Archive by Clyne Media, Inc.
Prolight + Sound, Frankfurt, Germany, March 21, 2012 – EAW® (Halle 8.0, Stand F21), a world-renowned loudspeaker designer and manufacturer, has announced the launch of the first two products in the all-new, next-generation Avalon by EAW line of dance club loudspeaker systems. The line was co-designed by legendary dance club designer/owner John Lyons, whose Avalon Hollywood club is a favorite performance venue for world-class DJs. Lyons worked with EAW in the late 1990s to produce the original line of Avalon loudspeakers. The announcement was made by EAW President Jeff Rocha.
“Once again, John Lyons has helped EAW go to places we never thought we could go,” Rocha said. “Not only do the loudspeakers reach a new level of performance, power and clarity, but we’ve developed fit and finish techniques that put us on a par with luxury automobile manufacturers.”
Avalon by EAW represents a radical departure from all previous dance club loudspeaker systems, putting cutting-edge acoustical technology in a package that appeals to the design-conscious dance club market. The industrial design turns the loudspeaker inside-out, mounting the exposed mid/high horn in front of the grille. And the concave grille – sculpted in clean, straight lines – expresses the bilateral symmetry that unifies the design.
The products released include the CLUB.two and CLUB.three. Each is a three-way system using a horn-loaded, ultra-efficient, coaxial mid/high compression driver. The CLUB.two includes four 12-in LF cone transducers mounted in a vertically and horizontally symmetrical pattern and axially aligned with the mid/high section. The CLUB.three uses a single, ferociously powerful 15-in LF cone mounted in a triaxial configuration behind the mid/high section.
In both cases, the symmetry allows for the application of slight mid/high delay to produce an apparent unified origin, as if output across the entire frequency range were originating from a single point. EAW has used a similar technique in a single plane across their product range for many years, and Avalon by EAW takes the technique to a new level of output and performance.
“This absolutely sets a new standard for club sound,” John Lyons said. “Beyond the power we’ve gotten from the new generation of components, the symmetry gives these systems an unprecedented level of clarity. The sonic imaging is simply amazing.”
In addition to a radical design and state-of-the-art acoustical technology, Avalon by EAW also sets a new benchmark for fit and finish in the pro audio space. The products are available in a range of color and finish options. “There is no such thing as a ‘standard’ Avalon by EAW,” Rocha said.
While base-level products can be ordered in traditional, textured black paint, customers must specify the powder-coated grilles in Siren Red, Medallion Gold, Starlight Sparkle Silver or Machine Grey. The horns and a surrounding trim piece may color match the grille or may be Piano Black.
Beyond that, customers can upgrade to a high-grade, automotive finish for the enclosures, choosing from Piano Black or Polar White. These eye-catching finish options caught the eye of many attendees at ISE in Amsterdam in February 2012, where Avalon by EAW received a special preview. “It might have been the most photographed display at the whole tradeshow,” Rocha said.
Because Avalon by EAW goes so far beyond any existing dance club loudspeaker system, Lyons and EAW have decided to set a high bar for access to them, requiring a design proposal to be submitted and approved before an order can be placed.
“The point is to ensure the every installation is an absolute gem,” Lyons said. “If you think you’re ready to step up to this level, talk to EAW. But know up-front that if you’re going to use Avalon by EAW, you’re going to do it right.”
All design proposals will undergo review by EAW’s Application Support Group (ASG). Proposals can be submitted as anonymous venues, ensuring confidentiality to the club design community. Each proposal will receive a registration number to track the project as it proceeds. As necessary, ASG will recommend revisions to the design proposal. After approval, customers can select their colors and place their orders, including the project registration number. EAW will check the order against the registered proposal to ensure that all necessary equipment is included. Once the installation is complete, ASG will inspect the installation and assist with the commissioning process.
“When the system is installed and commissioned,” Rocha said, “we’ll present the club with a plaque, stating that it is Avalon Certified. It’s the closest thing pro audio has to a velvet rope. It may sound hokey, but that club – the club of Avalon Certified venues – will be as exclusive as, well, as an Avalon Certified club.”
