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Discovering New Uses For The Martin Audio MLA Mini

MLA Mini J Roddy Walston 1

By E. Wayne Sowder

My ultimate goal as a Front of House engineer is to make sure the artist has a clear pathway to each member of his or her audience. That’s why I’m always researching new products, networking with other techs and remaining my own toughest critic as I work to sharpen my skills.

Time is the most unforgiving factor in live sound production, and everyone has fought a losing battle against the clock trying to solve unexpected problems. So discovering tools that increase audio performance and reduce the amount of system set up and tuning time is really exciting. These tools are especially important to regional sound companies who provide systems and techs for a diverse mix of musical genres and venues on a one off basis.

When RMB Audio added Martin Audio MLA Mini enclosures to an inventory that already included the MLA Compact system, the sound techs started evaluating the system using the factory presets for basic “speaker on a stick” configurations. It wasn’t until Matt Johnson began testing the VU-NET network features that we discovered the software had presets for “Single” and “Double” front fills.

Typically, we’d used Martin Audio W8LM cabinets equally spaced on the downstage edge. Substituting the powered MLA Mini speakers for lip fills would allow the entire system to be controlled on the same network, saving setup time and facilitating control, eliminate the need to carry an amp rack, occupy a smaller footprint on the stage and in the truck pack.

At the time, the next show requiring lip fills was at the Red Hat Amphitheater in Raleigh, North Carolina for the “Rock and Roll Marathon” with New Politics, a Danish Dance-Rock band, headlining and Love Canon, a regional bluegrass band, opening the show. We decided to use the MLA Mini in the single configuration since it was the closest to our normal front fill package.

MLA Mini Love Canon 2

The first thing we noticed after turning on the Minis was the voicing similarity between the MLA Compact main hang and the front fills. Walking from the coverage of the main hang into the coverage of the front fills the clarity remained constant without adding additional EQ.

Moving onstage, we immediately noticed that the MLA Mini also mirrored the excellent rear rejection characteristics of larger MLA systems. This was very helpful since the Love Canon microphones were in close proximity to the front fills.

We chose to deploy the MLA Minis in double-stacked mode for artists with a louder stage volume, such as Parliament Funkadelic and J Roddy Walston & The Business. The results were impressive, using the “Double” program in VU-NET compensated for any variations caused by adding additional cabinets and provided a front fill package that caused several FOH engineers to comment that they’d mixed shows where the mains weren’t that strong or sounded that good.

For a Nickel Creek concert at the Roanoke Performing Arts Theater, we worked with their FOH Engineer David Sinko who has a very interesting process of sound checking where he mixes in mono, plays 30s music and is very discerning. When I told him that the less you do to the MLA system, the happier you’ll be if distance and elevation data is drawn correctly, that’s exactly what he wanted to hear. He doesn’t like to spend the entire day tweaking a system.

We were walking the room with David before the show and it seemed like in the center three or four rows back the front fills seemed to be in front of the system and the Main hangs were disappearing or being overpowered by MLA Minis. We decided to shorten the start of the main coverage and David asked if we’d have to rehang the speakers and I told him we could do it all on the computer via the VU-NET system, which definitely surprised him.

MLA Mini New Politics

Matt Johnson, RMB Audio’s MLA tech for that show quickly changed the start coverage of the main hang using only the MLA software and moments later David re-walked the coverage and was very pleased with the results. The group had the chance to an extended rehearsal that day which allowed all of RMB’s techs to evaluate and experience the performance of the combined MLA systems. Walking and sitting in various parts of the venue from front row to the last row in the balcony confirmed that each audience member would hear the same mix that David was hearing at the FOH position.

RMB Audio also deployed the MLA Mini in a unique way at the Koka Booth amphitheater for a performance by Josh Groban and the North Carolina symphony. The venue has an area of tall trees that provide shade from the sun at house right where many patrons have begun seating themselves. Because the area was too far off axis from the main hang to provide quality audio, Robert Weddings of RMB suggested that we use an additional MLA Mini four-box, one sub system to provide coverage for the area. I wasn’t on the show, but I heard from all of the techs that the boxes were projecting far back into the house, with full range coverage 150 feet back.

The fact that the MLA Minis are on the VU-NET network makes them an integral solution for any changes in terms of EQ, time alignment and the ability to monitor how hard the system’s being pushed or how much headroom you have.

