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Archive of the Product Applications Category

HRS Control’s UDC Provides Custom Control Solution For Alford Media Services’ Innovative Breakout Pods at Client’s Annual Meeting

When a large, high-tech client posed a challenge for staging its annual meeting, Alford Media Services, Inc. found an effective custom solution in HRS Control’s Universal Device Controller (UDC).

Based in Coppell, Texas, Alford is known for its forward-thinking approach to supporting the AV needs of a variety of clients. For this project the client wanted to reset their massive general session ballroom into six circular, stand-alone breakout pods during a lunch break. And once the pods were in place each presenter needed to have full wireless remote control of AV playback in the pod.

“The client wanted to convert the ballroom into individual breakout rooms without walls or dividers,” says Rich Tate, director of marketing and creative at Alford. “They wanted six draped circular pods to come down from the ceiling; 40-50 seats were set up for each pod. Presenters had to have iPad control of the projector, screen and speakers in each pod and all the playback equipment backstage.”

Alford rigged each fully-equipped pod on a circular truss that could be quickly lowered from the ceiling. The self-contained set up permitted a fast turnaround of the ballroom but the issue of playback control remained.

“The head of our video department was familiar with HRS Control’s UDC,” says Tate. “We’re always on the lookout for innovative remote control solutions; we do a lot of iPad and IOS mirroring.”

Alford IT Specalist Cy McCormick used UDC software to build a custom iPad interface for the presenters that would wirelessly control centralized AV gear backstage from each pod. The presenters could not only control their slides, videos and audio levels, they also could instantly switch between primary and back up equipment if needed.

“Each pod had unique content with AJA Ki Pros and computers used for playback and graphics,” Tate explains. “We could talk to the playback devices very easily with UDC’s AJA Gang Control feature.”

Tate designed the graphical interface and buttons on the presenters’ iPad controllers. “It was cool to do custom buttons in custom sizes and put things on the screen wherever we wanted them – there were no restrictions,” he notes. “We even used a custom background, client colors and brand logo.”

He reports that “everything worked like a charm” at the meeting’s breakout sessions where the pods were a big hit. “The client was thrilled with UDC’s custom control solution. We want to develop UDC for more clients and are eager to have the opportunity to use it again.”

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Opticomm-EMCORE to demonstrate Video Wall driven by Eclipse HD at InfoComm

Alhambra, CA – Opticomm-EMCORE, a leading provider of high-definition video, audio and data transport solutions for Fiber, IP, CATx and Coax networks, will be using the InfoComm 2014 show in Las Vegas on June 18-20 as a platform to demonstrate the quality of the new Eclipse HD as it extends and switches 1080p or 1920×1200 multimedia feeds across a dedicated IP network, sent to a four-panel video wall as example of its capabilities. In addition, other high-quality products for pre- and post-production, live-feed, and Professional A/V will be on display at the booth stand, C7716.

Opticomm-EMCORE will construct a cost-efficient video/audio/data distribution system over an IP network to show design consultants, system integrators and home theater aficionados the painless switching and routing of the new Eclipse HD. This encoder/decoder system provides visually lossless transmission and processing of HDMI 1.3, 5.1 channel audio, RS-232 data and USB HID keyboard/mouse (KVM), over a dedicated Gigabit Ethernet network. A media player, Blu-ray or DVD player, laptop, camera or other HDMI source can send HD signals to the Eclipse HD encoder, which can then be sent to a Layer 2/3 Unmanaged Gigabit Ethernet Switch with IGMP 2.0 (if desired), which lastly can be received by one or more decoders to be connected to single or multiple displays. There are virtually limitless ways to configure a HD matrix by stacking IP switches.

