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Tri-C Metro Auditorium Jazzed With L-ACOUSTICS

The Jack DeJohnette Group soundchecks during the recent Tri-C JazzFest 2012 at Cuyahoga Community College's Tri-C Metro Auditorium

Cleveland’s popular JazzFest venue installs KARA, ARCS II and SB18 rig

CLEVELAND, Ohio — Known to Cleveland locals simply as “Tri-C”, Cuyahoga Community College is the oldest and largest community college in Ohio. But to jazz aficionados, the school is more than simply an institution dedicated to higher learning — it’s the host site of the renowned Tri-C JazzFest, which recently celebrated its 33rd anniversary.

One of Tri-C's new SB18/KARA arrays

One of the primary venues for the 10-day annual event is the 800-seat Tri-C Metro Auditorium, an intimate hall originally designed and built in 1971 for the Cleveland Philharmonic Orchestra. With minimal fixed PA in the room, the school would typically rent a sound reinforcement system for JazzFest each year — usually an L-ACOUSTICS dV-DOSC/ARCS package from Woodsy’s Music in Kent. But this year the college finally realized its goal of installing an L-ACOUSTICS system of its own. more

HARMAN’s Studer Consoles Specified for Olympics Transmission

Gary Clarke (left) and Pete Bridges, BBC sound supervisors, configuring the Studer consoles in Potters Bar, UK.

LONDON, United Kingdom – The BBC will broadcast the London 2012 Olympic Games from the specially built International Broadcast Centre (IBC) in the Olympic Park, using no fewer than seven HARMAN Studer Vista and OnAir consoles, along with a Route 6000 network core.

This will enable the BBC to take feeds from 34 participating Olympic Games venues for domestic transmission through its network. Following a promise to broadcast “every session of every sport every day,” this will amount to some 2,500 hours of TV sports coverage.

Andrew Hills, Director Product Strategy, Studer, confirmed that the integration of the desks would be carried out by Dega Broadcast Systems, at the same time extending Studer’s relationship with the UK’s state broadcaster that dates back more than a decade.

Whilst Olympic Broadcasting Services (OBS) will provide host facilities within the IBC’s 42,000-square-metre net space, the design of the BBC space has been a collaborative effort between the broadcaster and Dega, led by project coordinator John Cleaver.

The installation will see the deployment of three 62-fader Vista 9 consoles and a Vista 5 along with three OnAir desks (two OnAir 3000 and an OnAir 1500). Incoming feeds from the host broadcaster and the BBC’s own studios will be fed to the desks, with the Route 6000 linking all the consoles at the core.

According to Pete Bridges, who as Lead Sound Supervisor for the operation will oversee all sound and communications, a Vista 9 will form the hub of each of the broadcaster’s three HD and 5.1 production galleries. In addition, an interactive gallery (IPCR) will manage and route 24 separate streams whose destination will be the Internet, Red Button, and other platforms including Freesat, Sky and Virgin Media; these will be running in stereo using two OnAir 3000s.

Faced with taking the bundle of host broadcaster’s feeds and folding that into its own programming will involve combining the broadcaster’s own presenters with VT, and incoming HD-SDI video feeds and Outside Source (OS) lines. The OnAir 1500 will provide a microphone submix from the athletics stadium presentation.

As for the Vista desks, using the Vista 9 for the first time, Bridges notes that the metering will allow fast reconfiguration when dealing with a wide variety of incoming 5.1 OS lines along with commentary and 24 microphone circuits from the studio via Studer’s D21m stage boxes. Other sources to the Vista 9 will include VT and grams.

To give an idea of scale, the Vista 9 in the main gallery will provide 16 line inputs, 72 line outputs, 52 mic inputs (via RELINK sharing) with 112 AES inputs and outputs (the large number of ports being the result of having so many incoming 5.1 sources).