MLA Mini J  Roddy Walston 3

When we first set up the MLA Mini at the Red Hat amphitheater in Raleigh, we were walking house left to house right and the transition from the main hangs to front fills was transparent retaining all of the clarity and intelligibility. The surprising thing was when we did groups with more stage volume and used the double front fills, there was a nice low mid energy coming off of them, so it never sounded thin nor overwhelmed by the stage volume.

The Mini front fills can keep up with some pretty loud stages. They are surprisingly powerful boxes that easily carry from edge of stage to front of house position.

Overall, MLA lets the laws of physics work for us by only putting sound where people are instead of sending it to every part of the room and generating reflections and other noise. The technology has become a game-changer in delivering sound and how the system should sound because without all of the room reflections and clutter, the mix becomes much cleaner and more defined, especially in terms of getting a better stereo field throughout the house.

Photos: New Politics, Love Canon, J Roddy Walston & the Business,

For more about Martin Audio, please click 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.

With Meyer Sound LEO and LYON, Judas Priest FOH Engineer Gets Headroom, Weight Savings, and Clarity

judas priestFor British metal legends Judas Priest’s world tour, FOH engineer and production manager Martin Walker has selected LEO-M and LYON™ linear line array loudspeakers from Meyer Sound’s growing LEO Family of products. With the power and linear response of both products, the crew can easily adapt the system for a wide range of venues, which includes casino showrooms, arenas, large theatres, outdoor amphitheaters, and festivals.

“The response of the system is pretty seamless, whether going from main LEO arrays to LYON side arrays, or going from a main LEO hang in an arena to a LYON hang in a theatre,” Walker says. “You turn on the PA and there’s really no difference to worry about. The headroom is there, the weight saving is there, and the clarity and fidelity are there. It’s a great system with either box out front.”

The main and side arrays for the tour are assembled from the tour’s full inventory of 28 LEO-M and 32 LYON loudspeakers and 18 1100-LFC low-frequency control elements. Twelve M’elodie® line array loudspeakers are deployed as fills, and a Galileo® Callisto™ loudspeaker management system with one Galileo 616 AES and six Galileo Callisto 616 array processors handles drive and optimization. For onstage foldback, monitor engineer Brad Johnson mixes the band on 10 MJF-212A stage monitors and side-fill stacks of three JM-1P arrayable loudspeakers and two 700-HP subwoofers per side. The system is supplied by UK-based Major Tom Ltd.

“I try to recreate a total experience of the band,” says Walker, who mixes behind a DiGiCo SD7 digital console. “I want a loud sound with full bandwidth, warmth, and depth, a sound that really brings the band to life. With LEO and LYON, I can realize that, every night.”

Steel Panther opened the North American leg of the tour. Judas Priest’s last world tour in 2011-2012 was supported by a MILO® line array loudspeaker system.

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Iconyx Tames Bank of China’s Auditorium

 Hong Kong – December 2014… Hong Kong has long been known for its breathtaking skyline, and the compelling geometric profile of the I.M. Pei-designed Bank of China Tower is a prominent jewel of the city’s glimmering urban landscape. Occupying the top floor of this 70-story masterpiece is a large multi-use auditorium and meeting space, used for a variety of banquets, meetings, and other special events.

The space has recently been outfitted with a new sound system centered around Renkus-Heinz Iconyx IC Live digitally steered arrays. The system includes four IC16-R-II columns, providing eight steerable beams to cover even the room’s most problematic spaces.

“It’s a very live acoustical space, with an open overlook and high glass windows, and achieving good spoken word intelligibility has been a challenge,” explains a spokesperson from Audio System Consultants (Asia) Ltd., the company behind the system design and installation. “The Iconyx steered beam technology enabled us to focus the sound directly on the areas where the audience is seated, and away from the windows and reflective surfaces.”

 A pair of IC215S-R subwoofers provides low frequency reinforcement, creating a powerful and portable full-range system for musical performances as well as spoken presentations. A Rane HAL3 multiprocessor is used as a front end for connecting microphone and line inputs. The system is easily controlled via tablet, laptop, or other external devices.

The new sound system has been in use for several months, and has received high marks from both client and guests alike.

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Martin Audio Is System of Choice At The Line Hotel

Patio at The Line

Los Angeles, CA––A fashionable new stopover in Koreatown, the Line Hotel is a 12-story modernist tower originally designed by the respected architecture firm Daniel Mann Johnson & Mendenhall which retains a midcentury look combined with an industrial chic aesthetic, stripped-concrete walls and double height windows in the lobby.

