Archive of the Live Sound Category

DPA Shows Its New d:screet™ Necklace Microphones At IBC 2014

DPA Microphones has always been renowned for its ability to deliver superb audio, even in the most challenging conditions. Now, thanks to a new range of body worn microphones, the company has overcome the biggest challenge of all – how to give control of mic placement to non-technical actors or reality show contenstants without compromising sound quality.

DPA’s solution, which will be on show at IBC 2014, is the d:screet™ Omnidirectional Miniature Necklace Microphone – a cleverly designed mic that houses a legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace.

“These microphones are perfect for situations where fast costume changes are necessary – or for reality TV shows where the contestants have to place microphones without help from a trained audio engineer,” says DPA’s CEO Christian Poulsen. “The necklace design ensures that the microphone sits in exactly the same place on the body every time, so there is no need for EQ-ing between different recordings.”

The d:screet Necklace Mic is already being used in the Danish adaptation of Big Brother and DPA anticipates plenty of interest from other reality TV productions. The mic comes in black, white and brown and in lengths of 47 or 53 com (18.3 or 20.9 inches).

At IBC 2014, DPA is exhibiting alongside its Dutch distributor Amptec on booth 8.D70. At 5pm every evening it will be holding a prize draw, which will give one lucky show visitor the opportunity to win a DPA d:screet Miniature or d:fine™ Headset Microphone. At that same time, the company will challenge one of its mics to see exactly how much stress it can withstand. Could it be used as a drumstick, for example? IBC visitors need only come along to 8:D70 at 5 pm to find out.

While there, they can also see DPA’s new heavy-duty d:screet™ 4060 Omnidirectional Miniature Microphones and classic d:screet 4060 Omnidirectional Miniature Mics with reinforced cable relief, making them even more durable for demanding use. These microphones satisfy market demand for high-quality sound combined with a highly-durable housing and cable.

“Incorporated on all d:screet Miniature Microphones, our new robust strain relief version brings much needed reassurance to people who are not used to handling miniatures,” Christian Poulsen adds.

The heavy-duty 4060 microphone is ideal for people who require even more security and for whom the visual appeal is of less importance. It is perfect for placement in rigorous filming situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. Featuring a stainless steel housing, sturdy cable relief and a thicker 2.2 mm (.09-inch) cable, both enhanced versions are exceptionally durable and ideally suited to the rigors of broadcast productions.

DPA will complete its IBC 2014 line-up with its new d:fine™ 66 and 88 Headset Microphones, which are ideal for broadcast productions with vocal performers who need to move freely without obstructions from a handheld mic or one on a stand.

Combining the flexible mechanics of DPA’s modern d:fine ear mount solution with the sound qualities of the legendary 4066 Omni and 4088 Cardioid headworn mics, the new d:fine™ 66 and 88 Headset Microphones join the original d:fine as well as the traditional 4066 and 4088 Miniature Headset Microphones under the company’s d:fine family. With so many sound handling and size options to choose from, DPA’s d:fine family now addresses every need that actors, musicians and singers face when working in a live television environment.

“There is a growing need for durable body worn microphone solutions with excellent sound reproduction for stringent use in live environments and similar settings,” Poulsen adds. “When we launched the d:fine Headset Microphones we believed that they would define a new generation of headsets. They have certainly met our expectations, which is why we have decided to expand the d:fine Headset Microphone series with this brilliant solution to give users a broad assortment of styles and features.”

For more information please visit DPA at IBC 2014. Hall 8, Stand D70.

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Martin Audio MLA™ Breaks Record At Glastonbury

Martin Audio’s groundbreaking Multi-Cellular Loudspeaker Array (MLA) system has made Glastonbury history by delivering the highest sound levels to the audience without exceeding noise pollution levels beyond the perimeter.

Making its Glastonbury debut, the system deployed on the Pyramid Stage was impressive in every respect, employing cabinets from the entire MLA™ range of loudspeakers. This comprised a total of 72 MLA for the main hangs, eight MLA Compact for stereo infill at the pit barrier and four delay positions of 14 MLA each. The latest addition to the range, the MLA Mini was also featured, providing stereo infill behind the FOH control structure and onstage coverage of artists’ guest viewing platforms. A massive broadside array of 38 MLX stretched across the entire width of the stage to provide sub-bass support to the entire system.

