Archive of the Industry News Category
“We are very proud and excited to join SSL in bringing the new Live platform to our clients and projects”
AMSTERDAM – Solid State Logic has appointed Pro Audio specialist Audio Electronics Mattijsen (AEM) as its Live console Distributor in The Netherlands. AEM has been serving the Dutch pro audio industry for over 30 years and is the latest addition to SSL’s Live console partner network.
“SSL Live is the high-end mixer solution for which we have been looking for years to complement our portfolio,” says Roland Mattijsen, applications specialist and AEM co-owner. “Being ambitious, innovative and able to exceed expectations is not an easy task for any manufacturer. With the Live console, SSL is offering its highly respected SuperAnalogue™ front-end, 64-bit FP DSP processing and high channel/bus counts at 96kHz throughout. With those specs, Live would attract the attention of top sound engineers and designers, even without the SSL badge. We are very proud and excited to join SSL in bringing the new Live platform to our clients and projects. With SSL’s history of providing leading mixing console designs, first in music recording and again in broadcast environments, the company is well suited to bring exciting new technology and superior audio quality to the live industry.”
“The Live console has already generated great interest from prospective customers, but they also require a sales support structure of the highest standard to help them at the local level,” says Tim Harrison, Area Sales Manager for Solid State Logic. “To fulfill these requirements, SSL needs experienced and highly reputable partners with well established contacts in the rental and install markets. We also wanted partners with a strong and proactive support team equal to our own. Audio Electronics Mattijsen fulfills all of these needs. We could not wish for a better partner in the Netherlands.”
Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.
New Toft ATB 32-Channel Consoles at Center of Redesigns
Pictured at SAE Chicago with the Toft ATB 32-Channel console are (L-R) Vintage King's Jeff Leibovich and SAE's Bill Smith.
Vintage King Audio is working to expand the studio facilities for Audio Technology Program students at SAE Institute’s creative media arts colleges across the United States. After years of working with SAE, VK was recently called upon to implement a comprehensive upgrade of its recording studios with standardized 8-Bus configurations.
“We’re working on a number of projects with SAE, but the main one is getting the 8-Bus rooms together at SAE’s Miami, Nashville, and San Francisco schools,” says Jeff Leibovich, sales consultant at Vintage King, a global leader in professional audio sales, studio consulting, and comprehensive gear servicing. “Ultimately, we’re aiming to equip SAE’s campuses in a similar fashion, which will ensure that all of SAE’s audio engineering students have access to the same kind of professional studio set-ups that they’ll encounter when they graduate and start working. This technical uniformity will also create consistency in training, and allow students to transfer between campuses seamlessly.”
“Working with Vintage King has been great,” says Bill Smith, SAE National Academic Director. “Because VK has such a broad reach in the industry, it ensures that the equipment we’re buying is truly reflective of what’s used professionally. It makes the learning experience so much better when the students get a taste of true quality in a real working environment. With our seven campuses around the country, having a strong partner that can provide immediate support is invaluable.”
Vintage King was involved in the building of SAE’s Chicago school at its earliest stages. They provided SAE’s newly opened Chicago campus with a Toft ATB 32 console and select outboard gear, including Daking 500 Series EQs and Mic Pres, Purple Action Compressor, SSL 611 Dynamics, and Phoenix Audio DRS-EQ500. A similar package was installed in Nashville and is slated for San Francisco. SAE’s Nashville, Atlanta, Los Angeles, and Miami campuses were equipped with the new Genelec M040 and M030 monitors. Both the Nashville and Miami campuses also received new outboard gear for their SSL rooms and a variety of new microphones from Neumann, Royer, Sennheiser, AKG, and others.
“The best part of working with SAE in Chicago was that I got to see the space go from a shell to the professional facility that it is today,” says Leibovich. “What’s impressive about SAE is that they’re not just teaching the science of audio to their students, they’re also teaching them the skills that they’ll need to become working engineers, producers, and entrepreneurs in today’s music and entertainment business.”
SAE Institute was established as The School of Audio Engineering (SAE) in October 1976 by engineer/producer Tom Misner, who in doing so developed the world’s first combined practical and theoretical curriculum in audio engineering. Their unique education system remains the only one of its kind in the world and has since expanded to offer programs in other curriculums such as film making, multimedia and other creative medias. SAE has campuses in Atlanta, Chicago, Los Angeles, Miami, Nashville, New York, and San Francisco, with over 50 campuses worldwide.
