Celestion, one of the world’s leading suppliers of professional loudspeakers and compression drivers for sound reinforcement applications, introduced the CF1025BMB 10-inch (254mm) diameter ferrite magnet, cast-aluminum chassis professional audio driver. Well-suited to both bass and mid-bass applications, the new CF1025BMB particularly excels as a bass unit in compact subwoofer applications.

[Celestion Appoints New Business Development Executive for North America]

The Celestion CF1025BMB features a 2.5-inch/64mm multilayer voice coil providing 300W (AES standard) power handling and 92.5-dB sensitivity with an output frequency range of 45Hz to 5000Hz. The elastomer surround enables a longer Xmax compared to a conventional 10-inch mid-bass speaker, allowing the CF1025BMB to better reproduce lower frequencies. This makes the driver a natural solution for discreet, compact subwoofer applications. However, it also performs very smoothly up to 2kHz, making the CF1025BMB a superb option for two-way designs with the added advantage of exceptional low frequency performance.
 
In addition to the extended low frequency performance, features include Celestion’s smart airflow vented magnet assembly for dynamic heat dispersion to minimize power compression during operation; and an optimized T-pole magnet assembly to maximize the stability of cone movement for enhanced Bl symmetry, hence lower distortion.

[The Nine 2022: Meet 9 Pro AV Superstars]
 
Developed at Celestion’s headquarters in Ipswich, England, this loudspeaker is designed using specialist in-house software deploying FEA (Finite Element Analysis) modelling techniques, enabling the Celestion engineering team to rapidly achieve genuine increases in performance, that translate into greater product longevity, and exceptionally low distortion.
 
This new high-performance cast aluminum loudspeaker is another example of Celestion’s continuing commitment to delivering a wide range of high-quality solutions for sound reinforcement and professional audio applications.

Founded in 1967, the Parker Playhouse is a fixture of the local Fort Lauderdale, FL, arts community, hosting a variety of Broadway shows, plays, concerts, dance, and educational events. Last year, a $30 million renovation and restoration project transformed the building from a historical playhouse into a modern live music venue.

Now known as The Parker, the theater has more than 1,100 seats and began welcoming audiences back this fall with a variety of events. As part of the effort to transform The Parker into a multifaceted venue equipped to serve the needs of modern live productions, The Broward Center for the Performing Arts, which has managed The Parker since 2005, upgraded its loudspeaker and stage lighting systems.

Joshua Delasant, CTS, who served as project leader for contractor Peerson Audio, said the renovation was completed in two phases. Phase 1 included the integration of a new AV system for the back-of-house area and existing lobbies, while Phase 2 included the overhaul of the auditorium AV and the addition of expanded lobby areas.

[Making Magic at the Frankfurt Opera with d&b Soundscape]

Chris Carlton, owner of Carlton Audio Services, developed the d&b loudspeaker system specification to meet venue’s budget while providing excellent coverage. It includes 16 V8s deployed eight deep left and right, a single custom red Vi7P point source loudspeaker at center, seven 8S units for front fill, and three SL-GSUBS subwoofers under the stage in a horizontal array. D80, 30D, and D20 power amplifiers along with DS10 signal conversion and distribution complete the audio package.

The three-way passive V-Series comprises both line array and point source systems for medium to large-scale sound reinforcement applications, with complete efficiency and broadband directivity control to low frequencies. “The choice of the d&b V-Series system was easy for us,” explained Anton Foresta, head engineer for The Parker and director of production – affiliated venues. “The goal was to put a system in place that would meet any rider’s requirement. Nine times out of 10, d&b is on every rider as the first choice, so we wanted to provide the first choice.”

The Stage Equipment & Lighting (SEAL) division of Pro Sound Inc. designed The Parker’s lighting system featuring Martin ERA 800, MAC Aura, and ELP CL lights. The main component of the new lighting setup is the Martin MAC Aura single-lens wash light, with 16 on electric line sets and four on a motorized truss. Featuring a broad RBGY color spectrum and eye-candy Aura effects, the MAC Aura combines multicolor beam LEDs with a backlight LED array to generate deep washes, subtle shades, and more.

“The Auras are our main wash,” explained Robyn Allemand, technical coordinator, The Parker. “We placed them on most of our electric line sets to give an even wash and also because they can zoom in really well. It’s great to have the option to provide movement. We wanted to make sure the line sets were even in rows that fit onstage to allow for a fun look or a general overhead wash look.”

[Soundworks Doubles Up on Martin Audio WPL at Norfolk Jazz Fest]

Eight Martin ERA 800 Performance LED profile fixtures were installed in a V-shape pointing upstage for wide washes, powerful beams, and eclectic patterns. The CMY color mixing and six-slot color wheel provide numerous blending options, while static and rotating gobos, as well as full stage framing blades with +/- 60° rotation, make the ERA adaptable to any production.

The Parker’s lighting system also includes 38 Martin ELP CL LED ellipsoidal profile lights. The ELP is equipped with the gear-driven Fine Focus, which allows for adjusting and locking in the focus instantly, as well as an RGBAL Luxeon Rebel LED engine for a vivid color palette.

“One of the primary goals of the renovations was that concerts hosted by The Parker started getting bigger and requiring higher production values for today’s touring artists,” said Foresta. “When people see that you have Martin fixtures, that's as far as they need to go. Everybody already has the profiles for it. It makes it really easy for touring companies coming through with their own consoles to take over and merge the system to their files.”

The audio pavilion on the InfoComm show floor has a number of manufacturers presenting their latest offerings, but that’s not all the audio excitement to be found. Make sure to check out the demo rooms, where you can hear audio systems from several brands roar in their full glory, and get questions answered directly by the companies’ pros.

L-Acoustics

L-Acoustics is focusing on L-ISA Immersive Hyperreal Sound technology in its demo room (W221BC), showcasing the capabilities and features of the new L-ISA Processor II, which is making its worldwide debut at InfoComm. Coming five years after the original L-ISA Processor, L-ISA Processor II is a hardware solution that provides advanced object-based mixing. While both units offer control of spatial audio processing and virtual acoustics for up to 96 audio objects based on speaker positioning information and mixing parameters, the new edition doubles the original unit’s potential output count of 64 up to 128 outputs, allowing it to tackle larger, more complex events.

[ The Latest Trends in Installed Loudspeakers ]

DAS Audio Group

Meanwhile, DAS Audio Group, found in W224E, is launching the Integral Series, a family of electronics and peripheral devices for the commercial installation market. Coupled with the company’s loudspeakers, the series gives integrators a full-solution option. While there’s more to the Integral Series than what’s showing here at InfoComm, visit the demo room to check out the A1604 amplifier and MA1604 Matrix amplifier; M88 installation matrix; AS-2 dual stereo media source; MC-01 and MC-02 microphones; WP3 touchscreen control panel and WPM1 wall plate mixer. There you will also be able to catch speakers like the Quantum Series’ Q-83-T, a passive 8x3-inch full-range speaker, and the Q-8, a passive 8-inch ultracompact subwoofer.

[ Streaming Audio in Houses of Worship ] 

Renkus-Heinz

Over in W222A, Renkus-Heinz is using its demo room to introduce visitors to all the products it has released over the last 20 months. “Our team is excited to showcase our expanded lines of stage monitors, subwoofers, new additions to the Iconyx Compact Series and groundbreaking new Unibeam steering algorithms across the Iconyx range at this year’s InfoComm,” says Graham Hendry, vice president of strategic development at Renkus-Heinz. Some of those offerings on hand include the CA/CX121M 12-inch stage monitor, which is also applicable for portable and installed P.A. use; the SA/SX28 compact subwoofer; and new additions to the company’s long-running Iconyx line. The expanded Iconyx Compact Series will be on display, including the new ICC12/3, ICC24/3 and ICC36/3.

[ The Power of Immersive Audio ] 

Grandbeing Technology

Intriguingly, global OEM/ODM manufacturer Grandbeing Technology (W225AB) has a room where it is discussing strategic partnerships that make use of its specialization in the signal management category, whether custom-manufacturing products from the ground up, white-labeling one of its products, or making changes to an existing product to suit clients’ needs. 

This story originally appeared in the Thursday, Oct. 28, edition of the InfoComm 2021 Show Daily. Read more from the InfoComm Day Two Show Daily online.

For the latest show updates, visit our InfoComm 2021 hub.

The What: Eastern Acoustic Works (EAW) is introducing the AC6 2-Way Full Range ADAPTive Column. Capable of generating a max SPL of 143 dB and 12° of horizontal nominal beam width, it's targeted at installations, houses of worship, and small performing arts centers

The What Else: Although slightly smaller than its predecessors, the AC6 includes just as many cutting-edge features. Managed via EAW's Resolution 2 software, the AC6 can compensate for coverage and directivity with its Adaptive Performance technology. By integrating all factors and aspects of the loudspeaker, the AC6 can produce three-dimensional coverage in any venue, making it perfect for even the most acoustically challenged room. 

The AC6 is also equipped with EAW's Focusing and DynO digital signal processing. This means that at any volume, this column speaker provides clear and dynamic sound with a pristine impulse response. Utilizing six low frequency transducers and 30 high frequency transducers, the AC6 can produce studio quality audio from 20kHz all the way down to 65Hz, at any volume.

EAW has made flying multiple AC6s easy. An infinite amount of columns can be flown as mains or integrated with the larger Anna or Anya line arrays for endless coverage possibilities. Just like its other ADAPTive models, the AC6 is integrated with Dante redundant networking as well as analog redundancy capabilities making connecting and communication to each module streamlined and dependable. 

The Bottom Line: The AC6 2-Way Full Range ADAPTive column is ideal for any install as it is designed to be the perfect fit in any installation and is available in black or white. It is also suitable for outdoor use when input/output weather protection covers are used.

Having famously removed his left ear, Vincent Van Gogh would have missed the full impact of the Immersive Van Gogh exhibitions currently on exhibit in nine North American cities and coming to at least eight more before the end of 2021. What the visitors hear is integral to the complete experience, with the all-enveloping projections of the post-impressionist artist’s paintings enhanced by an original musical score reproduced through Meyer Sound loudspeaker systems. All audio and video technology for the nationwide rollout is supplied and installed by Production Resource Group (PRG).

Immersive Van Gogh is produced by Toronto-based Lighthouse Immersive, with the company’s director of production, Sean Richards, charged with supervision of technical systems at all locations. Richards noted that while the importance of visuals is obvious, the role of audio often is overlooked.

“No film since the 1920s has been silent, and even prior to ‘talkies,’ live music accompanied the silent films, for good reason,” he observed. “The effect of well-designed music is inseparable from the visuals. That is why we spare no cost in offering the best possible audio experience for our patrons.”

“I was assigned by PRG to take the lead in audio design for all the new systems starting from April of this year,” said Douglas Plander, audio technical coordinator for the company. “As the number of cities expanded rapidly, the producers stressed the critical importance of making sure the technical quality was consistently high at all locations. I needed a flexible toolset based on loudspeakers with consistently predictable response. Also, a self-powered solution was important as we don’t want to deal with massive amplifier racks up in the server room. Both of these requirements pointed to a Meyer Sound self-powered solution.”

“We typically work in large, acoustically challenging spaces,” added Richards. “With Meyer Sound, the combination of continually improved versions of enclosure designs, excellent mapping and space design software, and acoustically flat speakers makes it possible to avoid many difficulties that we would expect in our venues. This consistency and ease of implementation has greatly benefited our nationwide rollout, making these systems a great investment.”

[ Meyer Sound Spacemap Go Intensifies Auditory Excitement at AREA15 in Las Vegas ]

Plander expects a combined total of nearly 600 loudspeakers to be installed in the various exhibitions by year’s end. The leased venues in each city vary in size and layout, with the 45-minute show running sometimes in a single room but usually in multiple galleries, up to four simultaneously.

“While the shows are the same everywhere, each venue is different,” says Plander. “The size of the rooms, height of speaker locations and number of speakers all factor into the design for each venue. We usually have 16 to 24 speakers per room, but we have only ten in one of the small rooms in Dallas and 40 in one very large room in Phoenix.”

