A virtual press conference from Sound & Video Contractor

Press Releases For : October 7, 2014

ROSWELL HIGH SCHOOL FOOTBALL FIELD COMES ALIVE WITH DANLEY GENESIS HORNS AND SUBS

Roswell_HS_StadiumROSWELL, NEW MEXICO: For too many years, football fans and supporters of Roswell Independent Schools in Roswell, New Mexico suffered the poor performance of small paging horns that squawked announcements no one could understand and that emitted music no one could feel. It was a sad, uninspiring, and yet not uncommon situation. When money finally became available to make improvements, the school hired local firm J&G Electric to oversee the project. Relatively new to the Pro Audio market, Mike McClain of J&G Electric sought, without bias, the very best sounding system for his client at the most reasonable price. A thorough search turned up Danley Sound Labs, and Roswell Schools now benefit from a pair of Danley GH-60 Genesis Horns for vivid full-range output and a pair of beefy Danley DBH-218 subwoofers for low-frequency support.

“The school gave J&G Electric free reign to choose the best audio system they could, given the constraints of the budget,” explained Noel Darby of DarbyReps (Denver, CO), who represents Danley in the Rocky Mountain Region and who consulted on the design. “They had heard great things about Danley – that Danley’s designs are uniquely efficient, natural sounding, and easy to work with. I’ve been selling loudspeakers for a long time, and I believe Tom Danley’s designs really are amazing. He’s not chasing the same old woofer/tweeter or line array concept.”

Roswell_HS_Scoreboard_SpeakersGiven that the existing light poles are all behind the seating, it didn’t make sense to use a distributed system. Instead, Darby suggested an end-fired system that would split the field down the middle and provide equal coverage to the home and visitor seating. A Xilica XP-2040 2×4 processor handles modest input conditioning and system EQ, and feeds two Danley DSLA 3.3k and two Danley DSLA 6.5k amplifiers. Those amplifiers in turn power two Danley Genesis GH-60 horns and two Danley DBH-218 subwoofers mounted above and behind the scoreboard. The Genesis Horns use Danley’s patent-pending Paraline acoustical technology to gradually attenuate output at lower angles so as to deliver even SPLs to all the seats, near and far.

The install proved to be the largest hurdle to overcome. “With the original site being built in 1968, and seeing numinous additions and upgrades, we had our hands full,” said McClain. Trenching was tedious in order to avoid underground utilities and unknown paths, so we were forced to dig slowly and carefully. When it was all said and done we had over 700 feet of trench at four feet deep. In order to avoid the necessity of repeating the arduous process at a later date a second “spare” conduit was installed. Dealing with the harsh desert heat cooling the equipment was also an issue. To avoid building a structure to hold the equipment, we used a self-contained climate controlled rack to house the amps and processors. Using the assistance of a local fabricator the forty-foot tall structure holding the loudspeakers was built. “After all the sweat and heavy lifting the system worked as designed and as promised.”

Deward Timothy of Utah’s Poll Sound came in for the final tuning, which, by all accounts, didn’t take very long given the natural sound of the GH-60s and the fact that they are true point-source devices. “The school district is amazed at how much output they’re getting,” said McClain. “The coaches are ecstatic! This is a huge leap up for them, and the system will serve them well for a long, long time to come.”

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

ONE OF THE LARGEST HIGH SCHOOLS IN OHIO MOVES TO ASHLY

Beavercreek_HighSchool_ExteriorBEAVERCREEK, OHIO: Beavercreek High School in the Dayton suburb of Beavercreek, Ohio is the third largest high school in the Buckeye State and supports an exceptionally active athletics program. The school’s girl’s basketball team has been especially successful, averaging eighteen wins per season over the past thirty-six years of coach Ed Zink’s tenure. With over 650 wins, Zink is the winningest girls high school basketball coach in Ohio’s history. Until recently however, poor sound system intelligibility put a damper on home games and dulled the excitement of award ceremonies. That’s all changed for the better with a new gymnasium sound reinforcement system centered on cost-effective Ashly Audio ne4400 Protea™ digital processing and KLR3200 amplification matched to Community R-Series loudspeakers.

“They used to have a few of what I call ‘nightclub speakers’ chained to the ceiling,” said Mike Staffan, owner of local A/V integration firm Lighthouse Sound and Communications. “The athletic director took a lot of grief about intelligibility in general, but especially at award ceremonies. Parents couldn’t hear their kids’ names being called, which is sure to generate complaints.” Under Staffan’s direction, independent engineer Jack Buttermore designed a new system in EASE that would deliver appropriate coverage, and Staffan and his staff installed it over the summer.