ABOUT VINTAGE KING AUDIO
Vintage King Audio is a global leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals, from selecting a new microphone to designing a studio from the ground up, Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. Far surpassing the basic functions of an audio dealer, however, Vintage King Audio values its long-standing partnerships with manufacturers and stays connected with the professional audio community through hosting frequent events, panel discussions, and product launches. For more information, visit http://www.vintageking.com/about-us
Models for Kick, Snare, and Toms with Flight Case & Cables
Pictured is the new TELEFUNKEN DD5 Dynamic Drum Microphone Set.
TELEFUNKEN Elektroakustik of South Windsor, CT has combined the three unique voices of its TEC Award-winning Dynamic Series microphone line, and packaged them as the DD4 and DD5 Drum Microphone Sets for studio recording and live performance applications.
Each microphone set consists of the M82 for kick drum, the M80-SHB for snare, and the M81-SH for toms. The DD4 and DD5 sets ship in heavy-duty, hard shell FC80 flight cases, and include multiple drum mounts (M782, M784, and M785) and a SGMC-5R five-meter XLR cable with a right angle female connector for each microphone in the set. Microphones featured in these sets include the following:
TELEFUNKEN Elektroakustik created the M80-SHB for use on snare drum and vocal applications where a lower profile microphone with right angle XLR cable is needed. The M80-SHB has the same exact circuit as the M80 Standard, housed in a shorter microphone body with a built-on stand mount. The wide frequency response and higher SPL capabilities of the M80-SHB offer the user a superior alternative to the midrange-laden character of many of the industry’s standard dynamic microphones. A tight cardioid polar pattern and a frequency response boasting a subtle rise in the high end result in a microphone that is equally suitable for snare drum, vocals, and other instruments on both the stage and the studio. The M80-SHB is finished on both the headgrille and body with a durable, textured black powder coat.
The M81-SH was designed with the goal of developing a mic that would not only complement the M80-SH, but also stand out in a universe filled with dynamic microphone options. Building off many of the strengths of the M80, the TELEFUNKEN M81-SH retains the same minimal proximity effect, superior feedback rejection, and an articulate mid-range. However, with the M81-SH, the top end is pulled back a bit, yielding a flatter overall frequency response. This combination results in a microphone with a wealth of body and clarity, making it a great tool for fattening up toms, percussion and horns, or taming brighter vocals or thinner sounding sources. The M81-SH is identical to the M81 in circuit, but housed in a shorter microphone body with a built-on stand mount, and finished in a durable, textured dark gray powder coat on both the headgrille and body.
The M82 is a robust large diaphragm end-address dynamic microphone that has been designed for kick drum and vocal broadcast applications. Hand-assembled in the USA, the M82 features two independently functioning EQ switches: KICK EQ and HIGH BOOST, creating four unique voices. The M82′s KICK EQ switch engages a passive filter that reduces some of the lower mid-range frequencies (centered around 350Hz) commonly cut when processing a kick drum. The HIGH BOOST switch tilts the upper mid-range and high frequencies (starting around 2kHz with a 6dB boost by 10kHz) to allow for extra articulation. In the flat setting (both switches off), the M82 is equally suited for vocals, guitar amps, and brass.
The DD4 Drum Microphone Set sells for $1149 and includes:
1x M82 with M782 mount
1x M80-SHB with M784 (metal) and M785 (plastic) mount
2x M81-SH with M784 (metal) and M785 (plastic) mount
4x SGMC-5R five-meter XLR with right angle female connector
1x FC80 Hard Shell Flight Case
The DD5 Drum Microphone Set sells for $1349 and includes:
1x M82 with M782 mount
1x M80-SHB with M784 (metal) and M785 (plastic) mount
3x M81-SH with M784 (metal) and M785 (plastic) mount
5x SGMC-5R five-meter XLR with right angle female connector
1x FC80 Hard Shell Flight Case
About TELEFUNKEN Elektroakustik
TELEFUNKEN Elektroakustik produces a comprehensive line of fine microphones, ranging from meticulously engineered replicas of historic vintage microphones handcrafted in the USA, to the R-F-T series of microphones that take advantage of the globalization of technology, as well as innovative dynamic microphones for live and studio performance.