The Dallas Installation

The recently opened Dallas venue, a former Masonic temple, provides an example of how the Immersive Van Gogh experience scales to different room sizes, offering visitors an alternate experience of the same content. The show is presented in a large middle gallery (95 feet x 105 feet, with a 28-foot ceiling) as well as two identical smaller galleries (60 feet square with 16 feet ceiling). The smaller galleries each use nine ULTRA-X20 loudspeakers with one USW-112P for low frequency extension, while the large gallery deploys 12 ULTRA-X40 loudspeakers, two ULTRA-X20 loudspeakers for the mezzanine viewing area, and four USW-112P subwoofers.

[ Meyer Sound's Spectacular Reinforcement System in Copenhagen Venue ]

“Because of the matched response of the two ULTRA-X models, the sound blends smoothly from the small room into the larger, with the same tonal balance and levels,” said Plander. “But because the acoustic spaces are very different, the small one feels like an intimate jazz club while the large room feels more like a rock concert.”

Playback for both audio and video is through PRG’s proprietary Mbox media server. As currently configured, the networked audio systems are in stereo, with loudspeakers paired as L-R-L-R across a room. However, as stipulated by the producers, the systems may require upgrading to multichannel formats on short notice.

“We were told that our systems might have to accommodate up to 64 discrete playback channels,” noted Plander. “That was another reason we rely on the Meyer Sound self-powered solution. If the producers and composer want to change to, say, a 4.1 system, all we have to do is re-map the channel assignments and we can do immersive panning and surround effects. We don’t have loudspeakers doubled up on amplifier channels, or bi-amplified systems split across amplifiers, as might be the case with conventional solutions.”

PRG’s project manager for Immersive Van Gogh is Branden Charlton, while Bobby Klimuszko is the supervising account executive. On-site installation is supervised by Alan Henig and Paul Cotton, usually working simultaneously with crews at different sites.

Immersive Van Gogh was originally designed and conceived in Europe by Massimiliano Siccardi, with original music soundtrack by Luca Longobardi.

More About Immersive Audio

The Latest Trends in Installed Loudspeakers • The pandemic has disrupted many areas of the pro audio sector, but for loudspeakers, at least, there remain many constants. SCN explored some of the latest trends and how products might evolve post-COVID-19.

Meyer Sound Spacemap Go Intensifies Auditory Excitement at AREA15 in Las Vegas • AREA15 allows visitors to plunge into a 360-degree projection-mapped video experience supported by immersive audio enabled by Meyer Sound’s Spacemap Go spatial sound design and live mixing tool.

The Power of Immersive Audio • Immersive audio is not a new concept, but it’s becoming more popular with the pro AV community. What do you need to know about modeling sound to create more immersive, engaging experiences for audiences?

Critical Elements of Immersive Audio • From theaters to houses of worship and conference centers, almost every venue can benefit from a thoughtfully designed immersive audio system.

Crafting an Immersive Soundscape • ACMI, Australia’s national museum of screen culture, uses Audinate’s Dante to create a soundscape that uses both localized sound and sound that exists as a background across the entire gallery space.

The What: MSE Audio is introducing an updated aluminum casing to SoundTube's LA880i-II and LA808i-II line array speakers. While there are no acoustic changes to the superior sound quality of the speakers, they now come with aluminum cabinets for a contemporary look and cleaner aesthetic.

The What Else: SoundTube LA880i-II's advanced LAPS (Line Array-Point Source) 3-way design provides a very short near-field extent and robust far-field performance. The LA880i-II maintains a more consistent ratio of array height to radiated wavelength with frequency tapering of low and mid-frequency passbands, ensuring a stable vertical beam width that outperforms many other single box line arrays. Measuring  7.91 inches x 40.87 inches x 11.99 inches, the LA880i-II achieves superb coverage in an enclosure. It features eight 4.5-inch woofers, eight 2-inch midrange drivers, and one 2.5-inch planar magnetics (ribbon) high-frequency driver for a highly smooth high-frequency response.

Recommended in spaces that have a large reverberation time, the SoundTube LA808i is designed to increase the directivity of low frequencies in SoundTube's Line Array system. With identical dimensions to those of the LA880i, it can be used only in conjunction with the LA880i 3-way line array and placed directly above or below the LA880i (or both). When a single unit is added to the LA880i, the directivity of low frequencies is increased by up to an octave lower than with the LA880i alone. 

The Bottom Line: The LA880i-II and LA808i-II line array speakers are currently available in black. The company has plans to release a white version at a future date.

The What: Wharfedale Pro has added two 8-inch models to its Tourus series of plastic active loudspeakers. The Tourus-AX8 and the USB/Bluetooth enabled Tourus-AX8-MBT join the Tourus 12-inch and Tourus 15-inch models that were announced in 2020.

The What Else: Using the same design philosophy as the larger Tourus models, the new 8-inch models have durable ABS plastic cabinets with handles, rigging points, and strong full-face steel grilles to protect the custom Wharfedale Pro drivers and electronics inside.

Key specifications for the Tourus 8-inch models include 250 watts of continuous output power and a 1.75-inch HF compression driver. As with other models of Tourus, the system is Class D bi-amplified and uses convection cooling to ensure audio clarity and long-term reliability.

The Tourus-AX8-MBT model also brings Bluetooth connectivity, a USB input for direct .mp3/.wav file playback and a TWS link mode, allowing for wire-free stereo pairing. 

The Bottom Line: With RCA, XLR, and 6.3mm jack inputs, the versatile Tourus 8-inch models can be used in almost any audio application. They are are also ideal partners for the recently introduced T-Sub-AX15B active subwoofer. 

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.

With the aim of expanding its conferencing solutions to a wider market, Shure is repositioning its offerings into two product lines: the Microflex Ecosystem to cover high-end, custom install needs, and the Stem Ecosystem to service more basic applications for end users. The realignment represents the next step following Shure’s acquisition of Stem Audio in 2020.

“Two players in the conferencing audio market joined forces to provide a wider variety of networked audio choices for customers,” said Nuna Becic, senior global marketing manager at Shure. “Shure is going to be able to further expand and diversify solution offerings for organizations of all sizes, and Stem Audio is going to be able to leverage that robust global infrastructure and support capabilities that we provide from a global audience standpoint.”

[ Shure Acquires Stem Audio to Expand Its Portfolio of Conferencing Audio Products ]

According to Becic, the two ecosystems will cover nearly any organization’s conferencing needs. “Microflex is more for those complex, specific, niche needs, where Stem is a simpler, more cost-effective solution for IT end users to scale very quickly to rooms,” she said.

Stem Ecosystem

The Stem Ecosystem consists of the following products, which can be purchased directly by end customers:

• Stem Wall: A soundbar equipped with 15 microphones that perform beamforming, plus full-range speakers and subwoofers
• Stem Table: A tabletop speakerphone equipped with nine microphones with beamforming and a downward-facing speaker
• Stem Ceiling: A 100-microphone ceiling array with two mounting options (low profile or chandelier mode) and three-beam options
• Stem Speaker: A PoE+ powered external speaker with three mounting options
• Stem Hub: A control hub that allows multiple Stem units in a room to communicate with one another, featuring USB Type B, Ethernet, Dante, VoIP connectivity, and pluggable terminal blocks for external speakers
• Stem Control: A dedicated touch controller that connects to the network with a single Ethernet connection, and allows access to the Stem Ecosystem platform and remote management of an organization, or can be used as an in-meeting controller with video conferencing platforms.

“Stem is an ecosystem of audio components designed for conference rooms—tabletop devices, wall-mounted devices, a ceiling microphone—that can be easily mixed and matched, all connected through the network, so that any user can customize a room,” said Jonathan Boaz, director of sales and marketing at Shure. “This is something that anyone from an AV integrator to an IT professional can install and easily set up on their own.” 

[ Shure Conferencing Audio Ecosystem Review ]

Microflex Ecosystem

Microflex Ecosystem products include:

• Microphones: Microflex Advance MXA910 Ceiling Array, MXA310 Table Array, and MXA710 Linear Array Microphones, and Microflex Wireless (MXW) Systems 
• Loudspeaker: Microflex MXN5-C Networked Ceiling Loudspeaker
• DSP: IntelliMix P300 Audio Conferencing Processor and IntelliMix Room Audio Processing Software
• Software: Designer System Configuration Software and SystemOn Audio Asset Management Software
• Accessories: MXA Network Mute Button and Audio Network Interfaces

“The Shure portfolio now addresses any room that’s out there,” Boaz said. “Microflex can do really anything—anything from voice lift, to zoning of speakers. In addition to that, with the Stem Ecosystem as part of the offering, even the simple, straightforward rooms that are needed—a quick Zoom Room, for example—can be addressed with a single solution or by mixing and matching multiple devices. 

“Anything from the huddle room to the most complex, high-end room, with both offerings, Shure has a solution for any room.”

The What: Extron is shipping the new SoundField SF 228T Plus, a two-way ceiling tile speaker for low impedance and 70-volt/100-volt systems. 

The What Else: The SoundField SF 228T Plus features a new coaxial driver that delivers high power handling with a smooth frequency response and clarity. It features a low-profile, 2-foot by 2-foot (610mm x 610mm) by 5.3-inch (135 mm) deep enclosure that is UL 2043 plenum rated, utilizes toolless connections, and drops directly into standard US style suspended ceilings. The two-way ported design includes an 8-inch (203 mm) woofer and a 1.1-inch (28 mm) silk dome tweeter in a coaxial configuration that provides a smooth frequency range of 47 Hz to 22 kHz for music and speech reproduction. The SF 228T Plus offers 90 watts continuous pink noise and 180 watts continuous program output. This speaker is sold in pairs and is designed for fast and easy installation into sound systems requiring high performance audio playback.

[Extron Intros New Pro Half-Rack Amplifier]

The front panel design provides the rigidity and stiffness to minimize enclosure vibrations that would otherwise compromise sound quality. A lightweight housing is utilized to create an enclosure that balances acoustic performance with installation safety. The SF 228T Plus weighs less than 20 pounds (9 kg), allowing the speaker to meet ceiling-mounting codes without additional permits when installed in classrooms.

"This new SF 228T Plus adds the sonic benefits of a coaxial driver to the drop-in convenience of our popular SF 228T,” said Casey Hall, vice president of worldwide sales and marketing at Extron. "Our in-house speaker engineers once again rose to the challenge of delivering best in class audio performance with ease of installation."

The Bottom Line: With its new coaxial driver and low-profile enclosure, the SoundField SF 228T Plus is engineered to combine exceptional audio quality with integrator-friendly features and is suitable for a variety of applications.

The What: Vaddio has added the new Vaddio Ceiling Speaker and USB Audio Bundle to its full suite of conferencing and collaboration products. 

The What Else: The Vaddio Ceiling Speaker is designed for easy installation and accurate voice reproduction. The two-way speaker is built with a specially designed coaxially mounted cone tweeter and a high-performance 4-inch metalized cone woofer and rubber driver surround for long-lasting use. The speaker can be flush mounted in a wall or ceiling and comes with a lightweight ceiling tile brace.  

Related: The Technology Manager's Guide to Audio in the New Era of UC

Vaddio has also refreshed its EasyTalk Audio Bundle with a new USB Audio Bundle which includes a pair of the new speakers, two best-selling CeilingMIC ceiling microphones, and an EasyUSB Mixer/Amp for a complete audio solution suitable for most conference room and classroom sizes. 

“With the growth in hybrid learning spaces, we see an increasing need for remote participants and on-premise faculty and students to easily communicate during live classes,” said Scott Rolfes, Vaddio product manager. “The addition of the new Vaddio Ceiling Speakers to our ConferenceSHOT AV camera and microphone create the distance-learning-in-a-box solution education institutions are searching for.” 

The Bottom Line: The USB Audio Bundle provides driverless, plug-and-play audio with popular videoconferencing platforms like Microsoft Teams, Zoom, Google Meet, GotoMeeting, and more. With the new ceiling speakers, the solution provides full high-quality audio solution for organizations of all sizes.

