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Archive of the Case Studies Category

CrossRoads Nazarene Church Blessed with KARAi

Phoenix-area church upgrades main sanctuary system with L-ACOUSTICS

CHANDLER, Arizona — CrossRoads Nazarene Church in Chandler, Arizona recently became one of the latest North American houses of worship to install a KARAi line source system from L-ACOUSTICS.

AVDB Group of Phoenix provided the design and integration of the new system for CrossRoads’ sanctuary, which now features left and right arrays of six KARAi flanking dual center sub hangs each comprised of two SB18i. Three LA8 amplified controllers power all enclosures. more

DPA Microphones Brings Exceptional Sound Quality To The Live Sound And Touring Industries During PLASA 2012

At PLASA 2012 (Hall 1, Stand F38), DPA Microphones and its UK distributor Sound Network will showcase an outstanding range of high quality microphones that are ideally suited to the rigours and demands of the live sound and touring industries.

Christian Poulsen, DPA’s CEO, says: “We are excited to be exhibiting at the PLASA show this year with the UK being one of our key markets. With the new d:fine™ headset, d:facto™ vocal and d:vote™ instrument microphones, we are raising the bar for good sound in challenging environments, where DPA microphones have already set the standard for headset and miniature mics for many years. DPA’s long list of fantastic references within theatre, broadcast, lives and installation environments proves the unique combination of high sound quality and reliability.”

DPA will show its expanded d:fine™ series of headset microphones that recently won Live Design’s Sound Product of the Year Award. Offering impressive gain before feedback and very stable construction, the unobtrusive d:fine™ headset microphones are easy to fit and provide a discreet microphone solution. The range, which is renowned for its audio accuracy, is available in both directional and omnidirectional options and in single or dual-ear designs with a choice of three lengths of microphone booms.

DPA will also be showing its new d:facto™ hand-held vocal mic, which offers an exceptionally natural sound, high separation from nearby sound sources and extreme sound level handling. In common with all DPA mics, d:facto™ features superior gain-before-feedback and combines a supercardiod pattern with superb definition to give high separation and true sound color on stage. d:facto also features an inbuilt 3-step pop protection grid that allows the artist’s vocal performance to dominate by effectively removing unwanted noise.

PLASA visitors can win one of these ground-breaking microphones by getting their badge scanned at the DPA stand. One lucky visitor will be chosen at random and the winner will be announced after the show.

DPA will complete its PLASA 2012 line up with its popular range of d:vote™ 4099 instrument microphones. Perfect for PA amplification and live recording, d:vote™ 4099 instrument microphones are tiny, elegant products that are extremely rugged and durable. Capable of handling high sound pressure levels and offering superior gain-before-feedback, these microphones live up to DPA’s pedigree of breathtaking clarity and richness.

Versatility is key to the success of the d:vote range, which features a number of different clips suited to a wide variety of instruments. Each microphone incorporates a gooseneck to provide ultra-stable positioning and the mics can easily be unclipped and repositioned or moved to another instrument. Recent enhancements to the shock mount provide even better absorption and d:vote™ instrument microphones now feature detachable cables available in 2.2mm (0.087 in) and 1.55mm (0.061 in) diameter versions from the end of the gooseneck. Further flexibility is available through an extension unit for the gooseneck supplied with the microphone, which lengthens its neck by 50%.

With their MicroDot connectors and the option of more than 35 DPA adapters, both d:fine™ headset microphones and d:vote™ instrument microphones are compatible with just about any wireless system. They can also be used as a standard 48V phantom powered microphone via its supplied XLR connector.

PLASA 2012 takes place at the Earls Court Exhibition Centre, London, from September 9th – 12th. For more information about DPA Microphones, please come to Hall 1, Stand F38 or visit the company’s website – www.dpamicrophones.com

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

TONY-Awarded Broadway Shows Shine With DiGiCo

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

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

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

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

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

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

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

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

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

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

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

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

Stampede Named A North American Distributor of Vaddio EasyUSB MAC & PC Video Conferencing Tools

In a move designed to dramatically expand the market for soft client conferencing system solutions in virtually all end-user vertical markets, Vaddio Inc. and Stampede Presentation Products, Inc. today announced that, effective immediately, Stampede will serve as a North American distributor of Vaddio’s recently introduced EasyUSB video conferencing tools. The announcement was made by Vaddio VP of Sales Tom Mingo and Stampede President & COO Kevin Kelly.