For more information, please visit www.eaw.com.
“Flat-Front” rigging increases KF740 Array size, output and throw distance
Prolight + Sound, Frankfurt, Germany, March 21, 2012 – EAW® (Halle 8.0, Stand F21) today announced the release of the KF740 zero degree adapter accessory. The adapter accessory permits EAW KF740 line array modules to hang with zero degrees of splay between adjacent modules, increasing the output and throw distance of those arrays. In addition, the adapter accessory’s design increases the total load-bearing capability of the upper modules, significantly increasing the size of arrays that can be safely hung. EAW President Jeff Rocha made the announcement.
“We developed this adapter because our customers specifically asked for it,” Rocha said. “Once the KF740 was in the field and our customers started to push the system, they discovered that it’s truly extraordinary in terms of performance. They felt that the KF740 could work in larger venues if they could build arrays with a long hang of flat-fronted modules at the top. As usual, our customers were right.”
The new adapter accessory allows the creation of an array with up to 24 flat-fronted modules at a safety factor of 10:1. While it is unlikely that a real-world application would call for an array that includes 24 flat-fronted modules with no down fill elements, such an array would offer up to 500 feet (152.4 meters) of throw, generating over 105 dB at that distance. Much larger arrays are possible at a 5:1 safety factor.
The new zero degree KF740 adapter accessory is made from 7075-T6 and 6061-T6 aluminum and can carry well over 100,000 lbs (45,000 kg). Each adapter can carry 1,200 lbs. (544 kg) at a safety factor of 10:1. Adapters attach to the loudspeakers with custom-designed, 17-4 PH H900 stainless steel shank, quick release pins tethered to the accessory with wire lanyards.
Load-bearing requirements change with the specific configuration of a given array. Users should always generate array designs using EAW Resolution™ array design and modeling software. In addition to predicting array performance, Resolution manages safety rating data up to a safety rating of 10:1. This includes loads and failure points for the array and fly bar.
For more information, please visit www.eaw.com.
Powercubes™ are optimized for use with EAW® Line Array Systems, and customers who purchase are eligible for EAW‘s Red Certification® Training Program
Prolight + Sound, Frankfurt, Germany, March 21, 2012 –EAW® (Halle 2.0, Stand F21) today announced the release of their Powercube™ amplifier racks. Designed to maximize the capabilities of EAW’s Line Arrays, each Powercube amplifier rack includes electrical power distribution, 12 channels of amplifier power with integrated digital signal processing and 12-channel input and output.
Powercubes support either three Lab.gruppen® PLM20000Q/SP amplifiers or six Powersoft® K10 DSP+AESOP amplifiers. Amplifiers are shipped separately from the respective manufacturers for user installation on delivery. Powercubes come in 115 volt and 230 volt options, making four options in total. Electrical power distribution panels are separately configured for each of the four possible options.
Powercubes are optimized for use with EAW KF740 line array systems and the largest of the EAW subwoofer systems, but Powercubes can also power and control KF760 or KF730 line array systems.
Also, Powercube purchases entitle the customer to sign up for EAW’s Red Certification® training program. Red Certification status is awarded after a two-day training seminar led by EAW’s Technical Training Manager Bernie Broderick and held at the customer’s offices. Red Certification ensures that all Powercube owners and their staffs are fully trained on all aspects of using the power and processing available through the Powercube.
“With Powercubes and Red Certification, EAW KF740 owners can assure their customers of absolutely consistent performance night after night, in venue after venue,” EAW President Jeff Rocha said. “With a network of Red Certified KF740 rental companies, owners that cross rent and tours that contract PA vendors in different cities or different countries can get this same level of consistency anywhere on the planet.”
Powercubes feature a 24U rack in a shock-absorbing cage to house the power distribution, amplifiers and input and output panels. Electrical power distribution panels include standard, three-phase input connectors and circuit breaker protected outputs configured to support each amplifier compliment.