The What: Extron has begun shipping the SoundField XD model SF 26CT LP, a low-profile 6.5-inch two-way ceiling speaker featuring a 4.2-inch-deep composite back can for use in restricted-height plenum environments. 

The What Else: The driver complement includes a 6.5-inch (165 mm) woofer coupled to a 3/4-inch (19 mm) ferrofluid-cooled dome tweeter. The SF 26CT LP offers both direct 8-ohm and 70/100 volt operation with a behind-the-grille, six position power selector switch. 

Related: Product Review: Extron SMP 351 Streaming Media Processor

“The popularity of our SF 26CT two-way ceiling speaker has led to many requests for a comparable speaker for applications where there is less space above the drop ceiling,” said Casey Hall, vice president of worldwide sales and marketing at Extron. “With its low-profile design, the SF 26CT LP is ready to bring exceptional audio quality to installations where it was previously impossible to fit a two-way speaker.”

The Bottom Line: With high impedance taps at 8, 16, 32, and 64 watts, the SF 26CT LP is well suited for applications that require a high-power distributed speaker system in plenum spaces that will not accommodate a taller back can.

The What: QSC is shipping the AD-S5T, a 5.25-inch two-way loudspeaker system designed for a wide variety of foreground and background sound reinforcement applications.

The What Else: By utilizing native Q-SYS network amplifiers, including CX-Q Series, or standalone QSC DSP processing amplifiers, integrators can take advantage of Intrinsic Correction, a proprietary voicing algorithm for QSC loudspeakers, which helps to further reduce the setup time and tuning process.

Related: QSC Adds Q-SYS Processing Capabilities to the NV-32-H Network Video Endpoint

To ease installation, the AD-S5T includes the X-Mount system, which enables the loudspeaker to be aimed and installed at a variety of precise, repeatable angles without slipping over time. It’s available in black (RAL9011) or white (RAL9010) and housed in a rugged ABS enclosure to easily withstand the harshest elements.

“We designed the AD-S5T on the same foundation as the rest of the award-winning QSC AcousticDesign Series, which has become a staple in the industry for installations requiring a refined audio experience,” said Travis Nie, product manager, Installed Loudspeakers, QSC. “This new 5.25-inch loudspeaker offers integrators yet another surface-mount option to easily meet the needs of any customer looking to enhance the overall sound and create a memorable experience for their audience.”

The Bottom Line: The AcousticDesign Series includes a wide variety of sizes and enclosure types (surface-mount, pendant-mount, ceiling-mount, columnar, and SUB/SAT) and provides consistent sonic characteristics across the entire line, allowing the ability to mix and match enclosures in a single installation.

The What: Renkus-Heinz has announced the latest product in its S Series line: the SX/SA28 compact, low-profile subwoofer.  

The What Else: Available in both passive (SX28) and powered (SA28) models, the compact dimensions and low profile allow the new subwoofer to be positioned under seating, under low stages, soffits, and incorporated into fixed furnishings. This offers flexibility to the designer and integrator without compromising system performance. In addition, multiple units can be arranged to create cardioid, end-fire, and steered low frequency arrays.

Related: Renkus-Heinz Adds Two Models to Iconyx Compact Series

The SX/SA28 also utilizes a pair of long-excursion, high-efficiency 200mm (8-inch) drive units mounted in a compact black- or white-painted plywood cabinet. Sixteen M10 Universal Mounting Points allow the SX/SA28 to be flown using M10 eyebolts, while the recessed handles and top-mounted pole adapter make portable use more practical. Integrated rear cable channels allow for discrete installations even when flush to a boundary.

The optional SA1250 power amplifier precisely matches the power needs of the SA28, providing optimized processing for performance and protection. The integral amp eliminates the need for additional rack space and speaker cable runs. Controlled via RHAON II, the SA1250’s built-in DSP has eight fully parametric EQ filters, high and low shelf, and high- and low-pass filters, and up to 358ms of delay. All options are easily accessed via a Windows computer running RHAON II.

The SA28-RD1 and SA128-RD add Dante digital signal distribution capability, including AES67 compatibility and network redundancy.

“The performance of the SX/SA28 belie its extremely compact dimensions,” said Graham Hendry, vice president of strategic development at Renkus-Heinz. “The addition of the SX/SA28 allows for flexible and discreet placement in a variety of install and portable scenarios. This is another new solution Renkus-Heinz has introduced this year that looks to make the lives of those in the live sound and installation markets easier through compact and impressive loudspeakers.”

The Bottom Line: The SX/SA28 is designed to extend low frequency response and increase system headroom in conjunction with Renkus-Heinz full-range loudspeakers. It also offers a low-frequency complement for use with many of Renkus-Heinz’s other systems, such as the Iconyx and ICC Series. Extending overall frequency response to below 45Hz, the efficient design provides output levels normally associated with considerably larger enclosures.

The What: Pioneer Professional Audio has expanded its Commercial Monitor (CM) Series with four new units: the 10-inch CM-510ST subwoofer and the IP54-rated 4-inch CM-S54T, and 6-inch CM-S56T and 8-inch CM-S58T surface-mount loudspeakers. 

The What Else: The CM series builds off the company’s XY Series loudspeakers, but in a smaller size, enabling turnkey installations at a wider variety of venues. The new speakers can be controlled by Powersoft’s recently released ArmoníaPlus 2.0 software. This tool enables users to assemble systems in simpler, more effective ways as it eliminates the need for an external matrix and reduces the number of cable runs in many applications. Everything can be controlled via a mobile app that can adjust the sound in different zones.

The CM-S54T, CM-S56T and CM-S58T full-range speakers feature:

• Soft dome tweeter: The newly developed 1-inch soft dome tweeter for short-throw, high-definition high frequencies.
• Vortex Bass Accelerator: The bass-reflex port has been constructed with ribs to enable air to flow without distortion, to maximize low frequencies and eliminate any unwanted vibrations.
• Flexible 8 ohms impedance: Built-in transformer taps provide flexible impedance options for 70v/100v line systems or if the situation calls for premium audio quality.
• Wide dispersion: The CM-S54T disperses at 120x120 degrees, the CM-S56T disperses at 110x110 degrees, and the CM-S58T disperses at 100x100 degrees.
• Dust and water resistant:The CM-S54T, CM-S56T and CM-S58T are IP54 rated.
• U bracket: Rigid notches inside the U bracket make it easier to adjust the direction of the sound. Fix the directivity by hand and, for extra security, fix with an Allen key or screwdriver. If you need an alternative deployment, you can use the 60mm pitched holes on the rear of the speakers to fit them into challenging spaces.

Key features of the CM-510ST subwoofer:

• Punchy bass with low distortion: Using the Kelton method, the CM-510ST filters out unwanted mid- and high-range frequencies and includes the company’s newly developed Vortex Bass Accelerator technology to deliver smooth bass with a quick response.
• Flexible 8 ohms impedance: An impedance of 8 ohms gives high and low impedance options. Deploy two subwoofers on one-amp channel, dropping the impedance to 4 ohms, and create a solution for a single-amp installation.

The Bottom Line: Drawing on the company’s club loudspeaker manufacturing heritage, the two-way CM-S54T, CM-S56T, and CM-S58T, and the Kelton-configured CM-510ST subwoofer produce high-quality audio. Available in black or white, these new units are well suited for discreet installation in a variety of spaces where reliability is crucial, and the loudspeakers can even be used for some applications outdoors.

The What: Renkus-Heinz has added two new models to its Iconyx Compact Series—the Iconyx Compact 36/3-RN and the 48/3-RN—enabling the delivery of steerable sound to larger spaces. 

The What Else: The addition of the ICC 36/3 and ICC 48/3 completes the portfolio in the new Iconyx Compact Series, which launched in 2020 to provide additional solutions for integrators seeking highly coherent sound in problematic acoustic spaces. With its compact footprint, the series brings performance and directivity to spaces where even the classic Iconyx arrays might be too large. 

Related: Maryland School Upgrades Campus Sound with Renkus-Heinz Solutions

Both the ICC 36/3 and ICC 48/3, which offer 36 and 48 channels respectively, are constructed with channel digital amplifier power 3-inch full-range, high-sensitivity, treated paper cone drivers. These feature an amplifier and DSP channel for each driver. The new products also offer full RHAON II beam-steering with the latest U.R.G.O beam algorithms, a movable acoustic center, multiple beam opening angles, and high-pass filtering of individual beams.

“The ICC 36/3 is three meters (10 feet) in length and the ICC 48/3 is four meters (13 feet) in length, all while remaining in the same ultra-compact footprint,” said Ralph Heinz, chief technical officer at Renkus-Heinz. “This design allows the 36/3 and 48/3 to provide significantly more low frequency control, an important consideration for applications where reverberation times peak at low frequencies. In addition, the longer columns will project coherent, highly intelligible sound for longer distances, negating the need for labor intensive distributed systems in many applications.”

The Bottom Line: The very narrow profile allows the Iconyx Compact Series to blend into nearly any environment, while high directivity helps control even the most challenging acoustics. This allows the beam-steered line arrays to function in even the most architecturally sensitive spaces and provides more opportunities for integration in the house of worship, corporate, transportation, education, and government markets. 

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.

As software-based conferencing continues to march forward, the pro AV industry has been busily developing solutions to get the most out of the flexibility these communications platforms afford. With the trend—accelerated by the pandemic—pushing videoconferencing into more and more spaces to accommodate distributed work teams, the simplicity of these AV tools is paramount. Simply put, organizations need simple solutions that are easy to install and convenient to manage. 

This was the inspiration between two new offerings from Shure that are designed to form the audio core for conferencing spaces in today’s world: the MXA710 and MXN5-C. The MXA710 linear array microphone is essentially a long, slender version of the company’s MXA910 ceiling array mic, and utilizes Shure’s Patented Steerable Coverage technology to intelligently capture audio throughout a space. The MXN5-C is a PoE-equipped, low-profile ceiling speaker that is deployed and controlled via software, and does not require a separate amp or outboard DSP. Both products are engineered to work seamlessly with each other and with the company’s full line of networked hardware and software solutions. So just how easy is it to deploy a professional-quality conferencing system with Shure’s latest products? 

First Impressions

As a technology manager, I’m always looking for new solutions that will make my job more comfortable and improve my users’ experience. The system shipped to me in two boxes, one containing the Shure Microflex MXA710-4FT linear array microphone, and the other with the MXN5-C loudspeaker and a P300 Audio conferencing processor. The MXA710 included a mounting bracket and the user guide; the MXN5-C loudspeaker contained the user guide, construction bracket, speaker, and a magnetic speaker cover that can be painted. The P300 came with a mounting bracket and videoconference kit including input/output connectors. All the equipment was very straightforward and intuitive to set up right out of the box.

I currently use Shure handheld wired and wireless microphones in classroom and event spaces at my institution and I also have experience using Dante enabled devices, so I found the experience of getting up and running with the system intuitive and familiar.

Setting Up the System

Assembling the MXN5-C loudspeaker to the construction bracket was very easy, as all you have to do is tighten the screws. The speaker has built-in butterfly clips that clamp on to the frames, allowing you to adjust it to varying ceiling tiles. The MXA710 mounting bracket was just as easy to set up. The MXA710 is also equipped with automatic mixing, acoustic echo cancellation, noise reduction, and automatic gain. The speaker, microphone array, and the P300 connect using a standard Cat-5 or better cable and are powered by PoE or PoE+ in a standard gigabit switch.

Some noteworthy features include the Shure web device discovery tool, an easy way to gather device information such as IP address, control and Dante Mac addresses, and other simple configurations like mute/unmute. This discovery tool can be password protected for an extra level of security.

Shure Designer software that can be downloaded directly from Shure's website after signing up for a free account gives you the ability to configure devices in virtual mode or live mode. Virtual mode provides you the opportunity to combine the tools and simulate the proper room configuration. Also, using the virtual mode will allow the user to determine the amount of equipment needed for a specific space. With the devices online using the live mode, you can configure them in real-time, which I found to be very efficient. You can also automatically optimize the devices for the best sound quality.

