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Christie Technology Takes Visitors on Spectacular Coast to Coast Visual Journey

Christie® technology is taking people on an unforgettable journey across Canada – without flight delays, congested airports or jetlag. A spectacular new flight simulation ride called Fly Over® Canada launches guests into a thrilling immersive experience including the jagged peaks of the Canadian Rockies, cosmopolitan cities, the rugged East Coast and more via the Christie D4K35603-chip DLP® projector and images produced by Sherpas Cinema.

Christie Projectors are used in Fly Over Canada

Installed at Canada Place in downtown Vancouver, British Columbia, Fly Over Canada also features Uplift, a preshow presentation produced by the award winning Montreal-based Moment Factory using eight Christie DWU675-E 1-chip DLP® projectors.

Christie: The Brightest and the Best Choice
“As we built up the company we started talking to Christie about various aspects of this project. Moment Factory then specified Christie for the preshow projectors so that got us hooked up with the (Christie) DWU670-E projectors,” said Eric Sambell, director, construction &technology, Soaring Attractions.

“After considerable research by the technical and creative team at Soaring Attractions, the owner/operator of Fly Over Canada concluded that Christie was also the clear 4K projector choice for the main ride.

“We chose the Christie D4K3560 projector solution because we needed the brightness and intensity to light a 19-meter diameter surface area. Obviously we needed the brightest projector and as much resolution as we could get,” continued Sambell. “That meant a 4K solution but because it’s a motion ride we needed 60 hertz to avoid motion blur – which led us to the D4K3560.”

The Christie D4K3560 projector is part of the Christie TruLife™ electronics platform offering customers superior image and video quality for the most comfortable and realistic viewing experience.

Christie Steps up and does it Right
“The projector sits out on a perch, which made it a bit of challenge but the installation went smoothly and Christie made sure everything was perfect; they came through with everything right when we needed it. Everyone, from the Christie field application engineers to Geoff Chick (central and western regional sales manager, Canada), really stepped up and made things right.”

The show opened last summer and, according to Sambell, ran at capacity on weekends and well-exceeded expectations in the months that followed. He said people have returned up to ten times and the reaction from people of all ages has been overwhelmingly positive.

Christie DWU675-E1-chip DLP® projectors provide trusted performance, reliability and exceptional image quality. Ideal for small auditoriums, boardrooms, classrooms and houses of worship, the Christie DWU675-E delivers image blending and warping, stacking capabilities and precision color matching for use in either fixed or rental staging applications.

Vista Systems’ Spyder Forms the Core of Extensive Technical Component at New Preston Trail Community Church in Texas

There’s a Spyder inside Preston Trail Community Church’s new facility in Frisco, Texas, and it’s definitely meant to be there. The Vista Systems Spyder 344, which will migrate from the church’s existing space, is at the heart of a high-end roster of equipment in the media-savvy house of worship.

“We are very media driven,” says Preston Trail’s tech director Jerod Chambers. “We’re relocating the Spyder from our current church and upgrading everything else around it.”

Chambers notes that the non-denominational church, which celebrated its first public service in September 2002, has grown from 200 members to over 5,000. The current facility opened in December 2006 and offers three Sunday services. The new facility site was dedicated May 18, and the congregation will move in this summer.

“We’re doubling the size of the venue,” Chambers says. “The Spyder has served us well as our church has grown. Now, we’ll be able to use it in our new facility with all updated equipment.” That equipment will include a complement of studio cameras, RenewedVision’s ProPresenter church worship software, Blackmagic playback devices, alpha keyers and a routing system, which will distribute signals around the campus and also tie feeds to live streaming.

The Spyder will work in conjunction with a par of 18K projectors and a 30K projector. “To facilitate our creativity we need all our projection surfaces to act as one,” Chambers explains. “The Spyder will be operated by volunteers, and while it’s very cutting edge it’s also incredibly capable and volunteer-friendly.”

He praises the “world-class support” Preston Trail receives from Vista Systems. “When you call, you get a real person,” he reports. “At the end of the day, the most important thing a vendor can supply is a good relationship, and Vista Systems really delivers on that.”

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net

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LATEST ALBUM FROM JAMES HOUSE RECORDED WITH API’s THE BOX

NASHVILLE, TENNESSEE – MAY 2014: With a resurgence of his country music hits from the 1990s, singer/songwriter/producer James House is keeping busy with a new album which was just released, and a sold-out sixteen-show tour throughout the UK. While recording tracks for Broken Glass/Twisted Steel, James wanted to achieve the classic “API sound” from the comfort of his home studio in Nashville – Dream On Studios. To attain the specific sound he had in mind, James rented API’s THE BOX from Blackbird Rentals for the summing of the album’s final mixes.