The company’s unique MLA technology enables very fine control of how each array covers its designated audience area. Their own amplifier and DSP channel, a total of six in each MLA independently control acoustic cells housed within each cabinet. This control allowed RG Jones system engineer Mark Edwards to specify exactly what SPL and frequency response was required across the audience, with the intelligent software automatically controlling the array to produce that result. This amounted to just a 6dB drop off over the 985 ft. long audience area, with incredibly even frequency response.

“We used our proprietary computer software to figure out how to drive each cell in each array to direct sound just at the audience, and then cut it off sharply just beyond the audience to dramatically reduce noise pollution,” says Martin Audio’s R&D Director Jason Baird. “As a result, headliners including Arcade Fire and Metallica could play at 104-105dBA – this is the first time such high levels have been achieved in the history of Glastonbury as noise limits are really strict.”

More than 150,000 fans listened to headline acts Metallica, Arcade Fire, and Kasabian, as well as The 1975, Elbow, Rudimental, Nitin Sawhney, and Dolly Parton, mixed on the MLA system.

Having persuaded the festival production in 2007 that RG Jones Sound Engineering was the right company to run audio services on the Pyramid Stage, Simon Honywill said, “I believed that MLA was the right system for the Pyramid since I first heard its extraordinary fidelity and learned about its unique abilities. Having used it at the past two Glastonbury Abbey shows, it was natural to suggest to Dick Tee and his team that it should take its rightful place on this iconic stage. I think it has more than proved itself here – I spent a considerable amount of time out in the audience and have never heard the field covered so well. And people in the crowd were openly complimentary about the volume and clarity too.”

There was also effervescent praise from the stream of FOH engineers over the weekend.

One of the biggest draws of the weekend was Metallica, engineered by Mick Hughes: “MLA is a new system to me, a new experience. I was surprised how easy it was to get the mix I wanted out of it. When I first used it I thought ‘whoa’ there’s some serious horsepower here. It just sounded really alive; I wouldn’t shy away from using it again.”

One of the most enigmatic performances was from Lana Del Ray, engineered by Max Bisgrove: “In half a song, I could get out what I needed from the MLA system. Great clarity, great power, it’s by far my favorite Glastonbury mixing experience so far.”

Dave McEwan, FOH sound engineer for Nitin Sawhney, remarked: “Glastonbury was the first time I’ve used the big MLA, and I’m really impressed – great imaging, 3D, even 4D sound. You can dive in and enjoy, it’s another sort of PA! I’m hoping to use this at the Royal Albert Hall for Nitin in September. I love it; it’s a great product, a super sounding system, lush and hi-fi, with lots of depth.”

The 1975’s engineer, Jamie McLuckie, adds: “At some festivals you have to tweak the bottom end, but MLA was nice and easy. The system sounded fat, with nice clarity and nice high end too. I couldn’t really fault it.”

For John Carroll, MD of RG Jones Sound Engineering, Glastonbury has been the affirmation of what he’s known for some time: “Martin Audio’s MLA is the next generation and there’s nothing out there to match it. Our continued support from Martin Audio is second to none.”

Summing up, Jason Baird says: “It was my career highlight back in 2008 working on our very first Glastonbury, but with MLA this year, it’s been topped. To see the massive audiences in complete unison front to back enjoying the performances, combined with the constant stream of smiling faces at FOH, it’s been the showcase for everything that Martin Audio and MLA stands for.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Getting crowds closer to the action of ‘Le Tour de France’

Calibre LEDView scalers power big screens for Yorkshire’s fabulous ‘Grand Depart’

 

While more than 5 million fans lined the roads of Yorkshire for the opening weekend of the 2014 Tour de France, relatively few got close to the action itself. For those who could not, help was at hand in the form of large LED screens powered by LEDView image-scaling technology from Calibre UK.

 

The key screens were supplied by two companies – Lightmedia and Big TV – both of which specified Calibre’s LEDView530 as their large-display image scaler of choice for the Grand Depart.

 

Lightmedia supply screens from Leeds to Harrogate and from York to Sheffield

 

‘SkyFly’ mobile LED screen from Big TV at Tour de France © Big TV - York, Sunday, 6 July.

Lightmedia supplied 19 LED screens along the route of the two opening stages from Leeds to Harrogate and from York to Sheffield, with many of them acting as the visual centrepiece for official Tour de France fan parks.

