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MLA Makes Spectacular Albert Hall Debut

MLA System at Royal Albert Hall

Sound rental company RG Jones has been producing sound reinforcement infrastructure for the challenging Raymond Gubbay Classical Spectaculars at the Royal Albert Hall since 1993.

With a production harnessing cannons, pyro and lasers in a festival type ‘Proms’ atmosphere, it has taken all of FOH engineer Simon Honywill’s expertise to keep the show’s audio fidelity evolving with each generation of new technology.

Honywill is no stranger to Martin Audio proprietary line array platforms, introducing W8L Longbow systems to the Glastonbury Pyramid stage, and taking the new MLA (Multi-Cellular Loudspeaker Array) system on tour with Jeff Wayne’s War Of The Worlds.

Rigging the MLA at the Royal Albert Hall for the first time ever this month, he knew the Classical show would experience the same dynamic range and sudden transients as War of the Worlds––and in a venue notoriously difficult to control, he also knew it would clean up the room’s inherent reflections. But the performance, he said, was breathtaking, and even beyond his expectations.

“We’ve made a massive leap forward with the MLA … the results were remarkable,” reported Honywill.

At the RAH, the two front arrays comprised 16 element MLA hangs per side, with no downfill enclosures, since the rig’s trim height was 40 ft. (from the lowest box) to accommodate the huge lighting rig. Side hang arrays of nine Martin Audio W8LM mini enclosures were balanced with a single W8LMD underneath to bring coverage down as far as possible; at the same time, a central sub-bass array of six WLX was recessed under the stage apron, which was electronically curved to optimize coverage.

Martin Audio’s Nigel Meddemmen became de facto systems engineer, walking the entire room to verify uniform sound balance. “The challenge was to match the warmth and smooth response of the MLA, a tricky task particularly on some of the operatic pieces with shrill soprano vocals which have a tendency to really show up deficiencies in the high frequency of a system.”

Meddemmen recounted that the design software was critical in ensuring optimum performance. “The calculations were based on Simon’s model of the slice through the venue, and with the advantages of the new Display 2.1 software, Ambrose [Thompson, Martin Audio Electroacoustic Engineer] was able to design a system with the correct splay angles.”

Stated Simon Honywill, “The fact that it sounded so astounding is testament to the software. In fact I have never heard a system [in the RAH] that sounded so similar upstairs as down. Ambrose was also able to rationalize the coverage to effectively reduce the amount of energy hitting the balcony fronts––other systems have claimed it but this is the first to deliver.”

The design prediction created ‘voids’ precisely where necessary––including the elimination of any stage spill, as Simon Honywill was quick to attest. “You could stand under the MLA on stage and not hear a thing!

“But at the same time this is the loudest I have been able to drive a system here without the orchestra moaning!”

The program combined the traditional ‘greatest hits’ from the classical canon with new works such as Karl Jenkins’ Benedictus from The Armed Man; A Mass For Peace. The latter swings from the gentlest of solo cello to five percussionists hitting a variety of drums extremely hard and the choir adding weight to a huge sonic picture.

“We had ten mics on the choir and I found I could keep opening them up massively, with no coloration whatsoever,” noted Honywill. “We’ve never had the amount of level, definition and control––particularly with the low strings––as we achieved with the MLA, and that is what makes it sound really fat. It was a pleasure and absolute joy to mix.”

Summing up, the sound engineer said, “To get the sonic quality and level required by the promoters you can’t afford for the system to be in any way obtrusive. It has to sound really sweet when loud, warm and powerful––and intelligent and delicate at the same time. MLA was all of these things and more.”

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

About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.

With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.

MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.

MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio
network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.

Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.

MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.

By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.

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.

Sentina LED Signage Completes High Tech Atmosphere of Innovative Wine Café

KENILWORTH, NEW JERSEY, December 6, 2011—The premier wine store and tasting room in Hope Mills, North Carolina isn’t just any old wine store. Featuring Sentina™ LED signage solutions for countertop and window advertising, several flat screen TVs, an automated wine dispensing system that can pour up to 12 different bottles of wine and free WiFi for customers, The Wine Café updates the classic fine wine experience into the 21st century and offers guests an experience unlike any other.

“I love modern technology, and I know it is a large part of everyday life for people today, so I want my stores to use the latest technologies to offer a different, more modern, and better experience than other wine stores,” said Angie Malave, Owner and CEO of The Wine Café. “From the wine pouring system to the touch screen register, every part of my store is up-to-date and meant to impress my guests. That extends to my advertising as well, which is why I use Sestina’s LED uSigns on my countertops and in the windows. I host events for the store and for local clubs throughout the year, and I need the uSign’s flexibility to be able to plug the sign in or use a battery pack to bring it outside when I host outdoor events. And I even hang one in the window to attract passersby.”

