Olivier Roure has joined QSC as U.S. sales director for the eastern region for the company’s live sound business. Roure will manage the day-to-day direct manufacturer-to-channel partner relationship for the company’s  portfolio of live sound products and solutions.

A native of France, Roure has made his home in New Jersey for more than 24 years. He's been part of the professional audio industry for more than 20 years and holds a mechanical engineering (BTS) certificate from Lycée Claude Lebois. 

Roure started his career in music, working at stores including Sam Ash in the metro Philadelphia area. Later, he was owner of Ozone Recording and worked with major record labels including Arista and Elektra. In the service of audio manufacturers, Roure managed technical accounts on the East Coast for Loud Technologies, held a 12-year tenure at Harman as director of sales for JBL, various positions at AKG and Soundcraft, and director of Harman’s large venue and sports division. Most recently, Roure served as principal of Roure Consulting.

[QSC Brings Audio Adventure to the World Premiere of Disney’s 'Jungle Cruise']

“QSC is a company which is considered the gold standard in our industry,” said Roure. “The company and I share the same fundamental values in that everyone involved all down the line on a project is our customer, and it’s our role to see that they are satisfied with the results. This is what makes the company the right place for me.  It feels very natural to join QSC and I am excited about the future.” 

“We are very excited to have Olivier join the live sound team. He brings a wealth of valuable experience to his new role at QSC, both technically and through his reputation as a highly-respected professional across our industry,” added Perry Celia, senior director of U.S. sales, Americas, for QSC Live Sound. “I am confident that our ability to serve our customers in the region will be enhanced by his efforts, and look forward to working closely with him in his new role.”

While the 2021 global music festival season arrived later than many hoped, sound companies and audio integrators got a look at what to expect going forward when Lollapalooza drew an estimated 100,000 concertgoers to Chicago’s Grant Park on the last weekend of July.

Organizers say nearly 90 percent of attendees showed proof of vaccination prior to entry, while others provided proof of a negative COVID-19 test taken within 72 hours of their entry to the event. Still, with the highly contagious delta variant of the coronavirus sparking a surge of infections in the United States, the four-day festival had to pivot midway in response to new guidelines from the Chicago Department of Health advising people to wear masks in indoor spaces, regardless of vaccination status.

Festival organizers complied with the directive, and staff and attendees masked up in the merchandise shop and help tents. Crew members were required to wear masks, too, when working in enclosed areas. All of which is to say, 18 months into the COVID-19 pandemic, audio professionals returning to the job for festival season are having to figure out how to handle pandemic safety precautions in real time.

“Health guidelines vary from country to country, state to state, and city to city, so this can be challenging in terms of on-site logistics,” said Michael Maxson, director of strategic applications at Meyer Sound. “We have seen the entire event ecosystem working creatively to prioritize the health and safety of crews, artists, and fans alike.”

Josh Osmond, director of operations at Bay Area-based UltraSound, said that local promoters have begun to implement protocols for venues that include requiring proof of vaccination or a negative COVID test within 72 hours of an event. One of the nation’s largest festivals put on by Another Planet Entertainment, Outside Lands, which will feature Lizzo, The Strokes, and Tame Impala as well as main stage audio provided by UltraSound on Halloween weekend in San Francisco’s Golden Gate Park, has also implemented these protocols in order to provide a safe environment for all festival attendees.

“COVID has affected every state and region of the country differently, so everyone has had different protocols or different levels of how they’re going about handling that kind of stuff,” said Osmond, echoing Maxson.

Festival headliners may have more influence over the backstage and onstage safety precautions than organizers or hired crews, added Osmond. “I think that a lot of what you’ll see when it comes to festivals is that any headliner at a festival, if they have a specific COVID protocol, they will probably be able to implement it on that given day across the board,” he said. “On top of that, I think you’re going to see a lot more sanitary stations and more hand-washing stations backstage. You’ll probably see stations where you can get a free mask and free gloves.”

Add the uncertainty about when and where COVID outbreaks will occur to the lack of a consensus among states and regions as to what constitutes a proper pandemic response, and festival organizers are stuck between putting bands and crews to work and avoiding becoming responsible for creating a super-spreader event. For now, these standard precautions—requiring masks and showing proof of vaccinations or negative COVID tests—form the core of the safety measures that are enabling the shows to go on.

“If you can’t keep your people safe, you can’t work, so there’s lots and lots of work that has been going on with that, but it is difficult,” said Mickey Curbishley, president of the live production group at Solotech. “The obvious way to protect yourself is to protect your breathing space, but also to keep a distance, and having to do that at a festival, you can’t control the audience. But the crew—regardless of what happens, you’re going to be on top of each other, and you’ve got to load trucks together. Maybe you’ve got four people in a truck instead of six or eight, but you’re still in a truck and you’re working, sweating, breathing heavily. The good thing about it is most of the work is outdoors.”

Some festivals have reimagined their events to reduce the chance of COVID transmission among staff and festivalgoers, Maxson noted. At Lake Geneva in Switzerland, the Montreux Jazz Festival—which traditionally hosts a mix of indoor and outdoor events—moved proceedings onto a lake stage this year for a socially distanced and completely outdoor experience.

“Other large-scale outdoor festivals such as Outside Lands moved the date from August until October in hopes of a safer environment in the fall,” he added. “Some summer tours and festivals pushed their dates closer to the fall season in the northern hemisphere, jamming calendars for September and October, or they just pushed until 2022,” when they hope the level of COVID-19 infections will be lower.

Among the major U.S. festivals scratching this year is the New Orleans Jazz & Heritage Festival (Jazz Fest), which had postponed from its usual April dates to October but announced the cancellation of 2021’s edition in mid August.

Across the Atlantic in England, where the cancellation of the Glastonbury Festival caused many in the industry to doubt there would even be a 2021 festival season, the sold-out Reading and Leeds festivals went down as scheduled in August. The Life Is Beautiful festival in Las Vegas is still scheduled to take place this month. 

Bonnaroo, which was to have taken place in September, was cancelled—not because of COVID concerns but due to flooding from Hurricane Ida, which blew through Tennessee at the end of August.

“The reason festivals are so significant is because you can do a festival in a bubble, to some extent. You can’t do a tour that way,” said Curbishley. “With tours, you’re playing in front of 20,000 different people every night, and you’re getting on buses and traveling to different towns, staying in different hotels. You can work from a backstage bubble, but you’re still mixing with 60 local crew members on the stage. That kind of thing is tough to manage. Festivals, we’re hoping, will be easier to police.”

Audio crews will likely play a direct role in some forms of protection, particularly in keeping shared equipment sanitized, said Osmond. “We clean the microphones more often now,” he said. “If the equipment is being shared by multiple groups, they’re going to have to have a sanitary supervisor [who ensures that] mics come off stage and get sanitized and wiped down before they get put on for the next band.”

UltraSound typically provides up to a three-band microphone complement per stage for festival gigs, he noted, so at any given time there is one set of microphones in use, another set of microphones in staging, and a third set that has just come off the stage.

“There’s time to do it. I think that’s one of the things that will start to happen to more often, finding ways to keep the shared equipment more sanitary,” concluded Osmond. “And you may see more bands traveling with their own microphones and things along those lines, just to make sure that what they’re using is what they always use.”

Click here to read more stories from the September 2021 issue of SCN.

SeaWorld San Antonio is celebrating the arrival of summer and the return of visitors to the park with the Electric Ocean Concert Series, a two-month live concert series included with the price of admission.

The Electric Ocean Concert Series, which runs through Aug. 1, boasts a diverse roster of popular acts including Everclear, Little River Band, Josh Abbott, En Vogue, Newsboys, Chris Jansen, Vanilla Ice, Jesse McCartney, 38 Special, Matthew West, Shelly Lares, Air Supply, and Blue Oyster Cult.

Shows are staged at the 3,000-seat Nautilus Amphitheater, which recently got a powerful audio boost in preparation for this year’s event. Systems integrator LD Systems designed and installed an L-Acoustics A Series-based loudspeaker system that actually increased the capacity of the open-air venue because the sound now covers every seat in the house.

According to SeaWorld San Antonio theatrical services manager Douglas Ferguson, the park already had a good track record with a previous L-Acoustics system that another certified provider supplied three years earlier. “SeaWorld owns an [L-Acoustics] ARCS WIFO system that was originally flown at our Bayside Stadium in 2018 for the summertime HydroPower Extreme FX Ski Show,” he said. “Since the Nautilus Amphitheater did not have its own dedicated system, we would occasionally bring Bayside’s WIFO rig over as needed for events and shows, but it wasn’t truly sufficient to cover the larger seating area. When planning for our Electric Ocean Concert Series, we knew that we wanted to install a rider-friendly permanent solution at Nautilus that would deliver full-venue coverage and eliminate the need to bring in a long-term rental system.”

[ Clear Sounds: Reinforcing Large Spaces for Intelligibility ]

Ferguson reached out to LD Systems sales engineer Jordan Pierce for assistance on April 19, and things progressed rapidly from there. “Jordan immediately collaborated with Marcus Ross at L-Acoustics, putting a design proposal in my hand within two days that met our tight timeline and budget, and we agreed to terms for the purchase on April 23,” Ferguson recalled. “The install began on May 24, and our first concert was held just five days later.”

The 180° fan-shaped amphitheater’s new system features a center array comprising four A15i (three Focus over one Wide) backed by two sub hangs of four KS21 each, while left and right arrays are each made up of three A15i (two Focus over one Wide). Single vertically-oriented A15i flank the subs for additional mains fill, while two vertically-oriented A10i flown outside of the left and right arrays deliver far out-fill coverage. Lastly, two Kiva II are deployed for added front-fill intelligibility, while six LA4X amplified controllers power and process the entire system, which was tuned by LD Systems audio department operations manager Thomas Ruffner.

The venue, located next to the park’s “Journey to Atlantis” ride, soft opened on Memorial Day weekend with eight shows by Garth Brooks tribute artist Shawn Gerhard, followed by Everclear officially kicking off the 18-show Electric Ocean Concert Series on June 5. All of the acts for the summer concert run are using the new L-Acoustics house rig.

Following the concert series, the venue will host a Halloween Musical Revue, Christmas-themed shows, cheer and dance competitions, and a host of other special events throughout in the year.

[ The Power of Immersive Audio ]

“SeaWorld San Antonio’s entire entertainment department has been ecstatic to hear Nautilus Amphitheater fully come alive, but more importantly, SeaWorld’s guests have thoroughly enjoyed the immersive sound and enhanced concert experience,” Pierce said. “In fact, this is the first time in many years that SeaWorld has opened up the amphitheater’s outer seating sections because the new system perfectly blankets the entire audience area with beautiful, high-SPL sound. The A Series’ ability to cover the venue without a tall array blocking sight lines made it fit in the curtain proscenium pocket well. Everyone has been extremely impressed with how nicely the low end fills the venue to the point that no performance group has needed supplemental sub enclosures. For many reasons—sound, coverage, budget—A Series was absolutely the way to go for this project. Its SPL for the money is astounding!”

Ferguson agreed: “The quality of sound and coverage of our new L-Acoustics loudspeakers have been absolutely phenomenal. Our goal with this project was to ensure that we had great venue coverage and depth. When LD Systems proposed the A Series, I was excited to get a top-notch P.A. that I knew would cover all the bases for years to come. I’m extremely impressed with the system we’ve received, its ability to meet the needs of all the talent, and most importantly the ability it gives us to grow and expand this concert series, along with many other events for many years to come.”

Recent L-Acoustics Installations

L-Acoustics K3 Makes American Debut at The Vermont Hollywood • RAT Sound Systems installs the first permanent L-Acoustics K3 loudspeaker system in North America in the newly renovated Vermont Hollywood multipurpose live performance venue.

Phoenix Suns Upgrade Arena Audio with L-Acoustics • Phoenix Suns Arena recently upgraded its audio with a new L-Acoustics Kara II loudspeaker system, installed in time for the 2021 NBA season.

While Willow Creek Continues to Stream Services, Beautiful Sound Flows Outdoors with L-Acoustics X Series • Willow Creek turned to Milwaukee-based Clearwing Productions to supply an L-Acoustics X Series loudspeaker package for its outdoor services.

Atlanta Church Installs L-ISA Hyperreal Sound Technology • Atlanta’s Mount Paran Church is the world’s first house of worship to install a sanctuary loudspeaker system built on L-ISA Hyperreal Sound technology.

L-Acoustics Sings With the Strings Under Conner Prairie’s Evening Skies • Each summer since 1982, countless music lovers in Central Indiana have flocked to historic Conner Prairie to hear the Indianapolis Symphony Orchestra perform its annual Kroger Symphony on the Prairie outdoor concert series. This past season, the ISO had a new sound thanks to an L-Acoustics K2 loudspeaker system complemented with Syva delays deployed by Mid-America Sound.

It’s safe to say, no other year in our lifetime was like 2020. We have all seen and heard of the many challenges companies have faced during COVID-19.

Working for a software provider for AV and live event suppliers, I’ve experienced firsthand the impact of COVID-19 on our industry. With more than 50,000 users across 70 countries, our data and daily conversations with users have allowed us to see the global impact on activities for the industry. What was the initial response from companies? Were companies able to keep afloat? Are there any longer lasting effects for companies after COVID-19? 

[The Integration Guide to AV in a Post-COVID-19 World]

I want to share some of these global trends with you and what we expect to see in 2021. The trends I'm sharing rely on activity indicators in Rentman's software, such as creating packing slips, call sheets, quotes, and invoices—as well as, planning crew. It should be noted that we are not looking at individual accounts or user data, only the average values of activity within the software. 

First Wave: Global Industry Shock

The first wave of COVID-19 was a hard hit for many companies. When restrictions around events were first introduced in March, we immediately saw activities drop to roughly two-thirds the normal level. However, there were still many quotes being created which gave us the indication that companies were still planning ahead with the belief that the restrictions would be a temporary problem.

[An April 2020 Overview of COVID-19’s Impact on Live Events Industry]

This view turned around in April. With little perspective and much confusion regarding government support, many companies were forced to cancel their accounts, in most cases because of bankruptcy. Among the companies that were able to survive, many downgraded their accounts due to redundancies of staff.

Finding New Revenue Sources

As the first wave continued and more countries went into lockdown, we expected to see activity decreasing even more. However, this didn’t happen. Instead we saw activities—such as packing and call sheet creation—start to rise slowly. This rise came from companies finding or growing other revenue streams in areas like live streaming, broadcasting services, and installations. These revenue streams heavily increased in demand as a large part of the workforce moved to working remotely. We also witnessed how innovative our industry can be, with new initiatives to help out governments, healthcare, and home-workers.

Smaller-Scale Projects

This shift in revenue streams, along with the restrictions on large events, also caused a change in the type of projects being planned. Event production businesses seemed to move away from planning complex, multi-day events to executing smaller-scale projects with fewer resources planned.

The Second Wave: Resilience of the Live Events Industry

Springtime showed us just how quickly the global event industry could come to a sudden halt. It took some time, but, over the summer months, activities and confidence slowly started rising again. The number of created packing lists, call sheets, quotes, and invoices being generated was three times higher compared to April.

In September of 2020, our users saw their busiest month since COVID-19 restrictions were introduced in the spring. More knowledge of the virus, safer ways to conduct business, and fewer government restrictions helped planning activities to grow. 

Europe entered its second period of lockdown in October, which was reflected in the decrease of activity numbers. However, the decline was less drastic than the one we had witnessed in the first wave. More knowledge on how the virus spreads gave way to more small scale events being allowed during partial lockdown periods. While most companies probably did not make a profit, the smaller events helped companies keep their heads above water.

Government Responses Important for Market Stability

Another differentiating factor for how COVID-19 impacted companies in different countries was government responses. In countries where there was a lot of uncertainty about government support, we witnessed more cancellations and accounts being put on hold. 

Out of the 70 countries we currently serve, we saw the most stability in Germany. German event professionals managed to get more done with a larger support fund from the government and much earlier exceptions for events in the national policy. For example, during the early months of the COVID-19 pandemic and its restrictions, Germany announced a €550 billion package which would also help the music and creative industries—the biggest aid package in the country’s post-war history. By far, this was one of the largest aid packages offered to companies affected by COVID-19 in Europe. 

As a result, Germany was the market that remained the most stable in terms of activity and with fewer cancellations. This highlights how important it is for local governments to react quickly, provide monetary relief, and offer perspective for affected companies. Something we witnessed around the world when event professionals called for support in various initiatives.

Crew Were Hit the Hardest

There’s no doubt that the COVID-19 pandemic has left a lasting impact on the industry. While we’re happy to see that many companies are still operational, the same can sadly not be said for a lot of individuals working in our industry. We have seen and heard from many professionals in the industry that finding jobs has become significantly harder. Some have even had to turn to other industries or jobs just to stay afloat. 

We can certainly see this impact in the numbers. Crew planning in Rentman is still at only 25 percent of what it once was. With ongoing restrictions on large events, many projects being planned are much smaller in scale and, therefore, do not require a lot of staff or freelancers. This has greatly reduced the crew planning activities in Rentman overall as well. 

Downtime Has Not Been Wasted

In every cloud, there is a silver lining. While this has been a very dark moment for the industry, we have also witnessed some positive trends that could be beneficial for companies and the industry as a whole. Apart from establishing new business services like live streaming and broadcasting services, companies also invested in improving their processes and organization.

Adopting New Cloud Solutions

Cloud software became a must-have during remote working so teams could keep up with changes and communicate more easily—this required software changes for some businesses. 

For other businesses, we saw this slow period finally give them the opportunity to implement new software. We saw larger companies (over 20 office employees) take the time to renew their business and update their inventory with new software. Larger companies typically have longer software procurement and implementation processes.

Optimizing Business Processes

We also saw our existing customer base use this time to learn new processes and to improve workflows. As part of these improved workflows, we witnessed a higher adoption of companies serializing their equipment. This optimized process gives these companies greater insight in the future of their equipment use. 

Similar adoptions happened with crew scheduling. Typically, planning crew is a process that is very labor-intensive due to the use of multiple communication tools and a lot of back-and-forth. While the number of projects being planned was going down, we witnessed a relative growth in the adoption of crew scheduling features. This rise was due to the fact that more companies adopted the crew scheduling and communication options.

What We Can Expect from 2021

In 2021, we can expect a more organized way of working. Time has long been the major limiting factor that held companies back from streamlining certain parts of their operations. With a lot of forced downtime in 2020, we saw that more and more companies in the industry took this time to improve their processes. Whether that means implementing a new software solution or simply automating existing processes, companies who used this time to improve will be even more ready for the busy season once events are back in full force. 

Fighting for Industry Visibility

We must continue to fight for industry visibility and local initiatives for government support in the future. We already saw with data how countries with more robust government support were able to maintain more stable activity levels. By fighting for support, we can hope to minimize some of the above impacts mentioned on the industry. 

Check out what local associations or organizations you can join to help. Together, we are stronger. 

The What: Bose Professional has unveiled the L1 Pro portable line array, the next-generation of its slender PA system technology. The first major overhaul to the line since Bose introduced the L1 17 years ago, the new L1 Pro systems aim to usher in a new era of on-the-go audio for a wide array of applications. 

The What Else: The new line consists of three systems—the L1 Pro8, the L1 Pro16, and L1 Pro32 with its choice of two subwoofers—all offering 180-degree horizontal coverage along with high clarity and tonal balance. A RaceTrack woofer design integrated into the L1 Pro8, L1 Pro16, and the Bose Sub1 and Sub2 modular subwoofers provides extended base response and less bulk, making the subwoofers easier to transport, carry, and fit onstage. Built-in multi-channel mixers offer EQ, reverb, and phantom power, while Bluetooth streaming capabilities and access to the complete library of ToneMatch custom EQ presets allows performers to play with recording-studio tonal quality.

Related: Bose on AV in the Post-COVID World

The Bose L1 Pro portable systems are complimented by the L1 Mix app, placing wireless control in the hands of users for on-the-fly tweaks. Performers can adjust mixer settings via phone or tablet from the stage, or even walk the room, hear how the mix sounds, and fine-tune on the go. Volume and tone settings can be changed in the app as well, with users able to watch the LED encoder move to match—the mixer and app are always in sync, in real-time. 

