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Avolites Lights Up The Strip at South Point Hotel and Casino

LAS VEGAS — If there’s a word that characterizes Las Vegas, it’s “spectacle,” something that South Point Hotel and Casino on the south end of The Strip has in spades, especially now that the property has recently added three Avolites products to illuminate its live entertainment offerings.

On weekends, South Point hosts national artists ranging from Tower of Power to Tony Orlando, in addition to a wide variety of regional acts. With its 4,600-seat arena and 400-seat showroom, plus convention hall, the resort’s crews are lighting acts six or seven days a week – often with multiple shows on the same day and going into the wee hours for nightclub bands.

For South Point’s production team, the investment in Avolites’ Sapphire Touch lighting control console for the showroom, Tiger Touch II for the convention facility and original Tiger Touch for a portable rig that does arena and pool shows was a “no-brainer,” according to Jason Lein, the casino’s production manager.

When asked about what specific factors helped the venue choose Avolites products, Lein responds succinctly: “Powerful consoles for a fraction of the price of their competitors with the same capabilities if not more power.”

The desks were sold and installed by Kelly Koster at Blue Planet Lighting Inc., founded in 2008, a leading provider of entertainment stage lighting gear and services with offices located in Hollister, Missouri and Las Vegas, Nevada.

The gear’s flexibility and ease of use are major selling points for Joey Juliano, South Point’s entertainment lead LD, who cites the “awesomeness” of Avolites’ Cue Stacking for South Point’s big production shows and the consoles’ general plug-and-play operation. “The first time the audience sees our shows is the first time I see the show. With an ‘Avo’ I can make the show look like I’ve seen it a million times.”

Juliano learned stage lighting from Group One Limited’s (Avolites’ US distributor) Brad White on an Avolites Diamond III console eight years ago. “I have been lucky enough to be able to progress my lighting designs with each new Avolites console that is produced without having to take any more classes. They have kept their language the same through all their upgrades in their consoles, which is very smart.”

Two Avolites console functions that Juliano finds integral to his job in achieving his lighting design goals are Fixture Overlap and Fixture Exchange. “The Pixel Mapper is so addicting and super powerful as well,” he says. The coolest new function that I use literally all the time is being able to steal any aspect of a previous show and drop it into my current show, like cues, palettes, shapes, etc. The consoles also handle our media server in a plug-and-play manner.”

South Point’s Jason Lein notes that equipment features are important, but so is servicing from whom sold it, and he doesn’t take for granted the casino’s relationship with Blue Planet Lighting.

“When we decide on a product to purchase, the support that is behind it is just as important as the product and its capabilities,” he says. “Kelly Koster at Blue Planet and Brad White at Group One have shown that Avolites has a perfect balance of great products with the right support systems behind them.”

South Point Hotel and Casino can be found online at www.southpointcasino.com, while Blue Planet Lighting’s home on the Web is located at www.blueplanetlighting.com.

About Group One Ltd.
Group One Ltd. is a U.S. importer and distributor for a number of professional audio and lighting manufacturers. The company’s audio division currently distributes Blue Sky powered nearfield monitors, DiGiCo digital mixing consoles, MC2 high quality innovative amplifiers, and XTA digital signal processing equipment. The lighting division currently distributes Avolites lighting control consoles, ElektraLite controllers and intelligent lighting, and Pulsar LED lighting.

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Contact:
Avolites U.S. / Group One Ltd.
70 Sea Lane, Farmingdale, NY 11735
Tel: 516.249.1399 / Fax: 516.249.8870
Email: sales@g1limited.com
Web: www.g1limited.com / www.avolites.com

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PRG Calls K2 Into Active Duty for National Memorial Day Concert

Two complete L-ACOUSTICS rigs purchased, one immediately deployed at 25th annual event on the U.S. Capitol’s West Lawn

WASHINGTON, D.C. — Leading entertainment and event production services provider Production Resource Group (PRG) has officially begun upgrading to L-ACOUSTICS’ new K2 platform with the purchase of two complete line source array systems. Delivered in mid-May, the sale comprised a total of 48 K2 enclosures and 24 LA8 amplified controllers.

PRG’s inaugural K2 deployment came almost immediately – two dozen enclosures were put into active duty for the 25th annual National Memorial Day Concert, attended by countless spectators on the West Lawn of the U.S. Capitol in Washington, D.C. on May 26. This year’s event, hosted by actors Joe Mantegna and Gary Sinise, featured an all-star lineup of performers, including the National Symphony Orchestra, Jennifer Nettles, Megan Hilty, the U.S. Army Chorus and Air Force Singing Sergeants.