The ingenious input panels allow for maximum flexibility without switching the connectors. The input panels provide analog connections with loop through, AES connections with parallel loop through and dual Ethernet ports for loop through the amplifier’s digital network. Selectable ground lifts located on each analog input allow it to be linked to the next successive input in series, allowing a single input to drive multiple channels of a multi-amp system.
Likewise, Powercube output panels feature both Neutrik® NL4 connectors and NL8 connectors that combine amplifier outputs. This allows for Powercube to drive KF760s, KF740s or KF730s without ever rewiring the amp rack.
Powercubes include amenities that make them easy to work with under difficult conditions. All models feature a Littlite® gooseneck lamp on the back of each rack for easy patching and configuration in dark areas. They include easily accessible courtesy power outlets appropriate to their voltage to power personal electronics or charge wireless devices. Finally, all models except the Powersoft 230V version include a locking storage drawer.
For more information, please visit www.eaw.com.
Two-day seminar on Powercube™ power and processing module yields maximum results
Prolight + Sound, Frankfurt, Germany, March 21, 2012 – EAW® (Halle 8.0, Stand F21) today announced the launch of their Red Certification™ training program in support of their Powercube™ power and processing modules. EAW will award the Red Certification status after completion of a two-day seminar conducted at the customer’s location. EAW President Jeff Rocha made the announcement.
“Powercubes deliver tremendous capabilities to owners of EAW mobile production line array systems,” Rocha said. “Red Certification ensures that Powercube owners get the most out of these exciting, new products.”
The Red Certification training seminar was designed by EAW Technical Training Manager Bernie Broderick, a long time mobile production and concert touring veteran as well as an experienced instructor. Broderick will deliver the training seminars in North America and will work with EAW’s world-wide Application Support Group members to deliver the seminars globally.
“EAW’s line array technology is far too advanced for users to just hang a bunch of modules and hope they sound good,” Broderick said. “After completing the Red Certification training, EAW line array owners will fully understand the suite of tools that EAW provides, and they’ll know how these tools work together to deliver consistent results from venue to venue.”
The Red Certification training seminar consists of several sections, including:
• Point source physics
• Array design fundamentals
• Line array physics
• EAW Resolution™ array design and modeling software
• EAW Greybox™ settings
• Hands-on array rigging
According to Broderick, the training seminars build toward a complete understanding of EAW’s sophisticated approach to line array design, control and execution. By carefully integrating modeling software, rigging hardware and digital signal processing, users can build arrays for a range of venues and enjoy consistent results from various designs.
“Once users understand that the ‘basics’ of line array physics are incredibly complicated,” Broderick said, “they’ll appreciate the crucial role that EAW Resolution plays in designing arrays for a given venue. As soon as they start to rely on Resolution, they’ll understand why Greybox settings are the best way to get the performance they need. If they can build the array with the correct angles between the modules and apply the correct Greybox settings, they should get the results that Resolution predicts. It’s just that simple.”
For more information, please visit www.eaw.com.
— Keeping tabs on 249 separate flat-panel displays for ardent horse-race wagerers is a snap, thanks to Xantech WIC1200 Web Intelligent Controller and Xantech CSPLCD64GW and CWTC10 wired and wireless touchpanels —
CARLSBAD, CA, March 13, 2012 — Albany, New York residents don’t have to go to Las Vegas or Atlantic City for off-track betting action in comfortable surroundings and lots of options. Instead, they can stay right on Central Avenue in the state capitol at the new OTB Clubhouse Race Book, where they can watch live horse racing and other sports on 249 flat-screen panels throughout the OTB super-parlor, a one-of-a-kind flagship facility featuring fine dining and a theater-sized screen, among other amenities. Behind the scenes, keeping the Racing Center running smoothly are technology solutions from Xantech, a leader in the field of audio/video remote control and distribution. The entire AV system, consisting of 249 Sharp 60-inch LCD displays and Sony 55- and 46-inch flat-panel displays, as well as the sound system, is controlled via six Xantech WIC1200 Web Intelligent Controllers and five Xantech CSPLCD64GW 6.4″ Commercial Touchscreen Displays and CWTC10 10.4” Wireless Touch Controllers. The Xantech units and other AV systems components were installed and integrated by Com Tech, Inc.