In addition to the Eclipse HD, we will be showing the NV series as a part of the IP network exhibit, which utilizes JPEG 2000 encoding and decoding for lossless DVI, HDMI, and 3G HD-SDI distribution. Also we will also be highlighting, in our booth, the c-Linx series, Optiva and openGear fiber products. The c-Linx series are small, stand-alone box units utilizing HDBaseT technology to extend signals for extension up to 100 meters, over CATx. The Optiva and openGear fiber transmission platforms support multiple channels of signal conversion, extension, KVM- remote management, analog/digital audio, over a single fiber strand. The company will display the Optiva OTP-1DVI2A1UKM, which has been upgraded with a larger bit-rate of 6.25GB and now supports up to 4K resolution and KVM over a secure, lossless, multimode fiber up to 10 km and singlemode fiber up to 25 km.

Opticomm-EMCORE’s booth will display the newest and key products that we believe, will cater to consultants and integrators who build and design complex signal network systems and have need of high-quality signal management.

“We are excited to showcase our newest addition to the video-over-IP distribution category, Eclipse HD,” concludes Henok Tafese, Senior Director of Business Development.

Opticomm-EMCORE’s complete breadth of video-over-IP, fiber and CATx/HDBaseT products will be on display at InfoComm 2014, June 18-20, booth C7716 of the Las Vegas Convention. For more information, please visit www.opticomm.com, download the EVE/EVD-HD datasheet here, or call 626-293-3400.

 

An Array of Clay Paky Lighting Fixtures Helps “The Tonight Show Starring Jimmy Fallon” Shine

“The Tonight Show Starring Jimmy Fallon” debuted to rave reviews and top ratings, and Clay Paky fixtures are part of the mix giving a new look to late-night television.

The iconic “Tonight Show” now originates from NBC’s upgraded Studio 6B at 30 Rockefeller Center where lighting designer Fred Bock, of Ferri Lighting Design & Associates (FLDA) has used 17 Clay Paky A.leda B-EYE K20 innovative, LED-based moving lights, 16 new Clay Paky Alpha Profile 800STs and 17 Clay Paky Sharpy Washes for band lighting. The lighting package, which features some of the newest technology in the industry, is supplied by WorldStage.

Although Bock’s overall goal for the show was to keep the lights as unobtrusive as possible to both the design of the studio space and the camera, he took a different approach for the band lighting. “The Clay Paky B-EYEs are meant to be seen and provide a look for music that is fresh and new,” he says. “The flexibility of the B-EYE makes it a perfect light for effects in the haze, but they can also be used as wash lights in the music set as well.”

Drew DeCorleto, director of lighting production at WorldStage, says the B-EYEs have “turned out to be a ‘must-have’ light for the show. With only 32 channels and all macros available, there is nothing out there like it. It’s an impressive light that possesses many skills and is already the subject of a lot of chatter.”

The Alpha Profiles serve a similar purpose to the B-EYEs. “They’re a great light that can be used for effects and beams in the haze, but they can also be used to light talent and scenery thanks to their shutters,” Bock reports. He selected them for “their flat field, size, brightness, shutters and versatility” and positioned some in the grid for back lights and eye candy shooting into the camera for music. Six have been placed downstage of the music set where they are used as keys for music and to light scenery for comedy skits.

DeCorleto calls the new Alpha Profiles “probably Clay Paky’s best-kept secret. We demo’d this unit last year for NBC and they’re on the ‘Tonight Show’, ‘Today Show,’ ‘Saturday Night Live’ and ‘Late Night with Seth Meyers.’ It’s a terrific arc light with shutters and they’re quiet enough for even NBC’s smaller studios.”

The Alpha Profiles are “working very well,” according to Bock. “They transformed the music space for Lady Gaga’s performance giving a high-energy feel that enhanced the number tremendously. They also have been used to light the talent in the performance space and cue cards for sketches.”

The popular Sharpy Washes also play an important role in the late-night show’s rig. “Once I show a designer the Sharpy Wash they never look back,” DeCorleto says.

He credits A.C.T Lighting with being “there every step of the way during ‘The Tonight Show’ process and delivering fixtures ahead of schedule. The B-EYE was actually on ‘The Tonight Show’ before they were in any vendor shops; that wouldn’t have been possible without the tremendous support from Brian Dowd and his colleagues at A.C.T Lighting.”

