Archive for June, 2009
Santa Monica, CA, July 1, 2009 — Elias Arts, a company devoted to music composition, strategy and production, has contributed music to a 2009 â€œWebby Awardâ€? winning campaign entitled â€œThe Girl Effect.â€? The announcement was made today by Ann Haugen, Executive Producer/GM, Elias Arts. â€œThe Girl Effectâ€? project can be seen at:
â€œThe Girl Effectâ€? won a â€œWebby Awardâ€? in the category:
â€œRich Media Advertising: Non-Profit/Educational:
The campaign was also a finalist in the â€œActivism Category for Websites:â€?
Said Elias Arts founder/composer Jonathan Elias, â€œThe music for â€˜The Girl Effectâ€™ was a unique approach to the overall concept.â€? Adds Nate Morgan, Elias Arts composer/recording engineer, “This spot was really special, in that the visuals were so engaging while being so simple. It was great being able to create a musical narrative to accompany something so creative.”
ABOUT â€œTHE GIRL EFFECTâ€? FROM W+K | Nike Foundation:
â€œThe Girl Effectâ€? is an effort to raise awareness and supply tools to help spread the word and create The Girl Effect ripple. The campaign relays to viewers the idea of Global Giving. The amazing thing we learned from the Nike Foundation is that when girls are given the opportunity, they will raise the standard of living for themselves, their families, and by extension, everyone around them. The Girl Effect is a real phenomenon, and a smart economic investment. The campaign wanted to come up with a name that was empowering to girlsâ€”one that felt grounded in the reality of what girls can do.
ABOUT THE â€œWEBBY AWARDS:â€?
With nearly 70 categories, Website entries make up the majority of Webby Awards Winners, Nominees and Honorees. Some are beautiful to look at and interact with. Others are a testament to usability and functionality. And a handful excel across the board. To be selected among the best is an incredible achievement worthy of praise — and perhaps a little bragging. For more info, please see: http://www.webbyawards.com/webbys/current.php?season=13
ABOUT ELIAS ARTS:
Elias Arts is devoted to music composition, strategy and production. The company has employed the emotional strength of music and sound to launch, grow and reposition the most recognized brands and companies worldwide. Elias Arts has worked with well over half of the Fortune 1000 companies, and has also helped turn numerous startups into everyday brand names. Among the clients Elias Arts has worked with are AOL, Mastercard, Sony, Columbia Pictures, Nike, Apple, Coca-Cola, AT&T, Ebay, Honda, Intel, Visa, Yahoo, Universal Studios, Microsoft, McDonalds, ESPN and General Motors, to name just a few
With offices in Santa Monica and New York City, global resources and a renowned roster of gifted composers, producers, and marketers, the mission of Elias Arts is to constantly strive for creative excellence and distinction through the art of music and sound design. The company is the recipient of over 700 major industry awards from around the world.
For more information, please visit www.eliasarts.com
LANCASTER, PA â€” Standardizing DTV audio processing across its eight station Broadcast Television Division, Freedom Communications, Inc. has chosen a range of audio processing products from Linear Acoustic, the leading authority in loudness control and upmixing solutions for digital television, to ensure consistent 5.1-channel audio as well as significantly streamline plant workflows. more
In a highly creative and environmentally forward-thinking application of JBL PRX portable loudspeakers, Rock the Bike, a designer and manufacturer of bicycles with an eye on raising the awareness of the â€œbike culture,â€? has employed PRX loudspeakers at several of its live music events, which are run on human power generated on bicycles.
For its live events, Rock the Bike designed a pedal-powered stage, which enables one or many individuals to ride stationary bicycles in place, which in turn power the audio system as the artists perform. â€œItâ€™s been a steady progression to thisâ€”most of our performances used to be primarily in the streets and running off battery power,â€? said Paul Freedman of Rock The Bike. â€œThen we started hooking up with people interested in human power and over the past year, weâ€™ve put a lot of energy into creating our own pedal-powered stage.â€?
