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Red TX Joins The Remote Recording Network

Broadcast audio specialist Red TX has joined Europe’s leading live recording initiative Remote Recording Network. Whilst contributing to managing and engineering music and broadcast assignments on a global and cost-effective basis, RRN offers bespoke solutions that cater for all kinds of transmission, recording, mixing, mastering, duplication and publishing.

Remote Recording Network GmbH had last year joined forces with Dutch mobile recording company Eurosound bv and had integrated the German ‘RemoteTaxi’ enterprise to establish the initial ‘Network’.

Peter Brandt, head of Remote Recording Network and a man with over 30 years’ experience of recording and mixing international rock, pop, jazz, and classical artists, says: “Bringing Red TX into RRN will benefit our European customers by giving them access to a fully digital truck based in Europe that can handle high-end surround sound projects, particularly for broadcast.”

Tim Summerhayes, CEO of Red TX, adds: “I have known Peter Brandt for many years and we have worked together on numerous projects in the past. I am very excited by this collaboration because it allows us to utilize our combined technical resources in a very effective way. There is a huge requirement for mobile digital recording facilities in Europe and by joining forces with the Remote Recording Network we can now provide the necessary human and technical resources to meet this demand.”

Red TX has two state of the art recording units, RED 1 and RED 2. Both are equipped with Studer Vista 8 Digital Mixers, PMC 5.1 surround sound monitoring and Pyramix, Pro Tools and Reaper recording systems. They also have extensive racks of outboard equipment and digital effects, and are internally designed to very high acoustic specifications. RED 2, which is the larger of the two units, will be located as required, between the RRN HQ in Germany and Eurosound bv’s base in The Netherlands, while RED 1 will remain at Red TX’s premises in the UK.

“Our model of using international partners to combine resources and equipment is very valid, especially in a world where businesses need to reduce their carbon footprint as much as they can,” Peter Brandt adds: “By tapping into facilities that are already stationed on different continents, we don’t need to transport huge trucks around the globe. Instead we can ‘travel lite’, frequently only needing to transport an engineer, which minimizes travel costs and keeps our carbon footprint to a healthy low. It also means that we can keep our rates very competitive, too.”

Red TX’s RED 2 unit will make its Remote Recording Network debut in June at the Tuckerville Festival in Enschede, The Netherlands. From there it has a busy summer ahead, working at live events and festivals in various countries.

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD www.remoterecording.net
www.red-tx.com

About Remote Recording Network:
Remote Recording Network is a new initiative that brings together the market-leading live recording companies Peter Brandt Remote Recording and Eurosound GmbH. Years of experience, knowledge and network are now combined to supply an unrivaled, world-class, world-wide recording service.
www.remoterecording.net
For more information, please contact Tony Andrews – tony@awandrews.com

Mastering Engineer Eric Boulanger Extolls the Benefits of SADiE’s New Mastering Toolkit

The new mastering features that SADiE has incorporated into its popular SADiE 6 editing and production software have been hailed as a major improvement by internationally acclaimed mastering engineer Eric Boulanger – not least because they are saving him an enormous amount of time.

Eric Boulanger is based at the world famous The Mastering Lab (TML), which was America’s first independent mastering facility when it was opened in 1967 by Doug Sax. Originally in Hollywood but now based on Ojai, California, TML remains a revolutionary state-of-the-art company that uses unique concepts of signal flow and electronics pioneered by Doug’s brother, Sherwood Sax. All of its custom electronics and console are all purpose designed and handcrafted, and this attention to detail has earned TML more Grammy nominations for engineering than any other mastering facility.

As well as being an eminent mastering engineer, Boulanger is also responsible for ensuring TML’s custom analogue equipment stays in tip-top shape. In keeping with TML’s pioneering spirit, Boulanger was the first Mastering Engineer to produce a ‘Mastered for iTunes’ release (in 2011) – a format that is now the mainstay for all major record label releases on iTunes thanks to the popularity of digital downloads.

When Boulanger isn’t working, he lets his creativity loose in the studio as a professional violinist. He is also on the Steering Committee of NARAS, the GRAMMYs Producers & Engineers Wing.

Boulanger has been a SADiE user since 2007 when he started working at TML.

