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Archive of the Loudspeakers Category

Masque Sound Audio Equipment Package Powers Up New Visual and Performing Arts Center at Western Connecticut State University

DANBURY, CT, JANUARY 15, 2014 — When Norwalk-based Jaffe Holden Acoustics was tasked with designing the AV systems for the brand new Visual and Performing Arts Center at Western Connecticut State University, it worked with Masque Sound, a leading theatrical sound reinforcement, installation and design company, to put together a custom audio equipment package to install in the upgraded facility.

The $97 million, 130,000-square-foot state-of-the art facility is home to approximately 450 undergraduate and graduate students, and more than 80 faculty members. A center that took 12 years to conceive, finance, design and build, the new space melds the three departments that were once housed in Higgins, Berkshire and White Halls on the midtown campus. Boasting a unique design, today’s building is divided into three distinct wings: Theatre Arts, Music and Visual Arts, all of which are adjoined via a stunning lobby that is equipped with a ramp bridge that appears to hover high above the room. The center also features a 350-seat concert hall, with flexibility for a range of instructional uses, a 350-seat theater with the technical assets of a Broadway stage, as well as art studios, music and theatre rehearsal studios, 29 music practice rooms, an art gallery and a recording studio.VPAC Concert Hall - Photo Credit Peggy Stewart WCSU

“We worked with Masque Sound on the Claire Tow Theatre at Lincoln Center and had a wonderful experience with them, so we knew that the team would be a great fit to work with on this large-scale project,” says Ben Bausher, senior consultant at Jaffe Holden Acoustics. “Even though Masque Sound is a big shop, the crew was incredibly attentive, so much so that I know and have interacted with everyone on the team, and relied on them to offer constant support and guidance throughout the construction process.”

In preparation for the Visual and Performing Arts Center system installation, Jaffe Holden Acoustics partnered with Holzman Moss Bottino Architecture and Amenta Emma Architects and, together, the companies embarked on a design process that took a total of three years to complete, starting in 2008 and culminating in late 2011 when actual on-site construction began. From there, Ferguson Electrical Contractors hired Masque Sound as the AV integrator, which worked directly with LiveWire Sound and Image to implement the design. Throughout the endeavor, multiple companies worked together under the guise of Dimeo Construction, the construction management company hired by the state of Connecticut to act on behalf of the University.VPAC Recording Studio - Photo Credit Peggy Stewart WCSU

“We were fortunate enough to have Masque Sound not only provide us with a custom audio equipment package for the base infrastructure, but also assist us with the integration of both the recording studio console, as well as all of the loose and fixed equipment in the AV package,” says Peter Visentin, director of facilities, engineering and planning at Western Connecticut State University. “The equipment package provided by Masque Sound was based on exact specifications from Jaffe Holden to fit our complex needs. We were working within a short timeframe, with only about 11 weeks to get all of the equipment moved into the facility. Matt Peskie and Arno Miller from Masque Sound both did a fabulous job in working with Ben Bausher to make sure everything was completed in time.”
While Masque Sound provided the overall audio equipment on the project, each room also consisted of its own custom package, which required precise planning and design. This coordinated multi-room approach ensured that the audio equipment adequately met the specific requirements of that space and also the overall soundscape.

Two key challenges that Masque Sound faced when discussing the installation process with Western Connecticut State University were in regards to the engineering and installation timing. “We know how important the pre-installation engineering phase is to resolve issues before they happen in the field, and we spent a solid two months preparing the 14 AV racks at our shop before shipping the racks to WCSU,” says Matt Peskie, installation department manager, Masque Sound.

Additionally, working on a large-scale project such as this, in which multiple rooms are involved, the completion status of each individual room is often staggered. “Our site crew, as well as the team from LiveWire Sound and Image, needed to remain flexible on a daily basis, completing tasks based on which rooms were ready to receive AV equipment,” Peskie adds. “The timing as to when to bring all of the control surfaces and sensitive equipment to the construction site is a huge decision, but there is always a deadline looming and our crew worked hard to stay on schedule, so that the team could efficiently move onto the next phase of commissioning.”VPAC Theater - Photo Credit Peggy Stewart WCSU

The Visual and Performing Arts Center’s main theater utilizes a DiGiCo SD10 Live Digital Console with both an SD rack and a mini-rack, which drive multiple Symetrix Edge units for processing. Lab.gruppen amplifiers then, in turn, are connected to a Fulcrum speaker system consisting of 20 discreet speakers. The concert hall relies on a DiGiCo SD9 Live Digital Console with the same SD rack and mini-rack setup as the theater, as well as the Symetrix Edge units for processing. Also similar to the theater, Lab.gruppen amplifiers drive a Fulcrum Acoustic 34-speaker system. A Crestron® control system can be utilized for non-skilled operator events, as well as control of the Servoreeler microphone system.

