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NEW HOPE BAPTIST CHURCH BELIEVES IN ASHLY

New_Hope_Baptist_InteriorGRAND RAPIDS, MICHIGAN – NOVEMBER 2014: Founded in 1934 by a small collection of the faithful who opened up their living rooms every Sunday in the bustling Michigan town of Grand Rapids, New Hope Baptist Church has grown to a congregation of over 800 active members. To better accommodate its members, the church recently underwent a comprehensive renovation of its 750-seat sanctuary and associated overflow and ancillary use rooms. A new sound system centered on Ashly Audio processing, amplification, and user control is a centerpiece of the project and gives New Hope congregants exceptional intelligibility for spoken word, along with musical transcendence for the New Hope band and praise choir. Critically, the Ashly gear came in at a price point that allowed the church to meet its needs reliably, without breaking the project’s budget. Pro Audio Inc., of nearby Grandville, Michigan designed and installed the system for New Hope Baptist Church.

“The performance of Ashly gear is top-notch and yet its cost is very reasonable,” said Ken Reinecke, owner of Pro Audio Inc. “That’s a rare combination. In terms of sound quality, Ashly’s processing and amplification is transparent. What goes in is what comes out, plus whatever dynamics or equalization I’ve dialed in. And the gear can run at 96kHz for super critical situations. Programming Ashly’s Protea DSP platform is straightforward. I just drag and drop whatever processing I need, and drag appropriate inputs to appropriate outputs. Linking groups is also handy. Ashly gear is also tremendously reliable – it basically never breaks or fails.” Because space at New Hope Baptist Church was at a premium, it also helped that Reinecke could fit all of the system’s processing and amplification in just six rack spaces.

A new Soundcraft Si Performer 3 console serves as the user interface in the sanctuary itself. From there, an Ashly ne8800 8×8 Network DSP Protea™ Processor handles all of the loudspeaker settings for the sanctuary’s new JBL VRX928LA eight-inch, two-way line array system with JBL 915S subs. The stereo line array is powered by a single Ashly nXe 3.04 network four-channel amplifier rated at 3,000W per channel, providing ample power to the main sanctuary system. Additionally, output from the console feeds an Ashly Pema 8250 combination 8×8 Matrix Protea processor and eight-channel 250-Watt amplifier. The Pema 8250 takes additional inputs, such as wall jacks for microphones or music players that are located in the narthex and other out rooms. The versatile eight-channel Pema 8250 handles all of the audio routing, signal processing, and amplification for New Hope Baptist’s two nurseries, its nursing room, the bathrooms, and the narthex.

Four Ashly WR-5 programmable wall-mounted remote controls located strategically around the out rooms provide customized, intuitive control of those inputs, as well as of the sound from the sanctuary. “The nice thing about that arrangement is that folks can make changes in all those rooms without bothering the sound tech,” said Reinecke. “While the main system is controlled entirely from the Soundcraft console, the church staff can use the mic inputs and the Ashly WR-5 remote controls to play music or have a standalone PA for meetings and small events in those out rooms.”

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

HARTER MUSIC PULLS THINGS TOGETHER WITH API 1608

www.joshhuskin.comSAN ANTONIO, TEXAS – NOVEMBER 2014: In San Antonio, Texas, Harter Music has been working on a 32-channel 1608 for almost a year now – and they are hard-pressed to choose their favorite part about it. Keith Harter owns the studio, and along with his team Jonathan Harter (producer and engineer), Jorge Infante (sound engineer) and Joshua Harter (Composer) Harter Music has carved itself a permanent place in the “diverse culture involved with Texas music.” Keith explains, “We work on all kinds of music. There’s a lot of country, blues, rock, gospel, a good deal of hip-hop and R&B as well. Tejano music is particularly unique to our area, so we work with lots of artists in that genre.”

