Press Releases from World Wide Pro Audio Directory http://www.audiodirectory.nl/ Tue, 23 Feb 2010 20:27:19 +0100 FeedCreator 1.7.2 http://www.audiodirectory.nl/html/php/press.php?id=2695 Free XL2 Update with Scope Function The new XL2 Audio and Acoustic Analyzer perfectly suits the challenging measurements in live sound, installed sound and environmental noise applications. The comprehensive range of measurement functions has been extended with new firmware V1.12. Besides wav-file logging the XL2 Analyzer now also offers voice note recording, a scope function, automated user calibration and many more features. All customers may upgrade their XL2s for free now. The XL2 firmware 1.12 adds a variety of new features, which are especially advantageous for regulatory live sound or environmental noise monitoring applications. Now the XL2 Audio and Acoustic Analyzer records voice notes and wav-files for a complete documentation of the measured sound. All audio files and logged level data are available for upload to the computer. The recorded wav-files may then be replayed later, for instance to determine any predominant components of the sound source or to post process the stored measurement data. Automated User Calibration The NTi Audio measurement microphones M4260 and M2210 include an electronic data sheet, thus the XL2 recognizes the factory-entered sensitivity of these microphones automatically. The new XL2 features add an automated user calibration from an external precision sound calibrator. This allows accurate sensitivity verification before any sound level measurement. During the user calibration the XL2 writes the measured sensitivity additionally onto the electronic data sheet of the M4260 or M2210 itself, so all later measurements utilize the user sensitivity. Scope with Auto Detect Function The new scope function displays the wave form of the electrical input signal. It is extremely useful in all kinds of troubleshooting and service tasks, for instance allowing you to visually monitor the measured sine input signal. The scope auto-ranges to the proper scale and then triggers on the fundamental frequency automatically. Further new XL2 features include an extended polarity measurement for subwoofers in the frequency range below 100 Hz, an automated FFT measurement reports generator, various additional sound level values, and a user defined limit indication for sound levels. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2694 Zapashny Brothers Circus Chooses EAW® JFL210/JFL118 Loudspeaker Package for Touring P.A. System Russian EAW® distributor MS-Max Company provided longtime entertainers with the system to equally cover the whole audience area with the right sound Whitinsville, MA, USA, February 22, 2010 – EAW®, a world leader in audio system solutions, was recently chosen as the loudspeaker of choice for the Russia-based Zapashny Brothers Circus, the current incarnation of the beloved world-famous family act dating back to the 1800s. MS-Max Company, EAW’s Russian distributor, put together a sound system package featuring several EAW loudspeakers, and this configuration was selected over a number of packages featuring other manufacturers’ products, to provide the sound for the Brothers’ recent tour dates throughout Russia and to other countries. The package assembled by MS-Max Company included 12 EAW JFL210 Compact Line Array Modules and four EAW JFL118 Subwoofers. Processing is handled by the EAW UX8800 Digital Signal Processor, and the system is powered by Crown MT-series amplifiers. The circus, which features such spectacles as tigers, lions and other large animals, is performed “in the round,” with the audience surrounding the performers in a complete circle. The biggest issue with the sound system was that it evenly cover the 360-degree audience area with clear, uniform dispersion. When approaching the installation and implementation of the new system, MS-Max Specialists Serge Velichko and Ilya Samoletov placed the loudspeakers in four separate arrays in the circus ring’s center, under a dome. By all accounts – including audience members, project supervisors, technical personnel, performers and even tigers – the system has provided transparent, rich sound with the right coverage to project the show’s thrilling energy to every seat in the house. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2693 AUDIO-TECHNICA OFFERS FIVE-YEAR WARRANTY FOR ARTIST ELITE® WIRED AND WIRELESS MICROPHONES STOW, OH — Audio-Technica, a leading innovator in transducer technology for over 45 years, announces a new five-year warranty on its entire line of Artist Elite® wired microphones, wireless microphone systems and wireless microphone system components. Effective immediately, all Artist Elite products purchased after January 1, 2010, through an authorized U.S. A-T dealer, now come standard with this warranty. The announcement was made by Greg Pinto, Audio-Technica U.S. V.P. of Marketing. Since a five-year warranty is uncommon among manufacturers of wireless products, the announcement further emphasizes A-T’s confidence in its wireless solutions and unparalleled dedication to its end users. Included in the warranty are such critically acclaimed Audio-Technica products as the 4000 Series and 5000 Series Frequency-agile True Diversity UHF Wireless Systems, AE2500 Dual-element Cardioid Instrument Microphone, AE3000 Cardioid Condenser Instrument Microphone, AE3300 Cardioid Condenser Handheld Microphone, AE4100 Cardioid Dynamic Handheld Microphone, AE5100 Cardioid Condenser Instrument Microphone, AE5400 Cardioid Condenser Handheld Microphone and the AE6100 Hypercardioid Dynamic Handheld Microphone. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2692 ARX appoints Distributor for Romania ARX Systems is very pleased to announce the appointment of Constanta based GRAFFITI Pro Audio Ltd as their Distributor for Romania. ARX Managing Director Colin Park commented, Mircea Dante, General Manager of GRAFFITTI told me he is especially excited by the prospects of introducing our USB DI Series products and the new USB I/O Universal Transformer Isolated USB Interface to their Pro Audio clients and market, as well as the MSX series of Signal Distribution products, the AudiBox series of audio toolbox essentials, and the rest of the ARX signal processing range Along side ARX, GRAFFITTI currently represents a select collection of other high end Pro Audio manufacturers including Funktion One and Mc2 Audio. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2691 Alcons brings audio excellence to Denmark’s AKKC One of the largest and most flexible congress and culture centres in Scandinavia, Denmark’s Aalborg Congress & Culture Centre (AKKC) attracts more than 500,000 visitors a year to music and theatre performances, trade fairs, exhibitions, meetings and congresses. Recently the venue underwent a major technical refit, including the installation of Alcons systems. Supplied by Alcons Danish distributor Ascon Trading, the systems were chosen after a comprehensive ‘shoot-out’ listening test of several systems. “We were visited by a production which had the an Alcons LR16/LR16B PA system and we were impressed by the sound. It was very clear and had great presence,” says AKKC head of sound Søren Hansen. “When we were looking for new speaker systems, we did a comprehensive listening test with the Alcons system alongside two other brands. In our opinion Alcons was the best sounding and most flexible system for our purposes.” Ascon Trading supplied three Alcons systems at the AKKC complex, permanent installations in the venue’s two main spaces - the Aalborghallen and Europasalen - plus a mobile system, with Alcons Niels Janssen doing the final setup and fine tuning. The system in the (up to) 2,200m2 Aalborghallen comprises 12 LR16 and four LR16B per side, with three LR14 for downfill and three more for nearfield each side. The system in the 880m² Europasalen comprises six LR14 and two LR14B per side, while the mobile system features six LR14/120, six LR14/90 and four BF362 subs. All three systems are driven by Alcons ALC4 amplifiers, with the BF362s also able to add extra bass punch to the two permanent systems, if required. “There are two QSC networks, one in each of the main halls, so engineers can log on and control the systems from different places within the room,” says Søren. It allows monitoring of each amplifier’s impedance, temperature, volume levels and switching individual amps on or off and recall different setups for different configurations of the room.” The latter is a critical point, as the Aalborghallen is a flexible space which can be changed in size. Thus, while the width and height are constant, the length can vary in 4.5 metre steps from 25 up to 70 metres long. “We are very happy with the systems and have received very positive comments from visiting engineers, who are very impressed with sound and the clarity,” says Søren Hansen. “The Aalborghallen system can be set up in many ways, depending on the configuration of the room, and all three systems sound excellent. “We are very proud of this installation,” concludes Torben Lauersen of Ascon Trading. “Alcons was chosen because it proved the best system in direct listening comparisons with the other systems and it really underlined the advantages of the Pro-Ribbon technology.” World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2690 Eastman’s Kodak Hall Ready for “All That Jazz” with Meyer Sound MICA As the principal performance venue for the prestigious Eastman School of Music in Rochester, NY, Kodak Hall at the Eastman Theatre regularly hosts classical music concerts by the conservatory’s celebrated orchestras and ensembles. With the recent installation of a new Meyer Sound MICA® line array loudspeaker system, the 2,326-seat hall is now much better equipped to support another musical genre—jazz. “In addition to the school’s own jazz events, the hall hosts the headline concerts for the Rochester International Jazz Festival each summer,” explains system designer Anthony Nittoli of consulting firm Akustiks LLC of South Norwalk, Conn. “With the old system, coverage was spotty at best, and it simply didn’t have enough power for louder contemporary jazz. The festival had to bring in temporary systems, and they were often not well matched to the room.” For a permanent solution, Nittoli used the Meyer Sound MAPP Online Pro™ acoustical prediction program to plot a LCR system with a center array of 11 MICA line array loudspeakers. Side arrays comprise four MSL-4 and two CQ-1 loudspeakers each. The Meyer Sound complement also includes four 700-HP subwoofers, UPA-1P and UPM-1P fill loudspeakers, and a Galileo® loudspeaker management system with a Galileo 616 processor. The Meyer Sound system was supplied by Go Media, with supporting infrastructure installed by AV Solutions, both of Rochester. According to Ron Stackman, stage operations manager at the Eastman Theatre for 15 years, the audio upgrade was long overdue. “The difference is night and day,” he says. “I’ve been pushing for a first-quality sound system since I’ve been here. It’s thrilling to see it come to fruition. Even for spoken word, which is part of nearly every event, including symphony concerts, the new system is so much clearer and more articulate.” For the venue’s staff audio engineer, Jules Corcimiglia, approving a Meyer Sound solution was a no-brainer. “My opinion from the start was that the only acceptable option was a full Meyer system,” he says. “And now that we have it, the improvement is remarkable. The vocal intelligibility is astonishing, as is the imaging. With musical accompaniment