Once the equipment was installed, one of the main challenges that Jaffe Holden Acoustics faced was tuning the concert hall. “The venue has two tiers of wraparound seats,” adds Bausher. “Getting all of those delay times and EQ’s dialed in took a fair amount of work, and my colleague Phillip Peglow did an amazing job tuning all the systems. In addition, Matt Nichols and Russ Cooper did an incredible job on the architectural design. The building looks gorgeous and, thanks to the hard work of many people, including those at Masque Sound, it sounds fantastic.”

For more information on Western Connecticut State University and its new Visual and Performing Arts Center, visit http://www.wcsu.edu/svpa/svpa-center.asp.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is led by President Stephanie Hansen and the firm’s third generation owner, Geoff Shearing. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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3G Productions Teams With Martin Audio MLA At Calibash Festival

Calibash StageCalibash Los Angeles, held recently at the Staples Center, was billed as “the leading urban Latin music festival in the world.”

The SRO concert featured a diverse group of acts including headliner Cuban American rapper Pitbull of “Don’t Stop The Party” fame along with Carlos Vives, Tego Calderon, reggaeton artists Wisin and J Alvarez, Don Omar, Becky G, Maluma, 3BallMTY, ChocQuibTown, Plan B, Farruko and Gente de Zona.

3G Productions of Las Vegas and Los Angeles provided a Martin Audio MLA system for the festivities which included 16 MLA and 2 MLD (downfill) a side for the main hangs; 16 MLA Compacts for side hangs; 8 MLA Compacts for the 270º hang and 28 MLX subs in double stacks––24 across the stage and a pair on each side pointed 90º to the audience. The mixing consoles for FOH included two pairs of Yamaha PM5D’s for the festival and an AVID Venue Profile for headliner Pitbull.
January 24, 2015

“We also used Martin Audio DD12s for the front fills,” points out 3G Systems Engineer Manny Perez. “They were awesome; really smooth, clear and responsive, like the whole system.

“In fact, the whole show went really well and all of the band’s FOH engineers were happy, even ecstatic at some points. It was kind of like playtime for them; they didn’t know what else they could do for their mix, which was a real change of pace.

“They ended up just hanging out, listening to each other’s mix, watching what the other guys were doing. They all really enjoyed the MLA system. They’d all heard about it but many hadn’t mixed on a big PA like that before.”
January 24, 2015

Asked about particular challenges for the event, Manny responds, “Not that much really. It was a regular end stage set up but they sold seating that went all the way around so we ended up using the house PA to supplement the area behind the stage. We’ve been in Staples Center many times, and it gets easier every time we go in there. It was very fluid in terms of the load-in and setup, even when they snapped in the stage before we could set up the subs.”

Concluding, Manny adds, “The MLA rig was great, we had plenty of headroom and there were smiles all round the room. At the level the engineers had it, which was close to 105 or 106dB, they were wondering what else they could do, because instead of struggling at that point, it was perfect. They also loved the sub bass being so powerful and smooth.”
Calibash FOH

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.

PMC Helps Showcase Auro-3D® To Top UK Producers

Auro-3D demo at Metropolis

Two ground-breaking technologies came together at London’s Metropolis Studios last week to deliver a truly immersive 3D experience to some of the UK’s most influential record producers.

Hosted by the MPG (Music Producers Guild), the Introduction to Auro-3D® event gave recording professionals an opportunity to learn more about Auro Technologies’ 3D audio format, which envelopes audiences in a cocoon of life-like sound.