Thanks to the efficiency of the JBL PRX Series, Rock the Bike employs PRX535 speakers for its main sound reinforcement system. â€œBecause weâ€™re an environmentally conscious group, the PRX speakers are a perfect fit, plus theyâ€™re lightweight so we can easily transport them on our cargo bicycles,â€? Freedman said. â€œI also really like the PRX speakers because the low/mid/high knobs on my mixer correspond directly with the low/mid/high drivers in the speaker, which make them very easy to use.â€?
Rock the Bike relies on volunteers from the audience to pedal the bikes, something that has never posed a challenge. â€œIf there are a lot of people at an event, we have no problem getting volunteers from the crowd to keep a 2-bike pedal-powered system going,â€? Freedman said. â€œWe position them close to the stage so they have a good view of the performers, and theyâ€™re literally supporting the music with their power.â€?
While the pedal-powered stage contributes to a sense of community at the live events, the system has taken an ironic (but intentional) back seat to the actual performances, as a result of its own efficiency. â€œThe pedal-powered stage used to be the center of attention at our shows, but with the sound quality of the PRX speakers, along with our ability to make the pedal-power bikes quieter, the audience is getting absorbed into the music without even thinking about the pedal power,â€? Freedman added. â€œThatâ€™s our goal: to keep the music excellent and help spread the spirit of the bike.â€?
Since employing the pedal-powered stage, Rock the Bike has supported events ranging from rock star performances to a press conference at City Hall in San Francisco. â€œWe recently powered a show by Stone Gossard of Pearl Jam,â€? Freedman said. â€œHe was only supposed to play the first song of his set through pedal power, but he ended up playing the entire set with it because he got such a great response from the crowd.â€?
For more information on Rock The Bike, please visit www.rockthebike.com
Mexican folk singer Vicente FernÃ¡ndez, known in Latin America as “El Idolo de Mexico” (The Idol of Mexico), or simply as â€œEl Reyâ€? (The King), has sold more than 50 million albums worldwide during his 35 years as an international superstar. FernÃ¡ndez recently embarked on a 2009 Colombian tour with stops in Bogota, Medellin, and Ibague, and chose sound equipment from Electro-Voice for his shows. The entire system was provided by Colombia-based People Sound.
The system on FernÃ¡ndezâ€™s Colombian tour comprised an extensive array of X-Line loudspeakers, XLC-127DVX Delays, PLASMA stage wedges, Xi front fills, and P3000â€“H2500 amplifiers. The rig was controlled through EVâ€™s brand-new, state-of-the-art IRIS-Net V2.0 with FIR presets. The high-profile tour brought with it the very best audio professionals in Latin America, and each one was blown away by the new X-Line presets in IRIS-Net 2.0. Samuel Puentes, owner of People Sound, comments:
â€œWe were absolutely impressed by the new FIR presets for X-Line. With this new preset, we have all we could ever want from an already great EV system. There are PA systems out there that have pristine audio quality, and others that deliver high SPL, but until now nothing could do both. EV definitely achieves this with FIR-Drive. We are very happy with the result, and the very experienced crew that we worked with on this tour was really happy as well.â€? The IRIS-Net file for the tour was programmed and tuned by Diego Torres, System Tech at People Sound, who was also very impressed with the quality of the equipment from EV.
Colombiaâ€™s geography also posed unusual challenges to FernÃ¡ndez and People Sound. At 8,000 feet, Bogota experiences relatively low temperatures, but Ibague rests much closer to sea level, and is extremely hot and humid. To cope with the extreme changes in climate as well as the unforgiving Colombian terrain, FernÃ¡ndez needed his system to be controllable, coherent, and tough â€“ delivering tight audio and solid coverage on varied situations. Nicolas Betancur, Inside Sales Engineer for Latin America, Bosch Communications Systems, comments:
â€œVicente FernÃ¡ndezâ€™s Colombian Tour presented some imposing challenges in terms of both performance and travel, and our Electro-Voice equipment conquered each obstacle. We at the Latin America Team with Bosch Communications are tremendously proud of EVâ€™s performance, especially on a tour as important as this. An artist of the magnitude and cultural importance of Vicente FernÃ¡ndez, together with an experienced audio crew, expect only the best at every show they go to. Each show is full-house, each show is a responsibility. EV delivered.â€?