“The market introduction of EasyUSB created a new standard for computer peripherals based on professional AV quality performance,” Vaddio’s Tom Mingo said today. “Stampede, with its proven expertise in every segment of the IT conferencing market, is uniquely qualified to represent the capabilities of the EasyUSB tools.”

Amplifying this point, Stampede’s Kevin Kelly noted that Stampede dealers now can offer a viable high quality conferencing option to customers who do not want to invest in a traditional video conferencing system. “Vaddio’s EasyUSB is a game-changing product line that allows dealers to offer a compelling cost-effective way to build an enterprise-quality video conferencing system with affordable soft codecs like Microsoft Lync, Skype, Face Time, and Google Talk. Together with our other video conferencing solutions, specifically those from Sony and Radvision, Stampede now offers an unprecedented range of offerings for all applications, platforms, and price points. What’s more, every one of our system solutions comes backed with the necessary engineering expertise and product knowledge required to make every solution we sell an easy turnkey experience for customers.”

Introduced in March 2012, the Vaddio EasyUSB line of video conferencing tools brings to market the IT VAR and ProAV quality computer peripherals IT professionals need to transform their personal computer into an effective, affordable meeting room system for environments that range from a small video conferencing system all the way up to a large integrated lecture capture classroom. The line includes an HD USB PTZ camera, a USB audio mixer/amplifier, USB microphones, and a web based room control system. The solution also includes an AV bridge that allows legacy and traditional AV systems to connect to the audio and video inputs on computers through a USB connection.

Furthermore, Vaddio’s EasyUSB tools are based on UVC/UAC USB standards, eliminating the need for custom software drivers or a particular OS to be installed on a MAC or PC – so they work seamlessly with any soft client conferencing system including Skype, Google+, Scopia, Movi and Microsoft Lync, as well as lecture capture software systems such as Tegrity and Panopto. When added to a MAC or PC, the combination of EasyUSB tools creates a complete group conferencing solution that allows users to engage in any type of collaboration and conference activity.

About Vaddio
Vaddio is the leading manufacturer of specialty PTZ cameras and camera control systems used in the audiovisual, videoconference and broadcast industries. Your customers demand cutting-edge technology that’s simple to use. You want equipment that’s easy to install and reliable to operate. Vaddio serves integrators and operators alike – with broadcast-quality PTZ cameras and control systems that deliver the performance you need with the convenience you demand. For more information on Vaddio and its product lines, visit www.vaddio.com.

About Stampede
Known for its value-added distribution, Amherst, New York-based Stampede is the leading distributor of presentation equipment including LCD/DLP projectors and flat panel displays. Stampede provides a complete range of brand name presentation equipment to a variety of audio/video, computer, and home theater resellers and integrators in the United States, Canada and Latin America. These resellers rely on Stampede for value-added services in distribution, marketing and solution- based sales. Stampede annually produces the “Big Book of AV,” an 816-page catalog and companion website (www.BigBookofAV.com) providing hundreds of sales, installation and spec tips for Stampede’s dealers in addition to product details on more than 5,000 SKUs. For more information on Stampede, log onto www.stampedeglobal.com.

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Drummer Taku Hirano Relies On HARMAN’s AKG For European Percussion Clinics

VIENNA, Austria – Trained in multiple aspects of rhythm, ranging from classical, Afro-Cuban and Brazilian to West African, Middle Eastern, Japanese and Indian, percussionist Taku Hirano, while touring with the internationally acclaimed Cirque Du Soleil – Michael Jackson: THE IMMORTAL World Tour, is utilizing his down time to host drum clinics throughout Europe. Traveling with a complete HARMAN AKG microphone set, Hirano relies on the functionality and clarity of AKG to provide first-class instruction and an unforgettable experience, while teaching the fundamentals of his art.

In addition to his current world touring schedule with the MJ Immortal tour, the award-winning Hirano has played with musical legends on tour and in the studio, including Fleetwood Mac, John Mayer, Lindsey Buckingham, Lionel Richie, Michael Bublé, Josh Groban, Stevie Wonder, Whitney Houston, Usher, Jay-Z, LeAnn Rimes and Shakira, among multiple other world-renowned acts.

During his clinics, Hirano’s percussion set is mic’d with two C214’s for overhead capture, a P2 for the Cajon, one P17 for the artist’s signature ‘Handbale” – the timbale played only by hand, one P3 on a stand for speaking during the clinics, a P4 for the Bongos, and C518M’s clipped on his congas.