“We have five operational systems that range from the early Artemis to our current SADiE 6.1 systems,” he says. “These are our workhorses, but when we are working with DSD, we use an older SADiE 5 DSD8, which is still the finest DSD editor I’ve encountered.”

TML’s decision to upgrade its SADiE 6 software to the latest version, which includes the new mastering tools, came as a result of changes within the music business. Boulanger explains: “These days, artists and labels are mainly releasing Hi-res files (for example HDTracks); MFiTs, 16Bit digital downloads, and (maybe) CDs. Thanks to the new mastering features in SADiE 6, I can generate all of these files with just a few clicks of the mouse. The new software will also generate WAV file masters that are cut gapless and therefore maintain any track spacing, or fancy crossfades between tracks (like Pink Floyd’s Dark Side of the Moon, for example, or a live concert with applause segues). Now all the different products will match track length, etc.”

The main benefit the new version of SADiE 6 has brought to Boulanger’s workflow is time saving.

“It is literally saving me hours and hours of production time because I no longer have to recreate separate EDLs and jump through hoops to create WAV bounces that match other sample rate or CD products,” he says. “I also don’t have to bounce grouped clips with extra space tagged on to maintain correct gapless track spacing.”

Boulanger adds that, thanks to the efforts of the European Broadcasting Union and the UK Music Producers Guild, SADiE 6 also supports Broadcast WAV, an extended WAV format that allows ISRC codes to be embedded into the XML Metadata of WAV files.

“This is a solid step forward in making WAV file masters a professional format,” Boulanger says. “Prior to getting this new software I had to manually rename files – and, of course, there was no possibility of including ISRC codes in the metadata.”

Since installing the latest version of SADie 6, Boulanger has been working on various albums, all of which have benefitted from the speed at which he can now turn project around.

“The day I received the new features, I was working on a popular Christian group’s live album,” he says. “They had attended the session and were in a rush to make a flight, so I gave the new features a whirl since there were many edits and crossfades to create the live album experience. To my delight, everything worked perfectly right off the bat, and the band made their flight, masters in hand.”

Boulanger, who has worked with artists such as Eric Burdon, Colbie Caillat, OneRepublic, The Plain White T’s, Serena Ryder, Chris Botti, Sarah Jarosz, and Jackson Browne, has most recently finished an album with multiple formats for singer Anais Mitchell. Produced and mixed by Gary Paczosa, it will be released on Wilderland Records later this year.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

3G Productions Deploys Martin Audio MLA At EDC Las Vegas

This year’s Electric Daisy Carnival in Las Vegas easily earned its reputation as the world’s largest electronic music festival with seven stages, carnival rides, art installations, fireworks displays and over 400,000 in attendance.

The landmark multimedia three-day event took place at the Las Vegas Motor Speedway and focused on providing a total entertainment experience for EDM fans with over 70 DJs performing each day.

3G Productions of Las Vegas/Los Angeles, who once again provided audio for the event, set up a fully loaded Martin Audio MLA loudspeaker system on Stage Two (Cosmic Meadow) to deliver the power and huge amount of low end required for the shows. DJs featured on the stage included Diplo, Justin Martin, A-Trak, Chromeo, Bassnectar, Dillon Francis and Destructo, just to name a few.

The system for Cosmic Meadow stage consisted of 16 MLA and 2 MLAD enclosures per side, 12 MLA Compact per side for sidefills and 3 MLA Compact per side for front fills. More than the required amount of low end was provided by 40 MLX subs stacked one on top of the other along the front of the stage. A Yamaha CL5 console was used for Front of House and a Yamaha PM5D for Monitors.

Asked about the MLA, 3G’s Keith Conrad said, “the system performance each night was fantastic and the Martin Audio stage blew everybody away. The client (insomniac) was happy with the way MLA performed, the show was packed every day and the DJs and their engineers were really impressed with the system.

“Because Cosmic Meadow stage was facing out towards the speedway and wasn’t competing with any other stage,” Keith adds, “we got the full impact and power of the system, which was amazing. As it turned out, we didn’t even need delay towers because the coverage was so exceptional. This was due in part because of Martin Audio’s Display 2.1 modeling software.

“What makes EDC unique from other music genre festivals is the incredible amount of bass that’s required for EDM. The MLX subs were so powerful, the artists and their crews were smiling from ear to ear as soon as they turned it on.