Malave started out using one Sentina LB-8 uSign digital signage display at The Wine Café to advertise specials, showcase new products and provide information during events or promote upcoming events, and quickly realized that she wanted to do more. She purchase two additional uSigns and has since had several customers remark about how “cool” the signs are, and how they like them better than plain poster advertisements.

“I recently held the grand opening of my second Wine Café location, and I will be using the Sentina uSigns there as well,” Malave continued. “I’m the first wine store in the area to bring these modern technologies to the wine tasting and buying experience, and my customers and guests have taken notice. Sales are up, people are happy, and my tasting events have all been very successful! Whether it’s promoting information about new varietals or an upcoming event, the digital signs and the TVs inside really set my store apart from my competition. What I really like is that it’s so easy to update and change the advertisements—all I have to do is print out a new flyer on a transparency and slip it into the Sentina uSign.”

Designed to replace wasteful fluorescent-based signage, Sentina™ uSign™ displays advance the state-of-the-art in energy-efficient LED lighting technology in a number of significant ways. First, the displays feature customized Super LED lights that are 20 percent brighter than conventional LED lights. Second, these Super LED lights are embedded behind a proprietary Shoji screen-based Optical Reflection Panel, OptiLight, that produces an ultra-bright, evenly dispersed edge-to-edge light that virtually eliminates heat emission. Third, the ultra-lightweight display frames are constructed entirely of recycled plastic. Fourth, each Sentina uSign frame consumes just six watts, translating to an operating cost of less than a penny per day in normal usage. Fifth, and perhaps most importantly of all, each 8.5” x 11” display costs just $80.00.

According to Datexx President Mei Noguchi, “The LB-8 uSign is the perfect solution for any business that wants to display information, advertising, promotions or large photos on a counter, or hang it on a wall or window. Because it is low-cost, consumes so little energy, uses LED lights that will work forever and is so simple to update with new transparencies that can be made on any printer, every customer-facing business can utilize the Sentina uSign to attract new customers and impress old customers alike. With options ranging from a single uSign to a tower consisting of 16 uSigns in a 360 degree display, there is a solution for every situation and any sized store.”

The Wine Café (www.thewinecafeus.com) is the first store in Cumberland County, North Carolina to offer an interactive wine tasting experience featuring automated wine dispensing units and family owned wines from around the world. It is a unique wine café that truly goes “beyond the bottle”, letting guests experience wine in an entirely new way. After visiting The Wine Café, wine will never be the same!

Headquartered in Kenilworth, New Jersey, Datexx is a leading manufacturer and marketer of innovatively designed, affordably priced products that help consumers manage their time and money. For more than 15 years, the company has proudly met the needs of smart consumers seeking smarter living solutions. To date, more than 20-million consumers have joined the Datexx family of satisfied customers.

Stampede Announces Plans To Bring Its 2012 Big Book Of AV Tour To 13 Cities In The U.S. And Canada

AMHERST, NEW YORK, December 5, 2011 — Seeking to make its 2012 Big Book of AV Tour (BBOAV) even bigger and more successful than its just completed 2011 tour, Stampede, the leading value-added distributor of professional audio video solutions, today announced plans to bring its phenomenally popular Big Book of AV Tour to 13 cities in the United States and Canada in 2012. What’s more, Stampede said it will double the length of each day’s exhibit hours and increase the number of on-site training programs.

“Our 2011 Big Book of AV Tour was the biggest, most successful tour in the three year history of the program,” Stampede President & COO Kevin Kelly said today. “Frankly, given the fact that we hit nine cities and educated several thousand attendees during the 2011 tour, it’s going to be a challenge to make the 2012 tour even bigger and better — but we have the programs underway that will do just that.”

According to Kelly, increasing the number of cities visited, doubling the length of each day’s exhibit hours, increasing the number and variety of on-site training programs, opening up the tour to more end users, and making affordable video conferencing a centerpiece of every tour stop will help strengthen the BBOAV Tour as the largest event of its kind in North America.

“We’re thrilled that the Big Book of AV Tour continues to grow and reach more dealers each year,” Kelly said. “This tour provides dealers across the country a chance to experience the latest AV technologies and equipment and learn not only how to use them, but also which ones to use for each unique job. When coupled with our Stampede University live training events on topics such as 3D technology, touch technology and digital signage, The Big Book of AV Tour is a dealer’s one-stop event for staying up-to-date on everything AV.”