6x Xi-1183 (front-fill)
26x Plasma P1 (monitors, fills, etc.)
18x XLC127DVX as (fills or delays)
12x Xsub (delays/fills)
Dynacord PowerH 2500 amplifiers (X-Line PA, using FIR presets for X-line and IRIS-Net 2.0.)
Electro-Voice P3000 amplifiers (powering XLC system)
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Jeff Dunham is a genuine cultural phenomenon who has amassed legions of loyal fans with his thousands of sold-out arena, theater, and comedy club performances, countless television guest spots, and three top-rated specials on Comedy Central. Building on this success, Jeff Dunham is taking North America by storm in 2009. Dunhamâ€™s newest tour, â€œ Spark of Insanity,â€? is playing to sold-out arena crowds. An Electro-Voice sound system from LIVE! Technologies is ensuring Dunhamâ€™s show sounds its best.
The tourâ€˜s extensive run includes stops at American Airlines Arena in Dallas and the HP Pavilion in San Jose. To meet the challenges posed by such imposing venues, Dunham and his crew needed a state-of-the-art touring rig with a reputation for outstanding audio quality and reliability. LIVE! Technologies prescribed world-tour-proven Electro-Voice X-Array and X-Line loudspeakers for the job.
The â€œSpark of Insanityâ€? touring rig comprises twelve X-Line boxes on mains, six X-Array enclosures for side hangs, and a pair of Xw12A speakers for the monitor mix, all powered by EV P3000 amplifiers. The systemâ€™s low-frequency control and uniform power response help Dunhamâ€™s voice reach the very back rows of every arena every night with warm, intelligible sound, enhancing his unique delivery and wide range of characters.
About LIVE! Technologies
Founded as a sound and lighting touring company, LIVE! Technologies has adapted and grown over time. Trusted by acts and music festivals since the beginning, LIVE! has built their reputation, list of services, and expertise over the past thirty years. Additionally, LIVE! Technologies has answered the call of corporate clients and event planners by expanding their offering with production management and creative services.
LIVE! Technologiesâ€™ crew: Matt Reid, Lighting Director; Brian Mann, Lighting Technician; Montie Temple, FOH Engineer; Doug Maynard, Audio Technician; Brandon Mendenhall, Video Director, Kelly Walsh, Video Technician; Timothy Bates, Camera Operator/Carpenter; Steve Quinn, Crew Chief/Head Rigger Steve Quinn. LIVE! also provides two truck drivers: Mike Skrastins and Matt Claus. In addition to the â€œSpark of Insanityâ€? tour, the crew has worked together on numerous productions. For more information about LIVE! Technologies, visit www.reallivepros.com.
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With an original sound that is equal parts indie rock and hip-hop, duo Chester French has been on the fast track to fame ever since their first hit single â€œShe Loves Everybodyâ€? debuted on Nov. 18, 2008.
After months of shows and TV appearances, the release of their first album, â€œLove the Future,â€? and a US tour with Lady Sovereign, the pair of Harvard alumni will embark for Europe, returning home in July to begin opening for punk rockers Blink-182 on their North American summer tour. For every performance Chester French will perform through Electro-Voice microphones, enthusiastically mixed by Tour Manager/FOH Engineer Sean Peel.
Peel, a longtime Electro-Voice user, is a busy freelance tour manager and FOH Engineer who trusts his EV mics to stand up to the rigors of touring. For years, EVâ€™s first generation PL80 mics set the world standard for live performance microphones. The new PL80â€™s sound, along with its rugged, natural-feeling design, has made it Peelâ€™s go-to vocal mic.
