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Archive of the Line Array Category

ACIR Professional Supports Mother’s Day Music Festival

EGG HARBOR TOWNSHIP, New Jersey—Philadelphia’s Patti LaBelle, was part of the 3rd annual Mothers Day Music Festival at Boardwalk Hall in Atlantic City held on Mother’s Day. The concert also featured Johnny Gill and Charlie Wilson. The historic Boardwalk Hall, which seats close to 15,000, has played host to a high profile list entertainers and sporting events throughout its 81-year history.

LaBelle’s success came early with Patti LaBelle and the Bluebelles and then, in the seventies, with LaBelle who brought the hit ‘Lady Marmalade.’ LaBelle went on to have a huge success as a solo artist with songs such as ‘On My Own,’ ‘If Only You Knew,’ ‘If You Asked Me To,’ and ‘New Attitude.’

ACIR Professional (Egg Harbor Township) provided the entire audio rig and backline for the concert including two Yamaha PM5D digital audio consoles for front of house and monitors, with FOH manned by ACIR co-owner, Ed DiBona.
“I prefer the Yamaha PM5D because of excellent sound quality, ease of use, and unrivaled reliability,” says DiBona.

The company supplied a d&b line array, d&b Q sub for side fills, Worx Audio speakers for side PA, a plethora of microphones including Sennheiser, Shure, AKG, AudioTechnica, a Shure wireless system, and Sennheiser in-ear monitor system.

For more information on ACIR Professional, visit www.acirpro.com.

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ASHLY GEAR SHOWCASED AT DETROIT’S INSTITUTE OF ART

detroit-institute-of-art.JPGDETROIT, MICHIGAN: The Detroit Institute of Art (DIA) is the second-largest municipally-owned museum in the nation. Its collection, which represents a balanced sample of the world’s cultures arrayed across centuries of human development, is valued at over one-billion dollars, and the DIA displays much of that collection in over one-hundred galleries spread across 658,000 square feet of floor space. Consonant with its cultural significance, the DIA hosts events ranging from art openings to private functions. One of its primary event spaces is adjacent to the galleries and recently benefitted from a sound system upgrade that centers on Ashly Audio’s PEMA integrated processor/amplifier and FR-16 network fader remote control.

“The walls, floors, and ceiling of the event space are solid stone,” observed Dennis Phillips, the owner of Phillips Pro Audio, the company that designed and installed the new audio system. “It’s an art institute, more

Philippines Audio Contractor Soundcheck on HARMAN’s JBL VERTEC(r) V5 DSP Preset Tunings: “My Clients Are Noticing The Difference”

MUNTINLUPA, The Philippines – Soundcheck is one of the Philippines’ top audio contractors and has handled the live sound for artists including Rihanna, Chris Brown, Incubus, Beyoncé, Linkin Park, Christina Aguilera and many others. The company has used HARMAN’s JBL VERTEC(r) line arrays since their introduction, in situations from indoor corporate events to outdoor shows for major international touring acts. Soundcheck just upgraded to JBL’s new V5 VERTEC preset tunings and its clients are hearing the improvement.

“We installed the V5 DSP presets in all of the VERTEC VT4888 and VT4888DP line arrays in our inventory, in the speakers’ DrivePack DPDA input modules,” said Jaime Godinez, owner and chief engineer of Soundcheck. “After installing the V5 upgrade and testing the speakers by running pre-recorded music for them for hours, we sent them out for a major local show right away. We went through the show without a hitch-and have since done more than 60 shows with them including a few large open-air concerts.”

“When JBL introduced the V4 presets a few years ago I felt that they had given new life to the VERTEC system. But the improvement offered by the V5 is even more significant,” Godinez continued. “The improvement in clarity, balance and coverage have made me fall in love with our audio systems all over again. But most importantly, my clients are noticing the difference between our sound and that of the competition.”