To learn more about TELEFUNKEN Elektroakustik, visit: http://www.t-funk.com
Satellite Provider Installs Eclipse HX and FreeSpeak Systems
MANCHESTER, ENGLAND, 4 DECEMBER, 2013 – SIS LIVE has installed a fully-integrated communications platform with Clear-Com® intercom systems in its new headquarters in MediaCityUK, facility in Milton Keynes and two new hybrid broadcast vans. The solution was supplied by Tyrell, Clear-Com’s U.K. distributor for the broadcast market.
SIS LIVE, Europe’s largest outside broadcast and satellite uplink provider, installed an Eclipse HX-Omega Digital Matrix at its new MediaCityUK site and an Eclipse HX-Median Digital Matrix at its Milton Keynes facility. Both digital matrix systems are connected over an IP trunking link via E1 card. The Eclipse HX matrices control the communications setup and link all the Clear-Com Eclipse V-Series Rotary key panels via the Optocore/BroaMan network. The scalable and flexible Optocore/BroaMan solution facilitates audio and data transport over a reliable fibre connection with almost zero latency across long distances. In addition, FreeSpeak Digital Wireless beltpacks are seamlessly integrated to the matrices at the MediaCityUK facility to enable communications between roaming users and fixed location employees that are utilizing the V-Series Rotary panels at both sites.
“Clear-Com’s Eclipse HX-Omega Digital Matrix is one of the densest matrix frames on the market and can accommodate all of SIS LIVE’s 64 MADI channels on a single card,” says Dave Gill, Head of Technical Delivery, SIS LIVE. “After significant research, we selected Clear-Com because of its ability to deliver a tightly integrated and efficient infrastructure. The robust system delivers the features, audio quality and high performance we require for our productions at MediaCityUK.”
In addition to the MediaCityUK build and the Milton Keynes upgrade, SIS LIVE also expanded its outside broadcast services. The company commissioned two new hybrid OB vans and equipped them with the compact Eclipse-PiCo Digital Matrices with V-Series panels for full communications functionality.
“We are very pleased that SIS LIVE has selected Clear-Com as its communications platform between its internal sites and to external client locations,” comments Dan Muchmore, Regional Sales Manager for the United Kingdom, Ireland and Scandinavia. “Our intercom solutions deliver uncompromising levels of audio performance and reliability for SIS LIVE in the studio and in the field. The Eclipse HX intercom solutions are fully scalable to accommodate forthcoming developments, making it a valuable long-term investment.”
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analogue and Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.
Famed studio opens recording and live schools, adds new studio based around Dangerous Music equipment: 2-Bus, Liaison, BAX EQ and Monitor ST
Edmeston, NY – December 3, 2013 – Blackbird Studio
The 'Studio I' at the new Blackbird Academy in Nashville features the Dangerous Music 2-Bus, Monitor ST, Liaison and BAX EQ
in Nashville, Tennessee, is one of the world’s best-equipped and favorite recording studio destinations for top musicians, producers and engineers. Artists such as Kings of Leon, The Black Keys, Jack White, Keith Urban, Sheryl Crow
, and Tim McGraw
have graced its live rooms. Studio owner John McBride
brought in industry gear experts, musicians, and educators Kevin Becka
and Mark Rubel
to create a new studio and curriculum for McBride’s vision of The Blackbird Academy, Professional School of Audio
. Becka chose Dangerous Music
equipment for the new studio, including the company’s 2-Bus
analog summing, the Liaison
programmable analog router, the BAX EQ
, and the Monitor ST
monitor controller to complement and integrate with the AVID Pro Tools|HDX recording system. The new studio offers a hybrid analog and digital experience for the students, a reflection of today’s most popular direction for recording studio design. more
Fiber Transport System Boasts Superior Audio, Reliability and Cost-Effectiveness as Key Benefits
GAPYEONG, SOUTH KOREA, DECEMBER 3, 2013 — When the CheongShim Peace World Center first opened in late 2011, the AV technology team knew that the vast size of the arena (it seats up to 25,000 people) would dictate the type of audio and data transport system that would support it. Traditional analog lines were just not going to cut it. Instead, the team turned to Optocore, the leading provider of scalable, high-bandwidth, low-latency fiber-optic networks for the transmission of audio, video and data in a variety of markets, for its fiber transport technology.