 

Eddie Elliot-Smith, Managing Director at Lightmedia, comments: “We use the Calibre LEDView530s as a key part of our rental-and-staging operation, to scale live broadcast content from TV cameras around the course for display on each and every one of the LED screens we supplied.

 

“We use Calibre because, quite simply, they are the most reliable solution in the world. Not only have we used them for this year’s Grand Depart, we also relied on them for other high-profile international events such as the Queen’s Diamond Jubilee, the wedding of Charles and Camilla, the launch of Xbox ONE and, indeed, Calibre’s previous generation of product at the Tour de France the last time it came to Britain in 2007.”

 

LED screens from Big TV for Skipton, York and Leeds

Lightmedia. Harrogate, 5 July, © Photography by David Lindsey, www.photosbydavid.co.uk

 

Big TV head technician Simon Woodcock says: “We went down to Yorkshire fresh from Edinburgh Festival and provided LED screens to various areas on the opening weekend, including Skipton, York and Leeds. The new ‘SkyFly’ mobile LED screen wowed crowds and we also provided screens for a number of private events and parties in Yorkshire as well.

 

“Calibre quality is central to our LED fleet for managing live feeds. The LEDView530 can take anything you throw at it!”

 

A high-quality LED-optimised scaler-switcher and universal interface for LED screens, the LEDView530 provides best-in-class professional image processing in a compact, affordable 1U format. It features a jog-wheel and LCD display on its for front panel for fast and easy set-up in the field, and boasts a plethora of useful features including colour adjustment of all source types, powerful picture resizing with simple pixel-accurate edge drag-and-drop, and superior scaling, de-interlacing and noise reduction to reduce image flicker and artefacts.

 

For mixed rental fleet use the scaler also has a Projection mode in which it supports warp mapping and edge blending, as well as geometry correction and general projection scaling functionality as well as a Scaler-Switcher mode for general purpose scaling and scan conversion making it a truly universal device. The LEDView530 also boasts genlock and I/O lock, making it suitable for on-stage or in-camera use at live events.

 

Pauline Brooksbank, Managing Director, Calibre UK, comments: “As a Yorkshire company ourselves, we were delighted and extremely proud to have supplied LEDView530 units to power so many LED screens along the route of our county’s “Grand Depart”. This unforgettable weekend was not just a celebration of cycling but a unique opportunity for local people to experience a sporting event they had never come so close to before.

 

“The crowds who lined the route were 20-deep in places but, thanks to Calibre’s Yorkshire-manufactured technology’s ability to take live broadcast feeds and process them for large-screen display simply, reliably and with absolutely no sacrifice in quality, everybody felt that they were part of the action.”

About Calibre

Multi-award winning British company, Calibre has over the past 26 years achieved world recognition providing image scaling and processing technologies for use in broadcast/television, digital cinema, large venue projection, LED videowalls and surgical medical applications.  Calibre manufactures products under its own brand-names as well as providing products and technology to several market leaders in the Pro-AV market worldwide. Calibre is a market leader in innovation, utilizing its own, UK & Germany-based in-house hardware and software design teams for all its product developments and its own UK manufacturing.

 

Some useful links:

 

Twitter: @CalibreProAV

 

Website: www.calibreuk.com

 

NEW DANLEY DIRECT FREE MODELING SOFTWARE DELIVERS SPEED, CROSS-PLATFORM PERFORMANCE, SOLID MATH, AND THIRD-PARTY MEASURED DATA

GAINESVILLE, GEORGIA – JULY 2014: Danley Sound Labs, maker of innovative loudspeakers and subwoofers that cleverly sidestep the trade-offs and constraints inherent in conventional designs, has applied that same “outside of the box” thinking to its latest loudspeaker and subwoofer installation design software. Named Danley Direct and available for free from danleysoundlabs.com, the new platform models the direct sound path from user-defined designs involving Danley products in three-dimensional spaces (which can be conveniently imported or modeled via SketchUp). Co-designed by renowned acoustician Doug Jones and Sebastian Rivas Godoy, Danley Direct is notable for its transparent cross-platform performance (Mac or PC), multiple-window flexibility, and tremendous speed. Like everything Danley Sound Labs puts its name on, Danley Direct is built on solid math and third-party measured loudspeaker and subwoofer data.