“Of course,” Keith concludes, “we were fortunate to have our secret weapon FOH engineer Manny Perez who is definitely a veteran with MLA and knows how to tweak the system so it sounds exactly right from the low to high frequencies, which made it an ideal situation for everyone. Overall, I’d say that the system exceeded expectations from every aspect.

For more about 3G Productions, Inc., please click to www.3glp.com.

For more about Martin Audio and MLA, 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.

The Music Producers Guild Holds Its Second Scottish Speakeasy

Following on from the success of its regular Speakeasy networking evenings in London and the East Midlands, the Music Producers Guild is now extending the initiative to Scotland where a Caledonian MPG Speakeasy was held to tie in with goNorth.

MPG Executive Directors and producers Mick Glossop and Andrew Hunt hosted the event, which was held at McPhabb’s bar in Charing Cross, Glasgow, and was organised by Caroline Cooper and Stewart Henderson of the Scottish Music Industry Association (SMIA).

“Andrew and I were in Scotland, having once again taken part in the annual goNorth conference and festival in Inverness,” Mick Glossop says. “We held a Speakeasy after last year’s goNorth and it was such a success that we decided to hold another this year. It was the perfect way to end our trip and we welcomed the opportunity to reconnect with producers we had met in the past and forge stronger links with other recording professionals north of the border. We hope that there will be many more opportunities in the future.”

This year’s goNorth attracted over 100 leading industry players from the fields of music, screen, broadcast and gaming. The conference included daytime panels and workshops, and provided showcasing opportunities for artists and bands from all over Europe.

Mick Glossop and Andrew Hunt were there to promote the value of music production to artists, musicians, producers, recording engineers, record company executives, publishers and managers. They took part in a lively discussion panel entitled Meet The Producers, which was moderated by Mick Glossop and featured contributions from producers Tony Doogan, Simon Gogerly, Gilles Perring and Scottish recording artist, Roddy Hart.

“There is a strong, vibrant and incredibly enthusiastic music industry in Scotland, supported by several organisations, including the SMIA, Creative Scotland and Highlands and Islands Enterprises, with which the MPG now has strong links,” says Andrew Hunt. “The sense of community in Scottish music is markedly apparent – something that you don’t often witness in London, which is a real shame.”

Glossop adds: “MPG will continue to develop the links we have established in Scotland, and make every attempt to create further opportunities to promote the MPG and the value of music production, north of the border.”

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

The Music Producers Guild Criticizes YouTube

London, UK: The Music Producers Guild is lending its support to Independent record labels as they battle YouTube for a better deal for continued access to YouTube’s online video platform.

In a statement issued today, the MPG board says:

“With regards to the recent dispute between YouTube and independent labels and the unfavourable terms which YouTube seeks, without negotiation, to impose upon independent record labels, the Music Producers Guild is deeply concerned about Google’s apparent abuse of its monopoly and associated market power and the adverse effect this will have on the wider industry and funds available for innovative and creative content production in the future.

“Independent record producers everywhere, in common with recording artists, rely upon the income from sales and streaming of music files, the production of which they have been responsible, often with little or no credit (itself ironic in this digital age). Attempts by international media conglomerates to throttle negotiation and impose unfavourable and unjust terms upon independent record companies, whom they perceive to be “small fry” and thus “fair game”, should be opposed at every opportunity.”

For more information on this subject and the MPG’s response to it, please visit
www.mpg.org.uk

About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers.

HARMAN’s Martin Professional MAC Quantum Wash & MAC Quantum Profile Redefine Lighting Expectations

LAS VEGAS, Nevada — HARMAN’s Martin Professional today introduced the MAC Quantum Wash and MAC Quantum Profile, the latest solution to provide brighter and more compact LED lights.

The MAC Quantum Wash features tight beams, beautiful wash fields, a market-leading color palette and uniform mixing that combines to accommodate the most demanding applications with brightness and perfection. Combining an impressive 750-watt of RGBW LED power with Martin’s market-leading optical system ensures Quantum’s 1:5 zoom operates with maximum output and superior performance.

“By combining the lens shift possibilities first seen in the MAC Viper Quadray with the MAC Aura’s ground-breaking optical system, MAC Quantum Wash sets new standards for light and color morphing effects from a wash light,” says Markus Klüsener, Product Manager for Stage Lighting, Martin Professional. “Putting together the new beam twister, patented Aura effect and wash capabilities of Quantum sets new standards for what is possible with effects in a wash light.”

