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Funky Junk Supplies Royer Mics For The Stereophonics Latest Tour

The Stereophonics, one of Britain’s most instantly recognisable bands, have just completed a major UK arena tour to promote their new album Graffiti On The Train.

The equipment list for the tour included three Royer R-121L ribbon microphones, which were supplied by Royer’s UK distributor Funky Junk.

Royer’s R-121 Ribbon Microphone is renowned for its ability to bring an extremely natural and realistic analogue sound to digital recording and live stages. The TEC Award winning R-121L, the ruggedized and more road-worthy ‘live’ version of the microphone, has been specifically designed to withstand the rigours of live touring. Royer won the prestigious 2013 Technical Grammy partly for their R-121, the first ribbon microphone suitable for close-miking electric guitar and other high SPL sound sources.

The microphones were chosen for the Stereophonics tour by FOH engineer Dave Roden who wanted to continue with their ongoing ethos of constant improvement of the overall sound quality at their live gigs.

“I haven’t used Royer R-121 microphones in a live situation before, but the band have used them in the studio and been very happy with the results they have achieved,” Roden says. “I have also heard them being used by other FOH engineers whom I greatly admire, (Jim Ebdon and Marc Carolan for example) and have always been really impressed with the results. I decided to use them, too, in order to up our game.”

Dave Roden was confident that incorporating Royer R-121 ribbon microphones into his live equipment arsenal would help him capture lead vocalist/guitarist Kelly Jones and lead backing vocalist/guitarist Adam Zindani’s individual guitar tones, as well as the raw energy for which the Stereophonics are famous.

“The band members have all moved on to IEM’s (in ear monitors) and they were hearing things completely differently to the way they’ve been used to with wedges,” Dave Roden explains. “In order to adapt, some of the on-stage sources required a more hi-fi approach. This was a challenge for everyone involved, but was a very positive and necessary step in respect to the future performance capabilities of the band, and gave our Monitor Engineer Dave Retson and myself the perfect opportunity to significantly upgrade our mic stock. Both the band on stage and the audience in the arenas were very happy with the guitar sounds they were hearing when we used the R-121L’s on the tour.”

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About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Vigo and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.

For more information please visit www.proaudioeurope.com

HARMAN collaborates with Bangalore International Airport Limited (BIAL) to provide unmatched audio experiences at T1A

BANGALORE, India — HARMAN International India today announced the successful implementation of a new HARMAN IDX Information Delivery System, a truly integrated airport communications system at Bengaluru International Airport in Bangalore, India. The deployment is a part of a comprehensive program by BIAL to deliver world-class facilities and services to its passengers and partners at T1A, which spreads across 1.5 million square feet and has the capacity to handle 20 million passengers/year.

The HARMAN IDX Information Delivery System is especially engineered for meeting the communication challenges in today’s complex public spaces such as airports, rail stations and others. In this case, the airport communications system comprises a software-based IDX system core and operator interface, as well as JBL Professional loudspeakers, CROWN amplification, AKG noise sensing microphones and BSS audio processing.

The system is a fully managed digital notification system that seamlessly combines audio and visual messaging systems with the airport IT LAN and provides operators with an effective interface for managing complex, rapidly-changing travel information including gate information, boarding details and life safety protocol in the unlikely event of emergencies.

The deployment provides the airport with a highly flexible and scalable solution that can support the airport’s current requirements of Terminal 1 and future expansion plans. This is a landmark installation, as it is not only the first HARMAN IDX Information Delivery System installation at an international airport in India, but also the first IDX system deployment in Asia.

“We are pleased to partner with HARMAN in installing a highly capable, robust and mission-oriented situation management platform at the terminal. Through the new system we will raise the bar in providing unmatched world-class audio experience to our passengers at the Bengaluru International Airport. This sets the foundation for an integrated airport communication system that will serve the airport’s needs for years to come” said Mr. G V Sanjay Reddy, Managing Director, BIAL

“The truly integrated airport communication AV system from HARMAN Professional will provide a premium information delivery solution that minimizes traveler stress, and ensures a positive airport experience. We believe this project has set a new benchmark in the global AV industry,” said M. Lakshminarayan, Country Manager and Managing Director, HARMAN International India.