A feature I feel is missing and should be considered is the capability for a passive connection to other loudspeakers. However, the fact that the loudspeaker has a direct link gives the user more control, security, and configuration options.

The MXA710 can be mounted horizontally on a wall like a soundbar or be suspended from the ceiling, providing extra versatility for different spaces. Also, it allows the user to configure up to eight virtual lobes. These eight lobes can be configured individually, or you can set them to IntelliMix. As part of the P300 audio conferencing processor, IntelliMix allows auto configuration and tunes to the best sound quality. Additionally, the PoE/PoE+ eliminates the need for an outboard amplifier, and Shure offers audio encryption that can be configured for these products.

The MXN5-C loudspeaker also has configuration options such as adjusting gain, setting delays, limiter, and signal/tone generator.

Overall, the devices present a slick, low-profile appearance that blends well into the environment. The indicator on the MXA710 quickly shows you when the microphone is live or muted. All devices also include built-in wire management, which is ideal for keeping a mess-free organized meeting space. 

Testing it Out

I began testing the devices using Chrome devices, Windows PCs, and Apple laptops. I found the devices operated well on all platforms. The only requirement was to select the proper conferencing devices in the software settings. I tested with Google Meet and Zoom on all the devices. Although these Shure products are not certified for Google Meet (they are certified for Zoom and Microsoft Teams—with the exception of the MXA710, which is in process of being certified, and MXN5C for Zoom, which is also in process for certification), everything worked properly. The only downside was that the mute indicator did not reflect when you were muted. As for Zoom, the product operated as expected. The indicators on the MXA710 displayed green when live and red when muted.

To get an idea of the sound quality, I tested the products in two different locations. In the first location, a rectangular conference room, I stood approximately 18 feet away from the microphone. Although the room is located near egress, the sound quality was super clear and crisp. I did not experience any issues being heard, and I could speak in a normal tone. I did not feel like I had to raise my voice at any point, even while I walked around the room.

The second location was slightly smaller—a square room with windows—and the microphone was situated approximately 12 feet away from where I was sitting. As in the first location, the sound quality was solid, consistently clear and intelligible. The sound optimization was excellent as I did not experience a difference in quality despite both locations' acoustic challenges.

Worth noting was that when transporting the equipment from one location to another, the breakdown and setup did not take more than 30 minutes, and I was able to do it all on my own.

The Verdict

Overall, I was pleasantly surprised by how much I enjoyed using these products. As a person who has multiple virtual meetings daily, I enjoyed the freedom of not having to continually wear headphones without compromising sound quality and the overall functionality. As we transition into more collaborative virtual environments, using technology that does not feel intrusive with an ease-of-use component will only increase value and become a necessary resource. Therefore, it is with great pleasure that I recommend these products to be used in any size conference area as they provide the scalability to conform to any setting. Shure has developed excellent products and continues to live up to its reputation of providing consumers with superior audio equipment. 

Emil Delgado is the director of client services at St. Peter’s University in Jersey City, NJ.

The Technology Manager's Guide to Audio in the New Era of UC

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Small and Portable

From classrooms to office buildings, AV/IT managers have been scrambling to outfit sometimes hundreds of rooms to accommodate new hybrid scenarios. Here are some examples of how to do it successfully.

Spanning the Room

In meeting rooms, most people gather around a table, or sit side-by-side in chairs when needing to fit more people. Today, social distancing has co-workers and students spread throughout the room or across a campus. Specially designed unified communications and audio solutions are needed to help ensure intelligibility. 

Going Big

Since pandemic restrictions began to ease, companies have been creative and thinking outside-the-box when it comes to bringing everyone together, or to be more pointed—outside. When it comes to larger indoor spaces such as lecture halls and auditoriums, thinking outside-the-box is critical to ensure coverage and speech intelligibility.  

Download the Technology Manager's Guide to Audio in the New Era of UC.

The What: d&b audiotechnik has introduced the 44S loudspeaker, d&b’s first-ever flush-mountable cabinet designed to deliver compact, high-performance audio and a wide range of flexible mounting options.

The What Else: The 44S is a highly directional loudspeaker with SPL max 121dB using a d&b 10D installation amplifier (and 123dB with a high-powered 30D/D80), offering high performance for both permanent installations and mobile applications. The loudspeaker features a clever waveguide and baffle design which results in high directivity and minimizes interference between loudspeakers even when placed close together. The asymmetric cabinet provides built-in tilt options of +/- 20 degrees for precise coverage angles, giving users flexibility in adjusting for different listening heights.

Related: Calgary Performing Arts Center Upgrades to d&b Loudspeaker System

The two-way passive loudspeaker cabinet measures 128 x 390 x 150mm (5 x 15.3 x 5.9 inches) in size and houses two 4.5-inch neodymium LF drivers and two 1.25-inch HF dome tweeters, delivering a frequency response of between 90Hz–17kHz.

“For audio professionals who may be challenged by dimensions, architecture, or aesthetics, the 44S loudspeaker is a powerful, compact, flush-mountable loudspeaker that provides the sound needed, no matter what space they have to work with,” said Wolfgang Schulz, d&b product manager. “It’s a very compact point source loudspeaker for flexible use in nearfield applications, and there is a big need in our industry for this type of form factor.”

The Bottom Line: At only 128mm (5 inches) tall the 44S can be placed where most loudspeakers cannot: under mobile stages and balconies, stage lips, and stairs—even flush mounted in ceiling, walls, and soffits with the option of a backbox.

Loyola Blakefield is a Jesuit preparatory school for boys in grades 6-12 that has operated since 1852. Its 60-acre campus in Towson, MD boasts several academic buildings and an array of student-centered facilities, such as a spacious dining hall, athletics complex, and common areas. 

With a wide array of activities and programming on campus, performances and presentations take place in several locations. When it came time for the school to upgrade its Dining Hall with an improved sound system, it was important to meet a vision that saw the space as a flexible and dynamic setting bolstered by an integrated audio system.

Related: The Technology Manager's Guide to Campus Tech

Steve Morill, IT director for Loyola Blakefield, envisioned the many possibilities for the space with the deployment of a state-of-the-art system. Morill manages the school's technology infrastructure needs and understands the influence and importance of audiovisual tech in a learning environment, including its unique role in content sharing and comprehension.

“This system allows our facility to be used for everything from morning prayer to emergency announcement,” Morill said. “It is a popular space for special events of many sizes with ever-changing seating arrangements. We want to offer the best possible learning environment for our students, and this space posed many challenges—the Lee Hartman and Renkus-Heinz teams did a great job for us.”

From providing audio support for guest speakers and professional development programming to welcoming incoming students and their parents, Loyola Blakefield needed a sound system that could provide the flexibility, reliability, and intelligibility required for both daily use and special events.

“We explored a couple of manufacturers when we first looked at the space,” said Mike Flaherty, sales engineer at Lee Hartman & Sons, Inc. “We had concerns about the aesthetics, and we didn’t want to invade the space with too many speakers. However, we wanted to ensure that the sound worked well in this acoustically challenging area.”

The Dining Hall at Loyola Blakefield is not a traditional school cafeteria. It has a crisp, modern look that incorporates woodwork and stained-glass windows. The need to keep audio away from those reverberant surfaces was key to a successful design.

To achieve this, the project relied on Renkus-Heinz’ ICLive X Series, which makes use of Renkus-Heinz’ cutting-edge digital beam steering technology. With Renkus-Heinz digitally steerable arrays, integrators are empowered to put sound where it’s wanted: on the audience. 

Further, Renkus-Heinz allows for custom color designs on most products, ensuring that speakers always blend in with the surrounding space.

The Loyola Blakefield Dining Hall now utilizes two arrays of ICLive X loudspeakers. Each array is made up of two ICLX units, which provides a perfect fit for the space and allows for meetings of all sizes to be hosted when food service isn’t active.

Renkus-Heinz TA62s are also installed in the front side corners of the space to evenly fill and complement the ICLX's in the Dining Hall. The TA62 systems use another cutting-edge Renkus-Heinz technology: the Complex Conic constant directivity waveguide design, which ensures consistent coverage across a space. A pair of TX-61’s is installed on the balcony level ensure coverage across the entire area.

"Once we had the speakers installed, we spent about 20 minutes aiming the beams through the RHAON software," said John Hurley, engineer at Lee Hartman & Sons, Inc. "The sound went from pretty good when they weren’t aimed at all, to truly amazing.”

The What: Nexo has unveiled a new point-source speaker, the ID14, and a companion subwoofer, the S108. These are the latest additions to the company’s ID Series of high-power compact cabinets.

The What Else: Weighing in at under 4 pounds and housed in a 5-inch cubed enclosure, the ID14 is a dual-concentric design featuring a 4-inch LF driver with a 1.3-inch voice coil, and a 1.4-inch diaphragm compression driver. This loudspeaker is capable of up to 116dB SPL (peak) and has a frequency response of 120Hz–20kHz. Available in two directivity options—a 100-degree by 100-degree dispersion pattern and an asymmetric alternative offering 90 degrees by 140 degrees dispersion—ID14 enclosures hold an IP-55 rating.

Related: Nexo Expands P+ Series with P8 and P10 Loudspeakers 

The two versions of the ID14 share common acoustic components. The Installation version features an acoustic fabric fitted front grille and a cable gland with two-core cable for audio input, which offers IP55 protection. The Touring version of the ID14, which uses a Magnelis steel grille, features a back plate that holds two Speakon connectors.

The ID S108 is a matched companion subwoofer cabinet for the ID14, creating a compact, high-power, three-way system. Using a high-efficiency bass-reflex design, the ID S108 features a long excursion 8-inch Neodymium driver tuned to match the frequency response of the ID14. Like the ID14, the ID S108 is available in touring or installation versions, and in black, white, or custom colors on request.

A comprehensive range of accessories are available for the ID14, which enable a wide variety of applications. A dedicated U bracket permits installation on a microphone stand, while two M6 inserts (73mm pitch) on the rear of the speaker allow for wall-mount applications. Because ID14 has a fully symmetrical design, there are no left or right versions, and every unit in rental inventory is identical. To ensure quality control and premium performance, all ID14 and S108 models are manufactured in France.

The recommended amplification solution is the NXAMP4x1Mk2 Powered TDController, which can power up to four ID14 loudspeakers per channel. A dedicated setup for each directivity is available on the NXAMP, ensuring even coverage at any frequency. Additionally, the DTDAMP4x0.7, when paired with a DTDcontroller, can power up to two ID14s per channel.

The Bottom Line: The ID14 can be used as a standalone point-source solution or in a distributed system for front fill, infill, or delays. Available in black, white, or any RAL color, the ID14 is well suited for installation applications with architectural and aesthetic challenges that also require high-power performance, such as houses of worship, airports, hotels, and the hospitality industry. Likewise, the ID14 is suited for surround sound and FX applications.

The What: Meyer Sound has announced its new ULTRA-X20 compact point source loudspeaker, a junior-sized version of its ULTRA-X40 loudspeaker. 

The What Else: The ULTRA-X20 incorporates two 5-inch cone drivers, one 2-inch diaphragm compression driver, and a rotatable 110° x 50° horn in a coaxial configuration. Power comes from a three-channel Class D amplifier with sophisticated DSP, with everything fitted inside a compact cabinet that measures 7.5 inches wide by 19.04 inches high by 8.6 inches deep and weighs 26 pounds. Preliminary performance specifications give an operating frequency range of 60 Hz to 18 kHz, phase response of ±45 degrees (100 Hz–16 kHz) and linear peak SPL of 123.5 dB measured with M-Noise.

For extended low-frequency power, the ULTRA-X20 may be paired with the new USW-112P subwoofer, the 750-LFC low-frequency control element, or USW-210P subwoofer.

The Bottom Line: The ULTRA-X20 offers the same design principles and advanced technologies as its larger sibling, the ULTRA-X40, but employs smaller drivers in a lighter and more compact package—a design that is new to Meyer Sound.

