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Press Releases For : January 21, 2015

Meyer Sound Constellation Transforms Oregon’s Newport PAC: “It’s Like Having a Brand New Space”

newportThe Newport Performing Arts Center (PAC) in Oregon has recently installed a Meyer Sound Constellation® acoustic system in its 398-seat Alice Silverman Theatre. With the upgrade, the venue joins the likes of Moscow’s Svetlanov Hall, The Appel Room at Jazz at Lincoln Center, and more than 50 other prestigious venues that rely on the variable acoustics of Constellation to deliver an extraordinary live experience.

“The result of Constellation is subtly but fundamentally transformative for both audience and performer,” says David Ogden Stiers, resident conductor for the Newport Symphony Orchestra (NSO), who has more than 20 years of experience at the PAC. “We have gone from an okay performance space to an actual, audible concert hall. Frankly, I was skeptical about the system at first—but am now totally won over.”

The proposal of the Constellation solution initially came from acoustical consultant Russ Altermatt, who heard an impressive demonstration at University of California San Diego’s Conrad Prebys Music Center during an Acoustical Society of America conference.

“The flexibility of Constellation and the natural acoustical environment it created in the space were astonishing,” says Altermatt. “Constellation is able to simulate much larger rooms—I could not believe how natural the three and four second RT’s sounded. Newport would have to spend tens of millions to achieve that symphony sound with architectural acoustic solutions, but then the other performance groups would suffer.”

At the core of Newport’s Constellation system is a D-Mitri® digital audio platform that hosts all system I/O, signal processing, and control logic. The room’s acoustic is picked up by 18 miniature condenser microphones and processed by patented VRAS™ algorithms to deliver early reflections and reverberation to the room. This tailored acoustical enhancement is delivered using 40 Stella-4 installation loudspeakers, 26 MM-4XP self-powered loudspeakers, two CQ-1 loudspeakers, 10 HMS-10 surround loudspeakers, with low end from four MM-10XP subwoofers and two 500-HP subwoofers.

When needed, a Meyer Sound reinforcement system uses the CQ-1 and HMS-10 loudspeakers and 500-HP subwoofers in addition to one UPA-1P and two UPJunior VariO™ loudspeakers.  The integrated systems provide tremendous flexibility to support acoustic, reinforced, and cinema events. An Apple iPad provides an easy-to-use interface for the system operator to change settings.

“Performers now get an incredible amount of response from the hall, which not only allows them to hear themselves better, but also greatly enhances their perception of audience response,” says Mark McConnell, a former Newport mayor who chaired the project’s capital campaign. “The system is very subtle and extremely effective because the audience is never really aware that Constellation is there and working on their behalf. It’s like having a brand new space—there’s no comparison to what we had before.”

Adam Flatt, NSO musical director, says: “From the podium, the sound has more life and color from the point of production. From there, the bloom carries to the audience—something that was lacking before. We now have a much improved ‘instrument’ in which to make music.”

The Newport PAC is home to a collection of companies known as the PACRATS (Performing Arts Center Resident Artists Team), which includes producers of music, theatre, and dance events. In addition to the PAC’s concert schedule, Constellation supports Broadway-style productions including Young Frankenstein by Mel Brooks.

The audio systems were designed and installed by Eugene, Ore.-based George Relles Sound.

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Guests Confirmed: Metallica’s Dual Monitoring Team to Speak in Meyer Sound Online Mixing Workshop

metallica webinarBob Cowan and Adam Correia, monitor mixers for Metallica, will be the next guest speakers on the Meyer Sound Mixing Workshop webinar series, hosted by veteran mixer Buford Jones.

Scheduled for Thursday February 5, 2015, the webinar will focus on the dual monitoring team’s approach to mixing a combination of in-ears and on-stage wedges for the heavy metal legends. Cowan and Correia will also share their key to success for earning and maintaining the artists’ trust and achieving consistency.

The Mixing Workshop is free of charge and is conducted at three different times on February 5:


Sign up here.

As part of Meyer Sound’s worldwide education program, Buford Jones brings lessons learned from a mixing career of almost four decades to his online Mixing Workshop and hands-on sessions around the world. Jones’s illustrious mixing credits include Pink Floyd, Eric Clapton, Stevie Wonder, Prince, and David Bowie.

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Yavapai College Installs MINA: “With Meyer Sound, Everything Gets a Bit Easier”

y_yavapai_pac010 copyTo meet the growing demand for high-profile artists and productions in Prescott, Ariz., the 1,100-seat Yavapai College Performing Arts Center (YCPAC) has installed a versatile Meyer Sound MINA™ line array loudspeaker system as part of a major renovation.

