Distributed in 94 countries, Mix is the world's leading magazine for the professional recording and sound production technology industry. Mix covers a wide range of topics including: recording, live sound and production, broadcast production, audio for film and video, and music technology.
Epic Synthesizer Features Powerful Synthesis engine and Huge Library of unique ‘Psychoacoustic‘ Sounds
After many years of development, Spectrasonics today previewed their brand new flagship virtual instrument Omnisphere(r). The revolutionary ‘Power Synth’ breaks completely new sonic ground by combining a wide variety of hybrid realtime synthesis techniques, an epic library of remarkable ‘Psychoacoustic’ sounds, and many innovative features that have never been seen before in any hardware or software synthesizer. The new instrument is the first to be based on Spectrasonics’ STEAM Engine, the company’s newly developed core technology. Omnisphere is set to be released September 15, 2008, the MSRP is $499 US; and 399 Euro.
Starting at NAMM and leading up to the release, the Omnisphere development team will be revealing the new instrument to the public through a series of video episodes from the Spectrasonics website showing features and behind the scenes details on how the instrument and its unique sounds have been created.
“This is truly an Epic project,” said Eric Persing, Founder and Creative Director of Spectrasonics. “We have been working for many, many years sampling unique sounds, experimenting, specifying the synthesis features and building the STEAM Engine to run it all. It’s been a very exciting process involving our team of software engineers, sound designers, musicians, and graphic artists from all over the world. We’ve been very deliberate in making it easy to use, and yet extremely powerful. Omnisphere is our new flagship synthesizer, and points the way to all our future virtual instruments. We are thrilled to offer a new product that will have a host of expansion capabilities in the future.”
Although the new synth is extremely powerful, Omnisphere is designed with a unique user interface containing progressive layers of ‘zooming’ to accommodate the complete range of users - from musicians who just want to be inspired by the sounds and customize them in an easy way, to expert synthesists and the most advanced sound designers. Users can go deeper and deeper into the software and progress in their synthesis knowledge by simply exploring additional levels of sound manipulation options. To make sure that all users get the most out of the new capabilities, Omnisphere will ship with an extensive set of video tutorials and synthesis lessons taught by the renowned Spectrasonics sound design team.
Omnisphere offers a host of hybrid synthesis and new control capabilities including Variable Waveshaping DSP synthesis, Granular synthesis, Timbre Shifting, FM synthesis, polyphonic Ring Modulation, high-resolution streaming Sample Playback, Harmonia(tm), Dual Multimode Filter structure, Chaos Envelopes(tm), an advanced Unison mode, and the innovative Flex-Mod(tm) modulation routing system - to name a few.
The huge core library of Omnisphere is filled with years of creative sampling experiments and thousands of inspiring patches. Spectrasonics has pioneered several brand-new types of sampling for the core library of this instrument, including unique “Psychoacoustic” sounds and sound-sources created with a new Composite Morphing Technique (CMT) - which morphs the harmonic characteristics of one instrument to another. As a bonus, a section of the core library is also devoted to representing the best of Spectrasonics award-winning sample libraries. When all of these organic core library sound-sources are combined with the synthesis power of the STEAM engine, the sounds become “alive” in a truly dynamic and expressive way.
Among the many unique features this new multitimbral synth offers are its flexible arpeggiators with the innovative Groove Lock(tm) integration with Stylus RMX - allowing the arpeggiator’s pattern to instantly groove with the feel of the RMX drum loop; Live Mode for transitionless patch switching and layering, Stack Mode for powerful performance mapping; and integrated modulatable FX Racks.
Omnisphere is also the successor to Spectrasonics’ popular Atmosphere(r) instrument, and contains enhanced versions of all the classic Atmosphere sounds. However, the brand new core library in Omnisphere is 10-times the size of Atmosphere and features thousands of completely new and different sounds. There will be an upgrade path for all Atmosphere customers, details to be announced in September.
Omnisphere is set to be released on September 15, 2008, and has an MSRP of $499 US; and 399 Euro.
