A virtual press conference from Sound & Video Contractor

Archive of the NSCA Newslink Category

ASHLY GEAR HELPS BRING LARKIN SQUARE TO LIFE

larkin_square.JPGBUFFALO, NEW YORK – AUGUST 2012: In a Buffalo, New York urban district that was, just a few short years ago, an uninviting industrial area, the Larkin Development Group has revitalized and repurposed old buildings and converted the area between them into a forward-thinking public space. With a footprint the size of a city block, “Larkin Square” boasts whimsical sculpture, functional green space, more

UNIVERSITY OF VIRGINIA’s “MEM GYM” GOES ALL DANLEY!

univ_va_mem_gym.JPGCHARLOTTESVILLE, VIRGINIA – AUGUST 2012: Known affectionately to the students at the University of Virginia as “Mem Gym,” Memorial Gymnasium was constructed in 1924 to provide a home for the school’s basketball team. In 1940, as President Roosevelt was preparing to deliver a commencement address to the University’s graduating class, of which his son was a member, he learned of Italy’s allegiance with more

SYMNET EDGE INSTALLED AT BRISTOL VIRGINIA PUBLIC SCHOOLS ADMIN BUILDING

bristol_va_interior.JPGBRISTOL, VIRGINIA – AUGUST 2012: In a regionally-famous slogan, Bristol, Virginia boasts that it is, “a good place to live,” and its school district helps the city live up to that slogan. Recently, the district renovated an historic Bristol building, adding office space for administrators and a 240-seat auditorium for meetings and other events. Operating out of the Roanoke office of Lee Hartman & Sons, veteran A/V integrator Brian McDonald designed the sound system for the auditorium using Symetrix’ new SymNet Edge open-architecture, modular-I/O DSP system. McDonald cited SymNet Edge’s sound quality, ease of integration, user-control options (including ARC-WEB for smartphone-based control), Dante bus networking, and intuitive Composer design software as reasons for its selection.

“I’ve been using Symetrix products for a long time, going all the way back to my years in live sound,” said McDonald. “Symetrix gear has always been very more

CROSS POINTE MINISTRIES SELECTS WORXAUDIO TECHNOLOGIES

**** Photo: The sanctuary at Cross Pointe Ministries ****

Tupelo, MS – August 2012… From humble beginnings in 2004, Cross Pointe Ministries Pastors Kevin and Lesia Rea have grown their church from an initial 54 members into a much larger organization of approximately 700+ members. The Cross Pointe Ministries campus has been expanded in phases and most recently, the church celebrated the opening of their new building that provides seating capacity for over one thousand worshippers. To ensure a high level of speech and music reproduction capabilities throughout the seating areas, the church installed a new sound system—with components drawn from the TrueLine catalog of Greensboro, NC-based WorxAudio Technologies. more

TONY-Awarded Broadway Shows Shine With DiGiCo

You can’t throw a proverbial rock without hitting a DiGiCo console in the audio trenches on Broadway. From the long-running The Lion King to the relatively new smash hit The Book of Mormon, as well as Evita, Godspell, Jesus Christ Superstar, Newsies, Sister Act and War Horse, DiGiCo’s potent SD7T, with its powerful hardware, Stealth engine and theatre software kit—utilizing Live Update along with Aliases to manage the demands of 100-cue shows—is handling the toughest demands of theatre audio today. DiGiCo’s SD10 can be found on productions ranging from One Man, Two Guvnors to Peter and the Starcatcher.

This June, two of the newest productions and their respective sound designers took home coveted 2012 Tony Awards for sound design: Clive Goodwin for Once and Darron L. West for Peter and the Starcatcher. They each found the DiGiCo desks critical to the creation and design process of their shows. Interestingly, both shows got their start at the New York Theatre Workshop before moving to Broadway, and this was the first nomination for both Goodwin and West.

The critically acclaimed musical Once is based on the 2006 Academy Award-winning film about an Irish musician and a Czech immigrant drawn together by their shared love of music. In transitioning the show to the larger theatre, Goodwin chose a DiGiCo SD7T after consulting with Scott Kalata at Masque Sound, a leading theatrical sound reinforcement, installation and design company, who’d been helping in the design process.