During live performances on tour and in the studio, Hirano also utilizes the classic C414 for overheads.

“I’ve been part of clinics in the past where a lot of time, the artist or performer is subject to use whatever equipment the backline companies provide,” said the percussionist. “My AKG mics came straight out of the box and provide a pristine sound. With AKG, my sound actually gets better as I’m able to hear every nuance I play. The gear is working out great as I continue to delve further into playing for the students and prospective percussionists.”

Hirano’s clinics will take place in every major European city the Immortal Tour lands, including London, Copenhagen, Stockholm, Frankfurt, Munich, Vienna, Hamburg, Berlin, Madrid, Moscow, Prague and Barcelona.

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics. For more information about Taku Hirano, please visit https://www.facebook.com/pages/Taku-Hirano/137428229609597

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 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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Visual Unity Expands TV Nova Live Streaming and Video On Demand Service

TV Nova, the biggest commercial television broadcaster in the Czech Republic, is using technology supplied by leading broadcast and multiscreen systems integrator Visual Unity to power its live online streaming and Video on Demand service, VOYO.

Having worked closely with Visual Unity to launch and then transition VOYO to a subscription-only service earlier this year, TV Nova has once again relied on the company’s consultancy and technical support to launch two new channels – VOYO Cinema, a subscription-based movie channel and VOYO News, a free and continual online news channel that combines live streaming with video reports and advertising.

Visual Unity’s vuMedia™ integrated content management and delivery platform sits at the heart of the solution, enabling the efficient delivery and monetization of live content and access to TV Nova’s ever-expanding archive, which currently includes over 50,000 video assets. The end-to-end platform provides live simulcast streaming of multiple channels integrated with the station back-end and with AD TECH, the broadcaster’s advertising system.

Jakub Kabourek, Visual Unity’s CEO, says: “The technical solution behind VOYO had to provide a solid infrastructure that integrated fully with TV Nova’s existing technology and business systems. It also had to efficiently manage live and archived content in High Definition (720p), enable editing of live News feeds in real-time and deliver a high quality service and experience to subscribers. vuMedia™ addresses all these requirements and more in a very effective way.

“The system incorporates anti-piracy protection (Playready) and uses traditional Silverlight technology to deliver encrypted video content and Flash technology for free video content. In addition, viewers can choose from three quality options to suit the speed of their online connection.”

Part of CME Group and one of the most successful and profitable commercial television stations in Europe, TV Nova broadcasts 24 hours a day to audiences in the Czech Republic. Secure and reliable content distribution is key to the success of the broadcaster’s VOYO online service and for this it relies heavily on Visual Unity’s own Content Distribution Network, offering 100GBps throughput and 400 TB storage for tens-of-thousands of concurrent regional users.

Pavel Krbec, Internet and Other Interactive Services Director at TV Nova, says: “With vuMedia, Visual Unity has delivered a robust and efficient multiscreen solution that has enabled us to easily expand our services and we are delighted with the results. Our viewers enjoy a quality experience through a simple, elegant and intuitive player and by employing Visual Unity’s Content Delivery Network we are able to provide a highly reliable service. Thanks to our long standing relationship with Visual Unity we knew they would be the right systems integration and technology partner for this project and we really appreciate the on-going assistance and technical support they provide us with.”

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About Visual Unity

Visual Unity is an international Systems Integrator bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD Outside Broadcast vehicles and major playout facilities to live internet streaming and Video on Demand services.
Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. Highly scalable and flexible, vuMediaTM delivers a cutting-edge live viewing experience on the web or any mobile or connected device, comprehensive VoD services, social network integration and secure robust content distribution – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Cologne, Moscow, Bratislava, Belgrade, Nairobi and Dubai.

For further information, please visit www.visualunity.com

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Queensland University Of Technology Relies on HARMAN’s AKG DMS700 Digital Wireless Microphones

VIENNA, Austria – In need of a technology upgrade for its lecture halls, which host more than 50,000 students during the academic year, Australia’s Queensland University of Technology’s (QUT) Audiovisual Projects Department installed a campus-wide digital wireless solution to replace its existing analog system. Supported by Len Lotz and Shane Palmer of Videopro, the Queensland-based technology integrator, QUT now has more than 400 educational spaces across multiple buildings channelled with HARMAN’s AKG DMS700 digital wireless solution.