Situated in its own room, the Vista 5 will be used as a backup gallery to the main sound control rooms (SCRs), and will serve as a bypass source (should the main studio suddenly need to be put into bypass to allow a pre-record to take place). “We will use the Vista 5 to pick up the mix, freeing up the Vista 9s to mix the pre-record,” noted Bridges.

A further useful feature of the Vista 9, he said, will be the ability to upmix stereo sources to 5.1 and downmix 5.1 to stereo outputs.

The Route 6000 itself (which can accommodate up to 1728 x 1728 inputs and outputs) will provide 40 line inputs; 40 line outputs; four microphone inputs and two HD-SDI de-embedder/embedder cards.

Finally, use of the Studer RELINK I/O sharing resource will enable the technicians to share mic circuits between all the control desks. “This is a key benefit,” Bridges said. “We can have HD tie lines between the cores of each desk on CAT5, using Studer’s High Density data stream…with 96 bi-directional tie lines to each of the four Vista consoles, sharing the desks’ sources and outputs.”

The integration of these components has been a triumph for Dega. Stated Cleaver, “One of the realities of an event of this scale is that you are looking at building an entire broadcast centre, not just an OB. Our area of expertise is permanent installs and this is as big an installation as we would undertake anywhere. To do so in a temporary building, for use over a 3-week period, and make it work for the number of people who are going to be using it, was certainly challenging.”

He added, “Since this is our domestic Games it needs to be covered more comprehensively; the fact that we have built three full galleries, and provided interaction between them so that the three Vista 9 consoles link and route to each other to allow them to control any of the galleries, is a huge plus for what these mixers do. Without a doubt, this ability at the front end is something the broadcaster had wanted.”

BBC Sport will field 20 IBC sound technicians, managed by Jon Sweeney, Technical Operations Manager and Richard Morgan, Chief Engineer. With the aid of the Studer platforms, this will ensure that the 26 participating sports are well represented and that the broadcaster’s aim of “every session of every sport every day” is maintained.

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(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

Iconyx Gives Initiatives of Change a Clear Hearing

Caux, Switzerland – June 2012… Above the clear waters of Lake Geneva, in the small village resort of Caux overlooking Montreux, the locally-nicknamed ‘Cinderella’s Castle’ hosts an annual series of conferences hosted by CAUX-Initiatives of Change.

An independent officially recognized Swiss foundation, the body works to promote peace, prevent conflicts, build trust and encourage intercultural dialogue and ethical conduct in business. CAUX-Initiatives of Change is a member of Initiatives of Change International, an NGO in special consultative status with the Economic and Social Council (ECOSOC) of the United Nations and participatory status at the Council of Europe.

Their summer seminars in Caux draw people from all over the world, in what was until 1946 the grand Caux-Palace Hotel. A magnificent and peaceful setting, but one whose acoustic legacy has proved a major downside for its current use.

British sound designer Terry Nelson, whose Switzerland-based company Studio Equipment was hired to improve speech intelligibility in the main conference area, explains: “The main salon of the hotel, where the conferences are held, has high ceilings and a wonderful cupola in the centre, with pseudo-art deco plasterwork. The effect of all this is almost infinite flutter echoes, and the area under the cupola works like a whispering gallery. It’s basically a very difficult environment to deliver clear speech to up to 450 people.”

To make the acoustics more complex still, the central area and stage are flanked by a glass conservatory-style wing overlooking the gardens to stage right, and a corridor to stage left.

In a classic scenario, he says, “They’d had a PA installed, with perfectly good quality loudspeakers that were unfortunately totally the wrong choice for the highly reflective environment. People despaired about understanding conversations and presentations. They’d also installed an 8-channel multiple translation system, and many people turned to using that system’s headphones in an effort to understand what was being said.”

The conference’s British technical director Brian Thirlaway initially contacted an audio company in Zurich, which in turn recommended Studio Equipment. Says Nelson: “We did a site visit and from the outset it was obvious that we needed a highly directional system to tame the multiple reflections.” Further discussions revealed that while speech would be the primary use, subtle sound reinforcement for small groups or solo instruments was also required.

