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Archive of the Large Venue Category

Reach Communications Adds NEXO STM Line Array To Arsenal

BUENA PARK, Calif.—Reach Communications of Minneapolis, MN has added a new NEXO STM line array to its already impressive stable of NEXO boxes. “We researched NEXO, L’Acoustics, d&b and others for boxes having a high 145+db peak output per box, to use as a large format line array for our bigger shows, states Dan Brown, Event Services Manager, at Reach. Having had a long history with NEXO and owning 130+ boxes in house before this purchase, we felt with our current inventory and amazing support from NEXO, this was the obvious option.” With the addition of the STM, Reach now owns 192 NEXO boxes, and 34 NXAmp 4×4 and 4 NXAmp 4×1 amplifiers.

So far, the NEXO STM rig has been used on Unite – NDOP 2014 and the KTIS Joyful Noise Family Festival 2014. NDOP included Hillsong United and a local Unite house band. KTIS Joyful Noise acts included Lincoln Brewster, Mercy Me, Tenth Ave North, Steven Curtis Chapman, Audio Adrenaline, Mandisa, and Hawk Nelson.

“The output and sound quality is incredible and very accurate, says Brown. We have had engineers comment that the STM rig has headroom for days and I barely had to do anything to the EQ! We wanted a system that would give engineers a clean canvas to mix on and headroom to handle the largest venues, and STM provides that.”

For NDOP 2014, the NEXO layout consisted of 12 STM M46 boxes and 12 B112 bass per side, 8 GEO S12s per side for outfill and 9 GEO S12s per side for rear fill. 8 STM S118 subs were used left and right with 8 RS18 spread across the center, and 8 PS10-R2s provided front fill. For Joyful Noise, the NEXO layout consisted of 12 STM M46 boxes and B112 bass per side, 12 GEO S12s HL used for outfill, 5 GEO S12s HR for outfill, 16 GEO S12 used for delays – 8 left and 8 right, 16 NEXO STM S118 subs – 8 per side in Cardioid configuration, 18 RS18 ray subs spread across the center in stacks of 3, and 8 PS10-R2 for front fill. The monitor rig for Joyful Noise included 10 PS15-R2 wedges, 2 PS15-R2 and 2 RS18s for side fills, and 2 RS15 used for drum subs. 14 NEXO NUAR racks powered the system.

“Reach Communications rig was my first experience with the NEXO STM, and it was incredible! states Lee Fields, front of house engineer for Lincoln Brewster. The horsepower of this PA is remarkable. From the second I started mixing until the last note, I was blown away by the punch of the LF and smoothness of the HF. This is Seriously the muscle-car of PA’s.”

For Unite NDOP, Reach provided two Yamaha CL5 digital audio consoles, one at front of house and one for monitors and a PM5D-RH for the house band monitors. A Yamaha CL5 was used at FOH and PM5D-RH at monitors for Joyful Noise. Reach also used the new Yamaha QL1 digital audio console for playback and announcements.

Additional audio gear supplied by Reach included Sennheiser 2000 IEM, Shure UHF-R, Shure, Sennheiser, Beyer, AT mics and Radial, Countryman DI’s. Lighting included Vari-Lite VL3000 spot, VL3500 spot, Martin MAC Aura, MAC 101 – Atomic 3000, ChromaQ colorforce 48, Chauvet 230SR Beam, GrandMA2 light. Video consisted of Hitachi HD1000 camera, Ross Carbonite 2ME switcher, Ross Router, AJA KiPro recorders.

For more information on Reach Communications, visit www.reachcomm.net.

For more information on the NEXO STM line array, 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.

Community Provides the Sound for Tokyo’s Most Famous Square

Hachiko Square, sometimes called Hachiko Plaza, is probably the busiest and best-known meeting place in Tokyo. Named in honour of the famous statue of the “Faithful Dog Hachiko,” it is fenced in by a department store, two train stations and the well-known Shibuya pedestrian scramble crossing that is reputed to be the busiest in the world.

The plaza is usually teeming with people, especially during evenings and weekends. It is a prime people-watching spot and a very popular meeting place. Most people, locals and tourists alike, gravitate toward the bronzed Akita Inu statue referred to as Hachi or Hachiko. The original statue was erected in 1934 to honour the dog who met his master, Professor Ueno Hidesaburo, every day at the station after work. When Professor Ueno died in 1925 and did not return, Hachiko continued to wait for him daily for the next nine years, appearing exactly when the train was due. The story continues to be told and the 2.4 million people who use Shibuya Station pass by the bronze dog each day.

As with many of the world’s great cities, such a location provides the perfect advertising opportunity and the professional sound company, Katoya Recording Service, was commissioned to provide sound for a 24.3 x 17.3 meter LED screen, which is mounted on a roof overlooking the intersection.

