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Archive of the Product Applications Category

New York’s Pig ‘n’ Whistle Sounds Better than Ever with Renkus-Heinz

New York, NY – March 2014… In a city with no shortage of Irish pubs, the Pig ‘n’ Whistle Murray Hill truly stands out. At once unique and familiar, it’s a warm, welcoming space where neighborhood residents and visitors alike can gather, chat, enjoy a drink, and watch their favorite game.

But the room’s cozy confines can present some acoustical challenges, with its long, narrow dimensions and high-beamed ceilings making it difficult to achieve the right balance of sound across the entire space. “It’s a relatively narrow room, which makes it hard to provide consistent coverage,” explains John Paturno of Rego Park, NY-based Starview Audio. “The high ceilings add to the boominess.”

The demand was for a budget conscious, high quality sound system that would meet the pub’s needs for intelligibility and tight pattern control. Starview selected a system centered on ten Renkus-Heinz CFX 61 two-way Complex Conic loudspeakers. Six speakers cover the pub area in front, with the remaining four serving the rear dining space. The system is powered by Powersoft amplification, with processing handled by Symetrix Solus 8.

“The CFX61’s coverage pattern is very tight and very accurate, and gives us seamless coverage from box to box with wider spacing between the cabinets,” offers Paturno. “That translates to fewer speakers than we would have needed to achieve this degree of consistency with a different solution.”

Paturno adds, “they needed a system that could provide a comfortable level of background music for the day crowd, but had the capability to get loud enough for the sports crowd. The CFX61 delivers great speech intelligibility, which is great when there’s a full house watching the game.”

Clearly, the new system has more than met the pub’s needs. “Everyone involved is truly pleased with the results,” Paturno reports.

 

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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.

 

HARMAN’s Soundcraft Vi3000 Ushers in the Next Generation of Digital Consoles

POTTERS BAR, United Kingdom – HARMAN’s Soundcraft today announced the introduction of its incomparable Vi3000 digital live sound console, offering a host of state-of-the-art features including the groundbreaking internal DSP Soundcraft® SpiderCore, a new industrial design, 96 channels to mix, Dante compatibility and more.

“The new Vi3000 represents a massive leap forward in digital console design and functionality, while also keeping the best elements of the Vi4 and Vi6 consoles,” said Andy Brown, Vi Series Senior Product Manager, Soundcraft. “We have a totally new internal core based on the highly successful Studer Vista 1 and a completely new, more efficiently designed surface running updated operating software. Compared to other consoles in its price range, the Vi3000 offers more input channels, more busses, more faders, and a user interface like no other. We are proud to say the Vi3000 is simply unparalleled in its category.”

The Vi3000 utilizes the new internal DSP SpiderCore based on the company’s Vista 1 engine, with Soundcraft’s Vi Version 4.8 operating software, while adding a fourth 24-channel fader layer to improve access to the console’s 96 input channels. The surface operation and layout is similar to other Vi Series consoles, providing a familiar feel while offering expanded functionality. The Vi3000 features upgraded microphone preamps and 40-bit Floating Point DSP processing for superlative sound quality.

The Soundcraft Vi3000 features an all-new appearance with a more efficiently designed control surface, 36 faders, 24 mono/stereo busses and a sweeping black screen panel with four Vistonics II™ touch screen interfaces with sleek, updated 3D graphics. Because the Vi3000 has four touchscreens, it’s the only console in its class that can be used by two engineers at the same time.

“Visibility of parameters and easy access to them are the most important features a console can have,” Brown noted. “When something unexpected happens—as it always does in live sound—being able to see a lot of settings quickly is a massive advantage.”

The Soundcraft Vi3000 offers extensive rear panel connectivity. In addition to a full complement of analog and digital inputs and outputs, the console provides MIDI, USB, Ethernet, DVI out, Dante/MADI record feed outputs, redundant power supply and other connections. The Vi3000 has two expansion bays that can be fitted with MADI Stagebox cards, to connect multiple Soundcraft Stagebox input expander modules. The Vi3000 can also accommodate the new Soundcraft Realtime Rack, a hardware/software unit designed in collaboration with plug-in manufacturer Universal Audio that provides access to 74 industry-standard UAD plug-ins. The Vi3000 is the first Soundcraft console to incorporate a Dante interface as standard, for seamless digital audio networking with Dante-enabled devices.