Having supported this annual holiday event for over two decades now, PRG’s new K2 rig replaces the call for V-DOSC used in years past. “PRG has been anxiously waiting for the arrival of the L-ACOUSTICS K2 system and it went right to work at the Capitol for Memorial Day,” says Randy Hutson, GM of PRG Chicago and vice president of PRG Audio. “We’ve been looking for a speaker system that is versatile yet meets the needs of our most demanding clients and L-ACOUSTICS has delivered with the K2. It is a high-powered, full-range speaker that weighs less, has a small footprint, offers excellent audience coverage with superb audio qualities and can easily support multiple markets, from music concerts to corporate events.”

“The K2 gives us more reach into large-scale venues, such as arenas and stadiums, but does so at significantly reduced weight without sacrificing power,” says Mark Boettcher, project manager at the Memorial Day event and a senior engineer at PRG. “At the same time, its lighter weight means it can go into venues like ballrooms and expo centers that have a lower-load rigging capacity.

“Also, the K2 enclosures have the same width as the L-ACOUSTICS K1, so it has complete rigging compatibility with K1 and K1-SB enclosures. That allows us to use K2 for downfill on K1 arrays. And all of that has significant economic implications, making the K2 extremely cost-effective. There’s just so much in the way of flexibility with the system.”

At the National Memorial Day Concert on the U.S. Capitol’s massive West Lawn, the K2 rig was configured in left and right hangs of 12 enclosures each. These were flown from towers, also used for fixed and moving lighting fixtures, positioned 105 feet downstage of the stage deck. Eight SB28 subs deployed in an end-fire array configuration provided the low-end reinforcement, while 16 coaxial 12XT wedges served as stage monitors. Thirteen LA-RAK touring racks, each loaded with three LA8 amplified controllers, furnished power and processing for the entire system.

In addition to the K2s, the project also used a total of 24 ARCS II systems – two hangs of five each for the invited-guest main stage, two more hangs of five for the reverse satellite stage, and two hangs of two each flanking the K2 arrays for wide horizontal coverage. Twenty-four dV-DOSC speakers, in four stacks of six enclosures each coupled with a single SB28 sub, provided delay while two more stacks of four dV-DOSC were used as guest area fills positioned on a tower on either side of the stage, also used for lighting fixtures and video screens.

With K2′s new PANFLEX variable horizontal coverage technology, the familiar challenge of surface reflections was easily overcome. “The stage was playing directly into the face of the Capitol building, which is flanked by stairs on either side, but centered on a large, ornate glass window – beautiful, certainly, but nothing we wanted to purposefully fire acoustic energy against,” notes Chris “Sully” Sullivan, L-ACOUSTICS’ east coast application engineer. “To solve the problem, we viewed the obstacle in SOUNDVISION, predicted which elements in the K2 array were going to hit it, then simply shifted the K2′s pattern asymmetrically for just those loudspeakers in the middle of the array. We reduced the reflected energy in excess of 6dB, and that was just the direct reflected energy! Combine that benefit with the reduction or elimination of the myriad of tangential off-time tertiary reflections and that becomes a massive win for the whole audience.”

In terms of overall performance, the K2s were troupers. “What I can tell you is that the K2 system went up very quickly thanks to its lighter weight – much faster than the comparable V-DOSC system it was replacing – and the same goes for taking it down,” says Boettcher, who worked on the event with Alan Henig, co-systems engineer. “And the rig sounded extremely transparent. There tends to be a natural fall off of the high frequencies by the time the sound hits the Capitol steps, but the K2 had extended frequency response past 10 kHz that far out, so the sound was exquisite.”

This year’s Memorial Day concert also saw another first. Previously, the show’s FOH had been mixed using a total of three consoles – a Yamaha PM5D, PM1D and an LS9/32, all connected with multiple copper-cable snakes. This year, PRG ran the entire show on just a pair of DiGiCo SD7 consoles, with six DiGiCo SD-I/O racks and an SD-Mini I/O rack, connected by two fiber-optic cables, with the FOH mix handled by Patrick Baltzell. “This really unified operations at the site and, combined with the much lighter K2 system, gave us the same amount of punch in a smaller and more efficient footprint.”

The same system will be deployed for the July 4th concert event in the same location. “The K2 will set the benchmark going forward as its predecessor V-DOSC did when it was released years ago,” Hutson declares. “Along with K1, this gives L-ACOUSTICS the leading edge in line arrays and we at PRG are very excited to add K2 to our extensive inventory of L-ACOUSTICS products. They listened to our needs and have delivered an innovative product that will perform for years to come.”