Omnisphere is cross-platform compatible with Apple Macintosh OS X 10.4 and higher as a native Universal Binary and also with Microsoft Windows XP/Vista.
Audio Units, VST, and RTAS plug-in formats are supported for compatibility with all major host software.
Paul Stubblebine Mastering (PSM) and valve electronics experts Bottlehead Corp. have introduced “The Tape Project,” a new music-delivery format and ‘record label.’ The Tape Project is presenting a series of analog releases on reel-to-reel tape that offer the discerning audiophile an analog listening experience that comes as close as possible to that of hearing the original master tape. Slated for ten releases per year and sold primarily on a subscription basis, the 15ips (inches per second) half-track stereo, reel-to-reel recordings encompass a wide range of musical styles, the first of which include Classical, Jazz, Blues, Americana and Roots music. The company is recommending tape machines and specifications for playback, as well as offering its own specially modified tape decks with custom valve components from Bottlehead Corp.
“The only two requirements for the music that we release are that the master must exist on analog tape and that the music be great. That it be music that moves the listener. That it be music that can stand the test of time, and continue to bring satisfaction for years,” stated Paul Stubblebine, one of the founders of the company along with mastering engineer Michael Romanowski, and Bottlehead Corp owner, Dan Schmalle.
The company has already secured the rights to release a variety of extraordinary recordings. The first ten titles are:
1) ‘The Number White’ by jazz singer Jacqui Naylor
2) Dave Alvin’s ‘Blackjack David’
3) ‘Arnold Overtures’ original music by Malcolm Arnold with the London Philharmonic Orchestra recorded by Grammy-Winning engineer and audiophile equipment designer Keith Johnson
4) The album that established Robert Cray as a strong new voice in the blues ‘False Accusations’
5) Raphael Fruhbeck de Burgos with the New Philharmonia Orchestra performing Albeniz - Suite Espanola
6) David Oistrakh and the London Symphony Orchestra with music by Bruch and Hindemith
7) Eiji Oue and the Minnesota Orchestra performing Exotic Dances from the Opera (Saint-Saëns, Strauss, Rabaud) Bill Evans ‘Waltz for Debby’ live at the Village Vanguard in 1961
9) Mose Allison in 1959’s ‘Creek Bank’ engineered by Rudy Van Gelder
10) The incomparable Sonny Rollins in ‘Saxophone Colossus.’
Full descriptions of each music selection is available at The Tape Project website:
There are two tiers of subscription costs for The Tape Project: $1200 US for a selection of six of the ten releases a year, or charter subscriptions of $2000 US a year to get all ten releases. Each album will be also sold individually for $329 US to non-subscribers. Each tape release comes in a custom designed box with full-size color artwork and custom tape flanges inscribed with serial numbers for charter subscribers.
Michael Romanowski, revealing the tech behind the analog said, “We have assembled the highest quality duplicating system that has ever been attempted. The result, for those with ears to hear, is the most involving and satisfying experience that has ever come from reproduced music. I work with master tapes everyday, and these releases are sonically everything that a master tape has to offer. And now listeners get to have this experience in their own home.”
Noting specifics about the playback systems, Dan Schmalle added, “In order to play these tapes correctly, a machine must meet the following requirements: It must play15 IPS half track stereo, and must be set to the IEC curve -formerly known as the CCIR curve. There are many machines that meet these specs, but many that don’t. We have looked at the various machines made for home use and decided to adapt the Technics RS1500 family.” The company offers an on-line database of tape machines that meet the requirements.
The tape machines offered by The Tape Project, approximately $7500 US each, are supplied with a custom playback head designed for us by Flux Magnetics, acknowledged as the highest quality tape head manufacturer in the world. Generally, reproduce heads are designed as some sort of compromise according to the speeds at which they will be expected to operate. Schmalle asked Flux Magnetics to design a head for The Tape Project strictly optimized for 15 IPS, with no compromise for other speeds. The resulting head has response extended well beyond that of the stock heads on both ends of the audio spectrum.