Commissioned to install a sound system in keeping with the modern, high tech feel of the hotel, LA Sound opted for Martin Audio loudspeakers throughout the public areas downstairs and outside on the patio deck, pool area, and in the greenhouse.

According to Richard Ralke of LA Sound, the system starts with Martin Audio C8.1T 8” ceiling speakers in the lobby, café, entryway and bar areas. These were chosen because they have a tighter dispersion pattern, which was more effective in covering the greater ceiling height averaging from 12 to 14 feet and reaching people who are both standing and on the move.

For the Pot restaurant, a collaboration with the street-food king Roy Choi which specializes in Korean hotpots, Martin Audio C6.8T 6” ceiling speakers with a wider dispersion pattern were used to provide more balanced coverage in a space with a shorter 10 to 12 foot ceiling height where people are sitting down and not moving.

Bar at The Line

“We also used AQ112 subwoofers in both areas,” adds Ralke, “six in the restaurant and two in the bar. For the bar, we actually installed the subs in a custom-built serpentine bench, which is approximately 50 ft. long and weaves down the length of the room.

“There’s a large upright back that extends down to the floor with a padded bench that clips to that section. We were able to take the bench section off and bury the subwoofers in the base of the back and cut openings in the sub structure of the bench, allowing the low frequency energy to exit out of the kick panel at the front. The subs are spaced down the length of the bench so there’s no bass build up anywhere. The low frequency energy is very even throughout the room.”

“In the restaurant,” Ralke continues, “we were able to bury an AQ112 in a staircase—the speakers are around 14” in every dimension so they’re pretty small––and fire it into the room through an air conditioning return vent. The other one is integrated in the outer wall covering near a hostess stand at the entry. Again, the low frequency coverage throughout the space is very smooth and even.”

The bar, lobby and restaurant are situated in separate zones so the volume can be adjusted for each, but they function as one common source area because they are adjacent acoustically and open to each other. Either zone can adjust their level individually using the Rane Hal1 house system with remote controls for volume and source selection.

Restaurant at The Line

According to Ralke, “We currently have 12 output zones and all 10 input allocations, and every zone has a DR3 digital remote controller that allows the user to change the level and source material in any zone. Three mobile background music sources are fed into the Hal and either left as stereo or combined into Mono, then exported to these 12 zones around the building. The subwoofers and full-range ceiling speakers in the bar are two different zones so we can get the crossover to EQ the way we want to within Hal, but they go up and down together at the bar volume control.”

One level above the lobby and restaurant is a patio deck with a pool area and greenhouse also providing the same source audio. The outdoor pool area has 14 Martin Audio C115T surface mount outdoor full-range speakers with four subwoofers and an additional four C115T’s in a remote listening area by the patio. Three Powersoft M28Q 4-channel amplifiers drive all of the subwoofers and full range speakers in the hotel.

“The pool deck is on the second floor of the hotel right above Wilshire Boulevard one floor below, explains Ralke, “So the hotel put up a wall consisting of metal mesh fence and added a creeping vine type of plant. We were able to mount the speakers to the metal mesh and have them totally blend in within the plants. The deck has complete coverage without spilling down into the street.”

Greenhouse at The Line

“The greenhouse on the deck presented an acoustic challenge because it’s all glass and concrete, wood and steel inside,” explains Ralke. “But the hotel showed us a layout with plants positioned to break up the sound, so we were able to use 6 Martin Audio AQ8 8” two-way surface mount exterior speakers and get the smooth, even coverage we needed from one end of the greenhouse to the other.”

Asked about their client’s reaction to the sound system, Ralke sums up in a few words, “They love it. In fact the owners are so happy with the sound system, they’ve asked us to do a new karaoke club named Speek they’re putting in early next year.”

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.

Creative Audio Provides Sound For Alice In Chains Tour With HARMAN’s JBL VTX Line Arrays And Crown Amplifiers

ONTARIO, Canada – With two headline shows in Ontario, Alice In Chains recently completed its North American tour, where the band performed in theaters and arenas with capacities ranging from 1,500 to 4,000 seats. Having stocked HARMAN inventory for 25 years, live production company Creative Audio provided full production elements for the show including JBL VTX line arrays and Crown I-Tech HD power amplifiers.