To read more InfoComm Connected stories, visit avnetwork.com/tag/infocomm.

The What: QSC has begun shipping two new loudspeakers: the AD-P.HALO, an integrated SUB/SAT pendant loudspeaker system, and the AC-C2T-LP, a low-profile ceiling-mount full range loudspeaker.

The What Else: As part of the AcousticDesign Series, AD-P.HALO features an integrated 6.5-inch subwoofer and four 2.75-inch transducers in a single pendant-mount enclosure. Designed to be ready to install out of the box, the speaker eliminates complex and time-consuming assembly while expediting the installation process and reducing overall labor costs.

Related: QSC’s Q-SYS Reflect Enterprise Manager Goes Live

At 200 watts RMS, the AD-P.HALO offers dynamic headroom that far surpasses the background music performance of traditional two-way pendant-mount loudspeakers. It also shares sonic characteristics with the rest of the AcousticDesign Series, allowing integrators to mix and match enclosures types, including ceiling-mount, pendant-mount, and surface-mount form factors within in the same installation. 

The AcousticCoverage Series AC-C2T-LP is a low-profile, ceiling-mounted 2.75-inch full-range loudspeaker, designed for installations with tighter space requirements or where lower ceiling heights are more common.

The diameter of the AC-C2T-LP matches the AC-C6T, a 6.5-inch two-way system loudspeaker, which allows installers to interchange them when they encounter unexpected ceiling obstructions without affecting the look of the whole installation. It also offers a 170-degree conical coverage, reducing the number of loudspeakers required for consistent coverage in low-ceiling applications.

“These two new loudspeakers answer some real pain points integrators experience with excessive loudspeaker assembly time and flexibility to accommodate the needs of virtually any installation,” said Travis Nie, product manager, Installed Loudspeakers, QSC. “Both the AD-P.HALO and AC-C2T-LP are unique loudspeaker options in their class and deliver the overall musicality to produce the rich sonic timbre needed for background music or voice-reinforced atmospheres.”

When combined with Q-SYS network amplifiers, QSC processing amplifiers, or MP-M Series mixers, both the AD-P.HALO and AC-C2T-LP take full advantage of Intrinsic Correction, a QSC proprietary voicing algorithm that helps reduce the setup time and tuning process.

The Bottom Line: The AD-P.HALO is suited for applications where music inspires the overall atmosphere, such as high-end retail or hospitality. The AC-C2T-LP, with its 95mm installation depth, offers a solution for environments where voice-reinforced coverage is a primary concern, including conference rooms and background music (BGM) applications.

The What: Harman Professional Solutions has announced new JBL Professional One Series 104-BT and 104-BTW desktop reference monitors with Bluetooth. 

The What Else: JBL One Series 104-BT reference monitors are designed to enable content creators and audio professionals to stream accurate, studio-quality audio via Bluetooth or play back audio using a standard wired connection. Drawing from more than seven decades of JBL Professional engineering, JBL One Series 104-BT monitors deliver clear, detailed sound while mixing and editing. With an array of easily accessible input options, smart features, and a sleek, compact design, JBL 104-BT monitors provide great sound in every listening scenario, with the added flexibility of wireless streaming. Black (104-BT) and white (104-BTW) finish options are available. 

“Music production has evolved beyond the recording studio, and today’s creative professionals and music lovers need reference monitors that deliver neutral, accurate sound to create mixes that translate well in a variety of listening environments,” said Chris Hansen, director, recording and content creation, Harman Professional Solutions. “With class-leading sound quality, impressive output, and high-bandwidth Bluetooth 5.0 streaming capabilities, JBL 104-BT monitors provide an accurate, reliable sonic reference and a truly enjoyable listening experience. They’re perfect for musicians, producers, podcasters, and professional audio engineers who want a compact reference monitor with the added benefit of Bluetooth at an accessible price.”

The JBL 104-BT reference monitor features a coaxial driver that pairs a contoured low-frequency woofer with a soft-dome tweeter, for accurate frequency response, superior imaging, crisp detail, and a wide sweet spot. The cabinet’s low-frequency port works with the driver to deliver low frequency performance down to 60Hz. A 60-watt Class D power amplifier distributes 30 watts per speaker for undistorted output. And One Series’ acoustic design, optimized for desktop use, ensures accuracy without the need for additional EQ.

High-bandwidth Bluetooth 5.0 streaming, beyond offering the convenience of audio playback from mobile devices, provides audio professionals the ability to reference mixes over Bluetooth using a professional monitor, rather than a consumer portable device. 

JBL 104-BT reference monitors integrate smoothly into any production workspace, thanks to smart features like a front-panel input control that selects Bluetooth, Aux, RCA, TRS or combines all inputs. Front-panel volume control allows convenient level adjustments without straying from the sweet spot, and a front-panel headphone jack conveniently mutes the speakers when you switch to headphones. Dual 1/4-inch balanced, dual RCA and single 1/8-inch inputs, along with Bluetooth accommodate a wide range of signal sources. 

The Bottom Line: JBL One Series reference monitors were created with the modern production lifestyle in mind. With an elegant look and a compact form factor, creators can get JBL sound while conserving valuable workspace. An optional protective carrying case will also be available for production on the go.

The What: At ISE 2019 in Amsterdam, Meyer Sound is previewing a redesign of its point source loudspeakers, the ULTRA-X40.

The What Else: Drawing from the proven design approach of LEO Family loudspeakers, the ULTRA-X40 employs a concentric driver configuration with dual 8-inch neodymium magnet cone drivers coupled to a low-mid waveguide surrounding the single 3-inch diaphragm high-frequency compression driver. The 110 degrees by 50 degrees Constant-Q HF horn is easily field rotatable, and working in concert with the concentric design it ensures that the full bandwidth coverage pattern will be uniform with either horizontal or vertical orientation.

The ULTRA-X40 also incorporates a newly designed three-channel class D amplifier that produces a total peak output power of 1950 W with very low power consumption thanks to its highly efficient design. The new amplifier design also contributes to a total system weight of only 55 pounds (25 kg), a reduction of more than 20 pounds relative to the UPA-1P.

Preliminary performance specifications include an operating frequency range of 60Hz to 18kHz, with linear peak SPL of 130.5dB measured with M-Noise, free-field at 4m and referred to 1m. Highly refined signal processing with advanced phase alignment methods results in phase response of ± 45 degrees from 100Hz to 16kHz. Another variant in the ULTRA-X40 family, the ULTRA-X42, offers the same performance but with the coverage pattern defined by a narrower 60 degrees by 50 degrees Constant-Q HF horn.

The rear-panel features a female XLR three-pin input connector with a male loop output. The optional RMS remote system monitoring module provides comprehensive monitoring of loudspeaker parameters from a host computer running Compass software. In addition, the optional XLR 5-pin connectors version of the input board accommodates both balanced audio and RMS signals. AC line power is furnished via loop-through powerCON 20 connectors.

Housed in a premium multi-ply birch enclosure with textured finish, ULTRA-X40 loudspeakers measure 12.51 inches (318mm) wide, 22.31 inches (567mm) high, and 14 inches (356mm) deep. An integral handle for portable applications is standard, but it may be quickly removed for permanent installation. Flexible mounting and rigging is facilitated by 11 integral M8 points as well as an integral 35mm pole mount receptacle with an M20 threaded insert socket for added stability.

Optional rigging accessories include a U-bracket, yoke, pick-up plates for horizontal or vertical orientation, and brackets for grouping in horizontal or vertical clusters. Full weather protection and custom color finishes are also available as options.

“The ULTRA-X40 is the first in a completely new generation of Meyer Sound point source loudspeakers,” said Meyer Sound senior vice president of marketing John McMahon. “We are confident it will redefine the category of compact loudspeakers much as the UPA-1P did when it was first introduced back in the late nineties. The ULTRA-X40 offers significant advantages across an exceptionally broad range of portable and installed applications.”

The Bottom Line: The new loudspeaker series features a concentric driver configuration, new amplifier and processor technologies drawn from the LEO Family of line array loudspeakers, a rotatable horn, a high power-to-size/weight ratio, and a wide selection of versatile rigging options.

The What: Bose Professional is introducing DesignMax loudspeakers, a range of loudspeakers that offer the flexibility and style to deliver audio and aesthetics for any commercial space.

The What Else: With 10 loudspeakers and two subwoofers to choose from — including ceiling-mounted, surface-mounted, and outdoor-rated options — it’s easy to create tailored DesignMax systems for any application, large or small.

DesignMax loudspeakers range from 2-inch low-profile models to 8-inch high-SPL compression-driver loudspeakers. All models deliver sound with no EQ or DSP required. SmartBass processing can also be enabled to deliver enhanced sound at any listening level. On select models, the Dispersion Alignment system provides wide and consistent off-axis response.

Elegant form factor surface enclosures, minimum-bezel grilles, removable logos, and attractive styling allow DesignMax loudspeakers to blend with any décor. Surface-mounted DesignMax loudspeakers feature hidden U-brackets and the unique design holds the loudspeaker closer to the wall, providing a much cleaner appearance. DesignMax loudspeakers are available in black or white, and are paintable.

The Bottom Line: For installers, unique QuickHold mounting mechanisms on each DesignMax loudspeaker make the installation job easier, reduce strain, hassle, and save time in the field. For surface-mounted models, the loudspeaker snaps in to the QuickHold U-bracket. Installers can adjust the pitch and lock the QuickHold levers to set the loudspeaker in place, without using tools, in seconds. For ceiling-mounted models, installers can simply push the loudspeaker into the ceiling opening. QuickHold mounting arms spring into place, holding the loudspeaker as the installer finishes the job.

All models include Euroblock connectors. Ceiling-mounted models include plenum-rated backcans, tile-bridges, and front-access audio wiring that makes installation and troubleshooting easier.

 From concept and design to installation and operation, Bose Professional DesignMax loudspeakers have the features, style, and flexibility to make every phase of a project more successful.

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.

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.”

The What: QSC has introduced the CP Series of compact, powered loudspeakers, positioned for customers who desire QSC performance, quality, and reliability at a value price point.

The What Else: The CP Series is comprised of two two-way models, the CP8 and CP12. Both models feature an efficient 1000-watt Class-D power module, one-touch preset DSP contours for the most common sound reinforcement applications, and line, mic/line, and 3.5 mm stereo inputs. Each can also be pole-mounted, utilized as a floor monitor, or deployed in a fixed or temporary installation. Available accessories include carrying tote, outdoor cover, and quick-connect yoke mount.

“QSC is known the world-over for delivering quality, high performance products for professional use,” states QSC David Fuller, senior director, product development. “The ability to deliver that same value proposition to a far broader range of customers is a remarkable achievement for our teams. Likewise, CP offers an incredible introduction to the QSC brand for first-time buyers, as well as a long sought-after QSC solution for commercial customers.”

The Bottom Line: Further enhancing the products’ appeal, a compact form factor and light weight combine to offer easier transport and deployment in both portable and installed applications. The CP Series is available in stores and online worldwide beginning October 1, 2018.

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

The What Else: The CDL12 Constant Directivity Loudspeaker combines 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.

As a line array system for fixed installations, the ability to fly five enclosures under one or two companion CDL18 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 CDL18 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 7 mm before over-excursion, and easily handles 800W, providing the articulate low-end punch audio professionals demand.

The Bottom Line: The CDL18s and CDL12 form a unique loudspeaker system ideal for both portable PA and installed sound applications.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.

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).

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.”

Elon University has just opened the Schar Center, which serves as the home for Elon Phoenix basketball and volleyball and a center for major campus events. In addition to the main arena, the Schar Center boasts a spacious entry atrium, a large practice gymnasium, locker room and team facilities, and a hospitality room for social events and gatherings. Audio & Light, Inc., designed and installed the AV systems for the facility, including a state-of-the-art sound system in the 160,000 square-foot, 5,100-seat arena that relies on Linea Research power amplifiers.