In addition to recording other artists’ work, Keith and Joshua work together as in-house composers, which they consider an equally diverse role. “We write everything from stripped down ukulele tunes to full-on orchestral film score pieces. A lot of our favorite work is scoring to picture.” In fact, the music that the Harters produce for on-camera work had a lot to do with their decision to purchase and install a 1608. “Writing and recording music for commercials, television and movies is a large part of our business, and now the 1608 gets used for all our commercial music.” Reliability was essential when choosing equipment that Harter Music would use so frequently, and that made their choice simple. “We felt very comfortable selecting the 1608 because we’ve always received great service from API. When it comes time to maintain or repair something, we know API is going to be very easy to work with.” The Harters were already familiar with the API brand because, before the 1608 arrived, the studio was well stocked with API gear, but they wanted one cohesive unit.

Keith got in contact with Darrin Fendley at Vintage King for a solution. “We ordered the 1608 unloaded because we already had a lot of API EQs. That was a huge part of what made the console affordable for us.” Harter Music didn’t want to move away from the gear they already had because “The pre-amps and the EQs sound so good! The console format just makes it easier to record and mix now that the gear is in the chain. It’s also super easy to route things in a bunch of different ways to accommodate any set up we’re using.” There was one other element that Keith says impressed him about his API gear and especially his 1608: “We like the sound, most importantly. It’s equally as great sounding as our other gear, solidly built, but way bigger! It’s a great feeling when you’re sitting behind that much API.” Before the 1608 made its debut, the studio also boasted a 2500 stereo compressor, a 3124 mic pre, and a six-slot Lunchbox®. Having everything in one place, however, is one of the things that has changed their work the most. “We couldn’t efficiently run all analog sessions before. Now we can record and mix all on tape if we want.”

Another bragging point for Harter Music is the celebrity artists who have recorded in the studio in the last year. George Strait and Cheyenne Jackson are mentioned particularly by Keith, who is very proud of how busy Harter Music continues to be. The studio just wrapped on an upcoming movie The One I Wrote for You. “It was an intensely musical project where lots of actors sang songs in the film. We spent over a year recording and mixing everything – it was such a blast.” The studio shows no signs of slowing down. If you want to keep up, or are interested in a project of your own, check hartermusic.com or facebook.com/hartermusic for updates.

ABOUT API (AUTOMATED PROCESSES, INC.)
Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

API’s BOX USHERS IN BIG CHANGES FOR MIXER SCOTT ROSSER

Scott_RosserLONDON, UNITED KINGDOM – NOVEMBER 2014: Source Distribution continues meeting success for API’s BOX console in the U.K. with a sale to popular mixer/engineer Scott Rosser. Rosser, who has “remixed many of the biggest pop names in the industry including Rihanna, Lady Gaga, and Mariah Carey,” has been working from the spare room in his home for almost two years now. Although he wants to return to a permanent studio, he knew he needed the right gear before finding a new space. A solution arrived in April when Rosser ordered the BOX after just one demo session with Andy Bensley of Source Distribution. “Source kindly set up a demo unit at their London office for me to try out. I liked the look of the BOX straight away, and ran a stem session through the summing section. It sounded great!” Following the demo, Rosser immediately met with Mark Cooke at Tyrell London, one of Source’s dealers, and soon had a BOX of his own.

It’s not just Rosser’s location that is in flux; his main focus in the music industry has also shifted from “mainly commercial dance” to “more pop and urban stuff due to the success and expansion of 3 Beat as a label.” Rosser started working with 3 Beat Productions several years ago, and also works under the name ‘Cahill’, which is the title he uses most often when remixing for bigger-name artists. However, his success did not happen overnight. Rosser has worked in the recording world since 1989, when he was studying at Salford University in Manchester. The trends in music at the time helped form Rosser’s career, as he explains: “The city was at the forefront of the UK club culture and the Acid House revolution, so I was always interested in the electronic side of things.” Rosser and another “like-minded producer” then formed the band ‘Dario G’, which was so successful through the ‘90s that they sold 4.5 million records. “We had a few hits across Europe, and went on to release a host of underground house/rave tunes. It was a great experience.”

