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Archive of the Loudspeakers Category

DANLEY SOUND LABS AT INFOCOMM 2014: COME HEAR THE DIFFERENCE!

LAS VEGAS, NEVADA – JUNE 2014: Danley Sound Labs, manufacturer of innovative loudspeakers and subwoofers that cleverly sidestep the trade-offs and constraints of conventional designs, will have its newest cutting-edge products on display (Booth C11711) and powered up (Demo Room N108) at InfoComm 2014, Las Vegas, Nevada from June 14 to June 20. Included will be:

• Danley’s SBH (Skinny Big Horn) Series of ultra-compact, column-shaped loudspeakers, which has been expanded to include several dispersal patterns and frequency ranges.
• Danley’s OS Series of fully-weatherized outdoor loudspeakers, which has been expanded to include a new wider beamwidth model and a new subwoofer model.
• Danley’s BC218 subwoofer, which marks an “all-time low” for the company (25Hz!).
• A LARES electronic sound enhancement system composed of Danley Nano loudspeakers, with special demonstrations by company president Mike Hedden on the trumpet.
• A range of Danley’s speakers from the mighty Jericho horns to the Compact Mini’s. Danley encourages all lovers of big sound – curious, converts, and skeptics alike – to come enjoy the Danley difference!

Unlike conventional designs, Danley’s SBH column loudspeakers are acoustically coupled to create a single large horn with an effective path length of over 25 feet. As a result, listeners enjoy an uncompromised frequency response at any listening position, and the output is free of troublesome lobes. Danley will have the SBH-10 (10-deg vertical), SBH-20 (20-deg vertical), and SBH-20LF (integrated subwoofer section for 40Hz performance) on hand. Hear for yourself.

Although most Danley products can be optionally weatherized, Danley’s OS Series is designed to endure unrelenting inclement conditions without compromising fidelity and performance – right out of the box. In addition to the original OS-80, Danley has added the OS-100, which has a 100-deg conical pattern and a smaller footprint than the OS-80, along with the OS-115LF, which delivers Danley’s famous low-frequency output. Show up and spill your drink on one.

In addition, Danley will demo its BC-218 subwoofer, which uses Tom Danley’s pioneering “Boundary Coherent” technology to deliver smooth, undistorted low end down to 25Hz (those in the EDM world take special note!).

And finally, lucky attendees will get to enjoy Mike Hedden’s sonorous trumpeting as amplified and spatialized through a LARES system composed of Danley’s diminutive (in stature, not in sound) Nano loudspeakers. Like most of what goes on at Danley Sound Labs, it has to be heard to be believed!

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

MAKE SURE YOU STOP BY AND SEE (AND HEAR) US AT INFOCOMM 2014 BOOTH #C11711 AND DEMO ROOM #N108 (DEMOS EVERY EVEN HOUR DURING SHOW)

Audio Spotlight’s Sound Beam Turns Heads At The Smithsonian Future Is Here Festival in Washington, D.C.

Mythbusters’ Kari Byron and Outrageous Acts of Science’s Deborah Berebichez use Holosonics’unique Audio Spotlight directional loudspeaker technology to captivate festival audience, and demonstrate that the future of sound is already here.

Holosonics’ Audio Spotlight speakers sound like the stuff of science fiction: they produce a narrow beam of sound with the same precision as a flashlight. At any point inside the beam sound is clear and present, literally surrounding the listener’s head, while just a single step or two outside the narrow coverage area sonic bleed is nearly inaudible. Harnessing the miniature wavelengths of an ultrasonic carrier, and relying on entirely different physics than traditional loudspeakers, Holosonics’ Audio Spotlight system is literally capable of providing sound where you want it, and preserving the quiet where you don’t.™

The Audio Spotlight technology was a perfect fit for the spirit of The Smithsonian’s Future Is Here Festival, an annual celebration and exploration of science, technology, culture and the arts gathered around the exciting, elastic theme of future technology. Focused on motivating young people in science, guest speakers Deborah Berebichez of Science Channel’s Outrageous Acts of Science and Kari Byron of Discovery Channel’s Mythbusters used the Audio Spotlight speaker to pan the audience, giving those in attendance a truly unique listening experience.