The Big Book of AV Tour supports and extends the reach of the company’s The Big Book of AV, The Ultimate Audio/Video Resource Book. The 2011 tour offered a chance for dealers to see live projector and display demonstrations and take part in Stampede University live training events on topics such as 3D technology, touch technology and digital signage. In addition, dealers in attendance had the opportunity to become CTS and DSCE certified.

Published each year by Stampede, The Big Book of AV contains more than 800 pages and features thousands of products that are ideal for home theaters, schools, houses of worship and just about any venue. The book offers buyer tips for selecting the right AV equipment and recommends products to enhance the performance of displays and projectors. The book also includes a Manufacturer Resource Section with contact info for every featured brand and a glossary of commonly used AV industry terms to help dealers understand the latest technology language. The Big Book of AV is also available for free online at www.bigbookofav.com and is now compatible with iPhones, iPads and Android mobile devices.

Attendees of the 2011 tour saw the latest solutions from a variety of vendors including Atlas Sound, Avteq, BenQ, Casio, Chief, Epson, Gefen, Hall Research, Hitachi Solutions, Kramer, Lumens, Mitsubishi, Mustang, NEC, Optoma, Peerless, Perfect Path, ProSales, TechGlobal, Samsung, Severtson Screens, Sharp and Sony.

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

ADVANCED SYSTEMS GROUP TO ANALYZE LARGE RASTER ACQUISITON WORKFLOW CHALLENGES AT ANNUAL WORKSHOP

EMERYVILLE, CALIF.– Advanced Systems Group (ASG), a leading West Coast video and film integration firm, will examine large raster acquisition workflow challenges during its annual workshop on Dec. 13 at the SF Film Society | New People Cinema at the New People building in San Francisco. The daylong event starts at 10 a.m. and will include five presentations. The workshop is free and lunch will be served, but attendees are encouraged to register at www.asgllc.com/events/topic-raster-acquisition-workflows-december-13.

“As 4K continues to emerge as a viable acquisition and distribution format, video professionals are still trying to find ways to produce the best images and handle all that data,” said Dave Van Hoy, president of ASG. “This year, our annual conference will detail 4K options at every point in the production process, and explore the best way to manage these file-based workflows.”

The workshop begins with “Let’s Talk 4K,” an overview that explains the technical specifications of the format and explores current choices in 4K acquisition and delivery. There is a noted lack of consensus on several aspects of 4K, which will also be addressed. The session will be led by veteran director of photography and industry consultant Suny Behar, who is currently teaching a Master Class at the UCLA Graduate School of Film and Television in Los Angeles.

“DIT, Data Management, and On-Set Color Workflows” will cover a broad range of filmmaking topics. It will define the differences between DIT and DAM, explain the subtleties of file-based workflows for RED, ALEXA, and other high-resolution camera systems, and examine popular on-set color, dailies, and transcoding workflows. Presenter Jordan Livingston is an independent filmmaker and digital imaging technician who serves the Hollywood and Bay Area markets through his company, DIGILOID, which specializes in digital imaging and workflow for motion pictures, commercials, and corporate productions.

Eric Hanson of Spy Post, a FotoKem post-production company, will discuss the 4K post-production process for commercial film and corporate productions. Additional presentations will address 4K color correction and color management, as well as delivery and projection of large raster content.

About ASG:
Advanced Systems Group LLC of Emeryville, Calif., with offices in Southern California, has provided engineering, systems, integration, support and training to the broadcast, film, creative, and corporate video markets since 1997. With unmatched experience in Apple-based newsroom systems, shared storage, archiving, editing, finishing, and VFX systems, ASG has become one of largest installers of post production and shared storage systems on the West Coast. The ASG team is highly focused on customer success, and has installed and supported more than 175 SANs, production, and post production systems over the last five years. For more information, visit www.asgllc.com or call 510-654-8300.

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AVIOM ANNOUNCES TWO NEW UPDATES FOR PRO64 SYSTEM

Pro64 Firmware Update Version 4.35 and Network Manager Version 2.1 Now Available

WEST CHESTER, PA, DECEMBER 2, 2011—-Aviom’s Pro64® Firmware version 4.35 and Pro64 Network Manager™ version 2.1 are now available for download. more

Edge ShowTek Makes Use of AuviTran EtherSound Unit for Red Bull Fuel & Fury

BUENA PARK, Calif.—More than 5,000 attendees flocked to the site of this year’s Red Bull Fuel & Fury snowmobile jumping event. Held in early November in Chicago, they witnessed seven of the world’s best freestyle snowmobilers at the largest single event of the year.

