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Sound Czech: HARMAN’s Soundcraft Si Compact 32 Digital Console Highlights Audio System at Czech Republic’s Jazz Tibet Club

OLOMOUC, Czech Republic – Located in an historic 15th century building in the city of Olomouc in the Czech Republic, the Jazz Tibet Club is a live music venue with an unusual name that hosts an unusual mix of performers. “By our name you would think we are strictly a jazz club, but we focus on non-commercial music and the range of artists and musical styles we present is extremely eclectic,” said Vladimir Foret, Program Director of the Jazz Tibet Club. Last December, Peter ?varc, sound engineer of the club, made the decision to upgrade the Jazz Tibet Club’s live sound facilities with the purchase of a HARMAN Soundcraft Si Compact 32 digital audio console.

“The Jazz Tibet Club was founded in 1994 by jazz fans and through the years we have diversified to become a unique and prestigious venue in the region,” Foret noted. “We’ve hosted artists including Glen Hansard and Marketa Irglová, Erik Truffaz, Victor Bailey, Darryl Jones, Maria Doyle Kennedy, David Kitt, Mark Geary, Astronautalis, Black Cracker and Grand Pianoramax, Shearwater, Taylor McFerrin, Liam Ó Maonlaí, Duke Special and many others.”

The Jazz Tibet Club has an intimate atmosphere that encourages close contact between the musicians and the audience. “We look for performers that have sincerity and energy,” Foret continued. “However, it was becoming apparent that our old digital console, a Yamaha 01V-which did us a great service through the years-was limiting the ability of the artists to express themselves at their best. The old console’s 16 inputs-only 12 of them with mic preamps-and four auxes could no longer accommodate our needs.”

When the club decided to upgrade, Foret and his team evaluated their options and found the Si Compact 32 to be the perfect fit. “The greatest thing about the console is how it combines the best from both the analog and the digital approach.” Foret said. “While some digital consoles require you to go through layers of menus, everything is easily accessible on the Si Compact 32. Working on this console is extremely intuitive and comfortable.”

“Really, there is nothing about the Si Compact 32 that can limit us, or any sound engineer,” Foret continued. “The console has an amazing number of inputs and busses that are sufficient for any application I can imagine, and all the inputs and busses are equipped with very high quality dynamic processors and equalization, which is an important ‘real-world’ feature. I also really like the fact that you get all this functionality in a really compact size that doesn’t take up much space in the club and only one person needs to carry it.”

With the new V2 software upgrade for Soundcraft’s Si Compact series, Foret is getting even more mileage out of the console. “We’re now running the latest V2 software, which gives us features like the ability to copy and paste channels and busses and set up assignable fader layers, and its vast amount of built-in digital signal processing,” he said.

There is nothing we could complain about,” Foret concluded. “The Si Compact 32 is fast, reliable and user-friendly. We love it!”

For more information on the Jazz Tibet Club, please visit www.jazzclub.olomouc.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, 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 $4.2 billion for twelve months ending December 31, 2011.

Alain Poirier of Radio-Canada Montreal Earns 2011 Gémeaux Award Using Harman’s Studer Vista 8 Digital Console

MONTREAL, Canada – Utilizing an arsenal of cutting-edge audio tools highlighted by a HARMAN Studer Vista 8 digital mixing console, audio engineer Alain Poirier of Radio-Canada Montreal recently earned a 2011 Gémeaux Award for Best Sound in a TV Show (Humor and Variety) for “En Direct de L’Univers,” a one-hour weekly variety show on Radio-Canada French TV Network. The Gémeaux Awards honor French Canadian achievements in Canadian television and is sponsored by the Academy of Canadian Cinema and Television.

“En Direct de L’Univers” is a variety/entertainment program that airs live, in which the lives of famous guests unfold before their eyes in songs. Through interviews, the star reveals his/her fondest memories, associating each event with a special song. Viewers learn more about celebrities’ musical universe, as favorite performers of theirs serve up the great songs that have marked guests’ lives. “En Direct de L’Univers” often includes surprise performances and first-time-ever versions of famous songs, producing strong emotions in front of a live studio audience.