WorldStage furnished a similar complement of Clay Paky fixtures for “Late Night with Seth Meyers” delivering the same innovative technology to another new show that’s cementing NBC’s dominance in late-night programming.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “We’re so proud to have our lights chosen for these high profile television shows. WorldStage is a great collaborator and Fred Bock is an excellent designer. Its’ great to be working with them on this.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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FELLOWSHIP BIBLE CHURCH UPGRADES TO DANLEY SOUND LABS

TACOMA, WASHINGTON – APRIL 2014: Fellowship Bible Church in Tacoma, Washington started as a gathering of friends in a living room on July 7, 1977 (7-7-77) and grew over the decades that followed to become a beacon in the community. The church moved into its current 750-seat sanctuary in 1996 and developed an engaging contemporary worship style complete with a small band. However, the church members were long dissatisfied by the sound quality in the sanctuary. So when they recently raised the funds, they sought high and low for the very best sound reinforcement system to replace it. That search took them to Audio Video Electronics, a Twin Cities-based A/V integration firm with extensive experience designing and installing systems based on Danley Sound Labs components. Now, Danley synergy horn loudspeakers and DBH subwoofers provide beautifully articulate, musical reinforcement with even coverage.

“Their old system was in a pretty sorry state when we first arrived to meet and understand their needs,” said Stefan Svard, president of Audio Video Electronics. “They were most interested in getting a new system that would be consistent; Consistent not only in its day-to-day performance, but consistent in its coverage of the seating area. One of the things I really like about Danley is the phase coherency of its designs. It makes for consistent patterns and, perhaps more importantly, remarkably consistent sound quality within that beam. I’ve been a Danley supporter for a long time now, and I’ve really come to believe in [President] Mike [Hedden] and the rest of the company.”

The new system is much simpler than the old system. Three Danley SH-50s comprise a center cluster with a pair of Danley SM-60s providing side fill. A pair of Danley DBH-218 subwoofers generates ample deep bass. Svard used Danley’s modeling software to optimize the positioning and component selection. Three Powersoft Duecanali 3904 amplifiers with integrated DSP power all of the full-range boxes, with a channel to spare for an additional down fill that the church will have funds for in the future. A single Powersoft K20 with integrated DSP powers both subwoofers. A Midas PRO2 console serves as a flexible, easy-to-use front end. “The whole system is much simpler now,” said Svard. “They have a nice console with a digital snake and a clean rack. Although it’s not complicated, it gives Fellowship Bible Church a lot of punch and room for growth.” In addition to the sound reinforcement system, Audio Video Electronics also gave the church a new Vivitek d6010 6000 lumen projector and a 16×10’ pearlescent Da-Lite snap-screen.

“I love that when I cluster the Danley boxes, they act like one large speaker,” said Svard. “Other manufacturers generate comb filtering and lobing, which can cause some nasty feedback when the cluster is above the pulpit. Danley doesn’t do that. Danley gives me excellent pattern control with uniform sound. The clarity of a Danley box is unmatched, in my opinion. The low-end at Fellowship Bible Church is tremendous. We had a few of their new DBH-218s at a much larger, 5,000-seat church in Tulsa, Oklahoma, and they were great. We arranged Fellowship’s two DBH-218s to give some directivity to the low end, which gives them nice on-stage volume and ample bass in the seats. In all, we gave them a premium system all the way across, from the console… to the amps… to the loudspeakers and subs. They’re very happy with it.”

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

TRUE COLOURS MIXES BIGGER PROJECTS WITH THE BOX® FROM API

PADUA, ITALY – APRIL 2014: Located in one of the oldest towns in northern Italy, True Colours Studio is dubbed a ‘well-heeled project’ by owner Mauro Santinello. What began in 2005 as a single recording and control room has now grown into a facility with three recording rooms for commercial audio projects, jingles, and most recently some major Italian recording artists. To accommodate the needs of its growing presence in the music scene, True Colours has added THE BOX® to its studio, citing its “high quality manufacturing, and the unique API sound”.