HARMAN IDX is designed and built to exceed professional audio standards, incorporating premium microphones, amplifiers and loudspeakers for the best audio quality available. This IDX system can be found in various leading airport terminals across the United States and project sites across the world, including the recently installed projects at ORTIA International Airport in Johannesburg, South Africa, and Bogota International Airport in Colombia. IDX systems are also suited for Mass Transit facility applications Systems like SuperVia Trens Urbanos in Rio de Jeniero Brazil.

About HARMAN
HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. 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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.

John Mayer’s Born and Raised World Tour Relies On HARMAN’s Martin Viper Lighting Fixtures

AARHUS, Denmark — As John Mayer travels the world on his 4-conintent “Born and Raised” tour, lighting designer Nathan Alves ensures the lavish set is deployed quickly and easily to wow fans beyond Mayer’s renowned guitar playing. Supplied by Upstaging, 50 HARMAN Martin Professional MAC Vipers and 18 MAC III Quadrays light up the stage for the 9-month tour.

“We chose Viper because of its size and weight. It’s really the only full-feature light that will stand up to our video backgrounds and the wide variety of other beam-driven graphics on stage. Viper’s crisp beam and flat field really impressed me,” stated Alves. “I have eight instrumentalists on stage at every venue and I require a light that will hold up to everything from the bright spots to the ware and tear of international travel.”

The Quadrays were originally slated as MAC III Arifx fixtures, but after a demo Alves was content with the change. The versatility and dynamic shift the fixtures provided, from a frosted, even wash on a performer to its 4-beam explosion of light in multiple directions, left his options open to keep up with the high energy of Mayer’s performance.

“We never know which way John is going to turn next on this tour, so it’s almost an exercise in clairvoyance,” Alves continued. “I needed to design a system that could go in almost any direction creatively at any moment. Between the speed of the fixtures and the attention Martin paid to the demand of lightweight fixtures, I can do twice as much with half the fixtures, fewer trucks, fewer stagehands and smaller vendor costs.”

The Born and Raised tour began in summer 2013 and runs through April 2014.

For more information on Upstaging, please visit http://www.upstaging.com.

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 audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. 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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.

Christie MicroTiles Helps Raven Industries Communicate Its Value Proposition

Raven Industries selected Christie® MicroTiles® for part of its extensive corporate lobby redesign, installing a three-unit tall by seven-unit wide array that shows videos of the company’s history and its three operating divisions. Located in Sioux Falls, South Dakota and founded in 1956, Raven Industries designs and manufactures high value technical products including precision agriculture, high performance plastic films and sheeting, and aerospace and surveillance technology.

Christie MicroTiles at Raven Industries


Andrew Simmons, project coordinator, Raven Industries, discovered Christie MicroTiles at a Chicago trade show and thought they would be an “innovative concept” to include in Raven Industries’ remodeling plans for its headquarters. Simmons recommended the Christie MicroTiles for the refashioned main entrance.

For the lobby, the architect created a 45-degree angle, white-faced wall, placing the Christie MicroTiles inside and raised above ground level. The front desk operator sits to the left of the wall and with the remodel now complete, the new employee entrance off to one side provides a second direct view of the MicroTiles.

“The Executive Team was looking for a design that incorporated HD content without the traditional limits of a television mounted to a wall. We didn’t want to implement something that every company had done; we wanted something new and innovative that positions us as a tech company. It was important that we select a robust design that ensures longevity,” said Simmons. “After further research of the MicroTiles, we invited Christie onsite to perform a full demonstration of the product, and from there it went to design and final approval.”

