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Archive of the Large Venue Category

Masque Sound Welcomes Blockbuster Musical MAMMA MIA! to New Broadway Home with Custom Audio Equipment Package

When the blockbuster musical MAMMA MIA! recently moved six blocks south to its new Broadway home at the Broadhurst Theatre, Masque Sound, a leading theatrical sound reinforcement, installation and design company, welcomed the smash hit show to its new digs with a custom audio equipment package.

MAMMA MIA! tells the story of the dynamic relationship between a carefree mother and her daughter. The daughter, hoping to build a bond with the father she’s never known, decides to invite him to her upcoming wedding, only to discover that her father could be one of her mother’s three past suitors. A story full of laughs, love and lust, MAMMA MIA! features the hit songs of the Swedish pop group ABBA. MAMMA MIA! spent the past 12 years on Broadway at the Winter Garden Theatre, and for the show’s veteran Sound Designers Bobby Aitken and Andrew Bruce and Associate Sound Designer David Patridge, the move was not without its challenges.

The Broadhurst Theatre’s design itself was one of the biggest challenges that the team faced. Although many Broadway theaters share this situation, the box seating on the left and right near the proscenium extends out quite far into the sight line and therefore, slightly overshadows the speakers for some of the seats.

“In order to provide the best listening experience we could for every seat, we used a fairly substantial speaker package,” says Patridge. “We placed d&b audiotechnik E8 loudspeakers both near the proscenium and further back along the sides of the room to give the audience complete coverage. The d&b speakers compliment a main left and right line array of Meyer Sound MINA’s, and extends the coverage to the shadowed areas. It’s very smooth as you go from one side of the house to the other and something we really worked hard to achieve. It’s a smaller house, and in many ways it’s more pleasing. You don’t have as big of a room to fill with a speaker system. That was our biggest challenge, and Masque Sound was once again able to provide us with the gear we needed.”

The move to Broadhurst Theatre also provided an opportunity for the team to upgrade to a digital console and strengthen the front of house mix. “At the Winter Garden Theatre, we were using a Cadac console, one of the last analog consoles left doing Broadway musicals,” adds Patridge. “Although the Cadac has been a reliable workhorse for us, we felt it was time to retire the console and modernize the show, in that sense. Masque Sound provided us with a DiGiCo SD7 digital console for the Broadhurst production. The digital console allows us to eliminate the monitor desk, and with the SD7, we actually mix the monitors to an Aviom system directly through the console. We now have one console mixing both front of house and monitors. In addition, the SD7 takes up only about six seats as opposed to the Cadac, which took up 15 seats in the orchestra.”

As the full time vendor for MAMMA MIA!, Masque Sound also provided a wireless package of Sennheiser SK5212 transmitters and EM3532 receivers, coordinated by Eric Rivera and the Masque Sound wireless department. Since Broadhurst Theatre is sandwiched in between the show Matilda to the east, Phantom of the Opera to the west and a block of theaters just to the north, Masque Sound’s expert frequency coordination team worked hard to ensure there were no signal interference issues between the shows, as theatre walls are not enough to cut off the transmission.

“The spatial considerations in the venue dictate, to a large extent, what equipment you are able to use, and asking Masque Sound to discard the existing rental system and provide us with all new equipment was quite a tall order,” adds Patridge. “They were extremely generous and offered us new gear for the show without having to incur a ton of extra cost. It’s this type of service and support that gives Masque Sound the longevity it has experienced with MAMMA MIA!. The show continues to sound wonderful, and we are now excited to be in our new home.”

In addition to Masque Sound’s equipment, Patridge also credits his talented team with making the move such a success. Production Sound Engineer Kevin Kennedy and longtime original Broadway show Mixer Craig Cassidy were instrumental in ensuring that the move went smoothly. The show brought the same crew over from the Winter Garden, which, according to Patridge, was a godsend in terms of making sure that the move was glitch free.

Seen by over 54 million people around the world, MAMMA MIA! is celebrating 5,000 performances on Broadway and is the 10th longest running show in Broadway history. The original West End production of MAMMA MIA! is now in its fifteenth year and has celebrated more than 6,000 performances in London and the international tour has visited more than 74 foreign cities in 35 countries and been seen by more than 4.3 million people. The blockbuster feature film adaptation of MAMMA MIA! is the most successful movie musical of all time grossing $600 million worldwide. Seen in 38 productions in 14 different languages globally and with a worldwide gross of over $2 Billion, MAMMA MIA! is acclaimed by the Associated Press as “quite simply, a phenomenon.”