Since YCPAC’s re-opening, MINA has supported productions from Peter Frampton, Magic of Motown, and the Senegal St. Joseph Gospel Choir to the Manhattan Short Film Festival. “With the new MINA arrays, the YCPAC has an amazing system for live performances, with even coverage throughout the entire venue,” says Tom Aldridge, YCPAC presentation technology manager. “It sounds great, and meeting the requirements on a tech rider is greatly simplified. When people find out we’re running a Meyer rig, everything gets a bit easier.”

The system was designed and installed by Chandler, Ariz.-based TPI. “The MINA arrays deliver great musicality and intelligibility with uniform coverage across the entire hall, and their low profile has virtually eliminated any line-of-sight issues,” says Glenn Peacock, vice president of TPI.

The main system comprises left and right hangs of 10 MINA loudspeakers each as well as three 1100-LFC low-frequency control elements in a cardioid array atop the catwalk. Two Meyer Sound models with IntelligentDC™ technology are installed, including 16 UP-4XP loudspeakers for front fill, balcony fill, and under-balcony delay and four UP-JuniorXP VariO™ loudspeakers for box and under-box seats. A Galileo® Callisto™ loudspeaker management system with two Galileo Callisto 616 array processors provides system drive and alignment, while a Compass® RMS™ remote monitoring system with one RMServer communicates loudspeaker performance data.

Peacock adds that IntelligentDC technology solves distribution issues and provides tremendous savings in both efficiency and space. “There are a lot of high-density areas in the venue, and we wanted to add some fills to cover some of those shadowed seats,” Peacock says. “The convenience of IntelligentDC allowed us to install those smaller boxes in the most optimal locations without having to accommodate power cabling and other equipment.”

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Related Topics: Line Array, Loudspeakers


TORONTO, ON., Jan. 14, 2015—The announcement that Rogers Sportsnet had won the Canadian broadcast rights to NHL hockey, including the venerable Hockey Night in Canada, sent shock waves through the broadcast industry. With the nation’s eyes upon them, Sportsnet knew they had no room for error in delivering exceptional hockey programming right from the start.

To ensure success on the production side, Sportsnet contracted with RP Dynamics of Toronto to act as audio consultant for its new studio complex. The primary consultant on the project was Wireless and Broadcast Specialist John Christie of RP, responsible for designing and installing the systems needed to meet the network’s ambitious production goals, which required that all on-air talent be wireless. For Christie, there was no doubt that the best product choice for microphone and IFB (interruptible foldback) in-ear systems would be from Shure.

“To have all the studio talent on wireless all the time made product selection of paramount importance,” says Christie. “On a typical broadcast day, there are about 340 radio frequencies active within the facility. That leaves no room for compromise in product selection, which is why I recommended Shure Axient® for all microphone channels and PSM®1000 personal monitors for IFB systems. Both are designed to thrive in difficult and challenging RF environments.”

Shure Axient® is the only wireless product proven to detect and seamlessly switch away from interference before it can be heard. Using the system’s AXT600 Spectrum Manager for scanning and analysis, it literally keeps a “best available” list of backup frequencies active at all times for this purpose. According to the logs automatically generated by the Axient® system in the NHL Studios, there were five frequency changes deployed automatically during the first three weeks of the season, as the system smoothly prevented audible wireless problems during HNIC and other hockey broadcasts.

Another key feature of Axient® is that all transmitters can be fully remote controlled through Shure’s ShowLink® Access Point. “Not only do we have the ability to mute, sleep, and change frequencies, we can also change the transmitter’s output power and fine-tune the gain structure,” notes Christie. “As we change on-air personnel over the course of the broadcast day, that capability has proven to be incredibly powerful.”

In total, Rogers Sportsnet purchased 28 channels of Axient® wireless for its studio operations, 24 of which are bodypacks, along with five antenna distribution systems, the Spectrum Manager, and Shure AXT900 battery chargers.

As critical as its microphones are for the on-air talent, its IFB system is every bit as important. Christie notes that the PSM®1000 offers several design features that make it ideal for use in IFB applications, most notably the system’s diversity bodypack receivers, which is a huge advantage in a crowded RF area like the studios. The Shure MixMode® feature is also exceptionally broadcast-friendly.