Danley Direct is heir to the capabilities of Danley’s DDT modeling software, which was one of the only loudspeaker modeling software programs to include subwoofer (i.e. < 100Hz) output. "When we were asked by Mike Hedden, Danley president, to update DDT, Sebastian and I realized that it had fully matured," said Jones. "It would become unwieldy if we tried to build more capability on top of its existing structure. So we decided to start from scratch. We recognized that our new software had to be fast, and it had to let the user create his or her own work environment. It needed a powerful graphics engine that could keep pace with a quick-thinking designer."

Jones and Godoy succeeded. Not only will Danley Direct operate on a Mac or PC with interchangeable files, it will do so with a fluidity that encourages exploration and creativity. The software supports multiple-window operation, and rendered objects can be rotated and otherwise manipulated without requiring re-rendering. "No other loudspeaker modeling software can do that," stated Hedden. Jones added, "With that kind of speed and transparency, Danley Direct is not going to waste anybody's time." Because it uses the ubiquitous SketchUp as its drawing environment, it's easy to create spaces either from scratch or by importing the numerous file types that SketchUp accepts (e.g. .dxf, AutoCAD). Of course, Danley Direct can import Danley DDT files, and, like DDT, Direct training will count toward CTS continuing education credits.

Although not nearly as flashy as its smooth graphics engine or its transparent workflow, Danley Direct's underlying mathematics and the Danley product data that feed into it are honest and correct. That, of course, is of the utmost importance. "Danley has always supported third-party independent measurements," said Jones. "The model you build in Danley Direct will be as close to the reality of the subsequent installation as any reasonable person could expect. This software is not designed to sell Danley products; it is designed to properly model them so that our users will have successful projects. And that is what will sell Danley products."

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.

www.danleysoundlabs.com

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InfoComm Issues Call for Presenters for ISE 2015

ISE co-owner to extend free-to-attend class initiative after 2014 success

InfoComm International®, the leading trade association representing the audiovisual and information communications industries worldwide and co-owner of the Integrated Systems Europe (ISE 2015) tradeshow, has issued its annual Call for Presenters with a view to making its 2015 Professional Development offering the most comprehensive at an ISE show yet.

As in previous years, InfoComm is reaching out to the AV stakeholder community to provide education content that is relevant to ISE’s growing audience and breaks new ground in terms of topicality, while remaining true to the association’s values by being vendor-neutral and objective.

 

InfoComm continues voucher scheme at ISE 2015

At ISE 2014, InfoComm’s professional development sessions were free to attend for the first time, and attracted over 950 delegates. The association is repeating the same pricing policy for 2015, with all ISE attendees being eligible for two free session vouchers.

“The fact that our professional development offering at ISE is drawing a wider audience than ever is great news for the global AV community,” comments Terry Friesenborg, Chief Global Officer, InfoComm International. “It means that company representatives who successfully submit presentation topics can be assured of increased awareness before, during and after ISE 2015.”

 

Education for everyone

InfoComm is asking for submissions in three different categories.

The first of these, ‘regular’ professional development seminars, are targeted at AV professionals and are divided into three sub-categories: basic (delegates with little or no knowledge), intermediate (two-plus years’ experience) and advanced (five-plus years’ experience). All of these sessions will be 50 minutes in length, although longer durations will be considered.

Additionally, InfoComm is repeating the successful Special Sessions for Education Technology Managers which made their ISE debut at the 2014 show. As the name implies, these sessions are aimed at Technology Managers working in Higher Education, so topics will need to have content specific to this attendee type.

Last but not least, InfoComm is introducing a new Master Class category for ISE 2015. Aimed at experienced AV professionals with perhaps 8-10 years’ experience (or more), these in-depth technical or business-related sessions will be two hours in length and are expected to be attended by a more tightly focused group of highly skilled and informed delegates.

 

Don’t wait, sign up now!

Company representatives interested in submitting suggestions for any or all of the above categories may do so using InfoComm’s online Call for Presenters form. The deadline for applications is 31 July 2015.

“There’s no better way to become acknowledged as an expert in your field than by leading an InfoComm Professional Development session, and no place to do that in front of a bigger and more diverse audience than ISE,” concludes Friesenborg.

“We are looking forward to hosting an unbeatable program in Amsterdam from 10–12 February 2015, and are looking forward to receiving the industry’s suggestions for topics as we pursue our mission to provide class-leading education for the AV industry globally.”

