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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.

DiGiCo SD10 Will Rock You On Summer Queen Extravaganza Tour

Imagine being plucked from obscurity by a musical hero and hand-selected to be part of a tribute band celebrating the music of the iconic band Queen. That’s just what happened to nine veritably unknown singers and musicians from around the globe, chosen by Queen guitarist Brian May and drummer Roger Taylor, architects of the band’s sound, for The Queen Extravaganza summer tour band. Taylor, who took on the role of show producer and music director, wanted to create the ultimate Queen concert experience in an electrifying road show designed by a heavyweight production team headed by stage designer Mark Fisher, (known for memorable productions including “The Wall” for Pink Floyd and every Rolling Stones show since 1989) and Rob Sinclair (Adele, Peter Gabriel, Queen, Pet Shop Boys and Vampire Weekend). The tour celebrates Queen’s legacy and music, performed by some of the best new talent they could find.

Launched at the end of May, the tour travels to theatres in cities coast to coast across the United States and Canada through early July. At FOH is engineer James McCullagh, who manages the entire audio production from the helm of a DiGiCo SD10. Going into the tour, McCullagh was adamant about his console choice, having worked with DiGiCo SD desks on previous excursions with artists from Lucinda Williams to Journey. 



“I knew that I wanted to use a DiGiCo,” McCullagh recalls. “I said right up front it was non-negotiable. I’m a big fan of DiGiCo and I like the sound of the consoles. I’m familiar with the layout and it works well for me. There are a few things that I have in my arsenal that I knew would be beneficial in working with this band and the DiGiCo console is one of them. DiGiCo’s layout and functionality proves to be so much easier for me to run a show, and on this one, we’ve got nine singers onstage, 12 different effects channels running at one particular time, maybe seven to eight functional cues per song… There’s a lot going on and I needed a console that could deal with the intricacies of making that happen. For me it was a no-brainer to use a DiGiCo to ensure I would be able to get that huge drum sound and layered mass of vocals that Queen are known for.



“The problem was we had a hard time finding an available SD10 for the start of the rehearsals in Canada because they were all out on hire,” he adds, “but eventually, Clair Brothers was able to locate one. What was interesting was that, for the first week and a half, I was using a competitor’s console and it was the first time that I’d actually ever had a chance to A/B a console—in the same scenario, in the same room, with the same band, with the same mics and the same PA, and under the same conditions. And the difference between the two consoles was like night and day! It was like somebody pulled a blanket off the mix. People who didn’t even know that I’d changed consoles came up to me going, ‘What did you do to the sound? It sounds so much better!’ I’ve used all the digital consoles out there and they all do the job, but I was never really aware of the actual sound difference. All of a sudden it was like there was air over the cymbals and the vocal that was gone on the other console. The low end was just like somebody opened up a floodgate of lows that just extended on the SD10. I think the DiGiCo console is the closest digital console that you’re going to get to an analog sound. They’ve really gotten the conversions right; they’re really good. The way the console sounds is excellent, and a whole lot more functional for me. That was quite a revelation.” 



Going into rehearsals, the Queen Extravaganza touring band—comprised of four vocalists and five musicians—had never played together in the same room. They united in Toronto for a two-week band rehearsal (followed by a two-week production run-through in Montreal) to polish the plethora of material for their two-hour show: roughly 40 of the band’s biggest chart hits, finest heavy-duty rock based anthems, and early-period Queen numbers. Not surprisingly, the band’s input count came to 48 inputs, which included 16 channels of drum, two channels of bass, four channels of guitar (“part of getting Brian May’s guitar sound is miking the front and back of the Vox AC30 and we’ve got two guitarists on each end”), six channels of piano and keyboard, and nine channels of vocals as everyone in the band sings.