The project began at Ben’s Studio in Nashville, where each of the tracks was recorded on two-inch tape through a classic API 3232 console. The tape was then sent to James’ home studio, where he recorded the vocals, guitar overdubs, and mixing. While he was at Ben’s Studio, James heard tracks that were cut for an early demonstration of THE BOX. “It sounded like classic, warm API,” recalls James. “I’m a big fan of API in the first place, which is one of the reasons why we cut at Ben’s Studio.”

Noting the design and layout of THE BOX, James appreciates how the small-format console is portable, yet creates a classic API sound. “Without it, I would have had to rent a studio with an API console to sum the record. With THE BOX, I was able to rent it for two or three days and take my time summing and getting all the versions of the mixes. The size and design fills a gap between tracking in a commercial studio and in a smaller home studio.”

James recalls that the sixteen summing channels were a key factor that drew him to the console, as well as the overall quality and clarity it helped him achieve. “I just A/B’d the record with one of my earlier records, and it has a punch and presence that I love.” The first single off the album, titled “Every Time It Rains,” has already earned airtime on top country stations, and the song’s presence is growing with the release of its music video.

“I knew THE BOX was a smart idea,” said James. “The mixes gelled exactly like we hoped they would.”

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

3Stage Design Implements Systems from HRS Control for Fortune 100 Executive Briefing Center

When an executive briefing center at a Fortune 100 company needed to replace its ageing control system, 3Stage Design selected HRS Control’s (Embedded Control Server) ECS-Raptor as a very viable alternative to the outdated traditional control equipment.

3Stage Design offers design, fabrication and installation services for corporate executive briefing centers and exhibits from its offices in Atlanta and Washington, D.C. Recently tasked with replacing a client’s large center control system, they turned to HRS for their solution.

“We started by putting the project to bid as we always do in order to get a gut check,” says Emile Wolsky, Vice President at 3Stage Design. “We turned to all the big names as well as HRS for this RFP.

“Most of the control systems under consideration were hardware-based which required us to update lots of equipment and reconfigure our current rack systems,” he notes. “HRS’s UDC and Raptor platform offered a more favorable solution because its primary design and command structure are based off of Internet Protocol (IP) commands. This allowed for HRS to design a system that was more software driven than hardware driven, providing us with a more stable system and a more affordable price.”

3Stage Design dismantled the client’s old control system and installed the Raptor, whose controls are activated by wall-mounted button panels and by Apple iPads. “The client has a video hallway, theater and many interactive exhibits that all need some form of control. The HRS system is also on a scheduler allowing for automatic startups and shuts downs. In addition, we can easily control various exhibits as well as audio, lighting and video throughout the entire center through the touch of an iPad,” Wolsky explains.

He hails the Raptor’s energy-saving properties and the ability for the programmer to have remote access to the system. “We don’t need to send a tech on-site to make changes,” he says.

Installed earlier this year, the Raptor has been “working great,” Wolsky reports. “Our client is very happy with it, especially with its flexibility and the ease of making changes. They love how the Raptor functions overall and how they can easily control exhibits that weren’t controllable before since it’s now affordable to put more exhibits online.”

Wolsky calls HRS Control “the way of the future. More and more equipment these days is coming IP-ready. Simple networking and protocols turn a heavy equipment-based approach from years past into a flick of the switch.”

He adds that support from HRS Control has been “great – they have been very responsive to us.”

About HRS Control

High Resolution Systems known as HRS Control is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.

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Mid-America Sound Holds Yamaha QL Demo

BUENA PARK, Calif.—Mid-America Sound Corp. (Greenfield, IN) will host a demo on the new Yamaha QL Series Digital Audio Console, Tuesday June 3 between 12 noon and 4:00 pm at their 6643 West 400 North location, Greenfield, IN. Yamaha Commercial Audio Systems District Manager, Mike Eiseman, will be on hand to present and answer questions.

The new Yamaha QL Series inherits CL console features such as all-in-one mixing, processing, and routing capability for small to medium scale live tour sound, house of worship installations, corporate A/V, and speech applications.

RSVP is encouraged. E-mail Jason Wells Jason@midamericasound.com or call
(317) 947-9980 for more details.