Chuck Zarriello, President of Com Tech, says the project had tight deadlines and required a control system that was reliable, cost-effective and flexible enough to integrate both the latest flat-screen displays and 20 older models that were taken from the previous OTB location that the new Tele-Plex Racing Center was replacing. “The WIC1200 is a fantastic controller – powerful and intuitive and easy to use,” says Zarriello, “but just as important is that it’s very cost-effective – we could not have gotten this level of control from other manufacturers at this price.” Zariello says that the cost-effectiveness of the Xantech products creates more than cost savings – it creates confidence. For instance, he says, the wireless touchpanels act as a backup for the wired panels, which control global on/off and channel select for any combination of all of the displays. “That creates a fully redundant system that’s incredibly reliable and at an affordable cost,” he explains. “And the WIC1200s are the glue that holds the entire system together.”
Xantech’s Web Intelligent Controller WIC1200 is a stand-alone room controller for Networked/Web-based control featuring 2 IR Ports, 2 Serial Ports, 2 Contact Closure ports, and 2 Digital I/O ports as well as 2 Ethernet ports (one with POE) for TCP/IP telnet control with less intrusion into facility IP networks. On its own, the Web Intelligent Controller is an Event-driven component with two RS232 ports (configurable for RS422 and RS232) and a single IP port. The Event Manager is capable of Timed Events, Calendar Events, Telnet and Serial Events as well a full FTP site, Web Server and Email Server. The Xantech SPLCD64GW 6.4″ Smartpad LCD graphic touchpanels and CWTC10 10.4” WiFi touch-panel controllers give users the convenience and simplicity of a touchpanel controller in a self-contained unit that is easy to install, easy to program, and, perhaps best of all, easy to afford. Its 640 x 480 resolution with 64K color provides outstanding graphics and clarity.
For more information, please visit www.xantechcommercial.com.
KNOXVILLE, TN, March 19, 2012 — Waves Audio, the industry-leading developer of professional audio digital signal processing technologies, announces the availability of V9, the new version of Waves plugins. Featuring 64-bit support, faster scanning, faster loading, and faster processing, Waves Version 9 opens up new dimensions of high performance plugin power.
One of Version 9’s most highly anticipated features is 64-bit operating system support. Now Waves users can unleash the power of massive amounts of RAM memory in the DAW hosts of their choice. V9 also marks the introduction of Waves’ new easy-to-use authorization system, Waves License Center, which eliminates use of the iLok, ushering in an era of simplicity, flexibility, mobility and security. Waves License Center offers users authorization activation straight to their computer or any USB flash drive; easy license management; license mobility via USB flash drive or users’ License Cloud; and one-click license recovery in the case of lost or damaged devices.
With new V9 plugins added to Waves’ Gold, Platinum, Diamond and Horizon bundles, there’s never been a better time for users to renew their Waves Update Plan coverage. New plugins in Horizon: Kramer Master Tape; PIE Compressor; HLS Channel; Bass Rider; CLA Guitars; Maserati Drums; OneKnob Filter; and OneKnob Driver. New plugins in Diamond: GTR3 Software; OneKnob Filter; and OneKnob Driver. New plugins in Platinum: GTR3 Software and OneKnob Driver. New plugin in Gold: GTR3 Software.
Waves V9 is now available. Visit www.waves.com for more information.
Pro audio veteran will head up EAW® sales efforts in the region
Whitinsville, MA, USA, March 15, 2012 – EAW®, a world leader in audio system technology for over 30 years, has appointed pro audio veteran Alex Schloesser to the position of EAW Asia-Pacific Sales Director. The announcement was made by Jeff Rocha, EAW President, and reflects EAW’s ongoing commitment to growth in the Asia-Pacific region. In his new capacity, Schloesser will report to and work closely with Davwinder Sheena, LOUD Technologies’ Asia & Pacific-Rim Managing Director.
