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DBS Productions Relies On Martin Audio For Miami Carnival

Machel Montano, King of Soca


Drummer Boy Sound Productions recently used different configurations of its Martin Audio W8LM system for a series of concerts by Machel Montano, the world’s leading exponent of Soca, at the Miami Carnival celebration.

According to Drummer Boy Sound CEO Harold Cummings, promoter David Fredericks of Islands United approached his company to handle full production––backline, sound, staging and lighting––for the first time. “David decided to give us a try and when we came in with the smaller Martin Audio W8LMs,” Harold recalls, “he didn’t think the boxes were big enough. They’d used a production company with larger format loudspeakers last time out, and he was totally blown away when he heard the W8LMs. Not just the coverage and volume, but the sound quality and control as well.”

The Miami Festival event consisted of three concerts in totally different venues, necessitating specific setups for each. Day one was a special “Girl Power” concert targeted for women at the Miami Airport Convention Center. A smaller site with ceilings only 14 ft. high, the theater presented several challenges. “Because the ceilings were so low, we couldn’t fly the full rig,” says Harold, “but we still needed to cover a 3,000 person space and throw 200 feet, so we flew five W8LMs and four WS218X subs per side and it was more than enough sound for the room. Even with the short ceilings and below average room acoustics, the speakers sounded great.

“The second night was called ‘Fantastic Fog Friday’ based on Machel’s hit single ‘Fog’ at the Broward County Convention Center, which has 26’ foot ceilings so there was more space to play with. We used a bunch of hazers and CO2 jets to create some deep low lying fog and haze, with seven boxes a side, 10 subs and our client was extremely happy that we could get a much bigger sound without losing any clarity and coherence.”

“Rave,” held in the East parking lot of Miami’s Sunlife Stadium, was the biggest show and crown jewel of the weeklong Carnival. As Harold describes it, “The Carnival actually lasted a whole week with parties going on all over town and this concert is where everything really came together. It drew over 10,000 people, had several opening acts like the Caribbean fusion band Karma, and the headliner Montano played a two-hour set of his hit songs.

“Because it what the largest space of the three nights, we used eight W8LMs and one W8LMD (downfill) per side, two W8LMDs on the stage deck for front fill, 16 WS218X subs, Martin Audio H3+s and WMX subs for side fills, 12 LE1200 and one LE1500 stage monitors plus MA 3.0 and 9.6K amplifiers—the full Martin Audio complement!

“In terms of other gear, the FOH console was an Allen & Heath iLive T112 digital with a iDR64 rack, monitor console was a Yamaha M7CL-48 digital, processing was Ashly Protea, and the mics were all Shure. Our crew included me as FOH and System Tech, Gerald Thomas (monitors) and Matt Psarsky (stage and backline tech).”

Asked about the client and band engineer’s reaction to the system, Harold concludes, “Ryan Lynton, Montano’s production manager and FOH engineer had never used Martin Audio before and he loved it. He wasn’t sure it was going to be enough for that large a crowd, but when I fired up the W8LMs, he gave me a big smile and said ‘Wow, I didn’t know it was going to be so loud and sound this great outdoors. He said that he’d be adding it to the rider for every show going forward.

“The client Island United was more than happy and said it was the best sound and production he’d ever had doing the Rave and added that we were already hired for next year!”

For more about Drummer Boy Sound Productions, click to www.drummerboysound.com

For more about Martin Audio, 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.

Premiere Southern California Live Music Venue Steps it Up with VARIA

Long Beach, CA – December 2013…The Gaslamp is one of Southern California’s best-known night spots, with a rich history of great entertainment and an impressively eclectic roster. On any given night, the club’s stage plays host to artists ranging from hard rock and metal to punk, acoustic, and even contemporary classical performances, as well as comedy, DJs, tribute acts, karaoke, and even televised sporting events.

The Gaslamp offers up a full kitchen, with private booths and tables as well as a bar and dance floor, making it a great place for dinner, drinks, and a night out. But as owner Mike Newfeld explains, the club’s acoustics have long been a struggle.

“It’s a very boomy room,” says Newfeld. “It’s got high ceilings, concrete floors, and just not very good sound dispersion — a lot of pockets that are dead space or too loud. The challenge has been to find a system that would deliver consistent coverage and sound good, no matter where you are in the room.”