The MAC Quantum Profile is a fully featured LED profile that sets new standards for combined performance, weight and size, and represents the latest in LED technology which in combination with Martin’s proprietary optical design delivers a crisp and bright output.

Any concerns about lamp aging, shifts in color temperatures, green color points, misaligned lamps and declining output are eliminated, as consistent LED technology guarantees that the last show on the tour looks as good as the first. The MAC Quantum Profile is the first real alternative to a 700 watt HID fixture, with super high-speed movements and effects for a flat field, crisp image and high contrast.

With its compact form factor, easy handling, high-speed movements, low noise cooling and rugged construction, the MAC Quantum Series does not compromise on any aspect lighting designers expect from a wash light. Designed for demanding applications, the MAC Quantum will be the new workhorse in a professional lighting rig.

Martin’s combination of technologies animates expressive projection and aerial looks. The synthetic look of LED lights is removed from Quantum and the organic, analogue effect puts a beautiful “face” on the product, looking great in person or on camera.

“Throughout the development of the MAC Quantum, it was important for us to ensure it would be both the brightest and best LED wash light in the category. Therefore, I was extremely pleased to see our R&D team working to animate the fixture and deliver beautiful and subtle looks without compromising the core part of the product,” continued Klüsener, “We’ve had a fantastic market response and are already receiving an impressive number of order inquiries for the MAC Quantum.”

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN (www.harman.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

First Baptist Church Uses Versatile Hitachi Projectors For Environmental Ambiance and Mood-Setting

Las Vegas Nevada, June 18, 2014 – Jeff Mize, Minister of Music for First Baptist Church in Allen, Texas, discovered Hitachi projectors after being introduced to environmental projection in late 2013. Once he realized how environmental projections can add to the dynamism of worship services, the church purchased three Hitachi CP-X8170 projectors to be installed in the 1,400-person-capacity sanctuary.

“First Baptist Church hadn’t upgraded its video equipment since it was built in 2001 and was in need of some improvements,” said Mr. Mize. “The environmental projections provide a way to not only modernize our services but also set the appropriate tone through colorful backgrounds, gradient fills, texture surfaces and sometimes customized themes based on the subject of the sermon.”

With the help of Camron Ware of Visual Worshiper, who assisted in the design, training and implementation of the system, the projectors were mounted and installed on the front edge of the balcony of the church, allowing for floor-to-ceiling coverage at the front of the church.

Along with its practical price point, the Hitachi CP-X8170 projector was recommended to Mr. Mize based on its sharpness and clarity. Mr. Mize stated that the church has found more than just environmental projection uses for the projectors, which have been installed since December 2013.

“We were able to project a backdrop of modern day as well as biblical cityscapes and landscapes for a Christmas production without having to build sets,” said Mr. Mize. “The projectors have proven very simple to use and versatile—we’ve projected words on the walls for special effect and emphasis and our youth ministry has used the projectors for interacting with Twitter.”

All three Hitachi CP-X8170 projectors are networked to an upstairs control booth that is integrated with other technology regulators in the church.

Mr. Mize rented the projectors in early December 2013 in order to expose the church members to and gauge their acceptance of the new technology.

“We used the projectors for a particularly wide range of services and productions in December and just as we hoped, no one was ready to give them up after that,” said Mr. Mize.

The Hitachi CP-X8170 3LCD projector features 7,000 ANSI lumens brightness, and an aspect ratio of 4:3 (XGA).

For more information on First Baptist Church, visit http://www.fbcallen.org/

For more information on Visual Worshipper, visit www.visualworshiper.com

For more information on Hitachi projectors visit www.hitachi-america.us/projectors

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About Hitachi
Hitachi America, Ltd., headquartered in Tarrytown, New York, a subsidiary of Hitachi, Ltd., and its subsidiary companies offer a broad range of electronics, power and industrial equipment and services, automotive products and consumer electronics with operations throughout the Americas. For more information, visit www.hitachi-america.us. For more information on other Hitachi Group companies in the United States, please visit www.hitachi.us.