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Related Topics: Large Venue, Line Array, Microphones |

Extron Universal XTP Transmitter for Multi-Format Analog Video Now Shipping

Extron Electronics is pleased to announce the immediate availability of the XTP T VGA, a universal XTP transmitter that sends multi-format analog video, audio, bidirectional RS-232 and IR control, and Ethernet up to 330 feet (100 m) over a single CATx cable. The transmitter digitizes incoming analog formats, providing signal extension of RGBHV, HD component video, S-video, and composite video signals from remote analog sources for high performance transmission. It supports computer-video to 1920×1200, including HDTV 1080p/60. To simplify integration, the XTP transmitter provides VGA loop-through for source monitoring and can be powered over the same CATx cable. more

Extron Two Input XTP Wallplate Transmitter for HDMI and VGA Signals Now Shipping

Extron Electronics is pleased to announce the immediate availability of the XTP T UWP 302, a two-input XTP wallplate transmitter that provides the convenience of connecting local source devices at a wall or other locations including a lectern or floor box. This XTP transmitter mounts into a standard three-gang junction box, and sends HDMI or RGBHV video, audio, and control up to 330 feet (100 meters) over a single CATx cable. It is HDCP-compliant and supports computer-video to 1920×1200, including HDTV 1080p/60 Deep Color and 2K. For simplified integration, the XTP T UWP 302 features automatic switching between inputs with selectable prioritization, and can be powered over the same CATx cable. The XTP T UWP 302 is designed for use in XTP Systems for signal distribution and long-distance transmission between remote endpoints. more

KanexPro Announces New SDI Switchers and Distribution Amplifiers

Wednesday 12/18/2013. KanexPro is excited to give you a first look into five new products that were just released today – The 3G HD-SDI Switchers and Distribution Amplifiers. These two amazing additions to the KanexPro portfolio are as powerful as they are cost effective! Take a look at just some of their capabilities.

• Built-in Re-clock technology for signal integrity
• Designed for splitting, switching and routing SMPTE standard HD SDI signals
• Supports full HD 1080p 24, 25, 30, 50 & 60 Hz
• Support for multiple color spaces
• Auto detect SDI, 3G, HD-SDI feeds
• Data rates up to 3.0 Gbps
• Extends RG6 cables up to 1000 feet
• Rack mountable

Our SDI to HDMI converter was popular and demanding amongst installers, which led us to engineer a new array of premium SDI products targeting security A/V and broadcast markets says David Sommars, Business Development Manager at KanexPro. With high-bandwidth up to 3Gb/s these SDI switchers and splitters can be ideally used with HDcctv cameras, surveillance systems, rental & staging facilities, post-production studios, digital cinema, or other A/V applications where you need to switch, split and extend sources equipped with 3G/HD/SDI outputs to SDI-compliant displays or video processors.

For more information, please contact sales at (888) 644-4149 or check www.kanexpro.com

About KanexPro

Leveraging our core strength in professional A/V products, KanexPro carries a complete selection of A/V connectivity needs. When planning digital installations you will find that we carry a broad line of A/V connectivity products enabling you to broadcast, extend, split, or multiply HD signal transmissions; simply and cost-effectively.

KanexPro is a registered trademark. All other trademarks and registered trademarks mentioned herein are the property of their respective owners.

Tightrope Media Systems Keeps Digital Signage Content Fresh with Tight Social Media Integration

New Carousel software release adds Twitter, Facebook authentication alongside new visual enhancements tools to address evolving customer needs

ST. PAUL, MINNESOTA, December 17, 2013Tightrope Media Systems announces a new software release for its tried-and-true Carousel digital signage platform, giving its customers new tools and enhancements that keep content fresh and enrich visual appeal.

Available today, the Carousel 6.4 software release supports direct Twitter and Facebook integration, simplifying how operators access and subsequently incorporate social media feeds into signage layouts. This native connection, achieved via a simple login process, also better organizes social media integration so that content remains timely.

“Social media is so natural to people today that it’s easy for most to focus in and consume that information on signage platforms,” said Eric Henry, Signage Solutions Lead for Tightrope Media Systems. “Our customers are increasingly seeking ways to ensure that their social media content is current, dynamic and well-aligned with their screen content. It creates a natural connection between consumers and the businesses or organizations that rely on digital signage as a communications platform.”

The new Carousel software release also includes visual and operational enhancements to keep screens lively and appealing. A new text character limit on Carousel bulletins eliminate screen crowding and wordy passages to retain viewers and strengthen messages. Similarly, a new web preview feature offers a quick glance at clock bulletins to ensure content is synchronized and easy to digest. Operationally, a new copy option allows for quick transfer of new bulletins to fresh templates, allowing users to create and customize layouts rich with up-to-date information.