â€œI love the PL80,â€? says Peel. â€œItâ€™s awesome â€” Iâ€™m glad itâ€™s back with a vengeance! The PL80c (with classic finish) is just like it was back in the day, but with all the advantages of state-of-the-art materials. And not only is it a great live microphone, it even works great when weâ€™re recording TV and doing in-studio stuff like that. But it still makes its real mark in live sound because it does what other mics canâ€™t. To me, a lot of vocal mics start to have problems when they get to high-frequencies and the sound gets really weak and brittle, but the PL80 has a very warm-sounding high end â€“ you get all the top end you want without any shrillness. Itâ€™s especially good in louder live rooms. For these reasons itâ€™s just a cut above the other standard-issue vocal mics out there. Plus it looks really cool!”
And not only does the PL80â€™s sound impress, its design is also encourages users to hold the mic correctly for optimal effect. Peel explains: â€œSingers tend to cup the mic with their hands around the element with other mics; with the PL80 they grab the handle of the microphone, and hold it right. When you hold it better youâ€™re going to sound better, too.â€?
In addition to PL80 vocal mics, Peel uses EV N/D468s mics on drums, RE200 condensers on cymbals, and the N/D868 on kick drum.
â€œThe N/D468 is basically the best standard drum mic there is,â€? says Peel. â€œYou canâ€™t get any more standard than the 468. Itâ€™s been on drum kits forever. Because of its design, it can stick in really tight places â€“ you canâ€™t get any better than that. And on top of everything itâ€™s got that incredible sound that EV mics have always had â€“ a great combination of warmth and definition. I put 468s everywhere on drums and RE200s on cymbals. I think The RE200 is the best cymbal mic out there. It really captures that swishy sound that I always want out of a cymbal. And of course the 868 on the kick is another industry standard mic from EV. I like the 868 because a lot of times itâ€™s not about the click, itâ€™s about what the drum sounds like, and the 868 delivers that.â€?
Chester French were recently featured as musical guests on NBCâ€™s Late Night with Jimmy Fallon on April 21, 2009, the same day as the release of â€œLove the Future.â€? Peel brought his PL80 vocal mics to the Late Night studio at 30 Rockefeller Plaza for the performance:
â€œOf course I wanted to use these PL80s on the show because I knew they would sound better. But, understandably, the NBC engineers were used to their own mics and were hesitant. When I took one of the PL80s out, one of the older engineers said, â€˜Hey I remember those mics from when I was a kid!â€™ Long story short: I convinced them to use my mics, we did the show, and they said, â€˜Wow! This is a great microphone! It sounds great, has great rejection around it, and it sounds awesome on television.â€™ Everyone was very impressed.â€?
Peel also reports that even before their appearance on Late Night, the band was sold on performing with EV microphones.
â€œThe band loves the mics, too,â€? says Peel. â€œTheyâ€™re holding up on the road, they sound great, and our lead singer can hear his in-ears really well â€“ thatâ€™s another thing about the PL80 â€“ people can actually hear their vocal mic and it doesnâ€™t sound distorted in your ear. And the mics are holding up really well, night after night; theyâ€™re solid, theyâ€™re metal, theyâ€™re tough â€“ you canâ€™t bust them. Even when your singer decides to drop the microphone.
â€œElectro-Voice rocks my world,â€? adds Peel. â€œThese are my tools of the trade. EV puts out a great microphone â€“ when it comes to mics, EV has more that are warmer sounding than any other mic manufacturer out there. And thatâ€™s what counts when youâ€™re doing a live show and youâ€™re trying to capture a recording sound at a live performance. Itâ€™s all about warmth at EV, and thatâ€™s what itâ€™s all about for me.â€?
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Systems integrator Sovico AV recently installed a new JBL VERTECÂ® powered full-size line array system–the latest in the companyâ€™s VERTEC DP Series line of integrated system products–at the new Kwangju CD nightclub, the largest dance music and DJ venue in South Korea. Sovico AV installed the system with design assistance from Sovico R&D, the firmâ€™s acoustic research laboratory specializing in acoustic measurement, sound design and system tuning.