A month-long endeavor consisting of four to five shows a week, the Alice in Chains tour featured heavy rock music with high SPL levels. To support the intensity of the shows, Creative Audio supplied the band with 24 JBL VTX V25 loudspeakers, 16 VTX G28 subwoofers, 12 VERTEC® VT4888 loudspeakers and 28 Crown I-Tech 12000HD amplifiers.

“We’ve recently graduated from VERTEC to the VTX line arrays, and so far the results have been positive,” said Chris Mentzel, Owner of Creative Audio. “These boxes are absolutely comfortable with reaching the high SPL levels of heavy rock music. The sheer output is amazing, and thus we can use fewer subs and have twice as much low end when compared with the older boxes. The high end is great, because it’s so smooth without sounding piercing at all.”

Two Creative Audio technicians traveled with the band during the tour, assisting with setup and teardown for every show. Having transitioned to the latest JBL technologies, they took full advantage of JBL HiQnet Performance Manager™, as well as Crown’s I-Tech HD amplifiers.

“When we started getting into Performance Manager, we liked it so much that it has now completely replaced our old system. It’s a real lifesaver,” said Mentzel. “Combined with the I-Tech 12000HD amps, everything is easier to navigate. The amps are so powerful that we no longer need an external processor in line.”

Creative Audio currently plans to double its VTX inventory within nine months.

For more information on Creative Audio, please visit http://www.creativeaudio.us/

For more information on Alice in Chains, please visit http://www.aliceinchains.com

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and enterprise automation solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson ® and Revel®, the Company is admired by audiophiles, musicians and the entertainment 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 approximately 16,600 people across the Americas, Europe, and Asia and reported sales of $5.6 billion for the 12 months ended September 30, 2014.

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Union Depot Restoration Features Advanced Sound Design

stpauluniondepot_small

UnionDepotSetupforBanquetSt. Paul, Minnesota – A recent renovation has restored St. Paul’s Union Depot to its original 1920s splendor while a new sound system with Community ENTASYS loudspeakers has brought intelligible voice announcements and clear sound reinforcement to the depot’s transit services and its many public events.

Originally completed in 1926, Union Depot served as many as 300 trains and 20,000 passengers each day. But, as passenger rail travel declined, the last train left the depot in 1971 and the historic structure became home to restaurants, offices, and condominiums. Now, after its renovation, the depot again serves both light and long-distance rail (Amtrak), local and intercity bus travel and automotive, bicycle and pedestrian traffic. In addition, the depot hosts concerts and art shows as well as banquets and other events.
As the building architect and engineer of record, HGA Architects and Engineers worked with the Ramsey County Regional Rail Authority (RCRRA), and the project engineers and construction companies to carefully restore the building’s beautiful interior which is finished in brick, plaster, marble and terrazzo. HGA’s Joe Wetternach, P.E., says the depot’s historic interior displays the best of 1920s architecture and craftsmanship but the large open spaces and hard surfaces produce “terrible acoustics”. And, due to Union Depot’s listing on the National Register of Historic Places, no acoustic treatment was allowed in the restoration.

Despite these challenges, one of the project’s goals was a sound system that would provide clear, intelligible voice paging for transit passengers and add important supplemental voice evacuation functions to the facility’s fire alarm. In addition, the system needed to offer sound reinforcement services for the frequent banquets, art shows and other events hosted by the depot. Finally, the system needed to have minimal visual impact on the newly restored interior.

Wetternach chose a distributed system design based on Community ENTASYS column line arrays placed along the walls and aimed into the public spaces. “The way to treat a problem like this is to not create a problem in the first place,” said Wetternach. He achieved this by placing double-stacked ENTASYS loudspeakers at the “people space” height which provides even coverage within ±3dB while keeping sound out of the high arched ceilings and minimizing reverberation. The result is a system that meets its intelligibility goals with clear announcements and natural sounding voice reinforcement for events. The ENTASYS loudspeakers were custom painted by Community to blend with the depot’s interior and were supplemented by Community CLOUD4 ceiling loudspeakers in low-ceiling areas and I/O-5 surface-mount loudspeakers in outdoor areas. “We really honed in on the ENTASYS,” said Wetternach, “for this project, it provided just the right balance of performance to value.”

A Biamp Vocia system provides DSP, mixing, zoning and amplification and includes ambient noise compensation to maintain a suitable system level with varying crowd and transit noise. The Vocia also provides fault monitoring and an interface to the facility fire alarm for use in voice evacuation.
Since its restoration, Union Depot has become a big success in the life of the city of St. Paul. Supported by its sound system, the depot’s transportation services and its growing list of concerts, art shows and other events will continue to add to this success.

