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Archive of the NSCA Newslink Category

UC Irvine’s Celebrated Sound Design Program Adds DiGiCo SD9 To Curriculum

The University of California, Irvine is home to a celebrated Sound Design program created in 2006. Under the umbrella of the Drama department at the university’s Claire Trevor School of the Arts, the program is spearheaded by Mike Hooker along with Vincent Olivieri, who is the head of the undergraduate sound design program. Late in 2012, the department added a DiGiCo SD9, DRack and UB MADI into its inventory, which made its debut on a series of student-designed programs this spring. One of those shows was the Festival of New Musicals, a unique partnership between the university and the Academy for New Musical Theater, a three-decade-old creative incubator. The alliance paired the talents of professional writers and composers affiliated with the ANMT with UCI students to create the fourth annual festival, staged at UCI’s xMPL – Experimental Media Performance Lab (featuring a flexible seating capacity of 25-150) this spring. One of the festival pieces, ‘Digital Natives’, featured sound design by second year MFA student, Matt Glenn. [Pictured L to R: UCI MFA student, Matt Glenn; Karli Blalock, Assistant Sound Designer; Vincent Olivieri, head of UCI's undergraduate sound design program.]

“One of the interesting things about the way we run our sound design program here is that, with little exception, all of the equipment we own is independent of venue,” explains Olivieri. “Most of the equipment is kept in storage, in workshop rooms, and when a show is being developed, the sound designers are able to choose the tools that they need for their particular project, and can spec what they need and just plug in and play.”

The SD9 was the first DiGiCo purchased by the school and was chosen by Mike Hooker, UCI’s Head of Sound Design, in conjunction with RSPE Audio Solutions. “We knew that we were looking for a digital console of a certain size,” Olivieri recalls, “something that was beefy and designed for live playback and mid-range in size. The SD9 fitted that bill perfectly as it’s great for a mid-size show like this.”

The ‘Digital Natives’ piece comprised a juxtaposition of technology and digital feeds against a backdrop of singers and piano accompaniment for a total of 27 inputs (mics, iPod feeds, playback audio off of multiple computers) and a dozen outputs. Glenn configured a deceptively complex playback system, complete with different sounds and setups configured on different templates within the console. Having the ability to recall these different scenes at the push of a button was huge. Additionally, the SD9 was the perfect console not only for its expandability and versatility, but also for its diminutive size for the small theatre space. And, for a first-time user, Glenn was able to get up to speed quickly by watching the online product videos prior to getting hands-on with the console.

“I wanted to keep the console size down, but I also couldn’t sacrifice the number of channels,” adds Glenn. “Back in the planning stages of this show, before I really knew what it was going to be, I didn’t necessarily know how many mics I would have or how big the pit would be but I wanted to keep open my options with the stage box. With the DiGiCo console, I could have up to 32 inputs from stage from just one D-Rack with the expandability for the future of adding another and you wouldn’t necessarily get that with other consoles. I also wanted an interface that I could intuitively navigate around. The SD9 has a structure similar to Pro Tools and other digital audio workstations (DAWs) and when I started playing with the SD9—my first time using a DiGiCo in a real setting—the way it’s laid out just made sense to me. I didn’t want to be fighting my own brain in the middle of tech, especially with this show, where it’s a really fast turnaround of only three-days. That, the expandability and the ability to write snapshots so quickly and easily, it just all came together with the SD9.”

Onstage, I have six Meyer loud speakers that make up the main system and a subwoofer, plus an additional six loudspeakers placed around the stage for various effects. I’m also using two different internal stereo reverbs that are feeding some of the main speakers. I’m also sending my playback channels to various places around the space to kind of give a surround sound for some of the cues, and they also add a bit of warmth for some of the voices onstage. During pre-production, every time I want to change an EQ or I how much reverb is on a person, I was able to program a macro to update the current snapshot I was working in, and quickly get to it without having to think twice about it. Having eight macro buttons is one of the things I love about this board. Beyond that, there’s so much more to explore with this console but honestly, this show is so fast-paced, I don’t get much of a chance to!”

