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Archive of the Product Applications Category

LEGENDARY L.A. STUDIO THE VILLAGE ADDS ATC SCM25A ACTIVE 3-WAY MONITORS TO ITS ARSENAL

LOS ANGELES, CALIFORNIA: As The Village approaches its fiftieth year of making compelling soundtracks and hit records, its technology and the artists who make it their creative home continue to evolve. Early sessions with the Rolling Stones, Steely Dan, Pink Floyd and Bob Dylan still echo as contemporary hit-makers, such as Lady Gaga, Coldplay, Taylor Swift, and John Mayer, track, mix, and master tomorrow’s classics and inspired The Village to add a pair of ATC SCM25A Compact
3-Way Monitors to its arsenal.

“ATC monitors were a common request from our clients,” said Tina Morris, studio manager at The Village. “ATC has a ruthlessly transparent sound that doesn’t color the work at all. Other loudspeaker manufacturers tend to emphasize different components of the frequency range, whereas ATC is flat and clean. ATCs reveal the good as well as the bad so that our clients can be confident moving forward that the work they’ve done will translate in the later stages of production.”

The ATC SCM25A embodies ATC’s legendary low-distortion performance in a remarkably small footprint: 10” x 17” x 16”. Its precision crossovers and tri-amplified topology (150W, 60W, & 25W) are designed to work in perfect concert with the acoustics of the drivers and housing. The ATC SCM25As are small enough that engineers at The Village are able to transport them from studio to studio to meet the needs of various projects, though Morris reports that they’ve been spending most of their time in studios A and D.

“People are happy to hear that we have the ATCs available,” said Morris. “Next up will be producer Ed Cherney!” Cherney is best known for his Grammy Award-winning work with Bonnie Raitt, The Rolling Stones, and Eric Clapton, among many, many others.

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

(PHOTO CREDIT: © 2014 Zane Roessell)

DANLEY LOUDSPEAKERS INFILTRATE THE SPORTS MARKET

GAINESVILLE, GEORGIA: With a design team led by celebrated acoustician Tom Danley, Danley Sound Labs has developed an extensive catalog of loudspeakers and subwoofers that cleverly sidestep the constraints and trade-offs of conventional designs. Its original patented Synergy Horn and Tapped Horn technologies led to a range of products that deliver point-source sound with stunning fidelity at any volume, near-perfect phase coherence, seamless arrayability, and “cliff edge” pattern control. In its latest generation of products, including the Jericho Horn and the Genesis Horn, those technologies have been combined with Tom Danley’s newest patent-pending technologies, Shaded Amplitude Lens Technology and Paraline, to deliver those same advantages in the high SPL environments typical of sports stadiums.

While still point sources – and retaining all of the advantages of point sources – the new designs allow controlled SPL by distance to provide even coverage to raked seating, pulling the rug out from under the line array’s claim to fame. Recognizing these advantages, and because Danley solutions are still more affordable than most conventional designs, sports venues are increasingly turning to Danley Sound Labs. A Danley system gives their fans an awesome game day experience and even more reason to get off the couch for the next home game. After all, even the best home entertainment systems cannot compare to a Danley system and the thrill of the game day experience!

Perhaps the most visible arenas to turn to Danley are 80,750-seat Lambeau Field, home to the Green Bay Packers, and 74,000-seat Ralph Wilson Stadium, home to the Buffalo Bills. Fans of both NFL teams now enjoy impactful music and crystal clear announcements with distributed Danley Genesis Horns, supplemented by a range of Synergy Horn loudspeakers and Tapped Horn subwoofers. South of the border, Juárez Vive in Ciudad Juárez, Mexico seats 12,000 baseball fans and employs a distributed ring of Danley SM80 loudspeakers and TH118 subwoofers.