“No comments I can give can adequately convey the experience of actually hearing the sonic improvements that V5 provides, especially in an open-air environment,” Godinez noted. “I’ll try by giving one example. Last March I was mixing the Coca-Cola Concert ng Bayan at the SM Mall of Asia, which celebrated 100 years of Coca-Cola in the Philippines. The concert featured around 20 performers and I brought 32 VERTEC VT4888′s for the main front of house.”

“The sound was so transparent and ‘in your face’ that many times during the night I had to double-check to see whether my near-field monitors were off or on, as the sound from the VERTEC arrays seemed to be coming from that close.”

Godinez pointed out that he has to add more gain to the VT4888′s using V5 to keep some mixing consoles from being driven too hot. “It’s just something you have to pay attention to,” he said. “With V5 you might have to make an adjustment to the gain of the DriveRack modules compared to the settings you’d use with the V4, to make sure the gain between the board, speakers and the rest of the system is optimized.”

“Another big benefit we found is that using the V5 presets enables us to set the systems up faster,” Godinez concluded.

In addition to their compatibility with JBL VERTEC DrivePack(r) DPDA input modules, V5 preset tunings are available for Crown VRACK amplifier packages, JBL HiQnet Performance Manager(tm) and HARMAN HiQnet System Architect(tm) V3.0 software and the Powered by Crown system control app.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

Tennessee Performing Arts Center Looks Ahead with Meyer Sound M’elodie after Two Decades with the MSL-3

When it was ready to upgrade its venerable Meyer Sound MSL-3 loudspeakers of more than two decades at its 2,472-seat Andrew Jackson Hall, the Tennessee Performing Arts Center (TPAC) in Nashville chose Meyer Sound again, this time a system based on the M’elodie line array loudspeaker.

“The MSL-3s had served us well since the mid-80s,” says Larry Bryan, TPAC’s chief audio engineer. “But we were ready to step into the 21st century with the latest Meyer Sound line array technology.”

As typically deployed, the system comprises left and right flown arrays of 16 M’elodie loudspeakers each, plus six deck-stacked 700-HP subwoofers, eight MINA line array loudspeakers spaced across the stage lip as front fill, and a Galileo loudspeaker management system with a Galileo 616 processor for drive processing. The system was provided by Blackhawk Audio of nearby White House, Tenn., with sale facilitation by director Jamie Nixon and system tuning with the SIM 3 audio analyzer by CEO Rick Shimer.

To date, the system has been used for a variety of acts, ranging from a comedy show by Bill Maher and rehearsal sessions by country star Trace Adkins to concerts by bleeding-edge rockers Puscifer and pop-rock legends Journey. A true test of the system’s moxie came when the “Experience Hendrix Tour” stopped at TPAC for an evening of tributes by musicians including Dweezil Zappa, Kenny Wayne Shepherd, and Buddy Guy.

“We have a lot of guitars on this show,” remarks the tour’s FOH engineer, Sean Quackenbush, “and the M’elodie rig at TPAC made them all big and warm sounding. The boxes translated very well with what was coming off the stage and responded immediately to whatever I did with the console. As always, any day on a Meyer rig is a great day!”

Bryan highlights the Meyer Sound linearity and longevity. “We have a range of musical styles coming through here, from rock and jazz to Broadway,” he says. “A lot of touring Broadway shows brought in Meyer rigs, so it was a sound we had come to appreciate. We knew it was something we would hold on to for another 15 years.”

Bryan also appreciates the simplicity of M’elodie’s QuickFly rigging. “We really liked the ease and the rigidity of the rigging,” he notes. “The fact that a majority of it is captured is important. Once we saw them do it once, we realized it doesn’t take a master’s degree in mechanical engineering to figure out how it works.”

Meanwhile, Nixon, who organized a demo of the system prior to sale, was confident that the M’elodie arrays would be ideal for the hall’s size and acoustics. “The M’elodie is so versatile in that room,” he says. “They can use it for so many things, so it made perfect sense. Basically, the box just sells itself.”