As Berebichez explains, "We discussed the physics of sound and demonstrated the futuristic effect of Holosonics’ Audio Spotlight speaker by beaming the popular Pharrell Williams song ‘Happy’ to the audience. Having never experienced anything similar before, people laughed and applauded as the beam of music passed by their heads, and the excitement could be felt in the room."

To help relate the benefits of Holosonics’ directional speakers, Byron and Berebichez referenced Hollywood’s science fiction blockbuster 'Minority Report,' which included scenes where actor Tom Cruise was singularly targeted on a public sidewalk with personalized retail advertising announcements. The futuristic concept was based directly on Holosonics’ Audio Spotlight technology, and adding controlled sound to digital signage or in-store product displays are already two of the more popular applications for their directional speakers.

Kari and Debbie discussed other practical applications where controlled sound is of particular benefit, such as museums, galleries, and trade show exhibits, kiosks, waiting rooms, offices, and healthcare facilities, and even assisted listening for the hard of hearing. As the technology continues to mature and evolve, they expect Holosonics’ speakers could one day be found in every household, allowing families to split-screen TV’s and listen to different programming from opposite sides of the same couch, or to help a slumbering partner sleep more comfortably in peace while their spouse watches TV beside them in bed.

Kari shares, "The Holosonic speaker is a perfect example of how today’s innovations can impact our daily lives for years to come. It was great to demonstrate the power of the Audio Spotlight technology to a science-minded audience."

photo copyright Sharon Farmer, sfphotoworks

About Holosonic Research Labs, Inc.

Holosonic Research Labs, Inc., a pioneer in directional acoustics, develops and manufactures the Audio Spotlight® directional sound system. Founded in 1999 by MIT graduate Dr. F. Joseph Pompei, Holosonics’ Audio Spotlight technology is used in a wide variety of applications including museums, libraries, offices, reception areas, retail displays, trade shows and retail kiosks. The world’s top organizations and companies use the Audio Spotlight directional sound system to beam sound to their listeners… and preserve the quiet.™

Press inquiries: press@holosonics.com

Martin Audio MLA Goes The Distance At BottleRock 2014

Napa, CA––Under new management, BottleRock 2014 provided three days of exceptional music, food and drink without any of the problems that affected last year’s trial launch.

As Jason Alt of Delicate Productions, provider of audio, video and lighting for the event points out, “This year’s festival was smoother, more organized and better run. Participating vendors and artists were taken care of in advance and everyone had a very positive festival experience.”

The eclectic lineup for the festival included The Cure, Outkast, Weezer, TV On The Radio, Heart, Third Eye Blind, Blues Traveler, Spin Doctors, Gin Blossoms and dozens more bands, solo artists and comedians that spanned a range of styles and musical generations.

Once again, Delicate provided Martin Audio MLA and MLA Compact loudspeaker systems for the two main sponsored stages, Toshiba and Sprint, to ensure proper coverage within the festival grounds and output control to prevent noise overspill in surrounding residential neighborhoods.

“The city of Napa didn’t have a noise ordinance until after last year’s event and we teamed with the city to establish one that would work for the festival and the city,” Jason explains. “We came up with 105dB C-weighted at front of house, 110 feet from the stage, measured over an hour period average. This gave us enough latitude for bands to get louder for ten minutes at a time, which allowed for dynamics within that average without adversely affecting any artist’s performance.

“None of the artists or engineers had any issues with the noise ordinance. Even with the newly imposed time restrictions of stopping by 10pm, the festival went really well. And we had no noise complaints from those living near the festival site either.”

Part of this year’s new PA guidelines included removing the delay towers from the main stage to eliminate excess noise, which had no negative impact on coverage according to Alt. “It made the throw for MLA about 600 feet and the system still performed really well. The audience listening experience didn’t suffer at all. People were able to hear it and everything sounded really consistent and clear.”