Nelson recommended Renkus-Heinz Iconyx’s digital beam steering capabilities to direct sound away from the walls and cupola. The main system consists of two IC16-R arrays, controlled by RHAON software over CobraNet via a remote Ethernet port, along with two CF Series subwoofers.

The slim arrays fit perfectly either side of a mock proscenium arch and are run via analogue audio lines from an existing DDA Q Series console, with control via Ethernet from a Renkus-Heinz IC-RC1 RHAON remote preset control that allows simple user switching between preset modes. The console also feeds two Iconyx IC7 arrays (via groups), which cover the conservatory and corridor areas.

Says Nelson: “Having looked at the room, I did an initial set-up with Renkus-Heinz’s BeamWare II beam alignment software. With the rear wall around 30 metres from the stage, I set up the IC16s so that five separate horizontal beams covered the audience area evenly from front to back.”

“One of the best comments we had,” says Nelson, “was that the general secretary of the organisation was very pleased, saying that for the first time you could understand every word without using the interpreter system headphones, even right at the back or under the cupola.

“From our point of view, when we were doing the first commissioning, one of my colleagues stood right under the cupola, where the sound comes at you from all directions.

“It takes a lot to impress him and he said he couldn’t hear a single echo, just some natural room reverb.

“The whole team was there at the time and it was a case of ‘problem solved’. As a final touch, Renkus-Heinz delivered the Iconyx arrays in a finish that precisely matches the white decor.”

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

Ministry of Sound Teams With Martin Audio For Innovative Nissan Juke Box

Nissan and Ministry of Sound recently introduced the Juke Box, a breakthrough automotive design with one of the best nightclub sound systems in the world, capable of producing up to 150dB.

The Juke Box sound system was engineered by Martin Audio, also responsible for creating the current iteration of the world-renowned Box Room at Ministry of Sound in London. The Box is a five-sided room within a room completely insulated and suspended from the outside wall that is considered to be acoustically perfect and one of the best sound systems in the world.

Nissan and Ministry of Sound turned to Martin Audio to create a totally self-sufficient 18,900W sound system for the Juke Box. A set of custom made cabinets and enclosures housing two 18” powered subs and the same Mid Hi enclosures used at MoS enable an exceptionally high output with no compromise in sound quality. All of the custom speaker housings were designed to fit into the back of the Juke around the chassis and framework of the innovative crossover model.

Discussing the Juke Box project, Martin Audio Research & Development Director Jason Baird said, “When we got the phone call from Ministry of Sound asking us if we wanted to be involved in this project, we knew it was going to be very exciting. The more I heard about the project, the more I realized it was something we had to make the time for because it was so unique.

“The trick with getting as much of the experience from the Box into the back of the car is to retain the ability to reproduce loud sound pressure levels along with the clarity, definition and abundant low end you can get in the Box. This is something we’ve managed to achieve in a surprisingly compact system.”

The Juke Box also features an integrated radio studio, allowing anything played on the system to be captured for broadcast via Ministry of Sound’s digital radio app. After its debut at the world famous Le Mans 24-hour endurance race, the Juke Box will tour Europe highlighted by the “Nissan Juke Box Sessions,” a six-month radio partnership broadcast on the Ministry of Sound’s Digital Radio channel. The show will be built around a series of exclusive DJ sets recorded at Juke Box events across Europe throughout the summer.

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.

Firehouse Productions Provides HARMAN’s JBL VERTEC(r) Line Arrays To Celebrate Another Spectacular Night For Broadway At The 66th Annual Tony Awards

NEW YORK, New York – “If only real life could be more like theater,” joked host Neil Patrick Harris as he opened the 66th annual Tony Awards at New York City’s historic Beacon Theater. In order to bring Broadway’s memories over the past year to life, Red Hook, New York-based Firehouse Productions relied on HARMAN’s JBL VERTEC(r) line arrays and Crown amplifiers for the live sound reinforcement system.