Mr Katoya, Managing Director of Katoya Recording Service, explained the choice of loudspeakers, “To provide high quality and intelligibility within a defined area at such a distance required high power loudspeakers with exceptional control. We chose two Community R.5-66T’s, with 60×60 degree dispersion for the main area, and an R.5-HPT with 60×40 dispersion to focus on the distant crossroads. They deliver the sound clearly to the areas where the displays are seen, but do not create a noise problem with spillage.”

A Powersoft M30D HDSP+ETH was chosen to drive the Community loudspeakers, for its power, audio quality and the on-board DSP it provides.

With R SERIES’ proven all-weather capabilities, Katoya Recording Service has provided a system with the quality and reliability the application required, and a system that will be heard by countless millions for many years to come.

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Shure Wireless Dominates Telecast of 68th Tony Awards on CBS

NILES, Ill., June 17, 2014—The CBS broadcast of the 2014 Tony Awards, which aired June 8, was one of the most complex in the event’s history. From host Hugh Jackman’s sprawling, bouncing, opening number to the on-stage gathering of all winners for a closing rendition of “On Broadway,” viewers were treated to a fast-paced production that included a record 17 musical acts and a live orchestra in Radio City Music Hall.

Managing RF system design and frequency coordination for Firehouse Productions was Vinny Siniscal. “With so much real estate to cover, so many frequencies to manage and so many live bands, I specified Shure UHF-R systems again this year,” he states. “When I’m doing a live network broadcast, that’s my preference. Even though the product has been around ten years or so, I know there’s nothing else out there that I trust to be robust enough to survive in such a crowded RF environment.”

This year’s production used almost 250 channels of wireless, 64 of which were for microphones. In addition, all eight channels of in-ear monitors on the Tony stage were Shure PSM® 1000 systems. The production also used wireless intercom systems, effects cues, and ENG cameras – most notably the Steadicam following Jackman from the red carpet to the stage on the opening number. “Producers design these shows assuming that whatever wireless is required can be accommodated,” notes Siniscal. “If that means more channels in less available spectrum, then so be it. It’s our job to make it happen.”

All but eight of the wireless mics were Shure UHF-R—the only exceptions were a handful of costumes with other transmitters already sewn inside. Most of the 56 Shure channels were bodypacks, including 32 UR1M micro-packs. Twelve channels were UR2 handheld transmitters, with an SM58® capsule for Hugh Jackman and Beta 58 elements for most other artists, including Carole King, LL Cool J, and Sting’s choir. “Firehouse provided full combo systems, and, of course, we had all Shure capsules available,” says Siniscal. “At the Tony Awards, you have to be ready for anything.”

One of Siniscal’s biggest challenges this year was the creation of six separate wireless reception zones. “That was driven by the opening number,” he relates. “It started on the red carpet, which is literally outside and open to all the RF on the street. Then we had to cover the stage-level and basement-level elevator banks, plus the elevator shaft itself. Of course, we also had the usual zones for the main stage and front of house, plus the backstage zone.”

To handle the audio transition from zone to zone, Siniscal found the Shure UA874 active directional antenna to be a valuable tool. “What I love about these antennas is that the RF output is switchable from -6dB to +12dB, including unity gain,” he explains. “That’s a key feature, as it allows me to balance for different RF levels across the various zones. I can also turn each zone on and off remotely via the distribution amp.”

With a lot of advance work, three scanners, and a lot of Shure equipment, Firehouse Productions contributed flawless wireless to the telecast for the fourth consecutive year. “Doing the Tony Awards is always a big challenge, because every year, the production grows,” says Siniscal. “We had about 50 more wireless channels compared to last year, plus the outdoor coverage. That means competing with whatever is happening in Midtown – which is a lot of variables to deal with, especially for a live network broadcast. But we had a great team; we did our advance work, and had the right tools for the job. Fortunately, it went off without a hitch, and I look forward to doing it again next year.”

 

Host Hugh Jackman speaks onstage during the 68th Annual Tony Awards at Radio City Music Hall on June 8, 2014 in New York City. (Photo by Theo Wargo/Getty Images for Tony Awards Productions)

 

 

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Community Delivers Great Sound for New Ice Hockey World Championship Arena in Belarus

Art Ramos Studio a.l.c., Community’s partner in Belarus, has recently overseen the installation of the audio systems at the Chizhovka-Arena in Minsk, featuring Community loudspeakers. The arena, one of the largest sports facilities in Belarus, is a multipurpose complex for ice hockey, sports, leisure and entertainment and is the home ground of HC Yunost-Minsk.

Chizhovka-Arena was built for the International Ice Hockey Federation (IIHF) Ice Hockey World Championship that took place in Minsk in May 2014. In addition to the tens of thousands of fans that traveled to see the event live, the IIHF’s flagship event was televised to 115 countries with television audience around the 1,000 million mark.