With more than 20 years in pro audio in and out of his native Germany, Schloesser has a wealth of experience from his past positions. He is fully versed in audio technology, including acoustical simulation and treatment, audio consulting, sound design and studio/control room specifications. He has worked as an engineer and consultant for 24 years, working in R&D as well as in all levels of live performance – system tech, P.A., front-of-house mixing, system design etc.
Schloesser has been a part of installation and system design for stadiums in Germany, Russia and the Middle East; churches in Germany and the U.S; the P.A. system at the Grand Mosque in Mecca etc. He has also served as Head of Audio for two seasons of the German Pop Idol program, as well as a number of other TV shows, totaling well over 12,000 broadcasts. Live system tech credits include MANOWAR’s 2008 tour, Heaven & Hell’s 2010 German tour and 2011 Roxette concerts.
Jeff Rocha states, “Our growth in the Asia-Pacific region has been nothing short of phenomenal. With Alex devoted exclusively to EAW, we now have a resource that can help us build on this momentum. We think Alex can drive the pace of growth even higher.”
Davwinder Sheena adds, “Growth of all LOUD brands in the Asia-Pacific region is what’s driving this hire. Alex has been a part of the global audio community for over two decades, so he knows the players across the region. Thanks to this wealth of experience, he can hit the ground running and take EAW sales to new heights.”
Schloesser notes, “EAW is more than a brand. It’s almost a lifestyle for people in pro audio. Now I get to be a part of this iconic company – a part of the history. Asia is growing, and EAW is growing. My job is to connect those two things. It’s tremendously exciting to think about what kinds of projects we’ll be involved with in the future.”
For more information, please visit www.eaw.com.
—Contest offers a chance to have an artist’s song mixed by Chris Lord-Alge, one of today’s most in-demand engineers—
KNOXVILLE, TN, March 14, 2012 — Waves Audio, the industry-leading developer of professional audio digital signal processing technologies, and AudioFanzine, an online magazine catering to musicians as well as sound engineers, home-studio recording enthusiasts, and audio engineers, have teamed up to present the CLA Song Competition. The contest gives entrants a chance to have their song mixed by multi-GRAMMY® Award-winner Chris Lord-Alge (CLA), one of today’s most in-demand engineers. Lord-Alge’s credits include such acts as Green Day, Bruce Springsteen, Bon Jovi, Dave Matthews Band and Daughtry, to name only a few. Participants can enter through the Waves website or Facebook page.
To enter, artists should submit their best song, and Lord-Alge will pick the winner himself. He will make his choice based on the overall presentation: song, image and performance. The Top 25 finalists will be chosen by public voting; one lucky (and talented) artist or band will have their song mixed by none other than CLA himself.
“I am super-excited about this. I am all about finding the best song and giving it the best mix,” stated Lord-Alge. “What I’m looking for is the best possible song with the best structure, getting to the point and showing me the lyrics and melody. So it’s not going to be about how good your mix is, it’s going to be how good your song is, because the mixing part is going to be on me. A good song to me gets its point across in three minutes, four minutes max, so make sure that what you send me is the best arrangement you can come up with for your song. I look forward to bringing this competition to a close with a great mix for Waves, AudioFanzine and the winner of the competition. Good luck.”
Visit www.waves.com for more information.
— Newly installed Avid D-Command mix console was installed over a long weekend and ready to go to work at the beginning of the week thanks to GC Pro’s logistical experience and willingness to be there when needed —
— For over 20 years this successful Chicago Loop music and audio house has worked with top commercial clients, and GC Pro has been a longtime partner —
WESTLAKE VILLAGE, CA, March 13, 2012 — Earhole Studios has been part of Chicago’s thriving commercial music and audio business since 1990, currently serving clients including UPS, Chrysler, Sprite, Motorola, Allstate, BP and other major international brands. One of the reasons this 10-employee facility has been so successful is that they truly partner with their clients, looking for the nuances that will make the outcomes of their collaborations truly unique. That’s also the kind of support that Earhole Studios has long experienced with Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, which has been providing Earhole Studios with sales, service and advice for years.