Edge ShowTek (Northbrook, IL) was tasked with the audio production for the event, making good use of the new AuviTran AVM-500ES unit to maintain an EtherSound network within the entire digital system. The system consisted of a Yamaha PM5D-RH digital console, two Yamaha SB-168ES Stage Boxes, 36 NEXO GEO S8 speakers, 12 CD12 subs split between four towers, six NEXO PS15s, and five NEXO NXAMP 4x4s amplifiers.

The AVM-500ES unit is an EtherSound Network Matrix housed in a 19” 1U rack box for linking and routing up to five EtherSound networks together, Integrating a full matrix router of 320 x 320 audio channels. “The unit worked very well, states Pete Hansen, Operations Manager, Edge ShowTek. The reason we decided to use the AVM-500 was to maintain an EtherSound network throughout the whole system, which would not have been possible without the unit, or at least very undesirable from a cabling standpoint.”

Hansen said the setup for this system was quite unique in that speaker positions were both in front of and behind the Yamaha front of house position. The Edge ShowTek crew used a combination of Cat5 and Fiber Optic cable runs that were fairly long and non-linear with about 200-300 feet between each speaker tower. They were able to save about 1,000 feet of cable run by splitting the ES network in front of, and behind, the front of house position by using the AVM-500.

“We have been using EtherSound as a method of running multi-channel digital audio for years, says Hansen. It’s amazing to hear how well the audio fidelity is maintained when you never leave the digital domain, says Hansen. If you are going to use a digital console, you might as well run in a digital format like EtherSound as much as possible. The AVM-500ES allowed us to do just that over the whole system, and it sounded phenomenal.”

“An event like Fuel & Fury was an ideal use of EtherSound networking given the large distances between microphone sources, speaker towers and the Yamaha front of house, notes Trevor Waller, of Edge ShowTek and A1 for the event. With announcer microphones over 600 feet away from the mix position, the ability to send those sources to the Yamaha PM5D-RH console digitally with virtually no line losses was a great advantage in making sure the event could be heard by everyone even over the roar of snowmobiles in the air. The unit was virtually plug and play and allowed us to save valuable setup time, both in its ease of patching and integration into our system.”

For more information on Edge ShowTek, visit www.edgeshowtek.com.

For more information on the AVM-500ES, visit www.yamahaca.com.

-End-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

The Sing Off Takes to the Stage with a Live Finale and 100 Sennheiser Wireless Microphones as The Pentatonix Rise to the Top

Pentatonix, seen here singing into Sennheiser SKM 5200 wireless transmitters with MD 5235 capsules, took top honors in season 3’s The Sing Off.

Old Lyme, Conn. – November 30, 2011 – On Monday night, NBC presented the “Live Finale: Top 3 Finalists” of its hit show The Sing Off featuring not only the final three group contestants, but over 100 Sennheiser microphones on stage. The Pentatonix were elected champions of season 3, and music mixer Randy Faustino was on hand to ensure the audio quality was outstanding until the very end.

Faustino, a multiple Emmy award-winning music mixer and CEO/President of Creative Sound Solutions, has been responsible for mixing not only The Sing Off, but other top national prime time programs including The Voice, American Idol and others. Whether he is faced with a live broadcast or an in-studio production, Faustino depends on Sennheiser transmitters and capsules to achieve a great sound. For “Live Finale: Top 3 Finalists” he used over 100 Sennheiser SKM 5200-II transmitters, each coupled with Sennheiser MD 5235 capsules.

Faustino prefers the MD 5235 capsules because of its clear sound and versatility: “It seems to work for everybody, and I never seem to have a hard time getting a great sound,” he says. “Sometimes I have people eating the microphone, other times I have performers more than a foot off the mic — it has to perform equally well in both scenarios.”

Since each performance is a ‘once in a lifetime’ career opportunity for the contenders, Faustino needs to ensure that the mix is the best it can be for whichever group approaches the mic. He says that the Sennheiser MD 5235 mic capsule helps facilitate this: “The technology has to be plug and play,” he says. “I get that one shot at putting a live mix together, and then you have to move on. I have very little EQ on those mics, and they sound fantastic across a range of vocal types — that is the beautiful part of these MD 5235 capsules.”