Engineer Tony Purvis agrees. “It was really, really hard to get a good mix throughout the whole club — to achieve that ‘comfortable loud,’ where everyone can enjoy themselves, enjoy the music and the performance but still be able to hold a conversation.”

The Gaslamp recently upgraded their sound system, installing the new VARIA modular point source line array system from Renkus-Heinz. As Purvis observes, the VARIA system has completely changed the equation for the club.

“The experience that I’ve had with the new VARIA system has been just amazing,” Purvis remarks. “The design of the system has enabled complete coverage. This system makes my life easier.”

“We couldn’t be happier with the new VARIA system,” adds Newfeld. “Our customer base noticed immediately. It’s loud, clear, and clean, without blowing people away. Thanks to the new VARIA system, we are now known as the premiere live music venue in Southern California.”

 

 

 

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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.

L-ACOUSTICS Delivers “Philly Sound” for Theatre of Living Arts

Twenty One Pilots on stage at Theatre of Living Arts (credit: Derek Brad)

Clair Brothers Audio Systems installs ARCS II rig at intimate Live Nation venue

PHILADELPHIA, Pennsylvania – December 2013 — Although the Theatre of Living Arts (TLA) was best known in previous decades as a host for art house films and campy touring Broadway shows like Little Shop of Horrors and The Rocky Horror Picture Show, the TLA has steadily evolved into Philadelphia’s premiere small concert venue for edgy, up-and-coming artists. Owned and operated by concert promoter Live Nation, the intimate 1000-capacity club recently bumped up its production values with the addition of a new ARCS II loudspeaker system from L-ACOUSTICS. more

The World’s First Commercial Outing for Martin Audio MLA Mini


In October, Martin Audio’s MLA Mini stepped out onto the world stage in its first commercial outing, and took on one of the most challenging venues around. The event was the annual conference of the UK retail giant, SPAR, and the venue was Westpoint, otherwise known to those in the sound community as a ‘soulless shed’, just off the M5 in Exeter.

While Westpoint offers acres of space for trucks, and therefore easy load in, the venue itself, originally designed for the trading of Devon’s finest livestock, is known for having a reverberation time of at least 7 seconds. With MLA and MLA Compact having taken on and tamed some of the most challenging spaces in the globe, MLA Mini had an enviable reputation to uphold.

The pressure was further compounded because this event is a major cornerstone in the calendar of Plymouth based Pyramid AV, under the directorship of Nic Black. The production team at Pyramid have been producing events for SPAR for some years now, and there is a deep-rooted measure of trust between client and supplier of the sort that doesn’t need a new piece of technology coming along and screwing things up.

Armed with 24 brand new MLA Mini, six MSX subs and three flying frames, the challenge fell to front of house engineer, Simon Honywill and Applications Engineer for Martin Audio, Andy Davies.

The system was deployed in three hangs, with two main purposes––one was full range, intelligible coverage of speech and music for the seated conference area at one end of the hall, and the other was coverage of the entire hall for general announcements throughout an exhibition––measuring approximately 260 x 160 feet. Simon and Andy opted for an 8 deep, left/right configuration for the conference, which was flown upstage of a thrust where all presentations would take place, and a central third hang of 8, approximately 100 ft. out into the hall. The third hang was optimized to cover approximately 165 ft. to the far end of the hall, and the left/right was loaded with two optimizations, one to cover just the seated conference and the second to work with the central hang to cover the entire hall.

Did it work? Simon was enthusiastic in his praise. “I would go so far as to say that Westpoint has never sounded so good. It was actually gorgeous to behold. This little system has something that I have never heard in a small format line array before, real depth and control across the entire spectrum, and a genuine ability to throw some distance. It is warm, smooth and extremely well behaved, requiring little or no EQ on all the head mics, except for a bit of LF roll-off. There was loads of gain before feedback, and I was actually enjoying the very simple task of mixing a little playback, speech and VT––everything sat just right.”

Indeed, MLA Mini exhibited all the qualities of the ideal system for any organization involved in the corporate world. Apart from sounding really beautiful, it flies, goes on a stand, is light, small, looks really tidy and you can guarantee great coverage and masses of gain before feedback. As Simon added, “Problem voices will be a thing of the past as you can open up mics like never before, even with some of the top end conventional small format systems. I would recommend it to anybody who takes their corporate work seriously.”