Christie MicroTiles Garner Positive Feedback While Showcasing Raven Industries’ Know-How
“We show a variety of content on the MicroTiles, basically about our product capabilities and our company’s purpose,” added Kristin Tilus, communications manager, Raven Industries. “Our purpose is to solve great challenges – whether it is in the area of feeding the world, protecting the environment or saving lives. One video is a compilation showing different areas of our three divisions: Our Aerostar Division, our Engineered Films Division, and our Applied Technology Division. For example, viewers see precision agriculture equipment being installed inside tractors and other products that are used in the industry.”

Tilus noted that the display was showing an image of the Board of Directors when they walked into the building. Upon seeing the crisp, glare-free image, they first thought it was a print photograph rather than a video. With a much wider color palette than conventional LCD and plasma displays, Christie MicroTiles show pure, saturated, accurate colors, making them ideal for corporate lobbies. The modular display technology can be configured into nearly any shape and size to create an eye-catching digital canvas.

“Our main entrance is composed of glass and has significant ambient light both from outside and overhead. A standard television would appear washed out, so it was great to find a vibrant, durable solution that solved this challenge. We were pleased to work with Christie on the design and installation of our HD video wall and were impressed with the professionalism and quality service received,” said Simmons. “With the support of AVI Systems, we were able to execute and complete the project successfully to meet our timeline. The Christie JumpStart software is user-friendly, and allows us to drive different elements to the MicroTiles.”

Packaged with a media server, Christie JumpStart is a content management solution that allows you to display multiple video files, graphics, text and Microsoft Windows applications on a five to 15 megapixel digital display.

DPA’s d:facto™ Vocal Mics Hit the Road on MKS Tour


DPA’s d:facto™ II Vocal Microphones have been proving their flexibility and giving great performances on tour with MKS, the original Sugababes line-up.

The mics have also been at work in the prestigious setting of the world-famous Ronnie Scott’s Jazz Club in London. Charlie Dale, in-house engineer at Ronnie Scott’s and Front of House engineer for the band MKS and US rapper Angel Haze, is using DPA d:facto II Vocal Microphones across all these very different setups.

It was at Ronnie Scott’s that Dale first came across the microphones. DPA’s UK distributor Sound Network lent the club a unit to try out and Dale was immediately impressed.

“They instantly became my mic of choice for lead vocals, surpassing two big brands I had been using previously,” he says. “‘The d:facto’s mostly flat frequency response until its soft boost at 10 kHz gave me the ability to sculpt a very true representation of the performer’s voice with clear highs so that I don’t have to fight against feedback to pull out, and with all the warm tone one would expect from many jazz vocals.”

Dale decided that for the same reasons he wanted to use it on his pop gigs, again allowing him to easily create vocal sounds on a par with the studio-quality vocals of the artists’ records. And it’s not just the engineers who delight in the sound of the d:facto II Vocal Microphones.

“With performers, the clarity of the mic is often commented on,” Dale adds. “It allows a vocalist to hear the nuances of their vocal and gives them more control, even through loud stage wedges.”


Dale has had the opportunity to work with many big-name microphone brands in his career but, after hearing the d:facto, he believes that none of them offer the clarity and tone he wants from a live vocal.

“With MKS, all three of the girls have very different and distinct-sounding voices, and the d:facto II Vocal Microphone handled all of them with ease,” he says.

Dale’s work with rapper Angel Haze could hardly be more different.

“She rarely sings on a gig,” Dale explains. “Instead, she spends most of the time rapping hard and fast into the capsule at close proximity, often cupping the mic as many rap artists do. But the d:facto II handles all this well, making it much easier for me to pick up every syllable she spits out without loss of tonal quality on her vocal.”

Dale’s criteria for an excellent microphone are, he says, clarity, tone, excellent feedback rejection and low off-axis noise. To date, artists who Dale has used DPA’s d:facto with have all been very positive about the microphone, as have other engineers.