The new M’elodie system was added to Andrew Jackson Hall’s existing complement of premium gear, which includes a Soundcraft Vi6 digital live sound console, Shure ULX and Sennheiser 2000 Series wireless microphones, Avalon and Millennia Media preamps, and high-end microphones from Schoeps, Neumann, and Shure.

www.meyersound.com/news

Lyric Opera of Chicago Chooses Meyer Sound Line Arrays for its Tribute to American Theatre

Photo credit: Robert Kusel

Named “one of the best opera companies in the world” by Esquire magazine, the Lyric Opera of Chicago presented an American contribution to the operatic stage at the close of its season—Show Boat. To properly present Jerome Kern and Oscar Hammerstein’s seminal masterpiece that was first performed in 1927, Lyric Opera chose a large complement of sound reinforcement equipment from Meyer Sound.

“As a company, we’re not just doing the great works of European culture but also the great works of American culture,” explains Drew Landmesser, production and technical director for Lyric Opera of Chicago. “This is a 3,600-plus-seat house, a huge hall to be doing a musical. To get everyone’s diction—their song and spoken words—and to be as crisp and clear as possible in a house this size is quite a challenge.”

With a long tradition of natural acoustics, amplified sound represents a significant departure for the company. “It’s a deep auditorium,” Landmesser illustrates, “and we do not want the sound from our speaker system to be slapping the walls and coming back as unwanted reflections. Where we’re focusing that and how we’re using it is a matter of great precision.”

To meet its exacting needs, the Lyric Opera selected a Meyer Sound system comprised of 10 M2D line array loudspeakers, 16 MM-4XP self-powered loudspeakers, two CQ-1 loudspeakers, one 700-HP subwoofer, a Galileo loudspeaker management system, and two MPS-488HPe power supply units.

“One of the things that Meyer has been especially important in is trying to maintain the natural acoustic sound,” Landmesser says. “The line arrays are such an elegant solution for getting a lot of sound into the house yet really being precise about where that sound is going. Without a doubt, this has been some of the best sound we’ve had in our auditorium.”

Chicago-based sales, rental, and live events company TC Furlong provided the Meyer Sound package for the Lyric Opera. “It’s our go-to loudspeaker,” says Jeff Cech, general manager at TC Furlong. “We’ve been a Meyer Sound dealer for 18 years. Meyer is also the primary loudspeaker brand in our rental department and live event business.

“John and Helen [Meyer] have such a dedication to consistency and quality,” Cech adds. “It’s so important when you’re putting multiple loudspeakers next to one another that they all sound exactly the same, and I don’t think Meyer has any peer. They stock deeply—the parts are always available. And the seminars that they do all over the world, which we’ve participated in and hosted, are amazing. We just don’t find that whole range of support with other manufacturers.”

www.meyersound.com/news

National Tour of Million Dollar Quartet Powers up with Meyer Sound MICA and M’elodie

Photo credit: Jeremy Daniel

Having continued successful permanent productions in Chicago and New York, the Broadway musical Million Dollar Quartet (MDQ) has hit the road with a North American tour. To accommodate venues seating from 1,400 to over 3,000, sound designer Kai Harada specified a Meyer Sound system based around MICA® and M’elodie® line array loudspeakers.

“My goal was to give the touring crew a system with a lot of flexibility, so they could adjust coverage angles for theatres of all shapes and sizes,” explains Harada. “With the M’elodie center cluster and MICA side arrays, they have all the power they need for bigger houses, along with reliable consistency of sound—a quality at which Meyer systems always excel.”

Inspired by a 1956 recording studio jam session by Elvis Presley, Carl Perkins, Johnny Cash, and Jerry Lee Lewis, Million Dollar Quartet captures a pivotal night in the history of rock ’n’ roll. On the MDQ tour, the lion’s share of the show’s energy is delivered by a split dual center array of 20 M’elodie loudspeakers and the upper and lower side arrays comprising a total of 20 MICA loudspeakers. A left-right configuration of 600-HP subwoofers and a 700-HP at center provide low end, while a total of 16 UPM-1P and UPJunior™ VariO™ loudspeakers supplies fill and delay systems as needed. A Galileo® loudspeaker management system with four Galileo 616 processors provides drive and optimization.