“You have to have a good, clear sounding capsule so you can pick out the voices and have them defined in the track,” observes Thom Salisbury, Western Regional Sales Manager for Sennheiser. “On a program like The Sing Off, you not only have a variety of frequencies coming into the vocal track, but also tonal and volume differences. The MD 5235 is very sensitive and has a very smooth frequency response — I believe this is why it is our most popular capsule for television and touring.”

Predictable and reliable RF performance
In the case of a live programming scenario such as “Live Finale: Top 3 Finalists” where audio is being broadcast to millions of television viewers, the audio quality needs to be synchronous with solid and reliable RF performance. In the middle of Los Angeles — one of the most difficult RF environments in the world — the challenge can be daunting, especially considering the massive lighting rig and number of microphones operating on the stage at the same time.

Dave Bellamy of Las Vegas-based Soundtronics Wireless was in charge of ensuring that the RF for Monday evening’s performance — and indeed the entire preceding season — was flawless. “In a show like this, ‘pretty good’ isn’t going to get you there,” Bellamy observes. “This is a very demanding and exacting business, and in an extremely overcrowded RF environment, Sennheiser gives me predictable reliability.” Bellamy used Soundtronics’ Phoenix system antenna system in combination with dozens of Sennheiser EM 3732-II wireless receivers to ensure that the audio was free of any RF interference.

How does mixer Randy Faustino manage to stay cool in such a technically challenging and intense production environment? “I have to stay two steps ahead of everything, but I feel secure in the fact that Sennheiser always works. We’ve never had a failure and have always had great product support from Thom Salisbury if we ever need anything.”

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AVIOM PERSONAL MIXING SYSTEM ON THE HEAR US FROM HEAVEN TOUR WITH JARED ANDERSON

Musicians Count on the Company’s A-16II Personal Mixers during Multi-city Tour

WEST CHESTER, PA, NOVEMBER 29, 2011 — Aviom Personal Mixers are improving setup and sound on Jared Anderson’s Hear Us from Heaven Tour, in which the popular Christian singer and musician has been traveling throughout the country, visiting churches and other venues for a night of prayer, worship and music. Although the tour takes Anderson and his band to a variety of venues, each with its own unique audio and equipment setup, the Aviom A-16II Personal Mixers ensure that each musician’s monitor mix remains the same, night after night.

Recently performing at churches and college venues in Alabama, Florida, Louisiana, Mississippi and Oklahoma, the Hear Us from Heaven Tour has been supplied with sound by Sight & Sound Technologies, a company that specializes in equipment sales and training in the areas of sound lighting and video in churches. For this tour, Sight & Sound Technologies chose to provide the band with the Aviom A-16IIs because they needed a way to address monitoring quickly and easily. They also sought the ability to allow musicians to save and recall their personalized monitor mixes during the hectic setup stage.

“The Aviom system has been a real lifesaver on this tour,” says Kris Johnson, chief operating officer of Sight & Sound Technologies and the audio engineer for the tour. “The A-16II is really helpful for the guys in the band, as they can use the same mixers every night, save their mixes, then recall those mixes—regardless of the sound system we’re plugging into, which is huge for us. All of the guys are just raving about the consistency that they’re getting from the Aviom system.”

Johnson works on a variety of different consoles, depending on what is available at each venue, and he’s handled everything from a Behringer EURODESK mixer to a Midas Pro3 digital console. By using an Aviom AN-16/i-M Mic Input Module, he is able to provide a monitor feed directly to the Aviom Personal Mixers, while also plugging into the existing set of inputs to the main sound system available at the church or venue. This allows the band to get consistency in their monitor mixes and Johnson to integrate quickly into the house sound system without additional gear or hassle. All five members of the band have their own A-16IIs that they use with IEMs (in-ear monitors), with the exception of Anderson, who runs his through a powered speaker.

No matter what the venue or setup, Johnson knows the Aviom A-16IIs will see him through the performance, especially when it comes to monitoring. “We’re in churches that have every type of equipment you could ever want, from mega churches like Bethany World Prayer Center in Baton Rouge, Louisiana, all the way down to much smaller churches that don’t even use a regular drum kit,” he notes. “We see a lot of different types of setups, so Aviom literally saves the day when it comes to monitoring. Otherwise, my drummer is on some sort of headphone amp or a little hotspot speaker, and neither of those are any good to hear over his drums.”