”I wanted to track and record all the rehearsals on separate tracks and being able to do that via MADI was one of the big advantages of using the DiGiCo,” said McCullagh. “I know that there are other consoles out there now that can do it as well but my first experience of doing that was with the DiGiCo via an RME MADI card into my MacBook Pro laptop and a separate hard drive. It’s very useful to be able to record and have anyone in the band, or the musical director, or Roger, come back and listen to a particular track.”

McCullagh made use of extensive grouping to organize all the vocals as well as snapshots on most of the songs for vocal routing and vocal balancing. “Obviously, each singer has their own channel, but sometimes the lead singer is the lead singer and sometimes he’s the backing singer,” he explains. “I created a stereo group and called it ‘backing vocals’ and sent all the backing vocals into that group and then I slammed that with a compressor. The Queen songs have very intricate harmonies and each vocalist sings at a different level. It was too much to have nine compressors going across nine channels over a loud rock band with drums and everything. It was easier for me to put one compressor over a group. That way, if someone sings slightly harder, or if I push a level a little bit too hard, that vocal won’t just jump out and sound awkward. It’s all squashed back into the mix and that helps to get that really tight, layered Queen harmony sound. I’m using the Waves LA2A plug-in, which is an awesome-sounding plug-in and very close to the real thing, and it does a real good job in smoothing out all the peaks and lows of the backing vocals. On each vocalist, I’m running an LA2A as well as a C6 multiband compressor, which helps take out any little areas where somebody’s voice might be a little resonant or deficient. With the dynamic range that Freddie Mercury had, each vocalist goes through a lot of changes and the C6 certainly helps to smooth it all out and make the voice sound completely natural.



“In addition, I’m running two TC4000′s and a TC Helicon VoiceLive on the vocals as well as an Eventide H3000 Harmonizer for the flange sounds. I sat down with Roger and we’ve very carefully gone over what they did in the studio and how he wanted to recreate it live. One thing I want to mention adamantly is that I’m not using any tricks or any doublers or harmonizers on any vocals to provide layering. All the layering is strictly from the singers. The massive sound is all them; there’s no artificial recreation or any of that. That’s important to say because we don’t want people to think that it’s all technology that’s making them sound like they do. These guys are sounding that way because they’re that good!”



For the extensive drum kit, McCullagh is running two parallel stereo busses. One is an unprocessed group feeding into another group, which is then compressed. “I’m running a Waves API 2500 plug-in across that, which is super-compressed with a lot of snap and a lot of pop-punch. I then blend those two busses to get the drum sound that I want, because obviously the drum sounds changed from the ‘70s to the ‘80s. In the ‘70s, it was more natural sounding and in the ‘80s, everything became very compressed and over-EQ’d. I didn’t want to be changing my drum sounds on snapshots or re-EQing my drums for every song, so I basically took various different balances of ungated and uncompressed, natural-sounding drum kits and very heavily EQ’d and compressed sounding drum kits, and blended the two together for my drum sound.”



McCullagh routes the toms to both drum busses and then to a third buss, which he calls “fat toms.” “I’ve got some Waves Renaissance Bass and VEq vintage EQs going on there and then I’ve pasted all the sub-harmonics of the toms and a little bit of cut so whenever there’s a big purposeful tom hit, I can fatten up the toms by riding in a little of the extra tom buss. Obviously, if I leave it on permanently when there are some really busy tom fills, then it’ll just sound like a bunch of low end and you don’t want that much low end on the toms. You want it to cut a bit more like a single tom hit, especially on songs like ‘We Will Rock You’ or ‘Another One Bites the Dust.’ By doing that I can really push it up and get a really huge tom sound.”

For the rest of the band sound, McCullagh employs minimal onboard effects. “The guitars are pretty much run with a flat EQ,” he says. “There are two Vox AC30s turned up to stun with a mic in front of them and then I just put the fader up. The piano sounds—we have a grand piano and some keyboards—are pretty much just using a bit of EQ and not much compression or anything going on there. My main focus for this band is all about getting huge drum sounds, great guitar sounds, and a massive wall of vocals… that’s pretty much how Queen worked and that’s what I’ve gone for.”