Danley’s rising visibility is well represented by college football stadiums around the country. The immensely powerful Jericho Horn has been used in several end-fired systems, including Montana State University and Troy University, which cover 30,000 and 17,000 seats with just a single Jericho Horn. Two Jericho Horns suffice for Grand Valley State University (8,500 seats), Florida Atlantic University (30,000 seats), and Northwestern University (47,000 seats). Brigham Young University and University of Arizona each use four Jericho Horns to cover 64,000 and 56,000 seats, and Michigan State University uses six Jericho Horns to cover 80,000 seats.

The thunderous roar from the crowds at 92,500-seat Tiger Stadium at Louisiana State University has earned it the title of loudest stadium in the world, and it now has a sound system to match: eighteen Jericho Horns paired with six Danley “Rock Monster” subwoofers provide abundant SPL with Danley’s characteristic fidelity. Amazingly, Tiger Stadium measures +/-5dB 28Hz-10kHz over the entire stadium with an enough power to do 105dBA at 800+ feet. Furthermore the directivity of the TH812 subwoofer arrays are such that the seats under the scoreboard are only +6dB compared to 800 feet! The most recent additions to Danley’s roster include Boise State University (end-fired, four Jericho Horns plus two BC415 subwoofers, for 36,000 seats), Washington State University (end-fired, five Jericho Horns plus four Rock Monster subwoofers, for 33,500 seats), and Mercer University (end-fired, two Genesis Horns plus two DBH218 subwoofers, for 6,000 seats). The colossal stadiums at University of Illinois and University of Wisconsin both added beefy low end with four giant Rock Monster subwoofers.

Indoor stadiums at all levels are also benefitting from Danley designs. The NHL’s Nationwide Arena in Columbus, Ohio is home to an all-Danley system consisting of SH96HO and TH118 products and has the reputation of the being the best sounding venue in the National Hockey League. Washington State University’s basketball stadium uses twelve Genesis Horns to cover 11,500 seats. Wichita State University’s 10,500-seat Koch Arena covers fans and the court with eight clusters that circle the top ring of a new center-hung video board, each comprised of an SH96, SH64, and an SM80. Four TH118 subwoofers provide low end. Other Danley installations include Olivet Nazarene University, which uses Genesis Horns, SH100s, and TH118 subwoofers, and Family Arena, which supported its full-range system in a 10,000-seat venue with a single BC412 subwoofer! Danley’s weatherproof OS80 loudspeakers have found ready venues both indoors (J.D. McArthur Arena for ice hockey) and outdoors (Texas A&M Corpus Christi and Florida State University).

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

(PHOTO CAPTIONS) (top) Michigan State University’ Spartan Stadium; (middle) University of Arizona – Wells Fargo Arena; (bottom) The NHL’s Nationwide Arena in Columbus, Ohio.

3G Productions Supports Marc Anthony In The Round At Barclays Center

Marc Anthony recently capped off a series of successful engagements at Atlantic City’s Boardwalk Hall, the Mohegan Sun Arena and Prudential Center with a triumphant Valentine’s Day weekend performance in the round at Barclays Center in Brooklyn.

After successfully providing audio for the first three venues, 3G Productions was faced with the task of ensuring even coverage for Anthony and his 15-piece orchestra performing in the round from a revolving stage in the cavernous arena.

Asked about the challenges, 3G Crew Chief Will Taylor explained, “the biggest was taking the tour from a typical end stage configuration with 70 boxes to over 128 enclosures in the round. We used d&b J-Series during the tour and for Barclays, we flew four hangs of 14 for the longer throws at the ends of the arena and four hangs of 18 for the sides to get the vertical coverage we needed because the building is so tall, over 110 feet to the top seats. We also had 16 d&b J-sub and 8 J-Infra subwoofers that we combined with the barricades because the concert was sold out and we didn’t have the real estate to put them where we normally would.”

“The show sounded great,” Taylor continues, “but we had so many amps for the 360 degree coverage, we needed about 150 ft. of cable bridge to get from one end of the arena to the other with upwards of 400 ft. cable runs per cluster. But even with all of the musicians, background singers, boxes, cable, inputs and additional techs, the client was very happy with the coverage and how the show turned out.”