• The L1 Pro8 is the most portable model, weighing in at 38.9 pounds (17.7 kilograms). Well suited for shows in small venues such as coffee shops and cafes, the slim design allows performers to benefit from setup simplicity and clarity. The C-shaped line array features eight articulated 2-inch neodymium drivers, and180-degree horizontal coverage with wide vertical dispersion allows audiences to hear clearly whether seated or standing, and even off to the extreme sides in small to medium venues. The integrated 7-by-13-inch subwoofer features a high-excursion RaceTrack driver, which is engineered to rival the performance of a conventional 12-inch woofer with a smaller footprint.
• The L1 Pro16 balances power and portability, offering a streamlined system with high output and extended low frequency. Weighing 53.7 pounds (24.4 kilograms), it is well suited for DJs, singer-songwriters, and small groups performing in small-to-medium sized venues like clubs and bars, with users benefitting from portable system that offers extra room in a vehicle and on stage, alongside expanded bandwidth. Its J-shaped line array features 16 articulated 2-inch neodymium drivers, and 180-degree horizontal coverage, tight vertical control on top, and wide dispersion on the bottom covers audiences whether set up on the floor, an elevated stage, and even off to the extreme sides in medium-to-large venues. Its integrated 10-by-18-inch subwoofer features a high-excursion neodymium RaceTrack driver to provide the performance of a conventional 15-inch woofer. 
• The L1 Pro32 is the most advanced L1 portable line array, weighing 28.8 pounds (13.0 kilograms). The Sub1 and Sub2 modular subwoofers weigh 35.5 pounds (16.1 kilograms) and 51.7 pounds (23.4 kilograms) respectively, meaning even this top-of-the-line model is powerful and portable. With high clarity and output, the L1 Pro32 gives DJs, singer-songwriters, and bands a top-quality portable PA system with powerful bass for medium-to-large-sized venues and events such as weddings and festivals. Its straight line array features 32 articulated 2-inch neodymium drivers, and 180-degree horizontal coverage with the most focused vertical coverage pattern and highest SPL over distance in an L1—providing intricate sonic detail, clarity, and consistency, even off to the extreme sides in larger venues. It combines with the Bose Sub1 or Sub2 powered bass module via a single cable, and SubMatch connectivity is included for both power and audio. Users have the option to stack two Sub1 or Sub2 subwoofers for even more bass, or unleash Cardioid Mode for focused, directional performance that negates rear-firing bass energy, steering the bass out front, and reducing feedback.

Each L1 Pro system features a built-in mixer, allowing creators to connect various instruments, microphones, and other sources with ease. Two combo XLR-1/4-inch phantom-powered inputs, 1/4-inch and 1/8-inch (3.5 millimeter) aux inputs are included. Illuminated rotary encoders provide instant access to volume, tone, and reverb settings per channel. There is even the option to add in additional instruments and other audio sources via a dedicated ToneMatch port—one cable provides both power and digital audio between the system and an optional Bose T4S or T8S mixer (sold separately).

“The new L1 Pro family gives users an ideal balance of performance and control on stage and portability everywhere else,” said Craig Jackson, portable PA category manager for Bose Professional. “We took what our customers loved about the original L1 systems and focused on making improvements in almost every dimension. The L1 Pro family delivers more output and bass extension than ever before and doesn’t compromise on portability. We’ve expanded the I/O and integrated ToneMatch technology allowing users to quickly optimize the sound of their instruments and microphones. And with our new L1 Mix app complete control of all mixing functionality is available from your mobile device. We are excited bring the L1 Pro family to market and can’t wait for our customers to experience them.” 

The Bottom Line: These three new portable PA systems are designed to deliver the flexibility for a wide variety of styles and audiences, and provide a solution for creators reintroducing live music and sound experiences into venues and online platforms. The ultra-portable L1 Pro8 is best suited for intimate spaces; the more powerful L1 Pro16 performs in small-to-medium spaces; and the peak-performance L1 Pro32 is a top-level portable system for entertaining large audiences.

The L1 Pro portable line array systems will be available starting October 2020.

Dan Dugan, the inventor of the automatic microphone mixer, will be awarded an Emmy at the upcoming 72nd Engineering Emmy Awards. His award, for “Outstanding Achievement in Engineering Development,” honors his invention of gain sharing automixing technology and will be presented in a live-streamed ceremony on Thursday, October 29.

In a press release issued earlier today, the Television Academy said “Engineering Emmys are presented to an individual, company or organization for developments in engineering that are either so extensive an improvement on existing methods or so innovative in nature that they materially affect the production, recording, transmission, or reception of television.” Nine companies and five individuals are being recognized this year.

Related: AV Technology Names Best of Show Special Edition Winners

“The idea for automatic mixing technology came to me about 50 years ago when I was a sound designer for live theater,” Dugan said. “While watching an operator struggle to manage a large number of microphones, I thought ‘there has to be a better way.’ It took a few years of subsequent research and design work in my lab, but the gain sharing automixer was the result.” 

The gain sharing technology invented by Dan Dugan enables everyone to be heard at the right time, and it does so much more quickly than a human operator could. Overall system gain is held at the level of one microphone, regardless of who is talking or how many people are trying to talk at once. The result is fast, transparent crossfades without upcutting, choppy sound, or shifts in background noise. Connection is simple: microphones are connected, channel gains are set, and the automixer takes care of following the action. The operator is then freed up to focus on the quality of the mix rather than trying to ride herd on multiple faders at once.

Dugan hardware products, which patch into existing sound consoles, and the licensed Dugan algorithm in other manufacturers’ products (such as those made by Sound Devices, Yamaha, and Waves) improve audio quality in broadcast news panels, sports commentary, talk shows, corporate meetings, political debates, distance learning, live theater, and other applications. 

“It’s such an amazing honor for me to receive an Emmy for my invention,” Dugan said. “This recognition is, without a doubt, one of the highlights of my life. I’ll be thanking a lot of people in my acceptance speech for their unflagging support and inspiration.”

The 72nd Engineering Emmy Awards will be presented on Emmys.com Thursday, October 29, at 5:00 PM PDT.

The What: Waves Audio is now shipping the DSPRO StageGrid 1000, a Waves SoundGrid-compatible stagebox. DSPRO, located in Porto Alegre, Brazil, is a developer and manufacturer of innovative and high-performance products for the professional audio market, including PA, broadcast, mobile units, and installation.  

The What Else: The DSPRO StageGrid 1000 is a compact I/O device for Waves’ eMotion LV1 live mixing systems, with eight mic/line ins, four analog out and AES/EBU ins/outs, all digitally controlled. Use this versatile unit close to your mixing console to add more inputs and outputs at FOH or monitors, or on stage in order to add more inputs and outputs for stage performers. 

Related: NFL Weekly Broadcasts on FOX Powered by Waves Plugins

With eight digitally controlled mic/line ins, four balanced analog outputs, and an AES/EBU stereo I/O, this 1U rack unit offers a balance between size and functionality, delivering no-compromise sound quality and reliability.  

The Bottom Line: This rugged and road-ready StageGrid 1000 unit is powered by the same audio interface as the larger DSPRO StageGrid 4000, making the DSPRO StageGrid family well suited for the most demanding live mixing environments. StageGrid 1000 is fully compatible with Waves’ SoundGrid ecosystem. It interfaces with SoundGrid hosts and network components to make up a modular, scalable audio distribution infrastructure, which can process multichannel audio at ultra-low latency using Waves’ plugins.  

The What: Shure has temporarily removed all in-app purchases from ShurePlus Channels for iOS. Since 2014, ShurePlus Channels has enabled RF coordinators to freely move around venue spaces, providing remote, real-time precision monitoring and control of Shure wireless systems. 

The What Else: With the ShurePlus Channels app, setup is designed to be quick and easy. Users connect over Wi-Fi to automatically discover and connect to compatible Shure-networked hardware. The remote control of wireless channel settings can now be added for free. Unlock the feature for each compatible product family to adjust frequency assignments, audio gain, muting, and more. When combined with ShowLink Remote Control for Axient Digital systems, transmitter and receiver settings can both be adjusted simultaneously.

Related: The Technology Manager's Guide to Networked Audio 

“As a way to alleviate additional costs for Shure wireless users, we are temporarily removing all in-app purchases for ShurePlus Channels,” said Corey Peoples, global product manager, Shure. “It’s more important than ever to understand and respond to the industry needs right now, which is why we listened to customer feedback and decided to remove in-app purchases until further notice.”

The Bottom Line: With ShurePlus Channels, users can monitor critical channel information, including audio levels, RF signal strength, and battery life with compatible wireless systems such as Axient Digital, Axient, UHF-R, ULX-D, QLX-D, and PSM 1000.

Visit the Apple App Store to download ShurePlus Channels for iOS. New users will be charged $0.00 when proceeding through the purchasing process to edit gear.

One of the most interesting innovations in audio over the last decade has been the ability to create immersive, 3D soundscapes, with integrators and artists collaborating, experimenting, and innovating with specialist manufacturers to push the envelope of possibilities. 

A 3D Canvas

One such example is the new Pase Platform facility in Venice, Italy, a collaboration between Omri Revesz Design, Zerozoro graphic design, Lawo—German designers and manufacturers of network, control, audio, and video technology—and loudspeaker and amplifier manufacturer d&b audiotechnik, also from Germany. Technical support was provided by installation specialists MediaCare, and Italian rental company BH audio, which specializes in classical, contemporary, and jazz production work.

Related: The Latest in 3D Audio

Pase is a permanent installation housed in a 70-square-meter modular pavilion in an old Venetian building that is configured according to the artistic necessities and techniques of the hosted productions. It’s an ongoing experimental project for artists who want to explore new ways of using sound, allowing them to experiment with the creation of soundscapes. 

The installation was conceived as a working platform for artistic experimentation, mainly for sound production, where advanced technology—such as Soundscape by d&b audiotechnik, powered by 24 d&b loudspeakers—is a key element. Pase celebrates this production technology with the use of a motorized height-adjustable ring, made from black powder-coated steel profiles, equipped with a cluster of lights, strobe, a fog machine, and a mixing desk—transforming the space into a high-tech sound production machine.

The Lawo mc2-series console serves as audio mixer and remote control for the d&b Soundscape immersive live audio technology solution, allowing the sound engineer to remain in the sweet spot. Powered by the DS100 Signal Engine—a revolutionary audio system processor based on a powerful Dante-enabled signal matrix—the d&b Soundscape provides unparalleled creativity through its two software modules, En-Scene and En-Space.

“Our go-to solution for great performance is always the combination of Lawo, d&b loudspeakers, and Soundscape,” said MediaCare owner and BH audio associate Massimo Carli. 

“First of all, it's worth mentioning their reliability, [but] what is also important to us is their adaptability to any situation. Soundscape and the Lawo mc2 consoles really are customizable and straightforward to use, even for people with very little experience. Having a good setup from the start means being able to provide the artist with anything he might need on the go, which is sometimes vital.”

The process of creating these 3D sound environments largely depends upon the technology that is being deployed, according to Carli, and in this case d&b Soundscape relies on wave-field synthesis, or WFS.

“This technique (through En-Scene software) places virtual sound sources or 'objects' in real space,” Carli said. “You cannot trace back the origin of sound to the loudspeaker. Another interesting feature of Soundscape is the En-Space software, which can be used to bring the room acoustics of a place in another. These two characteristics allow great creativity for an artist. 

“Together with a Lawo console and its integration with Soundscape, the whole workflow is straightforward and intuitive, which means artists can get a handle of the system quickly, making residencies an easy solution.”

An Immersive Festival

Lawo, d&b audiotechnik, MediaCare, and BH Audio also teamed up to work on an intricate 3D audio setup enabling music festival organizers to transform a trade show venue with notoriously bad sound into a concert hall for Italy’s 2018 Ravenna Festival, which took place in June and July of that year in the city of Ravenna.

The Ravenna project started out as a request for a Lawo mc2-series mixing console and then evolved into a project utilizing d&b Soundscape to recreate concert-hall sound at a venue built for trade fairs. The solution was so well received by festival organizer Riccardo Muti and his wife, it was later also used in a number of opera houses, in an attempt to allow singers to remain within a comfortable level range.

BH Audio had, for the previous three years, used the combination of the d&b/Lawo platform for critical trials ahead of d&b Soundscape’s official launch at ISE 2018. Massimo Carli used this expertise to inform his work on the Ravenna Festival system setup. 

Heading up the Ravenna project, Carli chose Lawo’s IP audio-capable mc236 console for front-of-house mixing, as he had previously been convinced of its adaptability during a Verdi Festival staged at the Farnese Theater in Parma.

“After three weeks of rehearsal [for the Verdi Festival] the producers wanted multi-track recordings to be made,” Carli said. “This was easy, using two recording systems connected to the console through Ravenna [RAVENNA/AES67 Virtual Audio Device by Merging Technologies].

“Then I was asked to add all the intercom and dressing room calls for the singers and choir—this was possible using only the desk’s channels and internal matrix. One day, immediately before the general rehearsal, I was asked to send sound to all the rooms in the theater. The mc236 made it possible to meet all the requests without problems—it was very easy, and very fast. With other live consoles that we have in our warehouse, it would have been much more complicated, and I probably would have needed additional equipment.”

With regard to the Ravenna Festival itself, Carli said that using RAVENNA/AES67 ensured a “very clean” setup: “From the mc236, I can send 44 direct outs and 20 post-fader AUXes to the Soundscape DS100 processor via one of its three RAVENNA/AES67 ports. And I send the DS100 outputs to the AES/EBU outputs of the Lawo Stagebox directly to the various loudspeakers. We also used a tracking system through the network to dynamically transmit the correct position of the singers to the DS100.” 

Introducing the mc236 to the Ravenna Festival simplified the sound setup compared with previous years, as it required only the console and Lawo Compact I/O Stagebox in addition to the d&b DS100—connected using Cisco switches via RAVENNA/AES67. Previously, it had required an analog console with AES/EBU A/D converters, a format converter, an audio matrix and a multicore, delivering an AES/EBU output to the amplifiers.

“The mc236 gives you endless possibilities of preparation for your layout, and you can change and modify it really easy and quickly without interrupting the sound or going into ‘dangerous’ operation,” Carli said. “With most of my jobs, you have to add channels or change routing or something right up until last second—or even during the event itself. With mc236, it is never a problem.”

When it comes to the next wave in live, experiential sound, Carli and Giulia Nicosia, assistant sound engineer at both MediaCare and BH audio, both believe that 3D or spatial audio is currently experiencing its “peak moment.”

“Most companies that work in the audio business have now concentrated on this technology,” Nicosia said. “What I personally find most interesting about its possibilities is that this kind of technology is capable of being in the spotlight, actively being part of the artistic process, and also being hidden—by using it to make the whole PA disappear resulting in a sound that is extremely natural. All the nuances between these two results make this technology extremely valuable today and in the future.”

As to the future, Carli added that there has been a definite increase in the demand for more realistic and high-quality audio reproduction in recent times, and he expects this to inform what comes next—even in these challenging times where social distancing is making technological installations more difficult to facilitate. 

“Especially in these trying times for the industry, we've been asked to provide content via internet, but the general feeling is that this will stay after the crisis. Therefore we are working toward high-quality, natural-sounding streaming, and this requires the right tools in order to be able to provide feeds to two independent, completely different kinds of content transportation—assuming that you cannot just double your console and staff. For these two objectives we are again still working with Lawo and Soundscape to provide the best listening experience possible.”

German audio technology and solutions company d&b audiotechnik has announced a series of free educational sessions across Zoom and Instagram. The daily webinars, along with weekly live Instagram sessions, provide free interactive and informative content hosted by DJs, front of house engineers, technicians, industry experts, as well as d&b product specialists.

[Powersoft Announces Extra E-Training Courses]

“At d&b, we have increased our focus on creating digital content for our customers and partners,” said Amnon Harman, CEO d&b audiotechnik. “We’re delighted to offer these free resources to help the pro audio industry connect and further their knowledge during this difficult time. Our message remains the same: we will get through this together and right now, that is from our living rooms.”

The sessions will cover a variety of topics across d&b product ranges, including Soundscape and SL -Series. Sessions will be offered multiple times a day in English, French, Mandarin, and Spanish to accommodate customers around the world.

Upcoming Online Webinars:

April 9 —Making Decisions in ArrayCalc

April 9 —Why AP is absolutely not about making it "equally loud everywhere"

April 9 — SL-Series Introduction w/ ArrayCalc and R1

April 9 —- d&b Sketchup Plugin best practice

April 10 — Line Array Theory

Webinar Courses are updated daily. For more information and to register for the sessions, click here. 

Upcoming Instagram Live:

Thursday, April 9 [1:00 PM ET]:  d&b Advanced System Specialist Nick Malgieri will be chatting to Audio Technician Kevin Sweetser.

Nick and Kevin will discuss the d&b Soundscape installation at Dinkelspiel Theatre, how the venue is using “dual Soundscapes” to create a unique experience for both the performers and the audience, changing the live experience. There will also be an opportunity for viewers to ask their audio questions.

Instagram Lives are held weekly so be sure to follow @dbaudiotechnik_gmbh to be notified.

Visitors to Arcadia Earth can’t help but feel at one with the assortment of environments represented in the art installation’s 15 rooms in Manhattan’s NoHo district, ranging from the depths of the sea to the tops of glaciers. They will also be touched by the dangers posed to each from climate change, from overfishing and plastic pollution to deforestation, as envisioned by environmental artist Valentino Vettori. 

[Focusrite RedNet Components Employed at Intel Extreme Masters Championship]

But what brings it home emotionally is the score and ambient sound created by Dave Hodge of Finger Music, with specific music and sound design for each of the rooms, delivered subtly but powerfully. The audio is riding on a networked backbone with components from Focusrite’s RedNet range of Dante-networked audio converters and interfaces. Four RedNet A16R 16-channel analog I/O interfaces provide 119dB of 24-bit/192-kHz dynamic range thanks to AD/DA conversion, to cover the exhibition’s 13,000 square feet over two floors. Bond Applied Technology served as installation partner, assisting with the wiring and other technical aspects of the job.

“We couldn’t have accomplished this without RedNet,” said Hodge, who serves as creative director and partner at Finger Music, as well as the sound designer and music consultant for the project. “We have two channels of full-range audio per room, played through either two or four speakers per space. There’s another 32 channels of ambient sound that plays throughout the entire installation on tiny speakers embedded in the walls, holding it together with a kind of audio backdrop. All of that is being distributed from Ableton Live, using Dante Virtual Soundcard and a total of four A16Rs, which is performing flawlessly, and which sounds fantastic.”

Arcadia Earth’s audio, developed by Finger Music, which provides custom musical solutions from its offices in London, New York and Los Angeles, is as diverse as the world it portrays: in an “underwater” space, visitors observe shrinking coral reefs, while in another a cave made from 44,000 recycled plastic bags—the number of bags used in New York state every minute—reminds them of humanity’s role in the ecosystem. “The sound for each room is very specific, but we also knew that there would be some bleed between rooms, especially because of the subwoofers,” said Hodge, who added that even the music’s key signature changes were carefully chosen to keep the transitions between rooms seamless. 

“Our install partner Bond Applied Technology and I did the mix for it in stages, as we walked through the installation controlling the Ableton Live mix on an iPad, getting it just right for each room and in between. After that, the RedNet system brings it to each space and really connects it all together. It’s a complicated installation in an unusual location and the sound has to be just right in each space. RedNet has the capacity and the quality that let us achieve that.”

In our series of #RoadtoISE blogs, we're talking with exhibitors about the hottest technologies and trends they're looking to see at ISE 2020.

Q&A with John McMahon, Senior Vice President of Sales & Marketing, Meyer Sound

Q: Why ISE 2020?

John McMahon: ISE has been perhaps the single most important trade show for Meyer Sound for several years, and each year we aim to make our presence there bigger and better than the last. ISE is where we have had exciting new product launches and given the pro audio industry a first listen to these products. We look forward to introducing what we have been working on in the past year as well as engaging with and expanding our global network, which sets the stage for a great year to come.

Q: What is the most exciting trend you expect to see at the show?

JM: Throughout 2019, we collaborated with the Avnu Alliance and the Milan workgroup in developing the Milan protocol with AVB technology, with our GALAXY processors becoming one of the first certified devices. It will be great to see more Milan-certified and compliant products emerge at ISE and later on into 2020. With more of these products, we will get closer to achieving our industry-wide goal of interoperability, reliability, and functionality across all AV devices.

Q: How will your solutions inspire integrators?