Inputs to the new system include Shure wireless microphones and a Denon CD/iPod player, which feed a Shure SCM800 mixer. Its mono output meets an input on an Ashly ne4400 4-In x 4-Out Protea™ Matrix Processor, which handles all necessary equalization, automatic microphone mixing and feedback suppression. The ne4400′s four outputs feed three dual-channel Ashly KLR3200 amplifiers, rated at 1,600W into a 2-Ohm load or 800W per channel into a 70V line. Four of those amplifier channels power the four Community R.35 loudspeakers that cover both sides of main floor seating. The two additional channels power ten Community R.15 loudspeakers – five to a side – for coverage of the gymnasium’s balconies.

Beavercreek_Gymnasium“I’ve been using Ashly equipment for a while now because the products are solid and, perhaps more importantly, the customer support is excellent,” said Staffan. “For me, trust and a good relationship are the most important things. Ashly is always ready to help, which is critical when I’m in the field and need answers to move an installation forward.”

“The newly installed sound system in the Beavercreek High School gymnasium is awesome, to say the least,” said James Smerz, the school’s previously besieged athletic director. “We finally have sound that covers the entire gym area with clarity and heightened volume. For the first time in the school’s history, the sound in the main gym will reach everyone effectively, even in a packed house!”

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

OUR LADY OF LOURDES ACADEMY ENJOYS A NEW MULTIPURPOSE GYMNASIUM WITH ASHLY POWER AND PROCESSING

OurLadyofLourdes_GymMIAMI, FLORIDA: In addition to being the alma mater of pop icon Gloria Estefan, Our Lady of Lourdes Academy (OLLA) is a paragon of Catholic academic excellence and has been since it was founded in 1963. To continue to effectively fulfill its mission in the twenty-first century, however, the school embarked on a four-phase, $15 million improvement project, which included construction of a state-of-the-art gymnasium. Revelation Sound, Inc. (RSI), a state licensed A/V specialty electrical and integration firm that has niche markets to houses of worship and their associated academic institutions since 1984, was awarded the contract for the audio, video and intercom portion of the project.

The acoustic consulting and analysis for the project was done in partnership with Robert Bernecker of SEFI Consulting in Dallas, Texas. RSI has partnered with SEFI on numerous projects, with the collaboration resulting in excellent A/V designs.

“The gymnasium is brand new construction and is intended to accommodate a huge range of functions, including masses, classroom assemblies, presentations, alumnae events, performances, and, of course, gym class and sporting events,” said Michael Melcher, president of Revelation Sound. “The A/V system had to be as easy to operate as a toaster! Thus, the A/V portion of the project features reliable, cost-effective Ashly Audio KLR-series amplifiers and an 8 x 8 Ashly ne8800 networked audio processor.”

RSI cited the value of Ashly’s superlative technical support and customer service as a key aspect of OLLA’s new system: “What we bring to the table is dependent on how our manufacturers support us,” Melcher said. “We have to be more than just a number on a sales sheet. Working with Ashly gives us that support. When we call, we always speak to a knowledgeable technician immediately – someone we know and have a relationship with. We sell that support as part of our bid. It is critical. Because Ashly provides such excellent support, we’ll stick with Ashly. We’re very conservative and very loyal.”

Inputs to OLLA’s new systems include a well-chosen collection of wireless, standard wired and podium microphones, as well as a Tascam combination CD/iPod/MP3 player and four Mystery Electronics brass court floor boxes. A roll-around rack holds a small Allen & Heath mixer, which provides one level of user control. All of the inputs wend their way to the Ashly ne8800 8-In x 8-Out Protea DSP Processor, which provides gain-sharing auto-mixing for turnkey operation. The processor in turn feeds six Ashly KLR-3200 1600W two-channel amplifiers.

“The Ashly KLR Series packs an unbelievable amount of power and reliability into a two-rack space at a price-point that is fiercely competitive,” Melcher said. “The value to our customers is great, and the fact that the KLR-3200 can power low-impedance boxes or up to 800W into a 70-volt constant voltage system is a huge plus.”

The KLR-3200 amps power three clusters of three Renkus-Heinz CFX-151 loudspeakers each, plus two Renkus-Heinz CFX-18s subwoofers flown above center court.