QUT’s wireless channels were already crowded, nearly reaching its capacity, which put constant stress on the channels and brought interference to lectures throughout campus. Recently, with a decision to advance campus technology and expand the CBD area, QUT would require additional channels of wireless, which would not be supported by their previous analog system. AKG’s DMS700 was selected, as it offered a tactical answer, addressing all of the issues related to overcrowded bandwidth and completely eliminating interference. DMS700’s ultra-wide tuning range also offered the greatest degree of flexibility to work around uncertain frequency allocations in the future, as the Australian government redistributes allocations of UHF spectrum.

AKG’s DMS700 is designed to deliver the highest quality and operability to users. DMS700 allowed QUT to provide a significantly larger number of channels, in addition to the clarity and reliability of the digital signal. Its quick and easy setup allows anyone within the university, from the technical team, to professors and students to easily turn on and distribute their audio throughout QUT.

“The lecture halls and teaching spaces have improved, in terms of the audio clarity and reliability, dramatically with the integration of AKG’s DMS700 wireless system,” stated John Vikstrom, QUT. “AKG and its Australian distributor, Audio Products Group, were instrumental in this installation, working tirelessly with Videopro and QUT’s AV team to design a complete system that would span the entire campus and offer user friendly ability for the professors in each room.”

With the project continuing into 2012, Videopro and Audio Products Group, have already deployed more than 300 channels for QUT.

“QUT is pleased with the AKG system, as the improvement is clearly heard when in a room that was previously plagued with interference,” said Lotz. “AKG’s work on producing a university-wide frequency allocation plan allows QUT to take a holistic approach to managing its entire fleet of wireless microphones.”

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics. For more information on Videopro, please visit http://www.videopro.com.au. For information about Audio Products Group, please visit http://www.audioproducts.com.au.

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 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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V&P Sound Heats Up Lamb of God Concert In India With HARMAN’s JBL VERTEC® Line Arrays With V5 Presets

V&P Sound recently provided a JBL VERTEC line array system for Lamb of God’s performance in Bengaluru.

NORTHRIDGE, California – Rapidly gaining the reputation as the ‘Metal Capital of India,’ Bengaluru has hosted some of the world’s most popular bands, including Lamb of God’s second appearance in the country. A stunning sound and lighting system highlighted the performance, featuring HARMAN’s JBL VERTEC® line arrays, loaded with V5 DSP presets.

The JBL VERTEC line arrays, deployed by V&P Sound of India, supported the massive sound output required for the concert. The use of V5 tunings during this concert is one of the largest in India since its introduction. The concert was held in the Clarks Exotica Resort, located in the outskirts of Bengaluru.

The Lamb of God concert was organized under the ‘Nokia Alive’ series, promoted by Overture India, a popular event management company. The 7,000-plus fans in attendance reinforced the true metal spirit of Bengaluru and the need for a powerful audio system.

The entire crowd was electrified during the hours of intense, high-performance sound, which featured an audio system of 20 JBL VT4889 fullsize line array elements and 16 VT4883 compact arrayable subwoofers for the center and mosh pit fills. Crown I-Tech HD amplifiers powered the system.

“We love the V5 presets and their performance—they offer a true sound with great magnitude,” stated Vishnu P., owner of V&P Sound. “The VT4889 has excellent long-throw capabilities and V5 offers significant improvements in horizontal coverage in the high-frequency and low-mid ranges. We also like the changes that have been made to the low frequencies with V5. Overall, we are very pleased with the performance of the system.”

Vishnu P. continued, “We are now using new V5 DSP presets and did not have to use much EQ on the system. V5 has undoubtedly given new life to our existing VERTEC system. We would like to congratulate Paul Bauman and his team for this fantastic product.”

“With sophisticated 3-stage limiting, including long-term thermal protection allowing for higher peak and RMS thresholds, the power translated into increased SPL output and rock-solid limiting. This makes the V5 presets more impactful, adding pristine clarity to the sound output” added Mallesh T., mix engineer for V&P Sound.

To provide the best microphone solutions for the stage, AKG microphones were deployed, including the AKG Drum SET II and AKG Rhythm Pack, as well as D40’s for the two separate drum kits. A portion of the concert’s acts were mixed with the Soundcraft Vi6 console at FOH.

“As a rental sound partner who has always led the way in adapting the latest technologies introduced by HARMAN, V&P Sound has created yet another yardstick for live sound in India,” said David McKinney, Senior Director- India Operations, Harman Professional.