Located just over 21 miles outside of Seoul in the Gapyeong District in South Korea’s Kyunggi province, CheongShim Peace World Center is owned by Unification Church (also known as Moonism) and is the largest multipurpose hall in the area, to date. The approximately 1,367-square-foot (127 meter) steel-frame structure boasts a 29 ½ foot (9 meter) high arena that is generally used for various activities by the Unification Church’s general assembly, as well as for corporate events, concerts, plays or CF (commercial) shooting. Paired with Yamaha gear, the recently installed Optocore fiber system is just what was needed to properly transmit audio digitally from the microphones to the Front of House (FOH) and the PA system to its large constituency. Without it, the size of the venue would be just too big to transmit microphone signals over analog lines.
“We chose the Optocore system for its reliable optical transmission system, in order to ensure the audio would be heard throughout our large arena,” says Kim Hanchoon, audio/video technical director, CheongShim Peace World Center. “Traditional cabling was just not going to be reliable enough and while Optocore is still a rather new technology to many here in South Korea, we were happy to expose the team to Optocore’s fiber optic transmission method and all of the benefits that can be reaped from it.”
The equipment has been installed to support Front of House (FOH) as well as the sound control room. The Optocore DD32E system consists of three X6P-16IN units in the stage rack, each with 48 channels of analog mic inputs to digital and one X6-16OUT with 16 channel digital to analog converter. In addition, the DD32E provides AES/EBU feeds to the system’s loudspeaker DSP controllers at the main mix position, with a Yamaha PM5D mixing console loaded with one Optocore YG2 fiber optic card and two additional Optocore YS2 Slave cards that allow for up to 48 inputs and outputs to/from the Optocore network to the mixing console, as well as control of the X6 Optocore microphone preamps.
In the sound control room there is a Yamaha DM2000VCM mixing console loaded with an Optocore YG2 fiber optic card and two Optocore YS2 Slave cards that allow for up to 48 inputs and outputs to/from the Optocore network to the mixing console as well as control of the X6 Optocore microphone preamps. Rounding out the system, the technical team uses speakers and a speaker control unit from Meyer Sound.
Of the many benefits that the Optocore system has provided to the church, three stand outs for Hanchoon include sound quality, console connectivity and long-distance transmission.
“Having the Optocore system in place enables us to transmit signals by a fiber optic cable without noise or any audio loss,” he explains. “When our audio is passing through small outputs such as at the microphone level, there is no noise to distract our constituents; they are hearing the sermon, loud and clear, which is something that’s very important to us. In addition, it’s easy to control the Optocore system with the touch of a button on the console, while it also can handle the user to patch in all 48 channels, easily configuring the control layers.”
Finally, Hanchoon says he is pleased with the long-distance capabilities that fiber optic transmission has afforded to the church.
“It’s often the case when using a multi-cable setup for a long distance signal, that there might be a loss of signal transmission caused by the circuit size that is over 200 meters, such as in our case,” he says. “By utilizing Optocore and fiber optics instead, we can overcome the distance barriers, ensuring smooth, reliable transport every time.”
“We are so pleased to provide such a complete solution to the A/V team at CheongShim World Peace Center,” says Tine Helme, director, Optocore. “The fact that our system can be used in three ways—as an electrical transmission system by multi-cable (analog), signal transmission of console and stage box (using PM5D and DSP50) by UTP cable, as well as optic transmission—is further proof of the unprecedented benefits that fiber transport can bring to even the most challenging of situations, such as CheongShim’s large venue.”
Based in Munich, Germany, Optocore is the world market leading provider of scalable, high-bandwidth, low–latency fiber-optic networks for the transmission of audio, video and data. For 20 years, Optocore has been continuously innovating and setting new standards with regards to digital network technology. Optocore builds and develops synchronous optical fiber and CAT5 based network solutions for broadcast professionals, fixed installations and live event applications. Utilizing leading-edge technology and high-quality components Optocore guarantees durability and therefore long-term market and customer satisfaction. Due to the open system architecture, Optocore’s platform offers other manufacturers the option to transfer conventional standard audio, video and data formats used in the pro audio industry, via a fiber and CAT5 network. Technical expertise, QoS and an extensive support structure are guaranteed to all customers, together with the highest level of quality controls. For more information, visit www.optocore.com.