One of the features McCullagh is enjoying the most at the moment is the SD10′s Macro Smart Keys, which helps with myriad cues he’s managing from song to song. “I’m using a bunch of them,” he says. “I might use a delay in one part of a song or a delay on just a guitar just in one part of a song and not the rest, and they enable me to turn a vocal delay on and off without having to do that in my snapshots. I use them for mute buttons, to pull up my snapshots, open my snapshots page, and open my notes page. I’ve created a buss features page, and I have them to turn on reverbs for guitars, and turn on delays for vocals and guitars. I have another button assigned to turn my pink noise on and off, and another to switch between the playback on the computer, the recorded tracks, or the actual mic onstage. So without having to go to a drop-down menu, I can just hit the button and switch. All of my tracks that are recorded are coming back up on the same channels on the console, so we can listen to it in real time and make changes, get compression levels, and dial in EQs. It’s very handy when you’re trying to get a tom EQ or a tom gate set. You can just dupe a section of the toms, press Play, and keep hitting the same tom over and over again and set your gates and EQ and then move on to the next. It’s a very handy process. Another cool thing is you can assign a color to a button and it’s got a dual function. For example, it can be green when it’s on and red when it’s off, which is really handy in the dark.”



With the tour now in full force, McCullagh says he’s not surprised rave reviews are flooding in, given the stellar level of music, lighting and video offered at a time when many show productions are scaling back. “I haven’t seen this level of production for a theatre show,” he marvels. “Not in this day and age when people are dealing with shrinking budgets because of financial constraints. But even with our tight budget, these guys have managed to make it feel like the stadium shows the way Queen used to do it. That’s the level of production that they’ve put together and they’ve done a fantastic job because, whether you’re a Queen fan or not, you’re going to walk out of the show saying, ‘Wow! That was amazing! I definitely got my money’s worth!’

“Another thing: In this era, where tons of bands are using Pro Tools rigs and playing to backing tracks, we don’t have any. Everything that you hear is 100% live. All the harmonies are from the guys singing. There is no miming, no tracks, no help. In fact, I haven’t worked with a band in a long time, except Lucinda Williams, who hasn’t used backing tracks. On this tour, there’s nothing, and I think that’s pretty impressive. The band and singers are awesome and they are going to blow people’s minds. But what do you expect when you’ve got Roger and Brian at the controls, handpicking them?”

Firehouse Productions Deploys HARMAN’s New JBL VTX Line Arrays and Crown Amplifiers for 2012 Rock and Roll Hall of Fame Induction Ceremony

Firehouse Productions provided JBL VTX line arrays powered by Crown I-Tech HD amplifiers for the 27th annual Rock and Roll Hall of Fame Induction Ceremony.

CLEVELAND, Ohio – In a historic event featuring many of the top names in rock and roll, Firehouse Productions supplied a live sound reinforcement system featuring HARMAN’s JBL VTX line arrays with Crown I-Tech HD amplification for the 27th annual Rock and Roll Hall of Fame Induction Ceremony in Cleveland, Ohio.

The event featured performances by inductees Guns N’ Roses, Red Hot Chili Peppers, Donovan, The Small Faces/Faces, Beastie Boys, The Crickets and more. Other inductees included Freddie King, Don Kirshner, Cosimo Matassa, Tom Dowd and Glyn Johns. Leading up to the ceremony, the Rock and Roll Hall of Fame held many special events including the unveiling of the new Library and Archives section of the museum.

For the event, Firehouse Productions deployed a PA system consisting of 32 VTX V25 line array elements in two clusters of 16, with 32 VERTEC(r) VT4880A fullsize arrayable subwoofers with two hangs of eight flown and two sets of eight on the ground. An additional eight VT4886 subcompact line array elements were used for front fills as well as six VT4889 fullsize line array elements for the center cluster. Crown’s I-Tech IT 12000HD series amplifiers powered the system.