In this case, the client was Production Supervisor Roly Garbalosa who oversaw the tour for Marc Anthony and CMN (Cardenas Marketing Network). Roly was also fully aware of the challenge: “This was Marc’s first U.S. performance in the round with an orchestra that included 3 trombones, 2 trumpets, 3 percussionists, 3 background vocalists, keyboard, bass, guitar and piano rotating 360 degrees back and forth all night. Besides the eight J-Series hangs, we had 8 sidefill points hung with 3 d&b Q10s each because Marc relies heavily on those, especially for this situation.”

“I’ve known 3G Productions for a long time and typically they do a great show and are very professional. The key to this concert was the advance planning which we needed because we were hanging over 100 points on the same day. We came in at 5am, marked the floors, started working a six and were still polishing details at doors.

“As it turned out, the show sounded amazing and everyone really enjoyed it, including Marc. He brought us in after the show––which is rare––and gave us all high fives. He loved the sound and had a lot of fun.”

The overall system for this massive undertaking also included “racks and racks” of d&b D12 and D80 amps for house and monitors; d&b M2, M4 and Q1 speakers and B2 subwoofers for monitors; a DiGiCo SD7 for Front of House and SD10 for Monitors; Shure PSM 900 and Sennheiser G2 in-ear monitors; Shure, Sennheiser and Audix wired mics, and Shure Axient and Sennheiser 5200 wireless mics.

In addition to Marc Anthony’s Front of House/Band Engineer Jose Rivera and Monitor Engineer Eric “Pyle” Ramey; the 3G Productions crew included System Engineer/Crew Chief Will Taylor, Assistant Engineer Jon Daly, Monitor systems tech Joe “Big Joe” Ramos, and stage technicians Kevin Fuller, Robert “Boy” Valdez, and Jimmy Ibanez.

Summing up the show, Jose Rivera added: “It sounded a lot better than I expected. I’ve worked the room different times––never in the round––and it’s challenging from a coverage standpoint because it’s very high and steep. We wanted to make sure everyone who pays for a ticket enjoys the show. We went in with a very large rig and 3G made sure their pre-design work was done and we had the right amount of boxes to cover the room correctly.

“I had the opportunity to walk the room and the coverage sounded really good. Before we selected a vendor, we narrowed it down to two speaker systems and we’re happy we chose d&b.

Marc was ecstatic,” Rivera concludes. “There aren’t too many shows where he has the opportunity to listen to the band during soundcheck from the audience. For this show, he came in early to familiarize himself with the stage because he hadn’t done one in 360. And when I turned on the PA he was blown away and really impressed with the sound. He was comfortable and happy knowing the people were going to enjoy the show because the reinforcement represented what he and the band were going to do on stage.”

For more about 3G Productions, please call 702.948.0459 or click to www.3glp.com

Photo Credit: Carlos Escobar

About 3G Productions, Inc.
Founded in 2004, 3G Productions, Inc. is a multifaceted audio company focused on providing the highest quality of service in live production, sound equipment rental, sales, and installed sound. Located in Las Vegas and Los Angeles, the company operates through two divisions: Live and Pro Audio.

VIRGINIA ARTS RECORDING INSTALLS AN API 1608

CHARLOTTESVILLE, VIRGINIA – MARCH 2014: As part of a complete architectural and electronic renovation, Virginia Arts Recording recently replaced its large-format digital console with a sixteen-channel API 1608 analog console with API’s P-Mix fader automation. The north-central Virginia-based studio has been serving local musicians, labels, and radio stations for over thirty years. The current owners, Chris Doermann and Sean Dart, are embracing that history and the industry’s pivot to analog with the new API console and a 24-track, two-inch tape machine. Virginia Arts Recording also retains all the professional digital platforms with top-end converters to allow projects to effectively hybridize between the two technologies.