This years’ awards show featured performances from some of the top theatrical productions of the year, including The Gershwins’ Porgy and Bess, Jesus Christ Superstar, Follies, Once and more.

The house system at the Beacon Theater includes a center cluster of four JBL VERTEC VT4887 compact line array loudspeakers and a balcony hang of six VT4888 midsize line array elements per side, with an additional two per side of VT4881 compact arrayable subwoofers.

To accompany the house system, Firehouse provided two hangs of 14 VT4886 subcompact line array loudspeakers for the main PA, four hangs of two VRX932LA-1 Constant Curvature loudspeakers used for side fill, and six VT4886 subcompact loudspeakers were used for front fills. In addition, four VT4880 fullsize arrayable subwoofers were tucked under the stage.

“The hardest part of the project was finding a placement for the PA to hang that fit in with the rest of the set and lighting fixtures and wasn’t visible from a TV and audience perspective,” said Mark Dittmar, lead design and integration engineer at Firehouse Productions. “The VT4886′s were the only solution and the best in my opinion. With a 500-pound hang limit, they give us the power and coverage we need without a sacrifice. The VRX’s are great for tight pattern control for side fills as they are light and can be flown at the bottom of set features.”

The challenge of any awards show is dealing with the many microphones on stage and ensuring there is no feedback stemming from the house PA system, Dittmar noted. “The VT4886′s help to solve this problem,” he added. “In the past we’ve used a variety of small boxes, but this is a much more cohesive design and we’re thrilled that it worked out so well.”

To supplement the JBL loudspeakers, Firehouse utilized 24 Crown I-Tech IT 12000HD amplifiers, providing consistent power and sound quality. “We’ve been using Crown since the beginning,” said Dittmar. “They give us so much power in such a small package and communicate wonderfully with the JBL speakers.”

Dittmar explained that by setting the amps at 208 volts it gives them balanced power and produces less noise as well. “One of our favorite aspects about Crown is the ability to build a custom library of presets so we can control any speaker in our inventory with the proper power, our favorite being the VT4886′s.”

“It’s an honor to be a part of such a significant night and we are extremely pleased with the results from both JBL and Crown. Their excellence and support continues to give us the confidence we need to do our job to the best ability,” Dittmar summed up.

For more information on Firehouse Productions, please visit www.firehouseproductions.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(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

Opera Bastille Upgrades With HARMAN’s Studer Vista 5 M2 Console

Opera Bastille's Serge Dupont (left) and Philippe Taberlet.

PARIS, France – When it was inaugurated back in 1989, L’Opéra Bastille in Paris (home to Opéra National de Paris) immediately provided Parisians with a world-class concert hall dedicated to opera. Designed by Canadian-Uruguayan architect Carlos Ott on a massive footprint of 155,000 square metres, (comprising three separate buildings), it opened on July 13-the eve of the 200th anniversary of the storming of the Bastille.

The highly-experienced audiovisual technical team of Serge Dupont and Philippe Taberlet has been supervising Opera Bastille’s production requirements since the very beginning, and 23 years later has just commissioned a new 32-fader HARMAN Studer Vista 5 M2, with TFT meter bridge monitoring, from French distributor Audiopole. This will ensure that the sound quality of future Opera Bastille productions remains at the cutting edge.

The new Vista 5 will fulfill all monitoring and recording duties, replacing the house’s long-serving digital desk in the control booth. This overlooks the 2,703-seat auditorium from the upper balcony 50 metres above the ground, while the building itself descends a further 30 metres below street level.

Although this is its first experience with Studer, Opera Bastille already had a relationship with Jean-Philippe Blanchard from Audiopole-one of four companies to respond to the tender. He was able to add value to the package by introducing two brand-new Studer products.