Rickey Minor and Chris Walden Head Up 50-piece Date for AMA Icon Award
Pictured in Ocean Way's historic Studio A are (L-R) assistant engineer Wesley Seidman, recording engineer Steve Genewick, arranger/conductor Chris Walden, producer Rickey Minor, and contractor Ernie Fields, Jr. Photo by David Goggin.
A 50-piece orchestra assembled at Ocean Way’s historic Studio A to record orchestral arrangements of Rihanna’s smash hit “Diamonds” for the first-ever Icon Award presented during the recent American Music Awards broadcast.
“Producer Rickey Minor (Tonight Show with Jay Leno) called and asked me to write and conduct the orchestral arrangements over Rihanna’s existing rhythm tracks for her song ‘Diamonds’,” commented 4-time Grammy nominee Chris Walden. “Our contractor Ernie Fields, Jr. put together a great group of musicians for a really exciting session with Rickey at the helm and Steve Genewick engineering.”
The award presentation during the broadcast came after Bill Maher made the announcement as emcee, “She has become, I think, the voice of our time.” A video commemoration from Jay Z and a video montage showing her career highlights was followed by the special performance of her song “Diamonds.” Rihanna then accepted the Icon Award, which was presented to her by her mother, Monica Braithwaite. Following thanks to a group of people including Jay Z and producer Antonio “L.A.” Reid, she ended her speech, “I can’t believe that at 25 years old I’m holding an Icon award.”
For information about Ocean Way, visit:
Contact Robin Goodchild for all booking requests.
Email: email@example.com or call 323-467-9375.
Kell Will Oversee Marketing Communications for the Company
COLOGNE, GERMANY, 2 DECEMBER, 2013 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce that it has named Jessica Kell as Head of Marketing. Kell will draw upon her technical training as a lighting and sound technician and her media design experience to lead RTW’s marketing efforts as the company continues to enjoy rapid growth.
In her new position, Kell will be responsible for overseeing RTW’s global marketing communications, including product campaigns and trade show planning. She will work closely with the company’s sales team to develop messaging for new campaigns that continue to reinforce the company’s commitment to developing solutions that best address the needs of current and potential customers.
“I am very pleased to join RTW,” says Kell. “The company’s industry reputation is stellar, one of quality and innovation. It is an exciting time for RTW, as it continues to penetrate new markets and reach new customers with its innovative audio solutions. I look forward to working closely with the team to help enhance its brand throughout the world.”
A lighting and sound technician, Kell brings her extensive knowledge of event production technology to RTW. She has worked at several opera houses, both as a technician and stage manager, and understands the important role that reliable, up-to-date audio equipment plays in a successful live production. Prior to joining RTW, she worked as a freelancer for several design and event-planning agencies in Germany. She has also studied media communications and cultural sciences. This combined background gives Kell a solid foundation for understanding the needs of RTW customers, enabling her to highlight RTW’s solutions in an intelligent and effective way.
“Jessica brings a unique combination of skills and experience to her new position,” says Andreas Tweitmann, CEO, RTW. “She has a fresh perspective, one based on her hands-on experience as a technician and her expertise in communications and graphic design. As RTW continues to expand its presence within new markets and deliver innovative metering solutions, we are very happy to have Jessica on board to lead our marketing efforts.”
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.
RTW’s ranges of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.
As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.
For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.
Highland Baptist Church utilizes 22 Earthworks High Definition Microphones™ for Singing Christmas Tree Performance
Milford, NH – Franklin Denham, Minister of Music at Highland Baptist Church in Meridian, Mississippi, has been conducting Singing Christmas Tree performances since 1985. The history of singing trees goes back to the outdoor presentations in 1933 at Belhaven College, Jackson, MS, which is considered the first and oldest outdoor Singing Christmas Tree event in America. At the time, indoor performances were rare, as it required a rather large church to accommodate this type of performance. All of the tree performances at Highland Baptist Church have been continually held indoors and are performed 6 times each year. Over the past 29 years, there have been approximately 2,800 attendees per season. Depending upon the year, there will be from 65 to over 100 singers on the tree. It stands 35 feet high, with nine rows of singers and weighs 21,000 pounds fully loaded.