Having the final word was Nic Black, who had everything to lose from this outing: “Having the Mini MLA system at Westpoint this year reaffirmed that it is possible to have beautiful sound in a challenging space. It was a great opportunity to have demonstrated the simple fact that well engineered audio can enhance the experience of the listener. We have had much positive and complimentary feedback regarding the sound and it was without doubt the best we have had.”

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

World Renowned Cathedral Gets World Class Sound with Iconyx

St. Louis, MO – November 2013… Completed in 1914, the Cathedral Basilica of Saint Louis is renowned for its breathtaking mosaic works — one of the largest in the world. Comprising more than 41.5 million pieces, and covering 83,000 square feet, the mosaics display took more than 75 years to complete, and draws visitors from throughout the world.

The 2000-seat cathedral’s architecture is as exquisite as it is acoustically challenging, capped with a massive dome that soars to 150 feet high at its center. “It’s an exceptionally challenging environment,” explains Gary Haselhorst, President of Valley Park, MO-based Cignal Systems. “There are so many concave surfaces, with 360 degrees of windows, and the dome just exacerbates everything. There’s not a soft surface in there — marble floors, hard pews — and there are transepts on either side that create even more reflections.”

Not surprisingly, the Cathedral has struggled to find a sound system that could cope with such a challenging space. “The old system was simply ineffective,” says Haselhorst. “They had about twenty 12-inch two-way cabinets around the perimeter, hung at about 30 feet in the air. There was a very fine line between enough volume and too much volume. If we brought up the direct feed too high the room would go into feedback.”

The solution presented itself in the form of Iconyx digitally steerable column arrays from Renkus-Heinz. A pair of Iconyx IC32-R-II columns are installed left and right of the altar platform. As Haselhorst explains, the Iconyx was a clear and obvious solution.

“As proof of concept, we took a single Iconyx 32 into the Cathedral, put it stage right of the altar sanctuary area, and steered the beam away from the reflective surfaces. Even with one speaker, we were miles beyond the existing sound system.”

Haselhorst adds that the 32-element column was exactly what was needed in this reflective space. “We didn’t need the SPL, but we needed the low frequency control. Below 250 Hz, the RT in that room is unmanageable.”

A second set of Iconyx IC16-R-II columns are mounted midway back in the room as delays. “We could have easily hit the back of the room with the mains, but the transepts created another issue. If we aimed the beam high enough to hit the back of the room, we were hitting the transepts too. Using the IC16 columns as a delay kept us from having to push the front elements too hard and hitting the transept walls.” Time alignment is handled within the Iconyx software. A pair of Symetrix Radius units provides additional signal processing.

The Iconyx also offered a low-profile, streamlined design that blended well with the decor. “We custom painted them to match the walls,” says Haselhorst.

The new system has made an immense difference, says Haselhorst.  “We took down twenty loudspeakers that were aimed all over the place, and replaced them with four sources that are aimed with precision. You can hear someone now as if you were talking to them ten feet away.”

Haselhorst says the best compliment was from the archbishop himself. “He said that now he can pull up his old sermons and reuse them, and this time people will be able to hear them.”

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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.

BYU Idaho Finds Discreet Solution With Martin Audio OmniLine

Brigham Young University–Idaho wanted a new sound reinforcement system for its Barrus Auditorium Concert Hall and Taylor Chapel that would provide higher quality audio without being visually intrusive.

Jon Perdue, A/V Production & Broadcast Manager for the University details the challenge: “Barrus auditorium also functioned as a chapel and the original sound system lacked clarity and wasn’t up to today’s standards in terms of quality for vocals and instrument reproduction.

“The university had authorized us to upgrade but the music department was very concerned about hanging a conventional system in the room or having ground-stacked speakers alongside the stage for feat it would look intrusive.

“I was speaking with my friend Robert Weddings at RMB Audio,” continues Perdue, “and he had been telling me about this amazing sounding and ultra-compact OmniLine array from Martin Audio. We arranged for a system to be sent to us and proceeded to demo the OmniLine in both venues. After extensive testing, we were convinced this was the system best suited for these acoustically challenged environments.”

Coupled with its impressive sound, OmniLine’s unobtrusive appearance proved to be decisive: “The array’s small size and the aesthetics of the system were crucial factors for the administration,” Jon points out. OmniLine passed with flying colors in both rooms and the Administration thought the clusters looked very attractive in the venue. To be honest, it was a very easy sell. The results were jaw dropping!”