GC Pro has been the vendor for equipment that has gone into Earhole’s main Chicago location’s three mix rooms and their satellite locations in Los Angeles and Detroit, and even for many of the staff composers’ own personal studios. Most recently, GC Pro provided a new Avid D-Command recording and mix console that was installed in Earhole’s Studio B in Chicago, replacing an Avid Pro Controller there. But GC Pro provided more than just the products that help keep clients like Earhole Studios on the leading edge – they also offer expertise and know-how that makes major transitions like these easier and seamless.
“The new D-Command needed to go in and be up and running over what amounted to a long weekend, which was no simple task,” recalls Eric Lambert, a veteran Composer and Creative Director at Earhole Studios. “What made it happen was that the guys we’ve worked with at GC Pro for years, Dan Scalpone and Javier Briseno, not only got us the equipment we needed but also helped us pre-plan the entire transition from one console to the other. The trick to successfully pulling off a major installation like this is to plan it out in as much detail as possible in advance, in order to keep the amount of downtime for the studio to a minimum, and that’s something that Dan and Javier were incredibly adept at.”
GC Pro’s experienced sales representatives made sure they were available for Earhole’s staffers throughout the weekend of the installation, ready with any last-minute extras. Then there’s what Lambert calls the “last five percent” – the items that almost no amount of planning can allow for until the job is nearly finished. “GC Pro was there for that, too,” he says. “Whatever we needed, whenever we needed it, it was there for us.”
Looking over the studio, Lambert estimates that at least half of the equipment there was procured through GC Pro, including every piece of Avid gear in all of the facilities. Calling on his years of experience in advertising, Lambert offhandedly composes what could be the GC Pro mantra: “Always available, always knowledgeable, always helpful, always there,” he says. “What else could you ask for?”
For more information, please visit www.gcpro.com .
— Personal studio design guru Carl Tatz shares his design secrets and acclaimed PhantomFocus™ System expertise with students and staff at Berklee College of Music and SAE Nashville, as well as contributing a chapter to Bobby Owsinski’s new tome The Studio Builder’s Handbook —
Nashville, TN: “Carl Tatz has used his previous experience as a studio owner to become not only one of the most forward-looking studio designers today, but an innovator in monitoring technology as well. His PhantomFocus™ System (PFS) monitor tuning protocol is quickly becoming the standard by which all others are measured,” quotes bestselling author and music/technology advisor Bobby Owsinski, who has dedicated an entire chapter in his latest textbook, The Studio Builder’s Handbook, based on a point that Carl Tatz, noted personal studio designer and creator of the PFS, drives home with knowledgeable stealth and experience: “There is nothing more important in a control room than the accuracy of your monitoring.”
Tatz also comments about his recent invitations to lecture at the prestigious Berklee College of Music in Boston, Massachusetts, and the Nashville, Tennessee branch of SAE: “I try to give them something practical they can take with them and use right away in their own home studios.”
“Carl was so gracious to come speak with our senior audio students at SAE Nashville during Acoustics class. The students were very excited to hear about the PhantomFocus System, and the information Carl shared provided an unparalleled educational experience for our students,” comments Crystal Armentrout, Director of Education, SAE Nashville.
Rob Jaczko, Chairman of the Production and Engineering Department at Berklee, recalls, “I thought the students asked some great questions and learned a lot also.”
“There are quite a few things you can do to improve your home studio monitoring that are really quite simple and very rewarding if you are willing to take the initiative to calculate your monitoring position relative to the room’s acoustic peaks and nulls and deal with the first reflection points relative to what I call the Null Positioning Ensemble™,” instructed Tatz.
When Tatz extends this information to its logical end, adding many steps including various decoupling and isolation modules, subwoofer system and powerful DSP, the result is what he has achieved with the PhantomFocus System. “A lot of what I do is about myth-busting, and I’ve broken quite a few in developing the PhantomFocus System, choosing to rely on physics and the resulting sonic performance rather than acoustic superstitions.” And that performance is quite dramatic, as anyone who has experienced the PFS will agree.
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