“This is a rock ’n’ roll show, but it was my goal to preserve the dynamic between the book scenes, the songs, and the big finale,” Harada says. “It’s important to hold a lot of punch in reserve, and this system certainly has it.”

Harada is also the sound designer for resident productions of MDQ at Chicago’s Apollo Theater and off-Broadway at New York’s New World Stages. The New York system is based around a MINA™ line array in the center with CQ-1 and CQ-2 loudspeakers on the sides, while the wide thrust staging in Chicago also employs CQ-1 loudspeakers with smaller UltraSeries™ models for delays and fills. PRG Audio supplied all three systems for the touring and resident productions.

Despite the radical differences in venues, Harada credits the Meyer Sound systems with maintaining a uniform sound. “For me, it comes down to consistency and transparency,” he says. “I can focus on bringing the audience closer to what is happening on stage with the confidence that the system won’t adversely color their experience.”

Harada also specified Meyer Sound systems for MDQ’s well-received 2010-11 run on Broadway at the Nederlander Theatre and in London at the Noël Coward Theatre in 2011-12.

The book for Million Dollar Quartet was written by Floyd Mutrux and Colin Escott. The Broadway production was nominated for three 2010 Tony Awards, with Levi Kreis (Jerry Lee Lewis) winning Best Featured Actor in a musical.

A long-time associate of Broadway sound designer Tony Meola, Kai Harada currently supervises sound for all productions of Wicked, and has designed around the world using Meyer Sound systems, including Hinterm Horizont in Berlin, and the critically acclaimed revival of Follies on Broadway.

www.meyersound.com/news

Baker Audio Installs HARMAN’s JBL VLA Line Arrays at University of North Carolina’s Kenan Memorial Stadium

NORTHRIDGE, California – Baker Audio of Norcross, Georgia, recently upgraded the audio system at the University of North Carolina’s (UNC) Kenan Memorial Stadium, home of Tar Heels football since 1927, with HARMAN’s JBL VLA line arrays. Baker Audio shares strong ties to UNC and installed an innovative sound system to complement the stadium’s new “horseshoe” design.

Keith Hicks, President of Baker Audio, took great pride in revamping the sound in his alma mater’s stadium, where he played four decades ago as a scholarship UNC football player. The 64,000-capacity stadium was renovated from its original shape to the horseshoe pattern, which required a completely upgraded sound system, designed by Jack McCallum of Wrightson, Johnson, Haddon & Williams, Inc. Hanging from the new scoreboard, provided by CBS Sports, Baker Audio supplied 22 JBL VLA601 3-way full-range loudspeakers on each side of the scoreboard, while 23 AM5212 2-way loudspeakers were installed in the “bowl” under the balcony areas, which provided delayed sound coverage.

The system is powered by Crown amplifiers-43 MA-5000i’s, 14 MA-9000i’s and 14 MA-12000i’s accompanied by four CTS2000LITE amplifiers-and is processed through BSS London DSP technology with 11 BLU 800′s as well as 36 BLUCARD-OUT and four BLUCARD-IN analog cards which route all of the audio for the PA, play-by-play and music to achieve that powerful game day sound.

“The JBL system was peaking at 112dB-we’re rocking,” Hicks said. “The VLA line arrays are outstanding. The low-end response is spectacular and we continue to receive compliments on the clarity and coverage of the sound. The UNC athletic staff is pleased with all aspects of the installation and we’ve even received calls from businesses around the city saying they can hear the music during games.”

Working under tight time constraints, Hicks noted one challenge associated with fitting Kenan Memorial Stadium with the new speaker system. While preparing to hoist the VLA speakers, Joe Kimsey, Project Manager for Baker Audio, noticed that the stacks, which each measure more than 25 feet tall, would have less than one foot of clearance within the housing. Baker Audio was able to overcome this challenge by utilizing a 300-foot crane to carefully hang the speakers. Greg Coddington, project engineer for WJHW, was instrumental in the success of the system installation and coordination, says Hicks.