Now Rosser is expanding his studio’s power without taking up more space. “The BOX had everything I was looking for in one unit whereas the other options I was considering were all separate pieces. My small workspace made having everything to hand on one desk appealing.” Before the BOX, Rosser had considered API consoles out of his reach. But in the early 2000s feeling all dance music was starting to sound alike, Rosser knew he could solve the problem with analog recording equipment. “I wanted to apply a new approach which would help my mixes stand out amongst the competition. I noticed a press release for API’s new project console, and the BOX caught my attention immediately. I’ve only scratched the surface with mine, and it’s already made a big difference to my work.” This success has encouraged Rosser to look ahead to even more changes in his career.

“I’m putting some time aside in the new year to move to a purpose-built studio. I’m sure there’ll be other API units added soon. The 2500 compressor especially looks good…I know The BOX is going to serve me well for years. The build quality is excellent, it’s versatile, and I can now expand the rest of my system around it.” Since April, Rosser’s BOX has been as busy as he is. The BOX was used to mix an album by Fuse ODG, singles for Lethal Bizzle and Stylo G, and official remixes for Cheryl Cole, Ellie Goulding, Nicole Scherzinger, Olly Murs, and the boy band Rixton. Compared to mixing before the BOX, Rosser says his work has changed dramatically for the better. When asked what he likes best about The BOX, Rosser replied “Quite simply, the sound! That’s what I bought it for and it has delivered. It immediately added stereo width and a deep, warm feel that I’d been missing in previous mixes.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

WSDG STUDIO A KEY RESOURCE FOR PRESONUS HIGH TECH COMPLEX

1. PreSonus Live Room

2. PreSonus Control Room

BATON ROUGE, LA: Motivated by ongoing growth and committed to providing their expanding market with innovative new products, in August 2012, PreSonus Audio Electronics, Inc. commissioned an $8+ million, 44,000-sq. ft. complex to be built in their home town of Baton Rouge, LA. Following almost two years of design and construction, the leading manufacturer of professional digital and analog audio hardware and integrated software officially opened its new high-tech headquarters and research facility In April 2014. Located at 19151 Highland Road, this state of the art facility includes R&D, testing and engineering departments, executive offices and, in an atypical move for a manufacturer of professional audio technology, a state-of-the-art recording studio.

Developed by Walters-Storyk Design Group the cutting edge, 2500 sq. ft. Recording Studio in features a 313 sq. ft. control room, 500 sq. ft. live room, two iso rooms (127SF & 60SF), a 127 SF Video Production Suit and five 100+ SF Test Labs, and, an additional 1500 sq. ft. live performance area. Fully isolated from the surrounding marketing, sales, business/meeting rooms, company café and support areas within the recently completed PreSonus Technology Headquarters building, the studio serves as the hub for R&D activity. And, as a special perk for PreSonus employees. WSDG Project Manager Joshua Morris reports that in addition to serving its primary purpose as a real world testing lab for PreSonus technology, the studio is available to PreSonus employees as a tool for honing their personal recording, performing and mixing projects (subject to availability).

“It is extremely rare to find a manufacturer prepared to invest in a full blown in-house Recording studio on this scale,” remarked WSDG co- principal/architect/ acoustician John Storyk. The thinking was it was vital that new PreSonus technology developments be subject to real world recording studio conditions. Rather than depending upon the availability of pro studios, the PreSonus R&D team can now benefit from access to a studio of their own. It enables their engineers to focus their energies on experimenting with new ideas, and to accomplish extensive tweaking in a controlled environment without concern for usurping valuable and energy from studio-owner friends.

“We love everything about our new building but our WSGD-designed recording studio and live room are special,” says PreSonus CEO Jim Mack. “We now have first-class audio production, R&D, and testing facilities that sound great and, are acoustically isolated so everyone is happy. WSGD worked hard to make these rooms truly excellent, and we’re delighted!”