“Using MixMode®, we can seamlessly send two separate signals from our digital intercoms, broadcasting in two channels but being heard as one. It’s almost like having an extra input,” Christie explains. “I also love that the PSM®1000 auto-detects whether the earpiece plug is mono or stereo, so the system doesn’t waste battery power trying to send two channels. It’s a small thing, but it turns out to be a big help.”

To monitor and control all the wireless traffic, each of the three control rooms is equipped with a computer running Shure Wireless Workbench® software, all networked into the main system. “I prefer Wireless Workbench to other systems because it accommodates all RF products and lets me manipulate all the Shure gear in real time,” says Christie. “That just makes life so much easier. Rather than having to take a list of frequencies over to a device and program it manually, all I do is push one button and all the devices are programmed. The advantage of having all your wireless gear working together on the same network is hard to overstate.”

“There has been a lot of interest in this project, which is only natural. Not only is it NHL hockey, but it’s Hockey Night in Canada—a national institution for 60 years. The technical challenge of creating an all-wireless studio of this size, and, in a building with so many existing RF channels, made it critical that we have the best equipment, properly deployed,” concludes John Christie of RP Dynamics. “Now, with the new season underway, we’ve proven that Shure Axient® and PSM®1000 are the right products for the job. There have literally been no wireless issues on air, and the team at Rogers Sportsnet is ecstatic. We couldn’t have asked for a better result.”

To learn more about Shure Axient®, please visit http://www.axient.net.

sportsnet photo one

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About Shure Incorporated

Founded in 1925, Shure Incorporated (www.shure.com) is widely acknowledged as the world’s leading manufacturer of microphones and audio electronics. Over the years, the Company has designed and produced many high-quality professional and consumer audio products that have become legendary for performance, reliability, and value. Shure’s diverse product line includes world-class wired microphones, wireless microphone systems, in-ear personal monitoring systems, conferencing and discussion systems, networked audio systems, award-winning earphones and headphones, and top-rated phonograph cartridges. Today, Shure products are the first choice whenever audio performance is a top priority.

Shure Incorporated is headquartered in Niles, Illinois, in the United States. The Company also has regional sales and marketing headquarters in Eppingen, Germany, and Hong Kong, China, with more than 30 additional manufacturing facilities and regional sales offices throughout the Americas, EMEA, and Asia.

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NILES, Ill., Jan. 12, 2015—Chicago engineer/producer and sound designer Freddie Breitberg has a resume that encompasses everything from classic analog recording techniques to today’s digital world across all musical genres. One constant in that journey has been Breitberg’s love for ribbon microphones. Recently, he had a big band recording with The Great Postmodern Nightmare. Because some of his collection of classic RCA ribbon mics were due for ribbon refurbishing, Breitberg decided that the time was right to try Shure’s distinctly modern ribbon microphone technology.

“Ribbon microphones are like old friends: You love them for their warmth and personality,” he says. “They have always been a key tool for me in music recording, and I’ve always had a collection of vintage ribbons to offer my clients. This project, which was actually a crowd-funded CD, gave me a great chance to explore the personalities of the Shure KSM ribbon mics.”

The sessions took place over two days of live recording at I.V. Lab Studios on Chicago’s north side. Breitberg deployed the Shure KSM313 on all the horns, while using the KSM353 as part of his Mid-Side stereo room miking arrangement and on amplifiers.

“I’ve done a lot of big band work live in the studio, and came up with a sort of horseshoe layout for the horns to take advantage of room acoustics and the figure-eight pattern of the ribbon mics,” he explains. “I spot-mic each instrument individually, and I use Mid-Side stereo miking to capture the room. It gives me both room sound and isolation.”

To capture The Great Postmodern Nightmare horns, Breitberg used a set of KSM313s, which have a unique ribbon design in that the two sides of the microphone produce distinctly different frequency responses—neutral from the front, slightly brighter from the rear. Breitberg felt the KSM313’s rear capsule was ideal for the job. “The 313 sounds fantastic on horns,” he says. “They are as warm as my vintage RCA ribbons, but with more high end. That means less EQ and less processing in mix – and that is always a good thing in recording.”

In working with a large group of identical KSM313s, Breitberg was also struck by a couple other things. “They are just wonderfully consistent from mic to mic,” he reports. “Compared to other ribbons, they have plenty of output, and their null points in the figure-eight pattern are tremendously deep, which really helps with isolation in my room scheme. The results were really compelling.”

Breitberg’s big band technique, which he calls “working in perpendiculars,” places the band in a U-shaped seating arrangement with the drums at the base. For this band, one leg of the “U” had four trumpets directly across and parallel to the drums, with the bones and saxophone sections perpendicular and directly across from one another. The rhythm section of bass, piano, and guitars was arrayed on either side of the drum kit.

