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Crutchfield Designs Loud and Bulletproof Sound System for Trinity Irish Pub With HARMAN’s JBL Professional Loudspeakers

CHARLOTTESVILLE, Virginia – As a popular dance club near the campus of the University of Virginia, Trinity Irish Pub garnered a great amount of attention when word spread of its upgraded sound reinforcement system, featuring HARMAN’s JBL loudspeakers and Crown amplifiers. Systems integrator Crutchfield Corporation of Charlottesville, Virginia designed and installed the unique system.

Two design goals were set for the new system at the Trinity Irish Pub: the loudspeakers needed to produce twice the amount of output power than the old system while attaining proper coverage in the room. In addition the entire system needed to be bulletproof and able to withstand any amount of power surges as well as physical abuse. Hence, the team decided on four JBL PRX412M portable loudspeakers and one PRX418S subwoofer, powered by one Crown XTi4002 and one XTi2002 amplifier, with additional management from a dbx DriveRack PA+ system.

“We wanted to tailor the sound to the room, and with the HARMAN gear working so well together, we were able to do just that,” said Brian Madison, Pro Audio Buyer of Crutchfield Corporation. “The HARMAN brands are certainly known as industry leaders, and everyone here at Crutchfield appreciates their products’ build quality and performance. Thanks to the output and integration of HARMAN gear, we were able to suspend the loudspeakers above the crowd to get enough power and headroom for many years.”

Dallas Simon, an AV Design Specialist for Crutchfield, was one of the engineers on-site who assessed the installation. The team was forced to adjust for an asymmetrical layout, so in order to eliminate dead spots on the dance floor, a conventional rectangular pattern in loudspeaker alignment could not be used. With proper tweeter alignment to the dance floor, Simon inverted the loudspeakers so the horns were on the bottom, which produced the perfect angle.

“The owner wanted the loudspeakers as high as possible and as close to the wall as possible, which limited the degree of tilt we could accomplish,” said Simon. “We still wanted to hang the system so that the loudspeakers fired inward at the dance floor, without pushing excessive volume at the bar, for obvious reasons. For such a unique installation, the PA sounds fantastic and the owner as well as the house engineer are very pleased with the results.”

Now that the mission is accomplished, The Trinity Irish Pub has become an even more popular destination for the college crowd, having to often turn people away at the door. Each night the PRX loudspeakers rock the entire venue, and the system will last for years to come.

For more information on the installation, please visit http://www.crutchfield.com/trinitypub

Crutchfield Corporation, which celebrates its 40th anniversary in 2014, is one of the nation’s leading catalog and Internet retailers of consumer electronics products. Crutchfield brings a legacy of remarkable customer service to the pro audio marketplace. Last year, Crutchfield.com earned its 14th straight “Circle of Excellence” Platinum Award for website performance and customer service from Bizrate Research, a division of Shopzilla. Of the more than 5,100 online retailers in the Bizrate network, Crutchfield stands alone as the only one to win the “Circle of Excellence” Platinum Award for 14 consecutive years.

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, 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 global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Video Devices PIX 260i Captures Footage Fit for a King as Part of The Royal Society Headquarters Refit

LONDON, JULY 30, 2014 – When The Royal Society in London was looking to refit the audio and visual facilities in two rooms at its headquarters at Carlton House Terrace in London, it turned to Video Devices, mission-critical video products by Sound Devices, and its PIX 260i for its video recording needs.

A fellowship of the world’s most eminent scientists and the oldest scientific academy in continuous existence, The Royal Society acts as a scientific advisor to the British government, receiving a parliamentary grant-in-aid. Installed by Winchester-based AV integrator Whitwam, and provided through Shure Distribution UK, The Royal Society fitted three PIX 260i’s in its largest gallery, the Wellcome Trust lecture theatre, to capture video from the four cameras installed in the space. Throughout the year, members of the Society give presentations in the various lecture halls. Many are broadcast, recorded and archived. In addition, the organization installed two Shure SCM820 eight-channel automatic audio mixers in the dining rooms as part of its improved sound reinforcement efforts for speeches and awards.