The Auro-3D® experience was delivered via nine PMC twotwo.5 monitors and a twotwo sub1-woofer, which were specifically chosen for their high levels of clarity, transparency and accuracy. PMC, which has worked closely with Auro Technologies for many demos, sent technical staff to Metropolis Studios, London, to ensure that the monitors were aligned ideally.

Ian Downs, Pro Audio Sales Manager for PMC, says: “With Auro-3D, and specifically Auro 9.1, the monitors are placed in a traditional 5.1 surround configuration, but with four additional speakers positioned in each corner of the studio at above-head height to give an immersive 3D feel. We have worked with Auro Technologies on previous demos, particularly in the US, so we were delighted to be able to support them at this event in the UK.”

Members of the MPG include many eminent producers, recording engineers and re-mixers who have been responsible for numerous international hits. Record producer and MPG Executive Director Mick Glossop says: “Introducing our members to new technologies is all part of the MPG remit. We hold regular technical seminars, as well as networking events that take place in various venues throughout the UK. We were delighted to host this event to introduce Auro-3D® – a technology that certainly captured the imagination of those attending.”

The Auro-3D presentation and demo was delivered by David Walstra, Vice president, Auro-3D® Content, at Auro Technologies.

“Auro-3D is revolutionizing audio by immersing the listener in 540° of sound,” Walstra says. “This exciting move from Stereo or two-dimensional Surround Sound formats (5.1/7.1) to Auro-3D is a breakthrough achieved by adding the missing and final third dimension of height in front and around the listener. Our unique vertical stereo field around the audience creates a totally new level of immersion and marks a major leap in the evolution of natural sound reproduction. Thanks to the addition of height channels, natural acoustic reflections reach you as they would in real life, originating not only from around but also from above you.”

Based in Belgium, Auro Technologies is a spin-off of the Galaxy Studios Group and owner of the Auro-3D® Technology Suite. The Auro-3D® system, which was launched in 2006, was designed by Wilfried Van Baelen, founder of Galaxy Studios – a recording facility that is internationally acclaimed for its state-of-the-art leadership in audio innovation for music and film sound. Aimed at digital cinema, home cinema and mobile, gaming and automotive applications, Auro Technologies also believes that Auro-3D® has huge potential for the music industry.

“Consumer 3D content is here already– for both music and movies,” David Walstra adds. “Following on from cinema releases in Auro-3D®, the first Blu-ray films are now being released and we expect many more to be made available in future. There are also more than 100 music titles in production, covering all kind of genres, of which the first (Souvenir, Remote Galaxy and Magnificat from 2L, Mando Diao’s Aelita, the ambient Lichtmond 3, and Tiesto’s Elements of Life) are already available in Pure Audio Blu-Ray. Hearing is believing and getting the Auro-3D® message out to recording professionals is very important. That is why we were so keen to work with the Music Producers Guild to deliver this event.”

-ends-

About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without colouration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

Martin Audio Offers EASE Sound Design Support For MLA

EASE mlm_test_6300_d2_bal
Martin Audio has announced support for installers and sound designers with the provision of specific GLL files for designs using MLA, MLA Compact or MLA Mini in an EASE model.

Andy Davies, head of the Product Support Group for Martin Audio said, “The increasing demand for Multi-cellular technology in an installation environment has driven this development as an initial in-house solution; however, we are also working towards making this a simple addition to future iterations of our free-to-own Display software.”

For the time being, in order for Martin Audio to supply a GLL file all that is required is an EASE ‘packed’ project file of the venue showing the array location points, together with the appropriate Display2 file for the venue. Davies continues, “We can then extract the necessary data from the Display2 file and, via additional software, generate the specific GLL; this will include the inter-cabinet and array tilt angles, together with all the associated filter coefficients generated within Display2 to meet the set objective targets. It will also incorporate the appropriate Case Data for a visual representation of the proposed array within the EASE model.”

The GLL will then be inserted into the EASE model at the predefined location points and the coverage prediction checked to coincide with the Display2 output. The EASE model will then be ‘packed’ and returned to the installer or designer. Should any anomalies in coverage be discovered, or any circumstances arise where it is felt that improvements to the overall performance of the system could be achieved, then this will be advised when returning the EASE project.