For more details on the 2014 National Memorial Day Concert, which was broadcast live via the Public Broadcasting Service (PBS) and American Forces Network, visit www.pbs.org/national-memorial-day-concert.

About Production Resource Group
Production Resource Group (PRG) is the world’s leading provider of entertainment and event technology and production services to a wide range of markets, including corporate events, concerts, special events, theatre, television, film and installations, such as theme parks, museums, retail stores and performing arts centers. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems, for these markets from more than 40 offices in North and South America, Europe, Asia and Australia. For more info on PRG, visit www.prg.com.

About L-ACOUSTICS
L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

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Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Pivitec Personal Mixing System on tour with Dirty Loops

Swedish “fusion-pop” band Dirty Loops has chosen a Pivitec Personal Monitor Mix System for touring in support of their first album, “Loopified”. The 3 piece band also chose an Avid S3L to handle front of house. Rather than rent or rely on whatever console the venue may (or may not) have, Dirty Loops, travels with the S3L and Pivitec for consistent sound gig to gig whether they are in Stockholm, LA or, most recently, NYC where I had a chance to meet up with the band.

The band with their Pivitec and IEM racks. L-R Henrik Linder, bass; Jonah Nilsson, vocals and keys; Aaron Mellergardh, drums.

The system was put together by Marcus Agnesund of Arva Trading AB, Pivitec’s Swedish distributor. Marcus also handles FOH for the band on tour. Marcus and Dirty Loops chose the Pivitec / Avid combo not only for the compact nature of the system but also because Ethernet AVB interfacing makes for streamlined set up and connectivity. The whole rig packs packs into a few flight cases that the band check as luggage when they fly from gig to gig.

The band, known for their extremely tight, jazz influenced arrangements, appreciate the level of detail and control afforded by the Pivitec system. The Pivitec e32 Mixers and network switch are mounted in their own small rack with the line level outputs of the 4 x Mixers each feeding a Shure PSM 1000 Wireless IEM. Control is handled via Pivitec V2Mix Pro App running on  Apple iPads.  Wireless control and monitoring means less clutter and no wedges means no stage spill for Marcus to deal with from FOH.

The Pivitec system also simplifies sound check by eliminating the usual back-and-forth “can I have more….” between musician and engineer and gives the band a consistent mix from night to night with only small tweaks required. As the band uses pre-recorded loops and click live, In Ear Monitors are essential and with 32 discrete channels Pivitec offers more than enough capacity and control to handle their complex instrumentation.

The Pivitec team are really honored to be working with Dirty Loops. And BTW – they are really nice guys as well. It was great meeting them and seeing them live in NYC. We are looking forward to their return to US later this year.

See Pivitec at InfoComm 2014 booth C11446

For more info: www.pivitec.com

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3TS Capital Partners Invests 7.2 million US$ into Visual Unity

Leading OTT platform and multiscreen solution provider, Visual Unity announces an investment of 7.2 million US$ (5.2 million Euros) by 3TS Capital Partners, the growth capital technology fund. This investment will strengthen Visual Unity’s delivery of end-to-end OTT solutions on a global scale.

The investment of 3TS, into Visual Unity is from their Cisco, EBRD, EIF and OTP backed growth capital fund, which focuses on investments in fast growing technology companies primarily in Central and Eastern Europe (CEE). Visual Unity will use the investment to support the growth of an international customer base for vuMedia™, its flagship OTT platform. vuMedia™ enables content owners and distributors to monetize their video assets over the Internet.

The company’s goal is to be the leading provider of OTT and multiscreen solutions. This investment will hasten leading-edge development of vuMedia™, Visual Unity’s world-class digital content delivery and smooth-multiscreen-user-experience product. 3TS is initially acquiring a minority stake in Visual Unity and commits to supporting the company at both a strategic and operational level.

Tomas Petru, Visual Unity’s Founder and CEO, says: “This is an exciting time for Visual Unity, with 3TS taking a key role in the future success of our company. Our robust, end-to-end product is already used by our customers worldwide. We support close to 10.000 different screens and devices in conjunction with every conceivable monetization method. 3TS’ diligent examination of, and investment into our product portfolio not only attests to its innovation, but will be instrumental in fueling our sales, marketing and development expansion.”

“Our strategic investment into Visual Unity will enable a strong focus in product development, while reaching previously untapped markets around the world,” commented Daniel Lynch, Managing Partner of 3TS Capital. “We look forward to establishing Visual Unity as a global leader in OTT and multiscreen products and services.”

“This investment from 3TS is coming at an ideal juncture for Visual Unity, in helping us realize our global expansion ambitions in response to overwhelming customer demand,” comments Tony Hasek, Chief Commercial Officer at Visual Unity. “This investment will provide the resources needed to service key markets around the world, and capitalize on the amazing growth opportunity in OTT and video streaming services.”

