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Historic Lyric Theater Upgraded With Martin Audio

Miami, FL––Built in 1913, the Lyric Theater quickly became a popular entertainment center for African-Americans in Miami. It grew to be the anchor of “Little Broadway” in Overtown, eventually featuring artists such as Sammy Davis Jr., Count Basie, Sam Cooke, Aretha Franklin, Celia Cruz, B.B. King, Patti LaBelle, Ella Fitzgerald, Redd Foxx, Mary Wells and others.

After closing in the 70s, the Lyric was purchased by the Black Archives, History and Research Foundation of South Florida in 1988. Since then, the venerable theater has undergone three major restorations and upgrades, culminating in a grand opening for the fully refurbished performance complex in early February.

Miami’s Drummer Boy Sound Productions did the consulting and design for the Lyric’s new audio and video systems. Asked why he chose Martin Audio for the upgrade, owner Harold Cummings responded, “My client Tim Barber, managing director of the Black Archives, had heard a Martin Audio system at one of my events and was impressed.

“The client wanted a high quality sound system that could be used for national R&B and Gospel acts and theater production events, that would properly cover the venue, and be accepted by touring engineers,” adds Harold.

“A line array wasn’t the right answer because the Lyric is a small 400-seater with a balcony and the sound would have been all over the place. Plus we needed a stereo-imaged room because the space also doubles as a movie theater.

“The Martin Audio W3P was the only speaker that made sense since it’s a compact 3-way trapezoid system with a tight pattern and 65º horizontal dispersion, which was key to this job,” Harold explains. “There weren’t that many speakers on the market with that type of dispersion, sound quality and high output capability in one package.”

Cummings’ system design includes four W3Ps flown from the proscenium wall, (one firing at the balcony and one at the main theater floor on each side) two Martin Audio AQ5s for stereo under balcony, two AQ5s for stereo front fill, and two WS218SX subs fitted into custom openings inside the stage. There are also Martin Audio LE1200s as stage monitors.

Other system components include an Allen & Heath iLive T112 console with iDR48 rack, Ashly Protea processor, Shure mics, a Whirlwind split snake system and cables.

Asked about the reaction to the audio system’s debut at a grand opening event called “Lyric Live” (an amateur hour contest for singers, bands and comedians from all over South Florida), Harold said, “Everyone thought the system sounded amazing and the coverage was incredible. You could hear perfectly in every single seat. We had more than enough headroom and plenty of low end, something that’s very important to me. With Martin Audio, I feel confident that no matter what kind of act comes in here, we have it covered.”

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.

Austrian Freelancer Lukas Zilka Takes HARMAN Soundcraft Si Expression 3 to the Big Stage

PURKERSDORF, Austria – Lukas Zilka, a freelancer who mixes audio for live concerts, press conferences, corporate events and national balls, recently elevated his company Live Productions –Event Services with the purchase of a HARMAN Soundcraft Si Expression 3 mixing console. This upgrade will assist him not only with his own productions, but also with the services he routinely offers to bigger companies.

Zilka is a highly skilled sound engineer who manages audio for some of the nation’s top balls, including the “Bonobonball” (Candy Ball) in Vienna. His previous experience with the Soundcraft GB8 analog console installed at that venue is what led him to grow his business with the Si Expression 3. It is the perfect console to lead analog users into the digital realm, as the controls on the Si Expression feel very much like any analog desk.

“Simply put, the value of the Si Expression 3 is unmatched, as other brands cost an arm and a leg for the same feature set that Soundcraft offers. I mix children’s plays for one of my regular clients, which is a local community church, and as the performance group expanded over the years and became increasingly professional, the small racks on the old Yamaha console couldn’t cut it anymore. I needed more outputs and more faders, so when I saw the Si Expression 3, I knew my search had come to an end,” Zilka said.

The Soundcraft Si Expression 3 features a mighty number of 30+2 faders along with flexible onboard and expansion I/O options to ensure that every one of the 66 input processing channels can be used. To help the operator power through concerts and events of any size, this console not only boasts the award winning EMMA™ DSP processor, it also comes with built-in FX engines that do not impact the mix regardless of load. To top it off, the fader groups are illuminated with Soundcraft FaderGlowTM, which color-codes the motorized faders for an intuitive mixing experience.