Chizhovka-Arena is located in the southeastern part of Minsk in a picturesque nook of a park named after the 900th anniversary of the city. Designed by Marat Grodnikov, the arena resembles two drops of water flowing into each other. The modern design fits well into the landscape of the Chizhovka Water Reservoir.

The main building, an ice hockey arena with multipurpose use for concerts, basketball and other events, seats 10,000. The second building consists of a small ice hockey training arena with 500 seats and a multipurpose sports hall with 740 seats, used for basketball, handball, gymnastics and other sports. This sports hall is also frequently used by television companies for filming TV shows. The two buildings are connected by a junction with conference and press rooms, shops, restaurants and cafés.

An original proposal was modified with a system design by Art Ramos Studio engineers, Alexey Sayganov and Alexandr Malets and the project was awarded by tender, complying with the obligatory procedure for all governmental purchases. Anton Streltsov, Deputy Director of Art Ramos Studio, commented, “Our proposal was chosen as it offered excellent value to the customer and met the requirements of the arena with a very modern approach.” The installation was handled by BelElectroMontazh, with supervision and support from Art Ramos Studio.

Throughout the complex the system uses two hundred and thirty-eight Community Distributed Design Series ceiling loudspeakers and four hundred and thirty-two Distributed Design surface-mount loudspeakers, supplied in a combination of black and white finishes to best complement their locations. In addition, eight Community R.5HP three-way coaxial, 12-inch loudspeakers were used to cover the ice hockey pitch in the main arena.

All loudspeakers are part of the EVAC/fire alarm system, for which separate certification was made in Belarus. The loudspeaker lines and loudspeakers are all controlled by QSC Q-SYS which monitors for loudspeaker, cable and short circuit faults.

Five separate Q-SYS systems are used to cover all areas of the complex, including the large arena seating, corridors, foyers, halls, cafés and restaurants, the small arena’s ice hockey area, the small arena’s sports hall, the small arena’s corridors, foyers and halls and the junction between the two arenas. The system includes a DiGiCo SD11 mixer, QSC amplifiers and Beyerdynamic microphones.

Anton Streltsov concluded, “Our team was extremely satisfied with the system’s results. With Community we know we can always deliver outstanding sound quality and reliability. Our engineers were particularly impressed by the uniformity of the SPL we achieved on the ice hockey pitch using R.5HP speakers, which is really important as players move so fast under adjacent loudspeakers. It was the best result of any similar installation.”

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Corporate A/V Company Adds Yamaha QL1 For Fortune 100 Clients

BUENA PARK, Calif.—Sardis Media of Grayslake, Illinois recently took delivery of a new Yamaha QL1 Series Digital Audio Console for use on their corporate A/V projects. For over 30 years, Sardis Media has produced videos, meetings, and special events for Fortune 100 corporations, non-profits, and A-list associations. Clients include Advisors Excel, Motorola Solutions, Baxter, MorphoTrak, RustOleum, & RZIM. The company purchased its QL1 from Reach Communications of Brooklyn Park, Minnesota.

Sardis, who also owns a Yamaha M7CL Digital Audio Console, will use the new QL1 on the road as the primary audio console for smaller corporate events that require large event features. “We needed a console that had a lot of power and features but in a much smaller footprint for front of house for our production truck, says company spokesperson Nate Aguilar. Clients are always happy when we save space at FOH so they can fit more attendees in the room. As operators, we love that we don’t have to sacrifice quality when going to a small console like the QL1.”

Aguilar said that being in the corporate events business they are always dealing with more than a few Lavaliere microphones open at one time on stage, and the built-in Dugan auto mixer feature of the QL1 helps manage levels tremendously.

“We knew we wanted a touch screen for quick adjustments and graphic feedback on changes being made, says Aguilar. Most of us on staff at Sardis have a background in graphics or video, so being able to actually see what the console is outputting is important. Also, the built-in Dante network gives us the flexibility to add channels and outputs when needed in small increments, and having the ability to record every input separately is vital.”

Since Sardis already owns an M7CL and loves the operation, Aguilar notes, “it was a no brainer to add the Yamaha QL1 with its minimal learning curve to our inventory.”

For more information on Sardis Media, visit www.sardismedia.com.

For more information on Reach Communications, visit www.reachcomm.net.

For more information on the new Yamaha QL Series Digital Audio Consoles,
visit www.yamahaca.com.

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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.

Martin Audio Introduces DD12 Powered Loudspeaker System At InfoComm

Las Vegas, NV––Martin Audio introduced the versatile new DD12 loudspeaker system at InfoComm 2014.

The multi-purpose DD12 defines the ultimate in performance and versatility for powered, two-way loudspeaker systems. It combines onboard networking, DSP and Class D amplification with state-of-the-art transducers and Differential Dispersion™ horn technology to achieve best-in-class performance in terms of fidelity, output capability and consistent coverage across the audience.