“This was the first time we have used JBL’s new VTX series line arrays and they have absolutely lived up to expectations. They provided us with more powerful sound and maximized coverage, which is critical for a live event such as this. These line arrays also feature many of the same benefits we have come to expect from JBL, specifically being lightweight and easy to deploy at difficult angles,” stated Mark Dittmar, Lead Design and Integration Engineer at Firehouse Productions.

“Crown is our amplifier of choice for major live events, this being no exception. As one of the earliest users of the I-Tech HD series amplifiers, we know the sonic integrity is unmatched and I’ve been impressed with how they have continued to optimize the amps through constant improvements to the updated presets,” added Dittmar.

Front of House Engineer Dave Natale provided the live mix for the event and added, “The new JBL VTX system combines all of the low-end power that I have come to expect from JBL with the addition of an ultra-smooth and accurate high end.”

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.

Acoustics First® Office Space to Voice-Over Suite

Acoustical Panels in a Voice-Over Studio

Acoustical Panels in a Voice-Over Studio

This office space was converted into a voice-over production suite for Moe Rock. Installed are 2′x4′ acoustical wall panels and a 2′x4′ acoustical ceiling cloud over the listening position. A corner bass trap was created using corner impaling clips with one of the standard Sonora Panels. Photo courtesy of Moe Rock: http://www.moerock.com/

With a wide range of available recording equipment, from computers to hand held devices, recording audio is easier than ever! With some simple gear and a good microphone, a quality recording is just moments away. However, before you begin, take a few moments and consider Acoustics First! If proper acoustical material is not in place, you may be recording unwanted room modes or excessive reverberation. Our brains, in combination with our eyes and ears, can compensate in less than ideal conditions, whereas microphones cannot.

Acoustics First Corporation supplies acoustical panels and soundproofing materials to control sound and eliminate noise in commercial, residential, government, institutional applications worldwide. Products include the patented Art Diffusor®, sound absorbers, noise barriers, acoustical fabrics and accessories. Acoustics First® products are sold for O.E.M applications, direct, and through dealers. For more information on acoustical materials and their application, please visit www.AcousticsFirst.com or call Toll Free 1-888-765-2900 (US & Canada).

Delta Sound Lines the Thames with HARMAN’s JBL VTX Line Arrays for Queen’s Diamond Jubilee Pageant

NORTHRIDGE, California – The 1,000-boat Queen’s Diamond Jubilee Pageant along the River Thames in London, witnessed by millions of television viewers around the world on June 3, saw Delta Sound line the route from Putney Bridge to Tower Bridge and on down to Greenwich, with hangs of HARMAN’s JBL VTX line arrays.

The event-a tribute to Britain’s maritime history-had the Queen’s royal barge as the centerpiece of the pageant. The flotilla was divided into 10 sections that were separated by musical herald barges playing contemporary and classical music, with around 20,000 people taking part. It was led by a hand-built, 88-foot row-barge called Glorianam, while the new royal barge appeared in the third section from the front.

Receiving satellite downlinks, the JBL loudspeakers relayed program feeds, BBC commentary (and other background) for the approximately one million spectators who gathered on the north and south banks of the Thames over the 7-mile route.

Delta Sound has a wide range of experience working both with the Royal Family-having provided relays for the 2011 Royal Wedding-and supporting high-profile events on the Thames. Delta Sound fielded a crew of 33 technicians, working under joint project managers Mark Sawyer and Ben Milton.

The sound design company set up 27 separate areas along the route, involving 45 individual hangs (with control position at each hang). Of these, 35 featured JBL and included a total of 156 VTX V25 line array elements and an additional 54 JBL VERTEC(r) line array loudspeakers-spread 70 meters apart and mounted on Type 1 and Type 2 masts, with six elements per hang.

The JBL enclosures were supplied by Belgium-based dry hire company, AED Rent.

Explained Delta Sound managing director, Paul Keating, “Due to an extremely busy summer schedule, AED offered a welcome solution in providing the 210 boxes needed in total for the pageant.”