EASE mlm_test_6300_ease_bal

All three MLA models have seen success in permanent installs, from nightclubs, such as the Marquee in Sydney Australia, to theaters like Bochum’s Stadionring in Germany, or auditoriums such as George Washington University’s Lisner Auditorium, to houses of worship like Redemption Church in Arizona and IDC Church in Chicago, USA. The success has been driven not just from the musicality of the systems, but their ability to better control SPL profile, smoothness of coverage, and provide ‘Hard Avoid’ on stage or problem surfaces.

Summing up, Davies said, “By providing additional support to installers and sound designers we hope it will be possible for them to win more contracts and to further showcase the benefits of our MLA technology.”

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 IC Live Solves Intelligibility Issues in Dodge City Cathedral

 Dodge City, KS – January 2015…  Dodge City’s Cathedral of Our Lady of Guadalupe is a stunning architectural achievement that embodies the classic disparity between traditional and contemporary worship. With its soaring ceilings and open, 270-degree seating, this 1400-seat sanctuary creates a wonderfully reverberant sense of musical majesty, but at the expense of the intelligibility needed to deliver the message.

To address these issues in the 12 year-old building, Amos Yost of Montezuma, KS-based Montezuma Sound was contracted to design and install a new sound system. His solution for creating clear intelligibility amid the room’s glorious reverb was centered on the IC Live digitally steerable array system by Renkus-Heinz.

As Yost explains, the room’s circular design and abundance of hard, reflective surfaces presented a number of challenges, and the existing distributed PA’s speakers were aimed almost straight down at the tile floor, creating uncontrolled reflections that exacerbated the room’s ringing 3.5-second reverberation time.

“The organ and choir music sounded pretty good, but voice intelligibility was sorely lacking,” notes Yost. It was clear that a steerable array system would directly address the room’s issues, but because the sanctuary is a circular space, effective deployment would be tricky.

 Montezuma Sound’s solution was to set up two ICL-FR-DUAL columnar arrays mounted on the walls behind the altar area, cross-firing to cover the 270 degree seating spread while preserving audience sightlines. This arrangement created smooth, even coverage from the first row to the last, a throw of 120 feet. With twin IC Live columns of 16 speakers each, there was more than enough beam steering flexibility to cover all seating, even those under the balcony, while avoiding unwanted reflections from the windows, side walls, and balcony facing.

Our Lady of Guadalupe features two Catholic services each Sunday. The traditional service is in English and features pipe organ and choir. The second mass is offered in Spanish and features full musical orchestration. This made it clear that the cathedral’s new loudspeaker system would require the versatility to not only provide the desired improvement in speech intelligibility, but also provide a powerful music experience for the congregation. Yost opted to augment the IC Live system with a pair of IC215S subwoofers, installed out of sight behind a grille with the pipe organ speakers.

“The church is very happy with the Renkus-Heinz system,” reports Yost. “When we brought it in to demo, the IC Live sounded so clear right out of the box, it blew them away. In fact, they didn’t want us to take it back! When we performed the final installation, we barely applied any system EQ at all. The music sounds great for both worship styles, and the spoken word is now clearly understandable. It proved to be the ideal solution.”

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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.

 

New Mackie iP Series Loudspeakers Designed Exclusively for Install

Performance-driven passive speaker line delivers features contractors need and performance customers expect

 ANAHEIM, CA, USA – JANUARY 22, 2015 – Mackie today introduces an all-new loudspeaker line specifically designed for installs seeking rich, articulate full-bandwidth response in a sleek compact design – iP Series Install Performance Loudspeakers.

“We are extremely excited to deliver a professional Mackie solution for the install market,” commented John Boudreau, SVP Product Marketing. “iP speakers deliver stunning performance and have a clean look perfect for even the most aesthetically-demanding venues.”

The series includes three full-range models (10″, 12″ and 15″) and a companion 18″ subwoofer. The full-range iP-10, iP-12 and iP-15 feature 8 x M10 rigging points and a rotatable 90°x50° horn to support both vertical and horizontal rigging. A rotatable center logo allows for clean presentation in all configurations.