“Studio owners love the opportunity to field test new devices,” Storyk adds. “But there is a double-edged sword aspect to sending out gear that hasn’t been fully vetted in real world conditions. This studio provides the PreSonus R&D team with a tremendous advantage over traditional ‘bench-testing. Scrupulously assessing their new developments in their own pro studio should go a long way towards eliminating bugs and wrinkles prior to field-testing. It brings a level of security that will enable early users to totally focus on the positive applications of these new tools,” Storyk concludes.

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Photo 1 WSDG-Designed PreSonus Live Room
Photo 2 WSDG-Designed PreSonus Control Room

Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s 1969′s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s TEC award winner Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College), Beth Walters, Sergio Molho, Renato Cipriano, Silvia Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is an eight-time winner of the NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, LA, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

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RCF Introduces EVOX Portable P.A. Systems

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Portable powerful performance. EVOX is the RCF answer to small satellite-subwoofer or column style portable speakers. The EVOX system is a compact package designed for easy for portability and set-up, providing the high powered sound reinforcement performance. The EVOX package is self-contained with the satellite cabinet fitting into the subwoofer for portability, plus pole mount included.
The EVOX array design features a constant horizontal directivity coverage of 120° with the vertical array a tight 30° with a progressive shape to guarantee a correct listening environment and avoid a high frequency beaming typical of a straight array.
The system is designed for ease of transport and storage. When storing, the satellite module slides into the rear of the subwoofer, which also protects the electronics and system connections.
Also included is a three-piece pole, allowing for the satellite to be positioned at different heights dependent on the EVOX positioning and venue configuration. Cable clips secure cable connections cleanly.
Two EVOX systems are available – EVOX 5 and EVOX 8.
The EVOX 8 system is powered by a 700-watt RMS amplifier. The system is made up of a 12” subwoofer with a satellite module of eight 2” full-range compression drivers capable of achieving 128 dB max SPL. Frequency response 40 Hz – 20 kHz. Compact in size – 11.6”x13.6”x19.3” – and weighs only 51 pounds.
The EVOX 5 system is powered by a 400-watt RMS amplifier. The system is made up of a 10” subwoofer with a satellite module of five 2” full-range compression drivers capable of achieving 125 dB max SPL. Frequency response 40 Hz – 20 kHz. Compact in size – 11.5”x16.8”x18” – and weighs only 42 pounds.
Optional protective cover and portable trolley are available for the systems.
For technical information, product datasheets and specifications: http://www.rcf.it/en_US/professional-speaker-systems/evox

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Antelope Audio Zen Studio Wins Mix/PAR 2014 Innovative Product Award

Zen Studio is Chosen as the Most Innovative Interface in Publication’s First Readers’ Choice Awards

PARlogoSanta Monica, CA, November 19, 2014: Leading professional audio gear manufacturer Antelope Audio announced that its Zen Studio won an ‘Innovative Product Award’ in the first Mix/PAR reader’s choice awards. The Zen Studio audio interface was nominated in the Interface category alongside equipment from several other leading audio manufacturers. Each of the winning products were selected by readers of Pro Audio Review and Mix Magazine.

“We are pleased that Zen Studio has been recognized with an Innovative Product Award by readers of Pro Audio Review and Mix Magazine,” commented Marcel James, Director of US Sales and Marketing, Antelope Audio. “We believe the many innovations in Zen Studio and our other products like Pure2, MP32, Orion32, Satori and others are raising the bar and shaping the expectations of pro audio consumers, who are demanding greater flexibility and uncompromising audio quality in the products they choose.”