In order to cover the Barrus Auditorium, a spacious 682-seater which hosts over 110 events a year, Perdue and his crew hung 16 OmniLine modules per side, each with an AQ210 sub flown alongside to support the low frequency requirements for the program material without losing any clarity.

When the stage is extended for certain events, the four bottom modules can be turned off to compensate for the first five rows. This setup has proved to be far more than adequate for the choral and orchestral groups, pianists, light jazz ensembles and acoustic music events that are held there.

Commenting on the Barrus installation, Perdue adds, “Because it’s such an acoustically ‘live’ space, they wanted a natural-sounding system. It had to be accurate and lend itself architecturally to the room’s design. That was a huge challenge, but the fact that the OmniLine boxes sound so musically and acoustically transparent was a major plus.”

The Taylor Chapel is a multi-purpose venue that holds approximately 450 people with an overflow capability in three smaller rooms that can accommodate an additional 850. Two discrete eight-module OmniLine arrays hung on either side of the rostrum cover the chapel along with two AQ210 subs under the stage cover the chapel.

While Barrus auditorium is ostensibly designed for sound, the Taylor Chapel is another story. “The room is very challenging,” Perdue explains. “The roof line is stepped, very high over the stage, then drops down three feet every four feet through the rest of the room. The sides are splayed outwards and made up of floor to ceiling windows, also a problem, but the OmniLine works really well for speech intelligibility, which is the main concern as well as reproduction of acoustic music.”

The A/V Productions audio team engineers Scott Carter, Josh Foster and David Mann installed the Martin Audio OmniLine arrays in Burrus Auditorium and Taylor Chapel. Some of the other sound system components also included Lab Gruppen amplification, Yamaha LS9 digital consoles and XTA processing.

Summing up the impact of the audio upgrade, Jon concludes “Since the installation of these two systems, the university has had nothing but positive feedback from the audience to performers and administration. Our A/V team’s experience with the Martin Audio team and products has been a positive one in terms of quality, professionalism and customer service.”

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.

Renkus-Heinz Helps Schengenfest Cap the Summer Season

Vinica, Slovenia – November, 2013…. Now in its sixth year, Schengenfest has quickly become Slovenia’s largest and most popular summer music festival. Held in the world-renowned Krajinski Park on the banks of the River Kolpa, the show’s three-day ticket includes dozens of bands and DJs on three stages, as well as free camping, an amusement park, a theater, games, workshops, and more.

This year’s lineup included UK rockers Skunk Anansie, Belgium’s Triggerfinger, and German reggae artists Gentlemen and the Evolution, as well as an all-star roster of DJs from the US and Europe. Performances spanned three stages, with audio provided by one of the country’s largest concert providers, Turjak-based Akustika Pirman.

The Main Stage was outfitted with a massive Renkus-Heinz line array, with 16 VLX3 cabinets and 24 DRS18-2B subwoofers per side. Five PN102 cabinets provided front fill, with six PN102LA boxes per side deployed from the FOH roof to cover the area shaded by it. Analog and digital were represented at FOH, with DiGiCo SD8 and Soundcraft MH-3 48 consoles. Xilica XP-4080 processors handle system processing, with Lab.gruppen amplification. Stage monitors were also Renkus-Heinz, including 12 PNX151 wedges, side fills with DRS18-2B subs, and a PNX121 and DRS18 rig for drum fill.

The Electro Stage was an ongoing DJ party, pumped up with left and right arrays of 12 STXLA/9 cabinets, with bass amply covered by 16 DRS18-2B subs. Monitors for the DJ included an IC Live SUB IC215 and two PN102LA cabinets per side, along with six more PNX121 boxes for additional monitoring. A DiGiCo SD11 console handled FOH mix, with XTA processing and Lab.gruppen amps.

Over at the smaller, more intimate riverfront Beach Stage, a single TRX151T and DRS18 sub per side handled PA duties, with PNX121 boxes for monitoring.

“I knew we needed a truly powerful setup for this event, as we were expecting a huge crowd,” says system engineer Ales Dravinec. “We wanted to create a system that would deliver excellent throw across the entire frequency range, and we came up with a system that gave us not just great coverage, but headroom to spare. Setup was straightforward and effortless as well. Bravo, Renkus-Heinz!”