coming from left and right, the center MICA array and UPM-1P front fills draw you into a field of sound coming right from center stage.” One of the first major concerts using the new system was a benefit featuring Eastman alumnus Chuck Mangione honoring saxophonist Gerry Niewood, another alum (and member of Magione’s band) killed in a 2009 plane crash. “Of course we had many Eastman faculty in the audience, and they are all very critical and refined listeners,” recalls Corcimiglia. “They were coming out with smiles on their faces, saying the sound was absolutely transparent. Some asked me if the system was really turned on! I assured them it was.” The school eagerly anticipates the 2010 Rochester International Jazz Festival, when headliners Gladys Knight, Herbie Hancock, and Jeff Beck will perform with the Meyer Sound system. “So far, we haven’t turned it up that loud,” he admits. “But we can’t wait.” The University of Rochester’s Eastman School of Music was established in 1921 by industrialist and philanthropist George Eastman, founder of the Eastman Kodak company. The Eastman Theater opened in 1922, initially as a center for music, dance and silent films with orchestral and organ accompaniment. In 2010, following the most recent phase of architectural, acoustical and technology upgrades, the concert venue was renamed Kodak Hall at the Eastman Theatre in recognition of $10 million in funding from the company. Kodak Hall also is home to the Eastman Opera Theatre and the Rochester Philharmonic Orchestra. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2689 Musicality Comes Naturally with Cascade Theatre’s Meyer Sound JM-1P The recent installation of six Meyer Sound JM-1P arrayable loudspeakers made a dramatic improvement to the listening experience at the Cascade Theatre in Redding, Calif., a 997-seat performance space previously fraught with acoustical challenges. Like other refurbished movie palaces, Cascade Theatre’s live acoustics could only be minimally damped without modifying the historic aesthetics; and the theatre prohibited the use of flown arrays. “One look at our gorgeous ceiling murals and you’ll understand why we decided against hang points,” says Jeff Darling, the venue’s general manager. “Our donors paid a lot of money to restore that artwork. We didn’t want to blemish or conceal it in any way.” Ground stacking was the only option, but the theatre’s architecture presented yet another hurdle. Limited proscenium width—with every inch of stage needed for dance events—dictated loudspeaker locations far to the outside, making uniform coverage difficult without also splashing sound off hard walls a few feet away. George Relles of Eugene, Ore.-based Relles Sound, was confident that the horizontal control of the Meyer Sound JM-1P arrayable loudspeakers would solve this conundrum. At a Joan Osborne concert, he proved his point using tight-packed horizontal arrays of three JM-1P loudspeakers per side. “The JM-1P lets me create just the right pattern for uniform room coverage, while a steep dropoff at the specified limit keeps sound off the walls and off the stage,” says Relles. The JM-1P point source system utilizes Meyer Sound’s patented REM™ technology to create a precise 20-degree horizontal by 60-degree vertical pattern. Relles’s three-loudspeaker array projected seamless 60- by 60-degree coverage throughout the main floor and balcony. “As soon as I heard it,” says Darling, “I knew it would achieve the power and the coverage we wanted for our wide variety of concerts and events. It’s great for sight lines as well. It’s powerful, but hardly a giant box.” The permanently installed system comprises three JM-1P loudspeakers a side, each atop a 700-HP subwoofer, plus two UPJ-1P VariO™ loudspeakers as balcony fill. Drive and processing is provided by a Galileo® loudspeaker management system with a Galileo 408 processor. The system was tuned using a SIM® 3 audio analyzer. The Cascade Theatre’s new JM-1P system was recently used for a benefit concert by country legend Merle Haggard, a stand-up comedian, an Elvis tribute show, a church service, and a high-definition video presentation of the San Francisco Opera’s Samson and Delilah. “The new JM-1Ps have been superb for every event,” says Darling. “For the comedian, the vocal clarity was far greater than we’d ever heard before in this room. And for the opera, the transparency of the system made it seem completely natural. I’ve never heard a system that sounds more musical and more transparent than this one.” For Relles, who keeps a stock of JM-1P loudspeakers in his rental inventory, the success was hardly surprising. “The JM-1P is a whole new generation of Meyer technology. It’s articulate, refined, and with an astonishing level of detail,” he observes. “It instantly became one of my favorite loudspeakers.” World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2688 South Africa-Based Northwind Recording Selects EAW® Loudspeakers for CTMI Church in Trianon, Mauritius Whitinsville, MA, USA, February 17, 2010 – EAW®, a world leader in audio system solutions, was recently chosen as the loudspeaker of choice for a house-of-worship installation at CTMI Church in the town of Trianon, near Port Louis in the island nation of Mauritius. Durban, South Africa-based Northwind Recording provided the system design, analyzed the space’s acoustics and performed the installation. EAW’s South African distributor Surgesound supplied the equipment and managed all processing and system alignment. Further consultation was provided by EAW’s Whitinsville, Massachusetts-based Application Support Group (ASG), under the management of Joe Fustolo. EAW loudspeakers selected for the space included 15 EAW AX366 and AX344 Arrayable Install Loudspeakers, six EAW JF50S Compact Full-Range Loudspeakers, eight EAW SB1000z Large