“So far, I’m loving the digital experience,” said Zilka. “I really like the easy handle on all channel parameters, as there is no need to jump into menus to get the effects I want. When I did a charity concert, I noticed the advantage of storable pre-amps, which was not present on my old mixer. I also enjoy using the ViSi app on my iPad for corporate events and press conferences.”

“Overall, Soundcraft delivered on every aspect of its name, providing me with an experience that cannot be found elsewhere for this price,” Zilka concluded. “The Si Expression does a perfect job and helps me create the exact sound that I want. Its ease-of-use features such as FaderGlow are revolutionary for this industry, which contains too many cluttered mechanics from other brands.”

HARMAN 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

DiGiCo Sweeps the GRAMMY® Awards

ATK Audiotek deploys numerous SD Series consoles for “Music’s Biggest Night”

FOH Music Mixer Ron Reaves manning ATK Audiotek's DiGiCo SD7 console at the 2014 GRAMMY Awards

LOS ANGELES — Southern California-based live event sound, equipment rental and broadcast audio production specialist ATK Audiotek recently acquired a slew of DiGiCo digital consoles, immediately putting them to work on the 56th annual GRAMMY® Awards telecast in Los Angeles in late January. This is the third consecutive year that ATK has relied on DiGiCo consoles for the production of “Music’s Biggest Night,” with this year’s show marking the very first outing for the company’s latest purchases.

ATK, the audio production provider for the Recording Academy’s annual music celebration since the telecast permanently relocated to the Staples Center in downtown L.A. fourteen years ago, made the switch to DiGiCo consoles in 2012. This year, the console complement included an SD10 for Mikael Stewart, FOH production mixer and ATK’s vice president of special events, plus an SD7 for Ron Reaves, FOH music mixer, seated alongside Stewart.

“Everybody who comes through the GRAMMYs leaves happy, and all I use is the onboard processing,” says Reaves. “But my partner in crime at the GRAMMYs, Mikael Stewart, uses the Waves plugins quite extensively. He mixes all the dialog and the production elements, so he makes use of the DNS plugin on some of the podium micas.” Stewart, whose console was directly connected to a DiGiCo SoundGrid server, used the Waves Dialog Noise Suppression plugin to reduce the room regeneration coming back in to the microphones and also made use of the Waves C6 Multiband Compressor.

The DiGiCo SD8-24 desk positioned backstage at the Staples Center and used for signal distribution monitoring

Tom Pesa, the A stage monitor engineer, and Michael Parker, monitor engineer for the B stage, each mixed on an SD7 with a redundant engine. This year, for the first time, an SD8-24 — supplied by Hi-Tech Audio for the occasion — was positioned backstage at A2 world, and that enabled an assistant engineer to more efficiently monitor signal distribution throughout the venue.

As in previous years, Parker and Pesa each accessed common head amps in the four SD-Racks positioned backstage. But this year, in another first, two SD-Racks were added in parallel in order to provide Reaves with discrete preamp control at FOH. “Those were running MADI to his console. Staying at 48 kHz, we got an entire rack down one MADI cable instead of two,” says Jeff Peterson, ATK’s system designer. A further four SD-Racks were dedicated to outputs. ATK’s recent purchase was comprised of six consoles — two SD10s, two SD7s and two SD5s — plus 14 SD-Racks.

ATK was not the only company utilizing DiGiCo equipment at the GRAMMY Awards show. Outside the venue, in the Music Mix Mobile (M3) Eclipse truck, which provides the 5.1 surround music mix for the broadcast, Joel Singer, engineer-in-charge and M3 company partner, made use of a DiGiGrid MGO dual-port optical MADI interface and SoundGrid SGS-1 Server One. The setup enabled co-broadcast music mixers John Harris and Eric Schilling to insert Waves Renaissance Vox and DeEsser as well as CLA-76 and SSL Compressor plugins on the truck’s console and Pro Tools system.