Mauro wanted a project console that would provide a cost-effective, versatile solution to handle the needs of his growing studio in the decades to come. Along with his booming presence in the recording artist scene, True Colours has a growing demand for complete post-production, musical arrangements, and the creation of music for movie productions and short films. “I chose THE BOX because it represents the right console for a modern studio.”

The small-format recording and mixing console offers features that are not provided by most DAWs, including mic preamps, input signal processing, a high-quality mix bus, cue sends with talkback, and monitor control – all in a compact and versatile package. True Colours has a growing number of external preamps, EQs, and compressors, which includes some existing gear from API. The ability to personalize setups was a major factor that drew Mauro to THE BOX. “I didn’t want a big console with 32 preamps and 32 EQs that are all similar.”

True Colours mixes and records music of all genres, with only metal and electronic music yet to make the list. The crew has recorded a wide-range of Italian artists including famed singer Zucchero, piano master Stefano Bollani, and jazz trumpet player Enrico Rava. Most recently, Mauro used THE BOX for a session with singer Alberto Micaglio, whose acoustic presence is expanding from Italy, to London and New York. He has an album due out later this year.

“I have always wanted to buy an API console,” admits Mauro. “THE BOX offers a high-quality analog sound, and no compromises.”

ABOUT API (AUTOMATED PROCESSES, INC.)
Established more than 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

Masque Sound Takes Lincoln Center Theater Audiences on a Sonic Tour of New York City in Moss Hart’s Autobiographical Play, Act One

NEW YORK, APRIL 16, 2014 – Masque Sound, a leading theatrical sound reinforcement, installation and design company, returned to the Vivian Beaumont Theater at Lincoln Center to support Sound Designer Dan Moses Schreier with a dynamic custom audio equipment package for Lincoln Center Theater’s newest production, Act One.

In Act One, James Lapine directs his own adaptation of Moss Hart’s classic autobiography, which chronicles the legendary playwright and theater director’s struggle to escape poverty and forge a career in theater. This led to his collaboration with George S. Kaufman, and culminated in his first great success, Once in a Lifetime.

Schreier’s biggest challenge in designing the sound was dealing with the acoustics of the theater itself. “The Vivian Beaumont Theater is notorious for requiring special acoustic systems, since there is no natural reverb in the room,” says Schreier. “When the theater was constructed it was built with traps all the way around the back wall of the auditorium, which gives the effect of an acoustically dead space. Technologies have evolved so much since the theater opened in 1965, however, that it is now possible to make the room feel alive.”

Part of the aesthetic of Act One is driven by the set design, as it features a three-story structure built on an 80-foot revolving turntable. Each part of the turntable highlights a different New York City locale throughout the play. “It’s very monumental, it’s very theatrical and it’s a very beautiful structure,” adds Schreier. “All of the sound effects were driven by the look and the movement of this turntable, which signifies that specific time period of Moss Hart’s life. In addition, every time it spins, you get a different sonic picture of New York City — sometimes it’s the subway, other times the street or a playground. The idea behind the sound design was to create a sonic version of New York City. With Masque Sound’s help, I think we did a wonderful job.”

Another key component of the sound design was the use of Yamaha’s DME 64 Programmable DSP Engine. “I worked very closely with my Associate Sound Designer Joshua Reid to create nine different zones that all have different timings to help with the architecture of the space,” says Schreier. “Because of the theater’s shape, a third of the audience is always looking at the back of an actor. A big part of the sound design was to compensate for this, which is why we created these different time zones based on the actor’s locations on the set.”