Format Subwoofers, five EAW MW12 MicroWedge Stage Monitors and two EAW UX8800 Digital Signal Processors. Amplification was provided by ten Lab.gruppen FP+ Series amplifiers and one Lab.gruppen PLM 10000Q Powered Loudspeaker Management System. The EAW AX Series models were arranged in a low-profile, aesthetically pleasing design in two arcs following the contour of the church. The JF50S units were used as lip fill. Four SB1000z subs were ground stacked, and the remaining four were flown, using different high pass filter (HPF), low pass filter (LPF) and delays to create a constant low frequency response throughout the church. The MicroWedge 12 monitors were spaced along the edge of the stage. Northwind Recording principal Niklas Fairclough is a firm supporter of the EAW brand, having completed three previous installations in South Africa using EAW AX Series Arrayable Install Loudspeakers. Fairclough commented, “When we tested the system, we were blown away. With an SPL of 110 dB at the front-of-house position, the system sounded superb and very clean, and we still had massive headroom available.” Ruan Joubert from Surgesound, the Distributor of EAW in South Africa, was at the final stages of the installation to act as the System Engineer and represent EAW South Africa. After using Smaart to make fine-tune adjustments to the system, he commented, “With the combination of detailed acoustic design, carefully planned EAW Model selections, the Pre-Install Planning and system design with help of EAW ASG, everything came together, culminating in very a successful project with outstanding audio performance, which exceeded all the client’s expectations.” World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2687 AUDIO-TECHNICA DEBUTS MCB4 ANTENNA COMBINER — MCB4 simplifies an IEM configuration by combining signals of up to four of A-T’s M3 Wireless In-Ear Monitor stereo transmitters onto a single antenna — STOW, OH — Audio-Technica, a leading innovator in transducer technology for over 45 years, offers its new MCB4 IEM Antenna Combiner. The MCB4 allows the signals of up to four A-T M3 Wireless In-Ear Monitor stereo transmitters to be combined onto a single transmitting antenna, reducing rack clutter. A wide-band unit that operates over a nominal 470-865 MHz range, the MCB4 is not only designed to complement Audio-Technica M3 Wireless In-Ear Monitor Systems, but it is also suitable for many other in-ear wireless systems (with external BNC antenna connections). The MCB4 provides one output and four isolated transmitter inputs. All RF connectors are BNC-type. Passive antennas may be used. Four jacks on the rear panel (controlled by the unit's power switch) provide 12V DC (center positive) to power as many as four transmitters operating on 12 volts at up to 500 mA each. Included with the unit are four DC cables appropriate for use with A-T’s M3T stereo transmitter or like-powered transmitters from other manufacturers. The 12-volt supplies for powering transmitters are short-circuit protected, and the unit features all-metal construction for extreme durability and protection from RF interference. Features: - Broadband UHF operation (470-865 MHz range). - Combines the signals of up to four wireless in-ear monitor transmitters into one antenna. - Centralized power supply with ability to power four individual transmitters. - Maintains clean signals with low distortion. - Includes hardware for front-mounted antenna for improved performance. - Includes adapters to allow the unit to be mounted into a single rack space. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2686 Kurzweil PC3K Debuts at Super Bowl XLIV with The Who Keyboardist John “Rabbit” Bundrick rocks with the Kurzweil PC3K for The Who’s Super Bowl halftime show Appearing before the largest U.S. televised audience in TV history, The Who took the stage for the Super Bowl Halftime show, delivering a medley of iconic rock masterpieces that helped define the sound of an entire generation. At the epicenter of the performance was the new Kurzweil PC3K. And who better to unveil the PC3K than John “Rabbit” Bundrick, the band’s primary keyboardist since the late 70s? Amid a stunning display of lasers and fireworks, Rabbit delivered his own pyrotechnics on the keys, alongside rock legends Pete Townsend and Roger Daltrey. “The highlight of my career? Playing the Super Bowl with The Who,” said Bundrick. “But best of all, I had Kurzweil with me all the way. No other keyboard would have carried it off like my new PC3K.” With the ability to load legacy K-Series samples, .WAV and .AIFF files, along with game-changing technology that allows user samples to remain intact when power is turned off, the PC3K has generated instant wide-spread demand across the industry from high profile keyboardists like Bundrick. Players can now combine nearly two decades' worth of Kurzweil sound libraries with the PC3K's cutting-edge Dynamic V.A.S.T. synthesis engine, underscoring once again Kurzweil's commitment to non-obsolescence by design. For more information about the Kurzweil PC3k, please visit: http://www.kurzweil.com/NewsStory.php?id=21 World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2685 WAVES AUDIO INTRODUCES HLS CHANNEL AND PIE COMPRESSOR — Both analog modeled plug-ins were developed in association with legendary producer/engineer Eddie Kramer — TEL AVIV, ISRAEL, February 18, 2010 — Waves Audio, a leading provider of digital signal processing solutions, unveils the HLS Channel and PIE Compressor, developed in association with legendary producer/engineer Eddie Kramer. In modeling the vintage Helios console channel and Pye compressor, Waves has recreated two essential elements of the recording chain at London’s acclaimed Olympic Studios, where Kramer engineered and produced scores of historic recordings that are now