Virginia Arts Recording resides in a historic house in southeast Charlottesville, just miles from the University of Virginia campus. A little over a year ago, the coupling that merged the city water supply and the house’s water heater on the second floor failed just as everyone was closing up shop for a holiday weekend. “When we returned, the control room, and much of the equipment was totally wrecked,” recalled Dart. “The digital console was one of the casualties, but we decided to make the most of it. We wanted to put the studio on solid footing for the next twenty-five years.”

Analog consoles, tape machines, ADATs, and a steady progression of DAWs all had a place in Virginia Arts Recording’s history. Doermann and Dart decided to build a hybrid analog/digital studio with a workflow that made negotiating the two technologies transparent. “We definitely wanted an analog console, and we pride ourselves on capturing big drum sounds,” said Dart. “That’s API’s signature talent, so naturally we chose the 1608.”

Doermann and Dart took an API factory tour as a part of their research. “Interacting with API is a different experience,” said Dart. “Mark Seman of API invited us to the factory, and we packed a few mixes that we know well. API let us see everything, and gave us a few hours behind the 1608. It sounded amazing, and the feel of real faders has been a welcome relief from menus and double clicks. I just get in there with my hands, and thank API for giving us the recording feel we were missing.”

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

www.apiaudio.com

VETERAN MIX ENGINEER TONY MASERATI RELIES ON METRIC HALO PLUG-INS

SAFETY HARBOR, FLORIDA – MARCH 2014: If mix engineers had the same cultural currency as sports heroes, Tony Maserati would be a household name the world over. The veteran mix engineer has worked with all of the music industry’s biggest and brightest stars, from Lady Gaga to Notorious B.I.G., from Mariah Carey to Puff Daddy, and from Christina Aguilera to R. Kelly. Recently he completed three weeks of mixing for Beyoncé’s self-titled “surprise” release. Maserati is the sound of major label pop, and the in-demand engineer maintains an outrageous schedule that would make your eyes bleary just to hear it. Obviously, Maserati will not suffer anything less than the very best in pro audio equipment for his sessions, both in terms of sound quality and performance, which is why he relies on Metric Halo ChannelStrip, HaloVerb, and Multiband Dynamics plug-ins. Maserati likes their stellar sound quality, easy and quick interfaces, and rock solid performance.

“The sound quality of Metric Halo’s classic plug-in, ChannelStrip, is what first caught my attention and made me aware of the company,” Maserati said. “I often see ChannelStrip on the sessions I get handed; in fact, several of Beyoncé’s tracks came in with it. ChannelStrip is still my go-to plug-in for routine and extreme equalization and dynamics. There’s something psychologically appealing about having six EQ bands at the ready, and the presets get me where I need to be quickly.”

The quality of a plug-in’s interface is very important to Maserati because he has to move fast. “I don’t have the time or patience to sit around and figure things out,” he said. “Metric Halo’s GUIs are intuitive to understand, and the automation is simple and easy to work with. HaloVerb is a good example of a plug-in that sounds great and is easy to dig into with great results.” While paying careful attention to the density of his reverb plug-ins and outboard gear, including the delicacy of the tail, Maserati’s busy schedule also demands a very functional interface. He has used HaloVerb on guitars, vocals, and percussion to great effect. One of his new tricks is to run a dry signal through HaloVerb and then send HaloVerb’s output into a distortion box. “The stress of that sound is really interesting to me,” he said. “Sometimes I’ll automate the send so that I get that stress only on certain notes. It’s great.”

Maserati also has to pay careful attention to the load he puts on his Pro Tools system. “Pop sessions get really gigantic,” he said. “They come in with a lot of plug-ins, I add a lot of plug-ins, and I’m also using 32 hardware inserts and two print tracks; one that’s maximized and one that’s not. It’s not just a storage system, and it’s not just an automation system. I’m taxing it, and a lot of math is happening!” These days, he’s using an HD native card, and the fact that all of Metric Halo’s plug-ins are AAX works well. “My plug-ins have to be totally solid,” he said. “The code has to be well-written; if something’s broken, I just won’t go near it. Metric Halo has a long history of solid performance that uses surprisingly little DSP resources. A testament to Metric Halo’s stability is the fact that I’m now using Metric Halo’s Multiband Dynamics plug-in on my mix bus. That’s unusual for me, and I wouldn’t do that if I wasn’t completely confident.”