Poirier has worked for Radio-Canada for almost 30 years, beginning as a front-of-house and monitor engineer before moving to on-air mixing around 1990. In 1992, he won an Anik Award for the Canadian premiere of “Paul McCartney’s Liverpool Oratorio” featuring conductor Carl Davis.

However, experienced as Poirier is, “En Direct de L’Univers” still posed a unique set of challenges. “With shows that are broadcast live, there is no margin for error,” Poirier said. “On top of that, there are a lot of performances and interviews, so it’s always a challenge dealing with the numerous transitions and the very quick pace of the show.”

“It was also a challenge because we didn’t have a lot of rehearsal time,” Poirier continued. “We would come in on a Friday and rehearse for eight hours, then go on air on Saturday at 7 PM. We typically did around nine or 10 pieces of music in one hour and although they are all just pieces of each song, we still had to rehearse them many times, because you might have 60 inputs and 30 seconds to mix it!”

“For a live show like ‘En Direct de L’Univers’ the technology has to be reliable, first and foremost,” Poirier said. “Secondly, when you do a live show, things happen quickly so the console needs to be easy to use-I need to be able to navigate without scrolling through a bunch of menus.”

Intuitive operation is also a crucial part of Poirier’s formula for success. “The technology has to follow the way I work, not the other way around,” he said. “With digital consoles, sometimes it’s easy to paint yourself into a corner, so it’s important that I can customize the board to operate the way I want it to.”

The Vista 8′s ability to handle this pace is another one of the console’s attractive qualities. “The ergonomics of the Vista 8 are perfect for live shows because it’s so easy to operate and the Vistonics(tm) interface is a perfect example of this,” Poirier added. “I can easily change from snapshot to snapshot. My presets on the Vista 8 perfectly mirror my cue sheet, so everything on the console follows accordingly. The filter on the board is amazing because it allows me to tailor the board to recall only what needs to be recalled. That precision helps me do my job better and faster.”

There are six Vista 8 consoles at the Montreal TV facilities, along with a Vista 7 and two Studer D950 consoles. The Vista 8 used for “En Direct de L’Univers” is part of a portable HD audio/video package that can be moved from studio to studio. “We have three different HD audio/video packages that we can install and this is the biggest one,” said Bruno Vigneault, Technical Instructor for Audio, Radio-Canada Montreal. “We can install these packages at a rented location for the whole production season, and we primarily use this one for variety shows.”

As an Instructor at Radio-Canada in Montreal, Vigneault provides training to Vista console operators and sometimes assists them during special events. “All these consoles perform very well and all the engineers just love to use them,” Vigneault said. “It’s very easy to train engineers on the Vista consoles because their operation is so intuitive.”

“The best quality I find for this console is of course great sound quality, but also easy and intuitive operation and versatility,” said Vigneault. “Those capabilities contributed to Alain’s achievement and show the potential for one of the most talented sound engineers in the business using Studer technology.”

Photo Caption: Alain Poirier (left) and Bruno Vigneault

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 $4.2 billion for twelve months ending December 31, 2011.

HARMAN’s JBL HiQnet Performance Manager™ Makes Live Sound Setup More Efficient Than Ever for CTS Audio

The National Catholic Youth Convention in Indianapolis at Lucas Oil Stadium, which drew an audience of 30,000 people.

NORTHRIDGE, California – CTS Audio, based in Franklin, Tennessee, specializes in live and installed sound, mobile staging and sales, with a strong focus on tour sound for Christian performers and in designing systems for houses of worship. CTS has provided live sound for Amy Grant, Michael W. Smith, the Women of Faith tour, the National Catholic Youth Convention, Hootie and the Blowfish, Tony Bennett and many others.

HARMAN’s JBL VerTec® line arrays and Crown Audio I-Tech HD and XTi Series amps are the backbone of the company’s live sound rigs – and the adoption of JBL HiQnet Performance Manager™ audio system design software has made CTS Audio’s job a lot easier on the last few tours.

“Our company philosophy is to build on the experience of our history, but not be limited by it and to create our future through innovation,” said Mike Taylor, vice president of CTS Audio. “Like most sound contractors, we are always looking for better ways to do things. When we heard about JBL HiQnet Performance Manager we decided to become an official beta tester. It has dramatically reduced setup time and improved system performance.”