In order to achieve the sound he was looking for, Schreier chose the Yamaha CL-5 digital mixing console. With a three-section fader layout for efficient hands-on control, the CL-5 is an ideal choice for a diverse spectrum of live sound systems, giving Schreier exactly what he needed. He utilized 12 discreet outputs of the console going to various areas of the theater in order to provide real sound effects, such as the sound of the subway moving across the back wall of the theater at the same time as dogs barking upstage. This added real depth and three dimensions to the design.

For his PA, Schreier thought a lot about what speakers would be right for the space. “The Vivian Beaumont Theater seats like a coliseum with a three-quarter fan shape,” he continues. “There was one speaker in particular, the d&b audiotechnik E12-D, that I thought would solve the problem of the theater very elegantly, and it did. The coverage is smooth and it’s amazing how well the speakers work. I think the sound reinforcement part of the design sounds quite fantastic and I really have to thank Masque Sound for that, because they had to purchase this particular model for this production.”

Schreier chose the d&b E12-D for its rotatable horn, as it provides a very wide dispersion. By rotating the horns up and down, he was able to cover the theater almost entirely with one cabinet, thus eliminating the need for an array. Masque Sound also provided d&b Q-subs as well as Meyer Sound M1Ds for the rear orchestra fill and balcony delay ring. In addition, Schreier also utilized the Beaumont Theater’s Qin-house PA system for some of the sound effects when he wanted to envelop the audience.

Act One opened on Thursday, April 17 at the Vivian Beaumont Theater. The show features a cast of 22 including Tony nominees Tony Shalhoub and Santino Fontana and Tony Award-winner Andrea Martin. The limited engagement is currently scheduled to run through June 15, 2014.

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 lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. 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.

Powerful Christie Projectors Drive Idaho Power’s Unique Hybrid Control Room Wall

Christie® projection technology is an integral part of a groundbreaking hybrid display wall solution for Idaho Power’s new control room that is helping the electric utility serve its half-million customers with a more efficient, more informative, and more reliable monitoring system. The SA2™ patent-pending solution designed by Primate Technologies, Inc. overlays dynamic projected content from a series of Christie DS+6K-M SXGA 3-chip DLP® projectors onto a digital-based modular tile mapboard from Monitor Mapboard Systems. The unique combination allows abnormal conditions to be projected and lit upon the screen, making it easier to see situations such as an open breaker or multiple breakers flashing at different stations.

Idaho Power’s service area spans some of the most rugged and remote landscape across southern Idaho and eastern Oregon to serve a population of approximately 1,000,000 people. When the utility was moving to a new location, it sought to remodel its control room and started exploring potential alternatives to the traditional, static-type mapboards that would not be affected by the ambient light from the windows. In the past, the utility had used anything from a paper map to a tiled mapboard. Idaho Power was intrigued by the hybrid Scadaboard solution suggested by Monitor and Primate that still met all its criteria for a rugged, 24/7 wall that was also customizable, providing up-to-the-second information while maintaining a static component of the control monitoring display which is critical during outages or catastrophic events.

Primate Technologies Inc., which builds robust visualization software products for the energy industry, developed the unique concept of overlaying projected content from overhead Christie projectors in strategic areas of Monitor Mapboard Systems’ modular, digital output based mapboard with software driven dynamic content just in the areas needed. The result was a hybrid display wall that is much more visible to the entire room, allowing for increased situation awareness and the ability for operators to easily add collaborative information and tags to the projected dynamic content. Primate Technologies, Inc. software also allows users to add additional displays or change the appearance of the dynamic content projected on the board.
“Idaho Power’s hybrid solution is the first of its kind and represents a marriage of leading technologies in 24/7 control rooms,” said Rita Patterson, vice president of Sales, Marketing and Customer Relations at Primate Technologies, Inc. “With the primary goal of providing a highly efficient control room environment, we needed to make sure that the companies we chose fully understood that environment. For digital front projection, Christie was the clear choice as they came highly recommended by trusted customers.”