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

New Zealand’s Māori Television Upgrades Its Broadcast Facility with HARMAN’s Studer Vista 5 M3 and OnAir Consoles

NEWMARKET, New Zealand – Māori Television provides a range of local and international programming for New Zealand’s audiences across the country and online. Founded in 2004, the station is dedicated to the revitalization and normalization of the Māori language and culture through high-quality, readily accessible programming in both Māori and English. Reflecting its commitment to quality, Māori Television recently upgraded its studios with the addition of HARMAN’s Studer Vista 5 M3 and OnAir 2500 digital consoles.

HARMAN Professional New Zealand distributor Jands Ltd. installed the 32-fader Vista 5 M3 and 12-fader OnAir 2500 consoles in Māori Television studios. The studio needed to replace its aging analogue mixing desks and make the move to digital. They wanted consoles that were flexible and easy to use. “Our studios are used for a variety of shows, including live news and current affairs programs, talk shows, sports programming and more,” said Kane Dickie, sound team leader. “One of the most challenging requirements is doing the sound for a live music show that requires mixing multiple hosts talking at once plus a live band.”

Māori Television wanted to avoid having to patch the consoles into external effects devices, and chose the Studer consoles because they had enough built-in effects to handle all the processing for all the shows that are produced at Māori Television. Ease of use was equally important – “we wanted consoles that were intuitive to use, so that most of the people in our studio would be able to operate them.” In addition, the consoles had to be able to link together so they could share sources between Māori Televisions two broadcast studios. The Vista 5 M3 offers access of up to 240 channels, ensuring the station would have all the inputs it needs. Along with the Vista 5 M3 and On Air 2500, Māori Television purchased three Studer Compact Stagebox expansion units, a 32-in/16-out and two 16-in/16-out models.

Before Māori TV purchased them, Jands set up the complete system on their premises to allow Kane and his team to try them out. The Māori TV staff took to the consoles immediately, giving high marks to the consoles’ easy, fast and responsive operation, accessible control layouts, convenient Vistonics™ and Touch’n’Action color touch screens, and variety of useful built-in effects. “

Now that the Vista 5 M3 and On Air 2500 are up and running at Māori Television, Kane confirms their initial positive experience with the consoles at Jands. “The transition from analogue to digital consoles went smoothly. In addition to doing everything we need them to and then some, we’ve noticed that the Studer consoles’ preamps have made all of our mics sound much cleaner. In addition, all of the old analogue buzz we could never get rid of in the past has disappeared.”

In Māori it’s called “Kia Tika” – being professional and maintaining high standards. It’s one of Māori Television’s core values, and the Studer Vista 5 M3 and On Air 2500 reflect the station’s commitment to “Kia Tika.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

HARMAN’s Martin Professional Deployed at 2014 Paralympic Games For Creative Lighting & Midair Effects

ST. PETERSBURG, Russia — To celebrate the historic 2014 Paralympic Games, rental company Euroshow provided HARMAN’s Martin lighting systems for a special program featuring an ice show at Russia’s Yubileny Sport Palace in St. Petersburg. The program was held before the final stage of the Torch Relay. Lighting designer, Alexey Yevstifeyev, who deployed Martin fixtures based on their functionality and brightness, proposed the lighting concept of the show to feature creative lighting and midair effects, consisting of 20 MAC Viper Profiles, 12 Atomic 3000 DMX, 20 RUSH MH3 Beams, 48 MAC 101s and 20 MAC 2000 Wash XB’s.