Moving forward, Oliveiri says the console will serve them in myriad ways, for different productions in varying venues. “We do a lot of shows in a lot of different spaces, and the SD9 is going to be an excellent tool for us for mid-sized musicals and musical events. It’s also going to be useful for us on workshop productions, where the technical needs aren’t always completely known in the early planning stages. For those kinds of productions, the flexibility of a console like the SD9 is essential in order to allow the sound team to quickly respond to unexpected needs.”

Wirebox Media Provides Production Services for Auburn University Last Roll: NEXO System Plays Key ‘Role’

BUENA PARK, Calif.—Wirebox Media of Smyrna, GA was selected by Auburn University to provide production services for the Auburn Oaks Celebration at Toomer’s Corner that included a block party and “One Last Roll” of the historic oak trees. The event took place in late April just after a record-setting attendance at the spring football game. The attendance at Jordan-Hare Stadium was over 83,400, and the downtown celebration was thought to be very close to that number. Auburn Oaks rolling has been a tradition for nearly 80 years; the trees are then replaced by live oaks.

The audio production system selected by Wirebox Media was centered around a NEXO GEO S 12 loudspeaker system and NEXO PS15R2 and PS10R2 monitors. “The NEXO system is consistently predictable, and sound fantastic,” states Tim Harrigan, Owner, Wirebox Media. “This job, in particular, proved the ease of use for the GEO S12 Series as we didn’t even have time to tune the system before the show and made very few adjustments in the first few minutes.” A total of 32 NEXO GeoS12 cabinets were configured as 10 per side for main hangs with an additional 6 per side for out fills, all powered by 8 4×4 NXAMPs.

“Staging a block party in three hours was not that simple,” says Harrigan. The complexity of the event snow-balled in the ten days Wirebox had to prep for the event that involved a nationally attended press conference with VIP’s from AU and the city, highlighted by a kabuki drop for the new architectural plans for the area, a spirit rally headed by the AU Band, and the event finale featuring a concert by local band Kidd Blue.

“Design and planning was key as the day was really four separate events: load-in/setup, press conference, spirit rally, and concert,” Harrigan notes. “This was all compounded by the three-hour setup time and the massive crowd. We could not have successfully completed this without a stellar crew, great clients and the cooperation of the City of Auburn, the Chamber of Commerce, and the Auburn Police Department.”

For more information on Wirebox Media, visit www.wireboxmedia.com.

For more information on NEXO 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.

TV One Introduces Breakthrough CORIOmaster mini The industry’s first compact all-in-one videowall processor

ERLANGER, KY, June 3, 2013— TV One (www.tvone.com), a leading designer and manufacturer of cutting-edge video and multimedia processing equipment introduces the CORIOmaster mini, the industry’s first compact all-in-one videowall processor.

The new CORIOmaster mini fits up to 12 High Density Universal DVI or HDBaseT ports within a breakthrough 1 RU frame. This allows users to design full-scale 3×3 video walls while eliminating a rack’s worth of discrete video components. The efficient CORIOmaster mini saves up to 10X the power required to drive complex video walls.

 

The industry’s first compact all-in-one videowall processor

“The radical CORIOmaster mini design allows a 1RU system to perform the full range of demanding videowall processing tasks,” said Sean Burke, President, Nortek Technology Solutions Group. “Like its big brother, the mini achieves stunning performance through the patented TV One Parallel Processing architecture.”

CORIO Parallel Video Processing Architecture tightly joins patented CORIO® video engines with up to 10 independent video processors. This radical design supports up to 26 Billion video matrix calculations per second. To ensure optimal parallel bandwidth, video transfers between the CORIO video layer(s) and video I/O processors occur at an industry-leading 4 Gigabits per second per I/O channel.