David Rotman of Rotman Architecture added, “In many aspects, it was a very complex construction project; however, due to the dedicated team at Baker, the Kenan Stadium at the University of North Carolina can deliver that ‘wow’ factor with an innovative sound system that, not only works in conjunction with the new, state-of-the-art scoreboard, but provides a state-of-the-art sound system experience at every seating location throughout the building.”

“The VLA line arrays give the stadium much more horsepower than it’s ever had,” Hicks continued. “Every aspect of the installation, from coordinating with the construction, to securing the arrays on the video board was excellent. The entire system is extremely impressive.”

“It was a great opportunity for me, personally, to fit the stadium with sound after years of attending games and even playing football there 100 years ago,” Hicks joked.

For more information on Baker Audio, please visit http://www.bakeraudio.com.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012. The Company’s shares are traded on the New York Stock Exchange under the symbol NYSE:HAR.

WORXAUDIO TECHNOLOGIES DEPLOYED AT FIRST CHRISTIAN CHURCH

**** Photo: First Christian Church’s sanctuary ****

Venice, FL – May 2012… With three services each Sunday—two of which are contemporary in nature— First Christian Church has a vibrant worship program that caters to a diverse congregation. After enduring lackluster performance from their sound reinforcement system for far too long, the decision was made to upgrade their sanctuary’s facilities. Seeking a new system capable of delivering a high level of speech intelligibility and first-rate music reproduction, they ultimately resolved their sound system shortcomings by installing a new setup drawn from the TrueLine catalog of Greensboro, NC-based WorxAudio Technologies. more

Renkus-Heinz Takes Center Stage at Jelenia Góra Spa Theatre

Poland, May 2012…   Established in 1976 by the Wroclaw actor Andrzej Dziedziul, the Zdrojowy Teatr Animacji (or Spa Theatre) in Jelenia Góra, is housed in the classically designed Spa Theatre, which was built in 1836. Used mainly for children’s productions, it also stages adult plays as well as outdoor performances.

With the prevailing demand for state-of-the-art technology in theatre, the plan for Zdrojowy Teatr Animacji’s modernization began in 2008. Enter Polish entertainment technology specialists M.Ostrowski, with a brief to supply and assemble a lighting, stage management and theatre audio system for an audience capacity of 200.

Recognizing the need for a top-performance sound reinforcement system, M.Ostrowski deployed the newest CF Series solutions from Renkus-Heinz, guaranteed to provide maximum operational reliability while delivering excellent dynamics, listening comfort and uniform sound distribution for the audience.

Using EASE 4.3 software to determine the optimum position of the loudspeakers, eight full-range Renkus-Heinz CF101LA speaker modules were arranged in two line array clusters either side of the stage, and two Renkus-Heinz CF15S subwoofer modules in a central cluster.

The deployment of active speaker modules with RHAON (Renkus Heinz Audio Operations Network) technology, allows for remote system configuration, adjustment of DSP signal corrections as well as monitoring of the state of the speakers.

In consideration of the surroundings, M. Ostrowski engineers also designed a unique mounting for the line array hoists to ensure that the equipment blends in with the theatre’s historical interiors.

M. Ostrowski also supplied and installed a complete lighting system, with a GrandMA2 Light management system; the theatre was also equipped with more than 130 projector lights and spotlights.

The installation also included a Digital Soundcraft Vi4 console; a wireless microphone system based on 500 G3 Sennheiser units; a two-way wireless communication system based on solutions by 3M and a stage-manager system based on Riedel digital intercom solutions, as well as a wireless stage action confirmation system, which was developed specifically to accommodate the needs of the Spa Theatre.

Some 20 facility panels around the stage, auditorium and audio control room provide 52 microphone inputs, 31 return lines, 17 speaker lines as well as a Cat5e network, for transmission of data, audio and video signals as well as control of devices connected to the internal network. The entire system is freely configurable at the patch panels, located within the main equipment rack. The installation also allows a show to be run from the audience, with a patch panel to plug in a console along with its peripherals.