Rather than the traditional distant ambient room miking technique, Breitberg places two Mid-Side stereo set-ups inside the “U.” Mid-Side stereo combines two mics, one bidirectional and one cardioid, to create a controllable, phase-cohesive stereo image. For this task, he used the Shure KSM353 with its flat, uncolored response in the side position, paired with a KSM32 cardioid condenser to capture the on-axis sound.

“I cut my teeth on orchestra and big band, and I’ve developed this technique over the years,” explains Breitberg. “It’s killer because it locks in your phase. The Mid-Side mics act more like EQ and compression as opposed to ambience—in a positive way. The matching Shure ribbons really accentuated that.”

Recording the 18-piece group live was a real test of the microphones and of Breitberg’s technique. “The first time I played back the tracks, it sounded like it was already mixed,” he says. “It produced nearly perfect phase coherency for a really natural blend, and the deep null in the figure-eight pattern gave me enough isolation to do punch-in fixes if needed,” he says. “When you think about it, to do that, recording an entire big band live, is pretty amazing.”

As a result, Fred Breitberg decided to add the KSM313 to his mic locker. In fact, he purchased 13 of them—the largest documented sale of ribbon microphones in Shure history. “These are great-sounding mics, and add so much more flexibility than a ribbon that’s identical on both sides,” he says. “They have the warmth and personality of a vintage ribbon, but with higher output and SPL handling that vintage RCAs never had. Though they’re perfect for horns and guitar amps, I’ll also be using them on strings, nylon guitars, piano, drums, and whatever else they test well on. I decided I had to have them.”

For more information on Freddie Breitberg, visit www.freddiebaudio.com. For more information on Shure KSM Ribbon Microphones, visit www.shure.com.


About Shure Incorporated

Founded in 1925, Shure Incorporated (www.shure.com) is widely acknowledged as the world’s leading manufacturer of microphones and audio electronics. Over the years, the Company has designed and produced many high-quality professional and consumer audio products that have become legendary for performance, reliability, and value. Shure’s diverse product line includes world-class wired microphones, wireless microphone systems, in-ear personal monitoring systems, conferencing and discussion systems, networked audio systems, award-winning earphones and headphones, and top-rated phonograph cartridges. Today, Shure products are the first choice whenever audio performance is a top priority.

Shure Incorporated is headquartered in Niles, Illinois, in the United States. The Company also has regional sales and marketing headquarters in Eppingen, Germany, and Hong Kong, China, with more than 30 additional manufacturing facilities and regional sales offices throughout the Americas, EMEA, and Asia.
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Electrosonic Supports InfoComm’s Extensive Training and Education Lineup at ISE 2015

This year at ISE 2015, Electrosonic will be working alongside InfoComm International(r), the trade association representing the global audio-visual industry, to help provide an extensive events and education programme. Electrosonic’s Founder Director, Robert Simpson, will be hosting a master class on ‘Displays of Today and Tomorrow’ while Sarah Joyce, Vice President, EMEA and InfoComm Director, will present the first Women of InfoComm networking breakfast.

Robert Simpson’s four hour master class will be divided into four sections covering topics such as display performance, flat panel displays, LCD and LED, projection and illumination technologies. It will be held on 10th February, 8am-12pm at the RAI Exhibition Centre, Amsterdam.
Robert, a frequent lecturer on audio-visual topics, will give delegates the opportunity to learn more about current displays and those they can expect to see in the near future. Delegates can expect to hear about examples of technology used for control rooms; 3D and autostereoscopic displays, the integration of displays into different environments, giant screen projection and image sources. Robert is the author of many AV publications including ‘Lighting Control Technology and Applications’ and his most recent book ‘Electrosonic – 50 Years on the Audio-Visual Front Line’.
Robert Simpson says, “I am pleased to contribute to InfoComm’s education and professional development sessions again this year. Electrosonic places a great deal of emphasis on learning and developing our own staff, and I am delighted to be able to share my knowledge and expertise to help AV professionals to continue to raise the ‘AV Bar’.”