But first the VTX’s needed to be evaluated. Lee Dennison, director of Sound by Design, Delta Sound’s sister company, reported that, “AED held two open days at their HQ to introduce VTX. We decided to take the lead and send our two project managers to confirm their suitability for our needs.”

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.

PSX Worldwide Audio Visual Brings Life To Historic New Orleans’ Joy Theater With HARMAN’s JBL VERTEC(r) Line Arrays

LAS VEGAS, Nevada – To revitalize the historic, 65-year-old Joy Theater in New Orleans, PSX Worldwide Audio Visual recently installed a brand-new audio system featuring HARMAN’s JBL VERTEC(r) line arrays.

The Joy Theater, located on popular Canal Street in downtown New Orleans, has been through it all. The theater was closed for a brief time in 1978 and closed permanently in 2003. After Hurricane Katrina, the owners of the building wanted to completely renovate it back to its original state. The Joy Theater now marks part of a theatrical renaissance on Canal Street, bringing hope during the rebuilding of the community.

For the main PA system, PSX flew a total of 18 VT4887ADP-DA compact powered line array loudspeakers, nine per side, along with two VT4881ADP-DA powered subwoofers on each side and a VT4882DP-DA powered subwoofer.

Four AM7212/95 loudspeakers are used for upper balcony fill, along with 12 VP7212MDP powered floor monitors, four SRX728S ground-stacked subwoofers and two VP7215/95DPDA powered loudspeakers for side fill. An additional 25 Control 26CT ceiling speakers were also installed to cover the restrooms and lobbies.

PSX installed Crown IT 5000HD amplifiers to power the ceiling speakers and SRX subs and the system also features BSS audio processing.

When deciding on a new system for the Joy Theater, PSX wanted to provide as much flexibility as possible to accommodate a variety of world-class performers. “HARMAN and JBL are widely accepted across the country and we were confident that it would be a perfect fit for the venue. Anyone would be thrilled to play in this historic theater,” stated Jeff Borne, President at PSX.

“The biggest challenge of the whole project was time,” Borne continued. “The renovation process was designed to return the building back to its original design.” Construction started in November 2011, with the first show scheduled for December, so there was no time to spare and PSX had to work within the framework of the design.

The reliable performance of the VERTEC line arrays allowed PSX to focus on the task at hand, rather than worrying about glitches. “There was limited space for racks, so having the powered VERTEC line arrays was a great fix. The whole system fit together perfectly with the BSS processing and overall everyone was extremely satisfied with the results,” Borne stated.

“The support of HARMAN is always great, they make our job easier and we always come away with a great outcome,” Borne summed up. “The first show, which featured Irma Thomas just before the New Year, went off without a hitch. It was a great experience for all of us and it’s great to see the theater back up and running.”

For more information on PSX Worldwide Audio Visual, please visit: www.psx-inc.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.

HARMAN’s JBL Loudspeakers Take Flight at University of Rhode Island’s Swan Hall

LAS VEGAS, Nevada – Leading systems integration firm HB Communications recently upgraded the audio system at the University of Rhode Island’s Swan Hall with a variety of HARMAN’s JBL loudspeakers. Located in the heart of New England, the University of Rhode Island (URI) offers students a wide variety of educational opportunities and a choice of more than 80 different majors. URI’s Swan Hall is a focal point for the study of English, modern and classical languages, literature and film media. However, its audio and video facilities were in severe need of upgrading by the time the 2011 school year ended.

“Swan Hall had an outdated audio and video system,” said Jim Smith of HB Communications. “We were asked to do a complete overhaul. However, the shape of the room and the layout of the seating caused us to make some inordinate speaker and placement choices. The JBL CBT100LA column speakers and Control 67 HC/T pendant speakers proved to be the perfect solutions.”

