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Archive of the Line Array Category

Classic St. Louis Church Trades 12 For 1 with Iconyx

Florrisant, MO – March 2014… One of the first settlements in what would become the State of Missouri, Florrisant was founded in the 18th century by French settlers. Until the late 19th century, French was the village’s predominant language — except for a small population of German settlers in the southern part of town. Seeking a church that spoke their language, in 1866 a handful of those German families founded the Church of the Sacred Heart of Jesus.

The church’s grand old Gothic style sanctuary has been a landmark on Jefferson Street since 1893. The 600 seat hall was designed in the spirit of the great cathedrals, with soaring walls, stone floors, high arched ceilings, and ornate stained glass windows. It’s a lush, reverberant setting for choir and organ, but problematic for spoken word intelligibility.

“Although it’s not a large room, its acoustical character is very much like that of a cathedral,” explains Gary Haselhorst, President of Valley Park, MO-based Cignal Systems. “Their issues are similar to that of a cathedral, on a smaller scale — it’s a very reverberant space, and intelligibility suffers.” The church’s previous sound system, with 12 pillar-mounted cabinets, only added to the cacophony.

Cignal removed the existing speakers and replaced them with a single Iconyx digitally steered line array column from Renkus-Heinz. “We had recently used the Iconyx in the St. Louis Basilica, and when the monsignors heard how well it worked in the cathedral, they knew there was hope for theirs as well.”

A single IC24-R-II column is mounted on a front pillar, just left of the altar. “We were able to achieve very uniform coverage with just one speaker,” says Haselhorst. “We ordered the cabinet painted to match the brickwork, and the Monsignor’s sister painted some marbled accents on it. It blends in almost invisibly with the architecture.”

Haselhorst reports the system has solved the room’s intelligibility problems and more. “They run the praise band through the Iconyx as well, and it sounds great,” he says. “We took out twelve speakers and replaced them with one Iconyx. They’re very pleased.”

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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.

Long Beach Arena’s Pacific Ballroom is Covered by Renkus-Heinz

Long Beach, CA – February 2014…Covered on the outside by one of the world’s largest murals, “Planet Ocean,” The Long Beach Arena is an unmistakable part of the city’s skyline. Built in the early 1960s as part of the greater Long Beach Convention Center, the Arena is also an unrivaled cornerstone of entertainment in Southern California, hosting events ranging from the first NHL game in 1967 and the 1984 Olympic volleyball tournaments, to acts as diverse as Cirque Du Soleil, Iron Maiden, Run-D.M.C and Disney on Ice.

The Arena’s Pacific Ballroom, along with the rest of the Convention Center, has recently reopened after a massive series of renovations. The Ballroom’s new state-of-the-art audio, lighting, and curtaining system — the largest ceiling grid in the country — has been recognized by Venues Today magazine with an Ops and Tech Award. The system has helped to transform the Arena into even more of a multi-functional venue, enabling the 46,000 sq. foot, 200 foot long elliptical floor to be partitioned for use without the surrounding arena seating, and arranged in a wide range of configurations.

But while the curtain does wonders to partition and conceal the arena seating and frame the flat floor, it does little for the acoustics of the space. Indeed, the Arena’s vast acoustics presented a challenge in finding a sound system flexible enough to meet the demands of its wide-ranging roster of events.

Working with architectural firm John Fisher & Associates, engineering firm JR Clancy, and installers Pro Sound, Burbank, CA-based Electronsonic created an audio system to address the Arena’s diverse needs. The system, which mounts on a moveable ceiling grid, comprises left and right hangs of ten Renkus-Heinz IC2 digitally steerable array cabinets per side. Each array is augmented by eight IC118S subwoofers for low frequency power and punch. As Electrosonics Andy Batwinas explains, it’s a concept that has never really been implemented on this scale.

“The grid itself can lower to 30 feet for smaller events, and raise up to 70 feet for games and larger events,” says Batwinas. A series of connection points allow the speaker arrays to move around the grid depending on the desired configuration. Once in place, the IC2 arrays’ digitally steered beam technology enables them to be configured to cover only the areas needed, steering sound away from the hall’s reflective outer areas. The grid can also lowered and removed for events like a Cirque Du Soleil show, providing full access to the 75-foot ceiling, and the IC2 arrays can be removed from the grid and ground stacked as well.

“The IC2 delivers such even sound pressure level from front to back,” Batwinas says. “When we did the demo, it was set up at the far end of the arena and shot down the long way. You could walk the whole space, cover the floor, and keep it a solid 98 db SPL from one side to the other.”