The Toshiba main stage system consisted of two speaker clusters a side, each consisting of 16 Martin Audio MLA and two MLD (downfill) enclosures; 24 ground-stacked MLX subs; 12 W8LM speakers for front fills; two clusters for side fills, each containing 4 W8C, 4 W8CS compact subs, and 2 WS218X subs; and 6 MLA Compact each as side hangs.

An Avid Profile 96/24 console was used for FOH, and Yamaha PM5D-RH, DSP5D and Avid Venue 48/24 consoles were used for Monitors. Six Shure UHF-R wireless systems with SM58 capsules were also part of the main stage setup.

For the second (Sprint) stage, Delicate combined 18 Martin Audio MLA Compact enclosures per side with 12 DSX ground-stacked subs; 2 side fill clusters containing 2 W8Cs, 2 W8CS compact subs and a WS218X sub; 4 W8LCs for front fills and Martin Audio LE1200S and LE2100S stage monitors to complete the package.

Asked about MLA, Outkast FOH engineer Darcy Khan replied, “I enjoyed the system a lot. The most important thing was the clarity at 200 feet. I was skeptical about that because a lot of line arrays claim to have it but don’t deliver. And this is the only system I’ve come across that can produce enough low end with just 24 subs, but the way Delicate set it up with that block across the front of the stage, it was there. I was very pleased with it, the system really delivered the goods.”

Concluding, Jason added, “Overall the MLA’s performance exceeded our expectations. Everybody was very impressed with what the system was able to do and all of the engineers, many of whom were new to the system, had a great mixing experience with it.”

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.

ATC TWEAKS ITS ENTRY-LEVEL PASSIVE NEAR-FIELD MONITOR AND RAISES IT TO A NEW STANDARD OF PERFECTION

LAS VEGAS, NEVADA – JUNE 2014: TransAudio Group, U.S. distributors for ATC UK, introduces the ATC SCM20PSL MkII near-field reference monitor. The passive ATC SCM20PSL MkII improves upon the previous ATC six-inch two-way passive and is ATC’s smallest and least expensive monitor in the ATC Professional line up. Built to the same exacting standards as its active Pro Range siblings, the SCM20PSL MkII is ideal for those already using passives but seeking a new level of resolution in a compact passive package. They are ideally suited for critical near-field applications or smaller rooms.

“ATC is well-known for designing and building studio monitors that are unflinchingly truthful and that help engineers deliver mixes that translate everywhere,” said Brad Lunde, president of TransAudio Group. “ATC founder, Billy Woodman, and his team of R&D engineers never tire in the pursuit of perfection, and our request for a smaller monitor has led them to develop the SCM20PSL Pro MkII.”

The ATC SCM20PSL MkII is based around the ATC 6.5-inch “Super Linear” LF driver with integrated midrange, utilizing the same ATC developed SL technology used in our larger nine-, twelve- and fifteen-inch based monitors. The SCM20PSL MkII is the first professional product to incorporate ATC’s brand new in-house built ATC Dual Suspension 25mm tweeter. Five years in development, the new ATC Tweeter offers lower distortion, higher output and greater reliability. A newly ATC designed/built passive Crossover has been incorporated combining second and third order features to offer improved imaging and precision, comparing favorably to our active designs. Exceptionally neutral output extends across the audible spectrum and within an all-new cabinet design, minimizing size and weight. “Given the excellence of previous designs, these advantages lead to a substantive improvement in passive speaker technology,” concluded Lunde.

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

PSS Sound Delivers Supreme Audio Integration to Multiple Venues with HARMAN’s JBL Loudspeakers, Crown Amplifiers and Soundcraft Digital Consoles

BATON ROUGE, Louisiana – Based in the capital of Louisiana, complete audio systems integrator Premier Production & Sound Services, LLC (PSS) is known for its dedication to providing the best audio designs to a wide variety of venues and events including festivals, concerts, university functions and corporate conferences. A major factor contributing to the company’s success is its use of HARMAN’s JBL, Crown and Soundcraft equipment, generating integrated solutions that are impressive in quality and consistency.