Along with its greatly expanded functionality, the Vi3000 retains all the features that have made the Soundcraft Vi Series the consoles of choice for live sound engineers worldwide, such as FaderGlow™ illuminated faders that display different colors according to function, the ability to store and recall snapshots and cues, compatibility with Soundcraft’s ViSi app that allows remote control from an iPad, built-in Lexicon reverb/delays, dbx compression,effects and more.

HARMAN (www.HARMAN.com) 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.

Reliable Symetrix Zone Mix 761 Delivers Sound 24/7 at Brooklyn Luxury Low-Rise

BROOKLYN, NEW YORK – MARCH 2014: Heatherwood’s newest luxury apartment building is the low-rise at 544 Union in the Williamsburg neighborhood of Brooklyn. The newly-constructed six-story building is well appointed and includes a fitness center, a yoga studio, a game room, a resident lounge, a rooftop sundeck, and a large second floor terrace with a putting green, a fire pit, and plenty of places to sit, relax, and catch up with friends. Heatherwood wanted to improve upon the sound systems that had been installed previously in its other properties, and the A/V integration branch of Love Music (New Rochelle, New York) delivered with the rock-solid reliability and performance of a Symetrix Zone Mix 761 fixed architecture audio processor and Symetrix ARC-WEB user control for smartphones.

The electrical contractor on the job, Lippolis Electric, asked Love Music to design and commission the music playback system for 544 Union. “The client wanted something that would work 24-hours a day, seven days a week without fail,” said Mario Bilotta, vice president of Love Music and the person responsible for 544 Union’s sound system design. “They didn’t want to worry about the music playback system at all – they just wanted it to work. I knew the Symetrix Zone Mix 761 would give them that level of reliability and performance. I’ve been using Symetrix gear for many years now without any troubles at all. In addition, the Zone Mix 761 is easy to program and quick to install.”

The Zone Mix 761’s twelve inputs easily accommodate Internet radio, multiple iPod inputs, and multiple television inputs located throughout the building’s common areas. The unit’s six outputs feed as many zones: the fitness center, the lobby, the second floor patio, the rooftop patio, and two rec rooms. Three QSC amplifiers power thirty-six Community loudspeakers, both indoors and out. Users select both audio and video content in the rec rooms using a URC touch panel control. A Symetrix ARC-2e wall-mounted remote control in each of the other zones allows for intuitive source selection and volume control. Building staff can control the system using the custom-designed, password-protected Symetrix ARC-WEB control for smartphones and other internet-connected devices.

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

The Water’s Edge Reincarnated After Super Storm Sandy

BUENA PARK, Calif.—Hurricane Sandy couldn’t have struck this regionally known restaurant/bar/catering facility on the Barnegat Bay at a more inopportune time. The Ziegler family had just purchased the Water’s Edge in Berkeley Twp, New Jersey weeks before when Sandy made its mark on the Jersey Shore. Unfortunately, the structure took a huge hit and the new owners had to rebuild from the ground up.

Calling on the services of Boulevard Pro of Ridgefield Park, N.J., Water’s Edge co-owner Dave Ziegler, requested a completely designed audio/video system solution. “We believe in the Yamaha CIS (Commercial Installation Solutions) Series complete system solution approach, and that is how I presented the new system recommendation to our client,” states James Cioffi, co-owner, Boulevard Pro. “Our experience and reputation combined with the Yamaha support network secured our involvement on this project.” Boulevard also recommended and installed POS, CCTV and DTV systems.

The Water’s Edge venue consists of three large indoor catering spaces including the restaurant, and is used for wedding and large events. An 8,000 sq. ft. outdoor space houses the Tiki Bar and Edge Live, which when weather permits, features live music. Patrons arrive all summer long by land and by sea.

“Our major challenge in designing and installing the new system was time itself! says Ziegler. We had to have a functional Tiki Bar for the summer or we risked losing our loyal customers. Our other major challenge was complying with the sound ordinance and containing the sound within the four wind-break glass walls that surrounded the Tiki Bar that literally sit on top of the water. With the help of Boulevard Pro, we were able to design several zones throughout the Tiki Bar to manage the sound levels out of respect for our neighbors. James Cioffi was one of my most patient vendors, able to do all of this with NO structure in place, plotting zones on our ever changing architectural drawings, and continually modifying the design until we had a final set of drawings.”