-ends-

About Visual Unity
Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMedia™ platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMedia™ is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.
Visual Unity is based in Los Angeles, Munich, Prague, Moscow, Istanbul, Dubai, Hong Kong. For further information, please visit www.visualunity.com, info@visualunity.com
About 3TS Capital Partners
3TS Capital Partners (www.3tscapital.com) is one of the leading private equity and venture capital firms in Central and Eastern Europe operating through offices in Budapest, Bucharest, Istanbul, Prague, Vienna and Warsaw. 3TS targets investments in growth sectors including Technology & Internet (Software, Hardware, Mobile, Ecommerce, Social, etc.), Media & Communications and Technology-Enabled Services. Investors in the current and earlier 3TS funds totaling over € 300 million include Cisco, EIF, EBRD, OTP, Sitra, 3i and KfW among others.
3TS Capital Partners, 3TS and the 3TS logo are registered trademarks or trademarks of 3TS Capital Partners Ltd. and/or its affiliates. For more Information Please contact Anikó Horváth ahorvath@3tscapital.com, tel. +43-699-10313369 or Managing Partner Daniel Lynch dlynch@3tscapital, tel. +420 225 990 856.

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Wesley United Methodist Church Reinforces Its Sound With HARMAN’s Soundcraft Vi3000 Digital Console

(Gray Shirt) Garret Kyler, Wesley United Methodist Church; and (Black Shirt) Chase Daigle, MSC Systems.

BEAUMONT, Texas – Wesley United Methodist Church in Beaumont, Texas recently improved its audio capacity with the new HARMAN’s Soundcraft Vi3000 digital console and Soundcraft Si Performer 3 digital console. Installed by MSC Systems of Beaumont, the consoles are part of a sound reinforcement project aimed at providing better audio fidelity to the 100-year-old church, which provides contemporary services for up to 500 people.

The newly launched Vi3000 features the new powerful SpiderCore DSP, plus extensive onboard options such as Dante and MADI interfaces. The expanded capabilities of the new 40-bit floating point DSP engine mixes FPGA and DSP technologies in a unique combination with a footprint small enough for it to be included within a control surface. While adding the usual ease-of-use features that made Soundcraft consoles so desirable, such as the Vistonics™ user interface and FaderGlow™ functionality, this console takes any venue to new heights.

“The capabilities of the Vi3000 are amazing, as it has plenty of ins and outs,” said Chase Daigle, Lead Designer/Installer of MSC Systems. “The operators can now mix 12 stereo in-ear monitor mixes right on the console, and have 48 local inputs in addition to the 48×32 stage box run with fiber and 64×64 capability of Dante to the Si Performer. We can also configure presets for every channel, which means we can now recall settings for every single musician on different weeks, instead of resetting the whole board. Operation was so easy that the technical staff often involves the assistance of local volunteers, who despite lacking professional training were able to operate the Vi3000 and the Si Performer 3 after a few pointers.”

Nothing was compromised to provide the best audio solution for this house of worship, with the Vi3000 handling FOH and monitors on different sections of the same board, while the Si Performer 3 with an additional Dante card is used for recording in a separate room. Feeds from the Vi3000 are also routed through the Si Performer 3, so the church services can be streamed directly online.

“The audio has been dramatically improved over our old system,” said Garret Kyler, Worship and Technical Arts Director of Wesley United Methodist Church. “The new Vi3000 console does not sound thin and digital, but very warm and analog-like. It’s also not like other consoles such as those made by Yamaha, where you go through layers of menus. The whole thing is incredibly responsive, because whatever you put in, you get back immediately.”

With a completely remodeled sound and lighting infrastructure, the church is set to handle another decade of contemporary performances. With the “spectacular and natural” Lexicon effects that Daigle applauds, the new Vi3000 will grant church members the sound they were looking for.

For more information on MSC Systems, please visit www.mscsound.com

Photo Credit: Abel McBride

HARMAN (www.harman.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

Martin Audio MLA Goes The Distance At BottleRock 2014

Napa, CA––Under new management, BottleRock 2014 provided three days of exceptional music, food and drink without any of the problems that affected last year’s trial launch.

As Jason Alt of Delicate Productions, provider of audio, video and lighting for the event points out, “This year’s festival was smoother, more organized and better run. Participating vendors and artists were taken care of in advance and everyone had a very positive festival experience.”