The rack-mounted PIX 260i is a file-based audio and video recorder that seamlessly replaces tape-based video decks in production and post-production environments. The Video Devices PIX 260i also offers 32 tracks of audio recording and playback as well as control from browser-capable computers and tablets. It records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in such common editing environments as Avid, Final Cut Pro and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

PIX 260i recorders can be controlled from browser-capable computers and tablets. When connected to a data network, transport controls and setup menu controls are available on the Video Devices PIXNET, which offers IP-addressable control of one or multiple PIX 260i recorders. Users can group multiple units for simultaneous control. Data drives connected to the PIX 260i are also accessible on Ethernet-based networks as read-only SMB shares, opening up endless possibilities for file sharing. Files can be copied from any PIX 260i located on a network, enabling access from across a room or the globe. Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can record to all four drives simultaneously.

Building on the company’s deep heritage in production sound, Video Devices has infused the PIX 260i with 32-track record/playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Audinate’s Dante, the PIX 260i accepts and transmits up to 32 channels of audio over Ethernet.

The PIX 260i includes a built-in Ambient Clockit time-code generator and reader with genlock output for rock-steady multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time code can be read from the SDI stream, the HDMI stream or from an external source. It also includes a sophisticated scaler and frame-rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up-, down- or cross-conversion at the same or a different rate. Hardware-based 3:2 pull-down removal and anamorphic conversion is also available. PIX 260i’s convenient half-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector.

Video Devices, a brand of Sound Devices, includes digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production. Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters, with additional offices in Madison, WI and Highland Park, IL. For more information, visit Video Devices and Sound Devices websites, www.videodevices.com; www.sounddevices.com.

San Antonio’s Tobin Center for the Performing Arts Chooses grandMA2 Consoles and Clay Paky Lighting for Performance Spaces

San Antonio’s new Tobin Center for the Performing Arts will open in September with a complement of grandMA2 consoles and six Clay Paky Alpha Spot QWO 800 fixtures dedicated to both the H-E-B Performance Hall and the Carlos Alvarez Studio Theater. A.C.T Lighting, Inc. is the exclusive distributor of both brands in North America.

Rising behind the façade of the former San Antonio Municipal Auditorium along downtown’s famed River Walk, the 1,750-seat multi-purpose venue will be the home of the San Antonio Symphony and other resident companies. It also plans to offer a diverse array of entertainment from comedy legend Bill Cosby and radio icon Garrison Keillor and “The Prairie Home Companion” to the Scottish Ballet’s production of “A Streetcar Named Desire.”

The four-level H-E-B Performance Hall is the largest of the Tobin Center’s performance spaces; the Carlos Alvarez Studio Theater is a black box-style space with multiple seating options. Dealer Texas Scenic and rep Roy Harline are providing both the grandMA2 and Clay Paky products.

A grandMA2 light console with grandMA2 replay unit will be located in each of the performance spaces. H-E-B Performance Hall will also be equipped with a grandMA2 NPU for multiple universes and MA’s top-of-the-line VPU plus video processing unit.

Tobin Center Technical Director Stefan De Wilde is no stranger to grandMA2 consoles. “I have purchased and specified many grandMA1 and 2 consoles for Disney, Cirque du Soleil, the New World Symphony and the several universities,” says the Emmy-nominated lighting designer. “For three years ‘The Pageant of Peace,’ the National Christmas Tree Lighting in Washington, D.C., was illuminated by various grandma consoles.”

De Wilde says grandMA2 is his “console of choice” for its “incredible reliability, flexibility and power. It efficiently manages vast quantities of information quickly and efficiently.”

He notes that longevity is a key factor for equipment selected for the Tobin Center. “The equipment must effectively operate for at least 10 years and meet every need for every show. We’re a world-class performing arts center and require world-class technology in every department. We also have an array of grandMA2 nodes throughout our lighting control system.”

Adding a MA VPU plus video processing unit to the grandMA2 console in the H-E-B Performance Hall will enable projection cues for several Panasonic 20K projectors to be written into the unit’s cue plan for easy content management.

Six Clay Paky Alpha Spot QWO 800s were selected as “the best fit” for both performance spaces. “We required, quiet, low-maintenance fixtures that offer a variety of design options and would last for many years,” says De Wilde. “Following extensive research, The QWO 800s had the smallest footprint, the lightest weight and the least amount of ambient noise. Their efficient lamp also has incredible output. The QWO 800s are also extremely flexible since they can be used as a wash or a spot fixture.”