About InfoComm International

Now in our 75th year, InfoComm International® is the international trade association representing the professional audiovisual and information communications industries. InfoComm has more than 5,000 members, including manufacturers, systems integrators, dealers and distributors, independent consultants, programmers, rental and staging companies, end-users and multimedia professionals from more than 80 countries. InfoComm International is the leading resource for AV standards, market research and news. Its training, certification and education programs set a standard of excellence for AV professionals. InfoComm International is the founder of InfoComm, the largest annual conference and exhibition for AV buyers and sellers worldwide. InfoComm also produces trade shows in Asia, Europe, Latin America and the Middle East. Additional information is available at infocomm.org.

DPA Microphones Gets a Dose of Reality on Rising Star

New live results TV singing competition relies on company’s d:dicate™ 4017 Shotgun and system of d:screet™ 4061 Miniatures with Wisycom transmitters and receivers

LOS ANGELES, JULY 8, 2014 – When Daniel S. McCoy, CAS, scored the sound supervisor role for ABC’s new live results singing show, Rising Star, he knew he would need an innovative miking solution to support the performances. In addition to his tried-and-trusted d:dicate™ 4017 Shotgun Mic from DPA Microphones, McCoy also relies on his new DPA d:screet™ 4061 Omnidirectional Miniature Mics with Wisycom wideband transmitters and receivers.

With behind-the-scenes competitor interviews, commentary from host Josh Groban and mentoring from the likes of Ludacris, Kesha and Brad Paisley, Rising Star incorporates significant moments of dialogue in addition to the performances. In order to account for the show’s various ENG and reality needs, McCoy simultaneously uses the d:dicate 4017 and d:screet 4061s to give the post production team the ultimate choice in audio dynamics.

Using the d:screet 4061s with the Wisycom transmitters is a first for McCoy, a long-time enthusiast of DPA Microphones. New York-based Gotham Sound supplied the one dozen d:screets and beltpacks for Rising Star. McCoy chose the d:screet 4061 because it has a lower sensitivity and can handle 144dB SPL, which allows him to avoid distortion on the powerful singing voices. In addition, post requires vibrant-sounding mics that can be concealed, and DPA was the perfect solution.

“Wisycom’s transmitters are essentially the Ferrari of wireless,” adds McCoy. “I’ve been using DPA d:screets for years, and now I’m hearing them with new parameters. Since the transmitter is equipped with an AF input mic powering at 5.5 V, as opposed to the standard three or four, we can get an enhanced dynamic range and improved frequency response from the microphones. It’s been a real ‘ear opener,’ if you will. Using the d:screet 4061s and transmitter with a 24-bit 96 KHz A/D and D/A converters gives me a sound that makes me feel like I’m back in a recording studio while I’m in the field. It’s really interesting to me to find that, with proper amplification, DPA mics can give you so much more.”

The d:screet 4061 also makes it quick and easy for McCoy to swap users between a dialogue setup and a vocal arrangement. “The fact that I can use this mic for both styles is super effective,” he says. “I don’t need more gain and additional compressors, and I don’t have to slam on another limiter; I just need fade up and fade down. It’s freeing to be able to have a mic and transmitter combo that works so well together. I’ve been wondering for years how it is that European broadcasts sound so much better than here in the states, and I think I found the secret.”

Rising Star is based on a new format in which the audience judges the contestants in real-time through social media across three time zones. Voting is conducted through Facebook and Twitter to decide if a competitor moves ahead in the show, right in that moment.

Currently the owner and operator of ToneMesa, Inc., a location and post audio company based in Los Angeles, McCoy has received two Daytime Emmy Awards for “Best Live Audio Mix to Tape” for his work on the Ellen Degeneres Show and a Grammy® Award nomination for “Best Engineered Album” for Brian Wilson’s first self-titled solo project. In early 2008, McCoy became one of the youngest members to join the Cinema Audio Society.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

SSL Live on Tour with Michael McDonald

“Because of the separation you get with the summing in the mix bus, it’s easier to place things in the mix”

NASHVILLE – Blue-eyed soul singer Michael McDonald joins 1980s super-group Toto this summer for a North American co-bill that stops at The Greek in Los Angeles and The Fox in Atlanta. McDonald’s front-of-house engineer Curtis Flatt was first introduced to Spectrum Sound of Nashville while in college and went to work for the company in 1986. Through the long association, Flatt’s career has spanned the best consoles and musicians of the last three decades, including Wynona Judd and the Judds, Donny Osmond and Michael W. Smith. He also filled in for a short time for Robert Collins on Eric Clapton. Today, he can be found at McDonald’s helm with an SSL Live console.