About Hitachi, Ltd.
Hitachi, Ltd. (TSE: 6501), headquartered in Tokyo, Japan, delivers innovations that answer society’s challenges with our talented team and proven experience in global markets. The company’s consolidated revenues for fiscal 2013 (ended March 31, 2014) totaled 9,616 billion yen ($93.4 billion). Hitachi is focusing more than ever on the Social Innovation Business, which includes infrastructure systems, information & telecommunication systems, power systems, construction machinery, high functional materials & components, automotive systems, health care and others. For more information on Hitachi, please visit the company’s website at http://www.hitachi.com.

Avolites Lights Up The Strip at South Point Hotel and Casino

Joey Juliano creates a visual mix on the Avolites Sapphire Touch for South Point's showroom

LAS VEGAS — If there’s a word that characterizes Las Vegas, it’s “spectacle,” something that South Point Hotel and Casino on the south end of The Strip has in spades, especially now that the property has recently added three Avolites products to illuminate its live entertainment offerings.

On weekends, South Point hosts national artists ranging from Tower of Power to Tony Orlando, in addition to a wide variety of regional acts. With its 4,600-seat arena and 400-seat showroom, plus convention hall, the resort’s crews are lighting acts six or seven days a week – often with multiple shows on the same day and going into the wee hours for nightclub bands.

For South Point’s production team, the investment in Avolites’ Sapphire Touch lighting control console for the showroom, Tiger Touch II for the convention facility and original Tiger Touch for a portable rig that does arena and pool shows was a “no-brainer,” according to Jason Lein, the casino’s production manager.

When asked about what specific factors helped the venue choose Avolites products, Lein responds succinctly: “Powerful consoles for a fraction of the price of their competitors with the same capabilities if not more power.”

The desks were sold and installed by Kelly Koster at Blue Planet Lighting Inc., founded in 2008, a leading provider of entertainment stage lighting gear and services with offices located in Hollister, Missouri and Las Vegas, Nevada.

South Point's Jason Lein (left) and Joey Juliano stand behind Avolites' flagship product

The gear’s flexibility and ease of use are major selling points for Joey Juliano, South Point’s entertainment lead LD, who cites the “awesomeness” of Avolites’ Cue Stacking for South Point’s big production shows and the consoles’ general plug-and-play operation. “The first time the audience sees our shows is the first time I see the show. With an ‘Avo’ I can make the show look like I’ve seen it a million times.”

Juliano learned stage lighting from Group One Limited’s (Avolites’ US distributor) Brad White on an Avolites Diamond III console eight years ago. “I have been lucky enough to be able to progress my lighting designs with each new Avolites console that is produced without having to take any more classes. They have kept their language the same through all their upgrades in their consoles, which is very smart.”

Two Avolites console functions that Juliano finds integral to his job in achieving his lighting design goals are Fixture Overlap and Fixture Exchange. “The Pixel Mapper is so addicting and super powerful as well,” he says. The coolest new function that I use literally all the time is being able to steal any aspect of a previous show and drop it into my current show, like cues, palettes, shapes, etc. The consoles also handle our media server in a plug-and-play manner.”

South Point’s Jason Lein notes that equipment features are important, but so is servicing from whom sold it, and he doesn’t take for granted the casino’s relationship with Blue Planet Lighting.

“When we decide on a product to purchase, the support that is behind it is just as important as the product and its capabilities,” he says. “Kelly Koster at Blue Planet and Brad White at Group One have shown that Avolites has a perfect balance of great products with the right support systems behind them.”

South Point Hotel and Casino can be found online at www.southpointcasino.com, while Blue Planet Lighting’s home on the Web is located at www.blueplanetlighting.com.

About Group One Ltd.
Group One Ltd. is a U.S. importer and distributor for a number of professional audio and lighting manufacturers. The company’s audio division currently distributes Blue Sky powered nearfield monitors, DiGiCo digital mixing consoles, MC2 high quality innovative amplifiers, and XTA digital signal processing equipment. The lighting division currently distributes Avolites lighting control consoles, ElektraLite controllers and intelligent lighting, and Pulsar LED lighting.