The eclectic lineup for the festival included The Cure, Outkast, Weezer, TV On The Radio, Heart, Third Eye Blind, Blues Traveler, Spin Doctors, Gin Blossoms and dozens more bands, solo artists and comedians that spanned a range of styles and musical generations.

Once again, Delicate provided Martin Audio MLA and MLA Compact loudspeaker systems for the two main sponsored stages, Toshiba and Sprint, to ensure proper coverage within the festival grounds and output control to prevent noise overspill in surrounding residential neighborhoods.

“The city of Napa didn’t have a noise ordinance until after last year’s event and we teamed with the city to establish one that would work for the festival and the city,” Jason explains. “We came up with 105dB C-weighted at front of house, 110 feet from the stage, measured over an hour period average. This gave us enough latitude for bands to get louder for ten minutes at a time, which allowed for dynamics within that average without adversely affecting any artist’s performance.

“None of the artists or engineers had any issues with the noise ordinance. Even with the newly imposed time restrictions of stopping by 10pm, the festival went really well. And we had no noise complaints from those living near the festival site either.”

Part of this year’s new PA guidelines included removing the delay towers from the main stage to eliminate excess noise, which had no negative impact on coverage according to Alt. “It made the throw for MLA about 600 feet and the system still performed really well. The audience listening experience didn’t suffer at all. People were able to hear it and everything sounded really consistent and clear.”

The Toshiba main stage system consisted of two speaker clusters a side, each consisting of 16 Martin Audio MLA and two MLD (downfill) enclosures; 24 ground-stacked MLX subs; 12 W8LM speakers for front fills; two clusters for side fills, each containing 4 W8C, 4 W8CS compact subs, and 2 WS218X subs; and 6 MLA Compact each as side hangs.

An Avid Profile 96/24 console was used for FOH, and Yamaha PM5D-RH, DSP5D and Avid Venue 48/24 consoles were used for Monitors. Six Shure UHF-R wireless systems with SM58 capsules were also part of the main stage setup.

For the second (Sprint) stage, Delicate combined 18 Martin Audio MLA Compact enclosures per side with 12 DSX ground-stacked subs; 2 side fill clusters containing 2 W8Cs, 2 W8CS compact subs and a WS218X sub; 4 W8LCs for front fills and Martin Audio LE1200S and LE2100S stage monitors to complete the package.

Asked about MLA, Outkast FOH engineer Darcy Khan replied, “I enjoyed the system a lot. The most important thing was the clarity at 200 feet. I was skeptical about that because a lot of line arrays claim to have it but don’t deliver. And this is the only system I’ve come across that can produce enough low end with just 24 subs, but the way Delicate set it up with that block across the front of the stage, it was there. I was very pleased with it, the system really delivered the goods.”

Concluding, Jason added, “Overall the MLA’s performance exceeded our expectations. Everybody was very impressed with what the system was able to do and all of the engineers, many of whom were new to the system, had a great mixing experience with it.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

HARMAN’s Martin Professional M6 Lighting Console Brings Joy To Changlong International Circus Festival

ZHUHAI, China – Located in the southern Guangdong province and bordering Macau, Zhuhai is a premier tourist hotspot in China. Recently, it is also the host to the Changlong International Circus Festival, of which the committee selected the HARMAN’s Martin M6 Console to control and calibrate the lighting systems on and around the stage. Local Martin distributor Guangzhou Dan-Pro Stage Equipment Co., Ltd recommended the console from a world-renowned brand not only to match the popularity of the venue, but also to provide a compelling experience to such a joyous event.

The Martin M6 console offers the most advanced visualization of lighting control, accommodating a wide product range from traditional fixtures to moving lights and even the most advanced media servers with ease. The setup for the festival features two M6 consoles of the 64 channel version, as well as eight Ether2DMX8™ DMX routers.

“The M6 console is extremely popular amongst integrators, especially for live applications,” said Yuri Zhang, Vice GM of Guangzhou Dan-Pro Stage Equipment Co., Ltd. “During shows that span multiple days, it is imperative for the lighting systems to be controlled by a console that can consistently keep up with the pace without failure. To this end, the body of the console consists of a lightweight aluminum shell, which also allows for a compact design and fast setup times.”

The show features 10 consecutive days of clown acts, circus and aerial acrobatics, animal performances and magic acts, pushing top groups around the world to exciting levels of brilliance. Since there are no two acts alike, all participants had different requirements for synchronizing the lighting effects with their performance. Powered by an industrial multi-core processor and solid-state drives, the M6 console is well equipped to endure such a long and arduous event.

“The M6 console is one of the most reliable lighting consoles to date,” according to Zhang. “It pushes innovative boundaries in terms of flexibility and modularity, as it works with nearly all forms of lighting equipment. By adding a custom touchscreen display to improve ergonomics and workflow, we boost user confidence, so that they may focus on the show.”