The playback head is mated with the latest generation playback electronics, developed by Paul Joppa and Dan Schmalle of Bottlehead Corp. exclusively for The Tape Project. The combination of superior transport, optimal head and advanced electronics yield a truly gourmet level of performance. There is even an optional wireless remote control for the Technics RS1500 offered by The Tape Project.
The company has started an online forum for customers to request albums that they would love to have releases of in the future
PSM mastering engineers include owner Paul Stubblebine and Michael Romanowski. As a 30-year veteran sound engineer , Paul has mastered a wide variety of music including classic sounds of San Francisco: The Grateful Dead, The New Riders of the Purple Sage, Sly Stone, Santana, Joan Baez, Bill Evans and practically every release for David Grisman’s Acoustic Disc label to name just a select few of his projects.
Michael Romanowski has been mastering music in the Bay Area since his move here from Nashville in 1994. Michael has mastered releases ranging from rock and jazz to punk and folk. Some of the artists he has worked with include Badfinger, Pete Ham, Norton Buffalo, Joe Craven, Too Short, E-40, Jacqui Naylor, Mimi Fox, The Samples, Jim Campilongo, Dallas Wayne, Houston Jones, Big Brother and the Holding Company, The Trichromes, Lydia Lunch, The Radiators, Runaways UK, The Wilted, and Free Peoples.
To ensure the highest quality and to produce the best sounding masters, PSM offers carefully selected audio technology such as the Pacific Microsonics analog and digital converters, Esoteric Audio Research, Z-Systems, Weiss and TC Electronic signal processors, and mastering workstations from Sonic Studio, along with Alon Wolf designed “Magico” speakers. For more information visit the PSM website at www.paulstubblebine.com or call (415) 522-0108 or email info@paulstubblebine.com
About Bottlehead Corp
Bottlehead Corp. has been on the high-end tube audio scene for 12 years, designing and selling a line of single ended vacuum tube audio amplifier and preamplifier kits and now manufacturing custom tube based equipment for both audiophiles and the recording industry. Innovations that Bottlehead has brought attention to in the tube audio scene include parallel feed, active loaded shunt regulation and extensive use of exotic materials in transformers. President Dan Schmalle combines his physics degree with 25 years of manufacturing production experience. Head of R&D Paul Joppa is an acoustical engineer and AES member with over 30 years of experience. Ed Fallon, who manages the assembled components division, is a senior engineer with 20 years of experience in the medical electronic field. www.bottlehead.com/
Holophone, a leading manufacturer of surround microphones, has brought Dolby Pro Logic II® encoding technology and the portability of the company‘s popular H4 SuperMINI to its larger mic models, the H2-PRO and H3-D, with the introduction of the Holophone N-CODE portable multi-channel encoder. The Holophone N-CODE will be on display at NAB 2008 (Booth N6438, N6435). more
Eclipse Lighting & Sound Adds To EV InventoryLeading Canberra, Australia production company Eclipse Lighting and Sound recently added to their already impressive Electro Voice inventory with the purchase of an XLC 127DVX line array system.
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The XLC‘s were supplemented with the purchase of EV X-Subs powered by Dynacord PowerH H5000 amplifiers. The system is controlled by existing Klark Teknik processing. The XLC system complements an existing inventory of X-Array cabinets and EV P & CP series amplifiers.
The system‘s debut deployment was as the mainstage PA for the Narooma Blues festival on the South Coast of NSW, featuring some of Australia‘s biggest acts. Systems engineer and live sound guru Chris ‘Doc‘ Shackleton was very impressed with the performance of the system, in particular the way it transports with purpose-designed dollies and covers.
Eclipse has since handled a number of high profile gigs with the new EV system, including the Canberra leg of Tropfest, an acclaimed short film festival featuring Russell Crowe and Cate Blanchett, with a Heath Ledger tribute from Naomi Watts.
Eclipse director Chris Neal has been very happy with the performance of his Electro-Voice equipment over the years: “the support and service I get on the EV gear is just great, they‘re a great bunch of guys to deal with,” he says.
New EV equipment list:
12x XLC 127 DVX (with fly brackets, AGCD adapters, on dollies with XLC covers)
6x Xsub (powered by 8x Dynacord PowerH H5000 amplifiers)
Rounding out its VERTEC® Series line array family of powered and passive loudspeaker models for the professional tour/rental and performance-venue markets, JBL Professional has introduced the JBL VERTEC VT4889ADP Full Range High Directivity Line Array Element and the companion VT4880ADP Ultra Long Excursion Arrayable Subwoofer. Both models are integrated audio systems featuring field-proven JBL DrivePack® technology. Co-developed with Harman Pro Group sister companies Crown International and dbx Professional, the high-performance JBL DrivePack electronics modules with integral digital signal processing couple seamlessly with VERTEC loudspeakers. These latest powered full-size models in the JBL VERTEC DP Series deliver superb audio quality with robust reserve power, with digital electronics perfectly matched to the enclosures.
The available JBL DrivePack DP-3 module features Crown‘s exclusive BCA (Balanced Current Amplification) technology, incorporating Class I circuitry with temperature-compensated modulation. State-of-the-art feedback circuits enable the JBL DrivePack to set a new standard for performance in digital amplification, with lower noise and distortion specifications than other high-power switching amplifiers on the market. The units include an auto-sensing Universal Power Supply and a fan-free, passive, cooling design. The three-channel DP-3 offers a full rated output power of 6,000 watts peak, 3,000 watts continuous (at load) for the VT4889ADP, and 6,900W peak, 3,500W continuous for the VT4880ADP subwoofer.
The standard input module from dbx features analog audio inputs, dbx‘s Type IV™ analog-to-digital conversion circuitry, and sophisticated onboard digital signal processing technology. Precision bandpass limiting, pre-equalization filters and automatic self-test functions ensure optimized performance. The modular input bay design allows for insertion of optional networked modules.
The VT4889ADP 3-way full-size line array element is a powerful, lightweight option for applications requiring powered loudspeaker systems. It is fitted with two 380 mm (15 in) low frequency transducers, four 203 mm (8 in) midrange components and three 76 mm (1.5 in) neodymium compression drivers with beryllium diaphragms. It weighs only 93.1 kg (205 lb), enabling the assembly of large powered arrays of multiple units, yet each unit is capable of delivering 143 dB SPL maximum output (1 m).
The VT4889ADP and its companion subwoofer, the VT4880ADP, are pre-configured from the JBL factory with JBL‘s new V4 DSP preset data, developed with the aid of JBL‘s exclusive LDM™ (Loudspeaker Data Manager) software, and offering optimized acoustical performance.
The VT4880ADP 2 x 18-inch arrayable subwoofer is a high output, lightweight companion subwoofer to complement VT4889ADP full-range loudspeaker systems. It is fitted with two new 457 mm (18 in) model 2269G ultra long-excursion low frequency transducers, each of which is rated at 2000W continuous, 8000W peak. The subwoofer is capable of delivering 137 dB SPL (1 m). This powered subwoofer weighs only 99.9 kg (220 lb), enabling the construction of extremely powerful VLF (Very Low Frequency) arrays of multiple units. The unit is designed to be suspended in stand-alone arrays, coupled with VT4889ADP‘s in the same array, or ground-stacked as required.
The optional networked DPCN (Cobranet™-compatible) input modules from Crown allow JBL VERTEC DP Series systems to link seamlessly into Harman Professional‘s HiQnet™ system. With optional network modules installed, users have remote control and monitoring access to system functionality and digital speaker presets, via System Architect software. HiQnet compliance ensures that VERTEC DP Series system products offer a variety of configuration and monitoring functions, through software control panels that address not only JBL DrivePack-equipped loudspeakers, but also other HiQnet-compliant audio products from Harman Professional companies that may be integrated into a sound system.
Most passive system enclosures in the VERTEC Series, including the VT4889-1 and VT4880A upon which the new powered DP Series versions are based, are pre-engineered to be JBL DrivePack-compatible. This allows existing VERTEC system owners, as well as new customers, to leverage the distinct performance and business advantages the JBL VERTEC DrivePack technology platform can provide, with JBL DrivePack retrofit kits. These advantages include reduced system configuration costs, less concern over cooling needs in low-noise environments like performing arts centers due to the JBL DrivePack‘s fan-free design, and transportation and installation savings due to lower space requirements when compared to traditional amplifier racks.
“JBL‘s latest powered models effectively equip the VERTEC DP Series with options in all size categories for line array elements–compact, midsize and now full-size. This provides a comprehensive set of solutions for high-end, powered loudspeaker applications,” said David Scheirman, Vice President of Tour Sound, JBL Professional. “Now, in addition to the premium-quality sound available with passive models in the VERTEC Series of line array systems, we‘re providing a suite of powered models with all of the improved consistency that such system products can offer to our customers in the tour sound and fixed-installation performing arts markets. These new powered full-size VT4889ADP full-range line array and VT4880ADP arrayable subwoofer systems bring all of the integrated-system advantages of our smaller and more compact powered models to the broad range of high-end system users in the concert touring and corporate/AV market segments who require high-performance, large-scale sound reinforcement solutions.”
Demonstrating the ease of rigging and superior coverage of JBL VERTEC® line arrays, live sound and lighting production company On Cue Systems of Phoenix, AZ recently provided the sound reinforcement system for a Barack Obama presidential campaign rally at Phoenix Veterans Memorial Stadium in Arizona. The “Stand For Change” rally drew more than 13,000 supporters and included appearances by Arizona Governor Janet Napolitano and Caroline Kennedy.
On Cue Systems deployed a VERTEC line array system consisting of a left/right arrangement of 12 VT4889 full-size line array elements per side, with 10 VT4880 full-size arrayable subwoofers per side. Additionally, On Cue Systems set up six VT4889 line array elements each for two outfill side hangs.
According to Dan Myers, System Technician for On Cue Systems, the event drew larger crowds than expected. “The campaign staff was only expecting five or six thousand people to show up, so it was amazing to see twice that many in attendance,” he reported.
Nevertheless, the audio system provided premium fidelity, adequate coverage and plenty of power. “The temporary rally stage where Senator Obama spoke was situated about 30 feet out in front of the existing main stage where the PA was hung,” Myers said. “However, I was still able to get enough level and gain-before-feedback from the system even though the stage was so far out in front, and even during times when his supporters cheered loudly. You could still hear his words over the exuberant noise of the crowd.”
In addition to the performance of the VERTEC line arrays, Myers noted, the loudspeakers‘ light weight and simple easy to use suspension system facilitated a quick system setup. “The VERTEC system is extremely easy to rig and hang, and we used JBL‘s VERTEC Line Array Calculator to determine the exact system configuration and splay angles,” Myers said.
Due to their suitability for use at high-profile televised events in large multi-purpose venues, JBL VERTEC VT4889 arrays have also been specified for use at both the upcoming 2008 Democratic and Republican National Conventions.
For more information on On Cue Systems, please visit www.oncuesystems.com or call 1-877-506-6283.
Marking the first commercial use of JBL Professional‘s new powered full-size VERTEC® VT4889ADP full-range line array element and VT4880ADP companion subwoofer with JBL DrivePack® technology, San Diego-based Meeting Services Inc. is providing audio, lighting and projection needs for the national tour of “Love, Janis.”
The musical theater production is based upon the life and music of 60’s rock-and-roll icon Janis Joplin. Inspired by the best-selling book, “Love, Janis” by Laura Joplin, the singer’s younger sister, the show‘s entire spoken text comes directly from Janis Joplin herself–from actual letters to her family and from her many press, radio and TV interviews. The show is presented by Columbia Artists Theatricals (CAT), which specializes in the distribution and production of commercial and theatrically staged live entertainment on a worldwide basis. The production features general management by Paul Rambacher, set design by Norman Schwab, tour light and projection design by Jeffrey Cady using original 1960s psychedelic lightshow images from San Francisco’s legendary Bill Ham, and sound design by Eric Stahlhammer.
“Love, Janis” is playing in a wide range of venues nationwide. The current tour leg is scheduled into midsize proscenium-stage theaters, such as the 1,167-seat Parker Playhouse in Ft. Lauderdale, FL where the show was staged February 29-March 2. This classic stage house features musical performances, dramatic activities and educational programming throughout the year. Sound designer Eric Stahlhammer relied on JBL’s new powered full-size system “on the boards” to give the classic-rock, period-authentic show a full-range, dynamic sound as the production moved through classic Janis Joplin songs like “Piece of My Heart,” “Down On Me,” “Ball and Chain,” “Mercedes Benz” and “Me and Bobby McGee.”
“The brand-new VT4889ADP system is powerful and full-bodied, with its 15-inch low-frequency woofers. It has all the acoustical hallmarks of the standard VT4889 with the addition of integrated power and digital signal processing,” commented Stahlhammer, a veteran theatrical sound designer who has designed sound for tours of “Csardas” and “Gypsy Spirit” and counts numerous music-based productions like “Always…Patsy Cline,” “Almost Heaven: Songs and Stories of John Denver” and “Hank Williams: Lost Highway” among his credits. “Having a powered speaker system for this production saves us both setup time and backstage space. Now that Meeting Services has supplied this new audio package for the tour, I can’t imagine using any other system to do this show.”
The JBL VERTEC VT4889ADP full-range, high directivity line array element and companion VT4880ADP Ultra-Long Excursion arrayable subwoofer are integrated audio systems featuring field-proven JBL DrivePack technology. The VT4889ADP weighs only 93.1 kg (205 lb) and each unit is capable of delivering 143 dB SPL maximum output (1 m). The VT4880ADP subwoofer is capable of delivering 137 dB SPL (1 m) and weighs only 99.9 kg (220 lb), enabling the construction of large, extremely powerful arrays of multiple units. The subwoofer is designed to be suspended in stand-alone arrays, coupled with VT4889ADP’s in the same array, or ground-stacked as required.
The high-performance JBL DrivePack electronics modules include an auto-sensing Universal Power Supply and a fan-free, passive, cooling design. The standard input module features analog audio inputs, dbx’s Type IV™ analog-to-digital conversion circuitry, and sophisticated onboard digital signal processing technology. Precision bandpass limiting, pre-equalization filters and automatic self-test functions ensure optimized performance. The modular input bay design allows for insertion of optional networked modules, which offer users a choice of digital audio and remote control and monitoring access via HiQnet™ System Architect software. The VT4889ADP and its companion subwoofer, the VT4880ADP, are pre-configured from the JBL factory with JBL’s new V4 DSP preset data, developed with the aid of JBL’s exclusive LDM™ (Loudspeaker Data Manager) software, and offering optimized acoustical performance.
For front fill applications, Stahlhammer’s sound design for “Love, Janis” includes JBL’s compact VRX928LA two-way loudspeakers, arrayed on the stage lip to cover forward seating rows in the theatrical playhouses on the national tour. “I can see numerous applications for JBL speakers in touring theatrical-style productions,” observed Stahlhammer. “My design criteria has always been to give audiences the best sound possible in coordination with a given script and stage set. This system package is giving us excellent results from both a sonic and practical point of view, and the show has been getting excellent reviews. The audience is on their feet and singing along, every night.”
“Love, Janis” will be appearing for multiple nights at theater venues in New York, Pennsylvania, Connecticut, Massachussets, Ohio, Texas and California through June including Philadelphia‘s Zellerbach Theater, Boston‘s Majestic Theater, Los Angeles‘ Wilshire Theater, and Modesto‘s Gallo Center for the Arts.