Differential Dispersion technology delivers more consistent audience coverage than systems with X° x Y° horns, providing more throw to the rear to distribute sound evenly front-to-back, with close-up horizontal coverage for the front rows.

Versatility is a key attribute of the DD12. The system is designed to meet a multitude of premium stand-alone and distributed sound reinforcement requirements, from touring, theater and portable live sound applications to concert hall and HoW installations, AV events and stage monitor use. Ideal as the main PA in small-to-medium size rooms, it can also be used as an infill loudspeaker in large-scale systems.

Whether configured as part of a stand-alone DD12 system or part of a larger MLA/MLA Compact system, individual DD12’s can be controlled and monitored from a laptop or wireless tablet PC via intuitive VU-NET proprietary software. PC connection can be made directly via USB or via Martin Audio’s proprietary U-NET network and Merlin loudspeaker and network management system.

An important feature of the DD12 is its internal memory, which allows factory ‘plug-and-play’ or user-generated DSP preset ‘snapshots’ to be recalled by means of a preset selector button on the rear panel, instead of using computer control.

In addition, comprehensive accessories support a wide variety of mounting options, including surface, ceiling and pole mount. The DD12’s universal bracket facilitates a wide range of down-tilt and up-tilt angles in both portrait and landscape orientation, and can be mounted directly onto the pole of a speaker stand or attached to a scaffold clamp.

Jason Baird, R&D Director for Martin Audio, concludes, “This market sector has been underserved from a technology and innovation point of view for far too long. DD12 will signal a true shift in fidelity, output capability and coverage and bring our Differential Dispersion™ horn technology to, quite literally, a wider audience”.

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

KEY FEATURES AT A GLANCE

Multi-purpose, bi-amplified, powered two-way system; Compact, multi-angle, polyurethane-coated plywood enclosure with screw-free perforated steel grille

User rotatable Differential DispersionTM¬ horn optimizes coverage footprint across the audience plane

Onboard network, DSP and Class D amplification

Switched mode power supply with PFC (Power Factor Correction) and global mains operation

Wide range of vertical and horizontal deployment options

Integral pole mount and M8 rigging inserts

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.

Extron Announces First MediaLink Plus Controller Configured with GC Plus

Extron Electronics is pleased to introduce the MLC Plus 84 D. This easy-to-use, two-gang Ethernet controller is used for controlling common AV functions such as power, input switching, and volume. As part of the new MediaLink Plus Series, it is designed with more powerful features, enhanced security, and Ethernet control. It has 11 backlit soft touch buttons and a variety of ports and inputs, including a remote volume control port for use with select Extron amplifiers. Power over Ethernet – PoE allows the controller to receive power and communications over a single Ethernet cable. It is ideal for use in single display applications or anywhere that centralized, pushbutton AV control is needed. more

University of Oslo Dental School Opens Wide for Iconyx

Oslo, Norway – June 2014… The University of Oslo is recognized as one of Northern Europe’s most prestigious institutions, ranking among the world’s top 100 universities. With a strong focus on Science, Law, and Medicine, the University’s School of Dentistry is among the most respected teaching facilities of its kind.

The University’s main Campus Medica building is home to the offices and laboratories of distinguished scientists and doctors from across the globe, along with dozens of classrooms and a large 350-seat lecture hall and demonstration lab. The auditorium was recently treated to an AV makeover, installing a new sound and video system featuring Renkus-Heinz Iconyx IC Live digitally steered arrays.

The system was designed by Cowi Consultaing Group, led by Geir Kristoffersen, working together with leading Norwegian pro AV distributors Benum AS, and installed by Caverion Norway. It features IC Live ICL-FR Dual digitally steered arrays to the left and right of a large video screen, with each array topped by a single IC215S dual 15-inch subwoofer to deliver articulate, full-range sound to the entire hall.

“The Iconyx arrays enabled us to focus the sound solidly on the audience area, and steer it away from the walls and ceiling,” explains Sverre Jøssund, Product Manager for Benum AS. “And the Iconyx form factor is much more low profile than a traditional line array, so it doesn’t create sightline issues for any of the seats.” An Allen and Heath matrix mixer handles the inputs from ten channels of wired and wireless Shure microphones, with Crestron control making the system quite user friendly.

“Using the beam steering to its full potential, the ICONYX speakers were able to deliver great, well controlled speech intelligibility to the very back rows,” added Geir Kristoffersen. “It is difficult to imagine how a conventional loudspeaker could have delivered this type of performance.”

“The IC Live fit perfectly in this space, and really satisfied all their needs,” Jøssund concludes. “You can play heavy rock music, or the softest professor’s voice, and it all sounds clear, clean, and powerful. They’re really happy with the system.”

###

Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

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.

-ends-

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

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.

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