The Women of InfoComm Network (WIN) is committed to promoting and empowering women in the AV and IT industries. “The Women of InfoComm Network breakfast at ISE will explore what women – and men – in the industry can do to encourage women into successful long-term careers in technology,” explains Betsy Jaffe, Vice President of Communications at InfoComm International.
Sarah will host the breakfast and share experiences and highlights from her 20-year career in technology. Diana Danziger, an organisational development and leadership consultant, will lead an interactive session aimed at promoting women in technology. The session concludes with networking and a roundtable discussion to solicit input from participants about potential WIN activities in Europe.
“Having worked in the technology industry for almost 20 years along with the roles I hold at Electrosonic and InfoComm, I feel it is my responsibility to empower more women in the AV and IT industries to reach their full potential”, said Sarah. “Besides being a great networking opportunity, the breakfast will be fun, interesting and dynamic. I believe this will be the first of many such events to help raise the profile of women in AV and encourage more to join and become engaged.”
The Women of InfoComm Network breakfast will take place at the First Lounge restaurant, Amsterdam RAI, from 8-9.30 on 11 February. To participate, sign up now at www.iseurope.org.
WIN has many live and online events throughout the year. InfoComm says its members can “make connections, find resources, pursue education, discover mentors and identify opportunities to advance women in the industry”. WIN seeks ways to raise awareness of gender diversity and celebrates the achievements of women who work in AV and IT.
Electrosonic will be exhibiting in Hall 4, booth U25.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

About InfoComm International
InfoComm International(r) is the international trade association representing the professional audiovisual and information communications industries. Established in 1939, InfoComm has over 5,000 members including manufacturers, systems integrators, dealers and distributors, independent consultants, programmers, rental and staging companies, end-users and multimedia professionals from more than 80 countries. InfoComm International is the leading resource for AV standards, market research and news. Its training, certification and education programs set a standard of excellence for AV professionals. InfoComm International is the founder of InfoComm, the largest annual conference and exhibition for AV buyers and sellers worldwide. InfoComm also produces trade shows in Europe, Latin America, the Middle East and China.

Learn more about InfoComm International, visit http://www.infocomm.org

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Christie Vive Audio Cinema Solution on Track for 100 Installs in Inaugural Year

Christie Vive AudioChristie®, a world leader in advanced cinema technologies, today announced that the company was on schedule to install its 100th Christie Vive Audio™ cinema sound system.

“Christie made history a year ago when it began shipping the world’s first audio system to feature a unique ribbon driver technology in a single enclosure line array design, purposely crafted and built for entertainment environments,” said Patrick Artiaga, director, business development, Christie.

“Since then, the breadth and depth of the Christie Vive product lineup has been expanded to include a wide-range of speakers, amplifiers, and audio-video processors. As the creative community expands the envelope in delivering the most realistic audio experience possible to moviegoers, we’ve developed these Christie Vive audio products specifically to help production teams achieve their creative objectives and exhibitors meet performance challenges,” added Artiaga.

Designed to support all of the leading cinema audio formats including Dolby Atmos, 7.1 and 5.1 surround sound and Auro 11.1, Christie Vive Audio can be configured to provide the optimal audio solution for any cinema space, from post production studios and screening rooms to traditional auditoriums and premium large formats cinemas. Exhibitors such as Cinemex (Mexico), Wanda Cinemas (China), New Farm Cinemas (Australia), and Southern Theatres (United States) have chosen Vive. As well, many exhibitors embracing the Dolby Cinema™ program will use Christie Vive, beginning with the first Dolby Cinema install at the newly-constructed JT Eindhoven cineplex in the Netherlands, which opened in December 2014.

“We’re proud of our tradition of bringing the latest developments in audio technology to our Southern Theatres and Movie Tavern guests with the opening of the Southern Grand 14 Esplanade in Kenner, LA and Movie Tavern Northshore in Covington, La.,” said Ron Krueger II, President and Chief Operating Officer, Southern Theatres. “We’re the first theater to power every auditorium with Christie Vive Audio, a revolutionary leap in cinema loudspeaker design that provides an improved sound experience for every guest in every seat in the house, and we look forward to continuing this relationship with our plans in 2015 starting with the Movie Tavern Baton Rouge in Baton Rouge, La.”

“Over the past year, we’ve raised the bar in next-generation audio technology and implementation, giving exhibitors a true competitive edge that their customers can appreciate,” noted Artiaga.

The complete Christie Vive Audio solution includes ceiling surrounds, wall surrounds, and screen channel speakers, as well as subwoofers, and Class D amplifiers.
For more information on Christie’s new audio initiatives, visit www.viveaudio.com.

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WorldStage Supports The First Wall Street Journal Digital Live International Technical Conference

IMG_0762.jpgWhen WSJDLive, “where the digital world connects,” kicked off its inaugural conference, WorldStage was there to provide video systems and displays to Bay Area event and entertainment company e2k Events x Entertainment.