JM: At ISE 2020, we will be introducing new members of the ULTRA Family, which we launched last year with the ULTRA-X40. Integrators can expect more compact, lightweight solutions with the same power, clarity, and ease of use of all Meyer Sound products. Everyone is invited to our offsite demos to experience these new products along with existing ones, as well as to learn more about the varying applications our solutions offer.

Q: How will your solutions inspire tech managers?

TK: I think what we can offer tech managers is a unique combination of products, technology, and support. Tech managers are busy people, and many come into their positions with backgrounds in video or IT, not audio. So they rely on people who can guarantee a complete, appropriate, and reliable audio solution, from design through commissioning, and continuing technical support. We believe Meyer Sound continues to set the industry standad in that regard.

To learn more, visit Meyer Sound in Stand #1-M90 at ISE 2020.

To read more ISE 2020 stories, visit avnetwork.com/tag/ise.

The What: Waves Audio is now shipping the Waves SuperRack, a plugin processing software for live sound and broadcast engineers. This plugin rack lets users run up to 128 audio channels through multiple instances of Waves plugins with near-zero latency and offers customization options designed to make it easier for users to tailor the application to their mixing workflows.

The What Else: SuperRack operates in a SoundGrid Audio-over-Ethernet network, processing audio on a dedicated SoundGrid DSP server, which moves plugin processing from the host computer to an external DSP server in order to increase plugin count, minimize latency, and enable the host and I/O devices to be far apart from each other while accommodating the most complex setups.

Features include the ability to view and control multiple plugin instances simultaneously on a multitouch-friendly graphic interface. Users can expand their workspace to up to four monitors, tweak small plugin parameters with a “Touch and Slide” fader, and quickly access up to 12 plugins per snapshot via the Hot Plugins panel. It enables users to map application and plugin controls to MIDI and computer keyboard for quick hands-on access, switch inputs and outputs while maintaining processing chains, adjust multiple racks simultaneously with the “Linking” function, share SoundGrid I/Os in a network to build complex setups, and selectively recall snapshots via extended scope filter. SuperRack features comprehensive device and network monitoring, advanced latency alignment management, and host mirroring (DiGiCo) and DSP server redundancy.

The Bottom Line: SuperRack is designed as a natural extension of a mixing console, engineered from the ground up for quick setup time, flexible touch-friendly workspace, and enhanced workflow customization. FOH, monitor, broadcast, and AV engineers can now run plugins in real time, customize their workspace with floating windows, set extended-scope snapshots, and run live shows with more agility.  

Indiana Jones sprints through the crumbling temple as the heroic soundtrack heightens the tension and thrill of the moment. But the music isn’t coming from a recording, and you aren’t in a movie theater. You’re in a concert hall, with a full orchestra churning out every hair-raising note to the classic theme, in sync with scenes from the film projected on screens all around you. And leading the musicians at the center of the stage is none other than legendary composer John Williams himself.

This is just one of many extraordinary events that Miami’s New World Symphony (NWS) has hosted in recent years as the organization strives to bring classical music into the 21st century. Since moving into the New World Center, a $160 million, Frank Gehry-designed concert hall in South Beach in 2011, NWS has married cutting-edge AV over IP technology with the timeless art of symphonic music like no other organization in the world.

“New World believes that the future of music rides on being much more involved with the technology of today,” said Dan Slentz, chief video engineer at NWS. This extends outside of the space as well: the adjacent public SoundScape park allows visitors to experience the performances within the hall on a 100-by-75-foot projection wall, with a Meyer Sound Constellation audio system enveloping listeners in more than 160 discrete channels of audio.

“The audio that’s reproduced out in the park matches physically where you would be inside if you would be watching the orchestra,” Slentz said. “And visually, to tie all of that together, we overlapped three 35,000-lumen 4K Christie projectors for one big, bright, ultra-high-def image.” Called a WALLCAST, these performances draw huge crowds over the course of a nine-month concert schedule. 

And, believe it or not, it’s all about to get even better: the facility is finishing up on a major tech upgrade that will bring all of the facility’s cameras and projection systems to native 4K60 with HDR, with signal transport based on 12G-SDI.

Upgrading to 4K

Slentz and his team began on the path to UHD four years ago, when it first installed its current Christie projection system. At the time, however, there was no system robust enough to distribute 4K throughout the facility at the quality they wanted. So, though the projection system for WALLCASTs uses 4K projectors, the image feeding them was 1080p30 from the facility’s Grass Valley Kayak switcher that was up-converted to UHD using an AJA Video Systems FS4 frame synchronizer and converter.

Embracing IT innovations for AV applications

“The FS4 also took the HD and spit it out as Quad Link,” Slentz said. “For this upgrade, we really didn’t want to do Quad Link, and there were significant issues and challenges with trying to do 4K over IP, and there still are today. So, we were kind of waiting for the people to get together and come up with a really good 12G solution that didn’t compromise cutting all of your resources down to one quarter.”

Then, last summer, Slentz found out about a new 12G switcher and router from FOR-A. He and his team took a trip to Tokyo to visit the company and see it in action at Fuji TV. “That’s what brought us to, ‘OK, technology has finally caught up; it looks like we can do almost everything we want to do under 12G,’” he said.

1Gb vs. 10Gb Ethernet: Which is right for your AV network?

Slentz produced initial high-level designs and put the project out for bidding. Systems integrator Diversified responded and produced a nearly complete set of drawings that the NWS team used to make a direct purchase from FOR-A. “They were extremely great to work with, and a couple other companies had made recommendations, and we worked with those,” he said.

Ultimately, the team went with a different integrator for the installation: Enlighten Digital, a small firm based in Orlando, FL, which by the time of publication should be finished executing the upgrades.

A Dynamic System

The heart of the upgrade is the facility’s new HVS-6000 switcher from FOR-A, which supports 64 inputs and 48 outputs (it can also be configured to run at 80 in, 32 out). “We’re filling it up with three M/Es and really populating it heavily,” Slentz said. The team also settled on FOR-A’s multiviewer and 144-square router.

The upgrade process was a lengthy one, in part because the new distribution system required the wholesale replacement of the facility’s infrastructure. “Under 12G, the you don’t want any of the old 3G HD stuff near the 12G,” Slentz said. “You just want to dump it and do everything in 12G. So, we scrapped everything. We went from analog and AES to RAVENNA at the same time, so that’s a big part of the upgrade as well.”

The basics of AV over IP infrastructure

The NWS overhaul also extends to the video sources. Two years ago, they purchased a dozen Hitachi 4000 4K cameras, put lenses on them, and put a few of them on Telemetrics robotics for control. “Within the concert hall we have 13 Hitachi broadcast cameras in 4K,” Slentz said. “In this upgrade, we’re adding six more Panasonic PTZs, which are very small, so they can go on the stage and catch performers and sit near the instruments.”

They’re also adding another eight Panasonic PTZ cameras into the SunTrust Pavilion, which Slentz describes as a “medium-sized TV studio” on the building’s first floor. “One of the cool things about this HVS-6000 switcher is we are actually dropping a secondary switching panel in our control room on the first floor and tying everything together through our tech core, our central equipment room,” he said. “So, ultimately, we have the ability to run 30 4K cameras—and we will have 28 all wired and ready, and two we can move around. And we can switch them from either location.”

Installing AV over IP systems today affords future expansion possibilities

The overall 4K output can be fed not only to the outside projection system, but inside the concert hall as well, where 14 Christie Roadie HD30 projectors create an internal immersive viewing area surrounding the orchestra. 

Next Measures

Technology continues to march onward, and since the installation of the current projection system in 2015, new and better options have emerged. “We’re looking at upgrading 16 projectors next summer to 4K laser, and that will bring us up to the absolute cutting edge, which is what our CEO and the upper-level people here want us to be,” Slentz said. Newer projectors will also enable the presentation to run at 60Hz and in high dynamic range.

This cutting-edge approach has attracted notice around the globe. “Technology people come from all around the world,” Slentz said. “It’s great because you get to meet some really smart people, and they want to see what New World is doing so that they can do something similar.” The Berlin Symphony and New York Philharmonic have both visited NWS to see what’s possible with advanced AV. “We tend to be extremely open and transparent, and share everything we can with anybody who wants to see what we did right and what we might have done wrong.”

And, fortunately for Slentz, the NWS philosophy of striving for the ultimate technological capability gels well with his own ambitions. “Everything that we do, we push it to the technology envelope, even a little bit past my own comfort level at times,” he said. “Which is good, because it’s a challenge.”

Read More:

Miami Venue Upgrades Immersive Concert Experience with 4K

Lectrosonics Deployed at New World Center

Achieving audience engagement is top of mind for anyone tasked with staging a production, whether it’s a corporate event, a theatrical performance, a concert, or a worship service. Audio, of course, plays a significant role in keeping people interested; when people can’t hear what’s taking place on stage, they get frustrated, and eventually they zone out. Preventing this grows more complicated in larger spaces where there is more seating, and therefore, more people to reach. Audio technology developers continue to invest significant time and money in designing solutions that are capable of delivering high-quality reinforcement to every seat in the house. 

“[During the last] 25-plus years, most large venues have [had] a left and right PA, and maybe front fills,” said Tim Corder, director of strategic accounts, house of worship at Diversified, a global technology solutions provider headquartered in Kenilworth, NJ. The problem with this, he argued, is that the majority of the audience hears only one of those two arrays and the solution has been to pan the mix straight up the middle of the room. “Essentially, it’s a dual-mono PA.”

Corder believes that multi-channel sound design—which involves multiple hangs of speaker arrays across the front of a space in the interest of creating a wider sound stage or more coverage—is the next frontier in audio for large venues. “I think potentially the most transformative revolution in live sound is the shift from trying to create an incrementally better PA that has an extra 10Hz of bandwidth, more headroom, or whatever the case may be, to: how do we create a more engaging experience for our audiences?” he said. “A lot of speaker manufacturers are suggesting that the adaptation of more multi-channel live sound design is the next big thing.”

Serving Distributed Audiences

Establishing and maintaining audience engagement becomes even more complex when producers must consider not only a live audience, but those watching and listening to a broadcast. Last spring, the TED Conference—which features high-profile presenters from all walks of life sharing new perspectives and ideas on a wide range of topics—signed a multi-year contract with Meyer Sound, a loudspeaker manufacturer headquartered in Berkeley, CA, in part to address this issue. This new relationship officially began with TED2019, which was held at the Vancouver Convention Centre in British Columbia, Canada.

The auditorium where the bulk of the presentations took place is a 1,200-seat wrap-around theater. The audio quality had to be crystal-clear and consistent, both for the live audience as well as the simulcast and recording. “The last thing I want to do is call the front-of-house mixer and say, ‘You’re in my way, turn it down,” said Michael Noonan, TED audio lead and director of broadcast audio, “so we have to find ways to deliver a compelling audio experience to the live audience, to make it as rich and transparent as possible for them, yet still make it seem like there was no PA in the room for the broadcast sound. And that’s critical for the speakers, because so much of their personality, so much impact of what they are saying is wrapped up in the tonality and dynamics of their voice.”

For TED2019, the system featured 32 Meyer Sound LEOPARD line array loudspeakers with three 1100-LFC low-frequency control components to boost deep bass. Forty-four MM-4XP miniature self-powered loudspeakers served as front fills and foot fills. TED Under the Stars, the conference’s standout simulcast venue, was designed as an immersive experience featuring birds, crickets, a babbling brook, and a crackling campfire, all assembled with a D-Mitri digital audio platform that used 24 playback channels of Wild Tracks. The venue incorporated lighting, projections, set pieces, and an immersive audio system comprised of 16 Meyer UP-4slim loudspeakers, each pole-mounted on an MM-10ACX subwoofer.

Planning for Flexibility

During a recent audio system upgrade at The Grove Community Church in Riverside, CA, the goal was to better accommodate the house of worship’s shift to contemporary praise. CCI Solutions, based in Olympia, WA, designed and integrated a new system comprised of 11 L-Acoustics Kara(i) loudspeakers. Eight SB18i subwoofers are flown in a central horizontal array between them. To provide coverage to the seating on the far left and far right of the room, CCI installed twin arrays of six Kiva II loudspeakers. KS28 subwoofers are ground-stacked, two per side, under the stage thrust, and several X8 and X12 enclosures provide fill. Six LA8 amplified controllers power the Kara/Kiva II and SB18i units, an LA4X powers the fills, and an LA12X drives the KS28s.

Mark Pearson, project lead at CCI Solutions, noted that the subwoofer design, which incorporates two different models, is capable of supporting varied programming. “The flown SB18s are being run with the full range of the system as an LF extension to the Kara/Kiva II, and then the KS28s are switchable between being run with the system and run from an aux off the console,” he said. “The method in which we designed the sub system is to create a more efficient use of the subs to complement The Grove’s contemporary worship style. It comes down to flexibility. The church doesn’t necessarily need a lot of punch for weekends, but they want the ability to have it whenever they want.” 

Thinking Forward

For tech managers overseeing large-venue sound reinforcement installations, Corder advises thoughtful planning up front. “It’s important to have very clear expectations, and to manage those expectations between the manufacturer, the integrator, and the client so that we best maximize the client’s budget and so that we are also best able to harness these tools to solve the client’s problem,” he said. Adopting the latest and greatest just because it’s possible will probably not produce the desired outcome, he said. “Cool for cool’s sake, oftentimes, does not represent the best investment. Because of that, it’s even more important for us to be very clear on the ‘why’ and the ‘what we’re trying to solve’ before we start trying to answer the ‘how’ question.”

Sounding Out

Bose Professional recently introduced its line of ArenaMatch DeltaQ and ArenaMatch Utility loudspeakers, designed for large outdoor deployments. Bose’s DeltaQ technology enables directivity—or “Q”— to vary in each speaker module, resulting in more precise coverage, according to the manufacturer. Modules come with 10-, 20-, or 40-degree vertical coverage and field-swappable horizontal waveguides (either 60, 80, or 100 degrees), providing nine different coverage patterns. The result: the ability to produce asymmetrical coverage patterns, reduced module counts (which translates into improved sightlines), and fewer speaker modules.

Sounding Even

Released last year, d&b audiotechnik’s GSL12 and GSL8 line array loudspeakers were designed for large audio applications. Delivering a 120-degree constant directivity dispersion pattern in the horizontal plane, up to 24 GSL12s can be flown in vertical columns. In the GSL8 are two 14-inch neodymium forward-facing LF drivers and two side-firing 10-inch neodymium LF drivers. Two channels drive the loudspeakers—one powers the 14-inch drivers while the other powers all of the other passively crossed-over components, resulting in consistent and accurate horizontal dispersion. 

Carolyn Heinze is a freelance writer/editor.

More Info:

www.diversifiedus.com 

www.thegrove.cc 

www.l-acoustics.com

www.meyersound.com 

systems.ccisolutions.com 

pro.bose.com 

www.dbaudio.com 

The What: DPA Microphones will debut its new 2028 Vocal Microphone for live performance to the U.S. pro audio market at AES 2019 (Booth 633). 

The What Else: Offered in three variants—a wired XLR handle and two wireless configurations—the 2028 features a brand-new fixed-position capsule, as well as a specially designed shock-mount and pop filter. With the expected wear and tear that comes with live performances, both the outer grille and the inner pop filter of the 2028 can be detached and rinsed. Additionally, the 2028 exhibits a supercardioid polar pattern, with the DPA uniform off-axis response. This gives the microphone a very high gain before feedback and makes it easier to handle bleed from other instruments in close proximity, picking up sound in a natural way. 

“DPA continually strives to provide the most advanced technology and best sound possible to meet the growing needs of current and potential customers,” said Christopher Spahr, director of sales and marketing, DPA U.S. “From churches to concerts, DPA is proud to offer ground-breaking solutions that continue to push the limits of modern technology.” 

The Bottom Line: The 2028 Vocal Mic is well suited for live stage performances, broadcast, and pro AV applications. On a live stage, the 2028 delivers the same sonic qualities as DPA’s other microphone solutions and needs no (or very little) EQ to sound just like you are standing next to the singer. 

Barbra Streisand performed two shows in early August: one at Madison Square Garden in New York City and the second at the United Center in Chicago.

CLAIR Global (Lititz, PA) and Carlton Audio Services (Miami, FL) have provided audio production for Barbra Streisand for the past 13 years. “d&b audiotechnik became a part of the design in 2007 when the late Bruce Jackson asked me to provide a solution to the VIP seating on an outdoor European tour, and so I chose the best in d&b loudspeaker systems available at that time,” said sound designer and front of house engineer Christopher Carlton. “I chose the lightweight d&b Q1 system that was flown as center fill. To this day, we continue to use d&b V-Series for all delays and fill areas, including Barbra's side fill monitors.”

Carlton took over the reins full time as both sound designer and front of house engineer after the passing of Jackson, Streisand’s long-time front of house engineer, in 2011.

“We have used delay loudspeaker systems for every Barbra arena tour since 1994,” said Carlton. Recently, the production team asked if these could be eliminated because of logistics. With the development of the d&b SL-Series GSL system and the application of ArrayProcessing, all models showed very good coverage without the use of delay arrays. KM Productions of New York City provided the d&b GSL system for the two August shows. Carlton’s company, Carlton Audio Services, supplemented with d&b J-Series and V-Series for 180˚ and 270˚ systems, center fill, and side fill monitors.

The sound system configuration consisted of a combination of 16 GSL8 and GLS12 loudspeakers per side for main arrays, a combination of J8 and J12 for the side arrays (14 boxes per side) and V8 and V12 for the rear arrays (10 per side), 6 x Y10P point source loudspeakers for front fills, and V10P for corner outfills. d&b GSL SUBs were used as auxiliary cardioid subwoofers in a horizontal ground array. d&b D80 amplifiers powered the entire system, utilizing ArrayProcessing on all flown arrays.

CLAIR Global utilized DiGiCo SD10 consoles for front of house and monitor mixing in an Optocore loop, along with two SD-Racks with 32-bit I/O and a DiGiCo Orange Box to provide Dante to the Aviom monitor system for the band. The Clair stage monitors were custom designed by Bruce Jackson and Ron Borthwick of CLAIR Global. The 14-piece band, including drums, percussion, bass, guitar, sax/flute, three keyboardists, musical director/pianist, three violinists, viola, and cello all used personal Aviom mixers. Three background vocalists completed the legend’s ensemble.

“The proprietary stage monitors that were custom designed are still relevant as very hi-fi alternatives to the usual,” said Carlton. Crown amps power TAD 1601 LF, ATC soft dome midrange devices and Morrel tweeters. Ms. Streisand uses an Audio-Technica 5400 Artist Elite RF microphone system, and miniature DPA microphones are used on strings, piano, and acoustic bass with a wide assortment of mics covering the rest.

“The GSL is a very smooth and warm sounding system,” said Carlton. “Both shows went very well; Barbra was really happy with what she was hearing back on the stage. She doesn’t use in-ear monitors so the mix between stage monitors and what comes back off of the PA is very important for her.”

“I’m so appreciative of the new sound system Chris has that allowed me to have an easier time singing and hearing myself and being in tune,” said Streisand.

The What: QSC has introduced the firmware v2.0 update to its TouchMix-30 Pro compact digital mixer. The firmware v2.0 aims to further satisfy the needs of demanding professionals with a comprehensive feature enhancements.

The What Else: Improvements include new custom fader banks function supporting three fader banks assignment, each for eight channels, that are saved as part of a Mixer Scene; the capability to interface with third-party external control surfaces with motorized faders (QSC has verified operation with iCon Platform M+, Behringer XTouch Compact, and PreSonus FaderPort 8 control surfaces); 28 new instruments presets (cajon, accordion, harmonica, ukulele, cello, clarinet, various percussions and more). In addition, CP Series Compact Powered Loudspeakers Presets are available directly in the mixer as well as CP8 and CP12 loudspeakers’ input gain settings recommendations.

“Listening and responding to the needs of our customers has always been a priority for QSC,” said Jon Graves, QSC mixer product manager. “Already proven as an incredible tool to help users achieve great results, with this new firmware, the TouchMix-30 Pro is now far and away the absolute best-in-class small format digital mixer on the market today. We’re really proud of the effort and know our customers will appreciate the new functionalities.”

The Bottom Line: Well suited for production professionals, musicians, and bands as well as live performance venues, the TouchMix-30 Pro’s 32 mixing channels (24 mic/Line, 6 line, stereo USB) and 16 outputs offer signal management flexibility for a wide range of applications. Advanced features such as Class-A microphone preamplifiers, Anti-Feedback and Room Tuning Wizards, two independent 24- channels Automatic Microphone Mixers, two real-time analyzers (RTA), patch matrix, 32-channel direct- to-external-drive recording and DAW interface with Mac OS and Windows computers make the TouchMix-30 Pro equally competent as both a professional live sound or recording system.