Akustika Pirman’s Metod Komatar adds, “As one of Slovenia’s largest rental companies, we work on a wide range of events, from national celebrations and congresses to concerts, TV shows, and many others. We use Renkus-Heinz systems exclusively because they deliver powerful performance, they are dependable, and they sound great.”

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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.

Martin Audio MLA Goes Above And Beyond At “Ally Pally”

Capital Sound easily overcame Alexandra Palace’s notoriously challenging acoustics in late October when they brought in their Martin Audio MLA Multi-cellular Loudspeaker Array to the glazed venue for the first time.

Notorious among the sound community for producing violent reflections inside the venue (and receiving noise complaints from the neighbors), would the Above & Beyond Group Therapy 050 live radio broadcast prove too great a challenge for the award-winning sound system, which promises ultimate pattern control? As for A&B, this was to be one of the biggest events in the dance music trio’s calendar.

So just how unforgiving is Ally Pally? In the words of Capital Sound account manager, Martin Connolly, “The Great Hall is a beautiful space; but when it was built in 1873, no one ever envisaged that the building would need to play host to the high volume of a modern day concert. Unfortunately, the amazing domed glass roof is only a minimal barrier to sound propagation.”

Martin Audio R&D Director, Jason Baird, puts it more succinctly, stating: “Just think of a marble and glass shoebox, 130 ft. wide, 52 ft. high and 278 ft. deep.”

Above & Beyond, who operate both full band and DJ set-ups (but in this case were operating in the latter mode), had wanted to use MLA, and when they brought in Loudsound’s Dan Craig he readily agreed, having worked successfully with MLA during the Field Day and deadmau5 shows at Hackney’s Victoria Park, as a precursor to this summer’s Hyde Park British Summertime Festival.

Capital Sound Technical Manager Ian Colville immediately set to work on designing the system, with Jason Baird providing supportive input. “We have used Martin Audio W8LC’s here in the past, but whatever system we’ve used, it has always required delays. This time we felt it was time to put our faith in MLA and do away with delays.”

For both Dan Craig, and promoters, Lock ‘N’ Load Events, the decision was fully vindicated. Craig reported that by operating to a 98dB threshold inside, production didn’t receive a single noise complaint. Yet the greatest ‘illusion’ was inside the venue, where by cleverly mapping the venue to optimize and ‘hard avoid’ selected areas, the clarity of the signal gave a distinct impression that the various DJ’s were playing a whole lot louder. And with the venue once again hosting a steady flow of events, with Cap Sound as one of their main service providers, this could prove highly significant.

“We had observed this characteristic from Day 1,” admits Colville. “If a venue is completely resonant free then the sound appears louder.” While the complete system design is conceived ahead, the system tech will always make late adjustments on the fly, he said, such as towing in the PA a fraction. In this case once production got on site, they found the venue was not quite as long as drawings had indicated and so certain measurements needed to be re-evaluated.

Fortunate then, that the system tech on this occasion was Toby Donovan, who worked as the MLA tech on the highly successful Hyde Park concerts.

“I have never encountered a system quite as clever as MLA,” he said. “But you still have to use common-sense in the physical world.”

For this show the L/R system was rigged with 11 MLA elements per side (atop a single MLD Downfill) with two W8C’s each side for outfills and eight W8LM as front fills. The PA was flown fairly high (with slight downward tilt) but then towed in marginally to keep it off the walls, using Delta plates and three motors per hang. “We only needed about 1° to avoid distracting reflections; it’s what we would generally do in noise sensitive venues,” said Donovan.

“We also needed to minimize spill all round—the rear rejection with this system is really good.”

The SPL profile was built over a 5dB spread—using zero at the mix position, +2dB at the crowd barrier and -3dB 275 ft. back at the rear curtain.

With ‘Hard Avoid’ applied uniquely to this back wall the design also utilized the Audience and Non-Audience zones with the appropriate optimization settings—the latter tapering off at the stage (from the drape line to the back wall behind).

Having the 14 MLX subs arranged in a broadside cardioid array allowed Donovan to enter delay times and change the dispersion control—using the software to electronically curve the sound into an arc. “Due to the narrow width of the venue, we were only running at 90°, so this was a pretty tight LF beam,” he noted.

Toby Donovan confirmed the belief of the entire Capital sound crew. “Such was the coherency and lack of distortion, that everyone I spoke to couldn’t believe we were only running at 98dB. It was exactly the same on the Joe Satriani tour where we were running at 99dB but sounding like 103dB. Our ears deceive us into thinking that it’s so much louder.”

