A virtual press conference from Sound & Video Contractor

Archive of the Loudspeakers Category

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Loudspeakers |

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.”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Loudspeakers |

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.”

###

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

Event Enterprises Supplements NEXO M28 Arsenal, Adds Yamaha QL5 and DSRs

Event Grant Cambridge NEXO

BUENA PARK, Calif.—Event Enterprises is a full-service production company focusing on meeting their customers needs with utmost professionalism and the highest quality of service. With offices in Cincinnati, OH and Bellevue, KY, the company maintains a vast inventory of industry-standard, current event production equipment, coupled with an extensive dealer network and affiliations. The company recently took delivery of 12 NEXO STM M28 speakers to augment their existing NEXO box count, which has grown to 80.

“We were looking to increase our PA inventory to accommodate the demand of multiple festivals/stages/jobs happening simultaneously and were looking to dive into something with a little hotter output and farther throw than the NEXO GEO S12, states Grant Cambridge, Managing Director, Event Enterprises. The M28s could provide us with that need and seemed to make logistical sense for most of our applications. Financially, they also allowed us to make a comfortable initial investment into the STM franchise with the ability to “add on” and grow the rig with the additions of any B112s or M46s in the future. Our maiden voyage with the new boxes was a country show with headliners Dustin Lynch and Frankie Ballard, and out of the box, both front of house guest engineers enjoyed their day with them.”

Event upped their Yamaha DSR speaker inventory to 24, utilizing the DSRs for a variety of applications. “While the DSRs do see a lot of smaller “speaker on stick” gigs as well as corporate applications, we use them just as frequently for wedges as mains, Cambridge says. We do so many 5k, 10k, half/full marathon events where we line up the streets at the start and finish lines that the DSRs work perfectly for. We recently did a half marathon event earlier this month based around Veterans Day, and on a very cold Saturday morning we deployed DSRs down the start/finish line for 400 ft., and in 18 degree temperatures, they worked flawlessly for five hours in the elements.”

Cambridge said the Yamaha QL5 digital audio console was purchased primarily for the company’s rental inventory and in-house engineers to utilize in the field. “We have all taken a liking to Yamaha digital desks at our company and thought this was a nice “next step” for us, having gotten a lot of miles out of LS9s and M7s, notes Cambridge. Because of our familiarity with the Yamaha OS and internal workings within their digital desks and the direct functionality with the Dante network, we thought this would be a wise investment moving forward. The QL was put to use the minute it arrived, both by our own guys’ use well as fulfilling rider requests.”

For more information on Event Enterprises, visit www.evententerprises.com.

For more information on NEXO STM, Yamaha QL and DSR, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Nitin Sawhney Transcends With Martin Audio MLA At Albert Hall

Nitin Sawhney_1

After working with RG Jones’ Martin Audio Multi-cellular Loudspeaker Array (MLA) at Glastonbury Festival, as well as the smaller MLA Compact at other events, David McEwan’s vision was to use it at the holy grail of London venues, the Royal Albert Hall.

As the long term recording and live engineer for Nitin Sawhney, the opportunity came when this British Indian musician, orchestral composer and producer announced his return to the famous London venue for performances from his forthcoming album Dystopian Dream and a selection of material from his first nine albums.

McEwan approached John Carroll, MD of RG Jones Sound Engineering, and to his great delight, the award-winning PA was made available within the production budget.

Rarely will MLA have had so many different sounds and voices pumped through it as Sawhney moved effortlessly through different musical genres. While he performed on guitars and piano, the ensemble featured many vocalists of different tongues as well as guests such as Björk percussionist and hang player, Manu Delago, and Soumik Datta on the 19-stringed sarod. The band also included two cellists, a tabla player and drummer, and the four singers lined up across the stage included the impressive flutist, Ashwin Srinivasan.

Fellow sound engineer Steve Watson, who tragically died last year, had first introduced David McEwan to RG Jones and the MLA. “I built up a good relationship over the years and had been badgering them to let me have MLA for the Royal Albert Hall. I wondered what it would sound like after using it at Glastonbury, and it sounded amazing. It produced great imaging—there was a real presence about the vocals wherever you stood—and that’s an important part of the show. In terms of PA’s, it’s clearly the next step up.”

The design consisted of 16 x MLA elements per side with nine W8LM Mini (and two W8LMD Downfills) per side and further W8LM/W8LMD used judiciously as front and infills. Eight Martin Audio WLX subs were recessed under the stage in a splayed broadside cardioid array to create the required curve.

McEwan’s system tech was the experienced Marty Beath, who a week previously had helped optimize the MLA system deployed for the Invictus Games Closing Concert.

As production/soundcheck time at the Royal Albert Hall was compromised, Beath was able to draw on existing presets, previously used by MLA tech Mark Edwards, enabling them to notch out sound spillage at the stage and up to the top tribune, where there was no audience present.