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 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.

Clearwing Productions Installs KARA at First Midwest Bank Amphitheatre

Live Nation purchases L-ACOUSTICS delay system for lawn seating area

TINLEY PARK, Illinois — With over 10,000 reserved shed seats and room for nearly 18,000 more on its expansive sloped lawn, First Midwest Bank Amphitheatre, located just south of Chicago in Tinley Park, is the Midwest’s largest outdoor concert space. Owned and operated by Live Nation, the venue recently hired Clearwing Productions of Milwaukee to design and install a full lawn delay system, which now is comprised of 42 L-ACOUSTICS KARA enclosures. more

New SD9 Rack Pack Offers Affordable, High-Performance, Road-Ready System

When DiGiCo introduced its supercharged SD9 at the beginning of 2012, the significant expansion in channel count, dynamic EQs, multiband compressors and matrix, and the addition of DiGiTubes, reorder of busses, multichannel inputs and aux VCAs (formerly only available on SD7) made it a no-brainer for production companies around the country for use in myriad real-world applications. With the addition of the “Rack Pack” option—adding a second D-Rack, Digital Snakes and a flight case for the surface—DiGiCo took it a step further, offering a ruggedly road-ready, 72-mic-input system available at an unprecedented price.

“DiGiCo has had incredible success in penetrating not only the touring market, but also the Broadway market, house of worship market, and projects ranging from small events to large-budget corporate productions,” says Group One’s National Sales Manager, Matt Larson “Now, with the SD9, you can get an expanded I/O capacity with the same sonic performance as you would on the SD7 with a smaller footprint and less expensive system. The DiGiCo Stealth™ platform, using the super FPGA chip, allows us to open up the power of the engine in any of our systems like we’ve done with the SD9. We’ve increased the output capacity as well as a vast amount of other cool features. We then offer it in the SD9 Rack Pack package, which now takes this small footprint system and adds a ton of inputs to it. It is very accessible to every market segment, whether it’s the regional sound company or the big sound company looking for a desk for the house of worship for the main sanctuary or small youth room, down to the regional theatre market segment.”

The small footprint, easy load-in/load-out capabilities and an easy-to-program operating system enable Atlanta’s Rock-N-Road Audio, Miami’s Beachsound and Audio Formula, Seattle’s Carlson Audio Systems and OTSC in West Texas to get the job done easily at mid-to-large-scale festivals and corporate events.

“DiGiCo consoles offer us essentially three important features: superior audio quality, ease of use, versatility and reliability,” reveals Rock-N-Road Audio’s Roy Drukenmiller. “It’s wonderful for anything from corporate events to major shows. The fact that you don’t have to use copper analog snakes makes life so easy. When your snake is a piece of CAT5, everybody’s willing to help pull that! We just did a show in Boston, a corporate after party, and used it for FOH and monitors—one console did it all. And it made for a very easy load-in and load-out since the only thing at the FOH was the surface, a processor and a CD player. And because we have the traditional eight-output strip in our rack, we were able to have 16 outputs on deck, which allowed us to have the in-ear rack onstage as well.”

“Audio Formula placed a pair of SD9s and D-Racks at the Ultra Music Fest in Miami Beach,” explains CEO Nick Assunto. “Our responsibility at the event was to make certain we had the latest technology available for the performances, from the PA system to all the peripherals involved. In addition, we’re responsible for tuning the system for the demanding SPL requirements and making sure we get the nicest definition out of the system. My favorite feature of the DiGiCo is having the ability to have everything separated in the matrix and in different layers. It’s handy to be able to remove all the nonessential buttons from the layers to have easy access to all the required channels in one page without having to flip around. Also, the SD9 with remote D-Rack was very small and fitted perfectly under the DJ booth with no problems. That definitely was a winner.”

“We’ve found the SD9 Rack Pack to be the most powerful compact-sized mixing platform available for our events while still retaining a practical and logical layout,” says Beachsound & Lighting owner Andre Serafini. “Because of its efficiency and reliability, we foresee this becoming a tour standard for shows that require a solid performance and are limited on space as they travel, such as up-and-coming artists needing to carry consoles in a bus or cruise ship theatres where space is limited and heavy I/O is demanded. DiGiCo has continuously provided outstanding and unparalleled support for their digital mixing consoles, which is definitely an added benefit to us as we pick partners to work with.”