The indoor space is outfitted with a Yamaha CIS MTX3 audio processor, two DCP1VS keypads, and 48 Yamaha VXC4W ceiling speakers. The system controls eight audio zones and is using all 12 of the MTX3 inputs. “THE MTX3 is super powerful and sounds great,” says Cioffi. The Yamaha keypads are located in the head end interior location of the space and in the outdoor bar/lounge area, controlled completely via iPad/iPhone. The waterfront bar/lounge system consists of a Yamaha LS9-16 digital audio console, Yamaha TX4n amplifier, Yamaha DXR 12×2 monitors, and IF2112M95 speakers. The Yamaha StageMix App on the LS9 runs live entertainment via an iPad. “The entire venue is beautiful and really impressive, and the Yamaha system is working great,” Cioffi exclaims.

“We are proud to say that we are the premier spot on the Barnegat Bay hosting the best entertainment both inside and out, notes Ziegler. Bands and DJ’s couldn’t be happier coming to play at our venue because they no longer have to haul all of their heavy equipment in to play. It’s a win-win situation. When my general manager isn’t around, I like to take this Ferrari of a sound system for a true test drive!”

For more information on The Water’s Edge, visit www.watersedgeonthebay.com.

For more information on Boulevard Pro, visit www.blvdpro.com.

For more information on the Yamaha CIS Series, visit www.yamahaca.com.

-END-

PHOTO ID: #1 Water’s Edge Loung
#2 L to R: Boulevard’s James Cioffi and Water’s Edge Co-owner Dave Ziegler

PHOTO CREDIT CM PHOTOS

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

SSL Live Console on the Road with Peter Gabriel’s Back to Front Tour

“I am now at the stage where I am sure I would miss Live if I had to revert to my previous system”

OXFORD, ENGLAND – When the company’s owner mandates the use of its latest technology for its first major tour, you can be sure everyone involved, knowing his perfectionist approach, gives it their full attention and then some. Peter Gabriel’s Back to Front tour made full use of the new SSL Live consoles supplied by Britannia Row Productions for the first part of the tour in Sept/Oct 2013, and will continue to demand perfection from the console when the tour resumes in April 2014. Happily, the hard work paid off and artists, engineers and SSL’s design team were all thrilled with the results – as were audiences across Europe.

Three Live consoles were employed to handle the Back to Front performances. One at front-of-house, one was for the band’s monitors and one was used for Peter Gabriel’s monitoring system. All the consoles performed flawlessly.

“The first thing to say about Live is that it sounds really good and makes mixing live audio very easy,” says Ben Findlay, FOH engineer. “You get lots of separation and clarity. The EQ is musical, never harsh, and the dynamics are transparent even when compressing a signal hard, as you would expect from an SSL console. The mixes come together quickly when starting from scratch. Because the audio is very clearly defined, you have more options regarding relative levels, so elements of a mix that may normally be masked with another console are still clearly audible. This leads to accomplishing the often illusive third dimension to a mix that live engineers strive for — and that is a real sense of depth. The console is also extremely reliable with not so much as a flicker during the whole tour. I am now at the stage where I am sure I would miss Live if I had to revert to my previous system. Live is a great console.”

The Live console was designed to appeal to engineers with a range of operational approaches and can be used very flexibly. The Back to Front shows provided clear evidence as the three highly experienced mixers took advantage of the adaptable bus architecture, processing tools and user interface options to support their personal approach to the differing tasks they were managing.

“Ben and I recorded a multi-track version of the Back to Front show during the U.S. tour in 2012, so we had a ready reference to run through the Live console when it became available before official show rehearsals,” says Richard Chappell, Peter Gabriel’s live show coordinator and personal monitoring and studio engineer. “When we first worked with Live, we realized how very exciting and pioneering this console was. This console sounds great. The first part of the learning curve was the impressive touch screen that allowed each of us to configure the setup the way we wanted to work. The needs of monitoring are, after all, different from FOH. For me, Live is the engineering equivalent of what a musical instrument is to a performer. I can now do what I do better with Live. Secondly, I’ve heard horror stories in the past about other new consoles going out and crashing or not working. With Live, we never lost a show, it always worked.”

“Live is a hybrid console that has a touch screen but it’s also button operated; a real crossover between two ways of working,” says monitor engineer Dee Miller. “For an engineer, it’s a very powerful tool and capable of doing a lot of things. What I’ve had to do is learn how to use the desk to mix the show my way, so Live is a tool for any particular job as opposed to bending a job around a different manufacturer’s tool. It’s got some great features on it and it’s very powerful. Live sounds great, the clarity is extremely good and I would just say that you can hear everything really, really well. From an engineering point of view, I made many performers happy with their monitor mixes using Live.”

Photography: York Tillyer
© 2013 Peter Gabriel Ltd.

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.