The fixtures will be shared by both the H-E-B Performance Hall and the Carlos Alvarez Studio Theater.

A.C.T Lighting will train Tobin Center staff on the grandMA2 consoles. “A.C.T sets the standard in the entertainment industry for technical service and support,” De Wilde reports. “Bob Gordon, Chris Patton, George Masek and Will Murphy are members of our All Star Team for the project. Their ongoing partnership and support, coupled with reliable and powerful technology is why I select A.C.T’s gear every time.”

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UK MIX ENGINEER MICHALIS “MsM” MICHAEL OPTS FOR METRIC HALO PLUG-INS FOR QUICK, GREAT-SOUNDING ITB PROCESSING

LONDON, ENGLAND: Michalis “MsM” Michael is a UK-based mix engineer with a growing and eclectic list of credits that includes several Top-20 singles, a number-one single, notable work on Diddy’s Last Train to Paris and going on to assist the chief engineer of the Grammy Award-winning J.U.S.T.I.C.E. League. His work while assisting necessitated travel, which motivated Michael to shift his workflow from reliance on hardware processing. These days, he mixes almost entirely in the box (ITB) and relies on Metric Halo plug-ins to deliver sonically-solid sounds with zero hassle. His recent work on Tom Prior’s Bad Advice EP to be released later this summer, which was produced in part by former Arctic Monkeys bassist Andy Nicholson, exemplifies Michael’s new workflow.

Born into a family of professional guitar and bouzouki players, Michael was immersed in music from an early age. “My dad taught me to play guitar, but I was always more fascinated with the amp and the guitar effects than with the instrument itself,” he said. “That led to early experiments with DJ’ing (bedroom DJ’ing as I was only 14!) that got me deeper into technology. Then a friend of a friend told me he was selling a Soundcraft 32-channel mixer, and I was so impressed by how it looked that I gave him my bike for it. I didn’t really know what I was going to do with it, but curiosity eventually led to me recording.” Michael built himself a good reputation for engineering that organically morphed into a mixing career. “Once I started mixing, I just never really stopped.”

That Soundcraft 32-channel mixer grew, so to speak, into a full-fledged studio that, until a few years ago, was loaded with sought-after hardware. “Once I started working for Edward Nixon, the chief engineer of the J.U.S.T.I.C.E. League, I was assisting rather than running a studio and slowly I saw a more efficient way of mixing and found I simply didn’t need most of my hardware,” Michael said. “That stuff was more about indulgence. So I literally sold it all and mix mainly ITB now. I’m slowly adding some bits of gear that I LOVE, but I almost had to strip it back to the basic fundamentals and learn to use just my ears. That was a great lesson for me. Any hardware I use is an ‘extra’ now. I rely on good plug-ins.”

However, in an industry awash in plug-ins, few qualify as “good.” “I like plug-ins that let me get on with work without thinking about the details too much,” he said. “Mixing is about instinct, and if there’s something that stands in the way and slows me down, I don’t want to know about it. I like to hear good sounds and I like to hear them fast. I get that from Metric Halo plug-ins: simple layouts and quick results. In the hardware world, if a compressor was too fiddly or not doing what I wanted, I’d quickly move on until I found one that worked. Then I’d rely on it and it would become a staple of my workflow. That dynamic is accelerated in the plug-in world because it’s much quicker to just change a plug-in than it is to re-patch hardware. That makes instant gratification with plug-ins very important. Metric Halo plug-ins sound great right away and it’s easy to dial in the right parameters.”

Michael heard a lot of buzz about Metric Halo’s flagship ChannelStrip plug-in, which combines multi-band parametric equalization with flexibly-keyed dynamics processing. “There’s a lot to be said about ChannelStrip, and that’s why it’s been a go-to for over a decade,” he said. “I expected great things – and I wasn’t disappointed, but I was surprised by how great the gate works. I’ve struggled to find a gate that works well on poorly recorded drums, which I have to deal with from time to time. ChannelStrip’s gate works faster than anything I’ve tried before with no compromise in sound quality.”