Nitin Sawhney_2

Supporting the production was RG Jones’ Jack Bowcher, who has worked many times with McEwan, and was in charge of the stage. He, too, knew the rig would be rock solid.

“MLA again produced amazing clarity, particularly at front of house, which was impressive considering the nature of the event. The detail you could hear in the vocals was just unbelievable.”

But the last word came from David McEwan. “This was one of my favourite experiences; everyone seemed delighted with the sound and I will want to use MLA wherever I can.”

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Audio, Loudspeakers, New Products, News, Video |

LEGENDARY GUITARIST ERIC JOHNSON RELIES ON LEGENDARY ATC REFERENCE MONITORS

Eric JohnsonAUSTIN, TEXAS – NOVEMBER 2014: “Legendary guitarist” is justifiably the most common two-word description given of Eric Johnson, whose six-string prowess has earned him a Grammy win, several Grammy nominations, a Platinum album, and residency on practically every “Top X Guitarists of All Time” list ever made. He’s regularly played and recorded with fellow guitar greats Chet Atkins, Steve Vai, and Joe Satriani, and Eric Clapton selected Johnson for his 2004 Crossroads Guitar Festival. Most recently, Johnson collaborated with jazz guitar great Mike Stern on the album Eclectic, which the two recorded and mixed at Johnson’s Austin-based studio with the help of Johnson’s accomplished recording and mix engineer Kelly Donnelly. Although Johnson is known mainly for his prodigious talent as a guitarist, he is also comfortable playing numerous other instruments, including piano, lap steel, bass, and voice. He is an accomplished songwriter and, in more recent years, has plied his skills over the years as a producer and assisting his recording engineers. The common frustration of mixing a song to seeming perfection, only to find obvious mistakes when he played it on other systems, drove Johnson to find the perfect near-field monitors. He found them in a pair of ATC SCM25As, which deliver the undecorated truth so that Johnson’s mixes sound beautiful and balanced on any system, from wee computer speakers to the biggest home theaters.

Years in the making, Johnson slowly constructed the ideal project studio in his Austin, Texas home, and he only declared it finished six years ago. “I always wanted a great rehearsal space, and it seemed natural to make it a recording studio as well,” he said. “I took my time because I wanted to do it right. I like to think about the tools I use the same way I think about guitars. When I find the right guitar, it facilitates my playing. It’s like I can feel the push of the polarity, the wind’s at my back, and soon I’m not paying any attention to the guitar itself… I’m just making music. It’s the same with the studio and all the equipment and processes in the studio. At their best, they fall away and I’m just making music.”

Most of the engineering duties at Johnson’s project studio fall to Donnelly. “Kelly and I often found ourselves second-guessing our mixes,” said Johnson. “We’d take a mix that sounded perfect in the studio and notice huge bumps or holes when we played it other places. It’d be like, ‘we must have overlooked that in the studio!’ But then we’d go back to the studio and those bumps or holes wouldn’t be there. So there was a lot of back and forth, which wasted time, energy, and inspiration. I became very interested in finding a near field system that would ensure our mixes translated outside of the studio, especially as we drew close to working on Eclectic. People with ears I trust told me that ATC is the way to go.”

After performing due diligence with trials of numerous top-end reference monitor manufacturers, Johnson arrived at the same conclusion. He purchased a pair of ATC SCM25As, which feature a three-way active design starting with a seven-inch low-frequency driver. “The ATCs have a great vibe and they’re fun to mix on,” said Johnson. “The imaging is solid and in-phase, and the top end is natural – not glitchy or peaky or spikey. They’re pleasant at whisper volume or blaring, and the response seems pretty linear across that range. I’ve also noticed that we can monitor at high volumes on the ATCs as long as we like and they never become fatiguing. So the in-studio experience on the ATCs is great. Beyond that however, the mixes we’ve done on the ATCs translate beautifully, and we don’t have to second-guess ourselves anymore.”

Part of the Concord Music Group, instrumental music label Heads Up International released Eclectic, and thus sent it to Concord’s multiple Grammy Award-winning mastering engineer Paul Blakemore. For years now, Blakemore has been mastering on ATC SCM150ASL monitors. “The ATC monitors are the most accurate loudspeakers I have ever heard, and I can’t imagine using anything else,” he said. “They work equally well on any genre of music, which is very unusual and particularly important for Eclectic. As the name promises, Eclectic is eclectic! It runs from rock, to jazz, to blues, to R&B, and to everything in between. The ATCs were critical for getting the high end correct and consistent across all those styles. Similarly, the ATCs were critical for making sure the low end was true and in the pocket from song to song. Once I get things right on the ATCs, I’m confident that the final product will translate to any other system in the world.”