This design allows a single all-in-one system to perform the range of video tasks simultaneously, including: real-time video rotations, multi projector edge blending, image warping, transitions, still image store and logo keying. This combination plus the mini’s software upgradeability ensures that customers maximize the long-term value of their video wall investment.

The CORIOmaster mini delivers Real Time Video Quality with a less than two frame signal delay from input to output regardless of video resolution and frame rates. Only CORIO technology can massively parallelize video tasks to deliver the highest quality video possible at ultra-low latency.

Complementing the processing skills of the mini is an unparalleled I/O versatility. Universal DVI I/O modules support the full range of analog and digital formats as well as universal conversion to virtually any HD or PC resolution. The CORIOmaster mini design further supports HDBaseT, 3G/HD/SD-SDI and future Cross-Fade and 4K output modules. This versatility gives users unmatched flexibility to configure the mini to meet every video wall need.

The CORIOmaster mini base unit has a Manufacturer’s suggested Retail Price of $10,995. Come see the NEW CORIOmaster mini on demonstration and display at the TV One booth # 3931.

Please visit www.nortekinc.com for more information

ASHLY TAKES OFF AT THE MEMPHIS AIRPORT

MEMPHIS, TENNESSEE – MAY 2013: Elvis Presley, Johnny Cash, Jerry Lee Lewis, Carl Perkins, Roy Orbison, Otis Redding, Isaac Hayes, and B.B. King are just a few of the world’s great musicians who got their start in the very musical city of Memphis, Tennessee. In honor of that heritage and in recognition of the fact that future stars are currently establishing themselves in this city, the Memphis International Airport decided to brand its recently-constructed, $122 million, seven-level parking structure with music playback to cover its 4,000 economy parking spaces and 2,500 rental car spaces. With characteristic reliability and rock-steady performance, thirteen Ashly ne8250.70 eight-channel amplifiers power the new sound system.

McClure Engineering of St. Louis, Missouri designed the sound system, and Audio Communications of Memphis installed it. “Memphis is known for its deep musical traditions,” said Walt Wilhelm III, owner of Audio Communications. “This is where Elvis launched his career. This is the home of Stax Records. The airport authorities wanted to celebrate that heritage and to emphasize that Memphis is a contemporary music hotspot. They mostly play music from active local musicians.” Added David Bick, systems engineer with McClure Engineering, “They wanted to create an atmosphere for the airport, and the parking garage is often the point of entry and exit. They wanted the parking garage to have a signature.”

Bick continued, “I specified the Ashly ne8250.70 amplifiers because they’re quiet, reliable, and a tremendous value. I know it can happen every now and again, but I have yet to experience a single Ashly failure. The fact that Ashly amps are so quiet wouldn’t be a huge factor in a parking garage, but it is in all the auditoriums and theaters where we place Ashly amps.”

Inputs to the system include a Denon CD changer with an iPod dock. Those feed a BSS Blu-series processor, which in turn outputs to the rack of thirteen Ashly ne8250.70 amplifiers. A total of 742 One Systems 103IM-70 loudspeakers dot the ceilings of the seven-story structure, providing coverage of approximately ten cars per speaker. In addition there are 38 One Systems 108IM-70 speakers and 12 TIC Gs3 in ground speakers located in the pedestrian plaza.

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

PLEASE STOP BY AND SEE US AT INFOCOMM BOOTH #335

dB AUDIO AND VIDEO INTEGRATES A/V AT FORWARD-THINKING HALL COUNTY SCHOOLS

ATLANTA, GEORGIA – MAY 2013: Exceptional by any standard, the Academies of Discovery and the Da Vinci Academy are pioneering schools in Hall County, just northeast of Atlanta, Georgia. The Academies of Discovery is dedicated to multi-cultural and language education, whereas the Da Vinci Academy is dedicated to the arts, technology, and science. The schools occupy opposite sides of the same building and share a common area between them. A/V integration firm dB Audio & Video also of Gainesville recently helped the schools update their educational technologies. The classrooms now possess innovative instructor and student computer displays, and the common area now possesses theatrical, musical, and distributed audio, broadcast video, control/automations, a video wall, and multifunctional tabletop connectivity for various laptop and wireless tablet usage. Each component of the renovation has a specific purpose, yet all function within an integrated whole.