“This is the first time we have spec’d or used Linea Research amplifiers, and so far, they have been very impressive,” said Brian Cox, Audio & Light installation division vice president, who designed the Schar Center AV systems. “We’ve been impressed with Linea Research amps’ DSP capability and ability to do all of our speaker processing in the amplifier per channel—and the power output is incredible.”

The arena has no acoustic treatment, relying on the design and quality of the sound system. To ensure that quality, Cox designed a Dante system featuring Fulcrum Acoustic loudspeakers driven by Linea Research 88C10 and 44C20 power amplifiers and networked with Symetrix Edge DSPs. “The main sound system over the court, covering the seating area, consists of 24 Fulcrum Acoustic AH96-FP ‘full passive’ loudspeakers, configured as 8 arrays of 3 loudspeakers each,” said Cox. “Each of those arrays also includes a Fulcrum Acoustic CS121 subwoofer, for a total of eight CS121s. On the north side, the seats go up much higher so we installed five Fulcrum DX1295-FP fill speakers. On the east and west ends of the arena, on the concourse, are seating that’s shaded from the main system, so each end is filled with six Fulcrum Acoustic GX1295s. That requires a total of 40 amplifier channels for the mains and fills and 8 channels for the subwoofers.”

Five 8-channel Linea Research 88C10 power amplifiers drive the 40 channels of mains and fills, while a pair of 4-channel Linea Research 44C20 amps drive the 8 subwoofers. A sixth Linea Research 88C10 is kept in the rack, unpowered, as an emergency spare. “Using the full passive loudspeakers was made possible by the Linea Research amplifiers,” Cox said. “Fulcrum Acoustic speakers work extremely well with Linea amplifiers. The Linea Research amps’ built-in DSP gave us the ability to process the limiting by frequency, rather than just limiting by level. They can close down on high-frequency damage before it happens, without having to worry about the low frequencies.”

Linea Research 88C10 and 44C20 power amps fully integrate 96 kHz DSP with algorithms designed in-house at Linea. Users can create custom FIR filter sets on each channel with up to 384 taps at 48kHz resolution, or 768 taps at 96kHz. Linea Research amps boast Level 1 compatibility when used with Fulcrum Acoustic loudspeakers.

“This was one of our first projects using Fulcrum Acoustic Level 1 presets,” said Rik Kirby, president of Allied Professional Technologies, Linea Research’s U.S. distributor. “This compatibility has been proving very popular, and the end result sounds great. And Fulcrum Acoustic have been able to implement Linea’s Virtual Crossover (VX) Limiter, allowing them to limit LF and HF separately despite using a passive crossover in a mid-high device.”

“We wanted this to be a Dante digital system so we could make it as flexible as possible,” said Cox. “The Linea amplifiers come with an option for Dante I/O, and they work very well with the Symetrix Edge DSPs. We have one Edge for arena processing, one for auxiliary area processing in other parts of the Schar Center, and a third Edge for routing and switching. The Linea amplifiers have three network ports: one for control and the primary and secondary Dante ports. The Symetrix DSPs, Linea Research amplifiers, and Fulcrum Acoustic speakers have so far worked together flawlessly.”

When deciding on Linea Research amplifiers, Cox considered multiple factors. “It seemed like the Linea Research amplifier was designed for the Fulcrum Acoustic speakers we wanted to use,” he said. “In fact, the Fulcrum Acoustic rep first brought Linea Research amplifiers to our attention. We looked at other brands but anything else that had Dante didn’t have enough DSP horsepower, and the Linea Research amplifiers’ power-to-size ratio and output capabilities are among the best on the market. To go with another brand, we probably would have ended up with more external DSP power and larger amplifiers with more heat load. And programming the Linea Research DSP was easy; we had the amplifiers updated, loaded, and ready to go and passing audio in one morning.”

Audio input for the arena system is through a Yamaha TF1 16-channel mixer with a NY64-D Dante I/O card. The mixer rolls out in a mobile cart, which includes a headset and computer inputs, providing a complete solution that can be located at the scorer’s table for sporting events. Floor pockets enable the mixer to send Dante audio to the network.

“The Schar Center is great; it’s a beautiful building,” said Cox. “The athletic departments are now using their new offices, and the basketball and volleyball teams have moved in. The arena opened with a women’s volleyball game on August 28, and the sound system did a really good job. The Linea Research amplifiers’ sonic performance so far seems to be above everything else. Everybody here is very happy.”

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.

This year’s Xerox Rochester International Jazz Festival celebrated its 17th anniversary with attendance of over 208,000 people, who flocked to nine days of performances by artists such as Seal, Boz Scaggs, Alison Krauss, Brian Setzer and Tower of Power. The festival, which ran from June 22 through June 30, included the Avangrid Foundation/RG&E Barclay Damon Fusion Stage, hosting shows by regional artists and powered by QSC, including K.2 and KW Series powered loudspeakers, KW181 active subwoofers, and a TouchMix-30 Pro Compact Digital Mixer.

QSC KW181 subs and KW153 full range cabinets took care of the house while K12.2s handled monitors, with a KS212C and a K10.2 for drum fill. K8.2 Monitors were used for front fill. A TouchMix-30 Pro digital console completed the system. Audio Images Sound & Lighting Inc. of Batavia, New York, provided production for many of the festival stages.

"The QSC system did an amazing job in the tent. It was very musical and had great coverage," said Sebastian Marino, Audio Images owner and president/CEO.

Front-of-house engineer Joe Barnes said, "I've had various systems in this tent over the years and this was the best it has sounded. The bass was tight, the vocals were very natural, and the top end was extremely well defined. This tent is not the easiest environment for audio but the K.2 and KWs, combined with the features of the TouchMix-30 Pro, made getting a great sounding mix quick and easy."

The What: Martin Audio has released nine new products, including the ADORN series of loudspeakers, the SX110 subwoofer, a range VIA amplifiers, and Ethernet to U-NET bridge U-Hub.

The What Else: ADORN loudspeakers are designed for distributed sound applications that require high performance from visually discreet, ultra-compact enclosures. They provide a sonic transition within a multi-zoned complex using larger Martin Audio systems such as CDD or BlacklineX.Featuring a 4” and 5.5” driver, respectively, the two-way ADORN 40 and ADORN 55 are available in black or white as standard and can be readily painted to match any interior décor and architectural environment.

The new SX110 subwoofer will extend the bandwidth of ADORN on-wall speakers and works for foreground music applications, which require increased impact and low frequency performance. Designed to be able to sit under banquette seating or discreetly placed within a venue, its ultra-compact enclosure features a 10” (250mm) driver and generous bass-reflex porting to reduce air noise. SX110 can also be suspended by means of integral M8 threaded inserts.

VIA is a new range of four high performance, cost effective power amplifiers designed primarily for installation use, but also suited to portable applications. VIA partners with all Martin Audio loudspeakers where networking and onboard DSP are not required, but where full system set-up is necessary, either the existing DX0.5 controller or newly announced DX4.0 can be added. DX4.0 is a 4-in 8-out loudspeaker processor and matrix featuring networked audio via Dante, high quality 96kHz processing, VX limiting as well as FIR optimization support for O-Line with Scalable Resolution.

U-Hub is an Ethernet to U-NET bridge equipped with analog and AES3 digital audio transport. It facilitates PC connection and VU-NET software control of MLA Series arrays and subwoofers via their inbuilt proprietary U-NET network. When used in conjunction with the Martin Audio DX4.0 networked system controller, U-Hub can connect audio and network to an MLA Series system with a single cable via a Dante digital audio network.

The Bottom Line: The products will be on display and demonstrated at the company’s UK Open Days, September 18-20, in High Wycombe.

Paul Hales, 30-year loudspeaker engineer, AV industry veteran, and owner of audio manufacturer Pro Audio Technology (PRO), has launched of Theory Audio Design (Theory). Theory is a manufacturer of loudspeakers and amplified loudspeaker controllers; the company will make its debut at CEDIA 2018 in Sound Room 14.

“PRO continues to thrive and is a leading brand in elite home theater and distributed audio systems around the world,” said Hales. “With Theory, my goal was to bring the thrilling sound for which my products are known to a broader audience, and that is exactly what we’ve done. The performance and design of the Theory products are extraordinary. I cannot wait to show off these ground-breaking products at CEDIA 2018.”

The first seven models of Theory loudspeakers and amplified loudspeaker controllers will ship in Q1 2019, with additional models introduced throughout the year. For more information on Theory Audio Design, visit theoryaudiodesign.com.

In September 2017, Canadian indie rock band Arcade Fire embarked on their first international tour after their single, Infinite Content, hit number one on the Billboard chart. Traveling 451,851 miles across over 50 locations, the band performed on a stage supported by an AV system featuring a video wall, 92 amplifiers, 56 subs, lighting, 128 loudspeakers, and 8 coaxial speakers.

The use of a large stage for the performances meant that the AV system was at risk of common problems that plague touring installations such as complicated cable setup, equipment placement, daily setup logistics, and the involvement of multiple manufacturers end products — all needing to be set up and dismantled in high speed to accommodate the busy tour schedule, while also supporting the high-quality audiovisual experience that Arcade Fire envisioned for their fans.

The AV system comprised devices from a variety of manufacturers and needed to be able to be easily and consistently installed by the many teams involved in stage setup. Integrator Solotech and audio design team Méduse Audio brought extensive experience including design and integration for music giants like Radiohead, Florence and the Machine, Celine Dion, and Bette Midler, and had previously collaborated together on other tour projects. For the Arcade Fire tour, they teamed up again to design the system with support and equipment from manufacturers including Meyer Sound, Black Box Music, Extreme Networks, and L-Acoustics.

The integration teams knew that a large and complex cable setup for the AV system would be time consuming to install in the many locations and difficult to maintain across the duration of the tour. In the first approach to the system design, Méduse Audio and Solotech embarked on testing in Montréal to address the challenges of the installation.

AVB Brings Setup and “Sonic” Advantages

After extensive testing, it was determined that the system required an approach that would allow for greater control and precise management, while maintaining high sound quality with no audio drop-out. In the past, Solotech has used an AES infrastructure but, according to David Brazeau, Solotech audio technical advisor, “that can be challenging on a larger project, and we preferred having both the control and the audio embedded on the same network.” L-Acoustics introduced AVB as a possible network solution, as their amplifiers, subs, and loudspeakers are Avnu-certified. During testing, Méduse and Solotech realized the “sonic advantage” of AVB, and decided to implement it to ensure reliability, lesser setup time, synchronization, and consistent audio quality on the tour. The system would become one of the largest deployments of AVB in a tour system, ever.

“We chose it [AVB] for the audio transmission quality after conducting some testing in our warehouse,” said Brazeau. “It also provided us with a solution to solve the issue of long cable length audio distribution.”

Using AVB ensured the reliability of the system throughout the tour and helped reduce the number of connections between devices. It also offered low-latency and improved synchronization and reliability for the audio and video systems. “The installation had a mix of daisy chain and star typology, letting us see all the amplifiers across five locations, connected with fiber optics and an Extreme Networks Gigabit AVB-enabled switch,” said Brazeau.

Méduse Audio owner Marc-Oliver Germain described setting up AVB as simple and the network “allowed less room for mistakes and made it easy to do configuration right from the computer using a drop-down menu. AVB is perfect for using on tour. It’s easy to set it up on a daily basis in new locations, and you can distribute settings for the infrastructure on a large scale.”

“Once the AVB stream is locked, it’s virtually impossible to lose it,” said Germain. He added that the team didn’t need to tweak or create additional physical connections, which reduced the installation time at each destination, and secured the reliability of the system by reducing the chance of cables going offline from breaking. Using Avnu-certified devices was a crucial component for ease of use of the network and setup with various manufacturer’s products.

Results: A “Flawless” AV Performance

The Infinite Content tour ran smoothly, having benefitted from streamlined setup, quality sound, and system reliability provided by the AVB network. The teams could react quickly to accommodate changes that needed to be made along the tour, without having to make cabling repairs or changes.