“The new software release benefits our customers across all digital signage verticals we serve, including hospitality, transportation, sports and houses of worship,” said Henry. “These enhancements also reflect what our customers are requesting today.”

About Tightrope Media Systems
Founded in 1997, Tightrope Media Systems is the pioneer of web-centric digital signage and broadcast automation systems. It provides station automation, video servers, internet video on demand, live streaming, the Carousel Digital Signage system, and ZEPLAY, a multi-channel instant replay machine for stadiums, arenas and Outside Broadcast vehicles. Tightrope’s award winning systems are used throughout the world. You can reach Tightrope Media Systems at (866) 866-4118 or visit them on the web at http://www.trms.com.

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Funky Junk Supplies Royer Mics For The Stereophonics Latest Tour

The Stereophonics, one of Britain’s most instantly recognisable bands, have just completed a major UK arena tour to promote their new album Graffiti On The Train.

The equipment list for the tour included three Royer R-121L ribbon microphones, which were supplied by Royer’s UK distributor Funky Junk.

Royer’s R-121 Ribbon Microphone is renowned for its ability to bring an extremely natural and realistic analogue sound to digital recording and live stages. The TEC Award winning R-121L, the ruggedized and more road-worthy ‘live’ version of the microphone, has been specifically designed to withstand the rigours of live touring. Royer won the prestigious 2013 Technical Grammy partly for their R-121, the first ribbon microphone suitable for close-miking electric guitar and other high SPL sound sources.

The microphones were chosen for the Stereophonics tour by FOH engineer Dave Roden who wanted to continue with their ongoing ethos of constant improvement of the overall sound quality at their live gigs.

“I haven’t used Royer R-121 microphones in a live situation before, but the band have used them in the studio and been very happy with the results they have achieved,” Roden says. “I have also heard them being used by other FOH engineers whom I greatly admire, (Jim Ebdon and Marc Carolan for example) and have always been really impressed with the results. I decided to use them, too, in order to up our game.”

Dave Roden was confident that incorporating Royer R-121 ribbon microphones into his live equipment arsenal would help him capture lead vocalist/guitarist Kelly Jones and lead backing vocalist/guitarist Adam Zindani’s individual guitar tones, as well as the raw energy for which the Stereophonics are famous.

“The band members have all moved on to IEM’s (in ear monitors) and they were hearing things completely differently to the way they’ve been used to with wedges,” Dave Roden explains. “In order to adapt, some of the on-stage sources required a more hi-fi approach. This was a challenge for everyone involved, but was a very positive and necessary step in respect to the future performance capabilities of the band, and gave our Monitor Engineer Dave Retson and myself the perfect opportunity to significantly upgrade our mic stock. Both the band on stage and the audience in the arenas were very happy with the guitar sounds they were hearing when we used the R-121L’s on the tour.”

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About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Vigo and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.

For more information please visit www.proaudioeurope.com

Extron Introduces Two Input DTP Wallplate Transmitters for HDMI and VGA

Extron Electronics is pleased to introduce the DTP T HWP 232 D and the DTP T UWP 232 D two input Decora®-style transmitters. The DTP T HWP 232 D transmits HDMI, audio, and control, while the DTP T UWP 232 D transmits HDMI or analog video, audio, and control. These signals are sent up to 230 feet (70 meters) over a single CATx cable to an Extron DTP 230 receiver. The DTP T UWP 232 D digitizes incoming analog video for reliable display on a variety of output devices. Both transmitters are HDCP compliant and include independent stereo audio connections. They also offer many integrator-friendly features such as EDID Minder, auto-switching between inputs, remote power capability, and bidirectional RS-232 and IR pass-through for remote AV device control. The wall-mountable design of the DTP T HWP 232 D and DTP T UWP 232 D provides the convenience of placing input connections precisely where they are needed. more

Preston Soper Wins Audio System Tech Of The Year Award

Jim Brammer & Preston Soper


Preston Soper was recently honored as Audio System Tech of the Year at the Parnelli Awards in Las Vegas, NV.

Soper, who works with Special Event Services (SES) as lead system tech for the Zac Brown Band, has worked in audio since the early 90s as a driver, live and recording engineer and installation technician with a variety of leading production companies, studios, installers and live venues. In addition to Zac Brown, Preston has toured with the Joel Osteen and Joyce Meyer Ministries, Delirious, Govt Mule, Supertramp, Lynyrd Skynyrd and other leading artists.