Michael’s other Metric Halo plug-in favorites are Character, Precision DeEsser, and TransientControl. “Character is great,” he said. “I just throw it on a dull source and drive it – simple. There are plenty of ‘characters’ to choose from and it works without affecting the gain, which is always a mind game. The Precision DeEsser lets me de-ess precisely – how ironic! It’s my go-to. I’ve tried lots of de-essers; some are simple and fast but affect the sound too much. Others sound good but take too much time to set up properly. Precision DeEsser strikes the right balance. TransientControl helped me out on Tom Prior’s EP. There were a few synth bass lines that were a bit too ‘stabby.’ I needed more sustain without losing the impression that they were supposed to be ‘stabby.’ TransientControl worked perfectly.”

“It’s easy for audio professionals to get into the techy details of sound, and that’s fine. But I always try to remind myself that the majority of the world doesn’t care HOW the record was made – they just want to enjoy music. Remembering that music is about emotion and not technical details is an invaluable perspective when mixing,” he concluded.

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

FOR MORE INFORMATION ABOUT MICHALIS MICHAEL
www.msmengineer.com
www.zman.co.uk/clients/michalis-’msm’-michael.aspx

COLUMBIA PERFORMING ARTS CENTRE DANCING TO ASHLY’S NX-SERIES AMPS

COLUMBIA, MISSOURI: The Columbia Performing Arts Centre in Columbia, Missouri is a private, not-for-profit dance school for children founded in 1998, and its students range in age from toddlers through college age. The school recently completed a major addition including four new studios. The addition replaced the nearby, but separate, studio annex allowing them to have all eight studios under one roof creating a safer environment for the students. Local A/V integration firm Sound Concepts Inc. was hired to design and install high-fidelity sound systems, both for the new studios and to preemptively replace the older components in the existing studios. Sound Concepts Inc. delivered an impactful, energy-efficient sound system centered on the Ashly nXp8002 two-channel Network Amplifier rated at 800W per channel with a built-in Protea™ DSP Processor. All nX Series amplifiers can be programmed to trigger a defeatable sleep mode where the amp draws less than 1 Watt of AC power.

“The Columbia Performing Arts Centre is always brimming with energy and activity, and high-quality sound reproduction is an important component in its success,” said Chris Howe, manager at Sound Concepts Inc. “In addition to supplying the new studios with great, easy-to-operate sound systems, the center’s directors wanted us to harmonize functionality and quality in the existing studios as well. That way, instructors trained in one studio will be able to use any other studio without a hiccup.” Howe completed the installation in stages, beginning with the new rooms and progressing to the existing rooms as class schedule logistics permitted.

As requested, each studio is nearly identical. Each features a Denon DM700C CD player for a primary music source. Howe used its digital output with the Ashly nXp’s optional digital input card. In addition, he gave each system a 1/8-inch iPod-style jack and connected it to the nXp’s analog input. “If an instructor wants to use the CD player, they just use it and it works,” he said. “If they want to connect their digital music source from a player, phone, or computer, they just turn the Denon player off, and the nXp automatically fails over to the analog input. It’s really simple and removes a layer of equipment that we (and they) would have had to deal with.” He used the nXp’s back-panel volume control option to wire a 10k potentiometer for a simple volume control. Depending on the room, the nXp powers either four 8ohm Renkus-Heinz TRX182s or two 8ohm Renkus-Heinz TRX151s. Each room gets the full benefit and liveliness of stereo sound.

“There were a lot of good reasons to go with the Ashly nXp combined amplifiers/processors,” said Howe. “Of course the built-in DSP is one of the first features that drew us to the nXp line, we needed smooth compression and limiting to protect the system as well as a good EQ to fine tune the speaker response to each space. The fail-over functionality was huge, as was the unit’s super low power consumption at idle. That kind of intelligent power management is great in a situation like this! The fact that they’re American made with a huge five-year warranty is excellent. And of course, the sound quality and reliability is tremendous. When we got the first nXp8002 in, we A/B’d it with an amp from our rental stock in the adjacent room. That rental amp’s got a good name and a good reputation. Everything else about the two rooms was exactly alike – same size, same speakers, same everything. I assumed I wouldn’t be able to hear a difference, or if I did hear a difference, I’d have to strain to hear it. I was surprised that the Ashly nXp8002 was obviously better. It was the kind of difference you just hear, no straining needed.”