Sonically, premium components include high-output, custom-designed woofers with large voice coils to handle more power for maximum output and premium 1.4″ titanium diaphragm compression drivers for smooth, consistent high-frequency response. Plus, convenient features like a choice of either Neutrik® or terminal connections can simplify an install, saving time and cost. A selection of mounting accessories delivers additional placement flexibility. Available are both a ceiling and wall-mount bracket to meet the needs of nearly any install application. The optional SP260 2×6 Speaker Processor features presets specifically for iP loudspeaker for quick setup and flawless sonic performance.

“With the demanding needs of install applications, each and every detail is important,” remarked Boudreau. “From horizontal and vertical hangs, to low-profile wall and ceiling mount accessories plus a rotatable logo that presents well in any orientation, iP series is the perfect solution when the client is focused on the perfect aesthetic.”

An affordable install solution, Mackie iP Series loudspeakers meet the needs of a wide range of install applications including Houses-of-Worship, theaters, auditoriums, casinos, clubs and karaoke rooms.

The new iP Series Install Performance Loudspeakers are available for order now. The iP-10 will have a U.S. MSRP of $519.99. The iP-12 will have a U.S. MSRP of $669.99. The iP-15 will have a U.S. MSRP of $749.99. The iP-18S will have a U.S. MSRP of $879.99. Available accessories include the Mackie PA-A2 eyebolt kit ($47.99 U.S. MSRP), iP-CM100 ceiling mount ($99.99 U.S. MSRP)  and iP-WM100 wall mount ($99.99 U.S. MSRP). The SP260 speaker processor is sold separately with a U.S. MSRP of $629.99. For more information, visit www.mackie.com.

Hear the new iP Series during the 2015 Winter NAMM show at Mackie’s booth, upstairs in Demo Room 209A/B.

 

ATC Presents the SCM45A Active 3-Way Reference Monitor at NAMM 2015

ATC_SCM45A_MonitorsLAS VEGAS, NEVADA – JANUARY 2015: ATC, the English loudspeaker manufacturer led by Billy Woodman and renowned for building reference monitors that are unflinchingly truthful, is introducing the ATC SCM45A at NAMM 2015.

The SCM45A is a completely new design but shares many features with the highly-successful SCM25A. It fills a gap in ATC’s product range for a mid-size three-way that can be used in near- or mid-field positions, has high output and extended low frequency for its size but without compromising the overall balance for which ATC is so well known.

Like the SCM25A, the new SCM45A is an active three-way with an unprecedented linear response across the critical mid-range, as well as across the rest of the audible range. In contrast to the SCM25A, the SCM45A a second woofer for deeper bass response and increased SPL capability, as well as ATC’s new proprietary dual-suspension tweeter for increased resolution in the top-end. In addition, the SCM45A is physically symmetrical (not mirror imaged) and sized for placement on a meter bridge. The SCM45A is thus ideal as a center speaker between other SCM45A or ATC SCM50ASLs.

“Apart from the strategic fit of the SCM45A within the ATC product line, I must add that this new reference monitor offers stunning performance,” said Brad Lunde, president of TransAudio Group, ATC’s U.S. distributor “Price-wise, the SCM45A sits between the smaller SCM25A and the larger SCM50ASL. It includes ATC’s new tweeter and dual woofers, which improve both top-end and low-end performance. Reports trickling in from beta users suggest that the SCM45A’s transparency and feature set will make it a perfect fit in a variety of situations, from dedicated near-fields to larger multi-channel systems. There is every reason to believe it will be as popular as the SCM25A, and maybe even more so.”

The ATC SCM45A uses ATC’s new one-inch dual-suspension “Super” tweeter, the first to be designed and built by the company and the result of six years of research and design by Billy Woodman, managing director and Richard Newman, R&D engineer. The mid-range driver is ATC’s hand-built three-inch soft dome and two 6.5-inch bass drivers that deal with the lower frequencies. All of the drive units are powered by ATC’s proprietary active amp pack, a three-channel discrete MOSFET class A/B design with 150/60/25 for the bass/mid/HF respectively.

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.

The ATC SCM45A monitors will be in stock and ready to ship February 1, 2015.
US MAP $11,490

www.transaudiogroup.com

STOP BY AND SEE US AT NAMM 2015 BOOTH #6945

HARMAN Professional to Provide Complete Tour Sound and Lighting System for NAMM 2015 Center Grand Plaza Main Stage

HARMAN_NAMMStage-smallANAHEIM, California — For the third year in a row, the sound reinforcement system for the NAMM GoPro Stage at the Grand Plaza will feature world-class products from HARMAN Professional. HARMAN will provide a complete concert audio and lighting system featuring JBL VTX line arrays, Crown I-Tech HD amplifiers and Martin lighting.