At first glance, each classroom looks like any other classroom. However, a closer inspection reveals a 65-inch Samsung ME65B with touch screen overlay and two “input stations,” one for the student and one at the teacher’s desk. These inputs go to the FSR CB-22 ceiling box with both a Pocket Navigator VGA with audio switching device, as well as a HDMI switcher. From these devices, a user can display laptop content and annotate over, save, and recall any document or video from the school’s server.

The commons area is a unique combination of black-box theater, corporate presentation center, and public transportation hub. Its most obvious attraction is a huge video wall composed of Samsung’s ultra-thin bezel UD55A HDTV monitors. This video wall content is fed from multiple input locations around the wall via the Crestron DM-MD8x8 Digital Media matrix switcher. These inputs include multiple HDMI and VGA with audio inputs, as well as the school’s Safari streaming media systems, a Samsung BD-E5700 Blu-ray player, and a mixed camera feed from a Panasonic TV Studio. All the resources are controlled from a Crestron Pro2 via a TPS-6X dockable wireless touch panel. Audio resources include a Tascam CD-200i CD player and iPod dock, two wired microphone inputs, and two Sennheiser wireless microphone systems. A 64-channel Allen & Heath GLD digital mixer comes on line in theatrical mode.

The commons area audio speaker system consists of a single Danley SH-100B full-range loudspeaker for the main content, two Danley SH-100 loudspeakers for fill, and a single Danley TH-112 subwoofer. The unparalleled performance of the Danley boxes delivers tremendous gain before feedback (a must in black box theater performances), as well as unmatched frequency response and phase coherency. The net effect is increased intelligibility in the vocal range and heart-pounding low end. The speaker system is driven by a complement of Crown amplifiers and Bi-Amp Nexia CS DSP. In the theatrical mode, the commons area uses the Allen & Health GLD-80 digital mixer with full automation and scene recall. The ZED mixer and Genelec monitors are used in the TV production studio with their own mix of all the audio inputs and sources.

The all-LED Elation EAR495 theatrical lighting system provides for numerous scenes of display as well as colors, while delivering the school’s request for low power consumption efficiency. Included in this “green” initiative project are also two Design Spot 250P moving lights for programmed lighting effects, as well as spot light positioning for the talent anywhere on the floor. Two options for controlling these LED lights are from either a simple DMX Operator192 light board or a more involved computer-based CompuLive program.

The school’s full HD broadcast television studio rivals many higher education facilities. Primarily a Panasonic project, this system touts two AG-AC160 studio HDSDI cameras and two AW-HE50SN pan/tilt/zoom cameras with AW-RP50 controller connected via a router to the AWHS50 sub-compact HDSDI live switcher with multi-viewer output. An AJA KI-PRO-Ro provides digital file recording on Apple ProRes 422 format, allowing students to shoot nearly any program, presentation, or theatrical performance, stream it live to the school’s Safari system, and then edit for archival or streaming later. A Clear-Com MS-232 two-channel communications system allows the producer to communicate with the video camera operators and the audio production team. The audio production team uses an Allen & Heath ZED22FX mixing console and two Genelec 8030a studio monitors.

“This has been an incredibly challenging project,” stated Neil Philpott, dB Audio & Video’s Systems Advisor for the entire project. “We spent countless hours discussing the project with Aaron Turpin, Hall County’s technology director, working through construction and infrastructure issues, and determining exactly what functionality would be required to meet the vision of the schools’ and county Administrators’ expectations. All in all, this was a project that raises the bar, not only for dB as a company, but also for the entire state. I believe this is the blueprint for many schools to come.”