The ice show took place at the Yubileny Sport Palace’s hockey rink with the main challenge being the limited time for installation. Taking this factor into consideration, Yevstifeyev used a combined truss mounting and floor mounting system.
By placing the MAC 101 fixtures on the floor around the rink, he was able to create a beautiful display with compact and extremely fast LED wash lights, emphasizing the artist’s movements through the reflection effects.

According to Yevstifeyev, ice shows are unique in that the ice surface, together with light projections, becomes an individual element of performance design. Yevstifeyev chose to deploy the MAC Viper to get the maximum out of the space he was given.

“I’ve been acquainted with Martin’s MAC Viper for a very long time already,” Yevstifeyev explained. “They have a brilliant reputation for functionality and light intensity. They have already become a workhorse in the industry. That’s why lighting designers constantly choose them for their projects. Besides, MAC Viper has a very good collection of creative and beautiful gobos. Using them, one can create really interesting pictures. They were really useful for me on this project!”

Additionally, the RUSH MH 3 Beam added a great dynamic to the show and put the accents into the figure skaters’ performance with different styles and themes.

“Although the MH3 Beam belongs to the entry-level line, it is very effective,” said Yevstifeyev. “It proves to be very strong when compared to alternative fixtures when you need to create bright beam effects in midair, so it is no surprise we at Euroshow use these fixtures quite regularly.”

Equipment supplier: Euroshow
Lighting Designer: Alexey Yevstifeyev
Lighting Operator: Dmitriy Shmel’kov

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

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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From Outdated to Outstanding: Clair Brothers Updates Audio System at NYCB Theatre At Westbury with HARMAN’s JBL Professional Loudspeakers and Crown Amplifiers

WESTBURY, New York – The NYCB Theatre at Westbury is one of Long Island’s best-known music venues, growing from its less-than-glamorous origins in 1956 as an unheated outdoor tent to the premier Live Nation-owned concert hall it is today. Formerly the Westbury Music Fair, the current 3,000-seat venue was built in 1966 and has since undergone multiple renovations—the most recent being an upgrade to its audio system with HARMAN’s JBL Professional VERTEC® line arrays powered by Crown I-Tech HD amplifiers.

“The former audio system was 30 years old, was underpowered and had significant issues in many areas,” noted Dustin Goen, system designer and project manager for systems integrator Clair Brothers. The venue is a theater in the round with 360-degree seating surrounding a circular stage that rotated during most performances. The main loudspeakers, lighting and video screens were mounted on a truss ring hanging above the stage, with fill loudspeakers placed around the front of the stage and at other locations in the hall. The main loudspeakers were pointed downward but because of the design of the truss ring, they could not deliver adequate coverage to all the seats.

“To supplement the main loudspeakers, a kind of patchwork arrangement of fill loudspeakers was installed throughout the venue in an attempt to get adequate coverage,” Goen noted. “As a result, no matter where someone sat they heard a mixture of up to four different loudspeakers, all with different timings and sonic characters.” Patrons in the first row might have scored the best seats to see the show but they heard the worst audio mix—almost no sound from the PA and too much from the stage monitors and amplifiers. The low-frequency reinforcement was inadequate—only four subwoofers mounted on the overhead truss. There were a number of nodes in the room where the bass was almost inaudible.”

“On top of all that,” Goen commented, “the old system didn’t actually cover the front of house mixing position. The engineer had to walk out of the sound booth and down the aisle to hear the mix! You basically had to use your imagination to figure out how things sounded.”

It was no stretch of the imagination for Live Nation’s Dan Schartoff to know something had to be done. As vice president of production for House of Blues/Clubs and Theatres, Schartoff spearheaded the audio system renovation effort and determined that not only would an all-new sound system have to be installed, the overhead cage of trusses would have to go. Goen and crew had to complete the job in two weeks start to finish, from tearing down and installing the new truss to mounting the loudspeakers, lighting and six 80-inch video monitors.

Goen worked with Schartoff and Chris Barbee of lighting contractor Bandit Lites to design and build a new truss ring over the stage with six hangs of six JBL VERTEC VT4887A compact line array loudspeakers, powered by Crown I-Tech 4x3500HD multichannel amplifiers.