Located at the southern tip of the Korean peninsula near the coast, Kwangju is South Koreaâ€™s sixth largest city and center of the nationâ€™s growing photonics and optics industry. The cityâ€™s urban core is a ready market for entertainment and nightlife, and with over 36,000 square feet and an architectural design allowing for 300 tables along with an additional 30 private rooms, the Kwangju CD venue features a spectacular stage setting with extensive lighting capabilities and a high-impact sound system. The octagon-shaped overhead ceiling is divided into separate moveable parts, able to mechanically open to support a wide variety of special effects including artificial snow and artistic lighting.
Sound designer Jon Won Lee faced several challenges when considering the right approach for the innovative facility. Live DJâ€™s and late-night dance music playback would co-exist with live house bands on stage along with special multimedia programming to support performance artists. Additionally, the unusual architecture of the building plan, with numerous cabaret-style table setups, called for even coverage combined with high-SPL requirements. â€œThe design of the facility, with such an extensive hall size, required a powerful system to support the variety of performance activities taking place in this space,â€? noted Lee. â€œThe sound system in the club must serve five specialized DJ teams, two different house bands, three dance teams and two performance art teams.â€?
To meet the sound design specifications, Sovico installed a total of 12 VERTEC VT4889ADP powered full-size line array elements, configured in two arrays of six. These full-range arrays are supported by a total of eight VT4880ADP powered full-size arrayable subwoofers with ultra-long excursion 2269H 18-inch transducers, configured in two arrays of four each, located in coves beneath the performance stage. The entire main system features JBL DrivePackÂ® technology, which incorporates Crown Audio’s patented BCA (Balanced Current Amplification) and Class I circuitry, allowing JBLâ€™s VERTEC DP Series to set a new standard for low-noise, low-distortion performance in digital amplification for powered loudspeaker systems.
Four JBL PRX535 powered systems are onsite for use as localized area fill speakers. Signal processing available to sound engineer Jung Hyun Park includes 2231 dual 31-band graphic equalizers and 1066 dual compressor limiter gates from dbx, and a Lexicon MXP1 effects processor. A Soundcraft GB8 is the primary mixing console for the venue. Seven AKG WMS4000 wireless microphone systems are on hand for use by performers. Upon system commissioning, Sovico engineers conducted comprehensive onsite training sessions for the venueâ€™s technical staff.
â€œThe new powered full-size models in the VERTEC family make an ideal system design approach for this type of application,â€? noted David Scheirman, Vice President, Tour Sound for JBL Professional. â€œThe models selected for the Kwangju CD club offer high output power capabilities combined with complete system integration including the onboard digital signal processing inherent to the JBL DrivePack technology platform.â€?
For information on Sovico, go to http://sovico.co.kr/
CAMPINAS, Sao Paulo, Brazil – June 2009 — Loudness Sonorizacao, one of South America’s leading sound reinforcement companies for more than three decades, has purchased its first full L-ACOUSTICS system, comprised of 16 KUDO enclosures, eight SB28 subs, a dozen 115XT HiQ stage wedges and a dozen LA8 amplified controllers.
The Brazilian company has also added 32 powered 108P enclosures to its inventory, which are currently serving as a surround sound system for Andrew Lloyd Webber’s The Phantom of the Opera at Teatro Opera in Buenos Aires, Argentina. more
HOLLYWOOD, JUNE 29, 2009 â€” EASTWEST/QUANTUM LEAP announces the debut of its latest release, HOLLYWOOD STRINGS virtual (software) instrument â€” a collection of orchestral string instruments with unprecedented control over sound and performance. more
MIDLAND, TEXAS – JUNE 2009: Founded way back in 1892, First Baptist Church (FBC) of Midland, Texas is one of the oldest and largest churches in the Lone Star State. From humble beginnings, the congregation moved to its present campus in 1954, which contains dozens of program rooms, classrooms, and meeting halls, all architecturally focused around an impressive 1,200-seat worship center. FBC’s worship style has diversified with the times, and over the last two decades its Sunday program has split into four separate services – one traditional, two thoroughly modern, and the other bridging the gap. However, FBC’s sound system failed to keep up and languished for a decade, delivering a floppy, inarticulate performance for even the traditional service. Recently, Taipale Media Systems, Inc. of Allen, Texas, stepped in to design a Danley-centered system of uncompromising fidelity and power, and Summit Integrated Systems, Lafayette, Colorado, completed its installations just days before FBC’s big Easter production.
