It doesn’t even look like a speaker!”

“High-SPL sound reinforcement systems are typically either forgiving and lack resolution; or they have the resolution but are merciless and unforgiving of material produced in a less than stellar fashion. The greatly reduced distortion in the mid-band Danley means that even with material that’s less than perfect there is a level of effortlessness that is always present. And since the large format horns are full range and have no convergence error, the sound in the venue is exceptionally warm, friendly and consistent,” says Weir.

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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