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Martin Audio MLA To Grace Pyramid Stage At Glastonbury

Glastonbury is regarded as the mother of all festivals with arguably the most iconic of stages. The Pyramid Stage showcases the world’s greatest talent and therefore needs to sound loud, proud and faultless, but it also needs to meet the strict criteria set in stone by the license.

Attempting to quantify exactly what makes Glastonbury so special is always difficult, but this year there is one further special ingredient being added to the mix: Martin Audio’s ground-breaking MLA, courtesy of RG Jones Sound Engineering, will grace the Pyramid Stage for the first time.

The fact that Martin Audio is teaming once again with RG Jones builds on a Glastonbury relationship that started back in 2008. Glastonbury has become the largest green space open-air festival in the world, attracting more than 150,000 attendees who expect pristine sound, and where artists can make, break or further their careers.

So when RG Jones first specified Martin Audio speakers for the iconic Pyramid stage back in 2008, their combined reputation was put to the ultimate test. But successive years of using the Longbow system proved more than a match, with the powerful full-frequency sound stirring the crowds, the proprietary software system Display™ helping to maintain off-site noise limits, and the combined expertise of the companies delivering consistently standout moments.

Key to the longevity and pedigree of Glastonbury, however, is that founders and organizers, the Eavis family, have always demanded the festival remain true to its roots and absolutely up-to-date at the same time. It is therefore fitting that Martin Audio’s MLA will debut this year, bringing forth its reputation for sound quality alongside its scientifically proven ability to direct sound evenly and consistently across the audience and to control leakage beyond the audience perimeter.

RG Jones was the first UK Company to invest in the system in 2012 and has witnessed the systems growing reputation first hand. As Managing Director John Carroll said, “We were not content to follow the crowd when it came to choosing our flagship system. MLA is the next generation and there’s nothing out there to match it. The timing seemed right this year and our continued support from Martin Audio is second to none”. With Simon Honywill, Senior Project Consultant for RG Jones, having such extensive experience of the system also helped convince the Glastonbury production team that MLA had earned its rightful place on the Pyramid stage.

Summing up, Jason Baird, R&D Director for Martin Audio, said, “It was my career highlight back in 2008 working on our very first Glastonbury, but I think with MLA this year, it may well be topped. It’s a great endorsement of our system not just for its coverage and control, but because it has a reputation for being such a neutral, uncolored canvas for engineers to mix upon. With such an eclectic line up once again this year, MLA will more than do justice to everything from Dolly Parton to Kasabian, which is good news for the artists, visiting engineers and of course the audience.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Terminal One at Spain’s Valencia Airport Sounds the All Clear with ICONYX

Valencia, Spain – May 2014… Designing and installing a sound reinforcement system for an airport terminal can be one of the most challenging assignments an installed sound company can take on. Typically large, high ceiling structures with lots of glass and reflective fixtures, these buildings are designed primarily for efficient distribution of passengers as opposed to sound waves. Particularly at peak travel times, the high levels of ambient noise can easily mask vital announcements such as departure times and gate information.

With this in mind, airport officials in Valencia, Spain approached Madrid-based installed sound company Ruybesa, an engineering and projects company specializing in turnkey solutions for installed sound environments, regarding designing and installing a new sound reinforcement system in Terminal 1 of the Valencia airport.

The Valencia airport is one of Spain’s busiest, with over 500,000 travellers passing through the terminal in 2013. Terminal 1 is the airport’s main terminal, handling the bulk of passenger traffic in and out of Valencia. The terminal spans three floors, with 60 desks and four aerobridges to access its 14 boarding gates.

“The project involved covering the sound of a large space that normally has a high background noise during peak times,” explained Diego Velázquez, sales and marketing manager for LDA Audio Tech, PA/VA manufacturer and Renkus-Heinz partner in Spain. “To address the noise problems, the Renkus-Heinz ICONYX IC7 loudspeakers were chosen.”

The Renkus Heinz ICONYX IC7 mechanically steerable line array systems employ the same triple-tweeter technology and fully natural sound reproduction as their digitally steered brethren. The IC7’s fixed acoustical beam is ideal for side fill, front fill, and short throw applications – such as airport terminals – that don’t demand programmable control. Internal passive electronics control the frequency and phase response of each driver, working together to create a uniform 30-degree beam.

“There are three IC7 ICONYX Systems installed in Terminal 1 at about 10m high and with a separation between them of 25m,” said Velázquez. “The IC7s are aimed face down to the lobby, pointing directly to the area with the highest influx of people.”