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New Audio System Adds Excitement at Yager Stadium

YagerStadium

YagerStadiumScoreboardOxford, Ohio – With the success of its football program, Miami University began a series of upgrades to Yager Stadium in 2003. The improvements to the 24,286 capacity venue included a new artificial turf playing surface, a broadcast-quality field lighting system and a large screen video scoreboard.

However, the existing stadium sound system was retained, forcing RedHawks football fans to endure inconsistent coverage and poor music quality. For several seasons, the university supplemented the system with rental equipment from integrator Loud and Clear. But, in 2014, they asked Loud and Clear’s Eric Cimini to provide a completely new installed system to eliminate the need for rental equipment, provide uniform coverage and enhance the fan experience with better musical performance.

During system planning, the university considered a distributed system but decided to stay with the existing end-firing scoreboard design to utilize existing wiring and avoid the cost of stadium structural changes needed for a distributed system.

The new scoreboard system uses two Community R2-52 and ten R2-64MAX loudspeakers to cover the stands and the field. Three R6-Basshorn woofers provide long-throw LF coverage and six VLF218 subwoofers, which are rolled out below the scoreboard during games, supplement the LF performance for music. Community R.5 and R.25 loudspeakers provide coverage beneath the stands, in restrooms and in the concessions area.

The system is powered by Crown iTech amplifiers and utilizes a Peavey Media Matrix for mixing and primary DSP functions. Loud and Clear added an Audio-Technica wireless lapel microphone for field use and a pair of Community dSPEC DSP processors for zoning and loudspeaker management. The dSPEC zoning also allows loudspeakers covering the field or the stands to be muted during practice.

Cimini says system commissioning went well and the completed system provides uniform coverage all the way from nearby stands to the far end zone seating. When the system was first turned on, the university’s athletic director was amazed at the clarity and quality of the sound. Cimini adds, “The volume from the Community R2-MAX loudspeakers is mind-boggling and the system has amazing clarity at these sound levels.”

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UNIVERSITY OF GEORGIA DRAMATICALLY IMPROVES GAME DAY SOUND AT SANFORD STADIUM WITH DANLEY SOUND LABS LOUDSPEAKERS AND SUBS

DCIM100GOPROATHENS, GEORGIA: The University of Georgia Bulldog football team plays all of its home games in Sanford Stadium on the school’s main Athens, Georgia campus. Georgians have long stood behind the Bulldogs, and Bulldogs football is a distinguishing feature of autumn in a place where the average high temperature doesn’t drop below sixty degrees until December. Fan turnout has always been consistent at Bulldog home games, which has motivated a long series of stadium expansions. Today, Sanford Stadium can accommodate just shy of 93,000, making it the tenth largest stadium in the United States. In response to new rules allowing more music play during games and in recognition of how important sound quality is to the game day experience, the University of Georgia authorized an overhaul of Sanford Stadium’s sound system. Composed of Danley Sound Labs Jericho Horns, SBH-10 column loudspeakers, and BC-415 subwoofers, the new system dramatically improves coverage, low-end extension, and clarity.

“The old system had been installed for a decade and never covered the stadium evenly,” said Chris Williamson, athletic facility coordinator at University of Georgia. “There were several large dead spots, including a big one over the student section. Of course, that’s one of the most important sections for building the right game day atmosphere. In addition, new rules would allow us to play more music during the games, but with a subpar sound system, that would only highlight the system’s deficiencies. It had been intended primarily for speech reinforcement, not music playback. The previous system had subs but they just didn’t provide enough low end to add enough presence.”

Univ_Georgia_Scoreboard“There is increasing recognition that the stadium itself, including its sound and video systems, is a critical tool in keeping the momentum on the field going in the right direction,” said Pete Dugas, president and founder of TSAV, the Athens-based firm that installed the system and that collaborated on the design with Mike Hedden, Danley president. He continued, “Home field advantage is more than the fans themselves, it’s also how the sound system inspires the fans. We’ve been working with a number of Division I athletic facilities, but Sanford Stadium is near and dear to us. The Bulldogs are our hometown team.”