Calibre UK LEDView530 scalers at Sochi 2014 Olympic Winter Games

Calibre UK announces that their LEDView530 scalers were deployed in what is believed to be the largest area of LED screen displays in the history of the Olympic Winter Games.

“We believe that our easy to use LEDView530 scalers performed pixel accurate scaling of video content together with per-input channel colour calibration for display of live, recorded and graphics and backdrop content onto a large number of LED videowall displays at Sochi 2014 Olympic Winter Games, playing a fundamental part in the spectator, participant and viewer experience,” said Pauline Brooksbank, Managing Director at Calibre UK.

“The LEDView530 was selected because of its competitive combination of superb performance, ease of use, flexibility and robust design as well as a proven track-record in live events use,” added Brooksbank.

“Calibre UK LEDView530 scalers were also used at the London 2012 Olympic Games as well as for HM The Queen’s Jubilee. It’s very gratifying to see them utilized again for the Sochi 2014 Olympic Games.”

About Calibre
Multi-award winning British company, Calibre has over the past 26 years achieved world recognition providing image scaling and processing technologies for use in digital cinema, large venue projection and LED events, surgical medical applications and broadcast/television studios. Calibre manufactures products under its own brand-names as well as providing products and technology to several market leaders in the Pro-AV market worldwide. Calibre is a market leader in innovation, utilizing its own, UK & Germany-based in-house hardware and software design teams for all its product developments and its own UK manufacturing.

www.calibreuk.com

ACCLAIMED MASTERING ENGINEER MATT COLTON RELIES ON ATC SCM150ASL PRO THREE-WAY ACTIVE REFERENCE MONITORS

WEST LONDON, U.K. – MARCH 2014: Matt Colton has been mastering albums for fifteen years. He continues to build on his growing reputation, mastering for the likes of Coldplay, James Blake, Gary Numan, and Metronomy, and his work recently earned him the title of “Mastering Engineer of the Year” from the Music Producers Guild. He has worked at several of London’s most esteemed mastering houses, including Porky’s Mastering, Optimum Mastering, AIR Studios, and Alchemy Mastering, the last of which he recently re-launched with original owners Barry Grint and Phil Kinrade. To maintain his edge, Colton installed a pair of ATC SCM150ASL PRO 3-way active loudspeakers in his critical listening room at the new Alchemy Mastering in West London.

For Colton, there’s more to mastering than simply having access to the latest and greatest ear-bending analog and digital signal processing technologies. “The things that are really important are the acoustics, speakers, amps, convertors, and power supplies, along with the wiring that connects them all together – everything that affects the sound in the room,” he said. “You cannot get around that. So I would rather have a great-sounding room and a workstation with a couple of plug-ins than every piece of hardware ever made and a poor-sounding room, because, no matter how much you say you understand the room, we all react to what’s coming out of the speakers and make our judgments based on how it sounds in the room. If the room is too bassy then the recording is going to be bass light, even if we know the room is too bassy.”

Fundamental to Colton’s current way of working is a pair of ATC SCM150ASL PRO 3-way active loudspeakers. “Having worked at AIR on a really lovely pair of hi-fi speakers, I felt I wanted to go back to studio monitoring and have something that maybe sounded a bit less polished in terms of the actual sound that’s coming out of the speaker,” he said. “So I’m working on a pair of SCM150ASL PROs. I’d previously worked on a pair of SCM200s many years ago, which I loved.”

An unconventional demonstration convinced Colton that the SCM150ASL PRO patently met his critical listening criteria: “I did a lecture at Westminster University in Harrow to over one-hundred people in a really big lecture hall with a massive ceiling height of fifty feet or so. Ben Lilly of ATC brought along a pair of SCM150s and I played some James Blake records with really low sub-bass – down at around 35Hz – and they just sounded glorious. It was a wonderful experience to hear those records played in that room only on a pair of speakers. So, on that basis, I’ve got the 150s in my mastering room – sadly, not quite as big as that lecture hall!”

With well-honed listening skills, Colton is perfectly positioned to provide honest insight into the SCM150ASL PRO in action at Alchemy Mastering. “They’re a direct and honest pair of speakers,” he said. “If the mix sounds good, then it sounds good here; if it doesn’t, then it doesn’t. There’s no flattery on the part of the speakers, though they’re wonderful to listen to when you get it right. I’ve really enjoying working on them.”