“Having a great vocal sound is often the hardest part of the mix, especially on noisy stages, and the d:facto helps on that front by offering a very clear and clean initial signal,” he says. “Its linear off-axis response means that what little bleed there is from wedges and back line is very clear, un-distorted and, most importantly, low-level, allowing me to get a great vocal sound every time, no matter how big or small the room, what the musical style is and how loud the band are. Studio-quality vocal tone on every gig – how could I say no to that?”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Martin Audio OmniLine Meets Challenges Of Essex University Lecture Theater


A Martin Audio OmniLine system was recently installed in the Ivor Crewe Lecture Hall (ICLH) at Essex University. Supplied by LMC Audio and installed by Scan Audio, the micro-line array system was identified as the ideal solution for the application from the word go.

The decision was endorsed by Tessa Rogowski, Head of Customer Services––Information Systems at Essex University. “I first saw the product at ISE and spoke with technical staff from Martin Audio about the specific problems we have with the 1,000 seat lecture theater, namely hard surfaces and the fact that the only place to hang speakers was behind the microphones, causing problems with feedback.”

Tessa continues, “There was no question in my mind that this needed to be solved once and for all. Martin Audio were the first people who actually appeared to understand my problems, and had the technology to ensure that the installation would be carried out correctly, the first time.”

The resulting OmniLine sale of 64 elements was handled by LMC Audio London, where Technical Sales Supervisor, Sam Simon-Norris, oversaw the project.

Following an initial visit from Martin Audio’s Peter Child to discuss OmniLine, it quickly became obvious to him that this was the perfect system to install at the ICLH. “With fantastic sound and sleek styling, I could see that it would complement the contemporary nature of the building brilliantly,” Simon-Norris stated.

The OmniLine system will primarily be used for voice amplification in the theater, which is used for high profile graduation ceremonies, conferences and lectures. However, a further challenge is that the theater can also split into two self-contained 500-seat spaces when the positioning of the speakers would automatically change, since they are hung on the walls that would move during the transformation.

Nigel Meddemmen, Martin Audio sales support, addressed the challenge by carrying out venue predictions as an accurate 2D slice using the OmniLine software. The calculations enabled him to position the arrays to ensure best possible response and generate the required rigging, inter-module angles and equalization. These peculiar challenges, he noted, “Actually made OmniLine an excellent choice.”

Other challenges included the use of a variety of microphones in front of the PA system, including tricky omnidirectional lavalier mics, which tend to be favored by university lecturers—plus the insistence on wall-mounting the arrays since the roof structure had not been rated for a flown system.

The biggest problem, however, was the fact that the rear walls of the hall move, splitting the auditorium via a central removable divide when it needs to open up. A total of four OmniLine arrays were specified to cover each of the two sides, yet maintain pattern control across exactly the same area when the room is functioning as a single large space. However, the front wall in each of the two halves is hinged, and when moved backwards, it would swing the outside arrays inward to leave gaps in the coverage at the sides while producing a troublesome coverage overlap in the center between the two ‘inner’ arrays.

The solution was to fix the vertical coverage of the arrays while leaving a degree of play in the horizontal alignment, which would normally be tightened off once commissioned to prevent any movement. An ‘angle stop’ system was therefore designed to slot behind the standard OmniLine wall mount brackets, to make it easy to accurately reposition the arrays when the room configuration changes.

Summarizes Sam Simon-Norris, “Nigel’s solution for overcoming the two-zone problem was as ingenious as it was practical, utilizing an additional bracket to allow the arrays to be swung from one position to another, giving optimum coverage in both modes. This really was a breakthrough for the project, and left us with no doubts that this system would be the perfect choice for the ICLH.”

For the installation itself, Simon-Norris chose long-standing LMC Audio client Scan Audio to carry out the work. The company’s MD, William (Dee) Couchman comments, “We have worked with LMC since the early 1990’s and have always been well supported with great product selection, support and demonstration equipment when needed. We had previously worked successfully together on projects for other educational institutions, and while the University of Essex was new to us, the project looked particularly interesting and we were keen to try out the new compact OmniLine system.”

The installation itself was carried out over four days, including one day to decommission the existing large custom column speakers and a small line array.

Couchman confirmed, “The main challenges included fitting the four line arrays of 16 OmniLine modules to the two large moveable projection walls. The tops of the arrays were only a few inches beneath the stage ceiling area so we used specialized hoist equipment to precisely move these into position above the supporting brackets while avoiding damage to the projection surface.