About DiGiCo
DiGiCo is a UK-based manufacturer of some of the world’s most popular, successful and groundbreaking digital mixing consoles for the live, theatre, broadcast and post production industries and is exclusively distributed in the U.S. by Group One Ltd. of Farmingdale, New York. For more information, go to: www.DiGiCo.biz

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Rob Mailman Finds Supernatural Success in DiGiCo’s SD5

Rob Mailman and his DiGiCo SD5 set up at Las Vegas' House of Blues Mandalay Bay for a Santana concert (photo credit: Linda Evans)

Veteran analog stalwart makes the jump to digital during Santana’s Las Vegas residency at House of Blues Mandalay Bay

LAS VEGAS, NV — Remember the old sound guy adage about knowing what all the knobs and buttons do? As the industry increasingly moves in a digital direction depending more on touch screens than faders and on menus and layers instead of every function being at one’s fingertips, mix engineers like Rob Mailman — who need to move fast and are accustomed to the dedicated control of analog — are searching for digital consoles that offer ease-of-navigation as well as outstanding sound quality. And like Mailman, who has now officially made the move to a DiGiCo SD5, those engineers are increasingly turning to DiGiCo citing the “analog-ness” of the SD interface. more

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DiGiCo’s SD5 Wins at Super Bowl XLVIII

Twin FOH and monitor consoles deployed for Halftime Entertainment Extravaganza featuring Bruno Mars and Red Hot Chili Peppers

ATK Audiotek's DiGiCo SD5 console used to mix FOH for Super Bowl XLVIII's halftime performance by Bruno Mars and Red Hot Chili Peppers (photo: Dave Rat)

EAST RUTHERFORD, New Jersey — For the 82,529 fans that braved forecasts of cold, snowy weather predicted for Super Bowl XLVIII on February 2, Bruno Mars and the Red Hot Chili Peppers delivered an enthusiastic show that was long on great musicianship and killer showmanship. And making sure that show also sounded great were a pair of DiGiCo SD5 digital audio consoles used for both front-of-house and monitor mixes. more

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Funky Junk Takes On UK Distribution For Pearl Microphones

Funky Junk, Europe’s leading supplier of new and refurbished professional recording equipment and services, has added Pearl Microphones to its distribution roster.

“Having used and loved Pearl Microphones for more than 20 years, I was delighted when the opportunity arose to represent the brand in the UK,” says Funky Junk’s founder Mark Thompson. “These microphones have an exceptional pedigree and history. They deliver great results, particularly on acoustics instruments, and they are built to last. It’s no surprise to me that vintage Pearl Microphones are as much in demand as new ones.”

Pearl’s Chairman, Sven Olof Andersson, says: “We are extremely happy to be working with Mark Thompson and his crew of dedicated professionals in the UK. Pearl goes a long way back in Britain and we will now continue to grow there with an exciting line-up of products and new developments.”

Founded in 1941, Pearl is renowned for its award-winning rectangular membrane technology, which is used for natural and transparent recording all over the world. All Pearl microphones are crafted in Sweden.

Today Pearl is owned by Bernt Malmqvist and a group of private investors who have brought a new business savvy to the company and a renewed passion for the use of Pearl microphone technology.

-ends-

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 Spain 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

Washington Family Ranch Extends Campus Reach with Barix IP Paging

Outreach ministry informs guests and staff with clarity and consistency across multiple zones

ZURICH, SWITZERLAND, February 26, 2014 — The Washington Family Ranch in rural central Oregon had a problem last summer: With 400 youth guests per week, the Young Life-owned ministry camp’s expensive, network-based paging system was failing. Receivers were transmitting live pages in a staggered manner, creating unintelligible messages — along with guest confusion and complaints.

Based on the suggestion of audio engineer/integrator Alan Stricklin, Washington Family Ranch installed a multipoint Barix IP Paging system this off-season. The system is fully tested and ready for the upcoming 13-week season, and delivering punch and clarity at all playout points thanks to low latency and exceptional audio quality.

“Our previous system was billed as Hi-Fi, but it was very hard to understand the messages with the various amps and receivers responding at different times,” said Andrew Pratt, guest services manager at Washington Family Ranch. “This past year we just turned the amps off, which left us exposed on the liability side. We were limited in how to alert our guests if something were to happen.”

Enter Barix courtesy of Stricklin, who also uses Barix solutions at Minnesota Public Radio. The complete solution gives Pratt and his staff a compact, easy-to-use master paging station in the main office that connects over the network to playout points in high-traffic locations. Pages are streamed live to Barix IP audio decoders at these locations, which prepare and deliver the messages over loudspeakers.

The result is clear messages for guests and staff in four dormitories, the main activity center, campus store, snack bar, dining hall, kitchen and main reception building. Pratt notes this is especially important in the event of a dangerous weather or a security situation, given the camp’s rural location.