“Before Performance Manager, our crews had to use three separate applications to access the processors, amplifiers and PA system to do the system tuning,” continued Taylor. “I would have to use BSS® HiQnet London Architect™ to time-align and EQ the PA and do any array correction. In order to bandpass-check the loudspeakers, I would either have to use HiQnet System Architect™ or the Powered by Crown iPhone/iPad app. With JBL HiQnet Performance Manager, I can accomplish all these tasks and then some.”

Taylor became aware of Performance Manager after purchasing a new inventory of Crown I-Tech 12000HD amps and talking to Eric Friedlander of Crown about how to get the most out of them and the newer V5 preset tunings for VerTec loudspeakers. “Eric suggested I become a beta tester,” Taylor said. “The Performance Manager software is a match made in heaven with the Crown I-Tech HD amplifiers. The amps offer extensive processing and interfacing functionality, and Performance Manager makes it simple to match them precisely to the VerTec’s crossover points and dig deep into the amplifiers’ capabilities, to get maximum power, signal to noise ratio and overall sound quality.”

CTS Audio has deployed JBL HiQnet Performance Manager on the recent Amy Grant, Michael W. Smith 2 Friends, Women of Faith and National Catholic Youth Convention tours. “We implemented it fully as intended as a complete system deployment and optimization tool. Everything from the integrated JBL Line Array Calculator II to the array calculation to the system tuning and monitoring functions was used,” stated Taylor.

“The ability to integrate the Line Array Calculator II software with the array correction functionality is incredible,” Taylor continued. “Having the ability to correct for any low-end buildup in the array before ever firing up an amplifier is huge. The accuracy of the predicted frequency response is superb. In essence, by taking the PA out of the room, you are able to focus on setting up the PA first, then dealing with the interactions of the room, and finally tweaking the system to best accommodate the specific requirements of the show itself.”

“In addition, the bandpass testing and monitoring functions take information and control panels that would otherwise need to be accessed across multiple pages, and integrates them into a unified graphical interface,” Taylor said. “I can live on just one or two pages during the show to make sure that everything is functioning within limits and behaving properly.”

“I will be using JBL HiQnet Performance Manager extensively on future tours. It saves a lot of time and ultimately enables us to deliver better sound to our artists and clients,” concluded Taylor.

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 $4.2 billion for twelve months ending December 31, 2011.

HARMAN’s JBL Loudspeakers Show Their Star Quality On The X Factor

Jeff Peterson designed the audio system built around JBL VERTEC line arrays for The X Factor.

NORTHRIDGE, California – It’s not hard to put a finger on the popularity of The X Factor, which recently completed its first season in the United States. The top-rated singing competition TV show (which aired on FOX) pits contestants against one another to see which pop singer has that certain indefinable, yet undeniable star quality—that all-important “X Factor.” To provide high-impact audio on the set of The X Factor, Valencia, California-based ATK Audiotek installed a HARMAN JBL VERTEC® line array system designed by Jeff Peterson.

On The X Factor, competitors in various categories have to sing, dance and perform in front of celebrity judges Simon Cowell, Paula Abdul, L.A. Reid and Nicole Scherzinger—and a national audience of voters. It’s a high-pressure atmosphere, especially since the shows are taped in front of a live audience.

“The contestants aren’t the only ones who have to perform under pressure,” noted Brett Valasek, general manager of ATK Audiotek. “Since the show is taped before a live audience, the performers have to be heard loud and clear, and the system has to be dynamic and powerful to connect the audience with the excitement of the moment and the performers.”

“The producers wanted concert-level energy for the show,” Peterson said. “With the 400-person audience routinely reaching 105-108 dB SPL, the sound system had to cleanly deliver the music and performances over the roar of the crowd.”

As the PA mixer as well as sound designer, Peterson’s job had multiple facets. “I had a responsibility to keep the broadcast dialogue clean, while at the same time ensuring that every audience member and contestant could understand what was being said,” he noted. “When performances happen, production wanted a rock concert feel, with the audience on their feet, clapping, cheering, hooting and hollering. You can see how the dynamics of the show were huge.”

Peterson was in constant collaboration with Eric Schilling, the broadcast music mixer on performances. “My mix in the house—which naturally leaks in to the audience microphones—had to blend cleanly with the broadcast mix,” Peterson added. “If I was using an effect in the house that was different from what was on the air, it was noticeable to viewers.”