The What: Yamaha has launched the STAGEPAS 1K portable PA system, improving upon previous models with a more powerful yet compact system and STAGEPAS Editor iOS/Android app.

The What Else: The STAGEPAS 1K is driven by a high-frequency array speaker packed with 10 small-diameter 1.5" drivers that provide professional-level accuracy and clarity. The system features a 1000W Class-D amplifier, a significant upgrade in power from its predecessors, the STAGEPAS 600BT and STAGEPAS 400BT. A 12" subwoofer was developed to simultaneously house the sizable speaker and improve portability with its streamlined construction and reduced weight. To provide a clearer, stronger, distortion-free low end, Yamaha added the company’s own Twisted Flare Port technology to the subwoofer to effectively reduce wind noise in the bass reflex port. The array speaker is affixed to the subwoofer cabinet, requiring no cables or speaker stands, for a fast and easy setup.

The free STAGEPAS Editor iOS/Android app allows users to operate their remote parameter adjustments of volume and EQ. Additionally, to enable a more efficient rehearsal and performance workflow, settings may be saved and recalled for future sessions.

[Yamaha UC, Huddly Partner on Video and Audio Collaboration Products]

The 5-channel digital mixer, located in the back of the subwoofer, features three channels of mono microphone/line inputs and stereo inputs, with two of the mono input channels fitted with Hi-Z connectivity for direct input of acoustic-electric guitars and other instruments. Like its predecessors, this mixer supports 1/8" mini jacks, playback with Bluetooth devices, as well as a range of input sources from instruments to CD players, PCs, and smartphones. The mixer also comes equipped with professional-level sound engineering tools, including 1-Knob EQ that handles multi-band processing simultaneously, high-quality SPX digital reverb and an output mode feature to adjust optimized compression settings to suit various applications, such as speech or music. By selecting the setting closest to the application, a more professional edge can be added to the sound without having to learn difficult compression/sound engineering principles.

The system also includes a carrying case to protect the speaker during transportation and storage, along with an optional DL-SP1K dolly for more convenient transportation.

The Bottom Line: The STAGEPAS 1K is due to ship in early fall of 2019. Pricing is TBD. 

Meyer Sound has inked a multi-year partnership agreement to supply audio reinforcement systems for the annual TED Conference. Inaugurated at TED2019, held recently at Canada’s Vancouver Convention Centre, the collaboration between Meyer Sound and TED is the result of what both enterprises regard as a common culture of excellence.

“One thing that I noticed when I first reached out to Meyer Sound was that we share the same values,” said Mina Sabet, director of production and video operations for TED. “TED is of course technology, entertainment, and design, and we start with those common interests. But there was also a level of integrity that I hadn’t experienced with other companies. Meyer Sound takes their work seriously, but I also sensed an underlying commitment to inclusion and kindness, which are values important to TED.”

Of course, as implied by the title “TED Talks,” clear speech communication is critical to the success of not only the annual conferences but the entire TED concept. 

“A TED Talk isn’t a talk without clear, beautiful sound, so audio quality plays a huge role for us,” said Sabet.

[Meyer Sound Targets Peak Energy Efficiency and Zero Waste at Its “Recycled” Berkeley Campus]

Maintaining consistent audio quality for both simulcasting/recording and a live audience involves a number of challenges. Working within those constraints in the custom-built, 1,200-seat wrap-around theater inside the convention center is TED audio lead Michael Noonan. 

“The last thing I want to do is call the front-of-house mixer and say, ‘You’re in my way, turn it down,” said Noonan, who directs operations from the broadcast audio booth. “So we have to find ways to deliver a compelling audio experience to the live audience, to make it as rich and transparent as possible for them, yet still make it seem like there was no PA in the room for the broadcast sound. And that’s critical for the speakers, because so much of their personality, so much impact of what they are saying is wrapped up in the tonality and dynamics of their voice.”

According to Mina Sabet, the new collaboration has reaped immediate benefits in that respect. “If you’re not feeling the audio in your bones when sitting in the TED Theater, then you’re not really getting the full experience,” she said. “That was my goal this year, and Meyer Sound helped us achieve it. They redesigned our theater audio system in a way that makes you feel the sound is blanketing you throughout the talks or performances.”

For TED2019, the main theater system comprised 32 Leopard line array loudspeakers with three 1,100-LFC low frequency control elements for augmenting deep bass. Controlled coverage was further assured by placement of 44 MM-4XP miniature self-powered loudspeakers as front fill and foot fill.

In addition to the main theatre, TED2019 provided a total of 52 simulcast locations spread throughout the convention center, each equipped with video screens and compact Meyer Sound self-powered loudspeakers. Models pressed into service included UPJ-1P, UPJunior, UPM-1P loudspeakers and even Amie precision studio monitors attached to plants.

The most notable simulcast location was an innovative, completely immersive experience dubbed TED Under the Stars. With lighting, set pieces, and projections set up to emulate an outdoor campsite, the space also featured an immersive sound system with 16 UP-4slim loudspeakers each pole-mounted on an MM-10ACX subwoofer. The complementary sound design — crackling campfire, birds, crickets, bubbling creek — was accomplished via a D-Mitri digital audio platform with 24 channels of Wild Tracks playback.

The smaller Community Theatre, also inside the Convention Centre, was supplied with a Meyer Sound system based around M’elodie line array loudspeakers with 700-HP subwoofers and UPJunior delay loudspeakers. 

Direct Meyer Sound design and support services were supplied on site under the oversight of Director of Business Development John Monitto with assistance from Business Development Specialist Daniel Rivera and Senior Technical Support Specialist David Vincent. The Meyer Sound loudspeaker systems were supplied by VER. Sharing the FOH mix duties were freelance engineer Alex Rodriguez, who focused on the critical speaker’s microphones, and VER staff engineer Michael “Woody” Dunwoody, who handled playback and music performance.

At the close of the conference, Meyer Sound’s John Monitto confirmed the value of the time and effort invested by the company in the ambitious project. “It was an incredible experience across the board,” he said. “From the quality of the presentations through the quality of technical production and the way they curate the talks. It was all just amazing.”

The five-day TED2019 program, following the theme “Bigger than us,” hosted more than 1,800 attendees from 53 countries and presented more than 100 talks and performances.

Originally launched as a closed-door conference on “Technology, Entertainment, and Design,” TED has become a global platform for sharing talks across a variety of disciplines. Videos of TED Talks are available at TED.com and on other platforms, with TED Talks Daily audio streams available on Apple Podcasts and other platforms.

Each summer since 1982, countless music lovers in Central Indiana have flocked to historic Conner Prairie to hear the Indianapolis Symphony Orchestra (ISO) perform its annual Kroger Symphony on the Prairie outdoor concert series. This past season, the ISO had a new sound thanks to an L-Acoustics K2 loudspeaker system complemented with Syva delays deployed by Mid-America Sound.

With a calendar mix of traditional classical pieces, artist/film-themed nights, and lively pop sets—including ISO’s backing of both The Beach Boys and Big Bad Voodoo Daddy last year—the festival draws as many as 13,000 concertgoers a night to its more than two dozen performances at the Conner Prairie Amphitheater in Fishers, Indiana.

[LD Systems Uses L-Acoustics for Lollapalooza]

Mid-America Sound (MAS) Senior Audio Engineer and Audio Operations Manager Kyle Spurling notes that his company did an on-site demo of its K2 system for the ISO at the outdoor venue towards the end of the 2017 summer series and was quickly asked to bring it back in for the entire 2018 season. “The goal was to provide a rig that could cover a variety of acts, and be tailored to suit all the needs of the symphony, while also streamlining the installation and removal of the system every week,” he said. “We’ve had plenty of solid experience with K2 on the road and knew that it was the right choice for this series.”

The final system selection was comprised of six K2 mains per side, each flown from a single point on a 30-foot PA tower on either side of the stage. A pair of SB28 subs stood on end directly beneath each K2 array, and two compact Kiva II enclosures were discreetly hung from the amphitheater’s roof structure for center fill.

Left and right outfill was achieved by a single Syva enclosure mounted via a Syva Bar to each main PA tower. Six additional Syva were distributed around the back perimeter of the lawn seating area as delays, all mounted to custom-designed towers and similarly hung from Syva Bars. A total of seven LA8 amplified controllers powered the K2 arrays and SB28 subs, while three LA4X drove the rest of the system components.

“When it came to what element would be best suited for delays and outfills, it was a ‘no-brainer’ on utilizing Syva,” said Spurling. “The Syva were seamless from mains to delays, mains to outfills, and between all six independent zones of delays, mostly due to the 140° horizontal dispersion. Given the fact that we had just over 25 degrees of vertical coverage, being able to actually get them to a decent height and focusing them downwards a couple degrees in order to not overshoot the audience was ideal in attaining that transition we were looking for. The voicing between the K2 and the Syva are what I feel gave that final bit of icing on the cake because it really made you unable to discern which source you were hearing, making it function how you wish all delays would.”

For the outdoor summer series, ISO FOH Engineer and Audio Crew Chief Alan Alford said that the orchestra performs under a highly reflective shell that is ideal for acoustic instrumentation, and especially for the classical and pops orchestral music that is being presented. “The microphone techniques I use enable me to reinforce that sound through the L-Acoustics system to the rest of the patrons seated as far back as 400 feet to the rear of the listening space in a manner that provides a pleasurable listening experience,” he said. “The L-Acoustics sound system is very complementary in presenting extremely clean and transparent audio reproduction of the natural sounds of the instruments on the stage. I have had many new patrons, as well as yearly subscribers, pass along their compliments to the quality of sound that was easily attainable with last season’s sound system upgrade.”

He added, “Due to little information being emitted from the rear of the enclosures, I found there was plenty of gain before feedback. In an environment where there are as many as 56 open microphones in the sound system at one time, being empowered with this kind of artistic freedom made it a real joy to mix the orchestra for the audiences. And in cases where the orchestra is joined by a band of instrumentalists requiring onstage amplification, we then utilize clip-on microphones for an even closer capture of the stringed instruments, and the L-Acoustics rig provides equally great sound reproduction through this type of mic arrangement as well.”

With ISO’s 38th annual three-month summer series already fast approaching, several new enhancements have been announced: the addition of three large video screens, expanded seating areas, and an increased count of 35 shows. What will remain the same, however, is the presence of K2 and Syva systems provided by MAS—albeit with the likely addition of more subs and delays to accommodate the larger crowds expected to attend shows by Smokey Robinson, Scotty McCreery, Trombone Shorty & Orleans Avenue, Kenny G, En Vogue, and Wynonna & The Big Noise.

Reflecting on last year’s success while looking forward to this season’s run, Spurling said, “I honestly don’t know what other product line we could’ve achieved such great results with, using so few speaker cabinets. If it wasn’t for Syva, in particular, the delays would’ve been much higher in number of zones and physical elements in each zone, making the same results a much more costly endeavor, so they were the perfect solution. Plus, they just look cool! Everything performed flawlessly throughout the season and we’re already anticipating another stellar run with K2 and Syva at Conner Prairie.”

The What: Focusrite has released RedNet Control 2.3, a free update that unifies RedNet Control with configuration, status monitoring, metering, and extended operational control of the Red 4Pre, Red 8Pre, and Red 16Line—Focusrite’s range of audio interfaces offering up to 64 in / 64 out Thunderbolt I/O with Pro Tools | HD and Dante network audio connectivity.

The What Else: Focusrite RedNet Control’s “Device View” features a graphical representation of each device on the local network, giving critical feedback such as signal metering, clock status, power supply state, and primary/secondary network connection state. RedNet Control is completely customizable, which allows for several users on the same network to have completely different views.

“Providing support for Thunderbolt control of the Red 4Pre, Red 8Pre and Red 16Line within RedNet Control negates the need for the separate Focusrite Control application,” said Will Hoult, Focusrite Pro Senior Product Manager. “At the same time, we decided to add a handful of new features that weren't previously possible for the Red series.”

RedNet Control now also provides parameter control. This includes clock source selection, sample rate converter configuration and reference level setup. All the functions of Red mic pres can be controlled from the software: Gain, Phantom Power, Phase Invert, High-Pass Filter and Air Mode. Graphical control for Red range units is separated into five pages: I/O Control & Metering, Input Routing, Output Routing, Monitor Control and Custom Mixes. 

From the Custom Mixes page, RedNet Control’s internal audio mixer allows you to create up to eight separate mono or stereo sub-mix signals. Up to 30 of all the available inputs can be selected as sources for the mixer. Once selected, these input signals will then become available to all Custom Mixes. Each mixer output can have an individual balance of fader levels, mute and channel pan settings.

Where more hands-on control is required, RedNet Control features a MIDI bridge, allowing any programmable CC-based or SysEx MIDI controller to manage up to 16 different devices with mic pres. This allows gain to be mapped to an encoder for tactile control. RedNet Control includes the option to use the Avid Pre CC protocol, meaning Red range devices can be controlled from Pro Tools and in turn with one of the Pro Tools controllers such as Artist series, S3, or S6.

For users who switch between different setups on a frequent basis, such as during performances with multiple acts, RedNet Control provides save and recall on both a session and device level. Device Save also allows for critical mic pre-parameters to be saved during sound-check and recalled at a later time within seconds. Saved settings can be loaded to any device of the same type.

RedNet Control’s automatic firmware updater ensures that all Red and RedNet devices on the network are kept up to date with the latest firmware. This guarantees that the latest Dante updates from Focusrite will be loaded to the device, ensuring the best possible performance.

The Bottom Line: RedNet Control 2.3 is available now for free download. The installation package, available for Mac OS X computers, includes the RedNet Control application, the Dante Controller application, PCIe drivers, and the Red range driver.

The Super Bowl is arguably the most wireless-intensive live event every year, with thousands of devices vying for clear spectrum. Leading up to the big game, the 2019 host city of Atlanta saw a wide range of football activities, concert events, broadcasting, and fan experiences. To ensure uninterrupted operation and outstanding sound quality across these events, Shure wireless systems were selected for game day, including the flagship Axient Digital wireless system and PSM 1000 in-ear monitors.

All RF usage was planned and managed by NFL Lead Frequency Coordinator Karl Voss. Primary audio supplier ATK Audiotek again brought in experts from Orlando-based Professional Wireless Systems (PWS) to meet the challenge of delivering pristine audio for the on-field entertainment. PWS handled Gladys Knight’s rendition of the U.S. National Anthem among other pregame festivities, plus the Maroon 5 halftime show and the referee’s critical microphone.

Professional Wireless Systems RF engineer, Gary Trenda, chose Shure wireless again, explaining, “It’s our second straight year using Axient Digital as our preferred system, which has several advantages in covering a football field. The Quadversity antenna system increases reliability and range. No matter where your transmitter is, you’re always closer to antennas than you would be with a regular diversity setup. That’s a huge advantage to us because the stage design and location are typically not yet finalized at the time when we are designing the RF distribution and specifying the wireless equipment.”

In the 30 minutes before kickoff, Axient Digital got the game broadcast off to a solid start. Activities like the Walter Payton NFL Man of the Year Award, presented to Chris Long of Philadelphia, by previous winner J.J. Watt of Houston, used an AD2 handheld transmitter with KSM8 mic element. Presentation of the colors used AD1 bodypack transmitters on the Sergeant and drummers in the color guard. Chloe x Halle then sang “America The Beautiful” using AD2/KSM9 handhelds, followed by the National Anthem, sung by Gladys Knight on the ADX2FD/KSM8 microphone, using Shure’s unique frequency diversity feature.

For the coin toss, referee John Parry was double-miked with twin Axient analog AXT100 bodypack transmitters, also in frequency diversity mode. Parry used the system for penalty calls throughout the game, so the referee’s mic was always under the microscope. Since changing to Axient analog several years ago, referee audio has been consistently tight.

“Shure frequency diversity feature offers big benefits,” Trenda said. “With two active frequencies operating simultaneously, we can avoid interference by switching seamlessly to the second channel. For the referee system, we extend that redundancy by using two microphones and even two receivers, one on house AC and the other plugged into a UPS battery backup system. That gives us two fully redundant audio paths, so it would take a pretty catastrophic failure to lose the referee audio.”

The halftime show was a Shure-driven event, with Adam Levine’s vocals delivered via an ADX2FD/SM58 microphone. In addition, Levine and Maroon 5 lead guitarist James Valentine used the new ADX1 bodypack systems for their guitars. The ADX series of Axient Digital incorporates Shure’s ShowLink system, which provides full remote control of all transmitter functions by the system operator. This backchannel command and control system was powered by three AD610 ShowLink Access Points, strategically placed around Mercedes-Benz Stadium.

“Throughout the day, PWS’ Cameron Stuckey was monitoring all the Shure wireless systems with the Wireless Workbench software,” Trenda said. “With Workbench and the AD610 Access Points, we can control all aspects of the ADX series transmitters. We can actually change frequencies, and adjust other functions remotely. This provides an extra measure of reliability and confidence that you need at an event like the Super Bowl.”

In fact, Shure products were spotted at a wide range of Super Bowl Week events. During the game, surround sound listeners enjoyed audio ambience from a range of Shure microphones, including VP88 stereo mics in mid-side mode with KSM313 ribbons, paired Beta 181 condenser mics, and roof-mounted KSM44A condensers in X-Y configuration, all strategically placed around the stadium by sound engineer Dave Grundtvig, to capture the crowd’s excitement.

During the week, 48 Axient Digital channels were deployed at Super Bowl press conferences by the NFL, the Rams, and the Patriots, plus Opening Night at State Farm Arena and at Super Bowl live fan events. Shure MX418 gooseneck microphones were spotted on podiums for speeches and interviews in the Georgia World Congress Center.

At the annual NFL Honors awards show on Saturday, ATK Audiotek provided 20 channels of Axient Digital, six channels of UHF-R wireless mics, and used PSM 1000 for all in-ear systems. Another highlight of the week was the first Bud Light Super Bowl Music Fest, where daily concert events included Bruno Mars on Axient Digital, Aerosmith on Axient analog, and Cardi B with her signature gold UHF-R handheld wireless transmitter.

Shure wireless systems were seen at official events around Atlanta leading up to Super Bowl Sunday, with hundreds of Axient Digital microphones and PSM 1000 in-ear systems in the most demanding situations. It all culminated on Sunday night, with another series of performances during the game itself. 

“The Super Bowl requires a lot of preparation and specialized equipment, and Shure is a big part of that,” Trenda said. “Once again this year, we had no equipment issues at all during pregame or the halftime show, so it’s fair to say that Axient Digital with Quadversity is our preferred wireless. It’s a proven product that gives us the reliability required for a live broadcast event like the Super Bowl.”

Alpha Sound of Salem, OR recently completed the last phase of installation at Portland Center Stage Theater (PCS), making it the first in town to have an entirely Yamaha/NEXO-based audio system for both its main auditorium and building-wide paging system. The main auditorium boasts a NEXO M6 line array and LS18 subwoofer system with NEXO PS15R2 center speakers and a handful of NEXO ID24 multipurpose speakers. 

A Yamaha QL5 Digital Audio Console and two MTX5 matrix processors have been installed that allow flexibility for designers and engineers, all running on a Dante digital audio network with a variety of Dante-enabled peripherals.

“This last installation phase tackled the building-wide paging system,” said Devin Sheets, lead design and installation technician at Alpha Sound. “PCS has two fully functional theater spaces, several rehearsal halls, many offices and workshops, and operates as an independent event venue, all simultaneously nearly 24/7. With eight input sources requiring constant reassignments by various personnel to over forty zones on four different floor levels depending on daily activity throughout the building, we chose the MRX7 matrix processor with three additional MTX5 units and a Tio16 stage rack to be distributed and connected via Dante. Customized iPad control with ProVisionaire Touch allows instant and intuitive patching and parameter changes to the more than 400 control options.”

Resident sound designer and AV supervisor Casi Pacilio worked closely with the Alpha team. Pacilio has been awarded by PATA and Drammy, and has worked both on and off Broadway productions, touring internationally as well as serving PCS for the past 13 seasons. “Her in-depth knowledge and understanding of theater sound was a great asset during the installation process,” said Sheets. “It was a pleasure working with Casi and the theater, and we are very proud of this project.”