“The setting provided by the design software required only minor adjustment to produce a clear intelligible sound for this mainly speech-based reinforcement system,” he continued. “Music reproduction was surprisingly full range from such a compact line array, which blended very well with the interior of the hall.”

Nigel Meddemmen also confirmed that OmniLine had proven to be an excellent choice for this application. In addition to solving the University’s sound problems he notes that OmniLine is also visually unobtrusive, the curved lines and neutral grey color helping the system to blend, and not detract from the focus of the venue, in this case the university lecturers.

All of which is a source of great satisfaction for Tessa Rogowski. “It is exactly what I was hoping for,” she said. “Clear vocal reproduction even at the back of the hall in the seats positioned immediately in front of a significantly noisy HVAC outlet. And there is no feedback.

“From those with experience of the previously appalling sound, when they entered the room this time and we turned on the volume, they universally walked round the hall with silly grins on their faces. Sad though this is, we don’t get compliments, we have just stopped getting complaints—and trust me this makes it more than worthwhile.

“As for the installation process. I was most impressed. We could only give the installation team the smallest time frame to undertake the work—as the hall is booked at least six months in advance—and despite this all the work was completed on time.”

But the final word comes from Sam Simon-Norris. “This is just the sort of application for which OmniLine was designed and feedback from the university staff suggests that it has met and exceeded the initial brief on all counts.”

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.

Berlin Philharmonic Celebrates 50th Anniversary With Harman Studer Vista 9

BERLIN, Germany – In recognition of its 50th year, Berlin Philharmonic installed a HARMAN Studer Vista 9 in the Great Hall of its 24-year-old Chamber Music Hall. The auditorium provides excellent acoustics, and therefore hosts a wide range of concerts that are broadcast from the Studio 11 production room to areas far beyond the borders of Germany. The console is provided by Studer’s German distributor Audio Pro, who also fitted the system with 512 additional audio channels in the form of optical MADI interfaces.

In addition to its 80 analog and 24 digital inputs/outputs, The Studer Vista 9 console is outfitted with 240 DSP channels operating at either 48 kHz or 96 kHz. “The additional MADI interfaces allows 64 channels to connect to the digital workstation, while the remaining channels are connected to the Great Hall,” reported Mirsat Neziraj of the Berlin Philharmonic. “Even though Studio 11 production is not assigned exclusively to the Chamber Music Hall, it is used amongst other studios, as a mixing space for recordings or broadcasts from this venue.

Not only is Studio 11 also in high demand from record companies and broadcasters for their own productions, it also services the Philharmonic’s ‘Digital Concert Hall’, an Internet platform that enables music fans all over the world to see and hear the Philharmonic’s concerts, live or on demand. The Soundcraft Vi6, previously used in that production studio, has been relocated to the newly created Studio 12.

“The consistent and fast operating concept of the Studer Vista has impressed us from the start,” says Marco Buttgereit, a member of the audio team. “Because we often have guest sound engineers using our studios, it is important that they are able to familiarize themselves quickly with the technology. The intuitive, easy to operate Vistonics interface of Studer’s Vista range was the key reason why we chose this solution for the studio.”

In addition to local music concerts and jazz, international performances are also promoted in the Great Hall. For example, famous journalist Roger Willemsen has been hosting a series of concerts, which resembles a musical journey through different cultures and regions of the world. These are then also mixed on the Studer Vista 9 in the newly refurbished Studio 11.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. 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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.

Q-Sound Doubles Up on HARMAN Soundcraft Vi1 Following Success in Two Cultural Events

THESSALONIKI, Greece – Greek rental company Q-Sound was the force behind the success in two recent cultural events, employing HARMAN’s Soundcraft Vi1 audio consoles supplied by Bon Studio S.A. to ramp up the sound performance. The events included a festival organized by a well-known political party, plus a symphonic orchestra performance at Thessaloniki Concert Hall.