The system is networked using RHAON control, enabling the Arena’s technical crew to implement preset coverage configurations for different event needs, and making quick changeovers possible with the press of a button.

“The IC2 steered beam technology made it a vastly superior alternative to a standard line array system,” Batwinas observes. “With the IC2 you can aim the sound down to the floor so it’s not bouncing off the architecture.”

Based on the success of the IC2 system, a Renkus-Heinz system of 18 VARIA modular point source arrays and 12 VA15S subwoofers was added to cover the Arena’s 19,000 square foot Lobby area and 29,000 square foot concourse. The VARIA’s modular design and variable dispersion patterns enable the systems to be custom configured for the area’s different ballrooms, theaters, halls, and atrium. Additionally, 16 CFX81 loudspeakers were installed in the ceiling of the Arena’s lobby for added foreground coverage.

The Long Beach Arena’s grand re-opening on November 20, 2013 met with rave reviews, and the Ballroom boasts a full calendar and an exciting 2014.

 

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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.

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Hoyts Chile Chooses Christie for their Conversion to Digital Cinema

Christie®, a world leader in digital cinema projection, is pleased to announce that it has been chosen by Hoyts Chile, the leading screening chain belonging to Grupo Chilefilms, to digitize its 127 35mm theaters distributed across 23 complexes throughout the country. The agreement includes the installation of digital cinema projectors from the Christie Solaria™ Series, the Christie Avias-TMS™ Theatre Management System and select Christie Vive Audio™ cinema sound systems.

To carry out the digital theater conversion process, Hoyts Chile released a private technology tender in which it invited the most distinguished suppliers in the industry to bid. “In the end we chose Christie because their business proposal was the most complete, attractive and aggressive,” stated Juan Carlos Arriagada Mons, General Manager of Cinecolor Chile, Grupo Chilefilms division that provides technology services for all business units of the group.

“Christie knew how to interpret our planning, appreciated our apprehension with technological changes and financing needs and they pledged their commitment to a close, long-term relationship. Their offer was not limited to supplying projection equipment only, but they also guaranteed immediate access to spare parts, lamps, new technologies and financing in a long-term contract,” added Juan Carlos Arriagada Mons, Cinecolor Chile.

Hoyts Chile has a long business relationship with Christie. In fact, in mid-June of 2012, the color correction/projection theaters of Cinecolor –the post-production division for images, sound and cinematographic laboratory of Grupo Chilefilms with presence in Mexico, Colombia, Brazil, Argentina and Chile – was equipped with Christie CP2220 projectors.

Craig Sholder, VP, Entertainment Solutions at Christie, said “We are delighted that Hoyts Chile has once again put their trust in our projectors for their digital theater roll out, which is proof of the confidence and respect that theater professionals have for Christie. Today the digital cinema projectors that Christie manufactures have the largest worldwide market share because exhibitors recognize that our projectors, in addition to having exceptional image quality, offer the best light efficiency and the lowest operating costs”.

Christie will supply Hoyts Chile with a variety of DLP Cinema® projectors, such as Christie CP2215, Christie CP2220 and Christie CP2230, as well as the Christie Avias-TMS™ Theatre Management System (TMS), which allows the screen operators to centrally control and organize all projection operations from a multi-screen theater.

Furthermore, Hoyts Chile will equip three of their theaters with the innovative Christie Vive Audio™ cinema sound solution, which they will use along with a leading immersive audio platform, Dolby® Atmos™.

“Christie invited us to several demonstrations of the Vive Audio technology, where we were able to witness and systematically measure the extraordinary distribution of the sound pressure throughout the audience, which substantially improves the intelligibility of the dialogue (with respect to cone-based speaker systems) and the uniform distribution of sound in the theater, greatly decreasing the rebounding that causes interference,” said Juan Carlos Arriagada Mons.

Hoyts Chile’s roll out, which will take place through a Virtual Print Fee (VPF) agreement with GDC Technology, began in January of 2014 and it is expected to be completed by November of this year, including the digitalization by Christie of the new theaters that Hoyts Chile plans on opening in 2015 and 2016, which could number as many as 30 screens.