The new Vista FX engine will enable Opera Bastille to add up to 24 channels of Lexicon PCM-96 effects to the console while the 19-inch Vista Compact Remote Bay (similar to a laptop computer in design), with 12-fader touchscreen and keyboard, provides a slave or secondary desk to work in parallel with the Vista 5-and at the same time lets the team control the sound balance remotely from the auditorium itself.

Philippe Taberlet’s original tender had been for a giant automation system, since they stereo record every production for archive purposes. But he jumped at the opportunity to embrace both add-ons-as well as the Vista 5 M2′s meter bridge, immediately seeing the advantage of the peak hold facility and the history mode display.

“With the desk situated in the sound booth we had wanted to be able to make our own EQ settings during rehearsals and adjust the levels remotely,” Taberlet said. “This facility formed an important part of the tender, and the Remote Bay also gives us a spare and redundancy. As for FX, we wanted this of course, and it was a great surprise to learn that we could now have access to the Lexicon reverb/delays [via the Vista FX frame] because this had not been included in our original tender.”

The Vista FX frame includes two Lexicon cards, which will enable them to run two 5.1 surround signals (or four stereo).

As for the signal transmission architecture, the Opera House already has a full Optocore optical fibre ring system networking the auditorium with the 450-seat amphitheatre and 237-seat studio (which make up the facility, along with full-size rehearsal stage) and the Vista 5 M2 will plug into the optical ring via the MADI card.

AES and fibre will be used throughout, and the Vista 5 M2 itself is configured with 64 MADI I/O channels, with 48 AES I/O, 16 mic/line inputs and 72 analogue outputs.

Taberlet and Dupont had wanted a large DSP configuration which will provide them with 96 multitrack busses as well as the 72 D/A converters for outputs, This is because while the bulk of their productions are unamplified (and some subtly so to create the illusion that the sound is transparent) they also have a long association with IRCAM (Institut de Recherche et Coordination Acoustique/Musique) who were set up to explore avant garde electroacoustic music. One of its early supporters was Pierre Boulez, who had originally promoted the idea for the new Opera House back in 1968.

The new Studer Vista 5 M2 will suit the many roles for which it has been assigned with precision, and its sonic excellence has already been noted, as Taberlet explained. “We were loaned a desk for trial over a 2-week period and made a 2-track recording; we ran the Studer in parallel with our existing desk and our recording engineer said there was simply no comparison between the two.”

The snapshots had been another prerequisite, he added. “If the person working the desk on one production gets sick, we need to be able to replace him immediately with any member of the team, just by recalling the settings.”

Audipole followed up the sale by providing six days’ operator and maintenance team training in advance of the complete commissioning of the new Studer environment.

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(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

GRAMMY(r)-Winning Steve Pageot Introduces Tomorrow’s Music Moguls To HARMAN’s AKG At SAE Institute Workshops

VIENNA, Austria – Invited back for the eighth consecutive year to speak with students of the School of Audio Engineering (SAE), GRAMMY(r)-winning engineer and platinum producer Steve Pageot presented an inspiring and educational session for the future engineers. Showcasing HARMAN’s AKG P820 tube microphone during the workshops, Pageot recorded, and mixed a track during each of the four 2-hour sessions in SAE’s New York City studio.

Pageot discussed the intricacies of the music industry, from the music itself, to the business side, encouraging students to follow their dreams, while keeping on the correct path to success. “When you graduate from SAE, you’re stepping into the real world, into the music industry, where you normally don’t get a second chance at a first impression,” stated Pageot. “With SAE, I am fortunate enough to take these students and prepare them for their dream career. Being able to showcase AKG’s leading microphone technology gives students hands-on experience that will last them throughout their careers. They were completely in ‘awe’ for the sound emanating from the P820 and will take that experience to their clients in years to come.”