Members of OLLA’s staff harness the new system’s flexibility using three Ashly neWR-5 Network Programmable Wall Remotes. As the school completes its iPad integration, that control will also be available via the Ashly Remote App for the Apple® iPad and iPad Mini. Like the future iPad control, the three neWR-5s provide preset configuration, input selection, and overall volume control. Because different uses require different configurations, the presets automatically turn different collections of loudspeakers and/or subwoofers on or off along with other subtleties, such as enhanced bass output for games.

To round out the project, Revelation Sound installed a large EIKI Hi-Def projector mounted on an SVS lift and paired it with a retractable Da-Lite screen.

The result: An excellent user-friendly, high-tech A/V system that meets the needs of one “constantly evolving” learning environment that aims at assisting the school to effectively fulfill its mission.

ABOUT ASHLY AUDIOAshly 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

Press Releases For : October 6, 2014

DVEO Wins 2014 Worship Facilities Award for Best Podcasting, Webcasting or Streaming Product for Bidirectional SD HD Encoder/Decoder/Streamer

MultiStreamer BD HD-SDI/IP™ Enables Churches to Stream Live Video from Remote Sites to the Web and/or to iPads or iPhones

San Diego, California — October 6, 2014 — DVEO, the broadcast division of Computer Modules, Inc. (CMI), announced today that their live video streaming server/decoder has won the 2014 Worship Facilities New Products Award for Best Podcasting, Webcasting or Streaming Product. The MultiStreamer BD HD-SDI/IP™ was chosen by Worship Facilities and Church Production Magazine editors, distinguished members of the WFX Advisory Board, and WFX management to join an exclusive group of organizations deemed the most noteworthy.

The MultiStreamer BD HD-SDI/IP is a real time bidirectional SD HD encoder/decoder/streamer for 2 way communications, with a one second end to end delay. It enables churches to stream live video from remote sites to the web and/or to iPads or iPhones, and also to stream the video to HD-SDI editing workstations. The system is also available with optional HDMI input and output.

“We are proud and honored that Worship Facilities Magazine selected the MultiStreamer BD HD-SDI/IP for Best Podcasting, Webcasting or Streaming Product,” stated Laszlo Zoltan, Vice President of DVEO. “This encoder and decoder in one has quickly become a favorite with our customers.”

The MultiStreamer BD HD-SDI/IP can encode and decode HD streams at different resolutions. It can create multiple simultaneous high, medium, and low bitrate IP streams and send them to iPads, iPhones, content delivery networks (CDNs), and remote video capture devices. Each stream can have several proxies with different “Wrappers” such as HLS, RTMP, etc.

The highly affordable system is ideal for live streaming to or from church services, youth camps, festivals, weddings, funerals, etc. It eliminates the need for satellite uplinks and downlinks, saving congregations a considerable amount of money and time.

Trinity Fellowship of Amarillo, Texas, a large and vibrant church with eight campuses in Texas and Oklahoma, uses the system to improve the quality of their services. “Each campus sends a live video feed of their worship service,” says Michael Wells, Executive Director of Operations. “The video is stored on DVEO’s optional Stream Bucket™ archive system. Later we evaluate the worship experience, and each campus receives feedback.” (The MultiStreamer BD HD-SDI/IP ships with one terabyte of local storage. The optional Stream Bucket provides greater storage capacity and archiving features, including file organizing and time stamping.)

The system is able to upconvert incoming SD streams to HD. This is quite useful for receiving a live SD video feed and displaying it on an HD screen. The system also scales down HD streams to SD.

Supplemental Information for Press Release

Features:

  • Supports both HD and SD H.264/MPEG-4 AVC encoding and decoding with “virtual” stream replication
  • Inputs and Outputs: Either one SDI/HD-SDI input, one GigE IP input, HDMI input, or Analog Input (optional RF)
  • Outputs: Multiple simultaneous IP streams through GigE port (RJ45), SDI or HD-SDI video loop through
  • IP Output protocols: HTTP Live (HLS), HTTP, UDP, RTP, multicast and unicast with transport stream envelope, HTTP Smooth, or RTMP (Open Flash)
  • Support for segmented streaming: Apple® HTTP Live and Windows® HTTP Smooth. These streams can be played by Apple® and Android devices as well as Silverlight and Flash Clients.
  • Able to upconvert incoming SD streams to HD, and scale down
  • Supports many CDNs
  • Supports 608 and 708 Closed Captioning
  • Supports M3u8 playlist files (standalone and through HTTP Live)
  • Supports H.264 High Profile @ Level 4.0 (HP@L4)
  • Supports 1080i, 1080p, 720p, 576i, 480i, 480p, CIF, QCIF, qHD, H.264up and many others, and custom resolutions
  • Audio Input: SDI Embedded, AC3 Embedded, or AES/EBU
  • Audio Output: AAC, Ogg Vorbis, MPEG-1 Layer II, optional MP3, and/or optional “SurCode for Dolby Digital” AC-3
  • Now ships with one terabyte of local storage
  • Remote GUI includes on/off scheduling
  • SNMP or REST or SOAP remote management
  • Low power consumption due to Ivy Bridge Intel® CPU