ATK Audiotek supplied 16 JBL VERTEC VT4889 fullsize line array elements, more than 200 JBL Control® 23 mid-high output loudspeakers and Control 25 compact speakers, plus SRX712M 12-inch high-power stage monitors and VRX928LA and VRX932LA Constant Curvature loudspeakers.

The VERTEC VT4889 line arrays were installed in a left-center-right configuration to maintain the striking visual appearance of the set. “The system design was supposed to be eight per side, which abruptly changed on the first day of load-in,” Peterson said. “The show highlighted the scenic and video screens almost as much as the performers and judges. The set looked amazing, and my clusters were too large to maintain the clean look. We quickly redesigned the system to a left-center-right layout, with six VT4889’s as the left and right clusters and four VT4889′s making up a center cluster.”

In addition, the height of the scenery on stage was only about eight feet lower then the rigging grid. “The speaker clusters, with their chain motors, had to fit within that space in order to avoid blocking any video,” Peterson said. “In addition to that, there was a large ‘X’ shaped ceiling piece that was made of hard flat surfaces. The ceiling piece blocked my horizontal coverage towards the center, which necessitated the center cluster.”

To deliver the show’s dialogue, the Control 23 and Control 25 loudspeakers were placed under every third seat in every other row. “We needed to make sure that everyone in the audience could hear the judges now matter how loud things get during the show,” Valasek said. “It’s a challenge to maintain the dialog at a specific level on a show like this. That’s why we chose the under-seat system using the Control 23 and Control 25 speakers—so we didn’t have to put much of the dialog through the main PA.”

ATK Audiotek also built three SRX712M monitor wedges into a trough behind the judges seating to enable them to hear all the music and performer’s comments clearly.

“JBL VERTEC line arrays are what we use in the vast majority of our projects because of their clarity, controlled coverage pattern that is easy to work with, and ability to adapt to a variety of installation applications,” Valasek stated. “We have a very high comfort level with them and they always deliver outstanding performance.”

“A properly designed VERTEC VT4889 system never ceases to deliver,” Peterson concluded. “I have the highest confidence that I’ll be able to get both the high SPL levels needed without distortion, and clean low volume dialogue out of the same system.”

For more information about ATK Audiotek please visit www.atkcorp.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, 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 $4.2 billion for twelve months ending December 31, 2011.

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Auralex Goes Big for State-of-the-Art Texas Home Theater Installation

Auralex’s ELiTE™ Custom Fabric System™ Modernizes Acoustics and Decor

FRISCO, TX – When Mike Brock, lead designer and project manager for Richardson, TX-based UltraMedia, Inc., was given the task of installing a state-of-the-art, multi-technology system in a newly constructed home in Frisco, he turned to Auralex® Acoustics, the industry leader in innovative sound control solutions, for his acoustical treatment needs.

The 6,000-square-foot home and accompanying party barn boasts a fully integrated, state-of-the-art home technology system, including audio, video and lighting. Auralex played an integral role in the design and concept of the home theater’s acoustical treatment, helping to create a trendy, high-end residential entertainment zone where the family can enjoy movies and sporting events. more

ViewPoint™ Console Key To Medical Center Surveillance Upgrade

Abilene, TX––Hendrick Medical Center is one of the largest hospitals in the West Texas area serving referrals from 16 smaller hospitals in the surrounding counties. Known for its sophisticated trauma center and high level of care, the flagship 500-bed acute care center is undergoing a multi-million dollar expansion.

The center’s expansion also includes the upgrade of its surveillance operation, which features a totally new workspace and technology transition from analog to IP, a new CCTV system that will eventually include 200 cameras, and a conversion from barcode to Proximity card readers. “A huge project,” as Roger Dickey, Director of Security at Hendrick, rightfully describes it.

Assisting Dickey on the project is system integrator James Holden of Siemens. Holden explains that, along with providing the newer technology, he and Siemens were tasked to design a new workspace for the security guard monitoring staff with first destination radio, video, access control and alarm management. A new console was the starting point.