An international technical conference, WSJDLive brought together global CEOs, leading thinkers and top entrepreneurs in a series of interviews, round table discussions and interactive events at The Montage, Laguna Beach, California. Speakers included writer/director/producer James Cameron, Apple CEO Tim Cook, billionaires Jack Ma and Carlos Slim, DreamWorks Studios co-founder Jeffrey Katzenberg and UCLA chancellor Gene Block.

“WSJDLive was our first event with event producers e2k; it was very well attended and had very compelling content,” says Michael May, WorldStage account manager for the project. “Plans are already underway for next year’s conferences.”

The expansive event had components throughout The Montage resort, which is luxuriously sited alongside the Pacific Ocean. WorldStage provided video systems and displays for the main keynote room, the lobby area and the outdoor stage.

The evening sessions at the outdoor stage featured projection mapping by WorldStage onto the rear façade of The Montage. The projection content, created by graphical design firm 3Monkeys, served to open and close presentations by Tim Cook and Jack Ma.

“We had limited time to work the night before the outdoor stage presentations began,” says May. “Guests had cocktails on the lawn then sat down to watch the presenters. We partnered with 3Monkeys, which brought Ventuz media servers to integrate with our system. Four double-stacked Christie HD 20K projectors with Christie Twist displayed the content on the back of the hotel.”

The location’s architecture, with numerous overhangs, balconies and corners, presented a challenge for the mapping process. “We could only place the projectors in specific locations, so there was a lot of off-axis shooting to compensate for,” says May.

WorldStage also provided a three-camera switch and record package to capture the speakers’ appearances for posterity – and for news outlets. “Our footage was all over the network news the next morning,” May reports.

In the lobby area WorldStage created an interactive video wall, which attracted a lot of buzz. The 3×3 configuration of NEC LCD monitors displayed tweets extracted live from internet sources and displayed to attendees.

“For display processing on the video wall, we used a Vista Systems X20 to provide a canvas of multi-window presets that could be reconfigured at the touch of a button.” May explains.

In addition to the video set ups for the outer areas, WorldStage provided an extensive system for the ballroom keynote presentations consisting of a curved 45-foot wide LED wall with 3.9-mil pixel pitch as the main feature. “This main LED wall with 3Monkeys content displayed was a stunning backdrop for the presenters,” says May.

At WorldStage, James Sarro and Dave Morris were the project managers, Shane Zinke and Frank Musgrove video engineers, Terry Nakamura projectionist, James Armstrong the Spyder operator, and Ken Stanford and James Boress video directors.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Control Everything From Anywhere with the All-New Mackie DL32R™ Digital Live Sound Mixer

Delivering complete wireless control of a powerful 32-channel digital mixing platform

 WOODINVILLE, WA, USA – January 2015 – At NAMM Booth 209A and B, Mackie is showing the new DL32R 32-Channel Wireless Digital Mixer with iPad Control, a powerful new digital mixing system completely controlled wirelessly from Mackie’s intuitive Master Fader iPad® app, freeing users to get in the mix like never before. Featuring complete wireless control over everything, including fully-loaded DSP and multi-track recording/playback, you can control everything from anywhere with the DL32R.

“Early on, Mackie believed that we can bring the user incredible benefits if we just let go of old conventions,” commented Ben Olswang, Mackie Senior Product Manager. “By ensuring that each and every feature can be controlled wirelessly without compromise, we are delivering benefits to users that were simply not possible before now.”

The Mackie DL32R features a mix of flexible, professional I/O in an ultra-compact 3U rackmount design. Each of the 32 inputs (24 XLR, 8 XLR/TRS combo) feature Mackie’s all-new Onyx+ recallable mic preamps, with remote control over preamp gain and phantom power. The new Onyx+ preamps outperform the industry-proven Onyx design, which has garnered rave reviews for its boutique-quality sound and performance.

“You get frequency response that goes all the way down to 20Hz within 1dB at all gain settings,” remarked Olswang. “Noise is minimized at every gain setting, not just minimum and maximum like other mixers. Designed for the rigid standards of professional live sound, DL32R’s gain changes are completely silent.”

Fully-assignable using the Master Fader control app, there are 14 XLR outputs great for anything from stage monitors to matrix outputs. The front panel also features a stereo AES digital output for connecting gear like speaker processors. A dedicated stereo monitor output is ideal for connecting an in-ear monitor system for detailed listening from anywhere in the venue.