Germain praised AVB’s performance on the tour as “flawless” and mentioned he would use AVB in other projects, especially in situations where there are daily changes to the system. “With AVB, it’s easy to make changes directly, so you don’t have to relay instructions for the on-site team.” The AVB network also saved time by streamlining the setup time of the large stage since the team didn’t have to run multiple cables across the stage to the various amplifiers. Use of Avnu-certified AVB products facilitated the process through easier network coordination and ensured interoperability of the equipment from different manufacturers. Reflecting on his largest AVB-networked installation, Brazeau notes that he would “absolutely use AVB for other projects. Even a smaller deployment benefits from using AVB.”

The Howard Hughes Corporation (HHC) recently opened the doors on a new development located in the South Street Seaport district. Pier 17 offers dining, retail, and entertainment options along with a large 1.5-acre rooftop concert space that can hold 3,400 for its standing general admission shows, or 2,400 seated, with the Brooklyn Bridge as the stage’s backdrop.

HHC brought in SIA Acoustics to identify and design a system that would deliver pristine audio quality while keeping the sound contained to the listening area. After reviewing multiple products, it was determined that an Eastern Acoustic Works (EAW) adaptive sound reinforcement system was the only solution. It would not only reduce the amount of audio that would impact the adjacent neighborhoods — Wall Street to the west and Brooklyn to the east — but also produce sonic clarity beyond expectations.

In turn, SIA Acoustics worked closely with Harrisburg, PA-based Anderson Audio and TMG Systems, who teamed up for installation of the system. Left-right Anya arrays were hung in single columns of 12 Anya modules, approximately 35 feet from the ground, along with 24 Otto subwoofers laid out in pairs, to blanket the rooftop.

“In my opinion, there isn’t another system out there that could do this,” said Chris Anderson, owner of Anderson Audio. “Each Anya enclosure has 22 channels of digital signal processing and amplification driving 22 transducers. Multiply that by 12 modules in each array, and you have the control to really dial it in, so it delivers exactly what is needed, where it is needed.”

The venue opened on July 4, 2018, with Carrie Underwood headlining the Spotify Hot Country Live Event. The season lineup includes Amy Schumer, Diana Ross, 88 Degrees, Ziggy Marley, Sting & Shaggy, and more.

“The neighbors are happy,” said Mark LaBouff, national sales manager, TMG Systems. “It’s very impressive when you walk in and out of the coverage area – the difference is incredible. There are two VIP areas technically ‘out of the coverage’ and it’s quiet enough to make a phone call. There were also some concerns about sound levels behind the stage traveling across the water to Brooklyn. Also, not a problem — the rear rejection of the system is substantial.”

“We found that EAW's Adaptive Anya loudspeakers and Otto subwoofers were the combination that would help dramatically control coverage of sound, provide an impactful and tonally balanced sound to the audience, and be acceptable to most touring bands,” said Sam Berkow, owner of SIA Acoustics. “So far everyone is in complete agreement.”

As the technology centerpiece of a total renovation project, a Meyer Sound Constellation acoustic system has been installed in the 561-seat Alexander Theatre at Monash University in Melbourne, Australia. Originally designed and built for spoken word dramatic presentation, the Alexander Theatre is now capable of hosting the full spectrum of acoustic music performances and, in conjunction with the complementary LEOPARD line array direct reinforcement system, all genres of amplified performances as well. The Constellation system is the first in a dedicated performing arts venue in Australia.

The impetus to renovate and repurpose the 50-year-old auditorium originated with Professor Paul Grabowsky who, in addition to serving as executive director of the University’s Academy of Performing Arts, is renowned throughout Australia and beyond as a jazz pianist and composer for opera, film, and television.

Recognizing that the theatre’s physical acoustics were poorly suited to musical performance, university administrators engaged the international consulting firm Arup to evaluate possible solutions.

“We were given two options,” said Grabowsky. “One was to create an acoustical environment suitable for music through physical means by use of materials and slightly reconfiguring the space. But no matter what was done it could never be great acoustically because of the existing constraints of the building structure.”

The other solution presented was an active acoustic system. “Initially I was very skeptical,” said Grabowsky. “When you talk about intervening in a space with electro-acoustic devices, your mind immediately goes to, ‘Well, why would you want to do that? It’s not genuine.’ But the potential was intriguing so I decided to give it a listen.”

Grabowsky organized a delegation to audition several different active acoustic systems in Europe, the U.S., and Japan, at times bringing along a string quartet to perform the same pieces in evaluating each system.

The seminal moment came with a visit to SoundBox, the San Francisco Symphony’s conceptually innovative and widely acclaimed alternative venue. “Other than for us, the room was empty,” Grabowsky said. “The quartet set up and played at one end of the room, which is quite a large space. I was amazed that it didn’t matter where I was in the room, or which direction I was facing. The clarity of the music remained true, but more importantly the quality of the music did not suggest any kind of electronic intervention. It simply sounded clear, crisp, and warm, as if you were in a very good concert hall.”

Grabowsky’s preference for a Constellation solution was cemented by a later visit to SoundBox, this time for a full concert program. “Again I moved throughout the room, and that experience convinced me that, in terms of what the system was doing, it allowed for more flexibility and more musical detail than the others we had heard,” he said.

As installed at the Alexander Theatre, the Constellation system comprises three elements: sensing of the ambient acoustics, high-resolution digital processing using the patented VRAS acoustical algorithm, and distribution of early reflections and reverberant signals using more than 150 loudspeakers. For ambient sensing, 16 compact cardioid microphones are placed on stage, 16 miniature cardioid microphones are placed in the auditorium, and eight boundary-mounted omnidirectional microphones are placed in the orchestra pit. The processing is accomplished by a D-Mitri digital audio platform with 18 modules for input and output, core processing, and creation of the acoustic presets. The loudspeaker complement includes 133 full-range Meyer Sound systems (MM-4XP, UPM-1XP, UP-4XP, and UPJunior-XP) along with 19 compact subwoofers (UMS-1XPSM and MM-10XP).

Because all Constellation loudspeakers are self-powered and receive dedicated, discrete input signals from D-Mitri, the hardware component also provides a dynamic, immersive sound environment with Meyer Sound’s SpaceMap 3D panning software. Using SpaceMap with the Constellation infrastructure allows dynamic movement of multiple sounds in three dimensions throughout the auditorium.

“The possibility of using the spatiality of the system enables one to add a new dimension to a musical composition that has been talked about for perhaps a half a century,” said Grabowsky, “but has never been realized to this extent. I remember when I talked with John Meyer he referred to Constellation as an instrument, not just equipment, and that’s a profound indicator of this system’s potential. It allows a degree of spatial flexibility beyond any other system I have experienced.”

In the first months since reopening, the Alexander Theatre has used Constellation to optimize acoustics for a wide spectrum of events, including acoustical musical ensembles, musical theatre, and amplified concerts as well as conferences and lectures. Two notable events were a recital by celebrated classical pianist Stephen Hough and a recording session by jazz great Branford Marsalis.

To support amplified concerts, the theatre offers a direct reinforcement system anchored by 12 LEOPARD compact line array loudspeakers along with six 900-LFC low frequency control elements for deep bass support and eight MM-4XP miniature loudspeakers for front fill.

The renovated Alexander Theatre is the largest of three venues in Monash University’s Ian Potter Centre for Performing Arts. The new arts complex was designed by Peter Elliott Architecture and Urban Design in collaboration with Irwinconsult Engineers and Marshall Day Acoustics, with the latter firm’s Peter Exton responsible for physical acoustics in the Alexander Theatre. Exton worked closely with the team at Marshall Day Entertech, the firm’s theatrical consulting division, to ensure seamless integration into the wider scope of the project. The centre will soon offer two more venues: a 190-seat jazz club and 130-seat sound gallery, both scheduled to open in 2019. Also equipped with a Constellation system, the sound gallery will provide a free-form environment for innovations in musical composition and performance.

A public research institution founded in 1958, Monash University has a total enrollment of over 70,000 students at multiple campuses both in the Melbourne area and at overseas locations.

The climate in Madisonville, TX is officially classified as “humid subtropical,” which somehow puts too sterile a gloss on its hot, sultry summers punctuated regularly by drenching and often violent storm systems. Madisonville Consolidated Independent School District is responsible for educating the children of the town’s 5,000 residents, as well as those of the surrounding unincorporated areas. The 600-plus students who attend Madisonville High School participate in a range of sports, including baseball and softball, with significant parts of spring season overlapping with the aforementioned weather. Dallas-based Romeo Music, who has been serving educational institutions for well over a decade, recently designed and installed a new sound reinforcement system for the baseball and softball fields using Danley Sound Labs’ new high-fidelity OS12CX fully weatherproof loudspeakers.

“The original sound system for the fields used several small, ‘honky’ horns, which were okay for pages but didn’t do so well with music,” explained Kevin Deal, regional sales manager, Romeo Music. “And that system quit two years ago. Madisonville played two seasons without a sound system! Romeo Music provides a lot of equipment for the school, and we’ve developed a good relationship over the years. When the school officials lost confidence in the A/V integration firm that had originally been hired to install a new sound system, they asked us if we could provide that same service. We walked the facility, met with the administration, and evaluated the possibilities. The budget was tight, but Danley has bailed me out of other budget situations because I need so many fewer Danley boxes compared to designs with conventional boxes and because Danley boxes are, in my opinion, underpriced relative to their performance.”

The two fields meet along their sides, with enough space for dugouts and spectators on both sides. A single large press box behind home plate allows two games to be called at the same time. Madisonville CISD wanted a sound system that could give clear, intelligible pages to each field with minimal crosstalk and that could capably play music before games and between innings. Covering the fields themselves was not a priority, but the school hoped there would be some spill for the teams during warm-up.

“We’ve had a lot of success with our Danley systems in the past,” Deal said. “We can design Danley systems with fewer boxes, which saves a lot of money, and we’re happy that they are American-made and fully supported by some of the best engineers and technicians in the industry. And of course, their patented Synergy Horn technology sounds great. I reached out to Kim Comeaux [Anderson Sales & Marketing, area Danley rep] and told him about the requirements and budget constraints. He recommended the new Danley OS12CX, which is a shorter-throw box with a wide coverage pattern. Importantly, it is completely weatherized, which would be important for any outdoor system, but especially so in the humid rain belt between Dallas and Houston. Although I had never heard the OS12CX, I trusted that, like every other Danley box I’ve ever heard, it would be great. As soon as we fired them up, I was like, ‘yep, made the right decision!’”

Four Danley OS12CXs mounted on the press box cover both fields (two to a field), with angles and positioning so as to maximize coverage and minimize overlap. A four-channel QSC PLD4.5 provides abundant power to the system, with integrated DSP to allow modest equalization and overload protection. Two new microphones and an Allen & Heath two-zone mixer complete the tidy system. Deal noted that it rained for fully half the time they were installing the system, a poetic foreshadowing of the conditions the loudspeakers would endure in the days, months, and years to come. In addition, strong winds accompanied the rains, and Deal was impressed with the strength and weather-readiness of the mounting brackets and hardware.

“I find that most people assume that a weatherized loudspeaker will always sound ‘honky,’” Deal said. “Not so with this system! I tuned it with a collection of songs I’m really used to hearing in a variety of circumstances – different songs that indicate different kinds of problems if they don’t sound right. The OS12CXs required very few and only minor adjustments; we’re running the system almost flat. And even if it’s not ‘chest-thumping,’ the system has plenty of bass even without a subwoofer. When we first turned it on, we really opened it up, and it was a good deal louder than it needed to be. That’s great, because it means they have plenty of headroom, which will prolong the life of every component and ensure their investment pays dividends long into the future.”

DP Design recently installed Martin Audio CDD to solve a variety of acoustic challenges at the Latitude Church in New Bern, North Carolina.

Latitude is described by designer David Price as “one of the fastest growing churches in North Carolina that only started over a year ago and already has a weekly attendance of over 1,000 people.”