Swan Hall is a wide, flat room that has about 200 seats in 11 tiered rows, with a sloped floor, making the seating higher in the back of the hall than in the front. However, the ceiling remains at the same height-which means that the people sitting in the back of the room have their heads closer to the ceiling than the people in the front.

“The loft ceiling was also a potential acoustical nightmare,” Smith noted. “It was completely bare with exposed trusses and duct work and no type of acoustic treatment-even a typical dropped ceiling would have reduced the amount of echo and reflections considerably.”

Smith deployed two JBL CBT100LA column speakers-one on each side of the projection screen located at the stage area at the front of Swan Hall. “The narrow column design and the tight pattern control of the CBT100LA allowed us to direct the acoustic energy straight back to the seating, as opposed to a typical speaker that would have a much wider dispersion pattern and would not work nearly as well,” Smith said. “The CBT100LA has a narrow vertical and wide horizontal coverage pattern that allowed us to direct the sound into the seating area without going into the ceiling loft above, which would have caused a lot of problematic reflections.”

To tackle the challenges of the sloping floor and the difference in ceiling height between the front and the back of the room, HB Communications chose to augment the system with the JBL Control 67 HC/T pendant speakers. “We realized the Control 67 HC/T pendant speakers were the ideal solution because they have a narrow down-firing dispersion pattern and can be hung from a ceiling, so we were able to place them in three rows of four speakers each, suspended above the seats,” Smith noted. “This allowed us to precisely control the sound coverage and direct the sound exactly to where we wanted into the seating area, without putting any sound into that echo-prone ceiling loft. This configuration also enabled us to achieve a good balance between the stage area and front seats, and the rest of the hall.”

Swan Hall is used as a classroom and lecture hall and also for film studies, so the University wanted a sound system that could be used for both applications and was within a reasonable budget. To reproduce the full-range audio required of movie soundtracks, HB Communications augmented the main speakers with a pair of JBL ASB6115 front-firing 15-inch subwoofers, mounted from the ceiling to the left and right of the projection screen and the CBT100LA speakers. The CBT100LA speakers and ASB6115 subwoofers are driven by Crown Audio XLS2500 amplifiers, while the Control 67 HC/T speakers are powered by Crown CTs4200 amps.

“We used the Crown amps because they have onboard digital signal processing that lets us optimize the performance of the loudspeakers and subwoofers,” Smith pointed out. “Because the ceiling is flat and the seating is tiered, the pendant speakers at the back of the hall are closer to the listeners’ ears than the speakers at the front of the hall. The DSP in the Crown amps enabled us to make adjustments for each row so the sound stays consistent for everyone.”

“The University of Rhode Island is very happy with the results,” concluded Smith. “In fact, when we finished the installation we demoed it by playing a live version of the Eagles’ ‘Hotel California’-and it wowed everyone.”

As the largest university in the smallest state, the University of Rhode Island is known regionally and worldwide for its innovative, big ideas, adaptive intelligence and breakthrough solutions to today’s puzzling problems. URI’s pioneering research extends the University’s influence well beyond its coastal borders, while its unique interdisciplinary courses provide its 16,000 undergraduate and graduate students with global opportunities in an intimate 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.

HARMAN Professional Introduces HiQnet Audio Architect(tm) Configuration and Control Software For Installed Sound Applications, And HiQnet Motion Control iOS App

LAS VEGAS, Nevada – At InfoComm 2012, HARMAN Professional today introduced HiQnet Audio Architect(tm) configuration and control software, marking a new era in the HARMAN HiQnet platform. HiQnet Audio Architect represents the single-most comprehensive audio networking solution for professional fixed install applications providing integrators with a unified platform for system design, programming and custom control.

HiQnet Audio Architect enables a greater level of integration for the end user by combining the functionality of predecessor software applications HiQnet System Architect(tm) and HiQnet London Architect(tm). The new software platform will provide system-focused configuration of over 100 HiQnet products from AKG, BSS, Crown, dbx, JBL and Lexicon. It merges the open-architecture DSP backbone of the BSS Audio Soundweb London family with the comprehensive workflow and customizable control of HiQnet System Architect.