    Suggested Retail Prices:
    MultiStreamer BD HD-SDI/IP: $6,995 U.S.
    MultiStreamer BD HDMI/IP: $6,495 U.S.

    DVEO, MultiStreamer DIG/IP, MultiStreamer HDMI/IP, and Stream Bucket are trademarks of Computer Modules, Inc.
    All other trademarks and registered trademarks are the properties of their respective owners.

    About Worship Facilities Magazine
    Worship Facilities Magazine and WorshipFacilities.com are published by WFX LLC, the producer of WFX, the Worship Facilities Conference and Expo.

    Worship Facilities Magazine and WorshipFacilities.com is the authoritative source for churches seeking to maximize the ministry impact of the resources, people and technology. Worship Facilities industry-leading content is designed to be read and shared as a resource for executive pastors, pastors, facilities managers, business administrators, operations managers, building committee members and other senior leadership.

    About CMI and DVEO
    CMI, founded in 1982, is a privately held company headquartered in San Diego, California. DVEO, the Broadcast Division of Computer Modules, Inc., sells digital video and high definition television (HDTV) products to the top television broadcast companies throughout the world.

    For more information on CMI and DVEO, please contact Rebecca Gray at +1 (858) 613-1818 or rebecca@dveo.com. To download DVEO’s press releases and product images, visit the news section at www.dveo.com.

    DVEO, 11409 West Bernardo Court, San Diego, California, 92127
    Web: www.dveo.com phone: +1 (858) 613-1818, fax: +1 (858) 613-1815

wysiwyg Lighting Design Video Challenge 2014

video-challenge2

Make sure you register your vote at the People’s Choice Awards

The Challenge is not yet over.

Entries judged by the panel now flow to the second part of the wysiwyg Lighting Design Video Challenge 2014. So to register your vote for BEST Lighting Design, go to CAST Software’s Blog — http://tinyurl.com/o7bn2nw — and vote by noon Wednesday, 8 October 2014 (EST – Toronto, Canada).

www.cast-soft.com

dB Technologies Introduces DVA MINI Line Array

DVA Mini - DVA M2M+DVA M2S DVA Mini line array

Small. Lightweight. Powerful. Flyable. Clean aesthetic look. The new DVA MINI is an incredibly versatile system for both portable and permanent installation solutions.
The DVA MINI system is comprised of dual line array element modules, each with two 6.5” neodymium woofers and two 1” high-frequency compression drivers. The M2M module is the main module that contains the 400-watt Digipro G3 amplifier modules that power both the M2M and M2S slave module. Switch mode (SMPS) power supply assures use whether 110V or 230V power with an auto-range circuit for voltage fluctuations.
The system achieves 126 dB max SPL per unit.
dB Technologies’ engineering has developed a new fast-lock mechanic design, completely removing pins and mechanics, in favor or a quick-locking system. Simply place one module below the previous one and slide it towards one side until it locks in place. A single mechanic is on the rear of every single DVA MINI module allowing for incremental steps for line array positioning.
The DVA MINI can be either flown or ground stacked. As an option there is the DSA-M2 pole mount adapter that can handle the line array modules, helping the user to elevate the system to a reasonable height using a standard pole or speaker stand. When flown, up to four M2M + M2S modules and two MS12 subwoofer modules can be arrayed.
The cabinets are constructed of reinforced polypropolene with an internal anti-vibration structure.
Internal 56-bit DSP provides for the selection of eight different presets. Plus limiting, circuitry protection and monitoring. An integrated USB B-style port allows the user to access the complete telemetry of the array module, monitoring the status of the speaker including total playing hours, temperatures and performance reports; as well as allowing for any future software updates.
A companion MS12 12” subwoofer is also a component of the DVA MINI system.
The 12” bass reflex subwoofer can be either flown of ground stacked, with integrated quick-lock mechanism that matches the DVA M2M + M2S modules so no additional hardware is needed; and with integrated pole mount cup for ground stand options.
With a SMPS auto-range power supply, at 700W RMS the subwoofer can attain 131 dB max SPL.
Controls include selectable crossover frequency with link capability to M2M + M2S modules, phase selection and output modes selection; as well as USB B-style port for service data.
The MS12 subwoofer cabinet is constructed of multiplex birch plywood with a polyurea protective paint.
New DVA Composer prediction software is now available for download to assist with design and implementation of the DVA MINI, along with all DVA Series products. It is downloadable at: http://www.dbtechnologies.com/EN/Products/software_and_controller/dva_composer_5.aspx
M2M + M2S Specs:
Frequency response: 78 Hz – 19 kHz (+/- 6dB)
Power: 400W RMS
Max SPL: 126 dB per unit
Pattern: 90 x 15
Size: 18.1”x7.5”x13.6” for each module
Weight: 16 lbs.
MS12 Specs:
Frequency response: 45-140 Hz (+/- 6dB)
Power: 700W RMS (1400W peak)
Max SPL: 131 dB
Size: 18.1”x16.9”x15.2”
Weight: 58 lbs.