The stage will host a wide variety of artists during Winter NAMM 2015, including headliners Troy “Trombone Shorty” Andrews and Orleans Avenue, George Clinton and Parliament/Funkadelic, Stanley Randolph and No Wonder (featuring members of Stevie Wonder’s band), and Mexican violin trio the Villalobos Brothers. Performances will take place during show hours from January 22-25.

The stage will be outfitted with a complete HARMAN Professional tour sound and lighting system with 10 JBL VTX V20 line array loudspeakers per side, six S25 subwoofers per side, six S28 subs (center) plus JBL VTX F Series fill speakers and stage monitors. Additional audio equipment will include Crown Audio VRack amplifier systems, Soundcraft Vi Series digital consoles and AKG wireless and wired microphones. A complete Martin lighting system will feature Martin MAC 700, MAC 301 and MAC Viper lights.

“NAMM attendees know they can look to HARMAN Professional for the very best in pro audio and lighting, and this year our Center Grand Plaza Main Stage will be better and more exciting than ever,” said Paul Bauman, Associate Director, Tour Sound, JBL Professional. “It’s a unique and informative opportunity for show-goers to experience our products where it really counts—in the real-world proving ground of live performance.”

The HARMAN Professional Center Grand Plaza Main Stage headlining concert schedule is as follows:

Thursday, January 22, 6:00 pm: opening night concert featuring Troy “Trombone Shorty” Andrews and Orleans Avenue
Friday, January 23, 6:00 pm: George Clinton and Parliament/Funkadelic
Saturday, January 24, 6:00 pm: Stanley Randolph and No Wonder featuring the Wonder Band
Sunday, January 25, 4:00 pm: the Villalobos Brothers

The Stage will also host a variety of live entertainment during the day. In addition to the concerts, professional sound and lighting company representatives attending NAMM may schedule a daytime technical walk-through with HARMAN Professional staff. For more information please contact Brian Pickowitz of HARMAN Professional at Brian.pickowitz@harman.com or George Georgallis of JBL Professional at George.georgallis@harman.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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Martin Audio MLA’s Excellent First Night Out With The Tenors

Tenors_1 web

Raleigh, NC––Kevin Sucher, FOH engineer for the popular Canadian operatic pop foursome The Tenors, recently had a very successful first experience mixing with Martin Audio’s MLA Compact loudspeaker system.

For two concerts at Raleigh’s Memorial Auditorium, Sucher was able to use a loudspeaker system provided by RMB Audio that consisted of 12 Martin Audio MLA Compact enclosures and 6 DSX subwoofers per side with 4 MLA Mini cabinets for lip fill, all networked via U-NET. Avid Profile consoles were provided for FOH and Monitor.

Asked about mixing with an MLA Compact system, Kevin responds, “It was my first time and it turned out to be a very pleasurable experience. For this tour, we didn’t carry any production with us, including backline, which presents its own challenges when you’re using different equipment from city to city.

“There can be a lot iffy pairings, but when you have the correct rig paired with the right desk some magical things can happen and this was one of those very pleasantly surprising situations. Bottom line, the MLA system blew me away. It was really exceptional. We do many of these shows all around the world and I’ve mixed on a lot of different systems, but this was one of those rare occasions when the responsiveness and the ability to make a small change in the dynamics was amazing. 3dB really felt like 3dB!

“And the frequency response was fantastic, like 800Hz was truly 800Hz. There weren’t any of these situations where you’re trying to borrow or cut frequencies from areas you don’t want to cut, but you have to because your ears are telling you what you’re hearing isn’t correct. Every frequency was exactly where it was supposed to be.”

Kevin feels that mixing The Tenors is particularly challenging because of the complex dynamics presented by having 20 to 30 string players on stage along with a large 30-member choir and a five-piece band. Their music is highly detailed which demands the kind of precise dynamic control provided by MLA Compact.