ABOUT dB AUDIO AND VIDEO dB Audio and Video is a Gainesville, Georgia-based design/build technologies integrator specializing in audio and acoustics, broadcast and presentation video, digital signage, and control automation for houses of worship, schools, sports arenas, government and military. For more information visit: www.dbaudioandvideo.com

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

SEE DANLEY AT INFOCOMM BOOTH #143 • COME TO HEAR THE OS80 IN DEMO ROOM W203B

CARVER SPORTS COMPLEX HITS A TRIPLE: ASHLY PROCESSING, ASHLY AMPLIFICATION, AND ASHLY USER CONTROL

NEOSHO, MISSOURI – MAY 2013: Neosho, Missouri serves as the western gateway to the Ozark Mountains. Recently, the Neosho R-5 School District initiated a multi-phase plan to convert an open field adjacent to Carver Elementary School into a sports complex with two baseball/softball diamonds and a soccer field. Lance Brummett at Warren Smith & Associates, Consulting Engineer P.C. (Tulsa, Oklahoma) designed the electrical infrastructure for what will be known as the Carver Sports Complex. Nate Pugh, project supervisor and Vince Hightower, installation foreman of Total Electronics Contracting (Joplin, Missouri) oversaw its installation. In order to provide the district with reliable, affordable sound reinforcement for the sports complex, Ashly Audio processing, amplification, and user control forms its core.

“Although they only have the first softball field completed, we have already installed the audio systems that will cover both ball fields,” said Pugh. A pair of Community R.5 loudspeakers covers each field (four loudspeakers total) from atop a concessions stand that resides between the two fields. A single Ashly KLR-2000, rated at 1000W on each of two channels, powers the system, one channel per field. An Ashly ne24.24M processor handles all of the input management, signal processing and routing logic for both fields. Because it has a modular I/O design, the ne24.24M is perfectly tailored to the complex’s needs. Twelve inputs collect six identical sources from each field, and four outputs feed the amplifier with two spares.

“This was my first experience using the Ashly ne24.24M processor,” said Hightower. “After just an hour with it at the shop, I felt completely comfortable and ready to take it to the field. It went in easily and without a hiccup. The fact that it’s modular is nice; we were able to give them what they needed without wasting a lot of untapped potential. The Ashly KLR-2000 is a great sounding amp. It’s nice and clean and promises to deliver reliable sound for a long time to come.”

A pair of Ashly FR-8 Network 8-Channel Remote Faders provide simple, intuitive user control of source volume and muting, as well as output volume for each field. Because the FR-8 connects to the ne24.24M with just a simple Ethernet jack, installation was a snap. Input sources are identical for each field and include a tuner, a Marantz CD/iPod player, an ElectroVoice wireless microphone, a Shure wired announcer microphone, and an additional microphone jack. Furman sequencing provides power to the system in a Middle Atlantic rack.

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

STOP BY AND SEE ASHLY AT INFOCOMM BOOTH #335

SYMETRIX PROMOTES HOCK THANG TO REGIONAL SALES MANAGER ASIA/PACIFIC

SEATTLE, WASHINGTON – MAY 2013: Spurred by Symetrix’ increasing global presence and the rise of a robust Asian market, former Symetrix Technical Sales Engineer Hock Thang has been promoted to the newly-created position of Regional Sales Manager – Asia / Pacific. Based in Singapore, Thang’s mastery of the Symetrix product line – including Jupiter app based turn-key DSP, Solus standalone fixed I/O DSP, as well as Edge and Radius Dante network audio DSP – has been winning Symetrix converts throughout the region.

“Since 2006, Hock has been an invaluable resource for Symetrix in Asia,” said Mark Ullrich, Symetrix international sales manager. “From his home base in Singapore, Hock has been providing trainings and superior support to the Asia-Pacific Symetrix distributor network. He will continue with this fully but will now also add new focus on strategic sales activities, territory management, and increased connection and support for our distribution partners.”