The Circus Festival organizers, Changlong Group’s board members, and technical staff were all satisfied with the performance of the Martin M6 console, and praised it for its design and effectiveness. The operators found the controls to be “ambitiously effective” and thus, the M6 will continue its mission to accommodate regular programs for the Changlong International Circus.

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN (www.harman.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

PSS Sound Delivers Supreme Audio Integration to Multiple Venues with HARMAN’s JBL Loudspeakers, Crown Amplifiers and Soundcraft Digital Consoles

BATON ROUGE, Louisiana – Based in the capital of Louisiana, complete audio systems integrator Premier Production & Sound Services, LLC (PSS) is known for its dedication to providing the best audio designs to a wide variety of venues and events including festivals, concerts, university functions and corporate conferences. A major factor contributing to the company’s success is its use of HARMAN’s JBL, Crown and Soundcraft equipment, generating integrated solutions that are impressive in quality and consistency.

To deliver a full turnkey audio system at the limited 325-seat Manship Theater for the Manship Red Carpet Gala Fundraiser featuring GRAMMY®-winning Rick Springfield, PSS stacked three JBL VTX V25 line array loudspeakers per side from the ground up, on top of three VTX S28 subwoofers in cardioid configuration and a VTX V25-VT vertical transporter per side, with four VERTEC® VT4886 subcompact line array loudspeakers serving as front fills. Also, four VT4886 loudspeakers on top of three VT4883 subcompact subwoofers per side in cardioid configuration served as side fills, supported by two VT4883 subs with four VT4886 for drum fill and 16 SRX712M stage monitors. The entire system was powered by 36 Crown I-Tech 12000HD and nine I-Tech 4x3500HD amplifiers, and mixed with a Soundcraft Vi6 digital console.

Knowing the sound needed to reach three different levels of the theater, Brian Gordon, co-owner and head audio engineer of PSS Sound, said, “Due to building constraints, we were unable to suspend the VTX line arrays, but thanks to the versatility of the VTX series, we were able to get coverage for the entire room with such little gear. After calculating for vertical dispersion, the front fills were enough to cover half of the first level, with the three VTX V25 loudspeakers covering the rest of the house. We are pleased that the ground-stacked configuration gave us the vertical coverage and sound quality that the artist demanded.”

In addition, the Our Lady Of the Lake Foundation held its 29th Annual Gala at the Baton Rouge River Center, hosting a show for the regional Our Lady of the Lake hospital, starring the blue-eyed soul staple, Hall and Oates. PSS came through with eight JBL VTX V25 and four VT4886 downfill enclosures and six S28 subwoofers in a cardioid configuration per side, supported by four VERTEC VT4888 midsize line array loudspeakers and four VT4886 downfill per side for out fill and four VT4886 loudspeakers for front fill. The system was again powered by 36 I-Tech 12000HD and nine I-Tech 4x3500HD amplifiers, while the Soundcraft Vi6 served as the master control console.

“We wanted to run all the signals through the Vi6 before they hit the PA system, to avoid compromising on sound quality and to have control of the Gala function before the band took the stage,” said Bryant, co-owner and Director of Operations. “The cardioid configuration of the JBL loudspeakers was vital for this particular show, because it eliminated the low-end frequencies that the artist was very sensitive to.”

“The D2 driver is the most amazing thing I’ve ever heard, virtually eliminating half-order distortion, greatly reducing 2nd-5th harmonic distortion, and virtually eliminating modal-breakup to beyond the limits of human hearing in the extreme high-end frequencies,” stated Gordon.

Lastly, the Groovin’ on the Grounds concert at Louisiana State University allowed PSS to showcase its ability to put out a tremendous amount of power through its JBL system, which included 12 VTX V25 loudspeakers per side and nine S28 subwoofers per side, with eight VT4886 loudspeakers as down fills. All units were flown, except for four VT4886 loudspeakers and six SRX728 subwoofers on the ground functioning as front fills.

All 39 Crown I-Tech 12000HD and 15 I-Tech 4x3500HD amplifiers were used to power the system, while the Soundcraft Vi6 console was used for FOH and monitors. For all three shows, JBL HiQnet Performance Manager™ and HARMAN HiQnet Audio Architect™ were used to design and adjust the system configurations.

“With Crown amplifiers we have been very happy with the rock solid stability of the I-Tech HDs. The improved filters and V5 presets have made the combination unstoppable and we have been equally impressed with the newer 4x3500HD amplifiers which allow us to greatly diversify amp racks to do many different configurations,” added Bryant.