Because the theater is in the round, Goen realized distributed cardioid clusters of subwoofers weren’t going to work. “You’d get a response plot that looked like a raspberry instead of an apple,” he said. In response, Clair Brothers opted for a central cluster of six JBL STX828S subwoofers in a triangular stack, driven by three Crown I-Tech 12000HD amps.

Clair Brothers was able to use the existing front and stage fill loudspeakers, which are linked to the main system via a BSS Audio BLU-160 signal processor with digital audio bus. The VT4887A clusters can be used either as three alternating stereo pairs or in mono depending on the preferences of the FOH mixer and artist. An added benefit is that the new truss ring is smaller and doesn’t block the sightlines across the venue, making the hall seem bigger than it was before.

“We wanted every listener to hear one clear and coherent sound source no matter where they were sitting, and that’s what the VT4887A line arrays deliver,” Goen stated. “Thanks to their smooth, controlled dispersion pattern, the coverage is seamless from the first row to the back in 95 percent of the room.”

Goen considers VERTEC and Crown I-Tech HD amplifiers to be a perfect combination since the amps’ DSP incorporates VERTEC V5 preset tunings. “The V5 presets really bring the VERTECs to life and make them sound like a whole new loudspeaker.”

JBL HiQnet Performance Manager™ software is in place to calibrate and control the system. “Performance Manager helped us get everything up and running fast,” Goen said. “We had to be ready in time for a show by Lee Brice so there was no slack. We didn’t get a chance to test the wiring until two days before the show.” The system didn’t require a lot of tweaking—Goen noted that the VERTECs sounded great out of the box and that tuning was more a matter of gain shading than applying EQ. “We had two days to ring out the system, tune it and train the house engineers, and we did it.”

“Horizontal coverage is seamless all around the ring, the low end is solid and even around the room and yes, it sounds great at front of house,” Goen concluded. “In fact, front of house engineer Charlie Trantum has been working at Westbury for more than 20 years and he was very impressed when he first heard the new system.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

HARMAN’s Lexicon PCM Native Reverb Plug-In Bundle Is Part of the Curriculum at Audio School Online

SALT LAKE CITY, Utah – GRAMMY® award-winning engineer, producer, songwriter and musician Ken Lewis founded Audio School Online (www.audioschoolonline.com) to answer a need. “It used to be that you got out of engineering school, got a studio internship and worked your way up – but now, big studios are closing and there’s limited opportunity to learn your craft in a professional environment.” In response, Lewis started Audio School Online to teach aspiring producers and engineers how to mix music and produce records. Students learn from Lewis through a series of free and affordable online lessons that teach how to use the tools of the trade – including Lewis’ go-to Lexicon PCM Native Reverb Plug-In Bundle.

Ken Lewis knows his craft. His credits include 71 platinum and gold albums and singles, 12 GRAMMY winners and 56 number one records – so far! He notes that “teaching is in my blood – my mom was one and I used to teach bass and guitar.” Before founding Audio School Online, Lewis discovered there was a lack of information online for what he thought budding producers and engineers needed to know. “My inspiration for putting this all together was to give the next wave of audio pros and artists the real-world skills and techniques to make professional recordings.”

The hardware and software Lewis uses in his lessons are the products he uses in his own studio work on a daily basis. “There isn’t a single mix where I don’t use Lexicon for the reverb,” he says. The PCM Native Reverb Plug-In Bundle is the best reverb plug-in he’s heard. “It’s the first time a plug-in has sounded 100 percent as good as the outboard stuff.”