To deliver a full turnkey audio system at the limited 325-seat Manship Theater for the Manship Red Carpet Gala Fundraiser featuring GRAMMY®-winning Rick Springfield, PSS stacked three JBL VTX V25 line array loudspeakers per side from the ground up, on top of three VTX S28 subwoofers in cardioid configuration and a VTX V25-VT vertical transporter per side, with four VERTEC® VT4886 subcompact line array loudspeakers serving as front fills. Also, four VT4886 loudspeakers on top of three VT4883 subcompact subwoofers per side in cardioid configuration served as side fills, supported by two VT4883 subs with four VT4886 for drum fill and 16 SRX712M stage monitors. The entire system was powered by 36 Crown I-Tech 12000HD and nine I-Tech 4x3500HD amplifiers, and mixed with a Soundcraft Vi6 digital console.

Knowing the sound needed to reach three different levels of the theater, Brian Gordon, co-owner and head audio engineer of PSS Sound, said, “Due to building constraints, we were unable to suspend the VTX line arrays, but thanks to the versatility of the VTX series, we were able to get coverage for the entire room with such little gear. After calculating for vertical dispersion, the front fills were enough to cover half of the first level, with the three VTX V25 loudspeakers covering the rest of the house. We are pleased that the ground-stacked configuration gave us the vertical coverage and sound quality that the artist demanded.”

In addition, the Our Lady Of the Lake Foundation held its 29th Annual Gala at the Baton Rouge River Center, hosting a show for the regional Our Lady of the Lake hospital, starring the blue-eyed soul staple, Hall and Oates. PSS came through with eight JBL VTX V25 and four VT4886 downfill enclosures and six S28 subwoofers in a cardioid configuration per side, supported by four VERTEC VT4888 midsize line array loudspeakers and four VT4886 downfill per side for out fill and four VT4886 loudspeakers for front fill. The system was again powered by 36 I-Tech 12000HD and nine I-Tech 4x3500HD amplifiers, while the Soundcraft Vi6 served as the master control console.

“We wanted to run all the signals through the Vi6 before they hit the PA system, to avoid compromising on sound quality and to have control of the Gala function before the band took the stage,” said Bryant, co-owner and Director of Operations. “The cardioid configuration of the JBL loudspeakers was vital for this particular show, because it eliminated the low-end frequencies that the artist was very sensitive to.”

“The D2 driver is the most amazing thing I’ve ever heard, virtually eliminating half-order distortion, greatly reducing 2nd-5th harmonic distortion, and virtually eliminating modal-breakup to beyond the limits of human hearing in the extreme high-end frequencies,” stated Gordon.

Lastly, the Groovin’ on the Grounds concert at Louisiana State University allowed PSS to showcase its ability to put out a tremendous amount of power through its JBL system, which included 12 VTX V25 loudspeakers per side and nine S28 subwoofers per side, with eight VT4886 loudspeakers as down fills. All units were flown, except for four VT4886 loudspeakers and six SRX728 subwoofers on the ground functioning as front fills.

All 39 Crown I-Tech 12000HD and 15 I-Tech 4x3500HD amplifiers were used to power the system, while the Soundcraft Vi6 console was used for FOH and monitors. For all three shows, JBL HiQnet Performance Manager™ and HARMAN HiQnet Audio Architect™ were used to design and adjust the system configurations.

“With Crown amplifiers we have been very happy with the rock solid stability of the I-Tech HDs. The improved filters and V5 presets have made the combination unstoppable and we have been equally impressed with the newer 4x3500HD amplifiers which allow us to greatly diversify amp racks to do many different configurations,” added Bryant.

“When using the software, we started with the V5 presets and moved forward with further tweaks based on the room and venue. This allowed us to be flexible in our design, even though the concert moved from the originally planned outdoor environment into an arena setting,” said Bryant. “The technological leap that the JBL D2 drivers made for high end clarity allowed us to deliver clear sound at these high powered venues, without distortion or feedback.”