considered part of the essential classic rock canon. The introduction of these two plug-ins continues the fruitful partnership between Kramer and Waves, which over the last few years has yielded numerous audio plug-ins as well as live events. HLS Channel The HLS Channel was carefully modeled on a Helios mixing console just like the one Kramer used for sessions at Olympic Studios. (In fact, for the modeling, Waves actually managed to get their hands on the Helios from the Rolling Stones mobile truck, which was used on a slew of classic recordings during the early ‘70s.) In addition to modeling the Helios EQs with their sweet saturation, high-end presence and fat low-frequency boost, Waves even modeled the unique behavior, coloration and drive of the console’s preamps. To top it all off, the HLS Channel features a precision-modeled VU meter that recreates the sensitivity, ballistic behavior, look and feel of the original. PIE Compressor The PIE Compressor was precision-modeled on a vintage Pye compressor, also exactly like the units Kramer used during sessions at Olympic Studios. A mainstay in esteemed British studios throughout the classic rock era, the original Pye processors are considered by many to be among the best buss compressors of all time. The Waves PIE plug-in features a meticulously modeled VU meter, with super-fast refresh rates, that recreates the accuracy, sensitivity and ballistic behavior of a physical analog meter. About Eddie Kramer Over the course of a production and engineering career that has spanned more than four decades, Eddie Kramer was the man behind the board for the biggest names in music history. His work with Jimi Hendrix, Led Zeppelin and Kiss brought forth music which continues to influence rock musicians and producers to this day. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2684 BACK AT THE BARNYARD UPGRADES ITS AUDIO WITH THE HELP OF GUITAR CENTER PROFESSIONAL’S WIDE RANGE OF TECHNOLOGY PRODUCTS — Award-winning animation series has its motion-capture audio recorded via a Sennheiser ME 104 wireless microphone system and Focusrite VoiceMaster Platinum mic-pre, and has its sound mixed to picture through a Euphonix System 5 MC console — WESTLAKE VILLAGE, CA, February 19, 2010 — Back at the Barnyard, the animated series based on the hit 2006 movie Barnyard, has won a Daytime EMMY® Award and been nominated for two more. Produced by O Entertainment’s animation division, Omation, and created by Executive Producer and O Entertainment Owner Steve Oedekerk, with Paul Marshal serving as Producer, the show is currently wrapping its second season on the Nickelodeon network and it will likely remain a contender for top awards through its final season. Recently, Omation upgraded their audio facilities with the help of Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. GC Pro was the sales and advice conduit for four new eight-channel fader packs for their post-production facility’s Euphonix System 5 MC (mixing console), as well as a Sennheiser ME 104 wireless microphone system and Focusrite VoiceMaster Platinum mic-pre that are being used on the studio’s motion-capture shooting stage. The Euphonix fader packs and Sennheiser wireless systems were implemented at the facility in late 2009. Back at the Barnyard already had great sound, thanks to the talents of Sound Mixer Gregory M. Cathcart, who has won both a Daytime EMMY Award for Outstanding Achievement in Sound Mixing and a Golden Reel® Award from the Association of Motion Picture Sound Editors for Best Sound Editing in Television Animation. Cathcart, whose filmography includes hit children’s shows including He-Man and the Masters of the Universe and Scooby Doo, has also been nominated for three more Daytime EMMYS and four more Golden Reel Awards. Cathcart knows sound, and he knew where to go when the studio was ready for a substantial upgrade. “We’d already had the core of the Euphonix console in place, along with a Euphonix MC Control system, but we needed more flexibility and more mixing power,” Cathcart explains. They turned to GC Pro because of their expertise and ability to obtain a vast selection of professional audio products. “Now, we have 32 channels of faders, which gives us an enormous amount of flexibility for recording and mixing, so the audio can become even more complex and sophisticated,” he explains. All of the technology sourced by GC Pro will also be used for the upcoming animated series Planet Sheen, a spin-off of Omation’s wildly popular Jimmy Neutron, Boy Genius. “We have a lot of work coming up and we need the best equipment we can get,” says Cathcart. “And we know we can get whatever we need from GC Pro.” World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2683 WAVES ANNOUNCES SOUNDGRID, AUDIO-OVER-ETHERNET NETWORKING AND PROCESSING PLATFORM — New technology lets users run large numbers of Waves plug-ins with super low latency — TEL AVIV, ISRAEL — Waves Audio has announced the upcoming release of its groundbreaking SoundGrid technology. SoundGrid gives users the ability to run large numbers of Waves’ award-winning audio processors using standard PCs via Ethernet, far surpassing the specs of dedicated DSP-based platforms. SoundGrid offers super low latency performance, which means users can take advantage of even more audio processors and CPU-intensive processors than ever before. Waves is leveraging the recent advances in both Ethernet and CPU technologies to provide better, more cost-effective performance for the pro audio and live sound markets. SoundGrid Key Benefits: - Provides low latency platform for running Waves plug-ins - Uses standard, off-the-shelf components: computers, switches, servers, Ethernet cables, etc. - Integration with analog and digital mixing consoles - Provides a complete Redundancy & Recovery system - Upcoming SoundGrid versions will implement recording capabilities SoundGrid Applications: - Live sound and touring - Centralized processing hub for mixing, post production and broadcast facilities - Networked audio for sound installations World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2682 MUSIC MIX MOBILE CHOOSES GENELEC DSP MONITORS FOR 2010 GRAMMY® AWARDS SHOW LIVE BROADCAST — With newly-expanded operations, Music Mix Mobile’s M3 and M3 West remote recording trucks handle the 5.1 surround audio broadcast, utilizing Genelec DSP Active Monitors — NATICK, MA, February 2, 2010 — Music Mix Mobile, a New Jersey/California-based remote facilities company combining the talents of award-winning production professionals and state-of-the-art audio solutions, is a collective consisting of industry veterans John Harris, Jay Vicari, Joel Singer, Mitch Maketansky and newly added West Coast-based partners Bob Wartinbee and Mark Linett. On Sunday, January 31, 2010, Music Mix Mobile was commissioned to capture and mix the music audio for the 52nd annual GRAMMY® Awards, broadcast live in 5.1 on CBS-TV from the Staples Center in Los Angeles. In the company’s dual M3 trucks (now known as “M3” and “M3 West”), the GRAMMY Award Show Broadcast Music Mixers John Harris and Eric Schilling, along with Music Mix Mobile Engineer-in-Charge Joel Singer, were on site to ensure the audio would be of the highest quality, and they chose Genelec 8200 Series Active DSP Monitoring Systems. Genelec DSP systems consisting of 8250A Bi-Amplified Active DSP Monitors (in an L-C-R array) and 8240A Bi-Amplified Active DSP Monitors (L-R rear), along with 7260A Active DSP Subwoofers, were used in Mu sic Mix Mobile’s M3 truck for the live music mix, as well as in the identical mirrored system in the M3 West offline remix truck. The team responsible for the audio at this year’s GRAMMYs again included a who’s who of broadcast audio. The broadcast music mix was handled by Harris and Schilling and was supervised by Hank Neuberger, a prominent member of The Recording Academy® Producers & Engineers Wing®. ATK/Audiotek provided the sound system with FOH (front-of-house) Engineers Ron Reaves and Mikael Stewart. In the days leading up to the awards ceremony and broadcast, the night’s performers rehearsed their segments live on the stage, with Schilling and Harris developing the mixes in real-time in the M3 truck and then going over those performances offline while playing them back for artist managers and the artists themselves in the new M3 West truck. Together, they prepared for the live broadcast mix, so it was vital that both M3 trucks had a world-class, consistent monitoring environment. Joel Singer, Engineer-in-Charge and co-founder of Music Mix Mobile, stated, “Last year when we added the new West Coast-based M3 West mobile recording truck, we wanted to have a consistent monitoring environment, not only for reference during recording and broadcast, but for the artists, producers and managers that come into our M3 trucks for playback. I have worked with Genelecs for years, and everybody is very comfortable with them because they’re the high-end industry standard. With a show like the GRAMMYs, we’re rehearsing and playing back tracks for up to 15 hours a day for several days, but with the Genelecs, no one ever experiences ear fatigue. They deliver accurate, transparent sound, providing us with the security of knowing exactly what we’re hearing on the night of the broadcast.” The Genelec 8200 Series Bi-Amplified Active Monitors employ the company’s proprietary DSP (Digital Signal Processing), GLM™ (Genelec Loudspeaker Manager software) and AutoCal™ (Automated Calibration software) technologies, which together create a self-calibrating monitoring solution that both guarantees accurate audio and ensures a steady-paced workflow. This, combined with Music Mix Mobile’s long-time use of Genelec active monitors, made the Genelec DSP monitors an easy decision. For more information, please visit www.genelecusa.com. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2681 WAVES INTRODUCES HORIZON — New premium plug-in bundle aimed at music production professionals — TEL AVIV, ISRAEL — Waves Audio, the world’s leader in digital signal processing solutions, introduces the Waves Horizon plug-in bundle, which gathers over 50 of Waves’ most popular and useful plug-ins. Waves Horizon serves as a significant step up for audio professionals specializing in music production, who require modeled vintage tools and high-end mastering processors as well as Waves essentials. Designed specifically with music production professionals in mind, Horizon includes all 30+ plug-ins from the Waves Platinum bundle, CLA Classic Compressors, JJP Analog Legends, Vocal Rider, L3-16 Multimaximizer, GTR3, UM225/226 and more. Horizon represents Waves’ ongoing commitment to providing users with the tools they need in versatile, comprehensive collections. It joins the ranks of Waves’ premium bundles, which include Gold, Platinum, Diamond and the all-inclusive Mercury. Waves Horizon is now available with a U.S. MSRP of $5750.00 Native / $9500.00 TDM. For more details and descriptions of all 50+ Waves Horizon plug-ins, visit www.waves.com. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2680 Padco supplies Midas PRO6 for Europe-wide Gospel tour German rental company Padco has supplied a Midas PRO6 for a spectacular European tour by Queen Esther Marrow and the Harlem Gospel Singers. The tour, which moved through Denmark, France, Austria, Switzerland and Germany, ended in Belgium at the end of January. 