“Roger and I visited a security trade show in Dallas and looked at different furniture products,” Holden explains. “We decided on Middle Atlantic’s ViewPoint console because it was flexible, attractive and offered a lot of ergonomic options.”

Dickey adds, “I’d never seen the Middle Atlantic furniture, but their staff was very helpful. I could sit down at their console and get a feel for what my guys were going to be looking at. I was also interested in their cable management system and how easy it would be for repair people to access the console.

“Because of the console’s flexibility, I was able to try something very different this time around in terms of training my staff. I told them, ‘you are the ones who’re going to have to use this, so I need you to set up the camera views and how you want to use the console, not me.’

“This definitely put the challenge on my staff in terms of designing the views they receive and optimizing the console for their use. We have an event monitoring system tied to all of our alarms. Whether it‘s a motion or alarm activation of some sort, the system brings the event up to the spot monitor so the operator can decide whether or not it’s a problem. This helps us manage these situations.”

Reflecting Dickey’s staff’s criteria, the ViewPoint installed in the Center’s surveillance workspace includes a console-mounted VisionFrame system to mount three large 46” monitors behind three 23” monitors attached to the console itself. The console also includes top-mount turret racks on both ends, which his staff uses to store an 800 MHz frequency police/fire radio. When covered, these also provide additional surface space on the console for printers and other devices.

In terms of ergonomics, “my staff really likes it,” Dickey explains. “The way we’ve set up the console, we’re not trying to watch all the cameras at a specific time. When someone hits an alarm alerting us to a problem, we can hit a salvo of multiple views and depend on that before moving on to the event monitoring system.”

Dickey also wanted to display Hendrick’s CCTV system in an ergonomically sensible and productive way in terms of how many cameras his team could view at one time.

“ViewPoint just seemed to work best for what the client wanted to do,” adds Holden. “They needed more space horizontally. In changing over to IP we were converting from all of the older analog monitors, PCs and analog DVRs, so we needed a cohesive new approach for the guard personnel to manage the video and other systems.

“The actual installation worked out well. We went back and forth and made sure that we measured twice and cut once to ensure the monitors were at the right height and overall width. We talked about a variety of customization options including additional articulating arms when we saw how flexible they were.”

Also facilitating the installation, Middle Atlantic Designer™ software allowed Holden to show several different renditions of the console to Dickey and his staff. Once they had agreed on the final design, he was able to forward laminate samples of the finish so Dickey could totally envision what the console was going to look like. According to Holden, “Designer eliminated any surprises, which made everyone’s job easier.”

“They had a very crowded one-man console before, and even if there’s only one operator at the ViewPoint console, it can be quickly and easily accommodated to hold two operators because it’s long enough at 12 feet to let them expand and grow as the shifts change.

“When I sell a console like ViewPoint, it’s usually part of a pretty big project,” Holden concludes. “We’re happy, Roger and his staff are satisfied, and so is the hospital board. When the boards asks what they spent money for, seeing a black bulb in the ceiling doesn’t mean much to them. They may not know the difference between an old camera or new camera, or an analog and an IP system, but they know when they go into the new surveillance facility and see the console, because that’s the kind of thing that makes them respond a lot better.”

Dickey also underscores the console’s impact: “Let’s face it, this is a $92 million building project, and we needed a system that would still be in the game three to five years down the road. We went strictly with IP because of all the videos that are available to our staff. There’s no way a single or several security officers sitting at a console can view all of those cameras and do justice to that. So we really like to take the view the ViewPoint console gives us and spread it out, so if we have an event going on we can quickly push up the perimeters we want to view at the push of a button.

“ViewPoint has been so successful in getting our officers involved in the development of these protocols that they’ve created different views for the day shift, evening shift and night shift because each one of those shifts actually looks at things differently.

“And my guys really like the layout of this console,” Dickey explains. “The new 46” monitors give them a much larger and more effective view of what they’re looking at. They used to have 4” picture when they did multiple views. With this system, they have a much more identifiable picture that they can zoom in on to isolate a person they want to identify, blow that up on replay and capture it on DVD for evidence. The three smaller monitors include our computer dispatch, access control, and event monitoring systems. And we have two other spots for monitors that haven’t been mounted yet that we will use for internal communications.”