FBC’s four services maintain a common spirit of community, but they do so through decidedly different mediums. The early morning service is a very traditional Baptist worship style, with a worship leader, a choir, an organ, and piano accompaniment. The mid-morning service moves towards contemporary with drums, bass, piano, electronic keys, acoustic guitars, electric guitars, brass, six praise-team vocalists, and a worship leader. They label their third service and their evening service “modern,” drawing on yet a third group of musicians to play worship songs with a more progressive edge. The old loudspeaker system was noticeably bad with the traditional service and fell completely flat with all the rest.
Curt Taipale, president of Taipale Media Systems, Inc., first met Jim Cawthon, media minister at the church, through a mutual friend in 2001. “My first trip there was to re-voice their aging loudspeaker system,” he said. “The design of the original sound system was likely appropriate for its time and the style of worship music back then, but it wasn’t holding up well to the new demands and showed remarkable signs of old-age. During a consulting trip there in 2002, I discovered that ten successive sweeps of the high-frequency drivers delivered ten drastically different response curves!” However, other technical priorities, namely creating video and broadcast capabilities, diverted any serious funds that might have gone towards a new sound system until a groundswell of support moved the church to act in 2009.
Taipale started from scratch, using a modern approach to system design that relied on technologies that had not been dreamed of when the old system was being installed. The new loudspeaker system starts with left, center, and right clusters composed of two or three Danley SH-50 full-range loudspeakers each. Four Danley TH-115s comprise a flown subwoofer array in a directional, Taipale-designed, dipole configuration. Two cross-matrixed delay rings, with six Danley SH-50s total, cover seating towards the back of the sanctuary and the balcony. Renkus-Heinz TRX81/9s serve as down-fills below each of the LCR clusters, four TRX81/9s serve as the under-balcony loudspeakers, and three Bag End TA6000s supplement as front-fills. Soundweb supplies DSP to the six Lab.Gruppen C68:4 amps powering the main loudspeakers, with additional amplification from QSC.
Chris Rayburn served as lead technician for Summit Integrated and had an opportunity to tune the old system. “Going from the dark ages to the new Danley speakers made an incredible difference,” he avowed. “Their remarkably tight pattern control directs energy to the pews and nowhere else, so the sound is tight, focused, and intelligible.” Rayburn and his crew overcame numerous obstacles to bring the remarkable change to life. First, the room contains 48-foot peaks, and the door was too small to fit a scissors lift. So the crew had to erect scaffolding on a sloped floor to get the job done. Worse, they had to remove everything mid-installation to make way for an unscheduled wedding. “To everyone’s amazement, Summit met all the hardships with grace and a positive attitude,” remarked Taipale. “It was a level of professionalism under duress that few companies could match.”
He continued, “Interestingly, I can look back at my TEF analyzer data files and see that Jim invited me over to FBC to re-voice the old loudspeaker system at least every other year since our first meeting in 2001, typically a month before Easter Sunday. So I guess it is fitting that this installation was commissioned during the week leading up to Easter, and that its first use was during Easter Sunday services!”
ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.
Danley Sound Labs â€¢ www.danleysoundlabs.com
PHOTO CAPTION EXTERIOR IMAGE: Taipale Media Systems, Inc. of Allen, Texas, designed the Danley-centered audio system for First Baptist Church (FBC) Midland, Texas, with Summit Integrated Systems of Lafayette, Colorado handling the installation. INTERIOR IMAGE: Midland Baptist Church (FBC) in Midland, Texas boasts LCR clusters composed of two or three Danley SH-50s, with four Danley TH-115s subs in a flown array and six SH-50s for the delay rings.
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