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

‘The Bachelorette’ Co-DP Andre Martinez Lights on Location with Zylight F8 LED Fresnel

LOS ANGELES – It never fails. There you are, waiting to shoot a gondola scene in Venice, Italy, but the gondolier is unable to dock at your predetermined – at pre-lit – location. What do you do?

If you are the co-director of photography for ABC’s popular reality PROGRAM, The Bachelorette, you grab a Zylight F8 LED Fresnel and get the shot.

“I needed another moonlight source from a balcony to accommodate the new landing point,” recalled Andre Martinez, who has worked on ABC’s The Bachelor and The Bachelorette for several seasons. “Running another cable and ballast to set an HMI would have taken a fair amount of time. In less than five minutes, my gaffer had a battery-powered F8 in place and we were ready to roll.”

Known for shooting in exotic locations, the shows are exciting but challenging to shoot. Martinez works to create a “beautiful quality of a light in a reality environment where cameras often see nearly 360 degrees,” he said. “I try to create a setting that not only looks nice but also appears free of equipment – and feels natural for the cast who aren’t trained to hit marks like an actor would.”

Both series are shot primarily using the Sony PDW-F800 camcorder, though the Canon 5D Mark III is used for time lapse, B-roll and underwater footage. Martinez also keeps about eight GoPro cameras on location and has used the compact Canon C300 for a few specific events. The Bachelor and The Bachelorette are shot in 720p to make the show look less “filmic” and more “real” for the audience, according to Martinez.

Interview setups are the most controlled parts of the shows. Often shot in tight quarters, contrast and depth of field are concerns. Martinez also tries to incorporate WINDOWS, lanterns and other potential light sources in the frame. “Our art department does a wonderful job helping to create a background environment,” he explained, “and then I try to light in relation to and motivated by the space and art direction. Often the light on the cast member is just a key and a back light with a soft bounce fill.”

Martinez used two Zylight F8 LED Fresnels during a 10-week stretch of shooting for the current season of The Bachelorette. “Transporting the F8 is quite easy. It fits in a relatively small road case, and the fact that it doesn’t require a ballast or head feeder cables makes it that much more self-contained,” he said.

“With the battery adapter, in no time I can have a ‘punchy’ light with spot/flood capabilities anywhere I need it,” Martinez added. “In the past, I’d often have to carry a backup PORTABLE GENERATOR for shooting an arrival scene or something far from our main location. The Zylight F8s give me all the light I need quickly without running miles of extra cable or carrying a second generator.”

Long before the 10-week shoot was over, Martinez was sold on Zylight. “I hope from now on to always have at least one Zylight F8 in my lighting arsenal for any project. It puts out a lot of light, especially considering that you can power it with a battery,” he said. “It has a really nice quality of light, and its color temp remains true throughout the dial as you dim it.”

ABOUT ZYLIGHT LLC
Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and FLEXIBLE LIGHTING system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

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Flux releases IRCAM SPAT v3 for AAX/AU/VST

Flux completes migration to v3 with the release of SPAT v3 adding support for AVID AAX and 64 bit systems.

Oceanside, California, USA – Flux Sound and Picture Development of Orleans, France is proud to announce the release of SPAT v3, a positional audio plug-in combining three independently definable surround reverbs in a single plug-in with the ability to position and animate, with full automation, mono and stereo sound sources within these reverberant spaces.

SPAT may also be used to position and animate sources with all reverbs disengaged. This advanced feature set makes SPAT an indispensable tool for post-production professionals for ADR.

SPAT has been embraced by many within the community of orchestral composers as a tool for placing instruments on a virtual performance stage for position-correct and convincing orchestral emulations.

SPAT v3 adds support for AVID’s new AAX Native plug-in format. In addition to AAX, Audio Units and VST remain supported on both Mac and Windows. SPAT v1 remains available for users of RTAS systems.

All Flux v3 audio tools support both 64 and 32 bit systems with sample rates up to 384K. The Flux v3 platform delivers exceptionally rich, informative and responsive metering with near zero CPU cost by distributing UI processing to your systems’ GPU. All Flux audio tools are 8-channel ready for surround applications up to 7.1. The only exception is the distinctly named Stereo Tool freeware.