In November 2014 and January and February 2015, Johnson and Stern are taking their otherworldly chops on the road for an extended U.S. engagement.

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

www.transaudiogroup.com

(PHOTO CREDIT: © 2014 Max Crace)

ITI Creates Definitive Martin Audio Club System For Verboten

Verboten_1

ITI Audio, designer of award-winning systems for clubs such as Washington DC’s U. Street Music Hall, have achieved what they consider to be their “best work” using Martin Audio loudspeakers and line array enclosures at Verboten in Brooklyn, New York.

In less than a year, Verboten has quickly become one of the leading clubs in what Time Out New York calls “New York’s new clubland paradise,” Brooklyn’s Williamsburg section. With a hard-edged, post-industrial exterior, Verboten’s overall aesthetic is dark, unfinished steel and wood. The music, described on their website as “underground dance music in all its forms,” includes house, techno, deep house, bass music, live electronica, indie dance and nu disco.

With a 20-year history in the dance music promotion business, owners Jenn Schiffer (booking and operations), her husband/partner John Perez (A&R and promotions) and co-owner Michael Roche (director of production), have created the ideal permanent venue for the most evolved expression of dance music, culture and lifestyle in the 10,000 square-foot former metal shop.

Verboten_2

Bill McClure, a principal at ITI Audio, describes what the owners were originally looking for: “When they came to us, they wanted audio to be the primary focus for the space, which was refreshing.”

Verboten consists of the larger Control Room, designed for showcase dance music events, concerts and private parties, which has skylights, acoustic ceiling panels, panoramic edge-blended projection, raised seating areas, and a sprung wooden dance floor from a warehouse once owned by Thomas Edison.

The room’s elaborate Martin Audio sound system is capped off by two hangs of eight W8LM line array cabinets and two W8LMD downfill boxes with four WMX hybrid folded horn subs and two W8VDQ three-way enclosures for rear fill¬¬. Five WS218X sub-bass systems form the sonic centerpiece for the room.

As Bill explains, “There’s something about those incredibly reliable Martin Audio bass bins, they just work better than other stuff available in the market today. They can get super-loud, take a beating, and they have a super-nice frequency response. The musical tone and percussive feel are way better than the competition. That’s why we use WS218X’s pretty much for every club we do.

Verboten_4

“The system has a lot of horsepower with really good coverage and the Martin Audio line array is ideal for concerts, because the owners wanted increased and deeper coverage as they book more live artists in the future. The W8LM and W8LMD’s are hung in front of the WSX hybrid folded horn subs, which are awesome by the way. I love the way they sound.

“The two hangs are on both sides of the stage/DJ booth,” he continues, “which is completely modular so the stage can get pulled down and configured in many different ways. We actually put a pair of H3H+s on a trolley system on the stage, so if you move the DJ booth, the speakers can be moved to accommodate that. The monitors can slide from the center of the stage all the way out to stage left or stage right to accommodate different configurations. The H3H+’s sound is clear with a lot of punch and that nice dance club low-mid resonance.”

With the concentration of subs in the room, directly under the DJ’s, turntable feedback was a natural concern. As Bill points out, “while the WS218X sub bass cabinets do a great job delivering the energy on to the audience area with very minimal wasted energy, we needed a modular work surface/DJ booth that would provide acoustic isolation for the turntables, have a removable/changeable facade, include cable pass through, and be made in four identical sections 5′ wide and no more than 24″ deep. As no such thing existed, we designed a custom solution. After many calculations, a little tweaking, and some in the field engineering, we were able to deliver a finished product that was highly effective at mitigating feedback, unique and aesthetically pleasing.”

Adjacent to the Control Room is the Cabaret Bar ostensibly designed for day parties, art shows, cabaret, burlesque, karaoke and smaller weeknight events with a restaurant, sound absorbent curtains, neon chandeliers, overstuffed leather banquettes, a burned concrete bar and a Martin Audio sound system comprised of eight AQ15 compact full-range systems and 12 Blackline H3H+, three-way bi-amp fully loaded horns.

In addition to the loudspeakers, the overall system includes Martin Audio MA3.0. MA5.2K, MA9.6K and MA12K amplifiers; BSS Soundweb digital signal processing; a Midas fixed input rack, and two Cranesong HEDD A-D converters.

Asked about their client’s specific needs for the system, Bill responds, “Obviously, the system had to be able to crank, but the owners were more focused on smooth, even coverage with clarity and consistency throughout the venue. They wanted it to sound good in as many places as possible without overspending. To that end, they approved the purchase of a bunch of amplifiers to control the sound system, so that it performs really consistently at different volume levels with bass presence everywhere in the club. The sound can be sourced for both rooms, or they can have independent sources in both rooms. There’s a big set of steel doors between the two rooms, so bleed through isn’t bad.”