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PLATINUM PRODUCER PAUL EPWORTH COMPLETES STAGE ONE OF THE CHURCH STUDIO RENOVATION IN LONDON – A WSDG FIRST

1. The Church Studios Control Room Studio 2 Front - Photo  Dirk Noy LR

2. The Church Studios Control Room 2 side

3. Studio 2 - Booth - Photo  Dirk Noy LR

4 The Church Studios 3 Writing Room

5. The Church Studios 2 Live Room

6. Studio 2 -(l-t-r) Dirk Noy - Paul Epworth - John Storyk - Pete Hofmann - Beth Walters - Photo Credit Vicky taylor LR

140925 The Church Studios – Presentation drawing

140925 The Church Studios – Studio 2

140925 The Church Studios – Studio 3LONDON: In the culmination of a nearly yearlong reconstruction project, multi-Platinum/Academy Award-winning producer Paul Epworth (Paul McCartney, Adele, Coldplay, U2, Lorde), has announced the completion of stage one of a massive renovation of The Church Recording Studio. Reconfiguring the legendary Studio 2 Live and Control Rooms, and creating a unique totally new Writing Room, engaged the design skills of the Walters-Storyk Design Group, and the studio installation/operational expertise of Miloco Builds.

The massive stone church (circa 1855) originally converted to a studio in 1984 by producer/artist Dave Stewart, hosted hit sessions for artists ranging from Bob Dylan to Depeche Mode and Annie Lennox. Recording star David Gray purchased the studio in 2004 and continued its hit-making legacy. Committed to building a world-class studio in London, Epworth bought The Church from Gray in 2013. Earlier that year Epworth had worked at Anne Mincieli’s Jungle City destination studio in NY. Impressed by Jungle’s unique architectural sensibility, and its WSDG/Augspurger Dual 15 Vertical Speaker System, he reached out to architect/acoustician, John Storyk and WSDG.

“After building hundreds of idiosyncratic studios around the globe over the past 45 years, The Church marks our first footprint in London,” Storyk remarked. “Paul Epworth’s technical expertise and design instincts are as inspired as his hit record productions. Paul was particularly intrigued by our innovative monitor configuration at Jungle, and we customized an extremely effective system for him. Paul also worked closely with my business (and life) partner Beth Walters on an LED mood lighting system with a vastly programmable color palate. Installed in the totally white Studio 2 Control Room and Studio 3 Writing Room, the system provides infinite mood enhancing color options; it’s a huge aesthetic boon to creativity. We were especially pleased that Paul retained Miloco Services to supervise construction and operations,” Storyk concludes. “They’ve been on our radar for years, and working with them has been an extraordinary experience.”

The totally new (961 sq. ft./90 sq. m.) Studio 2 is an ultra modern showcase featuring a completely recapped classic SSL 4000G console, ‘insanely powerful’ custom WSDG/ Augspurger Monitors and, an astonishing array of outboard gear. The ‘Space Age’ (267 sq. ft./26 sq. m.) Writing Room designed from the ground up by WSDG, is distinguished by an Equinox summing mixer a 20 channel Neve Sidecar and complete access to The Church vintage gear collection.