“We needed something with a lot of busses and a high input/output count, flexible theatre-friendly architecture, and the capability of using Waves plug-ins,” Goodwin reflected. “And, it goes without saying that we needed great sound quality. I had used a DiGiCo D5 in a previous life in live music touring, and I was impressed with the user-friendly nature and excellent sound quality. I found the SD7′s dynamic EQs—both onboard and from Waves—were extremely useful in vocal processing. The tube emulator is a nice feature for adding a little extra warmth to most things. The ‘alias’ feature and programming groups were also very useful, especially when planning a show in advance, as they simplify changes throughout the show or just to a single scene. Not to mention, the console has the best sound of any digital console I have used to date. I was hoping to use an SD8 on a forthcoming production, but unfortunately, they were all out doing other shows!”

Also transitioning from the small stage to the big theatre with much fanfare is Peter and the Starcatcher, based on the novel of the same name, which gives the back story for the beloved character Peter Pan. The show got its start in several venues before moving on to the New York Theatre Workshop, where the full production team came together—including sound designer Darron L. West, associate designer Charles Coes and production provider Masque Sound—before opening on Broadway in the spring of 2012. Enlisting the help of Scott at Masque, they spec’d a DiGiCo SD10-24 console to handle the expanding production. Key factors for their new console consideration were having an onboard automation package that could work well for theatre, a flexible bus structure, a system that offered lots of outboard control, programming and matrixing, and a transparent sound. The SD10-24′s small footprint ensured they’d have no complaints from producers requiring only a handful of seats for its placement, and the console’s feature-packed system and exceptional sound quality won them over and sealed the deal.

“The sound design of this show is very old-fashioned, as Darron is happy to say,” offers Coes. “It was important for us to create a feel and a subtle sound that seems to come from the actors and from the band. Having a console that sounds incredibly transparent and clear—and lets engineer Rob Bass follow the show really carefully—keeps us from showing our hand in how much we’re actually reinforcing the show.”

Coes says they were impressed the deeper they got into the console, discovering more ways they were well served by the desk—from the flexible bus setup available for creating feeds, to the scene recall and animation.

“It’s an incredibly powerful console in a small package and we weren’t fighting with the producers about seats,” Coes muses. “Once we learned the DiGiCo mentality in terms and approach, we found the console could do pretty much anything we were asking it to. The I/O flexibility helped us a lot, especially in this application. We made great use of all the internal effects and they sounded consistent and much better than the ones on a competitor’s console. We didn’t have to bring in outboard gear or worry about automating a bunch of external reverb units to track the show. Everything was in the desk and it solved the problem very well for a complicated production.”

Before the desk left in the shop, engineer Rob Bass was able to spend a day setting it up with Coes, laying out the basics and building snapshots. Also a newcomer to the DiGiCo format, he too was pleased with what it had to offer to manage the intricate show. With approximately 70 inputs for everything in the show including actor mics, band mics and sound effects, they’re utilizing 48 outputs.

“We’re basically using our aux sends strictly as outputs,” Bass explains. “We’re using all of our aux outputs as mains in the way we’re set up, and the fact that we’re able to set up that many outputs without losing what we needed for inputs was a big help. Charles set it up so we do all the delay matrixing after the console. It’s all done back at the racks before we send it to the speaker processing, so all the outputs are sent to specific points in our outboard matrix and that’s basically set up to do different vocal delays on the stage, separate band outputs, for the surround speakers, and we have 16 channels that are all sent down a discreet output for the effects speakers onstage that double as foldback [stage monitors] for the actors. The band has monitoring outputs and we’re only using six reverbs, and all those have discrete outputs.”

Because the show strives for a more natural sound, Bass says they’re using a minimum of effects and mostly stock reverbs. “We don’t want it to sound very reinforced, so none of the effects are super prominent; it’s more about adding space for some of these live sound effects. We’re using about six reverbs for the different spaces we’re building, like on the underwater grotto where the mermaids swim. We have a trippy reverb on the piano that’s playing at that point. Basically we’re taking the stock reverbs and tweaking them to get what we want, and then EQing them over returns. The show itself uses a lot of live sound effects; the musicians are doing a lot of that as well as the cast, whether its different noises or vocally, so a lot of the time we’re just putting reverb on that. I like that I can get around the desk pretty quickly and it was easy to dial it all in to have everything at our fingertips.”

“I was a huge fan of the flexibility of the console,” added sound designer Darron West. “Especially on a show as complicated and as dense as Peter and the Starcatcher. There was never a moment in tech rehearsals when a request was made by me that Charles or Rob said we couldn’t do… which is also a testament to the system, and the DiGiCo was indeed the heart and soul of that.”