Flatt first took SSL Live out on McDonald’s Christmas Tour last winter. “Spectrum was going to order a pair for Jason Aldean and asked if I wanted to be the first to take one out,” he says. “I programmed it in my office and, without a production rehearsal, dove in at the first sound check. Michael’s musicians’ sounds are really good to start with. They play really well together and it’s a straightforward show. If you start with a good sounding product, mic it with quality microphones and run it through a console that has an excellent quality, you’re pretty much there. SSL Live brings me to that point and gives me the freedom to just mix and not have to think about a lot of external processes.”

The transparency of SSL Live’s mix bus, especially since it is a digital console, was one of the first things Flatt noticed. “There are a handful of consoles out there that sound good or really good, but as everybody who mixes knows, as you start to sum all those good sounding parts together, a lot of times you’re either working with or around the console to create that final sound, that final mix,” he explains. “On a warm console, you may have to figure out which inputs could lose a little warmth to fit in with everything so that it doesn’t get muddy. Live has such a separation that as you add all of the inputs, you don’t have this muddle going on, which happens so often on other live consoles. There’s definition to everything in the mix.”

Flatt credits the fidelity both in the highs and the lows of the console. “There’s a nice top-end on it and it’s really smooth; there isn’t an overabundance of hype on it,” he says, adding, “The low-end on the console is nice and round without being overbearing.”

He also notes an improvement in mixing and panning compared to other consoles. “Because of the separation you get with the summing in the mix bus, it’s easier to place things in the mix,” he says. “The palette is more open, so placement in the mix becomes really noticeable. Slight pans and movements here and there present a better picture. You hear subtle differences. For example, our drummer had two hi-hats; one was panned slightly left and one was barely right – and I mean barely, but you always knew which one he was playing, even with your eyes closed.

“I run a couple of parallel-compression bus groups because we try to maintain a certain level in the show and want to add a little bit of punch back into that in some areas without overly compressing the entire mix,” he continues. “So, I have a parallel drum group and a parallel background vocal group to level them out a little bit and add them in as needed. If the show really starts to push a little bit, there may be a dB or two of compression with the bus compressor, but the show is very dynamic so I don’t want to take the dynamics out, since the music lends itself to dynamics. It’s got pop, rock and R&B.”

The difference the SSL Live console makes during a performance is starting to gain recognition from the entire McDonald camp. “It’s not only been noticed by Michael and the band, but also management, other members of the crew and even some diehard fans noticed that something was different,” Flatt says. “When we did our first fly date after coming back from being on tour, I was using a different console because we flew in for a one-off show. Michael walked past FOH to say ‘hi,’ and when he looked over at the console and saw it wasn’t the SSL Live, he said, ‘Oh, it’s one of those.’ So it’s definitely something that he and the band have noticed; that management and production management have said ‘Yeah, we’re going to carry the SSL console, you don’t have to fight for it.’ ”

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.

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Video Devices PIX 260i Streamlines Multi-Campus Workflow For Bethlehem Baptist Church

MINNEAPOLIS, JULY 8, 2014 – When Bethlehem Baptist Church was looking for a reliable video/audio solution for recording and playback of weekly services among the house of worship’s multiple campuses, it turned to the PIX 260i Production Video Recorder from Video Devices, a new brand of Sound Devices that is dedicated to the company’s mission critical video products. The church utilizes five PIX 260i’s to ensure the highest quality video and audio when rebroadcasting sermons to the campuses.

Comprised of three campuses (Downtown, North and South), Bethlehem Baptist Church hosts multiple services a week. In order to ensure that all three campuses have a current sermon from the main pastor, Associate Director for Media Ministries Jonathan Davis records the Saturday night service using the PIX 260i. He then sends the recording for playback to the two campuses not being served by the preaching pastor, on a particular Sunday morning. Recorded files can be transferred over Ethernet or delivered on one of the four drives that the 260i is able to simultaneously record to. The Downtown and North campuses feature a full production setup, while the South Campus is a portable campus at a local high school for the Sunday morning services. The Downtown and North campuses each have two PIX 260is, and the South campus has another.