Following the design and construction stage, WSDG partners Dirk Noy and (Grammy-winner) Renato Cipriano flew to London from Basil, Switzerland and Belo Horizonte, Brazil respectively, to perform final measurements, confirm acoustic accuracy and fine-tne the new rooms. Still on the drawing board for future renovation, Church Studio 1 is an epic (800 sq. ft./78 sq. m.) tracking room with a triple height ceiling and a vast arsenal of technology punctuated by a vintage 72 channel EMI Neve console (credited with recording such hits as Pink Floyd’s Wish You Were Here at Abby Road).

Commenting on The Church renovation, Paul Epworth remarked, “I was very impressed with the feel and the monitoring of Jungle City, and wanted to be the first to build a WSDG/Augspurger room in London to meet the needs of both British and international artists, producers and engineers. Bringing WSDG in to design two of their world-renowned rooms was the first step, and the collaboration with Miloco has been an incredibly successful team effort,” Epworth concludes. “The Church provides nearly 8000 sq. ft./743sm of recording space over three very different rooms, including rare and vintage recording gear married to the most modern digital and analogue equipment to give users the freedom to indulge their creative impulses instantly.”

###

For booking enquiries on The Church Studios email bookings@miloco.co.uk or call +44 (0) 207 232 0008

Photo caps

1. The Church Studios 2 Control Room front (photo by Dirk Noy)
2. The Church Studios 2 Control Room side (Photo by Lucy Williams)
3. The Church Studios 2 Booth (Photo by Dirk Noy)
4. The Church Studios 3 Writing Room (photo by Lucy Williams)
5. The Church Studios Live Room (photo by Lucy Williams)
6. The Church Studios 2 Live Room l-t-r WSDG Partner, Dirk Noy, studio owner/multi-Platinum producer Paul Epworth, WSDG co-principal, John Storyk, WSDG co-principal, John Storyk, Miloco Builds, Technical Director, Pete Hofmann, WSDG co-principal, Beth Walters (photo by Vicky Taylor)

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, Sergio Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as: Frank O. Ghery (Novartis Campus,) Rafael Vignoly (Jazz at Lincoln Center,) Norman Foster (El Aleph,) Oscar Niemeyer (CAMG,) Phillipe Stark (Faena Hotel,) Grimshaw (Zurich Airport,) and Santiago Calatrava (Berklee Valencia.) WSDG is a seven
time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for NY’s Jungle City. WSDG maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City Mumbai and St. Petersburg.

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The Black Keys Turn Blue with Sennheiser

Old Lyme, CT, October 6, 2014: Overnight success was slow in arriving for Ohio garage rock duo, The Black Keys (TBK). The band was active for over a decade in small clubs on the Midwest indie circuit before the big time finally caught up with them in 2010 with the release of their sixth album, Brothers, and its quirky hit single “Tighten Up”. “We accidentally took off,” remarked TBK’s drummer, Patrick Carney. “We weren’t expecting that.” Nevertheless, they’ve had to get used to it as record sales and popularity have climbed steadily ever since, to the point where their eighth album, Turn Blue, released in May 2014, debuted at number one in the U.S., Canada and Australia, the band’s first record to top the album charts anywhere. The band is currently in the midst of their Turn Blue worldwide tour complete with a full range of Sennheiser microphones specified by their long-time FoH engineer, Jason M. Tarulli, and fully endorsed by monitor engineer Rob Elliot.

The Black Keys - Patrick Carney-photo credit Chris IsaacTarulli has been with the band since their early days, starting out in small Ohio clubs and living out of the back of a van. He clearly did a good job as Carney and the other half of the duo, guitarist and vocalist Dan Auerbach, have remained loyal to him throughout. Tarulli experienced the meteoric rise to fame right alongside the band, learning as they learned how to transition from small and medium-sized clubs to sold-out 10,000-seater arenas. Naturally, that has had a certain impact on the kind of gear available to the band: “It’s great to be able to choose what we want after so many years of having to make do with anything and everything!” said Tarulli. “As far as Sennheiser is concerned, this is the first tour where we’ve had Sennheiser gear throughout, and so far it’s been great.”

The Black Keys’ production manager Anthony Pitcher is a long time Sennheiser friend and was instrumental in cementing the relationship with Jason Tarulli and Rob Elliot. “I’ve used the Sennheiser line exclusively for years,” said Pitcher. “It wasn’t a tough sell with my audio team – they’re brilliant engineers who already had a thorough knowledge of the product line. It was just up to me to bring it to the table for this band.”