“The intelligibility is exceptional and all our speakers are firing at the same time,” said Pratt. “We’re confident that wherever guests are standing that they will clearly hear the announcements, instead of trying to translate the messages.”

In addition to quality, Pratt cites low cost and simplicity as major benefits of the Barix IP Paging solution.

“This operates like a set it and forget it system, and I’m excited that it requires minimal management,” said Pratt. “We believe it will be the kind of system where we train people to use it at the beginning of the summer, and that’s it. The low cost of the system makes it seem as though we will absolutely get our money’s worth.”

The complete Barix IP Paging solution installed at Washington Family Ranch includes an Annuncicom PS1 master paging station, and Barix Exstreamer 205 IP audio decoders at playout points — the latter of which include built-in amplifiers to reduce costs and infrastructure. Looking forward, Pratt expects to take advantage of Barix scalability by adding more playout points via additional Exstreamers, and exploring multicast delivery — a Barix specialty — to minimize network bandwidth.

Barix: We Move Audio (www.barix.com)
Barix supplies simple and reliable solutions and components to systems integrators and end users worldwide. We move high-quality audio across IP networks, adding value to customer solutions for more than a decade with hundreds of thousands of devices installed worldwide. Background music distribution with dynamic advertising insertion for retail shops, bars and hotels; public address solutions for schools and public spaces; and intercom and entry systems for facility surveillance, protection and security are among the many applications of Barix solutions. Barix also supports OEM projects for a number of Global 500 listed companies serving many industries worldwide.

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Barix AG, Seefeldstrasse 303, 8008 Zurich, Switzerland
Phone: +41 43 43322 11, Fax: +41 44 2742849
Barix Technology Inc, St. Paul, MN – (866) 815-0866

http://www.barix.com

http://www.ip-audio.info

Delicate and Martin Audio MLA Team Up For Maroon Five

Las Vegas, NV––For the second year in a row, Delicate Productions supported Maroon Five with a Martin Audio MLA system for two celebratory New Year’s Eve shows at the Mandalay Bay Event Center.

The Event Center, a modern 12,000-seat venue, “is fortunately one of the better sounding casino rooms,” according to Jim Ebdon, FOH Engineer for Maroon Five.

“In these venues it’s all about the coverage,” Jim explains, “and what’s great about the MLA system is that it covers so well. It’s a smaller box and very versatile. We work with Delicate a lot and I trust them, so I leave it up to (President of Delicate Productions) Jason Alt and FOH Tech Makoto Araki to set up.

“They do a great job shooting the room, making the analysis and figuring out how many boxes they’re going to need and how the side hangs should be configured depending on the amount of tickets we’ve sold. Maroon Five usually sell out these shows, so the hangs tend to go right round the sides of the stage in a 270 configuration. And with MLA, we’re able to control the sound well to avoid reflections.”

The setup for these shows consisted of 11 Martin Audio MLA, one MLD (downfill) and 12 MLA Compact enclosures per side with 12 MLX subwoofers, plus 6 W8LMD and four WT2s for side fills. In addition to Alt and Araki, the Delicate crew included Craig Robinson (Monitor Tech) and Russ Cunningham (Stage Tech).

Asked how the system sounded, Ebdon said, “MLA is a very flat system, it doesn’t color the sound in any way, which is great. And I find it to be very accurate as well; the high frequencies are smooth and extremely easy to listen to. Going down the frequency range, there’s a very seamless transition into the subwoofer. With many systems, you hear the main flown PA and then the sub, it sounds like two separate sound sources. Not with MLA. It’s a real full-range sound system.

“We travel a lot and I’m lucky enough to plug into all kinds of sound systems these days. When it comes to MLA, I don’t even need to get into what kind of drivers or amps Martin Audio uses because it sounds good, and that’s all that matters.”

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.

Stagesound Event Technology Deploys HARMAN’s AKG Microphones For Pollmann 125th Anniversary Celebration

VIENNA, Austria – Austria-based company Pollmann recently invited over 800 guests to celebrate its 125th year anniversary at an event in the Sports Hall in Waidhofen a.d. Thaya in Austria. The company is well-known around the globe for its development and production of electro-mechanical components for the automotive industry. The anniversary celebrated the company’s rich and successful history in illustrious fashion that required an elaborate sound system capable of withstanding a rigorous evening full of grand presentations. Austrian rental company, Stagesound Event Technology, developed a sound system consisting of HARMAN’s AKG microphones to ensure high-quality sound for all speeches and commendations given during the celebration.