Summarizing, Dickey concludes, “The ViewPoint console has turned out to be the stepping-stone to doing all of the other things we had to do in order to build the security features into this new building. We’re very happy with the way things have worked out.”

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

Sky-Skan Provides Expansive Sound for Charles Hayden Planetarium at Boston’s Museum of Science With HARMAN’s JBL Loudspeakers

NORTHRIDGE, California – One of the most stellar attractions at the Museum of Science in Boston is the Charles Hayden Planetarium—more spectacular than ever after a recently completed $9 million renovation. The Planetarium is the most technologically advanced theater in New England, and in addition to a state-of-the-art digital projection system, the Planetarium features an equally impressive 10.2-channel HARMAN JBL loudspeaker system.

“We pride ourselves on designing and installing the world’s best domed planetariums and visualization theaters,” said Marcus Weddle, Marketing Director for systems integrator Sky-Skan, headquartered in Nashua, New Hampshire. “Although admittedly the visuals are what get peoples’ attention in a planetarium, the experience would be somewhat hollow and incomplete if you didn’t have sound on a scale to match. In a domed theater environment, that means large-scale surround sound.”

“The sound system is great,” said Darryl Davis, Planetarium Systems Coordinator at the Boston Museum of Science. “The low end is much better than we had with our original theater, and if the industry catches up to 10.2, we are already prepared for it.”

To deliver the expansive sound required for the almost 60-foot dome, theater designer Kurt Berna and the Sky-Skan team installed eight JBL AE (Application Engineered) Series AM6340/95 high-power 3-way loudspeakers, two AM6212/00 high-power 2-way speakers and two ASB6128V high-output dual-18-inch subwoofers. The AM6340/95 speakers are driven in bi-amp mode, and the speakers are powered by two Crown Macro-Tech i Series MA-5000i, four CTs 1200 and five CTs 2000 amplifiers. The mixing console is a custom Sky-Skan mixer, and audio signals are handled by three BSS Audio Soundweb London BLU-160 signal processors with digital audio bus capability.

“Obviously, we couldn’t let the speakers intrude on the visuals in any way,” Berna said. “We hung the speakers from the roof, behind the projection screen, and positioned them to give even sound distribution throughout the dome. Although they needed to fill a large space, we were able to get the SPL and sound fill we needed using just 10 JBL main speakers and the two JBL subwoofers, because of the speakers’ wide yet precise coverage pattern and high power handling capability.”

Berna said, “We collaborated closely with JBL engineers and the acousticians on the project. In addition to the fact that the shape of a dome can be acoustically problematic by nature, the original construction needed better isolation from the outside environment. We solved those problems and the acoustics and audio quality in the Charles Hayden Planetarium now are outstanding.”

“The purpose of a planetarium is to transport people to another world,” Berna concluded. “We’re extremely happy with the way this installation turned out. The enveloping quality of the surround sound system and the absolutely stunning visuals really make you feel like you’re traveling through space and time and you completely forget that you’re in a theater.”

For more information about Sky-Skan, please visit www.skyskan.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, 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 $4.2 billion for twelve months ending December 31, 2011.

Warner Audio Visual Co. Adds Flexibility To Repertoire With HARMAN’s Soundcraft® Si Compact 24 Digital Console

CHICAGO, Illinois — Warner Audio Visual Co. recently purchased a HARMAN Soundcraft Si Compact 24 digital console in order to provide corporate organizations the proper audio support for their annual meetings and events.

Warner Audio Visual Co., with locations in Chicago, Phoenix and Orlando, prides itself on being a full audiovisual supply house, stemming from creative design and logistics to setup and take down, all while maintaining affordable budgets for its clients. The company has had the opportunity over the past 40 years to work with countless companies to provide audiovisual systems for their events, including the use of video feeds and playback, and satellite feeds.

“We went with the Si Compact 24 as it was the perfect option for a small footprint console and allows us the flexibility to work with many diverse clients,” stated David Ruke, Technician at Warner Audio Visual. “I am able to get the feel of an analog board all in such a small setup.”

For many corporate events where space is limited, the Si Compact 24 allows Ruke and colleagues to set up in the corner with limited cable and distraction; so important for a high-profile event.