The Black Keys - Dan Auerbach-photo credit Chris Isaac“Overall, I’m really into the classic sound and feel of Sennheiser mics like the MD 441, 421 and the e 906,” said Tarulli. “I went for a combo of e 906 and MD 421 for Auerbach’s main guitar rig, with the 906 placed near the centre of the cone to get all the mid/hi-mid details plus the crunch and fuzz that comes from the Marshall amp and Fender guitar, and the 421 placed midway or nearer to the outer edge of the cone to get the low-mid warmth. Blended together, that makes for a nice, full, big-sounding guitar. I’ve got a 906 on the rhythm guitar because it’s a great mic for guitars, (actually, I think the 906 is an all-round great mic, period. You could use it for almost anything loud and it would sound fantastic) and a 421, the classic bass guitar mic, on bass. You can’t really go wrong with this choice, the 421 has excellent low/low-mid response.”

For the drums, Tarulli explained that as Neumann microphones had been used for making the records, the idea was to carry some of them over for the live drum sound in conjunction with Sennheiser equipment. He opted for an e 901 and e 902 for the kick drum, stating them to be respectively, “a good, solid inside kick mic to get the sound of the attack and the drum shell tone and the outside mic to get more of the drum head sound.” He went for an MD 441 on the snare (“a solid mic with good rejection”) and a Neumann KM 184 on the hi-hat which he described as “a small condenser mic that gets the sizzle of the hi-hats without sounding thin.” He also went for KM 184s as overhead mics. “The KM 184 is an excellent small-diaphragm condenser with good detail – the cymbals are full sounding, not thin or washy and it also complements the microphones on the rest of the kit for a more natural feel,” he explained.

TBK Dan Auerbach-photo credit Chris IsaacFor the rest of the kit, Tarulli decided on an MD 441 for the cow bell: “Overkill? Maybe!” he laughed, “but it really makes the cowbell feel full and even. Also, I can push the fader up when things get quiet to add a little extra ambience to the snare.” His final choice regarding the drum kit was an e 904 for the tom-toms, which is perhaps the choice he is the most pleased with. “The biggest problem I had for a while was with the tom mics,” he recalled. “I love mics like the 421 for toms, but mics that size can be difficult to focus and the stands can be clumsy and take up too much real estate on the drum riser. Most drummers can’t help but hit them…. sometimes fatally! The 904 solved all my problems – it’s compact, clips easily onto the drum, won’t come loose or fall off, even after the occasional wild hit from a drumstick, and sounds great.”

Engineers-photo credit Chris IsaacLast but not least, Tarulli decided on e 945s for both the tambourine and main vocals. “The 945 is a good all-round mic with excellent rejection and proximity effects,” he remarked. “The tambourine comes through really well, even in the midst of a loud stage, and it does the same job for the vocals, resulting in nice clear vocals and a crisp-sounding tambourine.”

Rob Elliot, an experienced UK monitor engineer (The Cure, Gomez) has been working with The Black Keys since July 2013. He cheerfully admits that Tarulli was responsible for specifying all the mics. “Jason has been with them forever, so it’s perfectly natural that he should specify the gear. That said, I think he made an excellent choice, so I’m more than happy.”

The final word went to Sennheiser Canada’s Chris Isaac who handles artist relations and has been looking after the band: “It’s great to have The Black Keys on board,” he said. “They are a fantastic rock duo with great stage presence who never fail to bring the house down with their live performances wherever they go. They also happen to be really cool guys, along with their team, who are a pleasure to work with.”

The Black Keys are currently working their way round the US before breaking for Christmas and a month off. In February they will embark on a second European leg and finish in Australasia.

The Sennheiser Group, with its head office in Wedemark (Hanover Region) is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2013 the family company, which was founded in 1945, realised a turnover of around 590 million euros. Sennheiser has more than 2,500 employees worldwide and operates its own factories in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Lichtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. The company Georg Neumann GmbH, Berlin (studio microphones and monitor speakers) and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres) are also part of the Sennheiser Group. You can find further up-to-date information about Sennheiser online at www.sennheiser.com.

Photo captions:
1: Patrick Carney of The Black Keys relies on Sennheiser and Neumann microphones for his drumkit

2: TBK’s guitarist and vocalist Dan Auerbach with his e 945

3: TBK’s FoH engineer Jason M. Tarulli (l.) and monitor engineer Rob Elliot

(Photo credit for all images: Chris Isaac)

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Meyer Sound D-Mitri Drives Anne Frank Stage Production in Theater Amsterdam

anneAward-winning sound designer Jeroen ten Brinke has chosen the Meyer Sound D-Mitri® digital audio platform as the backbone of his design in ANNE, a dramatic presentation of the Anne Frank story in the 1,100-capacity Theater Amsterdam. With a CueConsole™ control surface, D-Mitri drives the play’s audio mixing, matrixing, and loudspeaker processing.