Thunder Audio Storms Into 2014 With K2

Prominent Midwest-based SR provider takes delivery of its first L-ACOUSTICS system

The Thunder Audio crew with several of its new L-ACOUSTICS enclosures

LIVONIA, Michigan — Fresh back from the 25th annual Pollstar Awards in Nashville, where they were nominated for “Sound Company of the Year,” Thunder Audio President Tony Villarreal and Vice President Paul Owen proudly announce that they have now officially taken delivery of their company’s first L-ACOUSTICS system, the new K2.

Comprised of 36 K2 and six KARA variable curvature WST® line source elements, eight K1-SB and 18 SB28 subs, six ARCS II constant curvature enclosures and 10 LA-RAK touring racks — each housing three LA8 amplified controllers — the sound reinforcement provider’s recent purchase marks one of the very first K2 systems sold in the U.S.

Thunder Audio’s company principals made the decision to join the L-ACOUSTICS family after critically listening to K2 late last year at the manufacturer’s corporate headquarters in Marcoussis, France. Fully aware of the impact that L-ACOUSTICS’ larger K1 system has had on the festival and touring industries, both Villarreal and Owen are equally optimistic about K2′s potential.

Paul Owen (left) and Tony Villarreal at the 25th annual Pollstar Awards at the historic Ryman Theater in Nashville where Thunder Audio was nominated for "Sound Company of the Year"

“In the past, we’ve always purchased large-scale systems based on the requirements dictated by a specific tour or application,” notes Owen. “This is the first time, however, that we’ve taken delivery of a product purely from the standpoint of feeling in our gut that it will be a success. Given the overwhelming reputation of K1 — as well as the more than 20-year legacy of K2′s predecessor, V-DOSC — we knew that getting in on the ground floor of this new system with such a stellar pedigree was absolutely the right choice for us and our client base.”

“With its compact profile, surprisingly light weight and exceptional horsepower, K2 is perfect for so many of our customers — from corporate to touring to theatrical,” agrees Villarreal. “And, of course, the sound is absolutely phenomenal. We A/B-ed it with the other four systems in our inventory and felt that it shined above and beyond anything else. We really have a sense that this is very quickly going to become the number one requested box on the market, and we’re so confident in that fact that we’ve already put in a purchase order for an additional 48 K2 for early next year, which is about the soonest we can get more seeing how popular they are right now!”

According to the two company principals, Thunder Audio is ultimately hoping to set its sights on K1 ownership as well. “In addition to being terrific as a standalone system, K2 is also a great stepping stone for us potentially getting into K1,” Owen describes. “It would make a lot of sense for us to be able to repurpose our K2 arrays as side hangs on a stadium-sized rig, which is one of the big reasons that we began looking into it in the first place. We’ve had some prior clients that have requested L-ACOUSTICS in the past, and with K2 — and eventually K1, perhaps — we’ll be in a position to give them both the service that has been our hallmark and the systems that they’re looking for.”

Villarreal sums things up by adding, “We feel that we’ve definitely made a wise investment here. The demand for the product is strong and the support we’ve received from L-ACOUSTICS has been fantastic. It’s truly a winning combination.”

About Thunder Audio
Headquartered in the Detroit suburb of Livonia, with a new office and rehearsal space in Nashville, Thunder Audio has grown over the past three and a half decades into one of the world’s top touring sound reinforcement companies. For more information, visit www.thunderaudioinc.com.

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Contact:
Thunder Audio
28501 Schoolcraft Rd., Livonia, MI 48150
Phone: 313.291.5020 / Fax: 313.291.5124
Web: www.thunderaudioinc.com

Delicate and Martin Audio MLA Team Up For Maroon Five

Las Vegas, NV––For the second year in a row, Delicate Productions supported Maroon Five with a Martin Audio MLA system for two celebratory New Year’s Eve shows at the Mandalay Bay Event Center.

The Event Center, a modern 12,000-seat venue, “is fortunately one of the better sounding casino rooms,” according to Jim Ebdon, FOH Engineer for Maroon Five.

“In these venues it’s all about the coverage,” Jim explains, “and what’s great about the MLA system is that it covers so well. It’s a smaller box and very versatile. We work with Delicate a lot and I trust them, so I leave it up to (President of Delicate Productions) Jason Alt and FOH Tech Makoto Araki to set up.

“They do a great job shooting the room, making the analysis and figuring out how many boxes they’re going to need and how the side hangs should be configured depending on the amount of tickets we’ve sold. Maroon Five usually sell out these shows, so the hangs tend to go right round the sides of the stage in a 270 configuration. And with MLA, we’re able to control the sound well to avoid reflections.”