Working with artist Dyverse, Pageot discussed the importance of sound for a high-quality track. Hearing the raw recordings through the P820 impressed the students, who initially believed the sound was being processed. Pageot went through all the steps of recording hits from recording, producing, mixing and mastering during each session. Dyverse himself even touted the sound and clarity of the P820 during his sessions.

“We’re always pleased to have Steve at SAE, putting on production workshops for our senior students,” stated John Jansen, director of education, SAE. “His professional manner and production tips are always a benefit for our students as graduation approaches. The AKG P820 tube mic was a great addition to the class and was enjoyed by the students during the recording sessions.”

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics. For information about SAE, please visit http://www.sae.edu.

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(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

Community Provides Loud and Clear Flood Warning for Venice

Venice, Italy, June 2012...  While it’s well known that the city of Venice’s transport infrastructure relies heavily on its canals, not many people are aware of the sometimes tenuous relationship Mother Nature has on this arrangement. The canals, which carry thousands of gondolas, launches, barges and water buses daily, are subject to tidal conditions and therefore constantly changing.

High tide levels mean reduced headroom under bridges, and the city’s transportation often needs to be re-routed. When pavements and other pedestrian areas disappear under water, raised walkways may need to be erected. The city’s population and its large number of commuters are used to these changes, but accurate, timely information about the tides is important to keep daily life on track.

To that end, a powerful audio system based around Community R-Series loudspeakers has been installed as part of a flood warning system for the city of Venice. Located in fifteen bell-towers in central Venice and at a further fifteen locations on outlying islands, the loudspeakers play a series of alert and musical tones that inform residents of the coming tidal levels, so that they can plan accordingly. The system, supplied by Prase Engineering, was specified by audio consultant Ing. Umberto Nicolao and installed by Verona-based S.T.A.S.

The loudspeaker system is one of many ways the city of Venice’s Previsioni E Segnalazioni Maree (Tidal Forecasting and Signalling Centre) is utilizing technology to keep city residents and working commuters informed. (The city also maintains a website, a toll-free phone line, touchscreen information kiosks, and even a smartphone app.) An old siren-based audio system had also been used for many years but it was increasingly less reliable, due to mechanical deterioration, and it could only broadcast one alert signal. The new multi-tone audio system uses a specially designed version of Community’s R.5 loudspeaker, designed precisely for the power, frequency response and dispersion required. Size was also critical in being able to deliver and mount the loudspeakers in some of the ancient towers where they were to be deployed. And of course, Community’s legendary weather resistance was also a factor in selecting the R-Series.

This new approach to a centuries-old challenge was a custom project for city planners, as well as the system designers, installers and for Community. Its implementation has already made a tremendous impact on the daily flow of traffic around this busy city, improving the lives of commuters and residents alike.

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Community Professional Loudspeakers is a manufacturer and supplier of professional audio equipment.  Since 1968, Community has led the pro-audio industry with technological innovations which have become industry standards. Today, Community offers over 150 professional loudspeaker products, including installed loudspeaker systems, weather-resistant outdoor loudspeaker systems, ceiling loudspeakers, high level voice paging systems, and portable entertainment systems.  

Visit www.communitypro.com for more information. 


SXS Flies Martin Audio W8LM For Cutty Sark’s Royal Unveiling

Bristol-based event production company SXS was recently commissioned by the Royal Borough of Greenwich to provide sound and full technical production for the royal unveiling of the Cutty Sark in Greenwich. This followed a £50m restoration project as a result of fire damage to the 143-year-old clipper back in 2007.

SXS were tasked with constructing and outfitting a dais stage, while the PA was the company’s new Martin Audio W8LM line array. The production company deployed a total of 12 W8LM Mini Line Array enclosures in two hangs, with two W8LMD Downfills at the base of each hang. This was driven by Lab Gruppen FP series amps and controlled using XTA DSPs.