Verboten_5

Explaining some of the system’s subtleties, Bill adds, “HEDD A-D is a stereo in/stereo out digital audio converter that converts analog to digital or digital to analog, depending on how you want to use it. We’re taking the output from the DJ’s, converting it to digital and then going digitally into four or five BSS processors from the Cranesong while clocking all the digital audio to the Cranesong as well, which give us a more robust sound.”

With the system in place and the club filling both rooms every weekend and most weeknights, we were curious how his clients were responding the Martin Audio system.

“The owners love it, they’re very pleased,” Bill concludes without hesitation. From the beginning, my partner Adam Weiner and I felt this was an opportunity to do our best work in terms of the outcome, overall sound quality and performance, and we definitely did that with this project.”

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Audio, Case Studies, Loudspeakers, News |

ROLL TIDE! ALABAMA’S 100,000+ BRYANT-DENNY STADIUM CONVERTS FROM LINE ARRAYS TO DANLEY

DCIM100GOPROTUSCALOOSA, ALABAMA – NOVEMBER 2014: The University of Alabama’s Crimson Tide – among the most storied and winningest college football teams in the nation – plays all of its home games at 100,000-plus seat Bryant-Denny Stadium in Tuscaloosa. Pleased with the authoritative performance of its on-field sound reinforcement system – a single Danley GH-60 Genesis Horn paired with a single Danley TH-212 subwoofer – the university agreed with design and installation firm Baker Audio Visual (Norcross, Georgia) that Danley Sound Labs loudspeakers and subwoofers should replace the existing sound system to cover the entire stadium. Constrained by an aggressive timeline that necessitated reusing existing hang points, Baker AV installed Danley’s new weatherproof OS-80 loudspeakers and OS-115 subwoofers in the upper bowl and Danley’s seasoned SH-96HO loudspeakers (with additional OS-80 loudspeakers for down fill) in the lower bowl.

“We only had a short window to complete the design and installation once the athletics department gave us the go-ahead,” said Joe Schuch, vice president of Baker AV. “We had a similarly short window at Turner Field, home of the Atlanta Braves, where Danley Sound Labs delivered over four hundred custom loudspeakers within six weeks to make that job a success. At Bryant-Denny, we worked with Mike Hedden, Danley president, on a solution that would work within the constraints of the existing infrastructure. There was not enough time to engineer new solutions or to modify loudspeaker locations. We worked through Danley’s catalog of form factors to build an appropriate solution.” In part because Danley builds all of its loudspeakers and subwoofers in the USA, it was able to meet the deadlines at Bryant-Denny while simultaneously meeting deadlines at the Kentucky Derby’s Churchill Downs. Hedden reported that, between the two, the company produced between four and five hundred loudspeakers in just four weeks.

Alabama_Stands_SpeakersThe upper bowl now gets coverage from forty distributed Danley OS-80 weatherproof loudspeakers (two at each of twenty locations), which will remain impervious to the elements for decades to come. Every other OS-80 cluster is paired with a Danley OS-115LF weatherproof subwoofer for low-end support. The lower bowl uses twenty-four clusters, each comprised of a Danley SH-96HO for main coverage and a Danley OS-80 for downfill directly below the main loudspeakers. The OS-80 is rolled off at 250Hz and thus primarily aids in spoken word intelligibility. Similar to the end zones, all of the Danley products in the upper and lower bowls deliver better coverage with substantially fewer and/or lighter boxes, making it possible for Baker AV to install the system without taking valuable time to recertify the hangs.

After a few days tuning the system, Baker AV and Danley specialists fired up the system for the university. “The Athletics Department thinks it is a night and day improvement,” said Schuch. “The Danley system is more musical and has better intelligibility. The low-end output throughout the stadium blew them away.” Hedden added, “With the Danley system, Bryant-Denny gets better coverage, higher output, greater fidelity, and deeper bass all with a fraction of the cabinets, (38 Danley Synergy Horns replaced 128 line array cabinets) weight was reduced by several tons, and our system required 52 less amplifiers and signal processing than the old system. Our company offers the highest efficiencies, which translate into fewer devices required, making us the greenest manufacturer on the market. To me, it’s a huge affirmation that we’re doing the right thing and building a better mousetrap. With Danley systems in many of the biggest stadiums in the country – Green Bay Packers’ Lambeau Field, Buffalo Bills’ Ralph Wilson Stadium, LSU’s Tiger Stadium, Penn State’s Beaver Field, MSU’s Spartan Stadium, and now Alabama’s Bryant-Denny Stadium – we hope the tide is turning on the industry’s line array funk. Roll Tide!”

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

About

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.

Calendar

January 2015
M T W T F S S
« Dec    
 1234
567891011
12131415161718
19202122232425
262728293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication