From restaurants to museums and more, rooms may have varied audio requirements depending on the customers’ use. And contemporary creative content increasingly has theme music or sound effects as part of the mix. So, unless your content is limited to the spoken word or banjo music, subwoofers play an important role in the complete audio picture in an installation.

A subwoofer that has a fairly typical operating bandwidth from 25-100Hz covers wavelengths as long as 45 feet down to 11 feet. In absolute terms, we can say these long wavelengths can bend around objects unimpeded, making placement flexible, though this doesn’t mean its performance is linear wherever you sit or stand in different size rooms.

What's the Ideal?

Low frequencies have a bit of a mind of their own. Rooms that are small, say 10x20 feet with a low ceiling, will react quite differently than a room with four times the square footprint and a high ceiling.

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The flexibility in placement really has to do with a lot of different factors depending on application. If a subwoofer is part of a controlled sound field where stereo imaging is required, the sub may very well be located close to the stereo speakers. However, a subwoofer that is part of a distributed sound field may only need to be placed in a convenient and safe location and gain staged to fill the space with low frequencies that the other speakers cannot reproduce.

Without being too glib, the ideal placement for a subwoofer is the place that works for as wide a listening audience as possible. Subwoofer placement covers a lot of differing criteria, and it certainly depends on the installation situation as well as the client appeal. I once saw a sub next to a glassware wash tub at a bar in NYC. I’m not sure how that became the "ideal” placement, but there it was.

Seriously, it’s hard to define the ideal placement for a sub. For those types of rooms that one would consider higher quality, usually the best place to not place a sub is along the mid-line of the front wall. Usually, a third of the way left or right from the center will work well.

Sometimes, subs get placed into a corner reading somewhere that is where the most in-room gain will be achieved. However, this corner location will also drive all the room modes—the collection of resonances that exist in a space—equally, which can be a nasty tradeoff.

Lows Higher Up

There are some special installation considerations unique to subwoofers. Sound travels faster in solids compared to air. Isolation from plywood flooring on joists may improve the sound quality in commercial or residential applications.

That said, a subwoofer on a concrete substrate may need less isolation simply because the mass of the concrete is so stiff. No matter, airborne low frequencies may be hard to contain in rooms where walls are made of single layer sheet rock on studs. Your neighbor may complain no matter what you do if you turn it up too much.

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Subwoofers can even be ceiling mounted. There are dozens of Dolby ATMOS commercial theaters and dubbing stages that have ceiling-mounted subs at the rear of the space. For less theatrical commercial installations, a ceiling-mounted sub can be a real space saver, assuming of course that getting the wiring in place doesn’t present too many obstacles. Some manufacturers, including Genelec, are offering single-cable solutions that carry power, audio, and control to IP-based devices, including subwoofers.

The ceiling may have some appeal, but care should be taken in consideration of maintenance or service. And yes, you had better have safety straps and proper mounting hardware to hold it in place, as well as noting what structural things might vibrate.

Check Your Spec

Finding subwoofers that go down to 14Hz may be appealing on paper—and may be important for impressive high SPL theatrical applications—but for most music applications, a subwoofer that cuts off at 30-35Hz will usually work quite well. Remember that in a closed box, for each halving of the frequency, the driver displacement goes up four times and the amp power requirement is doubled as well. Vented boxes often will be more efficient in reaching the lowest cutoff.

Calibration is absolutely a prerequisite in every situation. Gaining an objective frequency response as well as level matching goes a long way in making the installation successful. There are some great third-party measurement systems. Room EQ Wizard (REW) as well as SMAART from Rational Acoustics have plenty of depth of programming that, in the right hands, can save the installer a lot of time and increase the likelihood of the best results. Some loudspeaker manufacturers (including Genelec) also have automated calibration services that couple with specific products that will adjust relative levels, equalization, and time of flight to the listening position.

[Genelec Loudspeakers Tell the Story at Cold War Exhibit]

Never under spec a subwoofer. It's a common mistake. Low frequencies are the most difficult to reproduce without distortion as the volume goes up, assuming the main speakers were also specified correctly. The use of one sub may fit a budget, but often using two will give you better coverage (if spaced correctly) and a bit more headroom. It’s also important to place subs where no listeners will be too close to them—booming bass can be very irritating.

One last thought: Some installations require help from the manufacturer of certain items in the signal path. Pick a company that is well recognized for providing accurate product support when building small or large systems.

SoundTube, an MSE Audio brand, announced the release of the SM1001 Surface-Mount Subwoofer. The new subwoofer will begin shipping this summer.

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The SM1001 is a 10-inch subwoofer with a passive radiator to generate deep, high output bass response. The SM1001 uses a proprietary 10-inch high-excursion, ultra-long throw mica-graphite polypropylene driver and a downward-firing bass radiator. The efficient long throw designs are superbly linear, making the SM1001 an ideal complement to any music system. The driver is attached to a 1.5-inch MDF baffle to eliminate cabinet distortion The SM1001 is a great addition to background and foreground audio installations where high-quality, true bass response and rapid installation are critical. Aerobic rooms, retail stores, restaurants, nightclubs, bars, theme parks, arenas, ballrooms, and churches are all ideal fits for this subwoofer.

“After releasing our pendant subwoofers, dealers requested a surface-mount bass solution. The SM1001 fills those application needs,” said Mike Sipe, vice president of sales. “Bass adds excitement, and this subwoofer gives integrators a powerful product with versatile installation options to bring out the emotion in the music.”

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The flexible SM1001 delivers crystal-clear bass and unparalleled low frequency coverage from a ceiling, wall, corner, hanging or free standing. When powered by the P350 high-current amplifier, the subwoofer provides a peak output of 116 dB at 1 meter. Sensitivity at 1m and 1W is 88 dB SPL. Housed in a 12.5-inch by 24.5-inch by 15.5-inch cabinet with legs (14-inch height without legs), the made-in-the-U.S. subwoofer weighs 29.1 pounds and is available in white and black. 

Ashly Audio, a leader in sound reinforcement technology, has launched a new addition to its compact subwoofer line, the SP-8.1P passive subwoofer. With 150w handling power, the new SP-8.1P subwoofer provides sound systems with extra power in a variety of environments— all in an eight-inch package.

“With the addition of the eight-inch subwoofer to our SP Series, we enable sound system integrators to tailor unique audio experiences to their customers. The compact size of the SP-8.1P allows for installation in areas where a larger subwoofer wouldn't typically fit,” said Noel Larson, EVP of sales and marketing at Ashly Audio. “We stand by our commitment to create complete and integrated solutions for everyone—from storefronts and restaurants, to houses of worship and schools—and the addition of the SP-8.1P offers possibility for more installations in more places.”

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The new SP-8.1P handles up to 150W at 8 Ohms, with a sensitivity of 95dB (1W@1m) and a frequency response of 43Hz-180Hz (-10dB) to provide audiences with powerful audio experiences.  The subwoofer's DSP voice presets provide frequency response tailoring, delay, and crossover settings with Ashly’s IS & AW speakers with AquaControl and Protea-equipped processors. For maximum effect, pair the subwoofer with Ashly’s nXp 400 or higher or Pêma 4125, 4250, 8125, or 8250 amplifiers.

The new SP-8.1P subwoofers are designed with a dynamic eight-inch woofer with ferrite magnet, front loaded into a bass-reflex and a 0.6-inch reinforced plywood enclosure. The subwoofer line is available with a textured paint finish in both black or white for nearly any installation.

[Ashly Audio Adds Plus Model to AW Series]

Two recessed handles—one on either side—and rubber feet on the bottom and side offer easy setup, stacking, and transport. For more flexibility, the subwoofer can be hung with the SP-8.1P’s 10mm threaded bolt holes along the top, sides, and rear to accommodate optional hanging eye-bolts.

“Ashly Audio strives to provide our customers with the best quality audio available and extending our line of dynamic range passive subwoofers allows integrators to provide powerful sound in compact spaces,” added Larson. “With the new eight-inch passive subwoofer, our customers have more flexibility than ever before.”

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: Harman Professional Solutions has launched the JBL VTX B28 subwoofer, the company's next-generation dual 18-inch subwoofer. It is designed to complement Harman's flagship VTX full-range sound reinforcement systems, and capable of delivering uncompromised low-frequency performance, according to the company.

The What Else: The VTX B28 houses a new, Integrated rigging system that follows in the footsteps of the innovative and well-received A8 and A12 rigging designs, and allows the B28 to be suspended in omnidirectional or cardioid arrays of up to 16 enclosures. The rigging and a comprehensive collection of tour-tough accessories make the B28 a flexible solution for both mobile and installed sound system applications. The B28 integrates seamlessly with HiQNet Performance Manager and Line Array Calculator (LAC) software, and features the same industrial design as A- and B-Series loudspeakers, giving the entire system a cohesive look.

“The VTX B28 is our new premium subwoofer, and a perfect addition to VTX Series line array systems,” said Harman Professional product manager George Georgallis. “As with the B18 subwoofer, we started by taking the best aspects of the previous-generation S28 and G28 and improving performance. Then we optimized the design for a dual 18-inch system, and the result was the B28. We worked very hard to ensure the B28 could meet the most demanding applications, but also focused on configurability, a full suite of accessories, and software applications to make the B28 a solid investment and an outstanding performer for tour sound providers and rental companies.”

The Bottom Line: At the core of the B28 is two JBL Differential Drive 2288H-M 18-inch woofers, engineered for improved linearity, efficiency, and extra-long excursion. The combination of the 2288H-M drivers and the large, central, flared port deliver superior low-frequency output without distortion or artifacts—even at elevated SPL. FEA-optimized integral bracing eliminates inter-cabinet standing waves, improves rigidity, and simplifies the structural design to create the a light, yet strong, product.

The What: Legrand has introduced a new family of Nuvo 8-inch in-ceiling and in-wall passive subwoofers and matching digital amplifiers.

The What Else: Optimized for small, medium, and large home theaters and audio installations, the three compact single and dual subwoofers deliver a powerful, low-frequency impact, while the wall- and rack-mount amplifiers are packed with convenience features for maximum versatility.

For smaller installations, the NV-SUBIC8 in-ceiling subwoofer features a round magnetic grill — with an optional square grill available — and an infinite baffle design for maximum placement flexibility. The NV-SUBIW8 and NV-SUBIWDUAL8 in-wall single and dual subwoofers are designed for medium and large projects, respectively. Both units feature a sealed cabinet constructed of durable MDF for a distortion-free bass experience. The NV-SUBIW8 offers a square magnetic grill, while the NV-SUBIWDUAL8's grill is rectangular. All three subwoofers are backed by a lifetime warranty.

Up to two NV-SUBIC8, NV-SUBIW8, and NV-SUBIWDUAL8 subwoofers can be deployed with their matching amplifiers: the 100W NV-SUBAMP100-xx, 200W NV-SUBAMP200-xx, and 500W NV-SUBAMP500-xx, respectively. All three units feature signal-sensing power activation, unfiltered LFE/RCA stereo inputs for connecting to most modern receivers, and variable crossover and phase control to match subwoofer output with the main speakers for premium performance and sound. A three-position EQ switch allows amplifier output to be tailored to any Nuvo in-ceiling or in-wall passive subwoofer.

The wall-mount NV-SUBAMP100-xx amplifier offers a convenient two-conductor connector to power an optional wireless receiver. The rack-mount NV-SUBAMP200-xx and NV-SUBAMP500-xx feature 12V DC trigger inputs and outputs, allowing them to control or be controlled by external devices. The NV-SUBAMP500-xx adds digital signal processing (DSP) for a variety of listening modes and an easy-to-navigate front screen. An IR input allows for simple use with control systems.

The Bottom Line: Legrand's new family of Nuvo subwoofers and amplifiers is available now.

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.

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.

The What: Genelec announces the global launch of two new high-SPL Smart Active Monitors – the two-way S360A, and the 7382A subwoofer.

The What Else: Housed in a compact enclosure featuring high-quality Finnish woodwork and extremely low and controlled diffraction, the S360 also features a further enhanced 10-inch high-efficiency and minimal distortion woofer based on Genelec’s Master Series, and a completely integrated extended directivity control waveguide DCW, supporting its 1.7-inch titanium diaphragm compression tweeter. The result combines the neutrality for which Genelec is known, with a short-term SPL capability of 118 dB – with peaks even higher – and a long throw capability that can provide reference-quality accuracy even at listening distances of over 33 feet (10 meters). The S360 offers the benefits of main monitor performance in a condensed form factor, including excellent on-axis characteristics and uncolored 95-degree (h) to 75-degree (v) dispersion.

The S360 enclosure offers versatile in-wall and on-wall mounting options, while down-firing, flow-optimized laminar integrated reflex ports Laminar Integrated Port (LIP™) ensure tight and noise-free bass output and are also perfectly suited for use with perforated screens. Alternatively, when the S360 is used in free-standing mode, the innovative Iso-Plate™ effectively decouples the monitor from its base, focusing low-frequency output while preventing vibration transfer and air turbulence. Further flexibility comes courtesy of the system electronics, which can be either integrated into the enclosure or positioned remotely.

The ideal companion for both the S360 and Genelec’s other large-format monitors is the 7382 Smart Active Subwoofer – Genelec’s most powerful subwoofer to date. Delivering precise, powerful low frequency extension down to 15 Hz, the 7382 houses three custom-designed 15-inch long-throw woofers. Each benefits from the vibration-free environment of a heavily braced fiberboard enclosure, with laminar flow bass reflex porting extending along the entire rear wall to ensure low distortion and compression-free performance, even when the 7382 delivers outputs in excess of 130 dB SPL.

Drawing on integrated processing and decades of research, the 7382 also works with GLM software to control bass management and solve issues of subwoofer placement in unpredictable rooms, and even to build entire arrays of Genelec subwoofers.

The Bottom Line: Both models are ideal for any professional application that demands high acoustic power or listening at a distance – from large immersive setups in post-production studios or film mixing stages to play-live monitoring in music production, EDM playback or premium home theaters.

The Genelec S360 Smart Active Monitor and 7382 Smart Active Subwoofer will have U.S. pricing as follows: S360: $4595.00 and 7382: $11,995.00

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.”

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."

The What: Extron has introduced the SF 10C SUB, an in-ceiling subwoofer that complements the Extron range of ceiling and pendant speakers by extending the low frequency response to support music and high performance audio applications.

The What Else: A novel suspended-by-wire mounting design completely isolates the subwoofer from the ceiling grid. A 10-inch driver within a 4th order bandpass, plenum-rated enclosure, delivers powerful, room-filling bass.

The Bottom Line: The SF 10C SUB works with ceiling speakers to dramatically improve the system bass response, extending the low frequency range down to 25 Hz. The UL 2043 rating allows discreet placement in the plenum space, where the suspended-by-wire mounting design completely isolates the subwoofer from the ceiling grid.

Best-selling hip-hop artist Post Malone recently wrapped up the North American leg of his 2018 tour in support of his latest album, Beerbongs and Bentleys, which broke streaming records on Spotify the day it was released and zoomed to the top of the Billboard Hot 200. The 26-city tour of mixed arenas and outdoor sheds was supported by a massive Meyer Sound LEO Family reinforcement system supplied by VER Tour Sound.

''The LEO system is a beast,'' said FOH engineer Joe Hellow, who has extensive studio experience as well as touring credits with Big Sean, Tyga and Miguel. ''This kind of power could be scary for some engineers just starting out, who might be intimidated about keeping control of such a powerful box. But working with VER I’m backed by great system techs who give me the tools and the confidence to make it happen. I’m really happy with the results on this tour, and everybody has raved about the sound.''

Though system configurations vary somewhat by venue type, with larger arenas and outdoor sheds the main front hangs are—per side—14 LEO line array loudspeakers over four LYON-W wide coverage loudspeakers. Outfills per side are six LYON-M line array loudspeakers over six LYON-W, front fills are eight LEOPARD loudspeakers, and four UPJ-1P loudspeakers are available for utility fill. Chest-slamming bass is supplied by a total of 30 1100-LFC low frequency control elements: 12 flown and 18 ground-stacked.

"The 1100 is a monster that is rounded and thick and it doesn’t interfere with my mix," said Hellow. "I use the flown subs to keep a linear sound, then I use the ground subs as an effect to just wrap around your body. You can actually feel your shorts moving. In some venues I have to reach for the sub master and pull it down because it’s so massive."

Production manager Dennis Danneels has been impressed—and gratified—by the throw distance of the main arrays. "The LEO/LYON rig is one that just doesn’t stop," he said. "It always seems to have more power in the tank. We’ve had some challenging sheds with house delays that haven’t been updated to today’s demands, but we had enough extra horsepower from our own stacks to pick up the slack."

Danneels also credits the Meyer Sound system and the VER crew for keeping the tour running like clockwork despite the varied venue sizes and configurations. "In today’s touring market we’re seeing more inconsistencies in the venues on a run, so you need to adapt quickly," he said. "The LEO Family PA has met those challenges, and VER has some great young talent in their dugout, with great skill sets and work ethic. I’ve begun to call them ‘the future’ on this tour."

Summing up his experience, FOH engineer Hellow said, "I’ve mixed on every modern-day system out there, and now when I go on the road Meyer is first on my rider."

The VER audio crew was headed by systems engineer Kevin Valind, aided by PA techs Justin Stiepleman and Colten Mortensen. Under the direction of account manager Jeff Priepot, VER supplied a turnkey package that also included lighting and video. The Post Malone team was filled out by monitor engineer Blair Bondy and tour manager Kurt Kuehn. Creative direction was by Bobby Greenleaf, an associate of the artist’s manager, Dre London.

The front end of the Post Malone tour was anchored by a DiGiCo SD10 paired with a fully-loaded Waves SoundGrid server. Vocal microphone for Post Malone was a Shure Axient digital wireless topped by a DPA d:facto capsule, with vocal processing via a Rupert Neve Designs Shelford channel strip.

QSC, LLC has been nominated for a Technical Excellence & Creativity (TEC) Awards for outstanding technical achievement in the category of sound reinforcement loudspeakers for its KS212C Powered Cardioid Subwoofer. Presented annually by the NAMM Foundation at the NAMM Show, the 2019 NAMM TEC Awards ceremony will be held Jan. 26 in Anaheim, CA. Evaluated by a group of industry experts from the professional audio and sound production industries, the TEC panel recognizes products for outstanding achievement in design, innovation, and production.

The KS212C deploys innovative design, legendary QSC amplification, and advanced DSP in a single, compact enclosure, and represents the world’s first-in-class single-box powered cardioid subwoofer solution for highly portable entertainment and installation applications.

“This product’s ability to provide a sophisticated audio solution in an incredibly easy to use and highly compact package is a true expression of innovation and elegant fulfillment of customers’ needs,” said Ray van Straten, QSC Professional senior director, marketing. “We could not be more proud of the team that brought this product to market or grateful for the recognition by the TEC nominating committee.”

The KS212C provides all the benefits of a cardioid subwoofer array, but in a single, compact enclosure. “Keeping bass in its place” for mobile entertainers, AV production and rental professionals, as well as modestly sized performance venues, the KS212C is unparalleled in its ability to manage low frequencies on the stage, or any application where undesirable low frequency energy needs to be minimized. Powered by a 3600 Watt Class D amplifier, processed with the latest DSP technology, and featuring dual 12-inch long excursion drivers each arranged in a 6th order bandpass chamber, these elements all combine seamlessly to produce a staggering 15 dB more output at the front of the cabinet than at the rear. Highly portable, the cabinet features comfortable, aluminum handles and four, rear-mounted casters.

Clearwing Productions, a full-service production company, deployed a Harman Professional Solutions audio and lighting solution made up of JBL Professional loudspeakers, Crown amplifiers and Martin lighting fixtures at Summerfest 2018.

Known as “the world’s largest music festival,” Summerfest features over 1,000 performances across 11 stages and attracts nearly one million people annually. In order to provide premium audio and lighting for the world’s top music artists, Clearwing Productions deployed full Harman Professional Solutions rigs at multiple stages across the festival, including the groundbreaking JBL VTX A12 loudspeakers, and the newly released Martin MAC Encore fixtures.

“Summerfest is home to the world’s top artists and we’re thrilled to use JBL Professional and Martin lighting to provide an amazing experience for performers and audience members alike,” said Gregg Brunclik, president/CEO of Clearwing Productions. “The new JBL A12s sound incredible—they allow the artists to put on their best performance, and they always get the crowd hyped. With so many different acts, our lighting needs can change drastically from set to set, and the MAC Encore fixtures make the performers look great every time.”

On the Harley-Davidson Roadhouse Stage, Clearwing deployed a complete JBL audio system featuring 20 VTX A12 line array loudspeakers, 12 VTX S28 and 12 VTX G28 subwoofers, and four VTX V20 line array loudspeakers for fills. Four VRack 4x3500HD and four VRack 12000HD power amps from Crown powered the rig. The lighting rig featured eight Martin MAC Encore Performance fixtures and six MAC Quantum Wash fixtures to illuminate performances by Social Distortion, Buddy Guy, Cheat Codes, and more.

On the Uline Warehouse Stage, Clearwing deployed a complete JBL audio system featuring 18 VTX A12 line array loudspeakers, 12 VTX S28 and six VTX G28 subwoofers, and eight VTX V20 line array loudspeakers for fills. Four VRack 4x3500HD and three VRack 12000HD power amps from Crown powered the rig. The lighting rig featured eight Martin MAC Encore Performance fixtures and six MAC Quantum Wash fixtures to illuminate performances by Plain White Ts, The Neighbourhood, Gin Blossoms, and more.

On the BMO Harris Pavilion Stage, Clearwing deployed a complete JBL audio system featuring 20 VTX A12 line array loudspeakers, 18 VTX G28 subwoofers, and 16 VTX V20 line array loudspeakers for fills. Four VRack 4x3500HD and four VRack 12000HD power amps from Crown powered the rig. The lighting rig featured eight Martin MAC Encore Performance fixtures and six MAC Quantum Wash fixtures to illuminate performances by Pat Benatar, Steven Tyler, Cheap Trick, and more.

On the JoJo's Martini Lounge Stage, Clearwing deployed a complete JBL audio system featuring eight VTX V20 line array loudspeakers and six VTX S25 subwoofers. Two VRack 4x3500HD power amps from Crown powered performances by The Screamin' Cucumbers, Kings of Radio, The LoveMonkeys, and more.

In the American Family Insurance Amphitheater Clearwing deployed a complete Martin lighting solution featuring 20 VDO Sceptron 10 video fixtures, 20 VDO Fatron 20 video battens, 24 RUSH MH 10 Beam FX fixtures and 12 Atomic 3000 LED strobes to illuminate performances from James Taylor, Halsey, Dave Mathews Band, and more.

“Harman continually provides outstanding sound and lighting solutions for the greatest performers in the world, and we’re very excited about our continued partnership with Clearwing that positions our products at the world’s largest music festival,” said Andy Flint, vice president of live entertainment at Harman International.

The NEXO STM Series, with a supplemental assist from the NEXO GEO S12, was used for a large house-of-worship event in the US Bank Stadium in Minneapolis, MN, with Reach Communications providing the 360° NEXO system. More than 50,000 people attended the free Pulse - Twin Cities show.

Multiple headliners played the concert, including LeCrae, Hillsong, and Jaberwockies.

The recently built US Bank Stadium is already known for its challenging acoustics, but, as one of the largest venues in the region, it has played host to many world-class touring artists and engineers.

System deployment was in a 360° arrangement, with STM as main, out, side, and delays, S12 as rear, and M10 for front fills. Subs were a combination of flown and stacked STM S118, as well as cardio stacked NEXO RS18.

Dan Brown of Reach Communications, with on-site support from NEXO Engineering Support specialist, Val Gilbert, and Yamaha Commercial Audio’s Preston Gray, had to specify the STM system according to the load-bearing factors in the stadium. For main PA, the configuration use 15 STM M46/B112 main and bass sets per side, with side arrays of another 15 STM M46/B112. Each of the hangs carried 2 STM M28 downfills. 8 STM S118 subs were flown per side, and on the ground were 12 RS18s (running in cardioid mode) and 8 STM S118s (Omni) per side.

Two hangs of 12 x GEO S12 cabinets were used for the rear of the stage.

The system was run entirely powered by 62 x NX4x4 amplifiers over Dante, with an analog backup. System control, EQ, and delays were matrixed from 1 LAKE LM26 and 3 x LM44.

“The system by far outperformed our expectations,” said Gilbert. “No one felt the system was running out of headroom, and the engineers were globally satisfied. SPL reached 120dBA peak at front of house. Considering the extremely challenging acoustics of the venue, the overall sound was very good.”

Preston Gray from Yamaha Professional Audio was amazed by the consistency in coverage achieved with a relatively small number of cabinets in one of the largest NFL stadiums in the U.S. “This is a testament to the power and off-axis response of the NEXO STM Series, which hit 120dBA Peak & 131dBC Peak at front of house on a calibrated NTI XL2 meter,” said Gray.

Grammy Award-winning recording artist and performer Barry Manilow began an extended residency at the International Theater at the Westgate Las Vegas Resort & Casino on May 24, featuring favorites from his deep songbook of hits. The International Theater is one of Las Vegas' classic venues—the 1,600-seat theater is where Elvis Presley performed 837 consecutive sold-out shows—and it now has state-of-the-art sound in the form of a RoomMatch system from Bose Professional.

Manilow's return to the International Theater—he had a five-year residency there a decade ago, when the property was known as the Las Vegas Hilton—has personal significance for the artist. While the hotel has undergone a $150 million renovation in the last two years, including the new Bose sound system, the International Theater retains its historic feel. “I'm so glad they haven't touched the showroom,” the singer told the Las Vegas Sun. “If you put long tables in that room instead of the theater seating, it would take you back to the days of Sinatra and Dean Martin. Showrooms just don't look like that anymore, and they even kept the name. Barbra [Streisand] opened it followed by Elvis, and everyone from Aretha Franklin to Michael Bublé has played that stage. Even when I walk out for soundcheck, it really does feel like a very special place.”

Ken Newman, Manilow's longtime front-of-house engineer, said he had some hesitancy about using the new sound system ahead of the first shows, having never worked with a RoomMatch system before. “I went there and put the system through the same evaluation process I always do, including analyzing pink noise through the system and then playing eight sets of stem files through the house console from previous recordings I've done of Barry in other venues,” he said. “I came away rather impressed!” Newman said Manilow shows are surprisingly loud, averaging in the mid to upper 90-dB range and sometimes peaking above 100 dB, thanks largely to his enthusiastic audiences who know every word of every song. “It's a challenge keeping Barry's vocal above the audience, so they can still hear him even while they're singing along,” he said. “But the RoomMatch system has the headroom I need for that. The system is well-suited for this type of environment, the classic Las Vegas showroom.”

The system consists of 16 RoomMatch modules configured eight per side in a left-right hang, with eight ShowMatch SMS118 subs stacked under the stage, four RoomMatch RMS218 subs and eight RMS215 subs flown above the stage, nine RoomMatch Utility RMU208 loudspeakers for under-balcony fills, and a dozen RMU105 loudspeakers used for front fills. A VIP seating area has its own RoomMatch L-R system. The entire system is powered by 28 PowerMatch PM8500N amplifiers and managed using fully Dante-compatible Bose Professional ControlSpace DSP.

Joe Dougherty, head of audio for the International Theater, is deeply aware of the venue's legacy, and of how the RoomMatch system will help keep it alive. Citing the range of artists with upcoming shows in between the engagement's nights, such as the Alan Parsons Project's Eye in the Sky 35th Anniversary Tour, a show by legendary prog-rockers Yes in August, and an extended engagement by veteran entertainers Clint Holmes and Earl Turner called Soundtrack: Your Songs. Our Stories, he said RoomMatch will handle all of them well. “It's a great system for this room and for what the theater needs to accommodate,” said Dougherty, adding that the venue is also used for corporate events and overflow from the hotel's Sportsbook for events such as NCAA Tournaments and the Super Bowl. “The theater has its own needs for low frequencies and for articulation, and then each artist has their own requirements, and the RoomMatch so far has met them all. The system has a lot of flexibility built in through the DSP, such as allowing us to adjust the delays for the fills based on what each show demands, and letting us manage a lot of zones. But most of all, it sounds very, very good, no matter what we put through it. That's always the bottom line.”

The Scripps National Spelling Bee has been an American cultural and educational institution since the first Bee, back in 1925. This year, the event took place on May 31, capping off “Bee Week,” at the Gaylord National Resort and Convention Center in National Harbor, Maryland, where it’s been held since 2011. For most of that time, Chris “Cap” Capaletti has been the Bee system guru for its live sound, which has grown with the event itself—this year a record-breaking 516 spellers from around the country vied to make the final round, culled from 11 million students nationally and internationally.

To fully cover and provide intelligible audio to a live audience numbering in the thousands, Capaletti laid out a line source array system comprising six L-Acoustics Kara per side for the main left and right hangs, with two smaller arrays of five-Kiva II addressing the far sides of the audience. Five coaxial X8 boxes were deployed as stage monitors, while four KS28 subwoofers were positioned backstage behind the furthest upstage scenic elements for LF reinforcement. A second truss flown out in the house featured four more arrays of four Kara each for delay. The entire system, which was supplied by Frederick, Maryland-based Showtime Sound LLC, was powered by a dozen LA12X amplified controllers housed in four LA-RAK II racks.

Deploying the L-Acoustics system for this event was arguably easier than spelling the winning word, “Koinonia.” Capaletti credits L-Acoustics’ LA Network Manager, which provides a slew of features, including real-time control and monitoring of amplifiers, a truly intuitive workflow and application-driven GUI, and automated discovery and matching of units over the network, for much of that.

“In terms of managing the system on site, LA Network Manager’s tools are the best there are,” said Capaletti, who has supervised the sound for the Bee for the past six years and was responsible for bringing the L-Acoustics system in. “Thanks to the program’s intuitive amplifier and group management, which lets me listen to changes in real time as I move things, I get to spend more time on the rig and on the console. I just get to where I need to be faster with L-Acoustics’ stuff, which is critical in an event like this, where we have television [the event was broadcast on ESPN] and lots of lighting, and I don’t have a lot of time before rehearsals start, so I have to do a lot of the system tuning by ear. LA Network Manager is simply the best software out there for this.”

“L-Acoustics’ hardware design also helped substantially,” said Capaletti. Four of the X8 speakers were arrayed across the front of the stage for contestants waiting their turns, but the fifth solved a unique challenge: “We want to have the speller’s monitor below them, so they can be looking down from the stage and at the judge speaking to them, so it feels natural,” Capaletti said. “But every year, the space between the front of the stage and the judge’s position gets tighter and tighter. The X8 is the perfect size for this situation—it fits right into the space but still gives the speller a very natural-sounding voice to listen to. It’s one of the many little things that L-Acoustics gets right that makes a big difference in a show like this. There’s no way to pull this level of event off without the kinds of tools that L-Acoustics gives me.”

Light City Baltimore is an annual event that takes place at the Baltimore Harbor celebrating light, music, and innovation. This year the Baltimore Office of Production and Arts added a new stage to the event, named Club Light City, to showcase DJ sets in Kaufman Pavilion by Rash Field. The organization tapped Baltimore-based RCI Systems to provide sound reinforcement for the new music venue.

“The stage featured DJ acts which require a dynamic stage monitor system for the performer while also covering a small dance floor in front of the stage. The main PA was designed to project sound into the area in front of the Pavilion, which was approximately 200 wide by 400 feet deep,” said David Hoover, senior account manager for RCI. “We used our EAW KF850 rig for the stage monitor system and our new EAW RADIUS sound reinforcement system to cover the outdoor area. The tight pattern control of RADIUS kept the sound contained while still hitting 115dB when needed—everyone in the area was immersed in sound.”

Hoover specified a left-right PA, with each array made up of four RSX208L stacked on two RSX18 subwoofers. Two KF850 loudspeakers stacked on two SB850 subwoofers were placed stage left and right for monitor purposes.

“We are an EAW house,” said Hoover. “When we decided to add a new system to our inventory it made sense to check out RADIUS. Sticking with one manufacturer makes it easy to interface different components and provides a commonality of tone that we, and our customers, appreciate.”

The Club Light City Stage featured three to four artists a night performing between 7 and 11 p.m. The crowd from the main festival experienced the sound from the RADIUS stacks from as far away as 1,000 feet, without causing any interference with the events being held at the nearby Science Center. Hoover said, “This was our first time at this festival and it was terrific. We look forward to coming back next year.”

The Central Campus of Montgomery County Community College (MCCC) is located in Blue Bell, Penn., not far from Philadelphia and a short drive from the sites of the city’s own rich history of music production. When MCCC wanted to add another control room to the three studios that constitute the MCCC’s Sound Recording & Music Technology Program (SRT), they hired studio architect John Storyk of Walters-Storyk Design Group (WSDG) for the design and construction and to fit it with an enviable combination of digital and analog equipment, including an SSL 9000 console and Studer 24-track and Ampex two-track decks. They also stayed consistent for the new room by specifying speakers from Genelec—the same brand that outfits all of their other three studios. The facility, which came on line in April, has five Genelec 8351 Smart Active Monitors—part of Genelec’s “The Ones” line—configured for a 5.1 surround monitoring design, as well as a Genelec 7370A 12-inch powered subwoofer.

“This is the ultimate mix room, so it had to have Genelecs,” said David Ivory, director of the SRT Program and himself a Grammy-nominated alumnus of Philadelphia’s Sigma Sound. “The other three studios each have Genelec 8050A Active Studio Monitors, so we’re still an all-Genelec facility, and everyone likes it that way.” That includes the students and instructors of the SRT, as well as the steady stream of visiting engineers from Sigma Sound and elsewhere who come to the MCCC to use the studio and share their expertise and experience.

The room’s surround capability will be useful for the MCCC’s broadcast studio, whose 35-by-40-foot dimensions also allow it to be used as a tracking space. “I’ve been using Genelecs forever,” he said, citing the 8351’s dual woofers and wide sweet spot. “I didn’t even have to hear the 8351s before we bought them. We just knew they’d be perfect for surround. I just think that Genelec makes the most accurate speaker in the world to listen to and to trust. Other speakers you have to get used to; Genelecs are spot-on from the first moment you turn them on. We’ve had a lot of great engineers in here, and they all say the same thing: Genelec is it.”

CSA Indonesia recently equipped several Artotel Group properties across Indonesia with complete audio solutions from Harman Professional Solutions.

Founded in 2010, Artotel Group operates a brand of art-inspired hotels and beach clubs in many Indonesian cities, including Bali, Jakarta, Surabaya and more. To create unique and immersive atmospheres for its guests, each Artotel features a specially curated collection of artwork by local artists. In order to provide guests with premium audio quality for a range of areas, activities, and events, Artotel Group hired CSA Indonesia to outfit all of their properties with state-of-the-art sound systems. To ensure consistent audio experiences across all Artotel Group properties, CSA Indonesia selected end-to-end Harman networked audio systems consisting of solutions by JBL, Crown, AKG, dbx, Soundcraft, and BSS.

“We asked CSA Indonesia to supply our hotels and beach clubs with robust state-of-the-art audio solutions,” said Eduard Rudolf Pangkerego, COO, Artotel Group. “We love the Harman systems, which provide exceptional sound quality, coverage, and versatility for a wide range of events and functions. With many new hotels under construction now, we look forward to continuing to work with CSA Indonesia and Harman, which is critical to ensuring consistently top-tier audio experiences across all properties.”

CSA Indonesia installed an array of JBL Professional loudspeakers to deliver optimized clarity and coverage in the range of environments throughout Artotel Group’s properties. To ensure powerful and intelligible sound for musical performances and events, CSA Indonesia outfitted the convention spaces with JBL EON series speakers and SRX series subwoofers, while JRX 212 speakers provide stage monitoring. Versatile JBL AWC All-Weather series speakers and subwoofers provide high quality audio for indoor and outdoor events. CSA Indonesia installed JBL Control 25AV compact indoor/outdoor speakers, Control SB2210 compact subwoofers and JBL 8128 in-ceiling speakers to provide ambience in the hotel’s lobby, restaurant, bar, and exterior areas.

All speakers are powered by Crown CDi series and XTi 2 series amplifiers, with multi-zone control supplied by dbx ZonePro 1260 digital zone processors. For networking of the convention and meeting spaces, CSA Indonesia installed BSS Soundweb London BLU-100 audio processors and EC-8BV wall controllers to enable easy volume control and source selection locally in each space.

“Hotels and beach clubs require reliable and versatile audio solutions to ensure excellent sound quality for many kinds of events, moods, and spaces,” said Setiawan Winarto, CEO, CSA Indonesia. “Artotel is very satisfied with the quality provided by the Harman systems, and their seamless integration allowed us to better serve each unique space. We chose to use Harman systems because they consistently deliver the best complete audio solutions for any environment, and for a complex multi-property project like this, you can’t beat Harman’s reliability.”

For high-energy music performances, CSA Indonesia included AKG D5 dynamic vocal microphones, which delivers incredible gain before feedback to make vocals cut through any band mix. Finally, to ensure top-notch mixes at a range of large events and small functions, CSA Indonesia installed Soundcraft Expression series digital consoles and EPM series analog mixers.

“We feel honored to be associated with Artotel Group properties and appreciate the amount of confidence they have placed in our solutions,” said Ramesh Jayaraman, VP and GM, Harman Professional Solutions, APAC. “An installation project of this scale requires meticulous planning, technical knowledge, and attention to detail. We commend CSA Indonesia for their innovative support and customer-first approach, and we thank them for their continued faith in Harman solutions.”

UCLA’s new Mo Ostin Basketball Center provides both the men’s and women’s programs an exclusive destination with everything from practice courts to video rooms to sports-medicine treatment areas. There are 11 individual spaces in the venue, with men’s and women’s facilities mirroring each other, including gyms and sports-therapy suites and a common conference area. All of these spaces feature sound provided by Bose Professional systems.

The men’s and women’s gyms are each covered by a pair of arrays composed of three Bose RoomMatch loudspeakers topped by a RoomMatch RMS215 subwoofer, powered by a Bose PowerMatch PM8500N networked amplifier and managed by a Bose ControlSpace ESP-800 DSP system. “That’s a big PA system for a practice gym,” said Michael MacDonald, president and CEO of ATK Audiotek, the Los Angeles-based AV systems integration firm that designed and installed the Bose Professional systems in the facility. “However, you need that kind of power to deliver the impact of the music that today’s collegiate basketball players like to rely on as part of their practice regimen. The RoomMatch does that incredibly well, but it also does something else: its high and precise directionality keeps the sound where it needs to be and off of reflective surfaces. So the music can be as loud as it needs to be and still sound great.”

That kind of well-defined sound tailored to the spaces is present throughout the rest of the facility. In the trainer’s rooms, a Bose F1 Model 812 Flexible Array loudspeaker with F1 subwoofer lets users pump their choice of music into the rooms through 3.5-inch jacks on wall panels. These are set up on the floors in a left-right configuration, for maximum effect. In the smaller sports-therapy rooms, Bose FreeSpace DS 16F loudspeakers are complemented by Bose FreeSpace 3 Series I Acoustimass bass modules. Additionally, Bose speakers powered by FreeSpace IZA 190-HZ amplifiers are installed in the common conference room and video playback room, providing clear, intelligible speech and sound as players and coaches discuss their training programs and watch recordings of their work.

Kevin Borg, assistant athletic director, facilities and project management, and an experienced live-sound mixer himself, said getting the best sound for the new facility was important for all the usual reasons but paramount for one very special reason: the venue’s namesake and benefactor, Mo Ostin, the legendary music-business executive who headed both Warner Bros. Records and Dreamworks’ music division, and who Frank Sinatra tapped in 1960 to run his Reprise label. “When you have a building named for someone who understands sound like he does, you need the absolute best sound possible,” said Borg. “He was at the opening ceremony for the building; he heard the sound in those gyms and he remarked on how there was no echo when the music is playing. That’s astounding, since it’s all hardwood and glass. When you clap your hands in here, or when you’re running, you can hear the slap and the echo. But not when the music is playing in the speakers—that’s how perfectly fitted to the spaces the Bose system was able to be tuned. We were able to totally customize the systems for the spaces.”

MacDonald points to the precision pattern-control technology of the RoomMatch system, noting, “We were able to achieve a high degree of articulation in a moderately challenged acoustical environment like this because of that.”

Borg recalls the first time he heard the RoomMatch system in the gym, playing a CD of Norah Jones. “It was as though she was standing ten feet away from you, singing,” he said. “That’s what Bose brought us: music that comes alive. Who wouldn’t want to play in here?”

Systems integrator Alchemy Sound & Vision outfitted Minneapolis bar and venue Pourhouse Uptown with a complete networked audio and lighting system by HARMAN Professional Solutions.

First opened in downtown Minneapolis in 2012, Pourhouse offers an atmosphere that combines live bands, DJ dance parties, and screenings of major sports games. With its recent opening of Pourhouse Uptown, there are now three Pourhouse locations in the Minneapolis area. In order to facilitate a range of entertainment and ensure consistent performance across all locations, Pourhouse hired local systems integrator Alchemy Sound & Vision to install a networked audio and lighting system in their recently opened uptown facility. Alchemy selected a range of JBL speakers, Crown amplification, BSS audio processing and Martin lighting solutions to provide Pourhouse Uptown with audio, immersive lighting, and intuitive system control.

“The owners loved the HARMAN Professional systems we installed at the first two Pourhouse locations, and they specifically asked us to use the same JBL speakers and Martin fixtures at Pourhouse Uptown,” said Andrew Stewart, project lead and sound system designer, Alchemy Sound & Vision. “The house bands and DJ rotate performances between all three locations, so it’s critical that each system operates the same from venue to venue. As a company, we strive to provide well-thought-out systems with a focus on the user control experience. There’s no way we could provide a system with this level of quality and control without HARMAN products.”

One of the biggest challenges the Alchemy team faced was distributing powerful sound throughout the venue without disturbing residents in condos above the venue. The HARMAN system at Pourhouse Uptown features two JBL PD6322/95 precision three-way speakers and two JBL STX828S dual 18-inch subwoofers. Alchemy also included six JBL AC299 and four AC895 compact two-way loudspeakers to deliver uniform clarity and coverage to the far side of the room and balcony level.

Crown CDi DriveCore Series, DCi DriveCore Install Series and MacroTech I Series amplifiers supply transparent and reliable power to the entire system. Stewart utilized the built-in all-pass filters on the CDi Series amps to match the phase response of the AC299 and AC895 fill speakers to the mains, delivering consistent balance and tonality throughout the venue. This combination of speaker selection, placement, and tuning provides a powerful and focused audio experience for the audience without bothering the upstairs neighbors.

“The owners wanted big, bold and powerful audio coverage, but not so loud it upsets the residents above the venue,” said Stewart. “The JBL PD6322/95 speakers allowed us to find a perfect compromise and deliver adequate coverage in a controlled manner—it’s a really great sounding box. We used JBL AC299 speakers as balcony fills, which are rock-solid and provide excellent 90 by 90-degree coverage. I used the Crown CDi DriveCore amplifiers built-in processing to delay and augment the phase response of the speakers. I’m really proud of the sound quality we were able to produce with this HARMAN system.”

For stage lighting, Alchemy installed a range of Martin lighting fixtures, including the new RUSH MH 10 Beam FX, to deliver high-intensity lighting on the stage. The team also included a Martin Magnum 2500 Hazer, THRILL Mini Profile and Compact PAR 64 fixtures.

“We were excited to finally get our hands on the new Martin RUSH MH 10 Beam FX fixtures,” said Stewart. “They’re really unique looking fixtures, so we put them right up front for everyone to see. I love that they can spin a full 360 degrees without stopping. The THRILL Mini Profile and Compact PAR 64 are both ten times better than any other fixtures in their price range.”

Alchemy’s goal was to supply Pourhouse with a completely integrated and networked system that would deliver an optimized audio experience in a range of scenarios without requiring a trained technician to operate during all open hours. To achieve this, Alchemy designed the system around the BSS Soundweb London BLU-100 signal processor to provide simple network control over all audio inputs and system volume. This allows Pourhouse staff to easily switch between audio signals from satellite radio, the DJ booth or live band stage. Alchemy also included a BSS BLU-BOB1 break-out box to provide additional analog outputs to the JBL speakers.