M. Czechowicz, the Spa Theatre’s Sound Engineer, said: “The new audio system’s versatility and quality make it wonderful to work with and we’re delighted that M.Ostrowski has created this solution.”

###

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.

MLA Compact Debuts With Chris Rea

The first UK rental company to purchase Martin Audio’s MLA (Multi-cellular Loudspeaker Array), RG Jones Sound Engineering was also the first to debut the scaled down version of this groundbreaking technology with the new MLA Compact.

“I couldn’t wait to get my hands on the new system,” admits Simon Honywill, who seized the opportunity to mix Chris Rea’s sound through the MLA Compact on the closing dates of the recent European and UK tour.

Honywill, largely responsible for driving RG Jones’ investment in the MLA platform, instigated a seamless PA switch, ably assisted by system engineer Mark Edwards in time for the last two tour dates—at the Pavilions in his home town of Plymouth, and HMV Apollo Hammersmith, where the system had been formally launched a few months ago.

While the system performed admirably in Plymouth, Honywill and Edwards, along with Martin Audio’s R&D Director, Jason Baird, repurposed the system for the larger Hammersmith show where Simon Honywill described the impact as “unbelievable”.

He reported that the vocal clarity had been incredible, even at high levels, and the separation of the drums and cymbals, even in excess of 106dBA had to be heard to be believed. “The drum sound was massive,” he said, “very dynamic and very exciting.

“When you wind the system up, it just gets louder, but nothing changes in the character of the sound, which is beautiful.”

While the optimization at Hammersmith was nothing unusual, with the balcony being notched out in the software to remove unwanted reflections, Simon Honywill explained: “Mark and Jason worked on the EQ curve and played with the sub alignment so that the system was everything I had hoped it would be.”

“In Plymouth we used a broadside array of 12 DSX subs in four cardioid cells under the stage apron, but this isn’t possible in Hammersmith so we went for a left/right cardioid stack of six subs a side and tweaked the crossover between the subs and the MLA Compact to get a really rich, smooth low end with real punch.”

Deploying a ground stack of four Martin Audio W8LM Mini Arrays under the two main PA hangs of 12 MLA Compact enclosures, they were able to draw down the image at the front while substantially decreasing the physical profile of the stacked system.

“In the past the ground stacks have looked a little imposing with the subs and W8LC, but the ability of the system to generate seamless coverage from wherever you tell it to start and finish allowed us to get the energy we wanted into both downstairs and upstairs––the groundstacks are just to keep the sonic image down on stage for those at the front,” says Honywill.

“The system produced a fantastic impact but the overriding feeling from the production team was that the compactness of the package also offered huge benefits.” And this spelled good news for production manager, Pat Baker.

Rea’s tour inventory is traditionally geared to fit one truck, which places enormous pressure on the truck pack. “Every night it is stacked to the roof with all the equipment,” Honywill explains “But the appeal of a self-powered system, without separate processing and amplification, was pretty exciting.”

Having piloted Chris Rea shows for the last 15 years, Simon Honywill has historically used Martin Audio systems to reinforce the artist’s sound––generally 16 x W8LC Compact Line Arrays per side and 16 WLX subs; but for the ensemble of six musicians (including second guitar, two keyboards and drums) this time around, they knew they had considerably raised the sonic bar. Simon’s overall verdict? “MLA is vastly superior to anything on the market and this system provides a great neutral platform to mix on.

“Although RG Jones has bought the big system, which was a no-brainer considering the profile of the company’s expanding client base, the MLA Compact has to be a serious proposition. It’s brilliantly conceived and brilliantly delivered—a completely revolutionary product and other manufacturers should be asking themselves how they are going to counter that.”

Meanwhile, RG Jones’ full-sized, and multiple award-winning MLA will make its debut on the Sainsbury’s UK 2012 School Games Closing Ceremony at London Olympic Park’s Basketball Arena on May 9.

Pic: Chris Rea onstage, with the MLA Compact

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

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

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

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

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

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

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

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

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

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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