zenfrontIn recognition of outstanding technical achievement, Zen Studio recently received a nomination for the 30th Annual TEC Awards. Zen Studio is a professional portable audio interface, clock, preamp, and monitor controller. It is built with the purpose to be a powerful professional mobile recording studio, but its features such as 20 analog inputs, 12 world-class mic preamps, Antelope’s acclaimed conversion and clocking, onboard DSP effects, multiple monitor mixers, custom high-bandwidth low-latency USB, and Mac/PC control software make it a perfect recording solution not only for location but studio recording as well. Since its launch in May, Zen Studio, has received multiple recognitions from the media, users and Grammy Award winning engineers across the Globe.
Zen Studio was designed and manufactured based on proven conversion, clocking and USB technologies used in Orion32, the company’s best selling product. Orion32 is part of the critical audio signal path in a number of large live shows and prominent studios. For its diminutive size, Zen Studio delivers a breakthrough number of mic pres and DI instrument inputs in a mobile interface, along with exceptional monitoring and tracking DSP capabilities more commonly found in high end, commercial studios.

For more information on Zen Studio, please visit http://antelopeaudio.com/en/products/zen-studio-portable-audio-interface.

About Antelope Audio:
Antelope Audio is a leading manufacturer of high-end professional audio equipment and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed digital and analog circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. Antelope’s breakthrough technologies are offering both studio and live audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

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Matrox VS4 Quad HD Capture Card Now with Support for Telestream Wirecast 6.0

Multi-channel live streaming production and ISO recording systems ideal for live web shows, news, sporting events, concerts, church services, corporate meetings, lectures and more

Matrox® Video today announced the immediate availability of support for Telestream® Wirecast 6.0 for Windows® with the Matrox VS4 quad HD capture card.

Matrox_VS4_with_Telestream_Wirecast6_180pix

In a single PCIe slot, Matrox VS4 provides up to four independent HD-SDI inputs with up to 8 embedded audio channels per SDI source and automatic input detection. Matrox VS4 not only sends the video feeds to Wirecast for streaming, it simultaneously provides high-quality ISO recording of all the original video and audio feeds to NLE-friendly codecs — ready for post-event editing.

Wirecast 6.0 adds powerful new production capabilities including the creation of playlists on the fly, easy replay of important moments and easy social media integration with Twitter messages overlaid directly onto the broadcast.

“Wirecast provides a cost-effective solution for the creation and streaming of professional-quality live video productions to online audiences,” said Tom Prehn, Wirecast product manager at Telestream. “Matrox is a valued industry partner that has been at the forefront of streaming technology. The integration between Wirecast 6 and Matrox VS4 provide users powerful live streaming production with 64-bit technology, virtually unlimited memory, improved stability and performance as well as powerful ISO recording of their live streams.”

“With full turnkey, multi-channel HD streaming and recording systems based on VS4 and Wirecast available from some certified systems builders starting under $5000, virtually anyone can create professional-looking live web shows,” said Wayne Andrews product manager at Matrox. “Users can stream multiple live cameras while dynamically mixing in other media such as movies, images and sounds, and adding production features such as transitions, built-in titles, chroma key, virtual sets and live scoreboards.”

Price and availability
Wirecast 6.0 is available from the Telestream store.The Matrox VS4 card is available through a worldwide network of authorized dealers priced at $1,495 US (€1295, £995) not including local taxes and delivery. Matrox VS4 is also available in a bundle that includes the card and the new VS4Recorder Pro multi-channel recording software priced at $2,495 US (€1,995, £1,595).

About Matrox Video
Matrox Video is a technology and market leader in the field of 4K, HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a-box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities, live event producers, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/video.

HARMAN’s Martin Professional Announces Pre-order Availability of New M-DMX Interface Hardware and Controller Solution Bundles

MARTIN_LJ2_M-PC+-Controller-kitAARHUS, Denmark — HARMAN’s Martin Professional today announced the immediate pre-order availability of their new M-DMX interface hardware for connecting lighting software and DMX universes as well as several new controller solution bundles, including the M-PC 2U bundle and the LightJockey 2 and M-PC+ Controller kit.

The Martin M-DMX is a rugged aluminum extruded device and is built with two XLR 5-pin DMX ports, a USB 2.0 connection and a K-lock slot for securing the device. The interface also features a new stackable design, LED indicators and isolated dual output. The M-DMX is compatible with Martin’s LightJockey and M-PC software, M-Series Consoles, Fixture Upload software, and is backwards compatible with Martin’s Duo-DMX interface.