In adding the feature set of HiQnet London Architect to the HiQnet System Architect software platform to create HiQnet Audio Architect, the HiQnet team has included numerous user experience and workflow enhancements in order to provide the operator with as much depth and complexity as each system requires. It cleverly hides advanced features from a more novice user but does not inhibit the design of a large-scale system. The workflow paradigm introduced in System Architect 2 and more recently adopted by JBL Performance Manager(tm) carefully guides the designer from start to finish, and presents a cleaner workspace by displaying only the tools appropriate for each and every stage of the design.

Being launched alongside HiQnet Audio Architect will be HiQnet Motion Control(tm) – an Apple iOS app which enables customized control interfaces designed in Audio Architect to be imported on iPad, iPhone and iPod Touch devices for mobile system control. Dedicated design templates are available within Audio Architect for the configuration of customized interfaces, which can be used to control devices from BSS, Crown, dbx and JBL. HiQnet Motion Control will be available from the Apple App Store imminently and will also function with HiQnet System Architect prior to the availability of HiQnet Audio Architect.

HiQnet Audio Architect positions itself as the most versatile software application available today for the network configuration, by providing the ability to route the emerging AVB open standard, Cirrus Logic CobraNet and Audinate Dante audio network protocols, as well as HARMAN’s proprietary BLU link high-channel, low latency digital audio bus, all within a single application. By providing the ability to route the three most widely-adopted audio network protocols within a single interface, a system designer educated in the use of HiQnet Audio Architect can flexibly move from one network platform to another without being experienced in multiple software packages. The BLU link digital audio bus offers a highly complementary solution to any network – whether AVB, CobraNet or Dante – by enabling far greater routing flexibility and the added benefit of alleviating bandwidth from the primary network.

“With this introduction HARMAN emphatically delivers the best of both worlds, combining the feature-set of HiQnet System Architect and HiQnet London Architect Software. The introduction of HiQnet Audio Architect is a major milestone in the vision of the unified, end-to-end HiQnet networked audio system. We are now offering the all-in-one design, routing and control solution that the professional AV community has been waiting for. No other manufacturer can match the diversity of product offerings and the versatility of networked audio routing within a single software application as HARMAN will now provide through HiQnet Audio Architect – and this phase of the HiQnet program is really only just beginning,” stated Adam Holladay, Market Manager, HARMAN System Development and Integration Group.

Fresh off the back of the co-sponsored AVB Networking Conference 2012, for which public interest was overwhelming, HARMAN is also exhibiting on the AVnu Alliance booth, C11039, where its AVB-capable BSS Soundweb London devices will be taking part in the largest AVB interoperability demonstration to-date.

HiQnet Audio Architect, the network topologies it configures and controls, and the accompanying HiQnet Motion Control iOS app will be demonstrated as part of an extensive HiQnet ‘system wall’ on the HARMAN booth, C10719.

HARMAN HiQnet(tm) is the world’s first connectivity and control protocol that integrates all product categories in the signal chain for professional audio systems of all types, size, and applications. HARMAN HiQnet no longer requires the user to manage multiple disparate operating systems or be responsible for programming individual signal processors, speaker controllers, wireless microphone systems, and mixing consoles. HiQnet was developed by engineers from across HARMAN’s Professional Division and is coordinated by the System Development and Integration Group (SDIG), a team of dedicated systems specialists based in Salt Lake City, Utah.

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.

Australia’s JPJ Audio Invests In HARMAN’s Crown Audio VRACK For Live Sound Applications

ELKHART, Indiana – JPJ Audio today announced it has taken delivery of 26 HARMAN Crown Audio VRACKs, an amplifier management rack system solution. The VRACK features three built-in Crown I-Tech 12000HD amplifiers, providing an easy-to-configure, plug-and-play solution that eliminates the need to build amplifier racks.