“The GEO M6 is deceptively loud and clear,” said Sheets. “When we first installed the arrays, the guest engineer was worried about their small size and whether the rig would get loud enough for the rock musical they were doing. Upon hearing it for the first time, he could not stop smiling.”

Duane Sheets, president of Alpha Sound, said that PCS was a fairly intense install, not so much because of the size but because of the high standard for audio quality at every point. “We would not have considered anything other than Yamaha and NEXO equipment for this application," said Sheets. "They are the only brands that we can trust to deliver.” 

Pacilio said she appreciates Alpha Sound for being very responsive to the theater’s needs and requests through the years. “The NEXO and Yamaha systems are absolutely incredible, and we have had extremely positive feedback from guest engineers,” she said.

Shure and Red Bull have partnered to reengineer audio recorded at live events into a thrilling musical adventure. Executed during the latter half of 2018, Shure worked alongside Red Bull to arm three up-and-coming producers with the newly launched MV88+ Video Kit to capture the sounds from three of Red Bull’s sporting events. The result is “Soundscapes.”

“Sound at sporting events is often taken for granted, or viewed as an afterthought. However, when you think about it, footage from live sporting events would be nothing without audio—skaters weaving through a course at record speed, cheering crowds, the split-second swerves, kicks, grunts, jumps, and falls. These are the moments that make an experience truly exciting,” said Paul Crognale, manager of global marketing, musician and consumer audio at Shure. “The need for exceptional sound in sports is undeniable, and challenging in such conditions. Through this campaign and partnership with Red Bull, we’re able to bring extraordinary experiences to life with the MV88+ Video Kit.”

The MV88+ Video Kit, Shure’s latest addition to its MOTIV line of digital microphones and portable recording solutions, was used by each producer to capture audio. The producers leveraged the all-in-one solution to record professional-quality content on-the-go, transforming the three Red Bull events into more than just a visual spectacle. The highly immersive audio recordings provide a “you are there” experience, offering listeners the opportunity to see, feel, and hear each and every gut-wrenching aspect of the events. The MV88+ Video Kit includes a Manfrotto PIXI tripod, phone clamp, and mount as well as iOS and USB-C cables for next-level compatibility and connectivity.

The three producers attended three of Red Bull’s most iconic events across the globe to create three unique soundscapes using the MV88+ Video Kit, recording moments from each spectacle. NTS Radio regular Anz kicked things off at the Red Bull Hardline in Wales, capturing the sounds and excitement of one of the toughest mountain bike races in the world. Up next was Red Bull’s Air Race in the U.S., which brings together the world’s best racing pilots. South London producer/DJ Shy One recorded the unique soundscapes of race-planes hitting speeds of nearly 240 miles per hour, mixing them into an ear-catching track. In Japan, Coconut Beats head HAAi recorded audio from the Red Bull Crashed Ice. She captured split-second sounds as athletes dropped, hair pinned, and turned at speeds of up to 50 miles per hour.

Elon University is situated on a 636-acre campus in the Piedmont area of Central North Carolina. News & World Report rated it the 2018 top-ranked regional university in the South. Recently, the university opened its spectacular Schar Center, the home of Elon Phoenix basketball and volleyball, and many other major campus events. The Schar Center offers a spacious entry atrium, a large practice gymnasium, locker room and team facilities, a hospitality room for social events and gatherings, and of course, the 160,000 square-foot, 5,100-seat main arena.

Audio & Light, Inc., designed and installed a state-of-the-art sound system in the arena that is based on a Dante network managed with three Symetrix Edge DSPs. A second sound system, based on a Symetrix Prism 16x16, serves the three locker rooms and weight training room downstairs.

"We have been using Symetrix DSPs for at least five years and use them increasingly now that Dante has become prevalent in the industry," said Audio & Light installation division vice president Brian Cox, who designed the Schar Center AV systems. "Symetrix DSPs work extremely well with Dante, and Elon University has adopted Dante as their digital audio transport platform. We also like Symetrix DSPs' sonic quality, and they're really flexible in the way you can control things, what they can do, and how they can route. Symetrix Composer is a very good software package, and Symetrix does a really good job with the user interface. It's easy to configure third-party products in Composer, as well: I used the Linea Research network I/O modules that were already available in Composer to drop the amplifiers right in."

One Edge DSP serves as the main input-switching processor, handling both Dante and analog inputs and outputs. "We liked the Edge for that because we could configure the I/O the way we wanted, using three Symetrix input expansion cards and one output expansion card," Cox said. "The other two Edges don't have cards because they're passing everything in and out via Dante."

Downstairs and down the hall are the video production racks, where all the analog lines from the floor pockets around the arena terminate to a patch bay. "We wanted to be able to patch in and out rapidly, so we installed Symetrix xIn12 and xOut12 Dante expansion units in the video production rack," Cox said. "We also have Dante primary and secondary switches down there, and they are connected to our Dante primary and secondary switches via fiber connections. We recently had an event where that turned out to be very handy because ESPN needed a PA output feed. In five minutes, I used Dante Controller to patch a feed out and send it to a floor pocket, and they were happy. We also can route audio between components of the Dante network and not have to physically patch them."

All inputs, including the Dante feed from the arena's Yamaha console, come into the main routing/switching Edge, which sends it to the other two Edges via Dante. The second Edge DSP is for the north, south, east, and west concourses and auxiliary spaces, which include a donor presentation room, a couple of media rooms, and the restrooms and hallways. "For the auxiliary spaces, we process audio in the second Edge, and that audio goes via Dante to Ashley amplifiers to feed 70 volt speakers," Cox said.

The third Symetrix Edge splits signals out for the arena amplifiers. "We have our main EQs in that third Edge, and it heads out to the Linea Research amplifiers for the main arena system," Cox said. For the arena, 48 channels of Linea Research amplification drive a variety of Fulcrum Acoustic arrays, subwoofers, and fills. Audio & Light also purchased a fourth Edge DSP to use as a spare. "Odds are we won't need it, " Cox said. "We have found Symetrix DSPs to be very reliable. But we felt we should have a spare. We have spare amplifiers as well."

Cox specified Symetrix ARC3 wall panel controllers for the concourse area and media room, plus an ARC3 at the main rack-and a spare. "So far, the Symetrix DSPs, ARC panels, Linea Research amplifiers, and Fulcrum Acoustic speakers have worked together flawlessly," he said.

Downstairs, Audio & Light installed a Symetrix Prism 16x16 to drive a separate system with analog I/O that serves the three locker rooms for Elon's men's and women's basketball and women's volleyball teams, plus a weight training room. Each of the four rooms has a Symetrix ARC3 controller, all powered by a Symetrix ARC PSe power-distribution unit.

"The university mandated that we create very good audio in these downstairs spaces so the athletes could play their music," Cox said. "They can send a Bluetooth stream from a phone to the Prism through Attero Tech unBT2A Bluetooth audio wall plates, which also have analog inputs and outputs. The Prism sends the music to a couple of Lab.gruppen amplifiers that drive ceiling speakers and ceiling subwoofers. The athletes just pair their phone and crank it up. They love it."

Markel Auditorium is a live performance venue with a 40-foot thrust stage, an orchestra pit that can be raised or lowered, and a modern 5.1 theatrical surround sound system using an Allen & Heath dLive S Class S5000 Surface and DM48 MixRack.

Located at Hillsdale College in Hillsdale, MI, the auditorium’s original audio system was an LCR design with an older digital mixer. To modernize their system, the theatre undertook a major audio upgrade that gave them 5.1 localization of theatrical effects with highly transparent and natural sound quality while being rider-friendly for the many touring acts who perform at the theatre.

Design/build contractor Cory Champion of Fortress Productions recommended Allen & Heath’s dLive S Class digital mixing system to Markel, which would integrate with QLab, a multimedia playback and cue-based software from Figure 53, to manage the theatre’s new system. Markel’s dLive includes a DM48 MixRack in the theatre’s sound booth and three DX32 Expanders, which can be located where needed on the stage or in the orchestra pit to accept microphones and other sources and feed monitor loudspeakers. Champion installed a Dante card in the dLive, which connects to a Mac running QLab software. The dLive provides native 5.1 sound effects placement and panning under command from QLab, which takes theatrical cues from a director/producer in the booth.

A graduate of Hillsdale, Champion acts as sound designer for many college productions and mixes performances from touring acts. He said monitoring in the enclosed sound booth is very accurate and he appreciates the added ability to mix on an iPad from a seat in the audience. 

When Champion introduced the retiring theatre department chairman to the new system, “He was in sound effects heaven being able to put things specifically where he wanted in the sound canvas of the space,” said Champion. 

Champion also demoed the system for a music professor using the theme song from “The Magnificent Seven”. The professor said, “This is phenomenal. Even though the level is low, I can clearly hear the percussionist, every cymbal crash and every bass drum beat as he hit that head.” 

Champion said, “There is nothing else on the market that’s as flexible and easy as the dLive with this kind of transparent and natural performance.”

Flying high on their number one album release, Trench, avant-garde rock band Twenty One Pilots traveled across the U.S. through the fall months on their sellout “Bandito Tour.” Packing A-level arenas at every stop, frontman Tyler Joseph and drummer Josh Dun underscored the show’s physical acrobatics and visual pyrotechnics with audio delivered by a 138-loudspeaker Meyer Sound Leo Family system supplied by VER Tour Sound in partnership with Concert Investor.

The music of Twenty One Pilots (TOP) is a genre-hopping mash of alt-rock mixed with electro-pop, hip-hop, reggae, and whatever strikes the duo as imperative in the moment. The inherent challenge of defining the music mix is further complicated by dynamic staging that includes soaring risers, the teleporting of Joseph to the rear of the arena, platform crowd-surfing by Dun with his drum set, and performing on an audience bridge and B stage far in front of the arrays. 

FOH engineer Shane Bardiau, who took the helm of TOP’s live sound in 2015 a few months before the release of the Blurryface album, is tasked with navigating the audio complications. For Bardiau, the Leo Family system has proven an important tool for keeping potential audio chaos under control and delivering undiminished aural impact to the audience. 

“I first heard a Leo system at a PA listening exercise that VER hosted a few years ago,” he said. “And I remember walking back to the far 300 section of the arena. I was blown away by how ‘in your face’ the Leo system still sounded, and the controlled low end. That’s when we decided to take a Leo Family system — which was based on the Lyon line arrays for more flexibility — on our mixed venue 2016 tour. But this time, since we’re doing all A-level arenas, we’re anchoring the mains with the larger Leo boxes.”

No matter how loud the TOP crowd — and it does get frantic at times — Bardiau is confident he has the headroom to handle it. “Leo is one of the very few boxes that I’ve used for mixing this artist where I can push it up to a high SPL on the meter, but it doesn’t hurt,” said Bardiau.

As designed by system tech Kenny Sellars, the “Bandito Tour” system deploys grand totals of 44 Leo and 56 Lyon line array loudspeakers for the front, side, and rear hangs. For pummeling yet controlled bass, the system also includes six 1100-LFC low frequency control elements flown per side in 4/2 cardioid arrays, plus 14 more 1100-LFC ground stacked in a 7 x 2 front arc. Fills are eight Mina loudspeakers at front, two UPM-1P for stage thrust, and two UPJ-1P for outfill. System drive and optimization are supplied by nine Galaxy and two Galaxy AES processors. 

For system tech Sellars, the upgrade to the new Galaxy processors for this tour has proven a welcome plus. “I really appreciate having the phase correction settings available for every box,” he said. “My phase traces are gorgeous and that makes me happy.”

For his part, Bardiau gives high marks to the system’s low end. “One of the deciding factors for carrying a Meyer rig was the 1100-LFC," he said. I’ve never heard a sub so controlled in an arena environment. It’s easy to keep my mix from getting muddy, which is no easy feat in a ‘boomy’ arena.”

Bardiau lavishes similar compliments on his sidekick Sellars and tour audio provider VER. “Every day Kenny and his team get everything sounding incredible despite the unique challenges of different rooms,” he said. “I haven’t been doing sound checks yet every night sounds like the night before. And VER is always on top of things. I always get what I ask for and their gear is top of the line. That kind of support is priceless.” 

Feeding into the Meyer rig’s Galaxy processors is a DiGiCo SD5 console augmented with a raft of Waves plug-ins, including C6 multiband compressor, API 2500 compressor, SSL Master Bus and MaxxVolume. The wireless mic system is Shure Axient Digital, with a Shure KSM9HS capsule on the lead vocal mic.

When asked what is most satisfying about mixing TOP’s performances, Bardiau said: “From the opening song to the close of the show, the music takes you on a journey and tells a story. I feel privileged to be the medium connecting artist and audience. I help make sure everybody hears and understands the message, and feels the impact. It’s refreshing to be part of something so positive in what often seems a very negative world.”

Sellars offers similar sentiments. “Those two guys give it their all every night and I’m proud to be a part of it," he said. "Coming to this show is worth it even if you don’t know — or even like — the music.”

The “Bandito Tour” kicked off in Nashville on Oct. 16, touched four corners of the country in Washington (Tacoma), Florida (Sunrise), Massachusetts (Boston), and Southern California (Inglewood), packing 21 additional arenas in between before wrapping up in late November in Kansas City.

Completed in 1915, St. Paul, Minnesota's massive Cathedral of St. Paul is the country's largest church outside of New York and Washington, D.C. Its Saint Cloud granite exterior walls are matched in grandeur by the American Travertine marble coating the 3,000-capacity interior, which reaches 175 feet up to a dome nearly 100 feet in diameter.

It's a big, reverberant space. "If you took the Statue of Liberty off its pedestal and set it in here, it would fit under the dome," said Randy Keeley of St. Paul AV systems integrator Metro Sound & Lighting. "And everything within this space is very reflective: Travertine marble all over the walls and floors, hardwood pews, different angles, glass-you've got sound literally going everywhere." These are not friendly acoustics for any kind of amplified sound, yet a sound system is the only way every worshipper can hear what is being said and sung.

"In the more than 40 years since Metro Sound's founding, we have performed installations in numerous churches and spaces with tough acoustics, so we understood the nature of the challenge," Keeley said. Keeley's solution was a left/right system of two Renkus-Heinz Iconyx Gen5 IC32-RN digitally steerable line arrays, which enabled him to keep sound off the walls and on the congregation. To preserve the cathedral's aesthetics, the loudspeakers were color-matched to the marble.

Every IC32-RN houses 32 purpose-designed, 4-inch coaxial transducers, each with its own amplifier and DSP channel. Each coax transducer is paired with an "array within an array" of three tweeters, an arrangement that reduces the distance between high-frequency sources, yielding consistent, broad horizontal dispersion and greatly improved high-frequency performance.

Under software control, powerful onboard DSP can form, shape, and aim sound in up to 16 separate beams from a single IC32-RN. With a typical throw of 270 feet, the IC32-RN easily fills the 216 foot-wide cathedral. "With Renkus-Heinz Iconyx, we can steer beams vertically to keep them in the listener areas and try to prevent energizing any more of the space than we need to," Keeley said.

The Cathedral of St. Paul is the latest Iconyx installation by Keeley and Metro Sound, who have also put the IC32-RN in other Minnesota sanctuaries with challenging acoustics, including the Church of St. Charles Borrowmeo in St. Anthony and Church of St. Agnes in St. Paul. "We've had very good luck with Renkus-Heinz ICONYX," said Keeley. "It's become a go-to product."

This November, the Adelaide Symphony Orchestra, in partnership with CineConcerts and Warner Bros. Consumer Products, performed Harry Potter and the Prisoner of Azkaban in Concert at the Adelaide Entertainment Centre, South Australia. It was the first use of L-Acoustics L-ISA Hyperreal Sound in the southern hemisphere and took audiences even deeper into the magical world while the symphony orchestra performed the entire score live to picture.

L-ISA was deployed by leading Australian technical production company Novatech, which has been using L-Acoustic systems for events of all sizes and scope around Australia, from music festivals to live concerts and corporate events, for over a decade. A keen innovator and early adopter of creative event technology, the company has always endeavored to improve the experience for guests and artists alike and has invested heavily into new technology over the years.

When L-ISA was released, Novatech looked for opportunities to use the groundbreaking technology in Australia. The search quickly focused onto one of its longtime partners, the Adelaide Symphony Orchestra, which has gained a reputation for outstanding contribution to the world of music and, with the nature of the entertainment perfectly matching the application of L-ISA, was a natural fit.

“With L-Acoustics being the backbone of our audio inventory, we were excited by the introduction of L-ISA and were keen to bring it to Australia for a live performance,” said Novatech’s production manager, James Sacca. “It seemed fitting to partner with the Adelaide Symphony Orchestra for this Southern Hemisphere first. As always, L-Acoustics was professional to deal with and extremely supportive as we planned this technically complex event.”

The L-ISA setup included 126 input channels and 96 L-ISA objects and used an L-ISA Wide design solution, deploying a total of 84 L-Acoustics Kara cabinets in seven hangs of 12 Kara, each spaced above the performing zone to provide source separation and localization, two extension speaker groups of 12 Kiva II and two flown subwoofer arrays of four SB28 in an end-fire configuration in the center.

The monitor system comprised 10 X15 HiQ cabinets and eight X8. Control was via a DiGiCo SD10 mixing console at front of house and an AVID S6L at monitors, connected via three Optocore optical loops.

Charles Gagnon, who mixed the show, made adjustments to the soundscape using the L-ISA Controller software to address the processor and create the soundscape for static information such as object panning, source width, distance, etc., based on input channels bused from the SD10. 

“I have long been a fan of so-called surround sound and immersive audio,” said Gagnon. “I’ve done numerous recordings and broadcasts in ‘traditional’ 5.0/5.1 surround and have been involved in experimental immersive audio projects going back to the early 2000s. Advances in processing power and algorithms now make object-based systems practical so I am intrigued, but not surprised, about the emergence of these systems in the competitive live sound market.” 

Gagnon found the L-ISA Controller software intuitive, with a well-designed GUI that made it easy for him to quickly make broad adjustments to the soundscape. 

“I was pleased with the result, especially with dialog clarity and localization, and overall clarity and coherence of the soundstage,” he said. “It was a great experience and I would most definitely like to use it again.” 

“Novatech works closely with us as our technology partner to bring the sounds of the orchestra to audiences both small and large,” said Vince Ciccarello, CEO of the Adelaide Symphony Orchestra. “We were thrilled and excited to learn of the new L-ISA technology that would more faithfully engage our artists with the audience and are proud to be a part of this collaboration with Novatech and L-Acoustics.” 

“As we roll out our L-ISA technology, we look to trusted partners around the globe who have the drive and creative vision to innovate alongside us,” said L-Acoustics regional sales manager Tim McCall. “Novatech has a history of always embracing new technologies to bring a little extra to its shows. Combining this passion and experience with a full symphony orchestra and L-ISA Hyperreal Sound brought a more natural and vibrant experience to the audiences of Australia for the first time. Congratulations, Adelaide, you’ve made history!”

Sitting in the heart of downtown Minneapolis, Target Field is home to Major League Baseball's Minnesota Twins, and accommodates more than 39,000 eager spectators ready to cheer on their team. Though designed as a baseball venue, it also hosts football, soccer, and a wide range of outdoor concerts and various non-sports-based corporate events. 

Target Field is a large venue with multiple areas around the facility that require high-quality audio support. This includes distributing audio out to various areas as well as pulling signals back to the control room for mixing and processing. For example, live bands perform before ballgames and during breaks, and stadium managers must be sure the audio is pleasantly experienced throughout the stadium.

Technicians needed a way to easily and inexpensively expand the number of inputs and outputs to the stadium's main console to better mix, manage, and control the total system. Their search led to the Dante audio network platform from Audinate.

"We started using Dante to connect the control room to the band stage, and this step alone brought 16 channels from the band to my main console—a huge improvement for us," said Jeff Pedersen, lead audio technician, Minnesota Twins Baseball. "Our plan now is to get Dante into all of our remote locations and bring all the control and mixing to our main control room."

A Dante system expands audio possibilities for the stadium, as hundreds of Dante-enabled products are available and interoperable. Pedersen can now mix any Dante-enabled speaker, amplifier, microphone, mixer, receiver, converter, and more. And, with the addition of Dante AVIO Adapters, the stadium can integrate older, legacy gear into Dante systems, adding to Dante’s interoperability and flexibility.