# # #

Contact:
Avolites U.S. / Group One Ltd.
70 Sea Lane, Farmingdale, NY 11735
Tel: 516.249.1399 / Fax: 516.249.8870
Email: sales@g1limited.com
Web: www.g1limited.com / www.avolites.com

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PRG Calls K2 Into Active Duty for National Memorial Day Concert

PRG's initial deployment for K2 was at the 25th annual National Memorial Day Concert on the West Lawn of the U.S. Capitol (photo credits: Alan Henig)

Two complete L-ACOUSTICS rigs purchased, one immediately deployed at 25th annual event on the U.S. Capitol’s West Lawn

WASHINGTON, D.C. — Leading entertainment and event production services provider Production Resource Group (PRG) has officially begun upgrading to L-ACOUSTICS’ new K2 platform with the purchase of two complete line source array systems. Delivered in mid-May, the sale comprised a total of 48 K2 enclosures and 24 LA8 amplified controllers.

PRG’s inaugural K2 deployment came almost immediately – two dozen enclosures were put into active duty for the 25th annual National Memorial Day Concert, attended by countless spectators on the West Lawn of the U.S. Capitol in Washington, D.C. on May 26. This year’s event, hosted by actors Joe Mantegna and Gary Sinise, featured an all-star lineup of performers, including the National Symphony Orchestra, Jennifer Nettles, Megan Hilty, the U.S. Army Chorus and Air Force Singing Sergeants.

One of the L-ACOUSTICS K2 arrays

Having supported this annual holiday event for over two decades now, PRG’s new K2 rig replaces the call for V-DOSC used in years past. “PRG has been anxiously waiting for the arrival of the L-ACOUSTICS K2 system and it went right to work at the Capitol for Memorial Day,” says Randy Hutson, GM of PRG Chicago and vice president of PRG Audio. “We’ve been looking for a speaker system that is versatile yet meets the needs of our most demanding clients and L-ACOUSTICS has delivered with the K2. It is a high-powered, full-range speaker that weighs less, has a small footprint, offers excellent audience coverage with superb audio qualities and can easily support multiple markets, from music concerts to corporate events.”

“The K2 gives us more reach into large-scale venues, such as arenas and stadiums, but does so at significantly reduced weight without sacrificing power,” says Mark Boettcher, project manager at the Memorial Day event and a senior engineer at PRG. “At the same time, its lighter weight means it can go into venues like ballrooms and expo centers that have a lower-load rigging capacity.

“Also, the K2 enclosures have the same width as the L-ACOUSTICS K1, so it has complete rigging compatibility with K1 and K1-SB enclosures. That allows us to use K2 for downfill on K1 arrays. And all of that has significant economic implications, making the K2 extremely cost-effective. There’s just so much in the way of flexibility with the system.”

At the National Memorial Day Concert on the U.S. Capitol’s massive West Lawn, the K2 rig was configured in left and right hangs of 12 enclosures each. These were flown from towers, also used for fixed and moving lighting fixtures, positioned 105 feet downstage of the stage deck. Eight SB28 subs deployed in an end-fire array configuration provided the low-end reinforcement, while 16 coaxial 12XT wedges served as stage monitors. Thirteen LA-RAK touring racks, each loaded with three LA8 amplified controllers, furnished power and processing for the entire system.

In addition to the K2s, the project also used a total of 24 ARCS II systems – two hangs of five each for the invited-guest main stage, two more hangs of five for the reverse satellite stage, and two hangs of two each flanking the K2 arrays for wide horizontal coverage. Twenty-four dV-DOSC speakers, in four stacks of six enclosures each coupled with a single SB28 sub, provided delay while two more stacks of four dV-DOSC were used as guest area fills positioned on a tower on either side of the stage, also used for lighting fixtures and video screens.

With K2′s new PANFLEX variable horizontal coverage technology, the familiar challenge of surface reflections was easily overcome. “The stage was playing directly into the face of the Capitol building, which is flanked by stairs on either side, but centered on a large, ornate glass window – beautiful, certainly, but nothing we wanted to purposefully fire acoustic energy against,” notes Chris “Sully” Sullivan, L-ACOUSTICS’ east coast application engineer. “To solve the problem, we viewed the obstacle in SOUNDVISION, predicted which elements in the K2 array were going to hit it, then simply shifted the K2′s pattern asymmetrically for just those loudspeakers in the middle of the array. We reduced the reflected energy in excess of 6dB, and that was just the direct reflected energy! Combine that benefit with the reduction or elimination of the myriad of tangential off-time tertiary reflections and that becomes a massive win for the whole audience.”