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

48-CHANNEL ANALOG API VISION CONSOLE PLAYS A PART IN FILM

MEMPHIS, TENNESSEE: A 48-channel API Vision console has had a large impact on the fortunes of Ward Archer and his enterprise, Music+Arts Studio. Twenty-five years ago, Archer closed a chapter of his life at the helm of an ad agency to found Archer Records. Six years later, he opened the David Cherry/George Augspurger-designed studio to cater to the label’s artists and has not looked back since.

Music+Arts Studio launched with a 48-channel, discrete, all-analog, surround-sound API Vision console, and prominent members of Memphis’ indie film scene became regular clients over the following years. Like a locomotive building momentum, Music+Arts Studio is currently attracting more and more film work from an expanding geographical base. The ratio of film-related to pure music projects is creeping up on 50:50 thanks, in part, to the API Vision.

“These days, I’m comfortable saying that we have a lot of experience with sound for picture, but that’s owing to some clients that rolled the dice with us in the beginning,” said Archer. “One of our earliest and greatest successes was The Gospel According to Jazz Chapter III, which was recorded live at Reid Temple in Maryland. We took those tracks – which sounded amazing from the moment we pulled them up on the API Vision – and mixed them for stereo and 5.1 [which the Vision is designed to do simultaneously]. The Vision has a transparency and an airiness on the top end that just sounds gorgeous.” The track “It’s What I Do” won a Grammy for Best Gospel Song.

In addition to the API Vision and a killer live room, Music+Arts Studio has catered to its client base by adding an eight-foot Stewart Filmscreen and high-definition projector for film mixing. “It’s a nice, cinematic experience for the director or music supervisor,” said Archer. “We’ll even crank up the [5.1 PMC] monitoring system a bit for the full effect.” The scope of Music+Arts Studio’s film work ranges tremendously, from ADR to scoring to mixing. For example, all of the score recording for the Matthew McConaughey-led drama, Mud, were recorded using the warm analog sound that the API Vision’s circuitry provided. Other projects include the indie film, Cigarette Girl, and mini-series, Headshop.

Despite the film industry windfall, Music+Arts Studio still enjoys tackling strictly-music projects for artists on the Archer Records roster. Recently, Amy LaVere completed Stranger Me, her fourth studio album on Archer Records. Studio manager and engineer Daniel Lynn assisted the project’s producer and engineer Craig Silvey, who had just finished mixing Arcade Fire’s Grammy-winning release, The Suburbs. “Silvey loved the Vision,” said Lynn. “I remember that there was one point during the mixing where we wanted to do some complicated bussing, and it wasn’t immediately apparent how to do it. I called API and got someone on the phone right away. Craig was impressed that we had that kind of rapport!”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

(PHOTO CAPTION) Music+Arts Studio Manager/Engineer Daniel Lynn (right) pictured with Colin Hay (Men at Work) during a recent session.

ASHLY PEMA PROCESSOR AND AMPS SERVE AT THE U.S. COAST GUARD RECRUITS INDOOR GRADUATION CEREMONIES

CAPE MAY, NEW JERSEY: The Training Center at Cape May, New Jersey is the Coast Guard’s only recruit training center and the only place where enlisted Coast Guard personnel can receive formal recognition for a promotion in rank. As a consequence, the Training Center is witness to regular graduation and promotion ceremonies, which take place on the facility’s multi-use sports field when the weather is agreeable. But New Jersey claims its share of months when the weather is decidedly disagreeable, and then the ceremonies are moved indoors. The multipurpose room where they take place, along with the Training Center’s dances and other events, recently benefited from a sound reinforcement system overhaul. An Ashly Pema 4250.70 combination 8×8 Protea™ DSP Matrix Processor and four-channel 70V Power Amplifier anchor the new system with reliable, cost-effective, high-fidelity performance.

“The sound system that they use outside is excellent,” explained Mike DiMartinis, with Elite Audio LLC of Turnersville, New Jersey. Elite Audio worked with the Coast Guard Training Center in the past, and this time the company was hired through Reiley Construction to design and install the new system in the multipurpose room. “In contrast to the outdoor system,” he continued, “the sound system that they use indoors was terrible. It was twenty years old and composed of paging horns. It was not high fidelity, and they were always unhappy to move from the great sound outside to the tin can inside. The events that they held in the multi-purpose room certainly didn’t benefit from it either.”