SPAT v3 is available to current SPAT users for no charge. Download SPAT v3 here: www.fluxhome.com/download

In celebration of both the release of SPAT and the completion of the Flux migration to v3, Flux is offering SPAT, the IRCAM TOOLS bundle containing SPAT and all upgrades to SPAT at a 30% discount, effective immediately.

Locate an authorized dealer for Flux and IRCAM Tools by visiting the exclusive Flux US distributor: www.AudioSage.com.

About Flux
Flux Sound and Picture Development of Orleans, France are developers of advanced software audio tools compatible with all major DAWs. Flux specializes in advanced dynamic control, rich real time analysis and EQ. Flux produces the IRCAM Tools line of psychoacoustic post-production tools in collaboration with the prestigious IRCAM Institute of Paris.

Montreal Jazz Festival Front Loaded With Yamaha Consoles

Guy Vincent

BUENA PARK, Calif.—From June 26-July 5 at venues across Montreal, the annual Montreal Jazz Festival featured a boat load of musical guests from Earth, Wind & Fire, B.B. King, Tony Bennett, and Diana Krall, to Aretha Franklin, Diana Ross, Terence Blanchard, and Nikki Yanofsky to name a few.

Solotech of Montreal provided the majority of the audio production for the 30 stages and stacked them with Yamaha digital audio consoles. Yamaha Commercial Audio Systems pitched in for five of the stages: Scene TD, the main outdoor stage, was outfitted with two Yamaha CL5 digital consoles and three Rio-3224D input/output boxes. Two CL5s and two Rio-3224Ds were in position at Theatre Maisonneuve, Lounge Heineken used a QL5 and one Rio-3224D, and Club Soda and Savoy both had new Yamaha QL5 digital audio consoles. The Savoy also used a Rio-3224D.

Front of House engineer, Guy Vincent, has been mixing sound for over 30 years and says he has worked with a lot of digital boards but his favorite is the Yamaha CL5. “The feature I like the most Is the Premium Rack. It is amazing how warm the sound is by activating any of the plug-ins. I also like the custom faders.” Vincent used a CL5 at the Maisonneuve Theater during the Festival mixing Terence Blanchard and others. He is currently on tour with Florence K using a CL5.

Front of house engineer, Richie Forte, used his own personal Yamaha LS9-32 console at the Metropolis during the Festival for artist Nikki Yanofsky. “According to my dear friends at Yamaha, my LS9 was one of the very first in eastern Canada, a fact I’m very proud of,” states Forte. “I’ve taken this little workhouse and pushed it beyond its limits. With the use of a fiber optic snake capable of transporting 32X8 of the LS9′s 32X16 i/o, plus one channel of bi-directional high speed EtherSound transport built in, I am able to use the two MY card slots on the LS9 to connect to my two Yamaha SB168-ES stage boxes for a total on stage analog i/o of 64X24.”

Richie Forte

Forte said that his current console as well as the two Yamaha digital consoles he previously owned, have preformed flawlessly and reliably. “It’s this ease of use, size, weight, flexibility, and “bang for buck” price point that has kept me a loyal Yamaha user and owner since 1997.” He’s now in Europe and using a Yamaha CL5 and says he’s “truly blown away by the sound of the console” and equally happy that its flexibility and workflow has been greatly refined and fulfills everything on his wish list. “I’m looking forward to upgrading to a QL5, my fourth Yamaha console very soon!”

Stephane Grimm

Stephane Grimm, who mixed The Jordan Officer Trio and Betty Bonifassi Chants on a new Yamaha QL console at both Club Soda and Club Savoy, said he’s really into the new QL and has used a Yamaha CL a number of times. “I was really impressed by the QL, and having the touch screen makes it totally easy to use, Grimm says. The four user layers is a wonderful feature especially now that you are able to color identify the faders, making it impossible to miss the channel you’re looking for. I also like the fact that it is fully compatible with the CL series, without even having to convert the file. WOW!” Grimm also said the new plug-ins is a great feature. “The 2-band Dynamic EQ, works very well especially on vocals and other instruments that change tones.”

For more information on Yamaha digital consoles, visit www.yamahaca.com.

-END-

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.