The results have pleased Valencia airport officials. “The ICONYX systems provide even sound pressure levels and the high intelligibility that is vital for delivering important information to the public, “ said Velázquez. “Flight announcements are clear, and passengers have the assurance that they can understand the message despite the background noise.”

ICONYX loudspeakers are a popular choice for sound contractors who install loudspeaker systems in airport terminals – particularly where there is a need to focus sound reproduction in specific areas to help overcome ambient noise.

Velázquez concludes, “The ICONYX systems not only deliver crystal clear audio, they also cover the large areas with fewer source points, simplifying the installation and maintenance of the entire PA system.”

###

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.

DPA Miniature Microphones Chosen For The Bodyguard

The hit stage musical of The Bodyguard, currently playing at the Adelphi Theatre in London, is relying on DPA’s d:screet™ 4060 Omnidirectional Miniature Microphones to provide amplification for all members of the cast who have spoken lines.

Written by Alexander Dinelaris and based on the 1992 film starring Whitney Houston and Kevin Costner, the stage version of The Bodyguard features Beverley Knight in the role of Rachel Marron, with former X Factor winner Alexandra Burke taking over from June 2nd 2014.

DPA microphones have long been popular with the sound teams working on theatre productions, particularly those in the West End and on Broadway. The rugged nature of the company’s miniature microphones, combined with their ability to deliver great quality audio even when hidden in wigs and costumes, have made them enduring favourites.

Ania Klimowicz, Deputy Head of Sound for The Bodyguard, says DPA’s d:screet 4060s were chosen because sound designer Richard Brooker and director Thea Sharrock didn’t want any microphones to be visible to the audience. The microphones were supplied by Autograph.

“We use paint, tape and make-up on the mics to make them look as invisible in the actors’ hair or wig as possible,” Klimowicz explains. “We mainly use ‘mic clips’ and occasionally elastic to fix the mics to the performer’s head. Male actors with shaved heads are probably our biggest challenge – in those cases we abandon the usual centre top of forehead fitting and fit the mic over the ear.”

There are 32 actors involved in this current production of The Bodyguard, with 22 performing in each show. There is also a 10-piece band, a three person sound crew and a backstage cast of 45. When it comes to sound, the show is operated by one person who live mixes the band and vocals, as well as firing the sound effects.

“Three members of the cast are ‘double mic-ed’ meaning they wear a main and backup DPA d:screet 4060 head microphone,” Klimowicz says. “Some of the girls wear a headset, a head-mic and use a handheld microphone at various points during the show. Generally the sound for the spoken parts of the show is reinforced but remains naturalistic. This contrasts with numbers such as Queen of the Night or So Emotional, which are set during concerts and therefore need to feel big and more rock ‘n’ roll.”

Klimowicz adds that most of the show jumps in dynamics, except for a couple of numbers such as Run to You which is mixed more like a musical theatre number.

“We use the head-mics here as the song moves as part of the story and a hand-held would somewhat break with the audiences’ suspension of disbelief,” she explains.

Although sweat and make-up can be an issue for some stage productions, Klimowicz says they are not really a problem on The Bodyguard. None the less, the entire sound system including all the microphones are carefully checked before each performance to make sure everything works.

“The DPA d:screet 4060 microphones sound great and are also very reliable. We rarely have an issue with them,” she says. “Given the amount of wear and tear they face on a daily basis, they are incredibly rugged. They are also very small, which makes them much easier to hide in hair and wigs.”

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Prism Sound Assists With Gavin Harrison’s Drum Masterclass

Internationally acclaimed drummer Gavin Harrison who has worked with a wide range of artists including Iggy Pop, Sam Brown and King Crimson, recently held a drum workshop at Ananda Studios in Cambridge, during which he revealed the secrets of creating a great drum take.

Hailed as a unique and inspiring event by those who attended, the workshop focused on the demands of being a session player and how to deliver a great performance, even when under pressure.

After starting the session with some basic coordination exercises, Harrison, explained the drum part in a specific song and described the techniques he would employ to deliver and capture the sound. Afterward, those taking part were given the opportunity to play the drum part on his kit and have it recorded in Logic by Ananda Studio’s engineer Neil Cowlan so that they could review their performance with Harrison.