Putting the system through its paces on this brilliantly vibrant show was German front of house engineer Werner Schmidl who, by his own admission, didn’t get to choose the audio equipment on this tour. “As someone who was used to using another brand of digital console, it was hard to convince me, especially as I only had a few hours to get into the PRO6,” he says. “However Lars Lüdemann (from Midas’ German distributor Mega Audio) did a great job in training me quickly. The whole system can be easily set up in a few minutes. The PRO6 is very logical and user friendly to operate. The control surface, which works with all the parameters of a channel strip, is very intuitive, and the POP(ulation) groups make it easy and clear, bringing everything to where you want it on the console. The EQ and dynamics function in a similar way to their analogue counterparts, and for the first time I experienced an EQ which did exactly what I expected. It was also a great idea to provide a choice of different compressors. I’ve never worked on a digital desk which sounded as good as the PRO6. “In total I had just 33 Inputs from the stage, 22 for Instruments and 11 for choir and solo vocals. This meant I could play around with the possibilities the VCA and POP(ulation) groups offered. I only needed to use one button for all vocals, one for choir, one for each of the keyboard players, the drums, the whole band etc I thought of using snapshots, but the POP(ulation) and VCA groups gave me everything I needed at my fingertips, so It was easier to work without them. The desk’s reverb and delays sounded nice and natural, and the reverb gave the choir a warmth which I combined with some delay effects if needed. But what really surprised me was the multiband compressor. I used it on Queen Esther’s vocal and was overwhelmed by the quality. It did what I needed, without influencing the colour of her voice. “The possibility of splitting the PRO6’s control surface allowed me to have all Instruments and the choir on the left side of the desk and Queen Esther and effects on the right side, switching POP and VCA for each side independently. It was great fun and very clear to work with, and there was no need for big outboard racks at FOH. “All in all I would say that in the beginning I was sceptical of using the PRO6. After a few days we became friends... then I fell in love...” World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2679 WAVES AUDIO INTRODUCES YOURWAVES — Online Waves store offers maximum flexibility for custom plug-in combinations and upgradeability — TEL AVIV, ISRAEL, February 10, 2010 — Waves Audio, a leading provider of digital signal processing solutions, unveils YourWaves, an interactive online Waves store offering three exciting new ways for users to get the Waves plug-ins of their choice, from different Waves bundles. At register.waves.com/yourwaves, users can sign up for “Artist Choice,” “Quick Choice” or “Custom Choice,” each providing different approaches and plug-in options for the user. “Artist Choice” is ideal for users who are curious as to which plug-ins are employed on favorite recordings and by top award-winning engineers. With YourWaves Artist Choice, audio heavyweights Andrew Scheps, Gil Norton, Thom Russo, Ross Hogarth and Scott Martin Gershin have each hand-picked a selection of the Waves plug-ins they cannot live (or work) without, giving consumers access to these masters’ signature sounds. More artists will be added to the YourWaves Artist Choice roster in the future. “Quick Choice” lets users choose any five plug-ins from selected groups to get the most cost-effective and specific combination. Also, if a user only has a certain budget, Quick Choice can build the perfect plug-in package to fit that user’s desired applications. “Custom Choice” offers, for the very first time, the option to compile personalized collections of Waves plug-ins, and tailor their selections to precisely suit their production needs – the exact plug-ins they want; no more, no less. All plug-ins purchased at the YourWaves store are registered in buyers’ accounts separately, and each has its own serial number, giving purchasers maximum upgrade flexibility. Although YourWaves gives buyers access to plug-ins from different bundles, by registering each YourWaves plug-in separately, users can later decide which of the plug-ins they want to upgrade, and when they do, all upgrade options are open to them. For instance, if a user bought three plug-ins from YourWaves: V-Comp, L2 and CLA-2A, then he or she would then have upgrade options including the Masters bundle for the L2, the V-Series for the V-Comp and the CLA Classic Compressors for the CLA-2A, rather than the limited option of a full Mercury upgrade. Also, the Waves Update Plan is calculated for each plug-in, and users decide which plug-ins to renew Waves Update Plan coverage for, and when. “We wanted to offer consumers a customized way to develop combinations of Waves plug-ins based on their own particular needs,” stated Gilad Keren, CEO, Waves Ltd. “Whether users are seeking to emulate the sounds of their favorite engineers and producers, or build a set of plug-ins from the ground up, YourWaves delivers.” World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2678 AUDIO-TECHNICA ENHANCES ITS 3000 SERIES WIRELESS MICROPHONE SYSTEMS — Enhancements include up to 1001 selectable UHF frequencies in 25 kHz spacing, antenna power, new I Band, transmitter backlit screens and UniPak® body-pack transmitter locking battery compartment — STOW, OH — As part of their ongoing efforts to provide state-of-the-art, market-driven wireless solutions, Audio-Technica, a leading innovator in transducer technology for over 45 years, announces updates to its 3000 Series Frequency-agile True Diversity UHF Wireless Systems. Now offering up to 1001 selectable UHF frequencies in 25 kHz spacing in three available frequency bands (including the new I Band), Audio-Technica's upgraded 3000 Series delivers outstanding professional performance. Nine new pre-coordinated frequency scan groups