The symphony was a tribute dedicated to legendary Greek poet Kavafis, and all 64 input channels on the Soundcraft Vi1 were utilized during the show. Needless to say, both the audience and the supporting team from Q-Sound were impressed with the sound quality of the console, which has the smallest footprint in the Soundcraft Vi Series. In addition, the Vi1 has the largest touchscreen in its class and features FaderGlow™ color-coded illuminated faders.

“We could not have imagined better results from a Soundcraft console of this size. Our mission was to be able to support venues of this magnitude, while also creating the exact level of sound that the orchestra needs. We are glad to say the Vi1 helped us achieve this goal and exceeded our expectations,” according to Mr. George and Chris Paraskevopoulos, owners of Q-Sound.

“The recent shows were such a success that we decided to acquire a second Soundcraft Vi1! The portability, combined with the amazing yet easily controlled sound system, is a huge advantage for the variety of events that we manage. From political gatherings to cultural events, nothing seems to be a problem for the Vi1,” claimed George Paraskevopoulos.

In 2013, Bon Studio S.A. has already sold 28 Si Expression consoles, seven Si Performer consoles and nine Vi1 consoles in the Greek audio market.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. 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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.

Tightrope Media Systems ZEPLAY Enhances Fan Experience For Ottawa Senators NHL Games

Arena’s production team credits durability, ease of use, and archiving capabilities as key features of instant replay system

ST. PAUL, MINNESOTA, December 9, 2013 – The Ottawa Senators recently upgraded the production capabilities of its multipurpose home arena, Canadian Tire Centre, focusing on a new LED score board, cameras, fiber infrastructure and a complete control room overhaul. The control room project included replacing its older SD gear with new, all-digital HD switchers, routers and replay system that would meet the production crew’s specific requirements.

The production team selected two ZEPLAY slo-mo instant replay systems for sports from Tightrope Media Systems, citing ease of use, durability, and quick and easy access to game action as benefits – all while offering exceptional value for its price.

Stan Kertesz, audio and video production manager for the Ottawa Senators, explained that his crew needed a reliable and easy to use replay system for its new LED score board and monitors located throughout the arena. This is because ZEPLAY would be integral to capturing fast-paced game action and generating fan excitement during home games.

“It has always been important that we have the ability to produce our own replays,” explains Kertesz. “We realize that when you’re a fan watching a game at home, you get these great angles and replays, but that’s not always the case when you’re in the arena watching the games live. With that in mind, I wanted two replay machines from the start. We had one SD system from another vendor but the front end control wasn’t very good, and it had some bugs. It also only gave us four angles, and I wanted many more.”

Kertesz took a serious look at the price-to-performance ratio of available replay systems. “The consultant we were working with recommended Tightrope,” he says. “We checked it out and the price point was very good. I looked through the specs and the functionality and realized this system was exactly what we needed. We’re basically getting two machines for the price of one.”

Each ZEPLAY system allows operators eight channels of live replay (four in, four out) and a built-in multiviewer for studying angles. The unit’s controller and jog/shuttle wheel with magnetic stops gives operators the accuracy and speed needed when working under pressure. “They are good, solid controllers,” says Kertesz. “That’s something we didn’t have before with our old unit; that ease of use and control is something my operators appreciated right off the bat.”

ZEPLAY’s extensive tagging options to assist with storage, recall and lightning-fast highlight package creation was another essential feature for Kertesz. His operators archive game-day footage for highlights, promo packages, posting videos online or even as complementary footage after a game during player interviews.

“The archiving capability and full HD quality is very important to us, and overall it is the biggest way that ZEPLAY enhanced our game and workflow,” says Kertesz. “It’s great that we can show replays during the game, but with the tagging features, we also have that ability to create these HD highlight melts after the games. We can digitally transfer those to our edit suites and build databases. It makes the workflow really simple.”

Up and running on ZEPLAY after training for only two games, Kertesz stresses that it was not only quick and easy to learn, but the rewards were immediate.