“Touring musical theater productions like ‘Love, Janis’ can be very challenging for production crews, as setup restrictions, limited backstage space and cross-country travel put time at a premium for stagehands and traveling crews alike,” noted David Scheirman, Vice President of Tour Sound, JBL Professional. “These new powered full-size models provide a comprehensive set of solutions for high-end, powered loudspeaker applications. We’re encouraged to see how this new system is assisting professional users in not only the traditional concert rental and corporate A/V production segments, but also those who serve theatrical and performing-arts environments.”
Program and schedule details for Columbia Artists Theatricals’ presentation of “Love, Janis” can be found at http://www.lovejanisthemusical.com/
Meeting Services, Inc. can be reached at (858) 348-0100 and at http://www.msiprod.com/
Holophone, a leading manufacturer of surround microphones, is simplifying workflow when editing the Holophone PortaMic 5.1‘s and H4 SuperMINI‘s Pro Logic II encoded audio with the introduction of the Holophone D-CODE multi-channel Pro Logic II® decoder. The Holophone D-CODE will make its industry debut at NAB 2008 (Booth N6438, N6435). more
In one of the Middle East‘s most popular annual live music events, production equipment rental company Sun Light & Sound (SLS) Productions deployed a JBL Professional VERTEC® line array system for Dubai Desert Rock Festival 2008. Held March 7-8 at Dubai Festival City, UAE (United Arab Emirates), Dubai Desert Rock Festival 2008 drew more than 28,000 fans over two days.
Dubai Desert Rock Festival 2008 marked the Festival‘s fifth anniversary. As in years past, the Festival showcased some of the world‘s most popular hard rock and heavy metal acts, including Korn, Velvet Revolver, Machine Head and As I Lay Dying. With the goal of providing sonic clarity while matching the power of the Festival‘s high-energy performances, Sun Light & Sound provided an elaborate audio system that included a total of 90 VERTEC line array elements.
The PA included main hangs of 12 VT4889 full-size line array elements per side, complemented by six VT4880 full-size arrayable subwoofers per side. Eight VT4887 compact line array elements were suspended to provide down fill, with five VT4888 mid-size line array elements hung per side for additional out fill. Twelve JBL VT4880A Ultra-Long Excursion subwoofers were stacked on each side of the stage for added low-frequency output, with four VT4887 compact line array elements on hand for front fill. Lastly, three arrays of six VT4888 mid-size line array elements each were set up at the front of house position to serve as delays. Crown Macro-Tech and I-Tech amplifiers powered the entire system.
“When we first started using VERTEC line arrays, we received very good feedback from our clients, and as we increased our inventory we have found VERTEC to be a great asset,” said Martin Luiz, Owner of Sun Light & Sound. “The VERTEC loudspeakers have exceptional clarity, light weight, compact size, and are easy to set up. We have supplied our gear to many international artists performing in Dubai and almost all of them prefer using VERTEC. Visiting sound engineers have always given our team a big ‘yes‘ for our inventory and services, and more live concerts in the UAE will see our company rocking with VERTEC. This system has revolutionized the concert sound industry.”
David Scheirman, Vice President, Tour Sound, JBL Professional notes that Sun Light & Sound Productions represents an excellent example of how JBL‘s industry-leading loudspeaker technology is supporting the growth of pro-level regional rental firms in the Middle East and beyond. “We look forward to the growing success of Martin Luiz and his team, as VERTEC increasingly becomes the line array of choice for leading concert sound system providers around the world.”
For more information on Sun Light & Sound Productions, please call +971-4-3550300 or visit http://www.slspro.net.
Holophone®, a leading manufacturer of surround microphones, is introducing its latest breakthrough in surround recording technology, the PortaMic 5.1 camera-mountable surround microphone at NAB 2008 (Booth N6438, N6435). more
Attention game sound developers: We're guessing you didn't always work in videogames; we know a lot of you have roots in music and post. Tell us why you made the switch to the game world, and the name of the first title you worked on by e-mailing mixeditorial@mixonline.com.
Bill Evans ‘Waltz for Debby’ live at the Village Vanguard in 1961