“I’m privileged to work with such a great team at Symetrix,” said Hock Thang. “Together with our extremely committed distribution partners I look forward to growing Symetrix further in my new role. As our products evolve and become more sophisticated and competitive, we must have the presence and sales infrastructure in place to support it. With the recent release of SymNet Radius AEC Dante network audio DSP, for example, I’ll be focusing heavily on growing the awareness of our full range of conferencing solutions. I look forward to working even more closely with distributors, consultants, and end-users alike, to continue to install superior Symetrix DSP products in the Asia-Pacific region.”

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

Rock & Roll’s Top Artists & Icons Get Amped With Firehouse & DiGiCo

The Rock and Roll Hall of Fame Ceremony returned to the West Coast for the first time in 20 years this April, to induct a new class of musicians and industry icons in a nearly 5-hour evening of music and merriment at Los Angeles’ Nokia Theatre. The class of 2013—Public Enemy, Rush, Heart, Randy Newman, Donna Summer, Albert King, Quincy Jones and Lou Adler—were honored by a who’s who of music past and present. For the 13th year, Firehouse Productions handled the audio portion of the show, with Mark Dittmar spearheading the onsite crew comprised of Production Mixer Barry Warrick, Music Mixer Ron Reaves (on a DiGiCo SD7) and Mike Parker handling monitors (SD7).

The show has grown exponentially over the years into what Dittmar calls ‘fast and stupid.’ “And I don’t mean that in a derogatory way,” he laughs. “It’s just that this is the sort of show that keeps growing and giving and growing and giving, and they will never get smaller. There’s so much more desire for content, and there’s a lot more figuring it out on-site. Ten years ago you would spend a huge amount of prep time. Now you fly in and the producer’s like, “Oh, I just added a band.’ Last year they added Green Day, literally two days before the show and we’d already loaded in. We don’t get to say, ‘I’m sorry you didn’t tell us that three weeks ago, we can’t do it.’ You say, ‘OK, we have an hour to set them up.’ You look at what we do routinely now, and if you had asked us to do it 10 years ago, we would have freaked out. We simply didn’t have the tools or the technology to accomplish it. Two years ago we outgrew our Yamaha PM1Ds at FOH and in monitor world because the show kept adding inputs to the point that our only choice in inventory were the DiGiCo SD7s, and it was a logical move for doing these shows. The pace has become very, very fast and we have a great team and great tools in place now that can get the job done easily.”

The show’s drive system is all on fiber optics now with the SD7s and a trio of SD racks networked via Optocore. “Everything is digital, front to back,” Dittmar adds. “The signal path from the input of the SD7 into the amplifier is digital the entire way. You couldn’t easily accomplish that 10 years ago; we would’ve run out of horsepower with the consoles. Several yeas ago, we thought that we’d probably never fill a 96-input desk, and then we filled a 96-input desk… and more. Now that these things can do hundreds of inputs, the question is, ‘how much can a guy like Ron mix?’ You know, where does your brain give out and say, ‘I can’t find the fifteenth snare drum?!’ We’re doing things very powerful and very fast now, and a key component is the SD7, which allows us to do these shows. The SD7 is powerful and you can put a lot of inputs and outputs into it. Once you’re into an SD7, you no longer need to think about the layout. We just go very, very large with the splits, we give the mixers everything instead of having to repatch in the middle of the show. Parker and Ron don’t have to have a conversation about what they want to see where. We simply send everything to everyone and it’s very easy for them to deal with.”

“The challenge for me on a show like this, where I have a house band and artists walking on and off—as compared to one that’s a bit more ordered like the Grammys, where you have 20 separate bands and 20 different snapshots—is that you have to be a bit more flexible here because it’s all going to change… sometimes multiple times. This is an outstanding band, with some of the top session players, who’ve played on tons of hit records: drummers Steve Ferrone and Jim Keltner, bassist Will Lee, guitarists Waddy Wachtel and Ray Parker Junior, Greg Phillinganes on keys under the direction of Paul Shaffer… it sounds amazing! But for example, on day one of rehearsals, we were on version 10 of our input list. And it changed even more before we took the stage.”