“Over the years we had used conventional condenser microphones for sound reinforcement on the tree,” explains Denham. “About four years ago we converted to Earthworks® and placed 16 SR30 High Definition Microphones™ on the tree. The Earthworks microphones make 60 singers sound more like a hundred. We are able to get more gain-before-feedback. This allows us to bring the choir sound up to a level that will balance well with our 21-piece orchestra and organ. An immediate bonus of the Earthworks microphones is a dramatic improvement in intelligibility. If a choir can be heard and understood, what can be better than that?”
The choir begins each program singing on risers directly behind the orchestra. For these selections, Denham utilizes 4 Earthworks FW730 Flexwands™. “The Flexwands provide us excellent coverage of the choir, more gain-before-feedback and more intelligibility,” says Denham. “The rear rejection of the Flexwands keeps the leakage of the orchestra into the choir microphones at a bare minimum. The Flexwands are almost invisible from the congregation when the house lights are up. When house lights are dimmed, the Flexwands become completely unnoticeable. One of my favorite features of the Flexwands is that the microphone connector is in the base and there are no visible wires above floor level. The Flexwands are light years ahead of our previous microphones.”
“I would also like to mention that we have an Earthworks PM40 PianoMic, which is just stellar. We use a few extra SR30s for solo instruments. The recent addition of an Earthworks podium microphone allows us to hear the spoken word with incredible detail and clarity either on, or off-axis. The use of Earthworks High Definition Microphones™ has made an incredible improvement in our church services and music performances.”
Brno University's main auditorium, one of the rooms served by SymNet processing
Distributor Audio Digital and systems integrator APS install Symetrix technology throughout new campus building.
Established in 1899, Brno University of Technology has evolved over the ensuing century to become one of the Czech Republic’s leading universities. Staff have consistently sought to match this cutting-edge reputation with high-end technology, and it was in this spirit that distributor Audio Digital and systems integrator APS recently provided the Faculty of Electrical Engineering and Communications’ new complex with a system that harnesses the power of Symetrix audio processing.
The scale of the installation was truly immense and encompassed 12 lecture halls with capacities ranging from 75 to 200 seats, along with many other smaller lecture rooms. But the undoubted centrepiece of the project – and its most challenging aspect in acoustical terms – was a 300-capacity auditorium designed in the shape of a large sphere.
“The volume and acoustics of the room are everything but standard, and yet a perfect coverage and intelligibility had to be achieved,” says Michal Zeman of Audio Digital. No small feat – yet Zeman was always aware that a system based around Symetrix SymNet Edge DSP technology could get the job done.
Modular in nature, SymNet Edge provides both the 48-channel digital audio matrix required today and the ability to scale up in the future should the need arise. Consisting of three Edge units located around the auditorium and connected over a standard Ethernet network using an Audinate Dante bus, Edge’s decentralised structure allowed Audio Digital and APS to keep analogue cable runs to an absolute minimum.
The Symetrix DSP – which is integrated into the auditorium’s overall Cue control system – is also advantageous to the teaching staff, who do not necessarily have extensive operational skills. “The choice of Symetrix really paid off here, too, as on one hand it offers user-friendly features such as automixing, and on the other allows external access to every single parameter needed, so there were no limits in adjusting the Cue’s user interface to the needs of the users,” says Zeman.
Carefully finetuning the Symetrix system to optimise the acoustics, Zeman and collaborators deployed AFMG’s EASE software to produce a loudspeaker design based around TOA line arrays and Dynacord subwoofers. Amplification comes from APart Audio amplifiers, while wired and wireless microphones by TOA, Electro-Voice and MIPRO complete the core specification.
Symetrix technology is by no means restricted to the main auditorium, however: two of the other lecture rooms feature SymNet Solus 16 standalone DSP units, while audio in ten smaller spaces is driven by Zone Mix 761 devices.
Paying tribute to the “feature-richness and competitive price level” of the Symetrix DSP technology, Zeman says that it was “from the very beginning our first and only choice for the DSP ‘brain’. No other brand I have encountered currently comes even close to what Symetrix can offer.”
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