Designed to work in conjunction with JBL VERTEC(r), VRX, and AE series loudspeakers, the system’s modular design is highly scalable and is designed to meet the needs of both small and large sound systems.

“We purchased the Crown VRACKs and replaced all our existing amplifiers that were driving our JBL VERTEC line arrays,” explained Jim Straw, CEO at JPJ Audio. “It gives us a new, lightweight packaged amplifier solution as well as access to the new JBL V5 VERTEC presets. It was the way other companies around the world were heading and so we decided to push VERTEC forward again and change the amplifiers. The decision to purchase was driven primarily by the presets.”

“The VRACK will help to set the standard for VERTEC systems everywhere in the world,” added Straw. “VRack ensures an optimum power match for all VERTEC models combined with uncompromised sound quality. Given its versatility, it can be used on VERTEC one day and then a monitor rack the next day.”

As soon as JPJ Audio’s VRACKs arrived they were put to work on the Lenny Kravitz Black & White tour mixed by Laurie Quigley. The PA system consisted of JBL VERTECs; 12 deep on the mains and nine deep on the sides with 12 subs a side and eight subs in the center. The JBL VERTEC was driven by 12 VRACKs, six a side situated behind the subs on side left and stage right.

Laurie stated that he was very happy with the JBL VERTEC on the new racks especially once the programs were written so that he could control different bands in groups.

“The VRACKs worked really well on the Australian tour and I was extremely happy with the sound quality,” he added. “The VRACKs are very versatile; you can do whatever you want with regards to turning certain amps up or down. We had a good sound system, good crew, good company. The gear is only as good as the company that preps it and only as good as the crew that puts it in the air.”

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.

HARMAN’s Studer Vista 5 M2 Records Malaysian King’s Royal Banquet

KUALA LUMPUR, Malaysia – During a ceremony steeped in royal tradition, Tuanku Abdul Halim Mu’azam Shah, 84, was recently installed as the 14th Yang di-Pertuan Agong. The event took place at the new Istana Negara (royal palace) in Kuala Lumpur and was followed by a formal banquet at the Malaysia New National Palace in Jalan Duta, Kuala Lumpur. This was attended by members of the Rulers, Prime Minister Datuk Seri Najib Tun Razak, Deputy Prime Minister Tan Sri Muhyiddin Yassin, Cabinet ministers, foreign ambassadors and senior government officials. Also present was a HARMAN Studer Vista 5 M2, supplied by Mahajak Trio, the territorial distributor, which recorded the occasion.

The program was sent to air nationwide on Radio Televisyen Malaysia (RTM), with a total of 32 microphone channels used throughout the night. The Vista 5 M2 console was selected for its innovative qualities, flexibility, ease of use, the precise meter bridge (displaying every status the sound engineer needed to see), user-friendliness of the Vistonics(tm) screen – and finally the fact that the console is aesthetically very attractive.

“The Vista 5 M2 enabled the sound engineers to implement fast copy-paste of all the parameters while the Vistonics interface provided immediate access to parameters by opening up settings onto the encoder, such as EQ, Dynamic, VCA and channel setting, without wasting time searching for any hidden buttons,” said Mahajak Trio’s Senior Manager Sales & Project, Lee Chin Kah.

Another key feature used to mix the event was ‘Master Contributions’, enabling the sound team to view and control all the contributions on Vistonics faders.

In addition to these powerful and unique features, Mr. Lee highlighted the instant recognition provided by the console’s use of color and icons for different control parameters. “The desk is extremely intuitive and easy to learn within a second,” he said. “This allows the user to focus on the creativity of his work.”

The cues were used to upmix the stereo transmitted signal to a 5.1 channel signal, and the professional broadcast contributed substantially to the event’s success.

Tuanku Abdul Halim Mu’azam Shah had been appointed on December 13 last year to succeed Sultan Mizan Zainal Abidin of Terengganu, whose 5-year term as the 13th Yang di-Pertuan Agong had ended.

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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