“Thanks to our integrated HARMAN systems, we were able to provide consistent high-quality audio for all three shows,” Bryant concluded. “We have also recently purchased more V25, G28, V20, S25 and F18S loudspeakers to augment and upgrade our existing inventory.”

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 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

L-ACOUSTICS Introduces K2 and PANFLEX Technology

New line source with horizontal steering makes official North American debut at InfoComm

LAS VEGAS – InfoComm stand C11908 — Following in the footsteps of the highly successful K1 system for large stadium tours and outdoor festivals, L-ACOUSTICS announces the official North American debut of its new K2 line source array loudspeaker system featuring PANFLEX technology.

The successor to L-ACOUSTICS’ industry-changing V-DOSC system, K2 offers K1 performance in a rescaled package that makes it flexibly well-suited for both permanent installation and touring applications, from theatre to stadium productions. The primary system components include:

- K2 full-range element with PANFLEX horizontal steering, operating from 35 Hz to 20 kHz
- K1-SB low-frequency element reinforcing LF contour down to 30 Hz or LF throw down to 35 Hz
- SB28 low-frequency element extending the operating bandwidth down to 25 Hz
- LA4X / LA8 amplified controllers or LA-RAK touring rack fitted with three LA8

Boasting an unprecedented performance/weight ratio, sophisticated and fast captive rigging system and exceptional sonic performance, the K2 line source benefits from L-ACOUSTICS’ Wavefront Sculpture Technology (WST). Inter-element angles can be set with laser-like accuracy up to a generous 10 degrees allowing the optimization of the vertical coverage with SPL smoothly spread across the audience.

K2 employs L-ACOUSTICS’ new PANFLEX, a unique horizontal steering technology that combines mechanically adjustable fins with DSP algorithms effective from 300 Hz. Four different settings are possible: two symmetric (70 or 110 degrees) and two asymmetric (90 degrees as 35/55 or 55/35). Narrowing or widening the horizontal directivity can serve many purposes: adapt to the width of the listening area, fit long and short distance coverage/SPL requirements, reduce or extend overlapping areas, and avoid reflecting surfaces.

By combining WST and PANFLEX L-ACOUSTICS exclusively addresses the control of directivity in both vertical and horizontal planes. As a result, K2 can match the complex shape of any audience geometry with ideal sonic performance and minimum noise pollution.

Thanks to its three-way quad-amplified design and full range capability, the K2 enclosure can be deployed as a standalone line source. For applications demanding extreme LF impact (contour mode), or maximized LF projection (throw mode), K2 can be arrayed with its dedicated and flyable K1-SB LF extension. The K2 system can also address applications with demanding infrasonic reproduction when combined to the SB28 subwoofer. Before installation, any system configurations can be acoustically and mechanically modeled with L-ACOUSTICS’ SOUNDVISION 3D simulation software.

For touring applications, K2 can be associated to the LA-RAK, a universal distribution platform for power, audio signals and network that facilitates cross rental between rental companies. LA-RAK houses three LA8 amplified controllers and can be flown onto a K2 array. Other applications can feature LA8 amplified controllers. For high-end installation projects, K2 can also be driven by the LA4X amplified controller. The scheme authorizes fully discrete DSP treatment per section and maximum power headroom for the best possible sonic performance.

With its dedicated factory presets, the LA8/LA4X amplified controller constitutes an extremely advanced and precise drive system for the enclosures. All L-ACOUSTICS amplified controllers feature the L-DRIVE thermal and over-excursion protection circuit.

Up to 253 LA8/LA4X amplified controllers can be connected together via the Ethernet-based L-NET protocol. LA NETWORK MANAGER software allows online remote control and monitoring of all the connected units via a user-friendly and intuitive graphic interface and features the Array Morphing EQ. This exclusive tool allows the engineer to quickly adjust the tonal balance of the system to reach a reference curve or to ensure consistency of the sonic signature.