Monitor Mapboard Systems provides situational awareness tools for displaying the ‘big picture’ in the form of large, physical dynamic mapboards, which are graphic representations of the client’s grid or service territory. It also offers dynamic mapboards that are wired with LEDs to show abnormal status. When coupled with Primate Technologies’ dynamically projected software, this “live” Scadaboard™ provides the ultimate situational awareness mapboard solution.

“Electric utilities have a history of using mapboards to display their big picture system status, making them a critical tool for alerting the dispatcher when something has happened,” noted Vince Blaeser, principal, Monitor Mapboard Systems. “The hybrid Scadaboard solution brings additional layers of relevant and dynamic content to the system operators.”

“Analog display walls are common in the industry, and we considered everything from using materials that included metal or plastic tile boards, to massive silkscreen tile boards with switches or lights,” said Gary Felton Jr., Chief Dispatcher, Load Serving Operations, Idaho Power. “The hybrid display was the ideal solution. We are especially impressed with the images from the three Christie DS+6K-M projectors. They are exceptionally bright, crisp and vibrant, and really ‘pop’ when you see them on the board.”

“We are pleased to be selected for this unique solution for Idaho Power that represents a perfect marriage of three leading technologies for control rooms. This hybrid display has a truly high-tech feel,” said Dave Muscat, senior director, Control Room Solutions, at Christie. “It’s really inspiring to see how Primate Technologies, Inc. and Monitor Mapboard Systems helped Idaho Power brilliantly meet its needs.”

At Booth 9207 at the IEEE Conference and Exposition April 14-17 in Chicago, Monitor Mapboards will feature Scadaboard™, a real-time monitoring display wall technology that uses Primate Technologies, Inc.’s data visualization software and Christie DHD800 HD DLP® front projection to bring timely content to a Monitor mapboard, delivering enhanced situational and operational awareness.

SSL Live Console on the Road with Flogging Molly’s GREEN 17 TOUR

“Bar none, it’s the best digital console on the market”

LOS ANGELES - When an analogue stalwart front-of-house engineer who’s known to eschew digital consoles finally finds one that meets his standards it’s a milestone. Flogging Molly is named for their inauspicious start playing Molly Malone’s Pub in Los Angeles Monday nights in the Nineties. The seven-piece Irish/American, punk/folk ensemble is a rock band with traditional Irish instruments, fronted by Dave King on acoustic guitar and Bridget Regan on fiddle, with electric guitar, bass drums, accordion and banjo. An SSL Live console, supplied by VER Tour Sound, the latest addition to SSL’s Live partner network, was deployed at front of house for the group’s 10th Annual GREEN 17 TOUR, the band’s countdown to St. Patrick’s Day. Stopping at 27 cities, the tour started at Atlanta’s Tabernacle and ended five weeks later at New Orleans’ House of Blues.

FOH engineer Kevin Lemoine describes the touras “theaters and larger clubs, like the House of Blues, with loudspeakers ranging from a very nice d&b J-series outside <where everything is pristine and clean, all the way down to 15-year-old EV boxes.”

Lemoine has mixed Green Day for 13 years and is known for carrying an analogue console during most of his tours. He has mixed a number of other well-known acts, including Sugar Ray, Buck Owens, the Luna Chicks, Iggy Pop, Ice-T, Jane’s Addiction, The Black Crowes and The Reverend Horton Heat, among others.

VER’s Jason Vrobel has worked Green Day shows with Lemoine since 2004 as crew chief and system engineer. “I’ve known Kevin for a very long time,” Vrobel states. “He’s always been anti-digital. Always uses analogue as much as he possibly can. Anytime there’s analogue/digital situation, it wasn’t his choice. This was the first time he was extremely happy.”

“I didn’t have any time on the SSL Live before we went out on tour,” says Lemoine. “Back at VER, Jason programmed the inputs, effects sends and returns, groups, basically assigning the whole console before the tour. So no training, a little bit of YouTube searching about how things work, how it was set up, how it operated, but the rest of it was hands-on right there. It’s not a very difficult console to get around on.”