 With complete wireless control of the system using Mackie’s Master Fader iPad app, a new world of mixing possibilities opens up. There is no longer any need for a fixed FOH position. Place the mixer where it works best — be it next to the stage, backstage or even tucked away in a utility closet. This can also eliminate the need for an expensive, bulky analog snake.The DL32R does away with troublesome FOH positions such as under a balcony, behind a pillar, etc.  The user can tune the room right from the problem spots and get on stage to ring out monitors or work with the band to dial in the perfect monitor mix.

Multiple engineers can work wirelessly from a single DL32R mixer using their own iOS device, including monitor engineers and performers who wish to control their own monitor mixes. The lead engineer can apply access limiting to additional control devices, keeping the user from making unwanted changes.

Multi-track recording and playback are critical for professional applications and the DL32R features two flexible methods for multi-track recording and playback. The first of these is direct to USB hard drive, which is currently a 48 kHz, 24-bit, 24 input by 24 output platform. This will be expanded soon to 32×32 via a free firmware update. The direct-to-disk option delivers unprecedented wireless control over your multi-track recording and playback.

“Just connect a USB hard drive loaded with your media directly to the DL32R and you can control it all from anywhere in the venue,” remarks Olswang. “It’s an amazing way to control things like backing tracks and intermission music all while recording the show. Plus, who wants to run back and forth to a separate recording rig?”

An additional USB 2.0 computer audio interface is available for 32×32 recording and playback that can directly connect with any DAW, great for studio applications and rehearsal spaces. Both methods provide the ability to record the band and perform a virtual soundcheck at the next show. This is a powerful and professional way to dial in a mix at any venue.

The DL32R is loaded with powerful DSP that eliminates the need for racks of expensive outboard processing. Each of the 32 inputs features a 4-band parametric EQ with a separate high-pass filter plus gating and compression. Four return channels feature dedicated EQ and compression. Each of the 14 aux sends, six matrix busses and main L/R busses feature a 4-band parametric EQ, 31-band GEQ, a compressor limiter and alignment delay. Six subgroups feature EQ and compression. Each processor features Modern and Vintage voicing options, delivering sonic choice to the user. Three separate effects processors with dedicated sends allow for two reverbs and one delay with tap control. 6 VCAs and 6 Mute Groups round out the processing.

“Only the DL32R delivers professional mixing tools like VCAs, subgroups and matrix busses at this price point,” comments Olswang. “And there’s no configuration or tradeoffs. Every input and output has all the processing you need for your professional application.”

Designed from the ground up for live sound, Mackie’s Master Fader iPad app delivers total wireless control over the DL32R. True to Mackie’s ongoing commitment to creating mixers that are extremely easy to learn and to master, Master Fader provides fast navigation and very powerful tools for mixing 32-channels of audio.

“One of the most powerful features of Master Fader is our user-definable view groups,” remarks Olswang. “Simply select the channels for each of the six view groups to easily switch between things like drums, guitars or vocals. This means no swiping and no remembering what bank to select. Just go right to what you need.”

Master Fader is loaded with a wide array of factory presets that are ideal for novice users and a great starting point for any professional, requiring little to no tweaking depending on the application. Users can also create their own custom presets, simplifying and minimizing setup when working with common and familiar sources. There’s also the ability to share these presets via email or Dropbox, which is a powerful new tool for the Mackie mixing community. Plus, with frequent and simple App Store updates, Master Fader will get better over time with more features planned for the future.

“With the Mackie DL32R, you control everything from anywhere. You get the freedom to mix how you want, where you want and get results that truly benefit the audience,” concludes Olswang.

The new Mackie DL32R 32-Channel Wireless Digital Mixer with iPad Control is available now worldwide. The DL32R carries a U.S. MSRP of $2499.99.

For more information, visit http://www.mackie.com/DL32R


iPad is a registered trademark of Apple Inc., registered in the U.S. and other countries.
Wi-Fi router and iPad required for operation. Not included.  



About Mackie - Mackie, a LOUD Technologies Inc. brand, is known worldwide as a leading developer and marketer of high-quality, affordable professional audio systems. Mackie products can be found in professional and project recording studios, video and broadcast suites, post production facilities, sound reinforcement applications including churches and nightclubs, retail locations and on major musical tours. For more information visit: www.mackie.com.

Mackie is a registered trademark of LOUD Technologies Inc. in the United States, European Union and other countries. All other trademarks are the property of their respective owners.