L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Starlight Theatre’s Sound Shines with L-ACOUSTICS

KARA system installed at Kansas City’s famed outdoor theatrical venue

KANSAS CITY, Missouri — Seating nearly 8,000 patrons, Starlight Theatre has been a staple of Kansas City’s performing arts community since it first opened in 1950. Hosting a full calendar of Broadway plays and musicals each summer season – not to mention numerous concerts, corporate events, weddings and fundraisers – many classic productions have trod the boards of the large open-air venue over the years, including Jesus Christ Superstar, Oliver!, Hair, Camelot, Sweet Charity and West Side Story.

As to be expected, Starlight, which is operated by the not-for-profit Starlight Theatre Association, has been through a few sound systems in its time, with the last one holding out for the past 14 seasons. But none of them have ever been able to deliver the critical combination of the intelligibility needed for theatrical dialog with the full-range frequency response necessary for music. Until this year, that is. A new L-ACOUSTICS KARA Modular WST line source sound system was installed over the winter and is already taking Starlight’s 2014 season to new heights.

The new L-ACOUSTICS house system, designed by Dallas-based Idibri (formerly Acoustic Dimensions) and installed by Clair Brothers Audio Systems’ Nashville office, consists of a total of 48 KARA line array modules divided into three hangs of 16 each, positioned left, center and right along a steel framework above the proscenium stage. Flanking either side of the center hang and the outside of the left and right arrays are flown arrays of six SB18 subwoofers accompanied by eight ground-stacked SB28 subwoofers split between the left and right sides of the stage floor. Proscenium fills are handled by two ARCS WIDE and two ARCS FOCUS, one each per side, while six tiny 5XT coaxial loudspeakers and three larger 8XT enclosures comprise the front-fill complement. A total of 16 LA8 amplified controllers power the entire system.

“We put a lot of effort into choosing the new sound system,” states Justin White, Starlight Theatre Director of Operations and Theater Plant, noting the winnowing process began with five systems that Idibri Project Manager Ryan Knox suggested Starlight investigate. This field was eventually narrowed down to three finalists, for whom Idibri arranged a demo that let dozens of Starlight staffers, board members, donors and city officials listen to audio systems in the venue itself and do an A-B-C comparison using the same program material.

They emphasized the key criteria of intelligibility and music reproduction, as well as other areas of importance, such as the ability of the system components to endure outdoor use throughout what Barb Schulte, Starlight’s Director of Communications and Outreach, euphemized as Kansas City’s “challenging weather environment, especially in summertime.” And, says White, it became clear very shortly who the winner would be. “After as little as ten minutes for some individuals in attendance, it was unanimous: everyone loved the way the L-ACOUSTICS system sounded.”

Kent Andel, Production Manager for the theatre, says he was a fan of the previous system because of the warmth of its sound, but says that the new system exceeds its performance in a number of ways. “The intelligibility we need for diction and dialog are all there,” he says. “At the same time, it works for music. So the L-ACOUSTICS system won hands down.” This is especially impressive when considering that the compact modular KARA system went head-to-head with systems looking much bigger on paper.

The new L-ACOUSTICS line source array system was first used in late May for Starlight’s Blue Star Awards, a Tony Awards-style program to recognize metro area high school musical theatre talent. All of the system’s critical parameters were on the line, and it performed flawlessly. It will get an even more vigorous workout for the season’s first Broadway musical when The Wizard of Oz comes to Starlight in mid-June.

But even between those shows, the L-ACOUSTICS system is showing its versatility; it’s already been divided into three mini arrays – each with two SB18s, six KARA modules and all four ARCS enclosures – and used indoors in the Jeannette and Jerome Cohen Community Stage that’s part of the Starlight Theatre complex for off-season private events, receptions and parties. “In addition to sounding great, it’s also a very flexible system,” White says. “It’s as loud as we needed it to be, super clear, flexible and just a great choice for us.”