Asked how he felt about winning the prestigious Parnelli Award, Preston responded, “Recognition by ones peers is a compliment that is rivaled only by acknowledgment from one’s clients. I deeply appreciate and feel honored to be one of the Parnelli award winners. Throughout my life in audio, I’ve been lucky to work with people who are so inspired, talented, and skilled, that I try to take something from them and carry those lessons forward in my own work. Without those who took the time to share their insights, I wouldn’t have been in a position to be nominated or win this award.”

Preston also had kind words for his colleagues at SES and the Martin Audio MLA system used for Zac Brown: “I would also like to express my gratitude for the guidance of Jim Brammer, Jason Farah, and the SES team during my tenure there that has allowed me to grow as an engineer while designing and deploying audio systems for a broad range of clients. Special Event Services’ commitment to MLA as an early network partner and their continued investment in this leading edge technology has helped us provide well-deployed systems, scalable to the different venue types and events with consistent results at every stop on the ZBB tour.”

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

DPA’s d:facto™ Vocal Mics Hit the Road on MKS Tour


DPA’s d:facto™ II Vocal Microphones have been proving their flexibility and giving great performances on tour with MKS, the original Sugababes line-up.

The mics have also been at work in the prestigious setting of the world-famous Ronnie Scott’s Jazz Club in London. Charlie Dale, in-house engineer at Ronnie Scott’s and Front of House engineer for the band MKS and US rapper Angel Haze, is using DPA d:facto II Vocal Microphones across all these very different setups.

It was at Ronnie Scott’s that Dale first came across the microphones. DPA’s UK distributor Sound Network lent the club a unit to try out and Dale was immediately impressed.

“They instantly became my mic of choice for lead vocals, surpassing two big brands I had been using previously,” he says. “‘The d:facto’s mostly flat frequency response until its soft boost at 10 kHz gave me the ability to sculpt a very true representation of the performer’s voice with clear highs so that I don’t have to fight against feedback to pull out, and with all the warm tone one would expect from many jazz vocals.”

Dale decided that for the same reasons he wanted to use it on his pop gigs, again allowing him to easily create vocal sounds on a par with the studio-quality vocals of the artists’ records. And it’s not just the engineers who delight in the sound of the d:facto II Vocal Microphones.

“With performers, the clarity of the mic is often commented on,” Dale adds. “It allows a vocalist to hear the nuances of their vocal and gives them more control, even through loud stage wedges.”


Dale has had the opportunity to work with many big-name microphone brands in his career but, after hearing the d:facto, he believes that none of them offer the clarity and tone he wants from a live vocal.

“With MKS, all three of the girls have very different and distinct-sounding voices, and the d:facto II Vocal Microphone handled all of them with ease,” he says.

Dale’s work with rapper Angel Haze could hardly be more different.

“She rarely sings on a gig,” Dale explains. “Instead, she spends most of the time rapping hard and fast into the capsule at close proximity, often cupping the mic as many rap artists do. But the d:facto II handles all this well, making it much easier for me to pick up every syllable she spits out without loss of tonal quality on her vocal.”

Dale’s criteria for an excellent microphone are, he says, clarity, tone, excellent feedback rejection and low off-axis noise. To date, artists who Dale has used DPA’s d:facto with have all been very positive about the microphone, as have other engineers.

“Having a great vocal sound is often the hardest part of the mix, especially on noisy stages, and the d:facto helps on that front by offering a very clear and clean initial signal,” he says. “Its linear off-axis response means that what little bleed there is from wedges and back line is very clear, un-distorted and, most importantly, low-level, allowing me to get a great vocal sound every time, no matter how big or small the room, what the musical style is and how loud the band are. Studio-quality vocal tone on every gig – how could I say no to that?”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Martin Audio OmniLine Meets Challenges Of Essex University Lecture Theater


A Martin Audio OmniLine system was recently installed in the Ivor Crewe Lecture Hall (ICLH) at Essex University. Supplied by LMC Audio and installed by Scan Audio, the micro-line array system was identified as the ideal solution for the application from the word go.

The decision was endorsed by Tessa Rogowski, Head of Customer Services––Information Systems at Essex University. “I first saw the product at ISE and spoke with technical staff from Martin Audio about the specific problems we have with the 1,000 seat lecture theater, namely hard surfaces and the fact that the only place to hang speakers was behind the microphones, causing problems with feedback.”

Tessa continues, “There was no question in my mind that this needed to be solved once and for all. Martin Audio were the first people who actually appeared to understand my problems, and had the technology to ensure that the installation would be carried out correctly, the first time.”