“When using the software, we started with the V5 presets and moved forward with further tweaks based on the room and venue. This allowed us to be flexible in our design, even though the concert moved from the originally planned outdoor environment into an arena setting,” said Bryant. “The technological leap that the JBL D2 drivers made for high end clarity allowed us to deliver clear sound at these high powered venues, without distortion or feedback.”

“Thanks to our integrated HARMAN systems, we were able to provide consistent high-quality audio for all three shows,” Bryant concluded. “We have also recently purchased more V25, G28, V20, S25 and F18S loudspeakers to augment and upgrade our existing inventory.”

HARMAN (www.harman.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

Starlight Theatre’s Sound Shines with L-ACOUSTICS

KARA system installed at Kansas City’s famed outdoor theatrical venue

KANSAS CITY, Missouri — Seating nearly 8,000 patrons, Starlight Theatre has been a staple of Kansas City’s performing arts community since it first opened in 1950. Hosting a full calendar of Broadway plays and musicals each summer season – not to mention numerous concerts, corporate events, weddings and fundraisers – many classic productions have trod the boards of the large open-air venue over the years, including Jesus Christ Superstar, Oliver!, Hair, Camelot, Sweet Charity and West Side Story.

As to be expected, Starlight, which is operated by the not-for-profit Starlight Theatre Association, has been through a few sound systems in its time, with the last one holding out for the past 14 seasons. But none of them have ever been able to deliver the critical combination of the intelligibility needed for theatrical dialog with the full-range frequency response necessary for music. Until this year, that is. A new L-ACOUSTICS KARA Modular WST line source sound system was installed over the winter and is already taking Starlight’s 2014 season to new heights.

The new L-ACOUSTICS house system, designed by Dallas-based Idibri (formerly Acoustic Dimensions) and installed by Clair Brothers Audio Systems’ Nashville office, consists of a total of 48 KARA line array modules divided into three hangs of 16 each, positioned left, center and right along a steel framework above the proscenium stage. Flanking either side of the center hang and the outside of the left and right arrays are flown arrays of six SB18 subwoofers accompanied by eight ground-stacked SB28 subwoofers split between the left and right sides of the stage floor. Proscenium fills are handled by two ARCS WIDE and two ARCS FOCUS, one each per side, while six tiny 5XT coaxial loudspeakers and three larger 8XT enclosures comprise the front-fill complement. A total of 16 LA8 amplified controllers power the entire system.

“We put a lot of effort into choosing the new sound system,” states Justin White, Starlight Theatre Director of Operations and Theater Plant, noting the winnowing process began with five systems that Idibri Project Manager Ryan Knox suggested Starlight investigate. This field was eventually narrowed down to three finalists, for whom Idibri arranged a demo that let dozens of Starlight staffers, board members, donors and city officials listen to audio systems in the venue itself and do an A-B-C comparison using the same program material.

They emphasized the key criteria of intelligibility and music reproduction, as well as other areas of importance, such as the ability of the system components to endure outdoor use throughout what Barb Schulte, Starlight’s Director of Communications and Outreach, euphemized as Kansas City’s “challenging weather environment, especially in summertime.” And, says White, it became clear very shortly who the winner would be. “After as little as ten minutes for some individuals in attendance, it was unanimous: everyone loved the way the L-ACOUSTICS system sounded.”

Kent Andel, Production Manager for the theatre, says he was a fan of the previous system because of the warmth of its sound, but says that the new system exceeds its performance in a number of ways. “The intelligibility we need for diction and dialog are all there,” he says. “At the same time, it works for music. So the L-ACOUSTICS system won hands down.” This is especially impressive when considering that the compact modular KARA system went head-to-head with systems looking much bigger on paper.

The new L-ACOUSTICS line source array system was first used in late May for Starlight’s Blue Star Awards, a Tony Awards-style program to recognize metro area high school musical theatre talent. All of the system’s critical parameters were on the line, and it performed flawlessly. It will get an even more vigorous workout for the season’s first Broadway musical when The Wizard of Oz comes to Starlight in mid-June.

But even between those shows, the L-ACOUSTICS system is showing its versatility; it’s already been divided into three mini arrays – each with two SB18s, six KARA modules and all four ARCS enclosures – and used indoors in the Jeannette and Jerome Cohen Community Stage that’s part of the Starlight Theatre complex for off-season private events, receptions and parties. “In addition to sounding great, it’s also a very flexible system,” White says. “It’s as loud as we needed it to be, super clear, flexible and just a great choice for us.”