“I’m using my basic Grammy template file because it’s a good starting point for music,” Reaves continues, “and I can just switch the inputs around from there. I’m landing about 112 inputs for the music performance. I do a lot of pre-dialing and I use a lot of presets on this desk, which enables us to go very fast, which is very important for doing TV. And as long as I have plenty of faders, I’m good. And that’s the beauty of the SD7. I can make it as big as I need it to be and can have 256 faders if I need them. I can put everything in the entire show in the console and have it there all night long. And no matter what anyone calls for at the last minute, it’s there. That’s why this is the perfect tool for jobs like this. You can build yourself a giant console so to speak, in terms of layers, and have everything right at your fingertips. These shows keep getting bigger and bigger because we keep pulling it off, but it would never have fitted on the consoles we were using previously. This is the perfect example of how the hardware helped fix the problem.”

At monitor world, it was only Mike Parker’s second time on an SD7, although he’d mixed numerous times on SD10 for events ranging from the Grammys to the Video Music Awards. He found the console’s updated software features exceptionally powerful in managing approximately 130 inputs and 84 outputs for the show.

“The DiGiCo platform is so versatile you can layout any show they throw at you and it can handle it,” he offers. “Not only does it sound good, but it’s probably the most advanced live mixing console in use today. I love the functionality and how you can route things… its quick, easy and very helpful. It enables me to sketch out the console in rehearsals and start dialing up the EQ.

“Monitors are in a critical place for shows like this,” Parker adds. “If the artist is happy with their monitors, chances are you’re gonna get a better performance. But it requires everyone: that means the house mix is good, the crowd reacts and the artist reacts off the crowd… it’s a loop. It creates a great energy that is not seen, but felt. When the monitors and house couple together it’s called a ‘lock’—when everything locks together. I’ve witnessed it several times and it’s magic.”

“This is one of my favorite shows,” Dittmar muses. “I’ve been doing this show longer than anything else in my career and it’s a night of amazing talent. The house band is incredible and you’re getting to hear your favorite bands growing up. Go on YouTube and watch Prince doing “While My Guitar Gently Weeps” from the ceremony several years ago… everyone’s jaw was just on the floor, including Eric Clapton’s!

“When we do large shows like this, I like having the cool tools like the DiGiCos. I like pushing the technological barriers and having the slick setup. But we also like when they work and the SD7s have been flawless for us. We also had a pair of them on the Tony Awards and not only do you have an immensely powerful platform, but you also have the reliability and that makes them very viable. They’re certainly the most popular desk right now, too!”

Pictured LtoR: Production Mixer Barry Warrick, FOH Tech Michael Bove, Music Mixer Ron Reaves and Production manager Mark Dittmar.

Earthworks Expands Installation Series Microphone Line

May 29, 2013, Milford, NH – Earthworks has expanded its Installation Series to include the IM12-W, a 12 inch gooseneck cardioid condenser microphone designed for fixed installations. The Series previously offered a 3 inch and 6 inch model. The primary applications for the IM Series include ceiling mounted teleconferencing, distance learning, surveillance, boardrooms, government facilities, and ambient room miking.

The IM12-W provides an ultra-low profile microphone solution with pristine sound and a 30Hz-30kHz flat frequency response. Patented near-perfect polar technology prevents the loss of high frequencies on or off-axis to the microphone.

The microphone’s slim gooseneck and small microphone head allow quick and easy positioning, while nearly disappearing into the ceiling. And like the rest of the Earthworks product line of microphones and preamplifiers, the IM12-W is manufactured in the USA and comes with a 15 year warranty.