SSL Live is designed to provide a flexible workflow with several operational approaches, combining a large multi-touch daylight screen, with a second channel control screen surrounded by dedicated encoders, and up to three five-layered, 12-channel fader tiles plus, under the hood, there’s abundant, adaptable bus architecture. “The first day, was a little nerve-wracking because I was just learning the console,” says Lemoine. “Second day, I got a little deeper into what was available on each input; compressors, limiters, gates and how things worked. For the stuff that you use every day, it’s laid out pretty well. The sound was great on the first day and throughout the tour, I just refined the great sound.”

“There are two schools of thought from a FOH perspective,” continues Lemoine. “Pretty much, it boils down to digital versus analogue consoles. To my ear, and to most of my friends’ ears, analogue consoles sound the best, but the one negative factor is transport, size, weight and all that stuff. On the other hand, you have the digital realm where the console is small, light and easy to pack around, but their sound is usually kind of inept, I think. The features are there, but in the end, the sound isn’t really what you’re looking for. So now, you have this SSL Live, which seems to be in its own realm. It’s a small digital console, easy to pack around and fits into any venue, but it doesn’t sound like a digital console, it sounds like an analogue console. It’s very pleasing to the ear.

“It’s a very wide sound stage,” adds Lemoine. “A lot of consoles don’t go that wide. It’s nice to hear your drummer’s toms go from left to right and hear a true stereo image on your cymbals. It’s definitely a wide sound stage. Bar none, it’s the best digital console on the market. I have no doubt in my mind. I really like Live’s mic pres, they’re pretty amazing.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

CI-BUSS Brings Clear Sound to Dixie Regional Medical Center

St. George, UT – April 2014… Consistently voted one of the top 100 hospitals in the US, Intermountain Dixie Regional Medical Center is one of the largest and most progressive health care facilities in the Southern Utah and Nevada region. Its sprawling campus is home to a number of state-of-the-art, high tech laboratory and surgical facilities, staffed by some of the best professionals in the business.

Recently, the hospital installed new CI-BUSS communications systems from Yorba Linda, CA-based Tech Works in several of their Cardiac Catheterization lab facilities. Randy Turek of Dixie’s Cardiology Department explains the challenges of communicating within a sterile facility.

“The doctors inside the clean rooms need to be able to communicate with staff outside the glass, and for quite some time, that communication was via a hanging microphone,” says Turek. “The sound quality was terrible. The rooms themselves are a very boomy, reflective environment, with flat walls, vinyl floors, and plenty of glass, so intelligibility is poor to begin with. Communication basically consisted of a lot of yelling back and forth.”

The CI-BUSS system provided the doctors with the flexibility of using lightweight headsets, desktop or ceiling mounted microphones, with powerful digital signal processing and automatic level control for clean, intelligible, hands-free communication.

“We had tried a number of different solutions, and when we looked around at other facilities to see what they were using, we realized that everyone was having the same issues,” Turek observes. “Everyone was putting together systems with different components from different manufacturers, and the results were never quite as good as they could be. The CI-BUSS system was the first we found that was specifically designed for this purpose. We were able to configure the entire system and choose the components we needed for each application.”

With the CI-BUSS system in place, doctors are now able to communicate to staff in normal conversational tones. That has its own advantages, says Turek. “We found that after we switched to the CI-BUSS, the satisfaction levels in our patient care environment went up. Patients were happy we were no longer yelling back and forth.”

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Tech Works is a US-based manufacturer of high-quality, highly specialized communications systems for the healthcare, security, corrections, and education industries. Based in Yorba Linda, California, Tech Works was founded in 1984 with the goal of creating powerful communications solutions for the most demanding environments. Our products are designed to meet the unique challenges of our customers, in applications where clear communication can be critical.