About Starlight Theatre
Starlight Theatre, winner of the 2013 Venue Excellence Award from the International Association of Venue Managers (IAVM), is the largest and oldest performing arts organization in Kansas City and the second-largest outdoor producing theatre in the country. Opened as a theater in 1950 and as a not-for-profit organization in 1951, Starlight presents and produces Broadway musicals and concerts. It also offers extensive community outreach and educational programming, including classes, scholarships and Starlight’s Blue Star Awards, one of the largest high school musical theatre award programs in the nation. Located on 16 acres in Swope Park, Starlight’s venue includes rehearsal halls, gift store, club area for dining, concessions, gardens, fountains and a 10-story, climate-controlled stage. For more information, visit www.kcstarlight.com

About L-ACOUSTICS
L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

Credit for all images: Bob Compton

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Martin Audio Strengthens Growth With Strategic New Hires

As part of an ongoing process of preparing for the next wave of growth, Martin Audio has recently made several strategic new hires.

First, Bash Akhtar has joined Martin Audio as Operations Director. He has previously served as Operations and Manufacturing Director of RLC Callender, Smiths Detection, and Harmonic Inc. Bash has earned a Fellowship in Manufacturing Management from Cranfield University and is a Manufacturing Systems Engineer from the University of Hertfordshire.

David Morbey has joined as the company’s first dedicated Product Manager. He has previously served as Global Product Marketing Manager at D&M Professional.

Commenting on the hires, James King, Director of Marketing, said, “We’re delighted to have Bash and David join us as we continue to build a world class team. Their expertise will enable us to further grow the business and support our customer base.

“Bash comes to us with a wealth of operational experience and knowledge from a variety of industries and I look forward to his leadership in creating a world class manufacturing facility right here in High Wycombe. David will bring new discipline to product development and life-cycle management, alongside developing deeper insights to application opportunities that will lay the path for a better defined and even more successful product line up.”

These two new hires are in addition to a number of other recent recruits: Andy Weingaertner has beefed up sales in EMEA; Robin Dibble has come in to bolster the Product Support Engineer team; Alan Josey has been confirmed as the new Finance Director, strengthening the management team with over 20 years’ experience of domestic and international manufacturing and engineering businesses; Carl Davies has joined as Junior Mechanical Design Engineer, strengthening the Mechanical Design team to three, and Nicole Thorne has supplemented the North American team in sales admin support.

For more about Martin Audio, please visit 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.

Astana State Auditorium Goes Big with Renkus-Heinz

Astana, Kazakhstan – June 2014… Designated as the country’s official capital in 1997, Astana is Kazakhstan’s second largest city, and the world’s second coldest capital. Despite its less than balmy climes, Astana has experienced a boom in development in recent years, with millions invested in parks, government buildings, and cultural centers.

One of the most impressive of the city’s newest structures is Astana State Auditorium, a striking structure designed by renowned architects Studio Nicoletti that has been labeled the “Flower of the Steppe” for its petal-like walls that enclose an indoor plaza that is home to restaurants, shops, exhibition halls, two cinemas, and a 3500 seat auditorium that is one of the largest of its kind in the world.

The auditorium’s interior is as dramatic as the building itself. The room’s unique fan shaped wood ceiling panels create a flexible acoustic signature that can accommodate a wide variety of events, from classical music to rock, pop, cinema, and spoken word. As Alessandro Baroni of A&T Media explains, the project was not without its challenges.

“The most important consideration was to achieve a consistent sound coverage across the entire auditorium,” says Baroni. “It’s a very unique design, with multiple levels of seating and an upper balcony that wraps around behind the stage area. The sound system needed to be flexible to adapt to a wide range of performnce material and a wide range of seating configurations.”

The system comprises a main array of 16 Renkus-Heinz PN102LR line array loudspeakers, along with a secondary array of five more PN102LR boxes to cover the upper balcony behind the stage. A center cluster of nine PN212 subwoofers provides ample low frequency reinforcement, and four ST9 cabinets cover lateral fill. The very front rows are covered by seven SGGX42 boxes mounted on the lip of the stage. For even more versatility, the main array can be hoisted up into the ceiling when not in use, and a second complete system comprising 12 IC Live ICL-R digitally steered column arrays on custom brackets can be put into play.

“The Renkus-Heinz systems were a good choice for this project, because the beam steering and built in DSP enabled us to configure the system to cover all the seating, at multiple levels and locations,” Baroni concludes.