The Installation Series, along with the rest of the Earthworks line up, will be at InfoComm in Orlando June 12-14, 2013 in Booth 323. Visitors to the Earthworks booth will have the opportunity to win an Earthworks installation microphone of their choice.

www.earthworksaudio.com

New NEXO STM Line Array and Yamaha Consoles Put Finishing Touch on Funshine Festival

TAMPA—More than 30 acts performed over five musical stages during Funshine Fest, held May 3-5 on the fairgrounds of Florida State in Tampa with an attendance of 20,000. Main stage artists included Train, the Smashing Pumpkins, REO Speedwagon, Styx, the Wallflowers, Cheap Trick, New Found Glory, Gary Allen, and Chris Carrabba of Dashboard Confessional.

ESI Audio of Tampa provided audio production, and this year, the new NEXO STM was used as the Live Nation Amphitheatre main stage line array. Company President, Erick Celeiro, functioned as FOH tech and Ozzy Giron acted as monitor tech on the rig. The system consisted of 15 M46 per side flown, 15 B112 per side flown, 32 S118 subs ground stacked, 10 NUAR racks that included 2x 4×4 NXAmps, and four M46s stacked on S118 subs for front fills. The entire system was running from front of house via the Dante network to the amp racks. A Yamaha PM5D was at the front of house mix position.

About the new STM system, Live Nation Amphitheatre production manager Andy Martinez said, ” I have seen many systems come in and out of here, and never had a system that rigs and flies so easy and sounds amazing.” And, REO front of house engineer, Neil Schaefer, added, “I had the pleasure of using the NEXO STM, and having had plenty of time in front of NEXO rigs over the years, my expectations were high. The STM PA is very tidy with clever rigging. Most important, it sounded very good. Smooth, powerful, and responsive; a very nice rig indeed!”

The NEXO STM Series (Scale Through Modularity) loudspeaker cabinets are the first of its kind on the market and combine the best of Alpha functionality with the technical innovation of GEO waveguide designs, delivering a powerful, flexible, and easy to use system. STM enables line array systems to scale up or down depending on event audience size, from 1,000 to 100,000 people. STM is unique in that it is the first vertical array system to offer scalable LF, making it easy to add extra bass cabinets for increased power and headroom, without introducing unwanted phase anomalies.

The outdoor Pavilion Stage used a NEXO GEO T line array along with a Yamaha CL5 at front of house used by mix engineer Jan Javier, with a CL1 at monitors for engineer Rob “DH” Durkee. “I felt very comfortable taking the CL out for the three-day festival with multiple bands, some with their own engineers, some without,” states Javier. The CL screen is like the difference between a regular VHS tape and a Blue-Ray DVD. I was using AES outs all the way to the amps. The system sounded great, the desk was very easy to use from the first day. The next day, I put the Premium Rack’s Portico Compressor in stereo in the left and right, and what a difference, just passing through the unit; smooth and warm become the words to best describe the sound. I used the DCAs, as I am used to mixing that way. Assignments are very easy, and finding my way around the desk is simple and very intuitive.”

“The guest engineers were amazed at the sound of the desk and how friendly it is, notes Javier. All who used it said they would tour with it.” Javier said they ran the stage rack onstage, and ran a cat6 snake out. He also said he noticed the pre-amps are much more responsive and a lot warmer out of the box. The Pavilion Stage hosted Lone Bellow, Tonic, Big Sam’s Funky Nation, and Dead Confederates. “They all loved the sound.”

The Concourse Stage housed a Yamaha CL1 at front of house with mixing by Bryan Rogers and Justin Lenards. An LS9 was used for monitors. Rogers said the CL1 was “like butter… smooth and creamy.” Lenards who mixed FOH and Monitors said “Love it, great little console.”

For more information on ESI Audio, visit www.esiaudio.com.

For more information on the NEXO STM and Yamaha CL Series, visit www.yamahaca.com.

-END-

Photo ID: NEXO STM and Yamaha PM5D during FOH mix for Styx
Photo ID: L to R: Pat Clark, VP ESI, Yamaha’s Brian Coviello, Andy Martinez, Live Nation Amphitheater Technical Director

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