Faced with numerous acoustical challenges in the 200 x 270-foot space, which was not structurally or acoustically designed for a large PA system, Stagesound used two AKG GN30 gooseneck microphones with CK31 high-performance condenser microphone capsules for each speaker. Stagesound system engineer Markus Kouba and audio engineer Andreas Mühlmann wanted to make the system as user-friendly as possible.

”Although the majority of speakers were professional presenters, the event also featured several untrained speakers,” commented Kouba. “For these inexperienced speakers we wanted to make the system as easy to use as possible while still providing a clear sound to the audience. The AKG microphones more than met that requirement.”

In addition, Stagesound developed a system for the live band that included two C414 B-ULS condenser microphones on drum overheads and several D112 microphones for the kick drum and bass amplifiers. Stagesound also deployed four C518 M miniature clamp-on microphones on the toms and snares for the drums.

“The AKG microphones impressed with clear sound and simple handling,” stated Kouba. “We are very satisfied with the performance, and with AKG in general for all of our events around Austria. It is important as a rental company to have equipment that will withstand the unique technical riders for each event, as well as the transportation and wear and tear during each project.”

HARMAN 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

GatorVision Enhances University of Florida In-Venue Sports Production with Tightrope ZEPLAY

Slo-mo instant replay system offers school a robust feature set, reliable performance and affordable price point for upgraded control room

ST. PAUL, MINNESOTA, February 24, 2014GatorVision is the University of Florida athletic department’s broadcast and production initiative, handling live and on-demand event streaming and in-venue, game day coverage as part of its operation. The recently-built control room, located in the College of Journalism and Communications building on campus, houses a full complement of cutting-edge production gear suited to both outside broadcasts and in-venue content.

For in-venue productions, Tightrope Media Systems is helping the GatorVision production team score points with fans at football, basketball, volleyball and gymnastic events. The control room includes two of its ZEPLAY slo-mo instant replay systems to inject added excitement into game day action via multi-angle replays, on-the-fly highlight packages and more.

Brad Noblitt, director of engineering for University of Florida’s College of Journalism and Communications, states ease of use and flexibility as two reasons for choosing ZEPLAY over competitive solutions. Noblitt has assigned a seasoned operator of a well-known instant replay brand to operate the primary system. That operator simultaneously trains students to run the second ZEPLAY.

“The learning curve on ZEPLAY is not nearly as steep as competing products,” said Noblitt. “We have a lot of student involvement at GatorVision, being part of the College of Journalism and Communications. Our primary operator teaches students how to use ZEPLAY keystroke by keystroke. Within an hour, the student can really understand the concept of the workflow.”

Noblitt also feels that ZEPLAY offers the best price to feature set ratio of slo-mo instant replay systems available.

“This gives us a true four-by-four system,” said Noblitt, referring to its four input and four output configuration. “ZEPLAY offers a lot of flexibility based on the project size and budget. We rely heavily on the system for the fan experience, and I am astounded by how quickly we can produce multiple replays. We can fire off a replay even as our opponent heads back down the basketball court. It is the meat and potatoes of our system.”

The GatorVision team further benefits from a built-in multiviewer that provides operators with a clear visual tool to monitor the various camera angles. According to Noblitt, the ZEPLAYS never stop recording, which compel camera operators to keep shooting. This ultimately creates exceptional value in terms of replay content.

Noblitt adds that the latest software release has simplified how his team can edit, trim and build packages for game highlights. Additionally, the GatorVision team creates “melts” after every game for later use, with direct playout to our XDCam disc or as an exported .mov file(s). This highlights the open, non-proprietary nature of ZEPLAY.

These features combined add even more to the educational experience for College of Journalism and Communications students interested in learning the system.

“We can easily set up a simulated game by taking our four camera feeds from the previous game, and using one of our ZEPLAY units to playback the game through our switcher,” he said. “This helps us teach our students how to direct, how to TD and how to do replays offline. If there is a problem we can hit stop, discuss what went wrong, back up a few plays and try it a different way. We built that functionality into GatorVision because it is a teaching facility. ZEPLAY offers a teaching tool to get students up to speed with true hands-on experience.”

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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