Since switching to the Si Compact 24, many aspects of the board have excited Ruke and the rest of his team. “I have worked with other digital consoles and the sound quality is noticeably different and so much better on the Si Compact,” Ruke explained. “It feels like a bigger board than it actually is. I love the built-in control, EQ, compressors, and limiters. It’s tough to find all those options on a small board.”

As many challenges present themselves up to hours before large events, the Si Compact helps to keep changes simple. “Whether it be adding a performer, another presenter or the podium being moved to a different side of the room, it is easy to adjust EQ and calculate the differences quickly. I can add a monitor mix in, throw a few patches in through the reverb, it’s all easy.” For the price point, Ruke explained, it is excellent and surprising to get so much capability without needing separate racks or additional outboard processing.

For more information on Warner Audio Visual Co., please visit: http://www.warnerav.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, 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 $4.2 billion for twelve months ending December 31, 2011.

Martin Audio Dominates Holland’s Leading Live Music Venues

––W8LCi Line Array Installed At Duycker––

Martin Audio has taken the lead in equipping premier concert venues in the Amsterdam region in partnership with their Dutch distributors, TM Audio.

Following landmark installations in the iconic clubs Paradiso and Melkweg in the past few years, a Martin Audio W8LCi compact line array system has now been installed in Duycker, the latest Amsterdam rock venue and cultural center.

Owned by the local government, and situated near Schiphol Airport in the affluent town of Hoofddorp, the complex is comprised of two live rooms and a café bar, where sound reinforcement is provided by Martin Audio’s stylish AQ architectural line.

The Martin Audio W8LCi solution was chosen for installation in the large, 850-capacity room after the line array approach had been compared with modular systems by experienced freelance sound engineer, Gerald Chermin, who was brought in as technical director to streamline the routing and optimize the system.

With a large balcony affecting both sightlines and coverage patterns posing a problem, Chermin used all the experience he had gained working with companies such as Ampco to assemble some of the market leading systems in a competitive shoot-out.

“We assembled a panel of different sound engineers, with one person tuning all the systems. We realized the line array approach would overcome both balcony coverage sightline issues, whereas going modular would have required too many boxes.”

The system has been specifically designed to provide plenty of headroom, and is based around seven W8LCi enclosures per side, with one W8LCDi Downfill at the base. Six Martin Audio WS218X subs are stacked, three a side, to provide LF extension.

The main system is run three way, but driven in four separate parts by a combination of Martin Audio MA6.8Q and Powersoft K8/K10 amplifiers, processed via XTA DC1048 4-in/8-out DSP. Three DiGiCo SD8’s have been provided for FOH, monitor (and portable) duties.

“We have definitely made the right choice with the Martin Audio system, which is proving popular with incoming production crews,” stated Gerald. “We chose the system not only because it represented excellent value for money but the fact that it could be divided up into four separate sections.

“We also knew we could depend on excellent back-up from TM Audio and [sister company] Lightco, who have provided the lighting.”

Meanwhile in the café bar, music sourced from a DJ or computer and mixed via an Allen & Heath GR2 9-input, 4-output analog zone mixer, is played out through four Martin Audio AQ8’s, two AQ6’s and an AQ210 (2 x 10) sub, managed by a dedicated AQX system controller.

The arrival of Vari-Lites in the near future will place the final piece in the lighting jigsaw—operating under the control of Lightco-supplied Avolites desks. But the local population already has a leading destination venue—with a cutting edge technical infrastructure and live entertainment package—to kick-start their weekends.

Photos: The main room at Duycker, viewed from the auditorium and from the stage

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Orlando’s Green Hill Church Upgrades with L-ACOUSTICS KIVA

ORLANDO — Green Hill Church, a Korean-language Presbyterian house of worship in Orlando, has upgraded its sanctuary sound reinforcement system with the installation of an L-ACOUSTICS KIVA system. Laservision World of Los Angeles performed the system design and installation.

According to Laservision Sales and Managing Director Joshua Kim and System Integration General Manager Nathan Kim, the 450-seat worship space now benefits from left and right arrays each comprised of six KIVA enclosures flown beneath two KILO low frequency extension enclosures. A pair of SB18i subs further extends the low-frequency range of the system, and all enclosures are powered and processed by a total of three LA4 amplified controllers. more

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