With a Dante system in place, Dante Domain Manager proved to be a natural next step to the network, as it added the control and security features the stadium desired. Dante Domain Manager is network management software that enables user authentication, role-based security, and audit capabilities for Dante networks, while allowing seamless expansion of Dante systems over any network infrastructure. Dante Domain Manager allowed the stadium to integrate 34 separate subnets into a single, manageable, and secure audio network. 

Dante Domain Manager provides the ability to scale and segment audio networks, regardless of the physical constraints of the network. Administrators can define specific AV device groupings by room, building, and site, ensuring the stadium’s audio is playing in the correct location. Dante Domain Manager ensures the stadium’s audio is separate from the audio they grant the visitors to use, with robust user authentication and role assignment. With Dante Domain Manager, Pedersen can be sure the stadium’s audio runs smoothly and is free of unwanted changes and modifications.

“Before Dante and Dante Domain Manager, what I wanted to do was not really possible: the cost would have been prohibitive and the time spent patching and running cables wasn’t feasible,” Pedersen said. “One of the things I can do now is send 16 channels of audio to almost any place in the stadium up to the control room. It is very liberating.”

Whether it is a concert, football game, soccer match, or Major League Baseball showdown, Dante and Dante Domain Manager deliver near-zero latency audio to the more than 39,000 spectators. Target Field administrators can rest easy knowing its network is secure and efficient while delivering the live sound, recorded and broadcast audio performances required to take fans out to the ballgame.

The What: Mackie has announced the in-store availability of the latest DL Series digital mixers, the 16-channel DL16S and 32-channel DL32S Wireless Digital Live Sound Mixers with Built-In Wi-Fi for Multi-Platform Control. Master Fader 5.0, the next major update to the powerful control app for their popular DL Series digital mixers, is also available. 

The What Else: The DL16S and DL32S offer an all-new affordable, Built-Like-A-Tank stagebox form factor with built-in Wi-Fi. Both models are designed to make it easier to get mixing right out of the box with built-in Wi-Fi networking and multi-platform support on the Master Fader control app. With Onyx+ mic preamps, fully loaded DSP on each input and output, plus four FX processors, DL32S and DL16S deliver the mixing power users need to sound great every night. They also get a whole new suite of FX like chorus, flanger, rotary, auto-filter, and much more. All these FX are easily accessed via a refreshed interface that allows more freedom for choosing the FX you want and seeing what is currently selected.

In the 5.0 version update of Master Fader, a heavily requested feature by DL users, Android support is now a reality. Master Fader 5.0 will be available for iOS and Android with support for DL16S and DL32S. Support for other DL Series models, as well as Mac and PC control, is coming in Master Fader 5.1.

"The DL Series was the first to bring 100-percent wireless control and revolutionized the compact mixer category. These new mixers are the next evolution," said Mackie product manager, Matt Herrin. "With rock-solid, great-sounding hardware and the most proven control app, Master Fader, Mackie is continuing to bring professional quality and intuitive control to price points that make sense for users of all levels."

The Bottom Line: Popular among DL32R users, DL16S and DL32S feature full multi-track recording via USB to create stunning live recordings and even play them back into each channel for an easy virtual sound check. Not only is this great for recording performances, it's also great in the studio when you need a high number of inputs for recording.

The Mackie DL16S and DL32S are available worldwide beginning October 30, 2018 at participating dealers. Sold individually, the US MSRP pricing is $999.99 for the DL16S, and $1819.99 for the DL32S. The Master Fader 5.0 app will be available as a free download on iOS and Android devices on October 30, 2018.

San Francisco's Merchants Exchange chose CODA Audio for the building's Julia Morgan Ballroom and the Merchants Exchange Club.

The Merchants Exchange operations team sought to source and purchase a complete AV package to execute the 250+ events it stages each year. Walter Ryan, head of production, consulted with Some More Sound of Concord, CA to determine the audio solution that would work best. In terms of the audio aspect of the brief, the discussions identified four aspects – quality, reliability, flexibility, and aesthetic suitability – as being key to a successful outcome. 

In terms of quality, the client wanted high performance equipment that would achieve great sonic results across a range of applications with minimal effort and easily mitigate difficult amplification situations, such as lavalier microphones. The flexible nature of the venue demanded that loudspeakers, console, and wireless receivers could be set up and used on an "anywhere/anytime" basis, while appearing as sleek and unobtrusive as possible in order to satisfy aesthetic expectations. A combination of CODA Audio speakers, supplied by Some More Sound, was chosen to meet the diverse needs of the facilities.

The initial investment comprised 4 x CODA Audio CoRAY4, 4 x CODA Audio HOPS8, 2 x CODA Audio G15-SUB and 3 x CODA Audio LINUS 10C loudspeaker management power amplifiers. The Merchants Exchange consists of multiple principal spaces, each boasting architecture that can be individually configured to match customer requirements. The Julia Morgan Ballroom hosts a range of corporate events, banquets, and weddings in its 4,500 square feet of unimpeded event space. The Club is a more challenging venue with a lower ceiling and a flexible configuration, offering multiple seating plans. The Club’s Moya del Pino Bar and Lounge, elevated slightly above the lower banquet hall, is a genuine artistic treasure, where presentational considerations are fundamental to any audio system in use.

Within the events packages offered at the Club, AV systems are sold as bespoke value-adds and the flexible modularity of the CODA Audio systems assists Ryon’s team in providing the right pieces to perfectly match the needs of each event. For example, where a CoRAY main system might be configured on the long side of the Ballroom, a HOPS8 speech system could be in use in the Club’s Great Hall. Alternatively, the CORAY system might find itself used for mains and delays in the Hall while the HOPS8 delivers background music in the Del Pino Bar and Lounge. As events at the Merchants Exchange Club scale up, Ryon anticipates further investment in the shape of a CODA Audio APS system to cater for larger full-band or DJ sets.

“From the first event we noticed a huge improvement in sound quality over the systems formerly rented in," said Ryon. "The modular packages that Some More Sound supplied are making setups faster and quality more consistent. Every time we bring up the faders, the equipment combinations just sound great! We don’t have to spend a lot of time ‘ringing out’. We are getting frequent compliments from our most discerning customers and that creates repeat business and referrals.”

Project lead for CODA Audio USA, technical director Michael Creason, said: “Walter wanted quality combined with sleekness and a scalability that could be easily achieved with CODA products. We’re so proud that the Merchants Exchange is delighted with their forward-thinking investment!”

Keir Moorhead of Some More Sound added: “From the first listening, Some More Sound has been in the CODA camp. Having a next-generation level of headroom available with no distortion and a super-low noise floor gives a platform from which any operator – experienced or not – can succeed with. Setup is fast and easy and the systems sound superb!”

When looking to upgrade the loudspeaker systems at two Northern California educational institutions, Rocky Giannetta, president of independent services provider Layer 8, knew he needed amplifiers that offered both Dante connectivity and advanced DSP with pristine sound quality. In searching for the perfect solution, Giannetta turned to Powersoft’s Quattrocanali—a compact, four-channel amplifier platform—for not only its comprehensive feature set, but also its reliability.

“As far as I’m concerned, the real selling point for the Quattrocanali is its advanced DSP processing and specifically its ability to easily import FIR filters to do accurate loudspeaker system optimization,” Giannetta said. “That is a primary design criterion and selling point for us, and the systems integrators we work alongside.”

Heritage High School—Brentwood, CA

At the end of August, just before school started, Heritage High School, a 9th-12th grade high school located in Brentwood, CA, one hour east of San Francisco, replaced the amplification in its gymnasium loudspeaker system, which features eight speakers.

Giannetta specified, programmed, and tuned the new Powersoft system, which included two Quattrocanali 2404 DSP+D amplifiers. For this installation, Giannetta needed an amplifier to cover advanced DSP functionality across four channels.

“The key element was the fact that with the advanced DSP processing we were able to optimize the entire system, while making major improvements to it,” Giannetta said. “Also by installing the Quattrocanali 2404 DSP+D amplifiers, we were able to reduce rack space and draw way less power than the previous amps the school had installed.”

Modesto Junior College—Modesto, CA

Meantime, located just off Modesto’s busy downtown DoMo district sits Modesto Junior College—a public, two-year institution with a significant performing arts program. The college’s theater’s loudspeaker system is used regularly throughout the year for productions such as Aesop’s Fablesand Agatha Christie’s Spider’s Web. When it began suffering system failures, Giannetta was brought in to program the DSP system.

During the process, Giannetta also specified a new amplifier platform for the LCR loudspeaker system and selected four Powersoft Quattrocanali 4804 DSP+D amplifiers—both for their advanced programming and compact size.

“The original amp took up 24 rack spaces, and with the Quattrocanali, we were able to replace it with four rack spaces of amplification,” Giannetta said. “To top it off, the folks at the theater have said that the system sounded better after we installed the amplifiers then it did when it was first installed eight years ago.”

A Peace-of-Mind Solution

An avid user of Powersoft products for 2.5 years, Giannetta said the company’s all-around ease to work with makes it an effortless choice every time. In addition, the overall reliability of Powersoft’s amplifier platforms has been a key ingredient to his success.

“We’ve had zero failures in the 2.5 years I’ve been working with Powersoft amps,” Giannetta said. “That’s a big deal for power amplifiers because they can generate so much heat, but we are happy to say that’s been our experience from the start with Powersoft.”

The What: Peavey has unveiled its new SP 2P Powered Speaker System. Expanding on the SP Series for live audio performance, the SP 2P is comprised of two switching power amplifiers that provide a high level of technological sophistication, as well as professional grade speaker components for clarity and impact. 

The What Else: The dual power amplifiers in the SP 2P system are low-distortion switching units that provide 1000W peak available power into the nominal 4-ohm load of the woofer, and a 500W peak available power into the nominal 8-ohm load of the tweeter. The power supply for both amps is a switch mode type for low weight and high efficiency. Both amps have Peavey's DDT compression, which is designed to minimize audible power amplifier clipping.

 Like other units in Peavey’s SP Series, the SP 2P has a 15-inch Black Widow BWX series woofer, but now with a long-throw voice coil for even stronger low frequencies. The 2-inch RX 22CT titanium diaphragm compression driver is coupled to a quadratic throat waveguide and has a coverage pattern of 100 degrees horizontal by 50 degrees vertical. 

The back panel of the SP 2P is engineered to satisfy a range of pro-audio needs. Two independent mixed input channels each offer a balanced input to the preamp/EQ electronics and a level control. Each channel has one combo female XLR and 1/4-inch TRS phone jack, switchable between mic-level and line-level sensitivity. Additionally, channel two has an added 3.5mm media jack. A line-out section has male XLR connectors, and the thru outputs allow linking of additional speaker systems or feed of the signal to a powered subwoofer. A rotary knob allows the user to select and choose menu options, such as the dynamic bass boost and nine-band EQ, on the LCD display screen. The SP 2P is fan-cooled for maximum reliability. 

Speakers in Peavey’s SP Series are light and compact, making them easier to pack in a van or install in the club. Weighing in at about 60 pounds and measuring 30 inches high by 20 inches wide by 20 inches deep, the SP 2P is constructed from plywood augmented with internal braces and covered with a textured black painted finish. The trapezoidal unit has a full-length coated perforated steel grille, offering an attractive yet durable powered speaker system. A four-way handle on each side provides ease of transport, while multiple fly points are provided to allow overhead rigging. A pole mount is also included. 

The Bottom Line: With the Peavey SP 2P is positioned as a reasonably priced loudspeaker system capable of up to 130dB peak SPL, and is well suited for a variety of applications, including sound reinforcement, public address, side-fill system, karaoke, and musical playback.

Propelled by an unbroken string of sellouts in NFL-sized stadiums, Ed Sheeran’s ÷ (“Divide”) Tour continues to draw thousands of fans from around the world. As has been the case from the beginning of his “A” level tours, Sheeran connects with his adoring throngs through a Meyer Sound LEO Family reinforcement system provided by UK-based Major Tom, Ltd. The production team relies on the LEO Family to deliver the dynamic punch of the music while creating a sense of connection between Sheeran and his fans.

“Major Tom and the Ed Sheeran production team have a very strong relationship, which began with Ed when he was starting out playing clubs, and has continued with him into stadiums worldwide,” said Chris Marsh, Ed Sheeran production manager. “The key to the longevity of the relationship is a mutual desire to continually evolve, and provide the best sound. Major Tom is heavily invested into Meyer Sound products and the response from Ed’s family, friends, and team when we originally switched to the LEO system was an instant observation and acknowledgement that we had changed something — the difference in sound was palpable.”

Marsh continues as Sheeran's trusted FOH engineer, a post he has held for more than six years. He also mixes Sheeran's monitors on the same DiGiCo SD7 console, and supervises all aspects of the tour’s technology as production manager. Marsh's partner in fine-tuning the tour's massive LEO Family rig on a daily basis is audio systems engineer Charlie Albin.

“Our touring system has transitioned smoothly into the USA stadiums,” said Albin, “although every venue presents a slightly different set of challenges due to variations in size, shape and reverberant field. That’s why we keep using the Meyer Sound LEO Family loudspeakers alongside the GALAXY processing and SIM3 analysis tools. Together they deliver the consistent clarity, tonality, musicality, and dynamic impact from the nearest to furthest seats, whether Ed is singing an intimate ballad or an all-out belter.”

The foundation of the current touring system is formed by four arrays of 18-each LEO line array loudspeakers with low end augmented by 42 1100-LFC low frequency control elements: two flown arrays of 9 each and two end-fire arrays of 12 each on the ground. LEOPARD (8), LINA (20), and UPA-1P (2) loudspeakers supply fill from the stage as needed, while 56 MILO line array loudspeakers are deployed on four delay towers.

For onstage foldback, the tour also carries two MJF-212A stage monitors and two 900-LFC low frequency control elements.

System drive and optimization is entrusted to a pair of Galileo GALAXY AES master processors, with stage array processing from eight GALAXY processors and delay processing by four Galileo processors. The tour also carries a SIM3 audio analyzer for fine tuning response before each concert.

Sheeran uses a Sennheiser 9000 Series digital wireless system for his guitars and on-stage microphones. The primary vocal mic has a 9235 dynamic capsule while the secondary mic (for loop-building) has an MMD 945 super-cardioid capsule. His intricate multi-channel accompaniment is built in layers using a sophisticated, computer-driven Chewie II Monsta Looper pedal system.

Regarding the record-breaking success of the tour, Albin said, “Personally, it hasn’t had any bearing on my day-to-day aims. The motivation is to deliver the best show as consistently as possible to every single fan in attendance, whether in an audience of 100 or 100,000.”

The 2018 North American leg of the ÷ Tour was launched on Aug. 18 at the Rose Bowl in Pasadena, Calif., where Sheeran thrilled over 62,000 of the faithful. The leg continues through the final show at Mercedes-Benz Stadium in Atlanta on Nov. 10, with a total of 24 shows in 21 cities. The ÷ Tour, which started in March 2017, has shattered Pollstar’s all-time record for mid-year gross receipts.

Sheeran’s stratospheric popularity is further reflected in the recently announced nominations for the American Music Awards, where he is a leading contender in six categories: Artist of the Year, Tour of the Year, Favorite Male Artist (pop/rock), Favorite Pop/Rock Album, Favorite Song and Favorite Adult Contemporary Artist.

Two Rivers Church, located in downtown Knoxville, TN, upgraded their sanctuary with a d&b audiotechnik sound reinforcement system installed by Nashville-based Morris Integration.

“The existing system was older, and intelligibility was far from ideal,” said Philip Hagood, general manager, Morris Integration. “They were looking for clarity, musicality and even coverage. They also wanted bass punch but needed the subs to be flown. As we looked at a few options it was clear that the d&b Y-Series and J-SUB would provide exactly what they required.”

The sanctuary is rectangular shaped, with the stage parallel to the long side of the room. A flat floor provides seating for 650. The feel of the space and worship experience is traditional while the service features contemporary music.

“They didn’t want volume as much as fidelity,” Hagood said. “The goal was to upgrade the worship experience for their members. Installing a new sound reinforcement system would accomplish much of that.”

Morris specified left-right arrays made up of five d&b audiotechnik Yi8s and two Yi12s per side – 14 total cabinets. Two J-SUBs were flown center with a 10S hanging below for center fill. Four 5S loudspeakers were utilized for front fills – two were set into stairs located to the right and left of the stage, keeping the aesthetic of the room clean and uncluttered.

The two-way Yi8 and Yi12 loudspeakers are loaded with two 8-inch drivers and a centrally mounted 1.4-inch compression driver with a wave transformer. The boxes are identical except for dispersion pattern, with the Yi8 providing 80 degrees and the Yi12 120 degrees.

“By hanging two Yi12s at the bottom of each array we ensure complete coverage of the seating area,” said Hagood. “The church wasn’t looking for volume as much as clean sound and excellent coverage. The blend of the two line array boxes did the trick nicely.”

“We are very grateful for the relationship we have with Morris. Their communications and customer care was excellent from start to finish,” said Tae Cho, worship arts pastor at Two Rivers Church. “They had only our needs in mind as we planned everything out. The install itself was done cleanly and quickly exceeding our expectations in both regards.”

“In many ways it was a text book install – ahead of schedule and on budget,” said Hagood. “People have commented on how smooth and full the sound is without being overpowering – while providing the clarity they were looking for. It’s a far superior sonic experience than they had before, which is exactly what we intended.”

From its early 1990s origins as a touring festival to its 2005 revival in Chicago, Lollapalooza has turned into a global festival phenomenon. The Chicago edition of Lollapalooza, annually held in Grant Park between the city’s skyline and shoreline, draws more than 400,000 music fans over four days each August to experience approximately 180 artists performing on eight stages. This year, crowds gathering at Lollapalooza’s two largest stages—the Grant Park Stage and Bud Light Stage—heard their favorite songs better than ever thanks to L-Acoustics K1/K2 loudspeaker systems.

The two L-Acoustics systems—used by Arctic Monkeys, Bruno Mars, The Weeknd, Jack White, Portugal. The Man, The National, Catfish and the Bottlemen, Vampire Weekend, ODESZA, and scores of others—were supplied and deployed by Houston-based L-Acoustics Certified Provider LD Systems, which is no stranger to huge productions. In addition to providing K1/K2-based sound reinforcement for three solid weeks of country and pop music’s top artists at RodeoHouston each March, the company also serves as the production provider for the two largest stages of the annual Austin City Limits (ACL) Music Festival.

Austin-based C3 Presents, paired with Live Nation, is the promoter behind both ACL and Lollapalooza. With LD Systems already providing audio and lighting packages for several of Lollapalooza’s secondary stages since 2013, in addition to its track record with ACL, LD systems director of production services Robert Ausmus said he was pleased to have the opportunity to bring even larger deployments of L-Acoustics gear to the two main stages of the Chicago festival.

“I’m a huge fan of the large-format K1 line source array,” said Ausmus. “Not only does it have high output and throw incredibly well, but it’s also an extremely articulate system. Our deployments at Lollapalooza this year reminded us of how amazing it is. To experience sound so present and rich at 500 feet out is absolutely mind-numbing. K1 is the only PA out there that I am aware of that can do that.”

Between the two stages, Lollapalooza this year featured an absolute “lollapalooza” of an audio setup. The system design that was deployed for the Grant Park Stage consisted of left and right main hangs of six K1-SB over 14 K1 over four K2, with eight K1-SB flown directly behind each of the two main arrays. Side hangs were comprised of eight K1 over four K2, and a total of 36 subs were deployed, configured with 24 KS28 in the center flanked by four SB28 per side in an arc sub configuration. For front fill, eight two-high Kara were arranged across the edge of the stage, while two rows of three arrays each featuring six K1 covered the depth of the field for delay.

The Bud Lite Stage, deployed by LD FOH systems tech Rafael Rosales, featured left and right hangs of four K1-SB over 14 K1 over four K2, also paired with eight K1-SB behind each of the two main arrays. Eight K2 per side served as the side hangs, and a total of 32 SB28 subs were utilized, configured in an arc sub configuration. Eight Kara front fills were also positioned across the edge of the stage, and a single row of three arrays of six K2 provided delay.

The systems were powered and processed by LA8 amplified controllers housed in LA-RAK touring racks, as well as LA12X-equipped LA-RAK II for the KS28 subs. A dozen self-powered 108P coaxials were additionally used as near-field monitors at FOH and as VIP area fills at both stage sites.

Regarding noise containment at Lolla Chicago, the LD Systems team appreciated the directivity and predictability that L-Acoustics provides. “Soundvision’s predictions are so accurate that it’s absolutely scary,” said Ausmus. “We try and keep low end, which is typically the main issue, on the festival grounds using good system design, especially the different flexible cardioid setups that the L-Acoustics system offers. Plus, L-Acoustics loudspeakers are great about only going where they’re pointed—and we can see that in Soundvision beforehand—so we don’t really have to worry much about spill.”

One of the other inherent advantages of K1/K2 is its rider acceptability. “We sent an audio overview out to all of the visiting artists to give them a sense of the systems and didn’t get a peep from anybody,” he said. “That’s the beauty of L-Acoustics. There are a lot of ‘weapons of choice’ out there, but nobody—and I mean nobody—will turn down K1 and K2. They know they’ll have a good day on it. We’ve used other PA systems in the past where there’s been some pushback from the artists, but we never get pushback with this system.”

“I was extremely impressed how the entire system performed,” said LD Systems’ Julian Gates, who was the principal systems design engineer and FOH systems engineer for the Grant Park Stage. “Even at the furthest distance from the stage, with the help of the two K1 delay rings we had the desired LF contour and bandwidth to provide the required SPL and still had plenty of headroom. In turn, we were additionally able to achieve within a 3 dB ‘A’ weighted variation over the field. The whole system was extremely consistent from front to back. I couldn’t be happier with the results we achieved with L-Acoustics.”

Cherry Hills Community Church (CHCC) invests in Lectrosonics Digital and Digital Hybrid Wireless technology, prompted by the FCC’s new 600 MHz band wireless rules to upgrade its facilities with a fully networkable system. The new equipment, including dozens of channels of Venue2 receivers, SSM micro bodypack transmitters, 24 LT bodypack transmitters, 32 HHa handheld transmitters and 14 channels of Duet IEM systems, has been integrated into four locations at CHCC’s South Denver campus.

The megachurch’s quarter-mile-wide campus, less than 15 miles south of the city of Denver, encompasses a 225,000-square-foot main building plus a separate chapel for special events such as weddings and memorials. The church holds three contemporary services each weekend.

“We’ve been on the update path since I started a few years ago,” said the church’s audio director, Ben Edison. “We updated the sound system to L-Acoustics Kara speakers. We upgraded our Digico consoles to Stealth Core and upgraded our I/O System to SD-Racks. And now we’ve flipped all our wireless gear to Lectrosonics.”

With the production facilities across the campus already networked, Edison was determined to integrate digital wireless microphone and IEM systems. “The number one driving force was the Duet in-ear monitoring system. We’ve been on in-ears for a couple of years, with no wedges on stage. We do feature a choir once every other week, and we have wedges in the ceiling for the choir, but the band is all on in-ears,” he said.

“We knew that if we were going to pull the trigger on new equipment then we really wanted it to be digital,” he said. “You get one chance in 10 years to do a big update in a church, so we wanted to make sure that we adopted the technology now.”

After evaluating various options on the market, Edison and his team replaced the church’s previously installed wireless systems with Venue 2 receivers at four campus locations, Duet M2T dual-channel IEM transmitters, and M2R IEM receiver packs in two of those rooms. “We put in 21 channels of Venue 2 and 10 channels of Duet into the 3,500-seat worship center. The chapel, which seats 350, got 10 channels of Venue 2, the 600-capacity atrium got 10 channels and the youth group room got 12 channels, with 10 Duet in-ears,” said Edison.

Three DNT16i analog-to-Dante input converter boxes enable integration of the wireless microphones with the worship center’s installed media network. “We have networking built in across the quarter-mile campus for when we do multiple rooms for special events like Christmas. I can patch into any room with production. But mostly the Dante network is local to the worship center. We run Ableton tracks and all video on the network, and now we’re pushing our Venue 2 receivers over Dante as well,” he said.

Making the jump to Lectrosonics has been a cost-saver, added Edison. “We’ve been able to save quite a pretty penny going with Dante instead of having to add analog inputs into the DiGiCo SD-Racks,” he said.

Campus-wide, the new Venue 2 receivers are paired with a variety of Lectrosonics bodypack transmitters. CHCC’s total complement includes 24 LT bodypack transmitters and 32 HHa handheld transmitters. The HHa handhelds are fitted either with Shure KSM9 capsules or, said Edison, “My favorite, the DPA d:facto.”

The new package of Lectrosonics gear also includes a single WM watertight bodypack transmitter. “We haven’t used it yet, but we do outdoor events in the summer, mainly baptisms, so we’re going to use it in a baptism tub. Plus, it’s a utility piece for anyone doing anything in the kid’s room or needs a device they can get wet. I’m excited to use it,” he said. An SSM super small micro beltpack transmitter is also available for situations where a larger device is too bulky.

The replacement of the previous wireless microphone and IEM systems was initially triggered by the imminent loss of access to the 600 MHz band, Edison said. “We have two cell towers on our building, and one of them is T-Mobile, which owns the 600 MHz band, so we had to make sure and get out of those frequencies early.”

But the principle motivation came with the discovery of the Lectrosonics Duet 2 digital IEM system, he said. “That was the big tipping point and made us look into Lectrosonics a lot more,” he said. “After doing a lot of demos and some listening tests we decided that we were definitely going to go Lectro.”

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Little Alley Steakhouse recently opened a second location in the bustling Atlanta district of Buckhead. AV systems integrator Kermit Harrison Technology Solutions installed a Bose EdgeMax system comprising six EdgeMax EM90 speakers and two EdgeMax EM180 speakers to cover the main bar and lounge areas. A distributed sound system covers the rest of the establishment, including an outdoor area, using approximately two dozen Bose FreeSpace DS 40SE surface-mount loudspeakers.

“The owners looked at several other options for the sound systems, but nothing met all of their criteria like the Bose speakers did,” said Harrison. “That’s because while the Bose speakers have this classic, legendary sound that’s such a good fit for a high-end restaurant like this, they also are able to cosmetically fit the look they want to achieve here. The EdgeMax loudspeakers give us the full-range sound we wanted, with deep lows and bright, articulate highs, and also fit in aesthetically, thanks to their form factor. They’re virtually invisible, but they deliver the kind of sound that reflects the level of restaurant this is.”

Harrison also said that the slim FreeSpace DS 40SE speakers sound great and have a shape that perfectly fits with the 120 LED lights mounted on the outdoor part of the restaurant. “Also, we were able to cover the entire restaurant using fewer speakers than we would have with another type of speaker, so the economics made sense, too,” he said.

Co-owner Hicham Azhari said, “Because we have live music six nights a week, we were looking for a system that was balanced and kept the music clear but never intrusive for our diners. This Bose system accomplishes that perfectly. The customers are happy and enjoy the atmosphere very much. Our house band plays a wide variety of styles, and the system handles all of it fabulously.”

Bose Professional EdgeMax in-ceiling loudspeakers feature proprietary Bose PhaseGuide technology with high-frequency compression drivers to create a new category that combines the room-filling coverage patterns typical of larger surface-mount speakers with the architect-preferred aesthetics of in-ceiling models. Designed to mount near wall-ceiling boundaries, EdgeMax loudspeakers provide improved audio quality and coverage, while reducing the number of required units, compared to conventional dome-tweeter ceiling speakers.

“They sound good and they look good, and that was a combination that perfectly fit the owners’ vision for this restaurant,” said Harrison. “And you can’t ask more than that from a speaker.”

The Chapel is an historical landmark turned concert venue in San Francisco. Originally built in 1914, the 500 capacity main Chapel stage now hosts acts that run the gamut. The venue has undergone a complete sound and control system upgrade, with a total solution provided by QSC, including WideLine8 Series line array loudspeakers with WL212 subwoofers, K Series powered loudspeakers, PowerLight3 Series amplifiers and a Q-Sys audio video and control platform powered by a Core 500i processor.

Adjoining the main Chapel concert room are several satellite areas including a mezzanine, restaurant, and patio, so the mission was twofold: to provide pristine and punchy sound reinforcement for the main room while playing the same or different music in other spaces at lower volumes. The main concert room features 18 WideLine 8 line array loudspeakers and six WL212 subwoofers, all powered with the PowerLight 3 amplifiers. Additionally, eight monitor mixes feed seven legacy Concert Stage Monitor CSM12 wedges plus one CSM15 for the drummer (all PL3-powered) with numerous K Series powered loudspeakers as stage fills and on the mezzanine. Tuning the entire system to the room is a legacy RAVE 522ua, managing graphic and parametric EQ, compression and limiting, and much more. In turn, it feeds a legacy, eight-output SC28 crossover. Audio distribution to a plethora of QSC loudspeakers in The Chapel’s other rooms is accomplished by the Q-SYS platform under the control of a Core 500i processor.

“The main room is about 35 feet wide by 65-ish feet deep, front to back, and the vaulted ceiling ranges from about 16 feet at the side walls to over 25 feet at the apex,” said Chapel sound engineer Kurt Schlegel. “That’s not physically huge, but acoustically it’s challenging. We wanted every guest to have a good experience, with the people in the back hearing the band clearly without people in the front getting slammed by excessive volume.”

The Chapel “wanted to give the audience exciting bass without shaking the side walls, because we have close neighbors and volume restrictions,” said general manager Fred Barnes. “The WL212 subs proved to be the best fit in that regard.”

Barnes explained how Q-SYS manages the complex needs of distributed audio in the venue. “We have four distinct spaces at The Chapel. There’s the main venue, a large L-shaped bar with its own system of 10-inch installed speakers, a restaurant called Curio with its own bar, and the patio. We might want different music in any of those locations, or we might want to share the live performance with the entire property.”

QSC product manager Jon Graves said, “Depending on the night, the mezzanine can also do its own thing with its own music. We have K12 loudspeakers up there as fills, but they can also act as their own P.A., and there’s a floating K Series P.A. in the restaurant because sometimes an entirely different band is playing in there.”

When separate music is called for in any zone, Schlegel need not be saddled with managing it while he also mixes at FOH. “Every space has its own remote inputs into the Q-SYS network,” he explains. “So sound sources such as a DJ or an employee’s iPod can plug right in. We’re looking into adding even more inputs, so we can further subdivide zones.” Graves said. “With the TSC touchscreens in every critical area, you can select a local sound source or the main stage, control the volume of all the installed and surface-mount speakers all over the place, and do a lot more.”

Whether guests are dining in the restaurant, sipping craft cocktails at the bar, or moshing right in front of the stage, audio quality is crucial to the experience they take home. And QSC was the choice. “I won’t name names, but many other companies bid for the install,” Fred Barnes said. “At the end of the day, our owner Jack Knowles felt the QSC system sounded the punchiest and most emotionally engaging.”

“As a longtime rock guy, I was very excited to design a system that wound up achieving so much finesse in such a hard-walled, reflective room,” said Jon Graves. “The WideLine system always sounds super clean no matter what kind of act is playing. And in terms of controlling the different rooms which have different purposes, Q-SYS has everything under control.”

On the Run II marks the first world tour together in four years for music’s power couple, Beyoncé and Jay-Z. In that time, the music has become more complex and so has the stage show. The two stars are backed by a sizable combination of their individual bands, including an entire horn section, as well as backup vocalists and dancers, all of whom wear in-ear monitors, as well as wireless microphones for every vocalist.

All of these elements are connected via an Optocore HMA fiber loop between two DiGiCo SD7 consoles for the FOH mix (one primary console and a second for use by supporting acts on the tour) feeding a d&b audiotechnik J-Series PA system, while four more SD7 desks are assigned to the monitor mixes. In addition, another SD7 is on the tour to mix full-band rehearsals as set lists change and new songs or new arrangements are added (the duo’s hit album, Everything Is Love, dropped in the middle of the tour), and to mix and record writing sessions as inspiration strikes during the 48-city, four-month-long tour. A DiGiCo SD12 console is also on hand to mix vocal rehearsals in dressing rooms. The five primary consoles on the tour use five DiGiCo SD-Racks, with a sixth used as a support rack.

“The DiGiCos are the only consoles that can do this show,” said Jason Kirschnick, international operations officer and global project manager at Eighth Day Sound, the sound-reinforcement provider for On The Run II. “The wireless and in-ear counts are enormous. Stephen [Curtin, FOH engineer] uses a lot of subgroups to keep and manage all of the stage inputs on a single SD7, with the second SD7 on the same fiber loop and with the sessions loaded and ready there as a spare. No other desk could touch what the SD7s are doing here.”

“Everyone is sharing fiber on this tour,” Kirschnick said. “That’s one of the reasons that it’s the preferred console for the FOH and monitor mixers: its work-surface flexibility makes it the only console that lets them set up the exact custom workflows they need. It just has more options than any other console. That’s why it’s number-one on all the riders.”

The SD7 consoles are connected to an Optocore fiber loop—a double loop in the case of the monitor consoles, two of which are primarily dedicated to the band members and two more for the artist on stage, with one for each task assigned as the primary console and a second as a spill-over deck for ancillary inputs such as talkback and audience mic inputs. Small wonder then that everyone—FOH engineer Stephen Curtin, artist monitor engineer James “Cowboy” Berry, and band monitors engineer Jimmy Corbin—has their hands full, with what Curtin estimates is 160 total inputs, down from 175 when the tour first took shape. “We were able to reduce the number of inputs slightly, which helps,” he said, “but it’s a high channel count, and the SD7s make all the difference.”

Even with such a massive number of sources coming in, versatile expansion options allow DiGiCo’s flagship console to comfortably stay on top of everything. “With the SD7 we were able to utilize a second HMA Optical Loop doubling the available I/O in the fiber network allowing us to add not one, but two additional record systems capable of handling all 160 channels plus an additional 16 audience mics,” says Curtin. “More important to us was the additional 504 inputs or outputs along with the 504 on Loop #1 to the system, which on this show is critical. That’s enabled me to be able to keep everything on just one primary console, which streamlines the workflow considerably.”

“We’ve been using the SD7 with Beyoncé since the desk came out; plus we were on DiGiCo’s D5 before that,” said Berry, who has been with Beyoncé for a dozen years now (Curtin joined Beyoncé’s crew in 2011 as the band monitor engineer, then transitioned to FOH when Corbin came onboard in 2013 for the Mrs. Carter Show world tour). “Even the monitor guy before me was on a DiGiCo; it’s the only desk that can handle the size and scope of her shows.”

And he’s not kidding. With practically both Beyoncé’s and JAY-Z’s full musical entourages in tow for On The Run II, the road logistics alone are absolutely staggering. It is a setup that can only visit the biggest of stadiums because “it definitely won’t fit anywhere else. But the SD7s can handle it all. When the SD7’s Quantum 7 processing update becomes officially available, we’ll technically be able to handle even bigger productions, but I’m not sure that we should tell them,” Berry said.

Currently, the Eighth Day Sound crew is running just over a hundred channels of wireless units, including comms, he said: “I’m only driving 16 stereo outputs from my desk for vocals—plus a sidefill and wedge mix downstage just as a safety—but I think that Jimmy only has two outputs left on his desk, which means he’s well into 30 stereo mixes.”

Berry goes on to compliment DiGiCo’s “Ultimate Stadius” 32-bit Mic Pre-Amp cards, which are being used for the first time on all of the insert inputs, as well as a number of the company’s brand new 32-bit DAC modules.

“One of our stage racks is completely full of outboard analog processors, so we’re taking everything D-to-A and back. The 32-bit cards give a really pleasing, warm, wide sound, and it was immediately noticeable, especially on keys and drums,” said Berry.

“What really adds to this setup—the way that I’m linking my two desks together—I’m using the Merge Input on the auxiliaries and groups, and we’re linking on MADI, so the second desk is actually feeding my first desk through the Merge feature. I haven’t done that in the past, and it’s making my setup so much easier—it’s just two MADI cables and we’re done, plus it gives redundancy. The desks are also MIDI-triggered to each other so that they all switch snapshots at the same time, so it’s all very seamless to operate.”

And the SD consoles are also the matrixes for recording the live shows, using DiGiCo’s MGB MADI interface at FOH and Optocore DD4MR network MADI interfaces in monitor world to convert the MADI output from the consoles to a network signal for input to a Mac Pro running recording software. “This is a very complex tour,” said Kirschnick, a commercial-rated Air Transport pilot. “It couldn’t have been done as reliably or effectively without what the SD7 brings to it.”

When Ocean Prime restaurant in Phoenix, AZ upgraded its sound system this past summer, it chose solutions powered by Ashly Audio.

Ocean Prime upgraded the audio quality for its diners by adding two Ashly PEMA 8250.70 eight-channel network amplifiers with built-in Protea Matrix Digital Processors, along with 12 Ashly neWR-5 network wall-mounted controllers to the restaurant’s sound system.

“Once we had the system upgraded the general manager came in and was absolutely blown away by how much better it sounded,” said Lee Collett,president of Bicco Systems, which provided integration of the system for the Ocean Prime project. “That’s the reaction you want when you’re upgrading someone’s sound. You want them to be that excited. And sometimes it’s as easy as putting in the right equipment.”

The upgrade to the Ashly PEMA-based amplification and digital processing brings improved fidelity and reliability to the system, which previously had struggled to impress with its live pianist and house music. Further, the upgrade to Ashly allowed for a fully networked system, meaning the main dining room, bar, patio, lobby, and three private dining areas are now all receiving their own specific attention to detail.

The private dining areas, for example, come equipped with televisions for meetings and can have their own audio even as a live performance is taking place in the main bar area. Once the meeting concludes, the private room can simply switch to the audio from the performance if they wish.

This choice of audio is powered both by the seamless network integration and the Ashly neWR-5 Decora programmable controller, which give staff complete control over the different zones in a way that is both intuitive and comprehensive.

“With the upgrade to Ashly we now have a system that fits our space,” said Tony McMahon, general manager of Ocean Prime. “Not just in terms of size and scale, but for use. When you’re providing a fine dining experience with an impressive menu and genuine hospitality, you want to make sure every detail is perfect. The sound is now in line with the high quality we and our guests expect.”

Meyer Sound and the Telluride Film Festival have announced a decade-long partnership agreement, which outlines a fourfold expansion of theaters equipped with 100% Meyer Sound cinema systems. For this year’s festival, held over Labor Day weekend, the Galaxy Theatre joined the flagship Werner Herzog Theatre as a second venue to offer complete, premium Meyer Sound systems. In addition, the Palm Theatre and the Nugget Theatre will be fully furnished with Meyer Sound systems in the coming years as part of the continuing collaboration.

“Even though many of our theaters are temporary venues for film, we are committed to offering our audience a world class experience,” said Telluride Film Festival executive director Julie Huntsinger. “By partnering with Meyer Sound, we can be assured of benefiting not only from the world’s finest cinema loudspeakers but also the on-site technical expertise to make sure each system is fine-tuned for optimum performance in its acoustical environment.”

For each festival run, Telluride’s middle school gymnasium is transformed into a first-class cinema with special acoustical treatments and finishing design touches inspired by pioneering French filmmaker Georges Meliés. The Meyer Sound cinema audio system comprises Acheron 100 coupled with Acheron LF systems for the screen channels, HMS-12 surround loudspeakers, and X-800C subwoofers for the LFE channels. Processing for drive and optimization is — appropriately — supplied by a GALAXY 816 network platform. For film introductions and panel discussions, the venue has a separate PA system with UPQ-1P loudspeakers and a 750-LFC low frequency control element.

“Telluride continues to gain wider recognition as one of the world’s leading showcases of new and noteworthy cinema,” said Miles Rogers, Meyer Sound’s business development manager, cinema and content creation markets. “Great films deserve sound to match, and we’re proud to be playing an important role in making sure every film’s sound is heard exactly as its creators intended.”

The Galaxy joins the Werner Herzog Theatre, where the Meyer Sound complement is anchored by the same trio of Acheron screen loudspeaker systems plus 22 HMS-12 cinema surrounds, 10 X-800C subwoofers and three Galileo 616 processors.

Although the Werner Herzog Theatre’s building serves as Telluride’s community ice rink outside the festival season, it nonetheless offers a first-class experience for filmgoers. “Watching movies at Werner Herzog is a wonderful sensory experience — great picture, great sound!” said film critic and historian Leonard Maltin.

Slated for a complete Meyer Sound upgrade in the coming years are the Nugget Theatre, a smaller year-round venue housed in the historic First National Bank building, and the Michael D. Palm Theatre, a 587-seat performing arts venue located on the campus of Telluride High School. The Palm Theatre already is equipped with a compact Meyer Sound line array system which is used regularly for the venue’s range of live music performances and community events.

The Telluride Film Festival was established in 1974 and is held annually over the Labor Day holiday. In a departure from typical film festival procedures, neither the films nor the special guests are announced prior to the festival weekend. Films featured in either the Galaxy or Herzog this year, with celebrities on hand for the screenings noted, included “The Old Man and the Gun” (Sissy Spacek, Robert Redford and Casey Affleck with director David Lowery); “White Boy Rick” (Matthew McConaughey with director Yann Demange); “Destroyer” (Nicole Kidman with director Karyn Kusama); “Front Runner” (Hugh Jackman with writer/director Jason Reitman); “The Favourite” (Emma Stone with director Yorgos Lanthimos); and “Meeting Gorbachov” (theatre namesake director Werner Herzog).

Sound reinforcement pioneer and innovator John Meyer will deliver the AES New York 2018 Convention’s Heyser Memorial Lecture on Friday, October 19, at 6:30 p.m. Speaking on the topic “Taking the Room Out of the Loudspeaker: New Tools for Transparent Reproduction,” Meyer will share his expertise on loudspeaker design and applications from his 50-plus years as one of the most lauded names in the industry. The 145 AES International Convention is being held October 17–20 at the Jacob Javits Center in New York City. Advance Registration pricing is available through September 20 at aesshow.com.

Established in 1999 by the AES technical council and the board of governors, in conjunction with the Richard Heyser Scholarship fund, the Heyser Lecture series, featured at each AES Convention, brings eminent individuals in audio engineering and related fields to speak on a relevant topic of choice. Meyer—also an AES fellow and recipient of the AES Silver Medal award—offers the following abstract of his presentation:

“With few exceptions, loudspeakers are not used in a free field environment but rather in an enclosed acoustical space. This is inherently problematic, as an acoustical space behaves in a manner similar to that of loudspeakers, making it difficult to separate the problematic characteristics of each using common measurement tools or subjective listening tests. This lecture will review the history of loudspeaker measurement tools as used both in the free field and in acoustical space, including Richard Heyser’s pioneering TDM methods and Meyer Sound’s own SIM (Source Independent Measurement) systems. A key focus will be on a new multi-component studio monitor that exhibits absolutely flat amplitude and phase response from 27 Hz to 20 kHz. Because this system effectively ‘takes the room out of the loudspeaker,’ it opens up possibilities for correlating new objective testing techniques with subjective listening observations. The lecture also will discuss a new test signal known as M-Noise, which effectively mimics the dynamics of music and avoids inherent weaknesses in the use of pink noise with third-octave analyzers when testing loudspeaker systems used for music. The retrospective will touch on other benchmarks in the quest for linear sound amplification, including the early Glyph large-horn systems, the Grateful Dead’s ‘Wall of Sound’ and the HD-1 high resolution studio monitor, a trusted near-field reference that remains in Meyer Sound’s product line 29 years after its introduction.”

John Meyer’s career as an audio innovator was launched in the late 1960s when he started out as designer of custom amplification systems for guitarist Steve Miller. Meyer was then the creator of the legendary Glyph very large horn loudspeakers and he was the in-house loudspeaker designer at San Francisco’s McCune Sound Service. In the 1970s his audio research at the Institute for Advanced Musical Studies in Switzerland led to his first patent, awarded for a low-distortion horn design. In 1979 he co-founded (with his wife, Helen) Meyer Sound Laboratories, a company synonymous with innovations in loudspeaker design and acoustical measurement. Meyer led development of the SIM System for audio measurement, which was awarded the prestigious R&D 100 Award in 1992. Meyer Sound also pioneered development of self-powered sound reinforcement loudspeakers with introduction of the MSL-4 in 1994, launching a trend that has since revolutionized the industry. Throughout his career, Meyer has focused on development of linear loudspeaker systems, with his R&D team most recently achieving phase linearity from 20 kHz down to 27 Hz with the Bluehorn System studio monitor.

For further information on the AES New York Heyser Lecture, as well as the complete All Access Technical Program of events and experiences that comprehensively covers all things audio, visit aesshow.com.

The What: PreSonus Audio Electronics has introduced the CDL-series loudspeakers, the latest additions to the company’s line of sound reinforcement designs.

The What Else: The CDL12 Constant Directivity Loudspeaker is engineered to combine the best attributes of point-source and line array technology into a unique patent-pending design, radiating a highly focused pattern with consistent SPL throughout the frequency response range, both on- and off-axis. The companion subwoofer, the CDL18s, utilizes a ported design that maximizes efficiency to create a big bass sound from a compact cabinet. Both Dante-enabled powered enclosures can be flown as a vertical array, or combined for ground-stacked applications to create a complete, coherent loudspeaker system with an even response across the frequency spectrum.

Each CDL12 consists of eight 2-inch drivers aligned in a segmented, circular-arc, high-frequency array centered in front of a 12-inch woofer. The output of the low-frequency driver travels from the same acoustic axis as the high-frequency array, so that the pattern always radiates from the center of the CDL12—whether used individually, or as part of an acoustically coupled vertical array with up to six enclosures. Because of this, the CDL12 avoids the near-field anomalies that can interfere with the sound quality of a traditional line array. This makes the CDL12 ideally suited for a broader range of venue sizes, creating a far-field response almost immediately as the sound is projected from the center of the enclosure. Thus, the controlled 120-degree horizontal coverage pattern is maintained while the vertical coverage is expanded by 20 degrees per box deployed. The result is a system that can be scaled from 20 to 120 degrees of vertical coverage, making the CDL12 well suited for array use.

The CDL18s features a unique port configuration that maximizes efficiency to create big bass sound from a compact cabinet. Each of the four triangle-shaped ports is placed in a corner so that it couples to the cabinet, using the side walls to effectively elongate each port and allowing the CDL18s to move more air in a compact enclosure. Its custom 18-inch low-frequency transducer with 4-inch voice coil can travel 7mm before over-excursion, and handles 800W, providing the articulate low-end punch audio professionals demand. The CDL18s and CDL12 form a unique loudspeaker system ideal for both portable PA and installed sound applications.

“The new CDL12 and CDL18s combine to form a terrific sounding, great looking sound reinforcement system that is equally adept as a portable PA or for use as an installed sound solution," said Tony Flammia, director of PreSonus’ Commercial Division. "Dante connectivity facilitates interoperability with a wide range of equipment. Add to all this the robust, integrated pin-loaded rigging and the ability to remotely control the DSP from Worx Control, and you have a feature-rich sound system that is extremely capable.”

The Bottom Line: The CDL12’s hybrid point source/line array design combines the benefits of both technologies and delivers focused sound with consistent SPL. Furthermore, a low 420Hz crossover frequency minimizes comb filtering and doesn’t compete with conventional vocal range. As a line array system for fixed installations, the ability to fly five enclosures under one or two companion CDL18s subwoofers provides considerable flexibility when addressing room size. The CDL12 includes an integrated 500W x 500W Class D power amplifier with onboard DSP presets. The loudspeaker’s support for Dante audio networking brings the benefits of IT networking to professional AV installations while providing full remote access for system tuning via PreSonus’ Worx Control software.

The PreSonus CDL12 loudspeaker and CDL18s sub bass enclosure are expected to be available September 2018. Both loudspeakers have a MAP price of $1999.95.

The Bien Trucha Group, located in Geneva, IL, owns four restaurants located in the western suburbs of Chicago. Their newest restaurants, Quiubo and Santo Cielo, both opened with d&b audiotechnik sound reinforcement systems.

Rodrigo Cano, COO and partner for Bien Trucha Group, played a major role in the decision to install d&b audiotechnik.

“When I was at Burning Man, our camp had an art car that used d&b loudspeakers,” said Cano. “I was absolutely blown away by the audio quality – fell in love with the system. I realized our customers should have the same audio experience. Upon my return I started working with John Simshauser, Audio Logic Systems (ALS), to see what we could put together for Quiubo, which was opening a few months later.”

Quiubo, located in Naperville, IL is a compact but airy space. The entrance opens into a bar and waiting area with a long dining space to the right. The zoned distributed system is divided into the bar, indoor, and outdoor dining areas. Three column-mounted d&b 5S loudspeakers cover the bar area while six more – mounted on both sides of the room – blanket the indoor dining area. Two 8S loudspeakers, one directed at the bar and the other the waiting area, keep the area immersed in sound. Quiubo also offers outdoor patio dining where patrons enjoy background music via three 4S loudspeakers. A 12S-SUB, positioned on the ground near the restaurant entrance, drives the low end of the system.

“Rodrigo’s goal was to install the highest quality music system that would offer even coverage and plenty of headroom in the most visually unobtrusive way possible,” said Simshauser, director of operations at ALS. “The size of the 5S loudspeaker is deceptive, people are amazed at the sound levels it produces. The zoned system allows them to crank it up a bit in the bar area when needed with the 12S-SUB adding additional punch.”

Shortly thereafter, Cano and his family started working on their next project, a rooftop lounge and restaurant located a few blocks down from Quiubo. Santo Cielo, loosely translated as “Good Heavens”, occupies the top (fifth) floor of the newly built Hotel Indigo, which is now the tallest building in downtown Naperville.

“Not only did we receive tons of compliments on the sound at Quiubo but we also played the d&b system 24/7 for more than a year and never had a problem,” said Cano. “When it came time to design the system for Santo Cielo, I knew we needed to use d&b again. You need a system you can rely on. Plus, Santo Cielo was going to be a bit different than the other three restaurants. We were changing things up a bit.”

Santo Cielo features a 65-seat dining room, a private room for 20-25 that can also handle overflow guests on busy nights, and a bar and lounge space that accommodates another 50 guests. The restaurant is surrounded by three panel windows that can be retracted two-thirds of the way downward, creating an open air dining space bordered by rails when weather permits.

Cano and Simshauser created a five-zone system that keeps patrons immersed in the atmosphere of Santo Cielo. The two zones covering the bar and lounge area are made up of eight wall-mounted d&b 5S loudspeakers, four distributed throughout each zone. Weekend nights feature DJ music and dancing. As a result, a 12S-SUB is tucked away in a corner to provide the driving beat a late-night nightclub environment demands.

The dining area is a rectangular space covered by two zones that run parallel to each other. One zone deploys two wall-mounted 5S loudspeakers, while the other utilizes two corner-mounted 5S loudspeakers reinforced by two more wall-mounted 4S enclosures. Lastly, the private dining area has two 4S loudspeakers – mounted in two corners of the room – delivering a music backdrop to complete the full sensory experience.

“Once again, the d&b loudspeakers are visually discreet while providing extremely high quality sound,” said Simshauser. “After the diners leave, the restaurant converts into a lounge atmosphere – which is easily carried out throughout each zone. If one area prefers to tone it down a bit, it can be easily modified to their needs. It’s flexible and attractive – exactly what Rodrigo envisioned.”

“People wonder why we go to such lengths to create a musical atmosphere for our customers,” said Cano. “Installing d&b audiotechnik loudspeakers is above and beyond what people expect, but that is what these restaurants are about – offering the best dining and entertainment experience possible. Music plays an important role in our accomplishing that. It would not be the same without these systems.”

The Pope’s visit to Ireland comprised just three public appearances. The Festival of Families at Dublin’s Croke Park Stadium was a sell-out, gathering an audience of more than 82,000 for a multi-cultural, multi-entertainment spectacular with a cast of 2,000 performers, and featuring many of Ireland’s most famous live performers, including Daniel O’Donnell, Patrick Bergin and the Riverdance company.

Sound Design, led by John Vickers, has a long history of using NEXO loudspeakers. The relationship between the two companies was consolidated in 2015-16, when Sound Design was appointed as distributor for Eire, and made its first investment in the STM Series. Vickers was able to bid successfully for the audio production of the prestigious Festival of Families, scaling up his own STM inventory with sub-hires from the pan-European network of users.

“We’d watched many other companies doing Croke Park, and we knew that STM Series was the ideal system for the venue,” said Vickers. “We were confident that we would be able to nail it and that it would sound outstanding. Logistically, it was simple to bring in additional cabinets from our friends at VDB PA in Belgium, and Sound of Music in the UK. I really believe that this is the way for all of us to go forward with rental, bringing in what is needed for the job rather than having inventory sitting around expensively in the warehouse.”

For the main event, Sound Design specified the front-of-house PA with L/R arrays of 18 sets of STM M46+B112 with 3x M28 downfill modules. These were flanked by separate sub arrays of 15x S118 per side, supplemented by 14x groundstacked S118s per side, running in cardioid mode. With a wide stage positioned at one end of the stadium, the necessary side arrays used 18x STM M28s on each wing.

“We were impressed with the lack of colouration from the rear of the system,” said Vickers. “The noise levels outside the stadium were substantially lower than with other systems, which meant we could run it during the day without upsetting the heavily residential neighborhood. We used 28 supplementary S118 subs on the ground, and by running these in cardioid mode, we could drastically reduce the sub-bass on stage.”

On the floor of the stadium, four delay towers each carried 12x STM M28, powered by a NEXO Universal Amp Rack. All elements of the PA were under NeMo remote control.

The Festival of Families was the first show to benefit fully from Croke Park’s new ability to tie event PA into the stadium’s fixed PA to provide coverage for all the uppermost tiers of the stadium. More than 150 NEXO GEO S12-ST line array cabinets are spread throughout the stadium’s overhang roof, permanently installed this summer by Mongey Communications as part of a major upgrade to the stadium’s technical facilities. In fact, the installation deadline was brought forward by stadium owners the Gaelic Athletics Association specifically to handle the Papal visit.

With an orchestra, choirs, playback, and numerous microphones to accommodate, the Festival of Families was a complex show. The music was submixed by Paul Keegan, before being routed to a Yamaha RIVAGE PM7 digital console for the final mix in the hands of John Vickers. The signal routing backbone for the entire show was run from the PM7. Every input and output coming to and from FOH was routed through a Yamaha TWINLANe network, working seamlessly with Dante, using RPio622 and Rio3224-D I/O racks. This provided up to 400 channels between stage and FOH, with incredibly low latency at a native 96khz, 32-bit sampling rate.

On stage, Sound Design deployed its new GEO M10 mid-size line array as side fill. 12x NEXO 45*N-12 cabinets were used as stage monitors. Monitors were mixed by Paul Moore and JC Campbell, an all-NEXO line-up of PS15 cabinets alongside the 45*N-12 line monitors on stage. Sound Design radio techs Sinead Conlan and Alannah Hayes managed 60 channels of Sennheiser 2000 and 3000 Series radio microphones.

Key to the success of the day was the 3-man engineering support team from NEXO, sent in by NEXO to contribute their expertise to that of the Sound Design crew. Val Gilbert, Nicholas Poitrenaud, and Robin Shamsnejad proved their value as the set-up window for the event production shrank from 3 days to just over a day.

Delivered by Tyrone Productions, the Festival event was broadcast through Ireland live on RTE, and distributed to a worldwide audience of several million people.

UK band alt-J, currently on a world tour in support of their third studio album, used L-Acoustics’ L-ISA Immersive Hyperreal Sound technology to envelop nearly 12,000 fans in a 360° soundscape at Forest Hills Stadium in the New York borough of Queens on June 15.

“Wherever you’re standing in the audience, you’ll be able to hear the music coming from all around you,” alt-J keyboardist Gus Unger-Hamilton told UK music publication NME ahead of the show.

Lance Reynolds is alt-J’s Chicago-based FOH engineer and has been using L-Acoustics sound reinforcement systems with the band since 2015. He said that the band’s manager, Stephen Taverner, had been searching for the right technology to present a show in surround for quite a while, so Reynolds visited L-Acoustics’ U.S. headquarters in California’s Westlake Village to explore L-ISA as a potential option. “Once I got my hands on it, I was very excited—and immediately started thinking about what we could do with it,” he said.

With everyone on board, Reynolds returned to L-Acoustics to familiarize himself with mixing in L-ISA and, alongside alt-J’s three band members, design a mix for the show incorporating live and pre-recorded elements that would take advantage of the surround capabilities of L-ISA.

“In preparing the mixes for this show, I’m lucky that alt-J has a lot of interesting sonic nuggets and a little bit of sound effects,” said Reynolds. “These elements exist in our normal live show, but with L-ISA, it’s much more evident. There are a lot of things that I’ve been able to just draw out—pinpointing instruments and sounds in specific places. That’s really what this ‘360’ mix is; it’s an extension of what we already do, but a really big extension. Usually, I don’t want the audience to notice my mix, per se. Ideally, I want it to sound great while keeping the audience focused on the band. But using L-ISA for this show, I wanted the audience to notice the difference. My hope was that the fans would walk away saying, ‘wow—did you hear that?’ I wanted heads to turn and the audience to feel completely immersed in alt-J’s music.”

Another thing that Reynolds wanted to accomplish was to broaden the show’s sweet spot: “Being at the mix position, I generally have the best seat in the house—I’m creating what I want to hear and hopefully everyone else is hearing most of that,” he said. “But when you get off to the sides, when you get into the balcony, it can’t be the same as what I’m hearing. This technology helps you do that. If you‘re sitting in an L-ISA show, you’re going to get that experience that I’m getting at front of house. It has the ability to be a better experience all throughout the venue.”

To create that giant L-ISA zone, Rat Sound, the band’s longtime production provider, flew three arrays of 12 K2 each equally spaced above the center of the stage, flanked left and right by single hangs of 16 Kara elements each. Two hangs of eight KS28 subs were flown behind the center K2 array. Outside those five arrays, to left and right, the team flew extension hangs of 16 Kara speakers, toed in toward the center. A hang of nine K2 boxes on either side provided out-fill for those seated immediately next to the stage. Three pairs of Kara and a pair of ARCS II delivered front-fill.

Tom Worley (KSE) of Rat Sound created a mounting system for the 16 Syva surround speakers, attaching poles behind the handrails at the upper edge of the seating bowl and fixed the speakers to them. Frequently used for permanent installations and corporate or private event applications, Syva was also the perfect fit for Forest Hills, said Worley. “They’re loud, lightweight, and have the right dispersion. And even without using a sub with them they go low enough that it made sense,” he said. L-ISA Controller software was used to place sound objects with the L-ISA Processor dedicated to spatial audio processing, and the entire system was powered by a combination of 15 LA12X and 31 LA8 amplified controllers.

The MADI transport capabilities of Reynolds’ console of choice, the Avid S6L, supported 32 outputs to L-ISA, which can accept up to 96. “You could send to individual channels, one to one, but I did it with stems,” he said, noting that it was easier to bus together both kick drum mics to a single channel, for example. “Plus, I needed some extra channels to do some submixing and some things to get sources into the surrounds that made sense,” he added.

Those additional outputs would be put to good use to address timing. With the farthest Syva speakers located 250 feet from the stage, sound coming from the stage would need to be delayed in the surrounds, or those nearby would hear it ahead of the signal from the main PA. But precisely compensating for that 250-foot distance would double that delay for a listener by the front of the stage. “Getting the levels correct so that, if you do hear it, it doesn’t interfere with what’s coming from the stage was the biggest challenge, but it was one that we were able to creatively resolve,” said Reynolds.

L-ISA mixing integrated seamlessly into Reynolds’ workflow at Forest Hills. “The desk was simply feeding mixes to L-ISA and I was doing any movements via snapshot automation in the L-ISA controller,” he said, driven by the timecode running the show automation that controls the lighting and other production elements.

Surround effects throughout the show—including a helicopter fly-by, haunting wolf howls, and a children’s choir during the song “Pleader” that enveloped the audience—generated chills and cheers from the crowd. Reynolds was concerned that a steady, syncopated heartbeat that starts “Hunger of the Pine,” almost like a click track, might not work as well. “We figured out that it was not too obtrusive to do it manually for the first eight bars, before anything else happens in the song,” he said, adding that California-based L-ISA Labs Engineer Carlos Mosquera panned the heartbeat around the venue. “Using a controller on an iPad, Carlos flew the sound around very specifically with the touch of his finger, which was really fun,” said Reynolds.

By the end of the show, Reynolds said he was ecstatic with L-ISA’s performance. “In prep on the day before the show, and even that morning, I still wasn’t quite prepared for what it was going to do and how it was going to feel,” he said. “With the surrounds, there were moments when it absolutely filled the stadium and I just couldn’t believe how amazing it sounded. It covered the venue better than anything I’ve ever heard. I was walking front to back, left to right, across the main stadium floor, and it was the same mix for the entirety of it. It was hard to find a massive difference anywhere. The whole stadium was the immersion zone. It was mind-blowing.”