The church is based in a large facility that originally served as a manufacturing warehouse with “a variety of acoustic challenges in a space that wasn’t designed as a worship sanctuary.“

Latitude became known as the rock and roll church in terms of having the highest volume levels,” David continues. “They originally committed to a used line array system from a well-known brand that had seen better days on tour. It was woefully inadequate with three boxes a side for a 90-foot throw in a long, low trim height room. It sounded incredibly loud and harsh up front with drivers blowing and a host of other problems.

“We came in and redesigned their stage which was very deep—cut it in half with both sections separated by a double wide video production screen. We installed a distributed system of Martin Audio CDD speakers that blended perfectly into the environment. Eight CDD15’s in three rows of two for left, right, and two delay hangs. We also deployed four CSX218 floor-mounted subs and eight CDD5’s for front fill mounted on the edge of the stage.”

Asked about his client’s reaction to the CDD system, David said, “It sounds absolutely fantastic with the warmth you get out from the CDD15’s and wide enough coverage to get the stereo image throughout the room. Bottom line, CDD sounds amazing, and the church is very happy with the system because they can play it loud without any overload or harshness, just smooth, pristine sound.”

Mahajak Trio recently deployed a complete Harman Professional Solutions audio system at the Grand Zenith Hotel to provide sound for performances, events, meetings, and more.

One of the most luxurious hotels in Malaysia, Grand Zenith features amenities like fine dining, spa services, and a lavish Sky Lounge bar. Recently, Grand Zenith decided to update its multi-purpose ballroom with a state-of-the-art audio system capable of delivering exceptional audio for a range of events and performances. The hotel also used the opportunity to upgrade the audio system in meeting rooms to allow for more efficient inter-staff communication. To achieve these goals, Grand Zenith hired audio experts Mahajak Trio, who suggested a complete Harman Professional audio system.

Mahajak Trio outfitted the Grand Zenith ballroom with JBL AC2215/95 loudspeakers and Crown CTs 1,200 power amplifiers, as well as new JBL EON610 active loudspeakers for additional coverage. Audio is mixed on a Soundcraft EFX12 mixing console, which features built-in 24-bit digital Lexicon effects processors. A rugged AKG GN50E modular gooseneck microphone with the high-performance CK31 condenser capsule provides the perfect hands-free solution for speakers, while a WMS470 Vocal Set D5 provides wireless mobility for more energetic performers.

“We chose the JBL AC2215/95s because they offer extended coverage, which helps fill out the ballroom without the need for a big, bulky rig,” said HL Teo, general manager, Mahajak Trio. “The Soundcraft EFX12 console has built-in effects processors designed by Lexicon, which eliminates the need for any outboard gear. We were able to create a very efficient, streamlined audio system capable of handling Grand Zenith’s largest events with ease.”

Mahajak Trio implemented a similar system for Grand Zenith’s meeting rooms. JBL Control 26C ceiling speakers powered by Crown DCi 2|300 amps reinforce speakers with stunning clarity. AKG GN50E, CK31, D5 and WMS470 Vocal Set D5 microphones provide a variety of high-quality options for speakers to choose from. BSS EC-4BV and BLU-100 signal processors provide simple volume and distribution controls, allowing staff to easily control the system without the need for a dedicated sound technician.

“We are privileged to be partner of choice to provide world-class audio and control solutions at the Grand Zenith hotel in Malaysia,” said Ramesh Jayaraman, VP & GM Harman Professional Solutions, APAC. "Elevating experiences for our customers and their customers is the hallmark of Harman brands and solutions. We thank Mahajak Trio for working closely with the hotel group and deploying a successful design that accentuates the wonderful atmosphere elevating the experiences for the hotel guests.”

Munro Acoustics recently deployed an end-to-end Harman Professional Solutions audio system at the Flea Bazaar Café, a first-of-its-kind dining and entertainment concept in the Lower Parel district of Mumbai.

Owned and operated by Impresario Group, the 7,000-square-foot café features 13 separate restaurants, a marketplace for local lifestyle brands, and a bar that serves local beers and craft cocktails. The Flea Bazaar Café also includes a community performance venue that hosts standup comedy, plays, DJs and live music, and more. The space features a unique pulley mechanism that can quickly lift the tables and chairs to the ceiling and create extra space for audiences, as well as a van that serves as the DJ booth.

Impresario Group hired longtime audio partner Munro Acoustics to design a state-of-the-art audio system that would complement the aesthetic of the Flea Bazaar Café and deliver even sound coverage in the highly reverberant venue. To ensure an even, smooth and enjoyable music experience for guests, Munro Acoustics selected a complete Harman sound reinforcement system comprised of JBL VRX line array speakers, JBL SCS Spatially Cued Surround loudspeakers, Crown amplifiers and dbx digital signal processors.

“Integrating the system in a highly morphable space such as Flea Bazaar Café was quite challenging,” said Kapil Thirwani, partner, Munro Acoustics. “We worked with the architects to make the subwoofers an integral part of the stage. The DJ plays through a van and we created a plug and play provision to disconnect the DJ van when not in use to free up the space for gigs. The venue was highly reverberant, and we faced some initial hiccups due to the complexity of the system design. However, the combination of the JBL VRX line array system and the JBL SCS loudspeakers worked well for this requirement. We chose Harman as our preferred audio solutions company for its wide range of JBL Professional loudspeakers, end-to-end solution offerings and their extensive service support network.”

The main house system includes six JBL VRX 932LA-1 compact line array speakers paired with four JBL VRX 918S 18” high power subwoofers, which are suspended from the venue ceiling. Two additional JBL VRX 918S cover the flea stall, kitchen garden and pan stall areas. Four JBL SCS 8 Spatially Cued Surround loudspeakers are used for side-fills around the main performance area, with six additional JBL SCS 8 installed at the flea stall, pan stall, and kitchen garden area. Although they are commonly used for cinema applications, the JBL SCS loudspeakers are ideal for installations where sound reinforcement needs to be provided in a compact space with flexible mounting options. The system is powered by Crown XTi 6002, MA 5000i and XLi 1500 amplifiers, which deliver reliable, uninterrupted power for performances.

“When I think of a bazaar, it brings back fond memories from my childhood,” said Prashant Govindan, senior director India & SAARC, Harman Professional Solutions. “Street food, shopping and entertainment have been all brought together in this innovative yet modern setting. Although the installation was complex, the Harman Professional and Munro teams worked together to create a versatile audio experience. One of the things that I admire about Kapil is his creativity and innovation. By combining JBL cinema surround loudspeakers with a JBL line array solution, his team was able to create a unique and immersive sound experience for guests.”

The 2018 Rock ‘n’ Roll Marathon and Half Marathon recently drew more than 22,000 participants to Liverpool’s streets, where runners and spectators alike were entertained by a wealth of stages located throughout the city. For regional live event specialist IE Production Services, the sheer size of the event was reflected in the number of stages it served – no fewer than 17, each of which presented its own challenges in terms of sound reinforcement. Having considered the options, IE Production Services looked to K-array and the Italian innovator’s exclusive UK representative, 2B Heard, for a broad range of solutions.

Encompassing the 26.2 mile course with options to either tackle the full marathon, attempt a half marathon, or try a slightly more manageable 5k, the Rock ‘n’ Roll Marathon draws on Liverpool’s unique musical heritage and has become an institution within the city. Stages are located at numerous points along the route, including the starting line, the town hall balcony (replicating the famous 1964 balcony concert by The Beatles), and the picturesque Sefton Park bandstand.

“With so many stages and performance formats, this was anything but a straight forward project,” said Mark McComish, project manager at IE Production Services. “It’s a very high-profile event with a lot of media coverage, so it’s important to the city. From our perspective it was vital that the speakers we used delivered high quality audio but were also very easy and quick to rig. K-array was the perfect choice on both counts.”

K-array solutions could be heard from the beginning of the event to the end. Included was the compact but powerful Firenze KH7 digitally steered line array, four elements of which covered the starting line, split between two stacks positioned 80m apart with low end support from two KS8 subwoofers.

“The KH7 is discreet, lightweight and very quick to rig but it’s still powerful enough to throw long distances, up to 100m, without feeling too loud for those nearest the stage, all of which meant it was ideal for the starting line,” said McComish.

Further along the course, the historic town hall balcony was served by a Mugello KH2 compact line arrays comprising four KH2 per side. Chosen for its ability to deliver “seamless coverage and a long throw down the strip of oncoming athletes outside the Town Hall, while still remaining unobtrusive”, the KH2 set-up was augmented with two Mugello KS5 dual 21” subs.

Elsewhere, a variety of smaller stages benefitted from seamless coverage courtesy of Pinnacle KR802 and KR202 column array systems as well as Axle KRX802 ground stacked line arrays. “The column arrays gave us even and consistent coverage while the IP rated options meant we were prepared for all types of weather,” McComish said.

“The Rock ‘n’ Roll Marathon is an exciting event for everyone who takes part, including ourselves,” he said. “It’s important to our company and a powerful reference project for us so living up to everyone’s high expectations was of paramount importance to us. With the support we received from 2B Heard and the breadth of the K-array range, we were able to design discreet yet powerful, high quality sound reinforcement solutions for all of the stages. No matter the challenge, we had it covered with K-array.”

Two of the Jersey Shore's premier wedding facilities have a lot in common: sophisticated charm, scenic views, and elegant ballrooms. The Crystal Point Yacht Club and The English Manor also both recently selected Jersey-based integrator Synapse Audio Visual Designs to upgrade their ballroom sound and lighting systems. Synapse based their sound system designs on Fulcrum Acoustic's deceptively powerful, compact installation loudspeakers.

Challenges

Compact, high-fidelity loudspeakers were required to deliver nightclub-worthy output and aesthetically integrate with the magnificent ballrooms.

Solution

"The intent for both systems was to allow the venue to control the volume and clarity of DJs while still delivering that nightclub feel," said Synapse Audio Visual Designs owner Chris Obssuth. "Four Fulcrum Prophile Series S dual 8-inch coaxial loudspeakers were aimed to converge on the Crystal Point's ballroom dancefloor, allowing the sound energy to be dissipated by the bodies of guests dancing. With little room to work with overhead, we rigged two Fulcrum Sub215 dual 15-in subwoofers to down-fire through a drop ceiling at each end of the dancefloor. Fulcrum's compact designs made for the discreet and elegant install venue co-owners Kyle and Lisa Truesdale were looking for."

"Kyle Truesdale asked me if I was sure such small loudspeakers would be loud enough for the dancefloor," said Obssuth. "It was fun to watch his face when I fired up the system for the first time and really put the spurs to it. Kyle was blown away. He couldn't believe such big sound and high-fidelity could come from such small boxes."

"For the English Manor's Grand Ballroom, we designed a similar distributed system with six Prophile Series P single 8-inch coaxial loudspeakers and a pair of Fulcrum US212 dual 12-inch direct-radiating subs for low-frequency extension," said Obssuth. "As the ballroom had been recently renovated with gorgeous Swarovski crystal chandeliers and up-color lighting, we were very deliberate about using compact, low-profile loudspeakers that wouldn't detract from its elegance. We specified Fulcrum Prophile Series coaxial speakers because their horizontally-oriented, trapezoidal cabinets allowed us to tuck them tight to the ceiling, and their wide 100° x 100° dispersion patterns are perfect for the ballrooms' dancefloors."

"Many DJs these days have given up on high-quality audio and overcompensate with loud boxes that lack clarity," said Synapse senior designer Stephen Cannella, who worked with Obssuth on the project. "Using Fulcrum loudspeakers with Powersoft amps, Symetrix processors and a Crestron user front end gave our customer all the high-energy audio and control they needed. DJs can simply plug into a wall plate to play the room systems rather than setting up their own portable 'speakers on a stick.' The sound system also has the versatility to support background music, spoken word and wireless mics for corporate meetings."

"We now have the most impressive sound and lighting systems in the region and the response to them has been overwhelmingly positive," said Truesdale. "We wanted high-quality, high-energy sound systems for our Crystal Point and English Manor ballrooms and it couldn't have worked out better for us."