SYMETRIX SOLUS 16 REVITALIZES FIRST UNITED METHODIST CHURCH OF APPLETON

appelton_fum_church.JPGAPPLETON, WISCONSIN: The roots of First United Methodist Church of Appleton, Wisconsin were planted 165 years ago when a frontier preacher named William H. Sampson gave a sermon in one of the few shanties that comprised the nascent town. Sorrows and joys enough to fill a book span the years between then and now, and presently First United is the spiritual home for over 1,300 residents and a cornerstone of community life. Long ago, the church outgrew its chapel and constructed a larger sanctuary on adjacent land. However, the chapel continues to serve the community on a nearly daily basis, hosting organizational meetings, prayer meetings, weddings and musical events – most notably involving students and staff from nearby Lawrence University. Metro Sound & Video recently modernized the chapel’s sound system with a Symetrix Solus 16 processor and Extron user control that will soon be more

ALTINEX ANNOUNCES PNP402 DUAL SIDED POP-N-PLUG INTERCONNECT BOX

**** Photo: Altinex PNP402 Interconnect Box ****

Brea, CA – July 2012… Altinex, the leading manufacturer of Signal Management Solutions®, is pleased to announce the availability of the PNP402 Dual Sided Pop-N-Plug Interconnect Box, another addition to the ever-expanding line of Pop-N-Plug interconnect offerings. With easy access from either side, the PNP402 interconnect box offers convenient, one touch access to a variety of video, audio, computer, network, and power connections—making the tabletop connection point quick and easy for any boardroom or conference room table. more

SYMETRIX SOLUS AFFORDABLY INTEGRATES AUDIO AND CONTROL IN HISTORIC SWISS CHURCH

reformierte_pfarrkirche.JPGMESSEN, SWITZERLAND – JULY 2012: Home to nearly 1,500 Swiss residents, the charming pastoral municipality of Messen in northwestern Switzerland claims numerous buildings of deep historical significance nestled amid the rolling foothills of the Jura Mountains. Among them is Reformierte Pfarrkirche, a church whose foundation was laid before the year 1000 A.D. and whose current walls have been standing since 1480. Despite its age, or perhaps because of it, Reformierte Pfarrkirche was overdue for an A/V system upgrade, which Pro Sound Beschallungstechnik recently provided. Although the plans originally called for multiple hardware units to provide audio processing and system control, Pro Sound Beschallungstechnik simplified things and cut costs without compromising anything by using an open-architecture Symetrix Solus 8 processor for total system integration.

“Historic structures do not have to be incompatible with contemporary expectations for audio and video support,” said Harry Horlacher, pro more

“THE GATHERING” OF FINDLAY OHIO, WITH ASHLY NE24.24M PROCESSOR AND DIPOLE OPEN-BAFFLE LOUDSPEAKERS

thegathering_1131.JPGFINDLAY, OHIO – JULY 2012: The Gathering is an upscale restaurant in the mid-sized city of Findlay, Ohio. With a history stretching back several decades, The Gathering resides in an elegant 1890s-era building and is tastefully furnished and decorated to maintain turn-of-the-century charm. When a new owner recently took over, he decided to convert the previously unused third story into a bar. He committed the new bar to a “1900-industrial” motif that had to be adhered to in every respect. Regional designer and installer House of Hindenach A/V Systems obliged the aesthetic requirements and still delivered amazing, dimensional ambiance with the help of an Ashly ne24.24M processor and a horizontal array of custom-designed dipole open-baffle loudspeakers.

thegathering_1155.JPGAfter the new owner took over The Gathering, House of Hindenach designed and installed a comparatively straightforward sound system for the more

DANLEY LOUDSPEAKERS AND SUBS LEAD THE CHARGE AT CALVARY BAPTIST CHURCH

calvary_baptist.JPGSALT LAKE CITY, UTAH – JULY 2012: Founded in the late 1890s, Calvary Baptist Church has a long and proud history in Salt Lake City, Utah. Its high-energy gospel services have electrified parishioners since its inception, and, like other mid-sized churches, it has more or less kept pace with the technological advances that have defined the past century. However, the sanctuary’s 1990s-era sound reinforcement system lacked the power and clarity needed to maximize the impact of Calvary’s wonderful gospel musicians and vocalists, and the lack of a video system dated the experience. All that has changed since Audio Video Electronics (AVE) of Maple Grove, Minnesota installed articulate, yet powerful Danley Sound Labs loudspeakers and subwoofers and a thorough video system.

Not long ago, AVE performed an installation at Shiloh Missionary Baptist Church in St. Paul, Minnesota, and the needs and circumstances of Calvary more

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

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