Martin’s M-PC 2U is a professional two-DMX universe package, bundling Martin’s M-PC software and the newly designed M-DMX two-port DMX interface. As the latest entry to Martin’s renowned M-Series family, the M-PC 2U bundle is the most cost-effective lighting software in its class.

The new LightJockey 2 and M-PC+ Controller kit combines Martin’s LightJockey, M-PC, and ShowDesigner software into a single package. The bundle comes standard with a Martin M-DMX device, a Martin One-Key license dongle with M-PC+ (four universes) and a LightJockey 2 four-universe license as well as a Martin ShowDesigner 6 Lite six-month trial license. Martin has also introduced a new license set that expands the M-PC+ license up to 128 universes.

“Our customers will experience more flexibility and benefit from the modern, rugged design of the Martin M-DMX, and the M-PC2U is a very cost-effective controller solution,” said Paul Pelletier, Product Manager for Controllers. “I’m very happy to release these new and updated controller solutions to the market.”

Martin’s M-DMX interface, M-PC 2U and LJ2 and M-PC+Controller Kit are now available for ordering and will begin shipping in February 2015.

For more information, please visit: www.martin.com

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.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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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.

Kramer Expands its Array of End−to−End Audio Solutions

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In response to our clients’ rapidly changing needs, Kramer Electronics has expanded its end−to−end audio solutions with four new families of speakers. Galil, Yarden, Tavor and Dolev, recently introduced at InfoComm 2014, complement Kramer’s growing range of high−quality audio products and reinforce the company’s position as a major global player in the audio arena.

Galil Family
Kramer’s Galil family is a classic fits−all speaker solution designed for transportation centers, hotels, educational facilities, small and large boardrooms, shopping centers, and other large venues. Galil is supported by constant voltage amplifiers and Lo−Z to Hi−Z audio transformers.
The Galil line offers an affordable range of 4”/6.5”/8” open and closed (UL) in−ceiling round speakers and an affordable full line of 4”/5.25”/6.5” on−wall speakers. All speakers include tapping transformers (70V/100V/8Ω).

Yarden Family
The Yarden family is Kramer’s new performance−based line designed for executive boardrooms, high−end hotels, banks, embassies, government facilities and music halls. Offering exceptional and unprecedented sound quality, Yarden includes 4”/6.5”/8” in−ceiling round speakers and 4”/5.25”/6.5” on−wall speakers with multiple tweeters that provide varying degrees of dispersion for a variety of purposes.
Yarden features stereo or stereo/mono speakers, a music/speech switch to enhance intelligibility, Kevlar(R) woofers, titanium pivoting tweeters such as ceiling−tile speakers, round in−ceiling high−power speakers, on−wall speakers, and more.

Tavor Family
The new Tavor family of powered speakers offers all−in−one solutions where time and space saving installations are important. Tavor includes ceiling−tile speakers, on−wall and subwoofers. The Tavor line is designed for transportation centers, hotels, educational facilities, small and large boardrooms, shopping centers, and other large venues.

Dolev Family
Dolev is a new family of high−quality bi−amplified studio−grade speakers that deliver clear and balanced flat response with low THD even at high volume. Dolev speakers are designed for control rooms, editing studios, sports bars, music clubs, high−end facilities, and home entertainment.
Dolev offers three different models: 5.25” with a 50W amplifier, 6.5” with 75W amplifier and 8” with 100W amplifier.

“Just as we’ve been committed for over three decades to providing the best signal solutions, our four new speaker families offer our customers the highest quality audio solutions,” said Dr. Joseph Kramer, Founder, President and Chairman of Kramer Electronics and recent winner of the Adele De Berri Pioneer of AV Award presented at InfoComm 2013. “I am confident that Kramer’s wide range of new offerings will fulfill our customers’ desire for great and affordable sound.”

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