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Archive of the Loudspeakers Category

RG Jones and Martin Audio MLA Win The War of the Worlds

War of the Worlds - The O2 Arena December 2014

Following a triumphant UK and European arena tour in 2012, Live Nation and SJM Concerts announced the ground-breaking tour of Jeff Wayne’s Musical Version of The War of The Worlds would return for the sixth and final time in late 2014 early 2015, with RG Jones Sound Engineering producing.

‘The New Generation’ as it is now known, played to packed arenas throughout the UK and Northern Europe this winter with the tried and trusted team of Simon Honywill, FOH engineer and Martin Audio’s full catalog of MLA (Multi-cellular Loudspeaker Array) components once again on hand to create a superior soundscape.

War of the Worlds - The O2 Arena December 2014

Conducted by Jeff Wayne, the most ambitious production yet featured Liam Neeson in 3D holography, Jason Donovan as Parson Nathaniel, Westlife’s Brian McFadden as The Sung Thoughts of The Journalist, X Factor 2005 winner Shayne Ward as the Artilleryman, Les Miserables’ Carrie Hope Fletcher as Beth, Parson Nathaniel’s Wife, X Factor 2013’s Joseph Whelan, as The Voice of Humanity, the 36-piece ULLAdubULLA Strings and the 9-piece Black Smoke Band.

The show is mixed live in Surround Sound and features remarkable special effects such as the incredible 3-ton, 35-foot tall Martian Fighting Machine firing real flames into the Arena, a 100 foot wide “animation wall” with two hours of cutting edge CGI, the incineration of a cast member in front of the audience’s eyes, and a ground-breaking levitation effect.

Adding a new dimension in the spectacular finale, HG Wells, author of The War of The Worlds, was brought to life in three riveting scenes within the show – aged 33, 53 and 79 – spanning the end of the 19th century and two subsequent World Wars. Scottish actor Callum O’Neill played HG Wells, best known for his role as ‘Wee Dingwall’ in Disney Pixar’s 2012 summer blockbuster, Brave.

War of the Worlds - The O2 Arena December 2014
Simon Honywill believes this to be the most daring production so far, and was delighted that he once again had MLA under his control. “Frankly, in an ideal world it would be the only system I would ever work with. It’s the most intelligent touring system ever, that has been responsible for the dramatically increased level of performance and coverage consistency, and paints such a neutral canvas that the slightest adjustment I make on the desk delivers exactly what I want for the audience.”

The War of The Worlds has to be one of the most challenging pieces of music to portray accurately in a live setting. The musical elements, consisting of the band, the orchestra, the iconic narration, live acting and singing, playback and surround effects, occupy over 140 input channels, and the audiences rightly expect an unprecedented level of detail. The rest of the production is just as epic, and this makes for a very demanding daily task for the entire crew, working to a very tight schedule with 12 trucks of gear to load in and out. For the sound team, set-up times and system tuning opportunities are very limited, and with any system other than MLA it would have been virtually impossible to get the consistently amazing results across a wide range of venues.

Honywill, arguably one of the most seasoned practitioners of MLA in the world, clearly enjoyed himself with the Liverpool Echo quoting, “Wayne’s music has never sounded more commanding.”

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.

D.A.S. LAUNCHES THE LX-221 ULTRA LOW FREQUENCY SYSTEM

**** Photo: LX221 ****

**** Photo: LX221 ****

Valencia, Spain – D.A.S. Audio announces the introduction of a new twin 21″ subwoofer system. The LX-221 joins an already extensive line of subwoofer systems in both powered and passive versions. The system enters the company´s well-known LX range in response to demands for a high output ultra low frequency subwoofer solution. more

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Highland Park Baptist Church Prepares for the Future with Danley Speakers and Ashly Processing and Amps

HighlandPark_Church_InteriorCOLUMBIA, TENNESSEE: As it approached its hundred-year anniversary as a congregation, Highland Park Baptist Church in Columbia, Tennessee sought to revamp its four hundred-seat sanctuary. It hired Church Interiors of High Point, North Carolina to help design and organize the work, which included structural and aesthetic improvements, as well as a new Sharp/Extron video system based around three huge LED screens and a cutting-edge sound reinforcement system. Now, Danley Sound Labs horn-loaded loudspeakers and subwoofers deliver musical and highly intelligible sound, with power and processing supplied by rock-solid Ashly Audio amplifiers and digital signal processors. The sound system is zero compromise, exceeding Highland Park’s hopes for fidelity and quality while still meeting their budgetary requirements.

“Highland Park’s old sound system had an undersized sixteen-channel board and frustratingly uneven coverage,” explained Wayne McKinney, sales engineer with Church Interiors. “They have solidly traditional services with a strong choir, piano, and organ, but they’re looking to incorporate more contemporary elements. They needed the new sound system to deliver better coverage and intelligibility for their existing program material and to facilitate (and not hinder) their anticipated growth.” Although McKinney was able to repurpose or reuse some of the old system’s components, such as a CD player, a CD recorder, and several up-to-date wireless microphones, most of the system had to be replaced.

HighlandPark_Church_Speakers“We ran several models and found that Danley loudspeakers and subs gave us much better coverage with significantly fewer boxes than the alternatives,” continued McKinney. “The performance would be better, particularly in terms of pattern control, and the cost would be lower. You can’t beat that. Moreover, the fewer Danley boxes give an overall cleaner look. It’s neat and tidy. Because the sanctuary has an over-balcony and an under-balcony, we used a delay system to supplement the main cluster.” Two flagship Danley SH-50s provide main seating coverage from above the stage, with a Danley TH-118 subwoofer mounted in the organ chamber for low-end support. Two delayed Danley SH-Micros cover the lower balcony while three cover the upper balcony.

Two Ashly 4.8SP four-by-eight Protea™ DSP system processors handle the output from an Allen & Heath GLD 112 console to deliver the perfect dynamics and frequency domain characteristics for the Danley loudspeakers and subwoofer. Six dual-channel, 1,000-watt-per-channel Ashly KLR-2000 amplifiers and three dual-channel, 1,600-watts-per-channel Ashly KLR-3200 amplifiers power the system. “I’ve been a fan of Ashly processing and power for over twenty years,” said McKinney. “They’ve always maintained excellent build quality and always come through with knowledgeable, fast customer service. The Ashly KLR-Series amplifiers give the Danley system the punch it needs at a very competitive price point. The Ashly processing is super easy to use, and all of the algorithms are transparent.”

With its newly renovated sanctuary up and running, Highland Park Baptist Church is well positioned for its next century of service.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

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

See and Hear Renkus-Heinz at ISE 2015

 Amsterdam, Netherlands – February 2015… It’s a new year and the start of a busy trade show season, and the annual Integrated Systems Europe Convention is just around the corner. As always, ISE promises to be a busy show, and Renkus-Heinz will be at the RAI Center in Amsterdam, in Hall 7, Stand K175, February 10 through 12, 2015.

This year at ISE, Renkus-Heinz will once again showcase why they are the world leader in steerable sound, demonstrating the very latest in groundbreaking loudspeaker technology, including the full line of Iconyx steerable line array systems. Full IC Live and IC2 systems will be on display, as well as all configurations of Iconyx IC-R-II systems with triple tweeter technology, plus the new Gen5.

Also on display will be the highly acclaimed VARIAi line of modular point source array loudspeakers, as well as RHAON II, our exciting new Renkus-Heinz Audio Operation Network — redesigned and rebuilt from the ground up.

As the World Leader in Steerable Sound, Renkus-Heinz will be offering a quick yet highly effective demonstration of the power of digital beam steering. In less than a minute, you will hear what Iconyx can do for you.

Come and meet with the Renkus-Heinz staff, including new company President Roscoe Anthony, VP Sales & Marketing Rik Kirby, VP International Sales Karl Brunvoll, Marketing Manager Margie Ulm, European Sales Manager Håkan Sjöö, and Middle East Sales Manager Norbert Bau, along with representatives from distributor TM Audio. We’ll see you at ISE.

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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.

Meyer Sound LEO Goes “Gangnam Style” with Psy in South Korea

psyPsy, a global viral superstar, recently played four sold-out shows at Seoul’s 14,000-capacity Olympic Park Gymnastics Arena. Dubbed “All Night Stand,” the hometown shows were powered by a Meyer Sound LEO® linear large-scale sound reinforcement system.

“The extended headroom and linear output characteristic of LEO is huge with Psy’s music,” says Park Dong Won, the singer’s veteran FOH engineer. “The highs were smooth and natural, even when we pushed the levels, and the dispersion meant uniform coverage for every seat. I’m not just confident in specifying LEO, but also proud to use it.”

The system comprised dual main arrays, each with 15 LEO-M line array loudspeakers flown over two LYON-W wide-coverage line array loudspeakers as down fill. Twenty-four 1100-LFC low-frequency control elements were arranged in a directional array, with seven MILO® line array loudspeakers per side for out fill and two-each LYON-W and MICA® line array loudspeakers for front fill. Onstage foldback was supplied by two side-fill stacks with two 700-HP subwoofers and four MILO loudspeakers each, along with 20 MJF-212A stage monitors. A Galileo® Callisto™ loudspeaker management system with four Galileo Callisto 616 and two Galileo Callisto 616 AES array processors supplied drive and optimization.

“Psy was very happy with the LEO system when he first heard it during rehearsals,” reports Park. “He had been using other large-format systems, but discovered that LEO was the first that could deliver clear high frequencies at extreme levels without hurting your ears.”

The LEO system was supplied by Live MISO and designed by Y Hun Lee, systems tech from Sovico, Meyer Sound’s Korean distributor, in consultation with “dB Dave” Dennison, a veteran international system design and tuning specialist.

Park mixed the shows behind a DiGiCo SD7 digital console and was assisted by second engineer Ko Jong Jin. A DiGiCo SD8 was used as a sidecar for Pro Tools track playback. Wireless audio for Psy and his special guests was via a Shure UR4D system, with Psy singing through a custom silver handheld transmitter equipped with a Shure Beta 58A capsule.

Released in 2012, Psy’s “Gangnam Style” became a worldwide cultural phenomenon with over 2.2 billion views on YouTube. Psy’s popularity in Korea continues unabated as his concert ticket sales, recordings, and video all occupied the number one positions for 2014.

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L.O.C. FOH Mixer on Meyer Sound LEO and LYON: “Whatever Sound I Put In is Exactly What Comes Out”

L.O.CDanish hip-hop artist L.O.C. became the latest artist to tour with Meyer Sound LEO-M and LYON™ linear line array loudspeakers. Named the “Rødt Lys Tour” (“Red Light Tour”), the production was mixed by Mads Stærke, one of Scandinavia’s most in-demand FOH engineers.

“With LEO and LYON, I know the system will respond musically, so I just let the voices and the instruments do their thing and use much less EQ,” says Stærke, who has worked with L.O.C. for the past seven years. “This system allows me to mix musically, and not technically.”

The touring system comprised 20 LYON-M main line array loudspeakers, with four LYON-W wide-coverage line array loudspeakers as down fill and four UPA-1P loudspeakers as additional fill. In some of the larger venues, 16 LEO-M line array loudspeakers anchored the main system. Ten 1100-LFC low-frequency control elements were driven by the main mix, while 10 more received a separate feed for extreme low-end effects. Two additional 1100-LFC loudspeakers and four JM-1P arrayable loudspeakers were deployed on stage for side fill, while a Galileo® Callisto™ loudspeaker management system with one Galileo 616 AES and two Galileo Callisto 616 array processors provided system drive and alignment. Risskov–based Victory Tour Production provided the system, with Theis Romme serving as system tech.

According to Stærke, also an experienced mixer of jazz, EDM, rock, and pop, the advantages of mixing on LEO and LYON apply across musical genres. “The first time I mixed on a LYON system was actually a pop concert, and I was blown away by the accuracy and clarity,” he recalls. “Whatever sound I put in is exactly what comes out—the system gives me a very precise and clear feeling of the music. It feels like I can do anything with it. It’s so powerful and physical but at the same time very musical. The 1100-LFCs are also extremely precise in the way they move the air, and are much more powerful than any other low-frequency speaker on the market.”

Stærke mixed the show on a Midas PRO2 digital console, while monitors were mixed on a DiGiCo SD8 digital console. Performers used a Shure Axient digital wireless microphone system with KSM9HS head, in addition to Sennheiser SR 2050 transmitters and EK 2000 beltpack receivers.

L.O.C. has been Denmark’s most popular hip-hop artist for nearly two decades, both as a solo act and a member of the groups Alzheimer Klinikken and B.A.N.G.E.R.S. A two-time Danish Music Award winner, he has been both a coach and a judge on the Danish TV version of “The Voice.”

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Masque Sound Delivers a Basket Full of Sonic Goodies in Revival of Sondheim and Lapine’s Fairy Tale Inspired Musical, Into the Woods

NEW YORK — When Sound Designer Darron L West and Associate Sound Designer Charles Coes were given the challenge of creating a dynamic audioscape for Fiasco Theater’s production of Into the Woods, presented by Roundabout Theatre Company in association with McCarter Theatre Center, they turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to supply a custom audio equipment package for the wildly theatrical, fairy tale inspired musical.IntoTheWoods - No One Is Alone

Directed by Noah Brody and Ben Steinfeld, Stephen Sondheim & James Lapine’s Tony Award®-winning musical, Into the Woods, weaves together the stories of Cinderella, Little Red Riding Hood, Jack (and his beanstalk), and a childless baker and his wife as they quest to achieve their greatest wishes. With only 10 actors, one piano and boundless imagination, Into the Woods includes dazzling classic songs such as “Children Will Listen” and “Giants in the Sky.” Audiences are asked to mind the wolf, heed the witch and honor the giant at this extraordinary musical about the power of wishes and what happens when they really do come true.

In this actor-driven production, the sound designers’ main challenge was to create a soundscape that would support the actors, bringing their dialogue front and center, and ensuring clarity as they convey the story to the audience. “This production was about transparent reinforcement and supporting the artists as they are doing their work on stage,” says Coes. “All of the sound effects are created using the instruments and other objects on set, so we were tasked with finding interesting ways to mic those objects to create reverb and other effects that would help turn the production into something magical and remarkable. Masque Sound was wonderful at once again providing us the equipment we needed to achieve our vision.”IntoTheWoods - Little Red, Wolf

Another challenge that the designers faced was with the layout of the theatre itself. The Laura Pels Theatre has an excellent house system, but it can be difficult to reach deep under the balcony to the last couple of seats. To accomplish this, the sound designers enhanced the theatre’s existing house system with a Meyer Sound PA system, provided by Masque Sound.

“We elected to use Meyer M1D speakers because of their relatively tight vertical pattern, which allowed us to throw sound deep into the under balcony,” says Coes. “We also used those same cabinets in their more conventional line array form as a center cluster so that we could cover the orchestra and the balcony. We chose the Meyer speakers because they are tried and true, and very compact. Despite the very low ceiling height of the theatre, we were still able to get enough boxes in to cover the room without protruding too far into the visual picture.

In addition, the designers used a pair of Meyer 500-HP subwoofers, which allowed them to get enough gain before feedback on the stage’s majestic piano walls. “On the stage right and left, the piano walls are giant frames constructed with grand piano harps, minus the wood,” Coes adds. “The harps are tuned, contact mic’d and heavily processed and played by the actors for various ‘magic’ effects throughout the performance.”IntoTheWoods - Baker, Wife, Witch

At the heart of the custom audio equipment package provided by Masque Sound was the DiGiCo SD9T Live Digital Console. “We had done the show at The Old Globe in San Diego on a DiGiCo SD10 and wanted to find a way to stay in the world of DiGiCo when we moved into New York City, so we approached Masque with the idea and they helped us make it happen,” says Coes. “Working with an SD9T brought the software price down without sacrificing sound quality. It is incredibly flexible, has enough channels for this show, doesn’t take up many seats and has a rental cost that the producers really liked. Specifically for this show, in which the actors are frequently trading lines and changing characters, the DiGiCo theatre software made those transitions incredibly easy to handle.”

In addition, one of the interesting components to the custom audio equipment package provided by Masque Sound was the use of the new Shure ULX-D® Digital Wireless System. “Scott Kalata at Masque Sound suggested the ULX-D, and since we knew that there were enough channels to cover our vocals, we gave it a shot,” adds Coes. “We used four of the new receivers for the vocals. They are incredibly transparent, cost-effective and sound fantastic. We are really glad that Masque Sound made them available to us.”

For microphones, Masque Sound provided 12 channels of vocal wireless, four channels of instrument wireless, along with two Sennheiser SKP Series plug-on transmitters mounted on to the show’s piano equipped with DPA 4021s, which gave the piano great volume and clarity without getting in the way of the piano player who frequently spins around.

“Masque Sound has been incredibly supportive and helped us put together a wonderful system that sounds great and does everything we needed it to do for a very reasonable budget,” concludes Coes. “As always, all of the equipment was delivered in fantastic working condition and on-time. In addition, our team, Walter Tillman (A1), Gillian Walker and Richard Lund (A2s), did a great job.”

Into the Woods premiered in May 2013 at the McCarter Theatre in association with the Fiasco Theater. The Off-Broadway production, presented by Roundabout Theatre Company, began preview performances on December 18, 2014 and officially opened on January 22, 2015 at the Laura Pels Theatre in the Harold and Miriam Steinberg Center for Theatre (111 West 46th Street). This limited engagement was recently extended through April 12, 2015.

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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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.

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