The PIX 260i’s extensive audio capabilities are an essential component for the facility. The facility records both the mono- and stereo-feed of the house, as well as an iso of the pastor’s mic. Using the PIX 260i, the facility is able to send and receive all audio over Dante to and from its Yamaha CL5 mixing system. In order to cater to its ethnically diverse members, Bethlehem Baptist Church also records live Spanish and Russian translations. The multiple track count gives the facility room to grow in terms of having additional isolated audio tracks available, when needed. In addition, with only two full-time media staff members, the facility needed a user-friendly solution to cater to its large volunteer base. The PIX 260i’s large display and easy-to-use controls enable non-professionals to use the equipment with ease on an ongoing basis.

“We found that the PIX 260i met all of our criteria, and most importantly, it was seamlessly incorporated into our existing AV system,” says Davis. “The PIX 260i gives us ultimate flexibility in being able to record content from SDI or HDMI, and to get that content back out just as easily. In addition, the PIX 260i allows us to take whatever we record and deliver it directly into our post-production workflow in order to post services online as well as streamline our other productions.”

Davis and the church are already familiar with the company’s products, as they have used its PIX 240i recorder for on-location productions. “We found the PIX 240i to be very proficient and an improvement to our workflow, so when we heard about the PIX 260i, we knew we had to give it a look. It sounded perfect for what we needed,” says Davis. “We needed something that was rock-solid reliable, because when it comes to church services, it is a timed event. There isn’t a backup and you don’t get a do-over. The Video Devices PIX 260i gives us the reliability and redundancy we need to ensure that we capture the services and are able to play them back at both our fixed and mobile locations.”

The PIX 260i brings the features and tools needed by production companies and other production-based AV environments looking to migrate to file-based recording and playback environments. It records either QuickTime files in either Apple ProRes or Avid DNxHD video formats or WAV format audio files. Files recorded with Apple ProRes or Avid DNxHD are ready for editing in common editing environments, such as Avid, Final Cut Pro and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

Continuing the company’s heritage in production sound, the PIX 260i is infused with 32-track audio recording and playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260i can accept and transmit up to 32 channels of audio over Ethernet.

“The customer service that we receive from Sound Devices has been absolutely amazing,” adds Davis. “One of my favorite things about Sound Devices is how proactive they are in sending out firmware updates — not only do they fix any potential bugs, but they add new features, which is rare today. They take such great care of their customers.”

Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production. Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit Video Devices and Sound Devices websites, www.videodevices.com; www.sounddevices.com.

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Grove City Church of the Nazarene Upgrades to New Yamaha Digital System

BUENA PARK, Calif.—The Naz Church in Grove City, Ohio main auditorium seats approximately 2,800 people and has a congregation of 3,000. The church recently installed two Yamaha CL Series Digital Audio Consoles (a CL5 at front of house and a CL1 at monitors), eight Rio input/output boxes: two Rio3224-D, two Rio1608-D, two Ri8s, and two Ro8s. The system was purchased through Boynton Pro Audio (Norwich, NY) and installed by church staff and volunteers.

“This was not our first experience with digital consoles,” states Matt Groves, Technical Director at The Naz. “We previously used a Yamaha LS9 at monitors and a Yamaha PM1D at front of house. The purchase of the CL system began when we started looking for a replacement monitor console because our Yamaha LS9 was stolen from the monitor booth. One of our front of house engineers, Doug McLaughlin with Tech Art Productions in Columbus, suggested we purchase a CL Series, and after researching it more, we discovered how functional it would be for us. Our audio engineers are volunteers with previous digital console experience on our LS9 and PM1D, so the only training required was to watch the self-training videos on the Yamaha website. The set up and operation of the CL system was very user-friendly.”

The Church of the Nazarene has both traditional and contemporary services. The traditional service consists of an 80-member choir, a 15-piece orchestra, a rhythm section (with a five- piece drum kit, two digital keyboards, bass, two acoustic guitars, one electric guitar, synth/tracks), and seven main vocalists. The contemporary service consists of a five-piece drum kit, digital keyboard, bass, acoustic guitar, two electric guitars, synth/tracks, and four vocalists.

“Because of the many components each service style presents, we felt it was a good opportunity to start our CL system upgrade,” Groves said. “We decided to purchase a CL1 with a Rio3224-D first to replace the monitor console, and our master plan was to eventually purchase a CL5 for front of house. A couple of weeks after installing the CL1, we began having major issues and failures with our then existing analog wiring and patch bays, so we decided to accelerate the completion of our system and purchased the CL5 along with the seven additional Rio boxes.”