“Choosing D-Mitri as the foundation of the system was a no-brainer,” says Jeroen ten Brinke, who is a design parter at Audio Design International. “The audio quality is second-to-none, which is critical to bring out all the subtleties of the dialogue. It also works beautifully with both the orchestration and the sound effects, which range from whisper-quiet to wartime bombing scenes.”

Compared to most theatrical plays, the sound design in ANNE is extraordinarily intricate. Actors interact simultaneously across acoustically isolated “rooms” using wireless microphones. The room interior sets rotate on and off stage using sophisticated mechanics. As two of the acoustically isolated rooms are often on stage and active at once, hidden monitoring systems are needed for actors to hear each other on each set. In addition, dozens of loudspeakers are embedded in the sets to localize actors’ voices, as much of the dialogue is spoken in soft voices or whispers. Consequently, 24 microphone inputs are programmed in D-Mitri for balance, mixed with the original orchestral score and effects, and routed to the constantly changing outputs. Everything is then reproduced in 8.1 surround sound.

“D-Mitri coupled with CueStation™ is clearly the result of many years of experience in complex theatrical automation,” says ten Brinke. “It gives me endless flexibility during the design process. There’s never a ‘no can do’ response, no matter how demanding the request.”

The D-Mitri platform for ANNE comprises two digital I/O frames and three analog output frames, plus one DCP core processor, one general purpose I/O frame, and one analog input frame. D-Mitri is controlled via CueStation software and a CueConsole, and uses 48 input channels and 72 discrete outputs.

The audio production team also includes Chris Blaauw, assistant programmer, and Igor Milosavijevic, resident sound mixer. The system was supplied by Amsterdam-based Focus/Rent-All, with Meyer Sound distributor Audio Electronics Mattijsen facilitating the sale.

A three-time winner of the John Kraaijkamp Musical Award for Best Achievement in Design, ten Brinke also used D-Mitri in the Soldier of Orange production (Soldaat van Oranje), where a circular audience platform revolves inside a surrounding ring of expansive stage sets.

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Fox Sound Service Invests in Italy’s First Meyer Sound LYON System

fox soundFox Sound Service has purchased the first Meyer Sound LYON™ linear sound reinforcement system in Italy. Adding to Fox Sound’s large Meyer Sound inventory of more than 170 loudspeakers, the LYON system has supported a range of classical, rock, and dance events across the country.

“I was extremely impressed with the technical advantages of linear sound reinforcement offered by Meyer Sound’s LEO™ linear large-scale sound reinforcementsystem, but we had been waiting for a more compact version better suited to the Italian market,” explains Carlo Volpe, technical director and co-owner of Fox Sound. “LYON is exactly what we need. It has the performance and versatility ideal for any production, from open-air classical music presentations to jazz festivals and rock concerts. My partners and I are proud to be the first in Italy to supply this new technology.”

Fox Sound’s purchase comprises 20 LYON linear line array loudspeakers, eight 1100-LFC low-frequency control elements, a Galileo® Callisto™ loudspeaker management system, and RMServers for the Compass® RMS™ remote monitoring system.

Since delivery, LYON has been chosen to reinforce the orchestra and chorus of Accademia Nazionale di Santa Cecilia for an outdoor concert in Rome’s historic Piazza del Campidoglio, designed by Michelangelo. The system has also supported events such as Festival Mozart and Traffic Festival in Torino, Verde Vento (Green Wind) Festival in Cassino, and the Perdonanza Celestiniana (Celestine Pardon) celebration in L’Aquila.

“After 25 years of providing Meyer Sound technology to the Italian market, it was time to take a major step ahead with LYON,” says Walter Alfonsetti, co-owner of Fox Sound. “LYON complements our existing range of Meyer Sound products, and will play an important role in the future of our company.”

The LYON system sale was handled by Meyer Sound’s Italian distributor, Linear Sound, a division of Eko Music Group.

Located in Poggio Picenze, Fox Sound Service supplies a wide range of event production technology rentals throughout the Italian peninsula. Events served by the company include classical open-air concerts, civic celebrations, corporate presentations, and summer music festivals, including 25 years with the prestigious Pescara International Jazz Festival.

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Related Topics: Line Array, Loudspeakers

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