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Related Topics: Audio, Mixers, News

Press Releases For : January 20, 2015

ATC Monitors the Choice of Multiple Grammy Winners Gavin Lurssen and Chuck Ainlay for their Current Grammy Nomination

Gavin_LurssenLAS VEGAS, NEVADA – JANUARY 2015: With three Grammy wins and one Latin Grammy win already to his name, renowned mastering engineer Gavin Lurssen has been nominated for yet another Grammy Award this year in the category Best Engineered Album for mastering The Way I’m Livin’ by country music singer Lee Ann Womack (which is also up for Best Country Album). He shares the nomination with fellow Grammy-winner Chuck Ainlay, who recorded and mixed the album using ATC SCM25A active three-way near-field monitors. When the project moved to Lurssen’s L.A.-based studio, his beefy ATC SCM150ASL active three-way mid-field monitors took over and guaranteed that Lurssen’s practiced ears would direct the tweaks and tucks so that Womack’s beautiful melodies would entrance listeners on everything from ear buds to expensive home theaters.

Ainlay installed ATC’s biggest soffit-mounted professional monitors, the SCM300ASLs, at his BackStage Studio around the turn of the century. “ATCs possess tremendous accuracy throughout the vocal range, and the levels I get on ATCs always seem to translate to any other environment” he said. “Since Lee Ann Womack is among the greatest female country music singers ever, I obviously had to make sure that her vocals shined on the new album. It’s also a very dynamic album that comes from the heart; it’s not just about radio hits.” Though happily accustomed to his SCM300ASLs, Ainlay had long been at the mercy of whatever loudspeakers were present whenever he worked away from BackStage. “I heard the relatively new ATC SCM25As at AES a while back and I knew I had to have them,” he said. “I bought the floor models!” Thanks to that purchase, Ainlay was able to record and mix The Way I’m Livin’ at Sound Stage Studios and still rely on his ATC SCM25As’ honesty.

Chuck_Ainlay“Chuck gave me some direction, but mainly he wanted me to do what I do,” said Lurssen, who is well known for delivering masters that retain an organic “chunkiness” that conveys life and dimension even on today’s ubiquitous, and often lossy, digital formats. “I strive to retain and accentuate the depth of field and lower midrange support that ultimately supports the high-end image. The clarity of ATC’s midrange is exceptional and allows me to really hear exactly what I’m doing. Of course, Chuck wanted me to produce a competitive master, but we were both in agreement that it should not be over-slammed or over-cooked.” In part to help ground his vision for the recording with Ainlay’s, Lurssen often flipped back and forth between his larger ATC SCM150ASLs to his pair of smaller ATC SCM25As – the same model that Ainlay had used. “You can never have too much information in these matters,” he laughed.

Although much of Lurssen’s magic is beyond the ability of words to describe, he was able to articulate a few of the critical components that he listened for on The Way I’m Livin’ and why their success helped the recording as a whole. “Lee Ann’s melodic structures simply had to shine,” he said. “In each instance, I had to make sure that the song was really ‘let out,’ and the vocals were usually the critical leverage point. When that melodic structure is presenting itself, it’s important to hear two aspects of the mid range. The first is the upper part, where the song is really going to jump out of the speakers. The second is the lower part that supports that upper part. Determining exactly where those two parts meet is critical for getting the right depth of field, balance, and support. The ATC’s let me zero in on that aspect so that I was sure everything was perfect. Because that balance is correct, Lee Ann’s voice and melody seem to leap from the loudspeakers.”

To get everything sounding just so, Lurssen employs an unusually large number of hardware compressors, limiters, and equalizers. “I’m trying to do as little as possible while still having the greatest impact possible,” he said. “I use a lot of gear, but I use each piece very subtly. A bit of each of the best works way better than a lot of any single piece, no matter how good it is. When everything is said and done, it needs to sound like I was never there – there can be no veil between the artist and the listener.”

Lurssen first heard ATC monitors years ago when a fellow engineer insisted that their team use a pair of ATC SCM50ASLs for a Pink Floyd project. “The rest of us made a fuss because we all had some other speakers that we were already used to,” he said. “But he set them up and within literally three seconds, I knew that I had to have my own pair. There was absolutely no doubt in my mind, which is a rare thing for anyone, I think. That certainty never went away, and so when I set out on my own a few years later, I started with ATC monitors and then built everything else around them. I’ve found that when I get a master sounding right on my ATCs, the master will successfully translate to any other system, pro or consumer.”

Gavin Lurssen will be present at ATC’s NAMM press conference on Friday, January 23 in support of the new ATC product introduction.

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.




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