HARMAN’s AKG WMS4500 Wireless Microphone System Delivers True Sounds to Danny Janklow’s Sound Barrier

LOS ANGELES, California – Dubbed the “Charlie Parker of the 21st Century” by Terell Stafford, Danny Janklow recently completed a multi-faceted project that represents the modernization of tap dancing and jazz music. While using HARMAN’s AKG WMS4500 wireless microphone system, he created Danny Janklow’s Sound Barrier to celebrate America’s musical roots while moving forward with an innovative sound, breaking genre boundaries with soulful and vibrant music.

Having used AKG equipment for his performances in the past, Janklow relied on the AKG WMS4500 wireless microphone system and the SR4500 stationary receiver to project clear and audible sounds from his saxophone. For this particular project, he performed at Herb Alpert’s Vibrato Jazz Grill, the premier jazz space in Los Angeles.

“The sound of AKG’s microphone system cuts through the entire venue, and everybody heard it clearly,” said Janklow. “Even during my past performance at the outdoor stage of the LACMA Museum, the sound was able to cut through an auditorium of 10,000 people. However, for this musical story to be told, we needed both the tap dancers and great music. Thanks to my AKG system, I was able to deliver the right sounds to accompany the dancers.”

The AKG WMS4500 system is known for its flexibility and liberates artists from burdening handheld microphones. For Janklow, this is an integral part of his show, as he needed the freedom to interact with onstage tap dancers, and with the audience.

“I played all sorts of music since the age of 11, including jazz, classical and R&B, and I have never had a microphone system that was so convenient. It was truly life-changing,” said Janklow. “Also, the clarity that I hear during shows and recordings is incomparable. It has a clear definition of the timbres, it cuts very nicely and best of all, it blends well with other musicians onstage.”

For more information on Danny Janklow, please visit www.dannyjanklow.com

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, 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 global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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Seattle’s Iconic Comet Tavern is Reborn with Mackie DLM Series Sound

Seattle, WA – July 2014… Since 1935, the Comet Tavern has been a fixture of Seattle’s storied Pike/Pine corridor. The well-worn wood bar of this venerable Capitol Hill pub has bent the elbows of generations of locals and visitors, and its stage has played host to multiple decades of Seattle music and culture.

When the Comet was shuttered late last year, many long-time Seattle residents feared it was another nail in the coffin of what local entrepreneur Dave Meinert refers to as the city’s “black hole of gentrification.” But thanks to Meinert and partner Jason Lajeunesse, the Comet has opened its doors once again. The landmark pub’s atmosphere remains relatively unchanged, though the club has added a food menu, and the old sound system has been replaced with a new distributed system featuring Mackie’s DLM Series loudspeakers.

As Lajeunesse explains, the new owners placed a high priority on continuing the Comet’s legacy. “The Comet has always served as a living room and gathering place for a lot of the local community, including musicians, artists, writers, actors, and other creative people,” he says. “We had the opportunity to step in and restore the club, and in doing so we knew we really wanted to pay homage to its history, including games, pool, and hosting live music. It was important to us that the Comet still resonates as a cultural gathering place for the community, and I think we’ve embraced that. It’s still a neighborhood living room.”

The Comet’s new sound system, designed and installed by Kelly Berry of Seattle-based K Berry and Associates, includes ten Mackie DLM8 full range powered loudspeakers. “We’ve configured the system into three zones, covering the bar, balcony, and main seating area,” Berry explains. “It gave us a really great distribution of sound. Right out of the box, it sounded great.” A pair of DLM12S powered subwoofers provide more than enough low end for the room. “The system was really easy to install, too,” Berry adds. “The SWM300 wall mount bracket made it a breeze.”

Versatility was an essential demand for the new sound system, and the DLM Series more than delivered. “We’re open from noon to 2:00 AM, seven days a week,” Lajeunesse explains. “We needed a system that could deliver great sound and consistent coverage 14 hours a day, at times when there are only eight people in the room, and when there are 250. With the new system, we’re able to consistently bring up the volume as needed, as the room fills up, without ever being too loud for one single person or table.”

Lajeunesse says the new DLM system has upgraded the Comet’s sound without affecting the club’s personality. “We were really pleased with the DLM8,” he concludes. “The speakers provided us with all the coverage we needed, but they’re low profile enough that we were able to tuck them into corners and areas where they didn’t interfere with the look and the vibe we were after.”

 

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