All of which was to the benefit of Above & Beyond’s Group Therapy 050 show, fronted by the trio of Jono, Tony and Paavo and also featuring support from renowned DJ’s Arty, Andrew Beyer, Boom Jinx and Guy J.

Paavo Siljamäki, for one, was delighted with the outcome. He stated, “[Capital Sound] made one of the most difficult venues in London sound incredible. Never before in my touring career (with over 500 gigs behind me), has the sound in a venue been such a talking point. I had lots of sound engineer friends complimenting us on the way the place sounded,”

Martin Connolly can also reflect on a highly satisfactory outing. “When we supported Subculture and Come Together at this venue for Lock ‘N’ Load Events two years ago with a hybrid system it worked well.

“But the sound was no match for this. When you are not battling against reflections or ambient noise and can aim the sound off the walls, you will always appear to get more volume from the system at sensitive sites like this. Everyone agreed, particularly Seamus [Morley], the tour manager, who described the sound as ‘epic’ and confirmed that we had made absolutely the right choice of PA.”

Photo credit: Photo by Sebastian Matthes/manox.net”

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

Iconyx Makes it Clear at Mizzou Aquatic Center

Columbia, MO – November 2013…. The University of Missouri has a well-deserved reputation for going the extra mile for its student body, and their Student Recreation Center is a case in point. With a range of indoor and outdoor facilities to meet almost any discipline, their Mizzou Aquatic Center is just one of several jewels in the crown. The Aquatic Center’s 50 meter pool and Diving Well have hosted numerous high-profile competitions, including Big 12 Swimming and Diving Championships, USA Swimming Series, and NCAA meets.

Since its opening in 2005, the Aquatic Center had also been known for its problematic acoustics. With its soaring glass and concrete walls, massive steel roof, and abundance of reflective surfaces, announcements were literally drowning in the din. That is, until the Center installed their new Iconyx digitally steered column array system.

“The original audio system never really provided the coverage they needed,” explains Brian Noerlinger, with the Overland Park, Kansas offices of Conference Technologies, Inc. “The speakers were mounted at about 56 feet high, and the intelligibility factor was close to nil.”

The ceiling’s height created strategic challenges as well. “One of our biggest obstacles was taking the old speakers down,” says Noerlinger. “The largest lift we could get into the building only went to 40 feet. Erecting a scaffold would have called for draining the pool, which wasn’t an option. So I put a couple of pieces of conduit together with a couple of pulleys and a spring and a rope, and essentially made a big long tree trimmer. I threw a rope around the speakers, pried them off and reached up and cut. I had one heck of an audience watching from below.”

As challenging as it was to get the old speakers down, installing anything else at that height would have proven impossible. “The original plan had been for the Iconyx to be part of the design, along with hanging additional speakers to replace the old ones,” says Noerlinger. Instead, CTI worked with the Renkus-Heinz engineering team to design a system to cover the entire space using only three Iconyx columns.

The system is comprised of a single Iconyx IC16-R-II column in the center, flanked by IC8-R-II columns on either side. “One of the IC8 columns covers the diving well area, with the IC16 at dead center and the other IC8 down at the far end of the pool,” says Noerlinger. “With just those three columns, we were able to achieve a consistent 110 dB coverage across the entire seating area.” A CFX218S dual 18 inch subwoofer adds low end punch and power to pump up the crowd.

Intelligibility is also dramatically improved, Noerlinger adds. “Having the ability to control our point sources and direct the sound exactly where we wanted it — and more importantly, to steer it away from the places we didn’t want it — made a tremendous difference. The sound in there now is crystal clear.”

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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.

Dan Orton Joins L-ACOUSTICS

MARCOUSSIS, France — Bolstering its commitment to the fixed installation and touring markets, L-ACOUSTICS announces the appointment of Dan Orton to the post of Application Engineer for the UK and Ireland.

Orton reports to L-ACOUSTICS’ Florent Bernard, Head of Application – Touring, and Cédric Montrezor, Head of Application – Installation. “Dan is certainly a welcome addition to our team,” notes Montrezor. “Given his proven track record as a talented development engineer in the sound reinforcement industry, I know that Dan will offer excellent support to our UK and Irish network of Integrators and Rental Companies.” more

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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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