In a course on choosing lead vocal effects, the Lexicon PCM Native Reverb Plug-In Bundle is a key element. “I use every one of the seven reverb plug-ins, all the time – Vintage Plate, Plate, Hall, Room, Random Hall, Concert Hall and Chamber.” Lewis shows students exactly why he uses the particular reverbs he does, for male and female and lead and background vocals. “I go step by step into how I manipulate all the parameters and why, and most importantly, the thought process as a mixer or a producer that goes behind what I’m teaching. Ultimately, the mood of the song dictates why I do something. With Lexicon, I can choose and fine-tune the perfect reverb to fit the mood.”

Another online lesson is called “Plugin Transformers” which emphasizes that ultimately there are no traditional ways to create new sounds. ”I used the Lexicon PCM Native Reverb Plug-In Bundle to show people there are really cool sounds they can achieve they might never have thought of, that they can incorporate into their own palette. Lewis finds the plug-ins to be highly flexible in their editing capabilities, easy to shape sonically and have “tons of presets and choices for starting points.” Most importantly: “They also just sound really good.”

“My style of teaching is very hands-on,” Lewis notes. “The lessons feel like we’re sitting together one on one, not like you’re sitting at a lecture with someone talking at you. When I do a lesson if mistakes happen, fine. I teach the same techniques I use everyday on records you hear, and in a way that’s very easy to understand and duplicate on your own.”

“In audio there is no right and wrong, just what you think sounds good. You need to envision what you want and how to go about getting it. Lexicon helps me teach people to open their mind to the possibilities.”

The feedback we’ve received for Audio School Online has been tremendous so far,” Lewis concluded. “We’ve gotten deep support from pros and amateurs alike. It makes me want to do more.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

Yamaha CL5 Howls at Mohegan Sun’s Wolf Den

BUENA PARK, Calif.—Mohegan Sun Casino in Uncasville, Connecticut opened in 1996 by the Mohegan Tribe of Connecticut, and is one of the world’s most amazing destinations with some of New England’s finest dining, hotel accommodations, retail shopping, live entertainment and sporting events. Located in the center of the action, in Casino of the Earth, the popular 350-seat Wolf Den offers a state-of-the-art sound system for nightly performances. The Wolf Den seats 350 and entrance is on a first come, first served basis. Recently, two Yamaha CL5 Digital Audio Consoles were installed to enhance the sound system, one at front of house and the other at the monitor position including Rio 3224-D and 1608-D input/output boxes.

Mat Diamond, lead audio technician for entertainment at the resort said the decision to add two Yamaha CL consoles to the entertainment arsenal was a departmental decision. “As the head of the department, I had the final say, but I don’t get to use the equipment as much as the rest of the department which is why it is important to make the decision as much a group decision as possible. We already own two Yamaha M7CL-48 digital consoles, two Yamaha LS9-16s and an LS9-32 so between that and the price point, the CL5s seemed like the next logical step.”

Diamond said the custom knobs and fader banks, storing system scenes that can be recalled, EQs, and built-in Premium Rack that can be used together or independently are all valuable features. “I love the idea of the Premium Rack and hope that more effects will be added down the road. I personally like to use the Portico 5033 as my EQ for masters. I really like using the dynamic EQs for vocals. I love how the Yamaha CL allows me to control certain frequencies without eliminating them entirely.”

With regard to the CL learning curve, Diamond said his staff picked it up fairly quickly but since they own several Yamaha consoles, they just needed to learn their way around the CL. “Most of the visiting engineers just need a quick walk through if they haven’t used a CL in the past.”

Since the Yamaha CL consoles have been installed, artists that have performed in the Wolf Den include Macy Gray, Starship featuring Mickey Thomas, Foghat, G. Love & Special Sauce, Walk Off the Earth, Chuck Negron, Gin Blossoms, Uncle Kracker, Los Lonely Boys, and Eddie Money.

For more information on the Wolf Den at Mohegan Sun, visit www.mohegansun.com/poi/venues/wolf-den.html

For more information on Yamaha CL Digital Audio Consoles, visit www.yamahaca.com.

-END-

Photo ID: Standing Mat Diamond, Lead Audio Technician
Seated: Curt Wade, Front of House Engineer – Wolf Den

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.

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