About Starlight Theatre
Starlight Theatre, winner of the 2013 Venue Excellence Award from the International Association of Venue Managers (IAVM), is the largest and oldest performing arts organization in Kansas City and the second-largest outdoor producing theatre in the country. Opened as a theater in 1950 and as a not-for-profit organization in 1951, Starlight presents and produces Broadway musicals and concerts. It also offers extensive community outreach and educational programming, including classes, scholarships and Starlight’s Blue Star Awards, one of the largest high school musical theatre award programs in the nation. Located on 16 acres in Swope Park, Starlight’s venue includes rehearsal halls, gift store, club area for dining, concessions, gardens, fountains and a 10-story, climate-controlled stage. For more information, visit www.kcstarlight.com

About L-ACOUSTICS
L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

Credit for all images: Bob Compton

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Santa Monica Pier’s Breathtaking View Accentuated by Pulsar

ChromaPoint floor lighting system installed at Tongva Park’s scenic Ocean Avenue overlooks

SANTA MONICA, California — Dramatic lighting always adds to the ambiance of public spaces at dusk as lovers take a romantic stroll, especially around a $42.3 million setting like Santa Monica’s Tongva Park.

Helping to create different, colorful moods for the park’s striking walkway, which opened last fall, Horton Lees Brogden (HLB) Lighting Design tapped lighting manufacturer Pulsar for key equipment.

According to HLB lighting designer Clifton Manahan, it was never a question which vendor would be selected for the project along two of Tongva Park’s scenic Ocean Avenue overlooks at the Santa Monica Palisades Garden Walk.

“At the time of design, Pulsar’s ChromaPoint IP66 was one of the only wet-rated miniature color-changing in-grade lights available on the market,” Manahan points out.

HLB ended up specifying 75 Pulsar ChromaPoints, which are weatherproof, as well as two Pulsar ChromaZone PSU/controllers, for the installation’s dramatically lit structures, which sit on the park’s western edge, just one block east of the famous Santa Monica Beach and Pier.

“The ChromaPoints were the right choice because their IP weatherproof rating is ideal for this salty outdoor setting. In addition to being durable, the ChromaPoint LEDs feature an exceptionally smooth color mix and excellent dimming curve,” comments Vicci Stewart, account executive with Entertainment Lighting Services (ELS), the dealer on the project.

Commenting about the environmental elements, HLB’s Manahan adds: “The light output and effect highlighted the architecture very well, and the color-changing ability allowed the owner to program special effects for events or holidays. The IP rating and marine grade stainless steel finish also will help with fixture longevity at this location right next to the ocean.”

Stewart notes that the setup, which was installed by Cupertino Electric, also called for a Nicolaudie computerized lighting controller programmed by ELS system engineer Rick Corley to scroll the static Pulsar LEDs through a variety of colors.

Adding flexibility and a creative flair, the color schemes may be reprogrammed as desired by the operator or client – in this case, the City of Santa Monica.

HLB has done a fair amount of public park or plaza-type projects, although to Manahan’s knowledge it was the first time in the past few years that HLB’s Los Angeles office has used Pulsar fixtures.

Manahan credits Omar Arnold from Quantum Sales and Technology and Vinny Finnegan from Group One Limited, which distributes Pulsar in the U.S., with being “quite helpful in procuring samples for us and answering our questions or connecting us with the factory for further information when required.”

The Pulsar ChromaPoint is an extremely compact LED fixture that features three RGB TriColor emitters, which produce stunning mixed color right from the source. It is supplied with an optional opal disc and retaining O-ring that can be fitted internally to give an evenly illuminated disc of light rather than viewing the LEDs directly.

This tiny fixture has a wide viewing angle of 100 degrees making it ideal as a decorative point light source in architecture, interior design or stage and set design and is IP67 rated for temporary immersion up to 1 meter for 30 minutes max. The external ChromaZone power supply and LED driver allows for full DMX control of RGB levels, plus its numerous internal sequences provide impressive operation without the need for a dedicated external control system.

About Group One Ltd.
Group One Ltd. is a US importer and distributor for a number of professional audio and lighting manufacturers. The company’s audio division currently distributes Blue Sky powered nearfield monitors, DiGiCo digital mixing consoles, MC2 high quality innovative amplifiers, and XTA digital signal processing equipment. The lighting division currently distributes Avolites lighting control consoles, ElektraLite controllers and intelligent lighting, and Pulsar LED lighting.

# # #

Contact:
Pulsar / Group One Ltd.
70 Sea Lane, Farmingdale, NY 11735
Tel: 516.249.1399 / Fax: 516.249.8870
Email: sales@g1limited.com
Web: www.g1limited.com / www.pulsarlight.com

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