“I started out as a recording engineer and then became a FOH engineer many years ago so I approach live mixing in a very ‘studio’ kind of way,” Kevin explains. “Staying true to their music and recordings as closely as possible is very important, and when you have a lot of live microphones onstage it’s difficult to keep the dynamics contained.

“Adding to the challenge is the fact that The Tenors’ repertoire ranges from classical crossover all the way through different types of pop music that changes from night to night. As such, the speaker system needs to be very responsive and my approach to mixing them is as if they are a large pop act so I need adequate bottom end, much more than some venues they’re booked into. That wasn’t a problem with the MLA system.”

RMB Audio’s Cooper Cannady guided Kevin through the MLA Compact system’s capabilities, including its ability to avoid directing the energy to certain areas in the venue: “Cooper is very knowledgeable about MLA and he quickly educated me how to use ‘hard avoid’ to duck the ceiling response around the 7dB to 8dB range so we could eliminate unwanted reflections we didn’t want in the performance, which made a noticeable difference. The flexibility to change the direction of the energy is like having extra amenities in a very sexy car. These are really well thought out additions.

“That kind of flexibility also allowed us to control feedback in situations where The Tenors performed in the audience 30 to 40 feet in front of the main hangs, which can be tricky depending on the microphones you’re using.”

Because the Memorial Auditorium is almost as wide as it is long without a true balcony and a second level of seats that begins high up far behind FOH position, the MLA system had to be rigged much closer to the ceiling to provide proper coverage. That said, MLA’s control proved to be “a big help in terms of what was a challenging space in terms of getting real boxy-sounding.

“At this point, I could not at this point think of a better rig than the MLA system for that situation,” Kevin concludes. “I would be eager to hear it again in a more typical space.

“In terms of the sound for all of our shows, it was probably the highlight of the tour. A lot of people walked by after the concert and gave us thumbs up. I’d be very eager to use it again.”

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.

Matthew Dear Chooses PMC Monitors for His Studio

Matthew Dear

Michigan-based electronic artist, producer, DJ and remixer Matthew Dear, Ghostly Records’ first signing, has bought a pair of PMC twotwo.8 reference monitors for his personal recording studio, an impressive facility based around a Mac Pro running Logic and a 1979 vintage Spectra Sonics mixing console.
Dear felt a need to change his studio monitors after becoming dissatisfied with the transferability of mixes he was creating in his studio. “My old monitors weren’t cutting it for me anymore. I’d take a mix to a label or to a collaborator’s place, and sometimes it would be spot on, and sometimes it would be off. When you mix your own stuff, you need that ability to translate. I know of guys that have million-dollar rooms, but their tracks only sound good in that room. And if it sounds great there, but not on an iPod or on the radio, you have a problem!”

Dear likes to remain aware of current audio equipment trends and researches everything he buys himself. He heard about PMC’s twotwos on-line and was keen to audition them, having heard of the company and its Grammy-winning roster of users. He also contacted Techno pioneer Carl Craig for advice after reading that he owned PMC BB5s. Craig advised him to speak to Maurice Patist at PMC USA directly.

“I contacted Maurice, and he couldn’t have been more helpful,” explains Dear from his studio. “He sent me some twotwo.6s to demo, and I really thought they were going to be too small for me. But I was really surprised and impressed. They sounded amazing for their size.” Eventually, Dear chose to buy the twotwo.8s, the largest in the twotwo range, feeling they were more closely suited to his roomy studio.

“I was working on an electronic album with another artist, and my old monitors were making everything sound very nice and smooth. When I got the PMCs, it was almost like taking a rag with Windex on it and cleaning a dirty window. Everything was much more present, and the areas I really needed to work on started jumping out at me. There was more accuracy in the high frequencies, and especially in the low mid. That’s where I was really missing out with my last speakers; I needed something more controlled.”

Now setting up a new studio in the Detroit area, Dear feels the twotwo.8s have brought him the transferability he was looking for. “Since getting the twotwos, when I’ve worked on something here and then taken the mix elsewhere, it’s exactly as I heard it here. I don’t get any hidden surprises any more.”

Matthew Dear is DJing around the USA in February 2015, and on tour later in the year under his Audion alias. For more information, see http://ghostly.com/artists/matthew-dear.

-ends-

About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without coloration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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