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5 Seconds of Summer, One Mixing Console of Choice: HARMAN’s Soundcraft Vi4

SYDNEY, Australia – Australian pop rock band 5 Seconds of Summer is currently one of the hottest bands in the world. Since forming in December 2011 as college students posting YouTube videos of cover songs, the group has rocketed to worldwide fame—it has performed as the opening act for One Direction and will reprise that role on an upcoming tour, had its debut single “She Looks So Perfect” hit Number One in 39 countries and sold out headlining shows in Australia, the US and the UK in minutes. Over the last year the band and front of house engineer John Delf have toured the world with one console: the HARMAN Soundcraft Vi4.

“We’ve done more than 110 shows with One Direction, interspersed with 5 Seconds of Summer’s headlining shows and last year played in front of a combined audience of over one million people. Not bad for a band that at the time hadn’t even had a single out yet,” said Delf. “Most of the venues have been arenas from 10,000 to 20,000 capacity although we did a couple of shows that were 25,000 to 30,000, and a few 1,000 to 3,000-seat theaters. Through it all the Vi4 has been rock solid.”

Although 5 Seconds to Summer has been playing some of the world’s biggest venues and the Vi4 is capable of 96 inputs to mix, the band has a channel count of 32, making the Soundcraft Vi4’s compact size and ready access to all functions a big benefit. “I can get all my important channels on layer one, so I find it really easy to get access to everything I need without having to switch pages on the console,” Delf said.
What’s Delf’s biggest challenge in using the Vi4? “Trying to hear the mix over the screaming girls! For the first three songs of the set it’s almost impossible to hear the music because the fans are so excited to see the band that their screams are in the region of 115 to 120 dB, which is quite a lot louder than the usual 104-105 dB gig level. This also batters your ears and they take a little time to recover so it’s not until around song four that can you start to really get an idea as to what is going on.”

“I have all my main important channels on layer one of the desk, so all the drums, bass, guitars and vocals, then layer two is just for backing tracks and effects returns that usually look after themselves,” Delf said of his console configuration. “I use the VCAs a lot and have masters for all sections of the band and an all master for the whole band less vocals. It’s with this all VCA that I ride the dynamics of the band. I also have an effects VCA and a delay return VCA so I can control these levels and mutes without going on to layer two.”
Delf noted that one of the main reasons he chose the Vi4 for mixing 5 Seconds of Summer is the new Soundcraft Realtime Rack library of plug-ins developed with Universal Audio and compatible with all Soundcraft Vi Series digital consoles. “The fact that you can now use all the Universal Audio plug-ins in the live environment is so exciting,” he said. “I own Edge Recording Studios in Cheshire UK and we have a UAD2 card installed and the Universal Audio plug-ins sound amazing in the studio, so to be able to apply those to live sound is very cool.”
“Soundcraft also provided us with the touchscreen to control all these plug-ins and that makes it so much cooler to use and also looks pretty damn impressive,” Delf continued. “When I first started using them the effect was quite subtle but one day on tour one of my cables went missing and I thought I couldn’t use it for the show and that’s when I realized how much I missed it and how big a difference it really made. We found the cable in the end and it was all systems go. Not sure what I’d do without it now to be honest!”

Having used a Soundcraft Vi6 on a previous tour with the band Plan B, Delf chose the Vi4 primarily for its sound quality. “I just love the way it sounds and it was my first choice for 5 Seconds of Summer,” he said. “This band has a much smaller channel count than the Plan B tour so I was able to fit perfectly on the Vi4, so why not? It sounds amazing, has great pre’s, has built-in dbx compressors and Lexicon effects, plus the addition of the Realtime Rack UAD card. Why wouldn’t anyone choose one?”

So far, Delf is more than satisfied with the Vi4. “I have loved using the desk and all of its features,” he noted. “It’s so easy to get round and everything you need is there in front of you. We let our support act use the desk too and their engineer had never seen one before the tour and by show two he was all over it. It’s very easy to use, sounds amazing and is so quick to learn. I couldn’t ask for more. Bring on the Soundcraft Vi3000, that’s all I can say!”

For more information on John Delf’s recording studio, please visit www.theedgestudios.co.uk.

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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