Groves said the features that determined the church selection of the CL Series was the Dante networking and the ability to bypass their old/existing wiring. “The use of the Dante system is so functional for us as a church,” he says. “Since we run two very different style worship services and host many events and concerts throughout the year, having the Dante network gives us the flexibility we need. We also needed to replace the existing wiring and patch bays so being able to run a redundant network with Cat5e cable between the consoles and Rio boxes was a huge cost savings for us. Our system now sounds the cleanest it has ever sounded.”

The Naz also upgraded part of their video system infrastructure using Ross Video’s Carbonite 2M 24 Switcher MultiMedia Edition. The video control room is home to the switcher along with two 60″ Panasonic plasma displays for multi-viewer use with the Carbonite, along with three 24″ LCD displays for preview use. The church staff records to two solid-state hard drives using Blackmagic’s Hyperdeck Studio Pro. Four Mac Pro’s are used for video playback, lyric projection, and live streaming of services, using Livestream as their streaming service provider.

“We currently run five cameras,” Groves notes, “however, these are still our older cameras (three Sony D-30′s and two Canon XH-A1’s). Right now we are meshing our standard definition cameras with the high definition infrastructure, which took some doing, but works great now after some trial and error and many converters.”

With regard to the new Yamaha system, Groves said the system has unbelievable clarity. “It’s amazing when you have the system on and can’t tell it’s on. Before the installation, our system was pretty noisy from the analog wiring and patch bays, but now there is no noise at all. The clarity and depth of sound we’re getting from this system is amazing!”

For more information on The Naz, visit www.thenaz.tv.

For more information on Yamaha CL Digital Audio Consoles, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

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Technotrix & Martin Audio Cover Musical Graduation Ceremonies

Chicago, IL––Because Columbia College Chicago specializes in arts and media, their commencement exercises in the Chicago Theatre and the outdoor arts festival showcase preceding it are characterized by a wide variety of musical styles, ensembles and performances.

This is the 16th year Technotrix of Calumet City, IL has provided audio, stage and lighting for the graduation festivities, depending on Martin Audio to reproduce the music with the accuracy, audio quality and even coverage demanded by the different events.

Held the day before commencement, the Manifest Urban Arts Festival is a showcase for all graduating students on three stages at various locations near the campus in the downtown Chicago Loop.

The outdoor stages feature jazz orchestras, rock bands, performance arts groups, musical theater, stage combat and more. Each has a Martin Audio PA system run by students who function as FOH and Monitors engineers and stage technicians.

Set up under a tent, the main stage had 5 Martin Audio W8LC enclosures a side with 12 ground-stacked WSX subs; 3 W8C, 2 WS218X and 1 WS18X for side fill and 10 LE12JB stage monitors. Stage 2, also under in a tent, used 2 W8C and 2 WSX subs a side with 6 LE12JB stage monitors. The smallest stage was set up in an outdoor garden area with 2 Martin Audio WT3, 2 WS218X subs and 4 LE12JB stage wedges to keep quality high.

Asked about the results, Technotrix’s Kevin Kiefer said, “We’ve been doing the Manifest event for a number of years with a formula that just keeps getting bigger and more complex over the years as they add more bands, musicians and different types of music. The College is very happy with the sound we provide using our Martin Audio system. In fact, they said this year was the best it’s ever been. We just try to raise the bar every time out.”

The graduation ceremony takes place the next day in the historic 3600-seat capacity Chicago Theatre. Featuring two small stages stacked one on top of the other stage left and right with different ensembles, and a 25-piece jazz orchestra and 20-piece gospel choir set up in the pit, coordinating and reproducing all of the music is challenging, to say the least.

“We were up to just over 100 channels of audio this year with the jazz ensembles, commencement choir and all of the small stages,” Kevin explains. “We’d have singers and a horn section on the upper level and keyboards and rhythm section on the lower level, and they all do a variety of different numbers – a constant challenge in terms of the onstage sound. Fortunately, we had a Martin Audio monitor system to help us stay on top of the mix.

Concluding, Kevin adds “We’ve been using Martin Audio for a long time because it differentiates us from our competitors. Martin Audio speakers have a unique voice that allows us to achieve a better end result in terms of audio quality and coverage. Their speakers are accurate and consistent, which is important for events like the commencement and festival where there are so many different types of bands ranging through every type of program material. That’s one of the reasons why we’ve been doing this for 16 years.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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