The setup for these shows consisted of 11 Martin Audio MLA, one MLD (downfill) and 12 MLA Compact enclosures per side with 12 MLX subwoofers, plus 6 W8LMD and four WT2s for side fills. In addition to Alt and Araki, the Delicate crew included Craig Robinson (Monitor Tech) and Russ Cunningham (Stage Tech).

Asked how the system sounded, Ebdon said, “MLA is a very flat system, it doesn’t color the sound in any way, which is great. And I find it to be very accurate as well; the high frequencies are smooth and extremely easy to listen to. Going down the frequency range, there’s a very seamless transition into the subwoofer. With many systems, you hear the main flown PA and then the sub, it sounds like two separate sound sources. Not with MLA. It’s a real full-range sound system.

“We travel a lot and I’m lucky enough to plug into all kinds of sound systems these days. When it comes to MLA, I don’t even need to get into what kind of drivers or amps Martin Audio uses because it sounds good, and that’s all that matters.”

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.

Cairo’s St. Therese Basilica Gets Mackie HDA

Cairo, Egypt , February 2014…With more than 22 million inhabitants, the city of Cairo is rich in history and culture. In a region renowned as the birthplace of most of today’s religions, the sprawling metropolis on the banks of the Nile River is dotted with mosques, cathedrals, and houses of worship large and small.

The Basilica of Saint Therese of the Child Jesus is one of the more remarkable Catholic churches in the region. Named for one of the church’s early French missionaries, the Basilica is a massive Byzantine style structure adorned with Arabic-Egyptian ornamentation. Constructed in 1939, it served for many years as a stopover for missionaries on their way to the East. Today, it attracts a great number of visitors, many of them foreign tourists.

As with many of the grand basilicas, the room’s acoustics have long been a challenge. Soaring walls, marble floors, wooden pews, and a massive 80-foot (25 meter) high dome ringed with windows are just the beginning of a highly reflective environment that makes intelligibility nearly impossible. The walls of the church are decorated with an ornate mosaic which, while beautiful to behold, only adds to the reflectivity of the space.

Egyptian audio distributors Al Fanny Trading were called in to help solve the Basilica’s sonic challenges, and installed a system based around four of Mackie’s HDA two-way arrayable powered loudspeakers. As Al Fanny’s Rami Saad explains, the church’s previous system was simply not up to the task.

“They had a system of ten speakers installed on the columns, but the sound quality was very poor,” Saad says. “People could not understand the sermon, and the balance between the choir and the spoken word was very poor.”

Saad says the HDA system was selected not just for its power, but for its pattern control. “It was no problem to find speakers that were loud, or speakers with good sound quality,” he explains. “The challenge was to find speakers that could direct the sound toward the people, not toward the walls. The HDA speakers did exactly that, and very well.”

The choir area has been equipped with several SRM450v2 loudspeakers for monitoring. “The choir are standing higher on a platform, and the sound coming out of the main speakers didn’t really provide them with enough coverage,” says Saad. “The SRM speakers are a great solution.”

As the final piece to the sound system, Al Fanny installed a Mackie Onyx 24.4-Bus console. “The Onyx console sounds wonderful — very clean and clear,” says Saad. “The system has made a big difference for them already, and everyone is very pleased.”

 

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HARMAN’s JBL Professional LSR6300 Series Studio Monitors and VERTEC® Line Arrays Support the Music Industry’s Best at the 56th Annual GRAMMY® Awards

Photo Caption (Left to Right): Hank Neuberger, GRAMMY Awards Telecast Sound Supervisor; Bryan Bradley, Vice President, General Manager, JBL Professional; Michael Abbott, GRAMMY Awards Audio Director

LOS ANGELES, California – HARMAN’s JBL loudspeakers were once again put to use at Sunday’s 56th Annual GRAMMY® Awards, with JBL VERTEC® line arrays comprising the live sound reinforcement system at the STAPLES Center and a JBL LSR6300 Series 5.1 surround sound studio monitor system used in the Television Committee Room.

The annual GRAMMY Awards telecast, known as Music’s Biggest Night®, is presented by The Recording Academy® to honor outstanding achievements in the production and performance of recorded music. The GRAMMY Awards were broadcast live in HDTV and 5.1 surround sound on the CBS Television Network. More 28.5 million viewers watched this year’s Awards telecast.
This year’s Awards were hosted by LL Cool J and featured performances by Paul McCartney and Ringo Starr, Madonna, Beyonce, Jay-Z, Bruno Mars, Katy Perry and more. Macklemore and Ryan Lewis earned Best New Artist, Lorde won Song of the Year for “Royals,” while Daft Punk won Album of the Year for Get Lucky, plus two other GRAMMY Awards.