“You can hear the reaction from the fans when you get a good replay, like the puck just barely stopping on the goal line,” says Kertesz. “So, we get recognition that it enhances the fan experience. Overall, ZEPLAY was a great choice and has become a big part of our show.”

About Tightrope Media Systems

Founded in 1997, Tightrope Media Systems is the pioneer of web-centric digital signage and broadcast automation systems. It provides station automation, video servers, internet video on demand, live streaming, the Carousel Digital Signage system, and ZEPLAY, a multi-channel instant replay machine for stadiums, arenas and Outside Broadcast vehicles. Tightrope’s award winning systems are used throughout the world. You can reach Tightrope Media Systems at (866) 866-4118 or visit them on the web at http://www.trms.com.

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DBS Productions Relies On Martin Audio For Miami Carnival

Machel Montano, King of Soca


Drummer Boy Sound Productions recently used different configurations of its Martin Audio W8LM system for a series of concerts by Machel Montano, the world’s leading exponent of Soca, at the Miami Carnival celebration.

According to Drummer Boy Sound CEO Harold Cummings, promoter David Fredericks of Islands United approached his company to handle full production––backline, sound, staging and lighting––for the first time. “David decided to give us a try and when we came in with the smaller Martin Audio W8LMs,” Harold recalls, “he didn’t think the boxes were big enough. They’d used a production company with larger format loudspeakers last time out, and he was totally blown away when he heard the W8LMs. Not just the coverage and volume, but the sound quality and control as well.”

The Miami Festival event consisted of three concerts in totally different venues, necessitating specific setups for each. Day one was a special “Girl Power” concert targeted for women at the Miami Airport Convention Center. A smaller site with ceilings only 14 ft. high, the theater presented several challenges. “Because the ceilings were so low, we couldn’t fly the full rig,” says Harold, “but we still needed to cover a 3,000 person space and throw 200 feet, so we flew five W8LMs and four WS218X subs per side and it was more than enough sound for the room. Even with the short ceilings and below average room acoustics, the speakers sounded great.

“The second night was called ‘Fantastic Fog Friday’ based on Machel’s hit single ‘Fog’ at the Broward County Convention Center, which has 26’ foot ceilings so there was more space to play with. We used a bunch of hazers and CO2 jets to create some deep low lying fog and haze, with seven boxes a side, 10 subs and our client was extremely happy that we could get a much bigger sound without losing any clarity and coherence.”

“Rave,” held in the East parking lot of Miami’s Sunlife Stadium, was the biggest show and crown jewel of the weeklong Carnival. As Harold describes it, “The Carnival actually lasted a whole week with parties going on all over town and this concert is where everything really came together. It drew over 10,000 people, had several opening acts like the Caribbean fusion band Karma, and the headliner Montano played a two-hour set of his hit songs.

“Because it what the largest space of the three nights, we used eight W8LMs and one W8LMD (downfill) per side, two W8LMDs on the stage deck for front fill, 16 WS218X subs, Martin Audio H3+s and WMX subs for side fills, 12 LE1200 and one LE1500 stage monitors plus MA 3.0 and 9.6K amplifiers—the full Martin Audio complement!

“In terms of other gear, the FOH console was an Allen & Heath iLive T112 digital with a iDR64 rack, monitor console was a Yamaha M7CL-48 digital, processing was Ashly Protea, and the mics were all Shure. Our crew included me as FOH and System Tech, Gerald Thomas (monitors) and Matt Psarsky (stage and backline tech).”

Asked about the client and band engineer’s reaction to the system, Harold concludes, “Ryan Lynton, Montano’s production manager and FOH engineer had never used Martin Audio before and he loved it. He wasn’t sure it was going to be enough for that large a crowd, but when I fired up the W8LMs, he gave me a big smile and said ‘Wow, I didn’t know it was going to be so loud and sound this great outdoors. He said that he’d be adding it to the rider for every show going forward.

“The client Island United was more than happy and said it was the best sound and production he’d ever had doing the Rave and added that we were already hired for next year!”

For more about Drummer Boy Sound Productions, click to www.drummerboysound.com

For more about Martin Audio, 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.

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