PRG employees with a few of their new K2 enclosures

In terms of overall performance, the K2s were troupers. “What I can tell you is that the K2 system went up very quickly thanks to its lighter weight – much faster than the comparable V-DOSC system it was replacing – and the same goes for taking it down,” says Boettcher, who worked on the event with Alan Henig, co-systems engineer. “And the rig sounded extremely transparent. There tends to be a natural fall off of the high frequencies by the time the sound hits the Capitol steps, but the K2 had extended frequency response past 10 kHz that far out, so the sound was exquisite.”

This year’s Memorial Day concert also saw another first. Previously, the show’s FOH had been mixed using a total of three consoles – a Yamaha PM5D, PM1D and an LS9/32, all connected with multiple copper-cable snakes. This year, PRG ran the entire show on just a pair of DiGiCo SD7 consoles, with six DiGiCo SD-I/O racks and an SD-Mini I/O rack, connected by two fiber-optic cables, with the FOH mix handled by Patrick Baltzell. “This really unified operations at the site and, combined with the much lighter K2 system, gave us the same amount of punch in a smaller and more efficient footprint.”

The same system will be deployed for the July 4th concert event in the same location. “The K2 will set the benchmark going forward as its predecessor V-DOSC did when it was released years ago,” Hutson declares. “Along with K1, this gives L-ACOUSTICS the leading edge in line arrays and we at PRG are very excited to add K2 to our extensive inventory of L-ACOUSTICS products. They listened to our needs and have delivered an innovative product that will perform for years to come.”

For more details on the 2014 National Memorial Day Concert, which was broadcast live via the Public Broadcasting Service (PBS) and American Forces Network, visit www.pbs.org/national-memorial-day-concert.

About Production Resource Group
Production Resource Group (PRG) is the world’s leading provider of entertainment and event technology and production services to a wide range of markets, including corporate events, concerts, special events, theatre, television, film and installations, such as theme parks, museums, retail stores and performing arts centers. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems, for these markets from more than 40 offices in North and South America, Europe, Asia and Australia. For more info on PRG, visit www.prg.com.

About L-ACOUSTICS
L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Pivitec Personal Mixing System on tour with Dirty Loops

Swedish “fusion-pop” band Dirty Loops has chosen a Pivitec Personal Monitor Mix System for touring in support of their first album, “Loopified”. The 3 piece band also chose an Avid S3L to handle front of house. Rather than rent or rely on whatever console the venue may (or may not) have, Dirty Loops, travels with the S3L and Pivitec for consistent sound gig to gig whether they are in Stockholm, LA or, most recently, NYC where I had a chance to meet up with the band.

The band with their Pivitec and IEM racks. L-R Henrik Linder, bass; Jonah Nilsson, vocals and keys; Aaron Mellergardh, drums.

The system was put together by Marcus Agnesund of Arva Trading AB, Pivitec’s Swedish distributor. Marcus also handles FOH for the band on tour. Marcus and Dirty Loops chose the Pivitec / Avid combo not only for the compact nature of the system but also because Ethernet AVB interfacing makes for streamlined set up and connectivity. The whole rig packs packs into a few flight cases that the band check as luggage when they fly from gig to gig.

The band, known for their extremely tight, jazz influenced arrangements, appreciate the level of detail and control afforded by the Pivitec system. The Pivitec e32 Mixers and network switch are mounted in their own small rack with the line level outputs of the 4 x Mixers each feeding a Shure PSM 1000 Wireless IEM. Control is handled via Pivitec V2Mix Pro App running on  Apple iPads.  Wireless control and monitoring means less clutter and no wedges means no stage spill for Marcus to deal with from FOH.

The Pivitec system also simplifies sound check by eliminating the usual back-and-forth “can I have more….” between musician and engineer and gives the band a consistent mix from night to night with only small tweaks required. As the band uses pre-recorded loops and click live, In Ear Monitors are essential and with 32 discrete channels Pivitec offers more than enough capacity and control to handle their complex instrumentation.

The Pivitec team are really honored to be working with Dirty Loops. And BTW – they are really nice guys as well. It was great meeting them and seeing them live in NYC. We are looking forward to their return to US later this year.

See Pivitec at InfoComm 2014 booth C11446

For more info: www.pivitec.com

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