Univ_Georgia_Scoreboard_SpeakersTSAV looked at a range of feasible sound systems for Sanford Stadium, including a number of distributed systems and a number of end-fired systems. The TSAV engineers converged on an end-fired system using primarily Danley Jericho Horns with Danley subwoofers. In the spirit of due diligence, Dugas asked Hedden to come up with his own design without sharing the plans that TSAV had converged on. “The differences between Mike’s independent design and our own were small, indicating that our plans were sensible,” said Dugas. “Not only would the new system meet the university’s performance goals, it would do it without straining their budget.”

Five Danley Jericho J3 Horns provide main coverage of the opposite end zone and both adjacent sides, and three Danley OS-80 loudspeakers provide down-fill for the end zone seating immediately below the scoreboard. Like all Danley loudspeakers, the J3s and OS-80s are based on Synergy Horn technology, which delivers full-range content from a single horn. As such, their output possesses excellent intelligibility, fidelity, and pattern control. That pattern control keeps energy off the field so that the referees can speak without feedback, a situation that had caused considerable problems with the old system. Two of Danley’s new SBH-10 column loudspeakers provide additional side-fill coverage below the scoreboard. Mounted horizontally, they deliver 10 x 100-degree dispersion from a single horn, with all of the same benefits of the Synergy Horn designs. Four beefy Danley BC-415 subwoofers bolster the low end.

Considering the old system had lumpy coverage with worse than +/– 10dB swings, the new Danley system is better than +/– 2dB, and whereas the old system had no content below 70Hz, the new Danley system is still active at 25Hz. “We’re happy with the results, and the performance is close to model projections,” said Dugas. “There were adjustments to make, of course. The new low end rattled the scoreboard, which we had to fix, along with too much low end by the university president’s suite. That was easy to adjust. It was nice to see how it all came together with everyone working so cooperatively. The SPL is now 26dB greater than it was before, and the fact that everything is point source has improved fidelity tremendously. A Bulldogs fan myself, I’m looking forward to enjoying the system at every home game!”

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

ICONYX Brings Clarity To Landmark Massachusetts Buddhist Temple

 Raynham, MA – December 2014…  In the late 1990s, a group of Theravada Buddhist faithful in the Boston area came together with the goal of forming a temple and meditation center. The community hunted for nearly a decade to find a suitable facility, locating briefly in Boston, Braintree, Quincy, Waltham, and Watertown. Finally, in April 2006, a 55-acre property was purchased in Raynham, and construction began on Wat Nawamintararachutis. The NMR Buddhist Meditation Center, as it is known locally, has grown to become the largest Thai Buddhist temple outside of Thailand, and a destination for Buddhists across the United States and the world.

 The complex features six main buildings, including a multi-purpose hall used for spoken word presentations, musical performances, and other events. As Michael Waitt, Project Manager for Chicopee, MA-based systems installers Valley Communications Systems, explains, the hall presented a number of acoustical challenges. “It’s a large, open room, about 50 feet square, with a 20 foot ceiling, tiered granite floors, and a glass wall across the back,” says Waitt. “Needless to say, it’s a very reflective environment, and the acoustics don’t lend themselves to good spoken word intelligibility.”

The room called for a system that could address the challenges of this very reflective environment, while being as visually unobtrusive as possible within the ornately appointed space.

The system, designed by Brian Masiello of Acentech, features a pair of ICONYX IC24R-II digitally steered arrays mounted to either side of the small stage area, providing uniform coverage across the entire room. “There really isn’t an audience area, per se,” Waitt observes, “so our main objective was to steer the sound into the center of the hall, and direct it away from the walls and windows.”

Waitt reports that temple officials have been exceptionally pleased with the system. “The IC24 columns blend in so well with the décor, they are barely noticeable, and coverage is consistent to every corner of the room.”

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About Renkus-Heinz - 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.

 

WORXAUDIO DEBUTS XL3i AND XL3T LINE ARRAY SYSTEMS

WorxAudio XL3i

**** Photo: WorxAudio XL3i ****

Greensboro, North Carolina, December 2014… WorxAudio Technologies, a division of PreSonus Audio Electronics (www.presonus.com) proudly introduces the XL3i (installation) and XL3T (touring) line array systems. A new addition to the TrueLine™ Series, the new XL3i and XL3T’s throw capabilities mark a dramatic departure from conventional line array systems of this size and class. Combined, the three XL3i/XL3T modules create a 38-degree vertical system with an unusually broad horizontal dispersion of 150 degrees. The exemplary dispersion characteristics of the these loudspeaker systems make them outstanding choices for a wide range of sound reinforcement applications, delivering pristine audio quality with even coverage that eludes many competing systems. 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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