The resulting OmniLine sale of 64 elements was handled by LMC Audio London, where Technical Sales Supervisor, Sam Simon-Norris, oversaw the project.

Following an initial visit from Martin Audio’s Peter Child to discuss OmniLine, it quickly became obvious to him that this was the perfect system to install at the ICLH. “With fantastic sound and sleek styling, I could see that it would complement the contemporary nature of the building brilliantly,” Simon-Norris stated.

The OmniLine system will primarily be used for voice amplification in the theater, which is used for high profile graduation ceremonies, conferences and lectures. However, a further challenge is that the theater can also split into two self-contained 500-seat spaces when the positioning of the speakers would automatically change, since they are hung on the walls that would move during the transformation.

Nigel Meddemmen, Martin Audio sales support, addressed the challenge by carrying out venue predictions as an accurate 2D slice using the OmniLine software. The calculations enabled him to position the arrays to ensure best possible response and generate the required rigging, inter-module angles and equalization. These peculiar challenges, he noted, “Actually made OmniLine an excellent choice.”

Other challenges included the use of a variety of microphones in front of the PA system, including tricky omnidirectional lavalier mics, which tend to be favored by university lecturers—plus the insistence on wall-mounting the arrays since the roof structure had not been rated for a flown system.

The biggest problem, however, was the fact that the rear walls of the hall move, splitting the auditorium via a central removable divide when it needs to open up. A total of four OmniLine arrays were specified to cover each of the two sides, yet maintain pattern control across exactly the same area when the room is functioning as a single large space. However, the front wall in each of the two halves is hinged, and when moved backwards, it would swing the outside arrays inward to leave gaps in the coverage at the sides while producing a troublesome coverage overlap in the center between the two ‘inner’ arrays.

The solution was to fix the vertical coverage of the arrays while leaving a degree of play in the horizontal alignment, which would normally be tightened off once commissioned to prevent any movement. An ‘angle stop’ system was therefore designed to slot behind the standard OmniLine wall mount brackets, to make it easy to accurately reposition the arrays when the room configuration changes.

Summarizes Sam Simon-Norris, “Nigel’s solution for overcoming the two-zone problem was as ingenious as it was practical, utilizing an additional bracket to allow the arrays to be swung from one position to another, giving optimum coverage in both modes. This really was a breakthrough for the project, and left us with no doubts that this system would be the perfect choice for the ICLH.”

For the installation itself, Simon-Norris chose long-standing LMC Audio client Scan Audio to carry out the work. The company’s MD, William (Dee) Couchman comments, “We have worked with LMC since the early 1990’s and have always been well supported with great product selection, support and demonstration equipment when needed. We had previously worked successfully together on projects for other educational institutions, and while the University of Essex was new to us, the project looked particularly interesting and we were keen to try out the new compact OmniLine system.”

The installation itself was carried out over four days, including one day to decommission the existing large custom column speakers and a small line array.

Couchman confirmed, “The main challenges included fitting the four line arrays of 16 OmniLine modules to the two large moveable projection walls. The tops of the arrays were only a few inches beneath the stage ceiling area so we used specialized hoist equipment to precisely move these into position above the supporting brackets while avoiding damage to the projection surface.

“The setting provided by the design software required only minor adjustment to produce a clear intelligible sound for this mainly speech-based reinforcement system,” he continued. “Music reproduction was surprisingly full range from such a compact line array, which blended very well with the interior of the hall.”

Nigel Meddemmen also confirmed that OmniLine had proven to be an excellent choice for this application. In addition to solving the University’s sound problems he notes that OmniLine is also visually unobtrusive, the curved lines and neutral grey color helping the system to blend, and not detract from the focus of the venue, in this case the university lecturers.

All of which is a source of great satisfaction for Tessa Rogowski. “It is exactly what I was hoping for,” she said. “Clear vocal reproduction even at the back of the hall in the seats positioned immediately in front of a significantly noisy HVAC outlet. And there is no feedback.

“From those with experience of the previously appalling sound, when they entered the room this time and we turned on the volume, they universally walked round the hall with silly grins on their faces. Sad though this is, we don’t get compliments, we have just stopped getting complaints—and trust me this makes it more than worthwhile.

“As for the installation process. I was most impressed. We could only give the installation team the smallest time frame to undertake the work—as the hall is booked at least six months in advance—and despite this all the work was completed on time.”

But the final word comes from Sam Simon-Norris. “This is just the sort of application for which OmniLine was designed and feedback from the university staff suggests that it has met and exceeded the initial brief on all counts.”

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.

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