In addition, HARMAN’s Lexicon earned a Technical GRAMMY Award, which is presented to individuals and companies that have made contributions of outstanding technical significance to the recording field.

ATK Audiotek provided the main PA system for the Awards ceremony, which featured four arrays each containing 12 VERTEC VT4889 fullsize line array elements, plus two arrays of six VT4880A fullsize arrayable subwoofers each. An additional 12 VRX932 Constant Curvature loudspeakers were used for front fill.

The STAPLES Center also features a permanent JBL VERTEC line array system, which ATK Audiotek also utilized. The STAPLES Center system features eight arrays each containing between 11 and 13 JBL VT4889DP-DA powered line array elements, plus two fill clusters each containing four VT4889DP-DA elements, which are specially positioned to cover the end seating areas. The system also features four subwoofer arrays, each containing six VT4880A fullsize arrayable subwoofers.

In the Television Committee Room, Michael Abbott, Audio Director for the GRAMMY Awards, along with Recording Academy executives, relied on five JBL LSR6328P studio monitors and two LSR6312SP subwoofers to listen to the mix of the show in real time. “Attention to detail is always essential for the GRAMMY telecasts, and this year’s Awards were no different,” Abbott said. “Thanks to the LSR6300’s accuracy and RMC Technology, we were able to hear every nuance of the performances, and the 6300’s gave us exactly what we needed.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

ATK Audiotek Rocks Halftime Show at Super Bowl XLVIII with HARMAN’s JBL VERTEC® Line Arrays

EAST RUTHERFORD, New Jersey – For the 17th straight year, ATK Audiotek provided audio services for the National Football League’s championship game, Super Bowl XLVIII, the first ever in an outdoor cold-weather stadium. ATK Audiotek deployed its custom-designed, cart-based audio system for the game’s prestigious halftime show, held at MetLife Stadium in East Rutherford, New Jersey. Once again, ATK Audiotek outfitted their system with HARMAN’s JBL VERTEC® line array loudspeakers.

In a battle between the league’s top-ranked offense and defense, Super Bowl XLVIII, broadcast via FOX, reached an estimated 112 million viewers. This year’s Halftime show featured popular pop-singer Bruno Mars, with a special guest performance by the Red Hot Chili Peppers. The Post-Game Show featured the presentation of the Lombardi Trophy to this year’s NFL champion Seattle Seahawks.

For the event, ATK Audiotek deployed 16 of its custom-designed field carts, which allow for easy transport and setup of the JBL VERTEC loudspeakers on and off the field. The system featured 14 carts equipped with four boxes of VT4889 line array elements (56 total), two carts with five boxes of 4889’s (10 total), and each cart was also equipped with two VT4880A fullsize arrayable subwoofers (36 total). Additionally, ATK Audiotek mounted eight VRX932 Constant Curvature loudspeakers on the back of several carts for field fold back, deployed four VT4886 loudspeakers on two popup stands for coverage of the seats behind the stage, and used four more 4886’s for front fill.

“We have come to rely on the consistent performance and sonic capabilities of JBL’s VERTEC line arrays for our systems at the Super Bowl events each year,” commented Kirk Powell, Engineer in Charge for ATK Audiotek. “The Super Bowl is always the most-viewed television event of the year and when you add in the live-broadcast aspect you need to have a system that delivers high quality results with no failures. JBL’s gear has more than met that requirement and that’s why we continue to go back to the VERTEC’s every year.”

For more information on ATK Audiotek, please visit www.atkaudiotek.com

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

Landmark Oakland Church Gets VARIA

Oakland, CA – February 2014… Bishop Carl Smith is on a mission, and he’s unapologetic. The members of New Birth Church are encouraged not only to attend church, but to become the church by actively working to improve the quality of the lives of those they touch.

Housed in a mid-19th century Catholic Cathedral, New Birth’s 500-seat sanctuary was an acoustically challenged environment when Concord, CA-based Premier Media Integration, Inc., was brought in to design and install new audio, video, and lighting systems and acoustical treatment. Graham Cooper, President of PMI, contacted Rocky Giannetta, Principal of Layer 8 Inc., to assess the room’s acoustics and assist with systems design.