The new system features three Community R.5 loudspeakers distributed across the width of the room, which also doubles as a basketball court. The speaker systems were encased in a custom steel protective enclosure designed and fabricated by Polar Focus. Depending on its use, the staff can operate the system via a wireless Creston control system; custom programming by son Nick to engage either the East Side exclusively or engage the entire system, and they can also select among a DJ auxiliary input, two wireless microphones, four wired microphones, and a CD/iPod deck. As a failsafe fallback, Elite also installed an inexpensive Ashly neWR-5 wall panel remote control. “We’ve used Ashly products in numerous installations in the past, and they’ve always been 100% reliable and trouble-free,” he said. “The Ashly Pema 4250.70 was perfect for this job because it is cost-effective and gave us the necessary ability to matrix audio, plenty of clean power, easy programming, and flexible user control options, including seamless integration with the Crestron system as well as the Ashly neWR-5.”

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 37-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

DANLEY JERICHO HORNS FILL 2200-SEAT FIRST REDEEMER CHURCH WITH STUDIO-QUALITY SOUND

CUMMING, GEORGIA: For a long time, First Redeemer Church in Cumming, Georgia didn’t have a purpose-built sound reinforcement system for its stunning 2,200-seat sanctuary. The contemporary band that rocked the morning service, as well as the orchestra and two-hundred-plus voice choir that supported the traditional service, played through the repurposed remnants of a sound reinforcement system that had once serviced their converted warehouse where the church first started. Years of band-aids and add-ons averted disaster, but the room was so unevenly covered that a foot in either direction was often significantly different, with obvious phasing in the travel. Now, a pair of Danley Sound Labs’ most powerful point-source boxes, Danley Jericho J1-94s, deliver stunning stereo imaging with abundant low-end support from a beefy Danley BC-415 subwoofer flown in the center of the room. “First Redeemer now has the best sounding sanctuary in the world,” averred Scott Oliver, owner of Centerline Audio Visual of Hendersonville, Tennessee. “I would put it up against any other system, at any price!”

Oliver designed and installed the system, with custom rigging and fly-ware by Diekhoff Company (Nashville, Tennessee). “My philosophy is always to use as few speakers as possible,” said Oliver. “There’s less destructive interference and fewer alignment issues. Instead of using more speakers for a larger room, I prefer to use larger speakers. A lot of people think I’m nuts for designing Danley Jericho Horns into this, but the results say otherwise. The Jericho offers stunning detail and clarity. It’s very accurate – like a giant studio monitor. With two of them, the stereo imaging is vivid, and it is easy to pick out each and every instrument on stage. Even sitting in the balcony, you can hear the snares rattling and different hi-hat velocities. And even though it’s been said a billion times, it’s still true: Danley’s pattern control is unbelievable. The coverage at First Redeemer is remarkably even.”

In addition to the two Danley J1-94 loudspeakers and the BC-415 subwoofer, a pair of Danley SH-69s provide down-fill for the first few rows and a pair of Danley SH-46s provide side-fill. An existing Digidesign Venue console is still in use and feeds a pair of Danley DSLP-48 processors. Three new Danley EDA 12k and four new EDA 4.8k amplifiers power the system “We did a shoot-out with a number of high-end commercial amplifier manufacturers, and the Danleys had the most consistent measured RMS power level,” said Oliver. “Moreover, I like that they are just straightforward amplifiers – no crazy bells and whistles. The whole system embodies the same sort of simplicity – just a couple of processors, 52,000 watts, a handful of (large) loudspeakers, and one massive subwoofer!”

First Redeemer had originally considered purchasing a line array system from another super high-end loudspeaker manufacturer. “We did an entire design and brought in a system to test,” explained Jeff Baggett, First Redeemer’s audio engineer and a Nashville mastering engineer. “It sounded great, and I was skeptical that Danley would be able to touch it. Scott [Oliver] brought over a pair of the Danley Jericho Horns and powered them up. Immediately it was game over. The Danleys ate the other system for lunch. They were tremendously even and had no finger lobes at all. We even matched the EQ curve of the other system to try and make it a fair fight, but the Danleys still killed it. Now that the system is properly installed and voiced for the room, it’s even better. I love it. It’s the kind of sound that makes you want to just bring in some music and listen. The reproduction is so accurate that I could easily master an album on the system. It’s that good. And the subs are just incredible.”

“The very first song we pulled up had no EQ or processing, but already the new Danley system sounded 3,000-times better than the old system that they had been trying to perfect for sixteen years,” said Oliver. “By the time we where on song three, it sounded like a record. The mix was expansive and rich. When we went to the traditional service, Baggett was mixing sixty channels of audio, and anyone in the congregation could easily distinguish each one of those instruments. The church was also impressed by the price tag for this world-class sound system. It was about one quarter the price of the original line array that they had considered!”

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

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