A pair of Yamaha M7CL-48 consoles are installed at Front of House and stageside Monitor positions. And four Symetrix Solus 8 units handle system DSP.  Everything is connected via a network of Ethersound, RHAON, and CobraNet.

Video is equally versatile, implementing a dual stack of two Christie Roadie HD+30K DLP projectors for an exceptionally brilliant and high definition picture. “We ran into several challenges,” Baroni reports. “We had too much heat buildup in the rack with two projectors, so we had to work out how to insulate the rack to keep it cool and keep the fan noise down. And we had to design a mounting system that was steady enough to hold the machines so the two images would stay perfectly aligned, pixel-by-pixel, to not lose image quality and definition.” Four Sony BRC3000 HD cams cover the room, with a Panasonic AV-hs400 video console at the helm. There’s even an interpretation system that can provide subtitles in eight different languages.

Not surprisingly, the project also included some logistical challenges. “Of course, it was a challenge to be working in Astana, 6000 km (3700 miles) away from our headquarters in Italy,” says Baroni. “And the winter climate was very severe. And with such a big project, the scheduling and coordinating of different phases and crews is always a bit difficult. But we worked it all out in the end, and the result is nothing short of fantastic.”

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A version of this article appears in the June 2014 issue of mondo*dr

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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.

Canvas Church Brings Active Integration into their New Home

Irvine, CA – June 2014…. As the old saying goes, sometimes you have to break away to come back home. The faithful who founded Canvas Church know that story well. The founders of Canvas, a small group of self-described “entrepreneurial misfits,” broke away from Irvine Presbyterian in 2011 to form a different kind of church: a church “for people who don’t like church.”

The original congregation has more than tripled in size since then and recently relocated to a larger home. The new digs are, not surprisingly, a bit unconventional, occupying a warehouse space in a relatively nondescript industrial park. The inside, however, is warm and welcoming, and the cozy sanctuary is outfitted with a powerful audio system centered on the new PreSonus® StudioLive™ AI Active Integration™ line of mixers and loudspeakers.

“We do a sort of post-contemporary service, and we’ve typically got anywhere between four and nine musicians up on the stage,” explains Norman Gordon, the parishioner who specified the system and can typically be found running front-of-house. “It’s a full band: bass, drums, guitars, keyboards, and a few vocalists. There’s a lot of stuff going on.”

Gordon recommended the new PreSonus StudioLive 32.4.2AI console, along with StudioLive 328AI full-range speakers and a StudioLive 18sAI subwoofer as the main front-of-house system. “The AI series really had everything we needed,” he explains. “We had a 24-channel analog console we’d been using, and even though we really didn’t need the extra channels right away, we went for the 32-channel mixer because it was the first console released in the AI line.”

For Gordon, it begins with the sound. “Having been an analog guy most of my life, I really love that warm, English, analog sound. It’s something I wouldn’t have expected with digital. I have to say, though, I was really, really pleasantly surprised at how warm and open the console sounded.”

Of course, the StudioLive’s digital features are also well utilized. “We use the snapshot scene memory for a lot of stuff: mute scenes, mix scenes. It allows us to get to things very quickly. And having all that DSP horsepower, with compression and EQ and everything, really enables us to do a lot of very cool stuff.”

Every service gets recorded, Gordon adds. “We use Capture™ software to record the individual tracks in real time, and then we import them into Studio One® for mixing.”

A pair of StudioLive 328AI Active Integration monitors completes the package, with an 18sAI subwoofer for low-frequency reinforcement. “While we were waiting for the speakers to arrive, we had a couple of different loaner systems in here,” Gordon recounts. “It didn’t sound bad, but when we installed the StudioLive speakers and fired them up for the first time, the difference in clarity was just amazing. Articulation is really, really important to me — the ability to understand both the singing and the spoken word. And the StudioLive monitors sounded great right out of the box. They’ve got a really smooth response.”

Gordon reports that the entire congregation has been happy with the new system. “You know what they say about the soundman — if you don’t get any complaints, it means you’re doing your job.”

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About PreSonus

Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

 

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