With Giannetta’s acoustical measurements documenting a reverb time of 3.8 seconds, Layer 8 created an EASE model and designed acoustical treatment and loudspeaker system that PMI would install. While the acoustical treatment reduced reverb to around 1.6 seconds, the environment was still challenging enough to demand an audio system that could keep reflections to a minimum.

“The church has beautiful stained glass throughout the structure,” adds Graham Cooper “Our job was to find places to put the panels that would be aesthetically and architecturally acceptable. Padded chairs, carpet, and, of course, people, also help.”

With reverb down to an almost reasonable level, Giannetta specified the new VARIA line array system from Renkus-Heinz. “We knew that despite our best efforts, the room was not going to be acoustically ideal, and we needed to maximize control of the energy,” he explains. “Typical line arrays would only provide the right directivity in one plane. The client wanted a line array system that would provide the output and headroom for the sound they create, and VARIA fit the bill perfectly.”

The system is comprised of six VARIA VAX101 cabinets per side, with three 7-degree boxes on top and three 15-degree boxes underneath. “With the VARIA’s variable pattern control, we were able to configure coverage from 60 degrees on top to 120 degrees on the bottom,” says Giannetta. Two VAX115S subwoofers per side, along with four DRS18-2 subs on the floor, provide low end reinforcement. The system is powered by Lab.gruppen amplification.

“We’ve been using Renkus-Heinz products on a number of projects, and the clients have always been happy with the results,” says Cooper. “The VARIA system does a great job of focusing the sound on the congregation and keeping it off the walls and reflective surfaces, and the speakers integrate nicely with the room’s architecture. Bishop Smith was emphatic about maintaining the building’s aesthetics, and the VARIA system looks great.”

Giannetta agrees, “the VARIA system was an ideal choice for this project.”

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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.

Miller Pro Audio, HARMAN’s JBL VTX Line Arrays and Crown I-Tech HD Amplifiers Add Pop to Fun Fun Fun Fest

NORTHRIDGE, California – For the eighth straight year, Miller Pro Audio supplied a HARMAN’s JBL line array system, powered by Crown I-Tech HD amplifiers, at the Fun Fun Fun Fest in downtown Austin, Texas. The system was deployed for the festival’s main (Orange) stage, which hosted performances by Snoop Dogg, MIA, MGMT, Slayer, Television and more.

The main PA system featured a left-right configuration of 10 VTX V25 fullsize line array elements per side, with an additional six V25 elements for front fill. The system also included nine ground-stacked G28 subwoofers, with 12 S28 subwoofers hung as a center cluster. Crown I-Tech 4×3500 HD amplifiers powered the V25 loudspeakers and S28 subs, while I-Tech 12000 HD amplifiers powered the G28 subs. The system was controlled via JBL HiQnet Performance Manager™ software.

According to Oliver, the challenges of the event ranged from the large number of acts to staying within strict noise limits from the city. “We try very hard to find a happy medium that keeps everyone as happy as possible,” he said.

With offices in Austin, Dallas, Lubbock and Oklahoma City, Miller Pro Audio was founded more than 20 years ago by Danny and Leslie Miller, growing from one truck and a small shop on a dirt road to averaging well over 1,000 shows per year spanning from clubs to top 10 shed tours. “We are a turnkey company, meaning we stock a full inventory of audio, backline, lights, video, staging, truss-built roof systems and stage lines,” said Aaron Oliver, Corporate Comptroller/Corporate Trainer for Miller Pro Audio. “We also provide production management, stage management, event planning and have a thriving install department.”

This year’s Fun Fun Fun Fest marked Miller Pro Audio’s first use of the JBL VTX line array system. “We found the VTX to have great, smooth response while remaining very musical,” Oliver noted. “The output power of the V25 was killer and the subs were powerful yet smooth and punchy. We really liked the VTX system and would love to experience what it has to offer again.”

Miller Pro Audio also owns Crown I-Tech HD amplifiers and have been pleased with the products’ performance. “We utilize the I-Tech amps to power many other products we supply and all in all, we love what the I-Tech’s allow us to achieve,” Oliver said.

In addition, Performance Manager has proven beneficial to Miller Pro Audio’s business. “We used Performance Manager for the Fun Fun Fun Fest and we use it on many other shows as well,” Oliver added. “The control it provides really helps us cut back on the need for additional hardware, which means less cases, less labor and lighter trucks—all of which translate to savings in budget.”

For more information on Miller Pro Audio, please visit www.millerproaudio.com

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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