“OTSC used the SD9 at FOH for the Fiesta West Texas family-centered Hispanic cultural festival to mix a roster of a dozen bands over the three-day Cinco de Mayo weekend,” OTSC head engineer Eric Hite explains. “We really need the flexibility of the SD9 as we wanted that big fat DiGiCo sound, clear and solid, and features that go on and on. The SD9 allowed us to set up and soundcheck multiple bands and recall their snapshot without needing to re-soundcheck. Also, with its physical size being so small compared to our older VCA analog board, it made it easier to move around during the festival. Not needing a separate FX rack really helped, as there was no last-minute re-patching of the comps and gates, or anything at FOH, really. You just look up your band and hit Recall. It is very convenient to have. The internal effects did just fine for this show and will most likely keep up with our pace for a long while.”

“We took delivery of our first SD9 in April 2012, and since then I have been really pleased with the system as a whole,” enthuses Matt Collins, operations manager for Carlson Audio Systems. “I’ve used it several times at this point for both corporate and rock shows, and the versatility of the system is incredible! It’s really nice to have exactly what you want anywhere you want it. Once you become familiar with the system and the surface, it is really quick to set up a new show and be ready to roll. Additionally, using the SD9 Remote Control Editor software on a PC makes show setup even easier. As with any system, there are quirks and a learning curve; however, the usability of the SD9 is superb and it sounds great as well. I could go on for a while about the techy nerd details that I like about the SD line, but in lieu of that I’ll say that overall I am very happy with the SD9 and will certainly use it more and more going forward.”

“After spending four days running monitors on our SD9 at Sasquatch Music Festival, I found it to be a highly flexible, great-sounding, robust desk,” adds Carlson staff engineer Jesse Turner. “The GEQs were responsive and I could move around on the desk quite quickly even after only spending a little time on it. The biggest win for me was when I had an engineer walk up and be pleasantly surprised that we had a DiGiCo product, as he had an SD11 file that he’d recently created. He was able to load his presets, move around a few fader banks, and away he went with no problem. At the end of the show, he thanked me profusely and stated that he was able to have one of his best shows ever in a festival situation, when typically he would end up ‘just trying to get through the show.’ Overall, I was impressed with the fact that the desk has many of the qualities of its flagship counterparts, but in a much more compact and cost-effective package.”

After years of research, St. Matthew United Methodist Church in Belleville, Illinois, and Grace Church in Glendora, California, undertook major renovations of their technology systems, including making the leap from analog to digital with DiGiCo. Both were extremely pleased with the features and functionality of the SD9 systems.

“Having installed an SD7 for a large theatre project in 2011, we were impressed with the sonic quality, manufacturer support and operator training that DiGiCo provides its dealers and end users,” explains Joe Byrne, CTS operations manager for the West Coast division of Pro Sound & Video, which handled the install. “Because of the small budget we had for the Mountain Springs Church install project in Colorado Springs, I did not know if we could even consider DiGiCo. However, looking into the SD9 Rack Pack further, we found that it was such a great deal and represented such a robust upgrade from similar products in that price range that we ultimately decided to go with the SD9 system. I feel 100% confident that we made the right choice and the client is very happy.”

“The SD9 offers so much more, really, than any other console in its price range,” adds Mountain Springs Church tech director Keith Miller. “The Flexi Buss feature really opened a lot of options for us. You can mix in any type of situation without being stuck with a set amount of auxes or groups. Also, we found that the macros were very flexible and can do more than one function at a time, which is really nice, and the ability to have an alternative input on mono channels really cuts down on patching between our weekend and youth services.”

“When the SD9 was introduced, we all quickly realized that this would be the perfect replacement for the analog console in the video control room, making FOH and video independent and completely digital,” explains St. Matthew United Methodist Church’s broadcast engineer DJ Rockwell. “With the SD9′s affordable price tag, everyone was in agreement. It sounded great and the processing was seamless. The snapshots were very smooth and easily customizable. St. Matthew is a house of worship that has been into technology for a long time, and we do our best to stay on the cutting edge. We started airing our services on cable more than 25 years ago, and now we also stream live. On Sundays, we have three services back-to-back, with no time for rehearsals in between, and they can be as simple as three mics or as extreme as 75-plus inputs. Both the SD8 and SD9 made these 15- and 20-minute switchovers—from traditional to contemporary to blended with choir and orchestra—possible. The DiGiCo system has really improved the audio quality of our worship services and productions. The quality has noticeably improved for our members who watch online or at home.”

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