At InfoComm, pro-audio exhibitors may talk about their latest gear like proud parents, but sound products are not children—they should be seen and heard! With that in mind, you owe it to yourself to hear all the offerings inside the 23 audio demo rooms here at InfoComm.

Inside N111, Community Professional Loudspeakers is focusing on two things this year—its 50th anniversary and the new IV6 Modular Vertical Array, intended for permanent installation, which can be configured as a line array, a constant curvature or an adaptive array. Next door in N112, Martin Audio is introducing Sound Adventures, a 3D immersive sound experience created in cooperation with its partner Astro Spatial Audio.

[Diving Into InfoComm’s Audio Demo Rooms, Part One]

Meanwhile, in N113, Yamaha and Nexo (pictured) are demonstrating the new Yamaha DZR line of powered speakers and CZR passive speakers, along with the new DXS-XLF powered subwoofers. Also on-hand are Nexo’s NXAMP4x2 MK2 and NXAMP4x1 MK2 amplifier models—new additions to the Nexo range of NXAMP TDcontrollers.

dBTechnologies has plenty to see inside N114—including its newest software, Aurora Net; the U.S. premiere of the Opera Unica; the VIO L208 and S118R line array boxes; the ES 1203 column PA; the Ingenia loudspeaker series; and more. Over in N115, QSC is unveiling its new Premium Business Music Solutions, including multi-zone mixers, wall controllers, configurable multi-channel amplifiers, SUB/SAT loudspeakers and installation and management apps.

Eastern Acoustics Works is ensconced in N116, debuting its new RSX212L line array module and RSX18F subwoofer. The two new RADIUS products are designed for both touring and permanent install applications. Meanwhile, in N117, RCF has a ton of new items to hear, like the HDL 30-A line array, HDL 38-AS flyable subwoofer, additions to its NX Multipurpose line, and more.

Over in N118, D.A.S. Audio is presenting a ton of good stuff, including its LX and UX series subwoofers, while over in N119, d&b audiotechnik has been packing the crowds in with demos of its new d&b soundscape technology, made possible by the DS100 Signal engine.

Not all the demo rooms are on the first floor, however. You’ll miss out if you don’t head upstairs to check out the three on the second level. Earthworks is discussing its conferencing, live sound and measurement microphones in N203/204. Over in N209/210, KV2 Audio is presenting its ESR212 + VHD2.18J; ESR215 + VHD2.18J; SL412 + SL2.15 + VHD2.21; and EX15 + EX2.5 MkII + ES2.6. Last but not least, Clair Brothers can be found inside N211/212, ready to rock your socks off with a room full of loudspeakers, including the new 10Spot Coax Point Source with curved array technology and S2-CX Coax Point Source, both intended for small and mid-sized venues.

The InfoComm show floor is packed with all the pro-AV products you could possibly want to see, but when it comes to audio equipment—particularly loudspeakers—you’re better off getting to hear them. That’s not always possible without driving the booth next door crazy, so in recent years, InfoComm has instituted the Audio Demo Rooms found among the first and second floor meeting rooms. Wander down those hallowed halls and you’ll find rooms packed with exciting demos, groundbreaking products and the opportunity to get up-close and personal with working systems.

Kicking it off at N101 is Renkus-Heinz (pictured), which is showing numerous products, including its new IC-Live X and ICL-XL compact, high-output steerable array modules, based around eight-inch woofers and 19mm extended-range mylar HF drivers. Coda Audio in N102 has plenty of gear on hand, including the U12 and U12i multipurpose subwoofer and the U15 universal subwoofer. Inside N103, AtlasIED is presenting its next-generation IP Endpoint Solutions, and, at N104, k-array pros are discussing the skinny loudspeakers’ Slim Array Technology, digital steering and more.

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Alcons Audio and Astro Spatial Audio can be found collaborating inside N105 and N106—the first room hosts Alcons Audio Pro-Ribbon Sound Systems demonstrations, while N106 is home to the Astro Spatial Audio: Alcons Pro-Ribbon Immersive Experience, presenting object-based immersive audio for 3D live sound.

Next door in N107, L-Acoustics is presenting its various systems and software optimization tools and discussing the increasing number of L-ISA third-party manufacturers. Over in N108, Danley Sound Labs is showing everything from its Nano and Pico outdoor series speakers to its Studio One and Sub studio monitors, but you have to take a gander at the Sharc Fin, an intriguing new entry to its product lineup that’s less than three weeks old.

Electro-Voice and Dynacord can be found inside N109 with their Loud & Clear campaign, presenting new amplifiers from the latter brand and multiple new speaker models from the former, as they walk through five typical scenarios that integrators come across on a daily basis. Once you’ve made it through the first nine demo rooms, it’s time for a break, so make sure to visit N110, where Meyer Sound is hosting The Sonic Lounge, which invites audio pros to meet in a relaxing atmosphere, with low-level music playing from overhead Ashby ceiling loudspeakers.

Rest up and make sure to read the Show Daily tomorrow when we peek in on the 10 other demo rooms here at the show!

The What: Martin Audio has added to its subwoofer line up with the introduction of SXF115, a passive subwoofer featuring a long-excursion 15-inch/4-inch voice coil driver in a compact bass reflex enclosure, capable of 136dB at 1 meter.

The What Else: The design of the 15-inch driver maximizes output while minimizing power compression and distortion, and four reflex ports reduce air noise at very high output levels. The SXF115 enclosure is constructed from multi-laminate birch ply, finished with a durable polyurethane coating, and equipped with a perforated steel grille, skids, and twin bar handles. An M20 threaded fitting in the top surface facilitates pole mounting of up to four WPM or MLA Mini enclosures.

“Wavefront Precision line arrays have sold very successfully and across more varied applications than initially expected,” said Dom Harter, managing director. “With that has come demand for additional subwoofer solutions. We recently added the high-output SXH218 for WPC and now we’re pleased to introduce for WPM the flyable SXF115. The SXF115 is also compatible with MLA Mini in fixed installations where ground-based, rack-mount amplification is preferred, so we expect to see very healthy sales of this sub.”

The Bottom Line: Designed as a companion for Martin Audio’s Wavefront Precision Mini (WPM) optimized line array, the SXF115 can extend the performance down to 42Hz and can be flown as part of an array or ground-stacked separately. Cardioid operation can be achieved by arranging the SXF115 in forward and rear-facing pairs. SXF115 will ship from May 2018.