As for the Aviom AN-16/i-M Mic Input Module, Johnson appreciates that its Thru feature is not dependent on the head amp’s volume. “The Thru feature is just a straight pass through, not like some systems, where if you adjust the gain or head amp, it adjusts your signal going to the board. The Aviom AN-16/i-M Mic Input Module doesn’t do that. It’s a straight pass through, allowing me to get the gain I need at front of house, but I can also adjust the gain going to the guys’ in-ears with the head amp. I really like the versatility the Aviom equipment provides.”

Sight and Sound Technologies was started in 2007 by Kris Johnson and his wife Tara. The business quickly grew and the duo began running the company fulltime in 2009, helping new and existing churches implement audio, video, lighting and portable staging systems. From start-up systems for new church plants and multi-site campuses to designing building systems for existing churches, Sight and Sound Technologies is happy to handle single item purchases all the way up to complete audio, lighting and video systems. For more information, visit http://www.sightandsoundtech.tv.

Aviom pioneered personal mixing with its Pro16® Monitor Mixing System and continues to break new ground with the revolutionary Pro64® Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions. All Aviom systems harness the power of A-Net®, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity. All Aviom products are designed, tested, and manufactured in the USA. For more information, visit www.Aviom.com.

AVI-SPL University Webinar: Learn Innovative Steps in Audio Management and Control for Conferencing

Join the next AVI-SPL University Webinar to explore “Innovative Steps in Audio Management and Control for Conferencing” on Wednesday, November 30 at 1 p.m. EST. Led by Bosch’s Bob Rieder, this free webinar will discuss the latest trends available to expand audio conferencing capabilities.

“For years, U.S.-based conferencing system designs have typically been comprised of automatic microphone mixers, table or ceiling microphones, and ceiling speakers,” explains Rieder. “The U.S. market has been largely unaware of the wide range of high-performance push-to-talk options available from Bosch, with systems proven around the world that have been, until recently, unavailable here. These solutions provide the added benefits of aesthetically pleasing and technologically flexible components that can be custom-configured to fit most budgets.”

On the agenda:
• Hearing the speaker clearly
• Controlling the meeting
• Recording and transcribing meetings
• Enabling electronic voting
• Speaking to many people

Bob Rieder is Bosch’s product marketing manager for Pro Sound – Install. He has worked at Jensen in OEM loudspeaker design and was a category director for Shure. In his current role with Bosch, Bob handles marketing strategies for Electro-Voice installed audio product lines.

To register for the “Innovative Steps in Audio Management and Control for Conferencing” webinar, visit http://www.avispl.com/goto.asp?id=4527

Launched in 2011, AVI-SPL University Online is a set of webinars held throughout the year. Hosted by AVI-SPL and its manufacturer partners, the free webinar series focuses on emerging technologies and applications. Bookmark www.avispl.com/events for updated schedule and topic details.

Recent Announcements
AVI-SPL Unveils Redesigned Blog Site
Houston Mayor Annise D. Parker Issues AV Week Proclamation

About AVI-SPL AVI-SPL is a global leader in audio video communications technology, providing comprehensive solutions and services for professional AV installation, telepresence and video conferencing, digital media systems, control rooms and network operations centers, hotel rental services, event staging and production. Headquartered in Tampa, Fla., AVI-SPL has highly-trained and certified system engineers throughout 32 U.S. offices and an international network of solution providers in 30 countries. Please visit www.avispl.com for more information or connect with AVI-SPL on Twitter, Facebook and LinkedIn.

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ACIR Professional Hosts Shure Demo in A.C.

EGG HARBOR TOWNSHIP, N.J.—ACIR Professional (Egg Harbor Township, N.J.) recently hosted a demonstration of the new Axient wireless mic line by Shure Microphones at the Atlantic City Hilton Casino Resort.

The Axient system of products is Shure’s latest and most advanced professional wireless microphone system to date, featuring complete spectrum management, interference detection and avoidance, advanced power management, transmitter remote control, frequency diversity, and new Wireless Workbench 6 software.

The Shure demos, attended by regional audio professionals, also included PSM-1000 and PSM-900 IEM systems, “micro body pack”, “Wireless Workbench 5” (the latest version of Shure wireless management software), and rechargeable battery technology including Shure’s rack-mountable charger.

For Shure’s audio production, ACIR provided a Yamaha LS9-16 digital console, Yamaha DSR115 Speakers, and a 4-channel rack of Shure UR series wireless (both handhelds and body packs with lavaliers) used by presenters and for Axient wireless product comparisons.

For more information, visit www.acirpro.com.

-END-

PHOTO ID: Shure’s Bill Ostry

PHOTO CREDIT: Digital Warmth

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