Attended by both the Queen and the Duke of Edinburgh, the launch took place at the Cutty Sark Gardens and the event included a 90-piece symphony orchestra and 400-member choir. The Martin Audio system also provided reinforcement for the Queen’s speech and took further live feeds from inside the Cutty Sark.

“The Martin Audio W8LM is our latest major audio investment and I was delighted to be able to use it for this event,” said Johnny Palmer, Production Manager, SXS Events. “Our sound department has been booming over the last year and we felt it time we invested in a system that allowed for accurate and even coverage. The W8LM is great for shows such as this because of its clarity, simple rigging and aesthetics––and it will be our system of choice when entrusted with highly demanding, high quality production.”

Alex Thompson, Head of Sound at SXS, added his endorsement. “This show was all about clarity, headroom and maximum gain before feedback––all core principles of our approach to sound. Our new W8LM system was ideal as we had plenty of gain and the accurate response achieved great reinforcement for the performance. Being an orchestral performance the role of the system was to reinforce the sound transparently and ideally not be noticed at all, and that’s precisely what it did.”

As for the event in Greenwich, this formed part of a major community engagement program, and as a result the Cutty Sark now occupies a dramatic new setting.

The clipper is now displayed 11 feet above its dry berth on the Thames and the space under the three-masted vessel is home to an interactive museum where visitors can learn about its history.

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.

Nathaniel Kunkel’s Studio Without Walls Delivers Award-Winning Projects with HARMAN’s JBL LSR Studio Monitors

Nathaniel Kunkel includes JBL Professional LSR Series studio monitors as a crucial part of his Studio Without Walls business.

NORTHRIDGE, California – Nathaniel Kunkel has a unique take on recording and mixing: instead of making the artist come to the recording studio, he can bring the studio to the artist. Kunkel’s Studio Without Walls is based on a transportable production system that allows him to capture performances and produce records wherever the artist feels most comfortable and creative. And, Kunkel notes, it wouldn’t be possible without HARMAN’s JBL LSR Series studio monitors.

Kunkel has earned GRAMMY(r) Awards for his work with B.B. King and Robin Williams, and received an Emmy(r) for “A&E In Concert: Sting: Sacred Love.” Other recent projects include mixes for The Police, Carole King, Darlingside, and the recent tribute album Listen to Me: Buddy Holly-produced by Peter Asher and featuring performances by Brian Wilson, Stevie Nicks, Ringo Starr, Zooey Deschanel, Cobra Starship, Lyle Lovett, Linda Ronstadt and many others.

“The JBL LSR studio monitors are absolutely unique in their ability to give me good mixes and accurate sound wherever I go,” said Kunkel. “Although there are other speakers that I like, the LSR monitors are the only ones that give me consistent and repeatable results regardless of the room I use them in. When I do a mix in one room using LSR, I know it’s going to translate well when I listen to the mix in another environment.”

Depending on the project, Kunkel uses the JBL LSR6300 or LSR4300 Series monitors for Studio Without Walls. “The RMC [Room Mode Correction] is invaluable in that it compensates for the peaks in a room’s low-frequency response and the differences in bass when speakers are placed closer to or farther away from the rear wall,” he said. “With this feature, I know I’m hearing accurate bass no matter where I take the speakers.”

“I know that when I’m recording and mixing on the LSR’s I’m not missing something that will be a surprise when I get into another room,” Kunkel added. “In fact, setup of the LSR4300′s is ridiculously easy. I just plug the calibration microphone into one of the speakers, push a button and the system does the rest. What could otherwise take hours takes seconds. I’ll always set the speakers up for midfield listening if room allows. I try and avoid the console surface reflections as much as possible.”

In addition, Kunkel noted the LSR monitors provide remarkably high output even though they’re compact. “When I have to carry a full surround sound speaker setup to a client, that becomes an important consideration,” Kunkel said.

For more information on Studio Without Walls, please visit www.studiowithoutwalls.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(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

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