“The opportunity to play along with Gavin and then have him critique my performance was great,” said drummer Russ Tarly, one of the 24 people who attended. “This is the first time I’ve come across such a hands-on event and it worked really well. I knew I wanted to do it because it was so specialized. I’d love to see more events like this because I’m sure there are plenty of other drummers who would enjoy going through this experience.”

To ensure the highest possible audio quality throughout the recording chain, Ananda’s Neil Cowlan deployed two recently acquired Prism Sound Atlas audio interfaces, which were used to track 9 microphones from the drum kit into Logic.

As the latest addition to Prism Sound’s professional USB interface family, Atlas is aimed squarely at multitrack recording applications. Atlas benefits from Prism Sound’s 27 year history in digital audio processing and interface design and incorporates the company’s latest award-winning CleverClox dual hybrid clocking technology as well as eight of the company’s acclaimed microphone preamplifiers as standard. The Prism sound mic preamps are based on the very successful Orpheus preamps, but are upgraded with 20dB pads now available for all inputs. Atlas offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz. In addition to the USB host interface, Atlas also features Prism Sound’s new MDIO interface expansion slot, which was first incorporated into Titan and announced at AES New York in October 2013. Using this miniature expansion slot users can, for example, directly connect to Pro Tools|HDX systems and can also run with Apple and Windows native applications over USB. Other expansion cards are slated for future expansion of computer interface options.

For Gavin Harrison’s workshop, Prism Sound also loaned Ananda Studios a Lyra audio interface for additional monitoring. The microphones used for this project included a Shure SM91 and AKG D12VR for the kick drum; a Shure SM57 (top) and a Beta 57 (bottom) on the snare, an AKG C451 on rack toms and a Shure SM57 on floor toms.

Cowlan says: “The Prism Sound Atlas interfaces performed flawlessly, both during the Gavin Harrison workshop and at a private seven hour session that took place the day before. They are truly amazing AD converters and mic-pre’s that sound fantastic. It is no surprise that Prism Sound units are found in some of the finest recording studios in the world and the fact that we can now offer them, too, gives people another great reason for coming to record here.”

Located in the Cambridgeshire village of Littlington, Ananda Studios is a purpose built facility housed in the old Neve factory. Originally designed by Andy Munro, the studio was once used for R&D purposes and to demonstrate Neve consoles. Today, it is popular with a variety of artists who appreciate the combination of tranquil surroundings, great room acoustics and an extensive equipment list.

“The live room is a fully acoustically designed space that sounds wonderful for anything you can imagine recording. Drums, string quartets, guitars, vocals, percussion – it all sounds great,” Neil Cowlan says. “We also have a large range of microphones, pre-amps, EQ’s and other equipment to cater for almost any project, along with a huge collection of guitar and bass amplifiers including Marshall, Fender, PRS, Orange and Matamp.”

Following on from the success of the drum workshop, Cowlan plans to host similar events at the studio and will be announcing these very soon.

Prism Sound’s sales director Graham Boswell, who attended the workshop with Bernhard Nocker from the company’s sales and marketing team, adds: “We were delighted to be able to support this event by loaning the studio equipment and look forward to working with Neil again in the future.”

-ends-

About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Sound Works Pro Tapped for Philfest, Chooses NEXO and Yamaha

BUENA PARK, Calif.—Philfest is an annual collaboration between A&O Productions and Students for Ecological and Environmental Development (SEED) at Northwestern University in Evanston, Illinois. The event features bluegrass and folk music as part of an effort to promote environmental awareness and also raises money for the Rocky Mountain Institute, a non-profit aimed at the sustainable use of resources. The day is held in honor of Phil Semmer, a former SEED member, who passed away while studying abroad.

Held this year in early May at Northwestern on the Norris Center’s East Lawn, Sound Works Productions, Inc. of Frankfort, Ill. was once again tapped to provide audio production. This year, the sound company provided five NEXO GEO S12’s flown, two RS18’s Ray Subs per side ground stacked with two NEXO PS10s speakers used for front fills, all driven with their NEXO NX4x4 amp rack. A Yamaha M7CL was used at front of house with an LS9 at monitors. The Deadly Gentleman from Boston headlined, followed by Sunnyside Up, and Todd Kessler.

“The GEOS12 system sounds amazing, is easy to setup and fly from a mobile SL100 stage, and gets the coverage we need for the Norris Center East Lawn,” states Sam Boren, Vice President of Business Development, Sound Works Productions, Inc.

For more information on Sound Works Productions, Inc. visit www.soundworkspro.com.

For more information on Yamaha and NEXO products, 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.

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