simplify selection of usable frequencies in a multi-channel wireless system. The versatile UniPak® body-pack transmitter features a backlit screen for easy reading in low-light situations and a locking battery door for added security. A three-position sliding cover on the transmitter's control panel prevents accidental shutoff or channel-switching. The 3000 Series is available with either a dynamic or condenser handheld transmitter featuring robust metal construction and slim ergonomic design. The ATW-T341b handheld transmitter includes the stage-proven Artist Elite® AE4100 Cardioid Dynamic element, while the ATW-T371b handheld transmitter features the Artist Series ATM710 Cardioid Condenser element. Features: - New I band frequency range (482.000 – 507.000 MHz) in addition to existing C band (541.500–566.375 MHz) and D band (655.500 – 680.375 MHz). - 25 kHz frequency spacing: Each 3000 Series wireless system features 25 kHz spacing, providing a choice of 996 UHF frequencies in the C and D bands, 1001 UHF frequencies in the new I band. - Antenna power: Receiver antenna input jacks can provide power to operate Audio-Technica powered antennas and accessories or other in-line RF devices. - Scan groups: Nine pre-coordinated frequency scan groups on 3000 Series receivers simplify the selection of usable frequencies in a multi-channel wireless system. - Backlit LCD: New 3000 Series transmitter offers a backlit screen that clearly presents setup and operating information illuminated for easy viewing. - Dual-Color LEDs: New 3000 Series transmitters offer a dual-color (green and red) power/mute LED to indicate on/mute status. - True Diversity: True Diversity operation selects the better signal from two independent receiver sections, reducing chance of dropouts. - Advanced digital Tone Lock™ squelch effectively blocks stray RF; the digitally encoded tone also communicates transmitter data for receiver display. - Receiver audio output increased to +9dBv. - Ground-lift switch helps eliminate audible hum caused by ground loops. - Balanced and unbalanced audio output jacks. - 2-year warranty System Configurations: ATW-3110b (Includes ATW-R3100b, ATW-T310b, Wireless Essentials® microphone or cable) ATW-3131b (Includes ATW-R3100b, ATW-T310b, AT831cW) ATW-3141b (Includes ATW-R3100b, ATW-T341b) ATW-3171b (Includes ATW-R3100b, ATW-T371b) ATW-3192b (Includes ATW-R3100b, ATW-T310b, AT892cW) ATW-3192b-TH (Includes ATW-R3100b, ATW-T310b, AT892cW-TH) Receiver: ATW-R3100b (Includes the following accessories: AC adapter, two flexible UHF antennas, rack-mount adapters) Transmitters: ATW-T310b UniPak Transmitter ATW-T341b Cardioid Condenser Transmitter ATW-T371b Cardioid Dynamic Transmitter Audio-Technica’s updated 3000 Series Wireless Systems will be available February 2010. For more information, please visit www.audio-technica.com. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2677 WAVES RELEASES VOCAL RIDER, A REVOLUTIONARY PLUG-IN FOR MIXING — Waves Vocal Rider intelligently raises or lowers vocal volume without coloring or compression — TEL AVIV, ISRAEL — Waves Audio is now shipping Vocal Rider, the first of Waves’ pioneering series of innovative new Mixing tools. Vocal Rider is indispensable for mixers and recording engineers, automatically riding the levels of vocal tracks. Instead of manually riding a console fader, or tediously drawing in every level change on a DAW track, Vocal Rider does it automatically, making it a true timesaver. First, the user sets the target range of the vocal level in relation to the rest of the mix. Vocal Rider then compensates for all deviations from the target, intelligently raising or lowering the vocal volume, instantly. Unlike compression, Vocal Rider adds absolutely no additional coloring to the track The new Vocal Rider Live component includes an exclusive Spill control to differentiate the vocal from background instrumentation and noise, for better tracking and performance. Features - Allows users to keep steady vocal and dialog levels automatically. - Saves time by automating the vocal riding part of the mixing process. - Writes the automatic riding to an automation track for fine tuning. - Real-time means no latency and no pre-scan needed. - Up to 24-bit 96kHz resolution. - Supports TDM, RTAS, Audio Suite, VST, AU. - Windows 7 and Mac OS X compatible. Controls - Target sets the reference range for vocal mix positioning. - Vocal Sensitivity differentiates vocal content from noise floor and ambience. - Vocal Activity LED indicates when vocal activity is detected. - Attack sets the vocal detection attack behavior. - Music Sensitivity determines the amount Vocal Rider adapts to instrumental levels. - Music Sensitivity LED indicates Vocal Rider’s response to instrumental levels. - Range Min/Max set the boundaries of the Rider Fader movement range. - Effective Range displays the total gain range available for automatic riding. - Idle Arrow sets the Rider Fader value when there is no vocal activity. - Rider Fader is Vocal Rider’s automatic control. - Automation Mode controls the Rider Fader operation. - Output trims the vocal output gain, post-auto riding. - Clip LED shows when output is clipping. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2676 Meyer Sound Constellation Provides Flexible Acoustics for Nokia Concert Hall at Estonia’s Solaris Centre Located in Estonia’s bustling capital of Tallinn, the Solaris Cultural and Leisure Centre—a gleaming new arts, retail, and cinema complex—catches the eye with glass walls and roof that admit sunlight for eco-friendly illumination and heating. The centre’s primary venue, the 1,829-seat Nokia Concert Hall, similarly entices audiences with Meyer Sound’s Constellation® acoustic system and sound reinforcement loudspeakers. The Nokia Concert Hall was envisioned from the outset as a multi-use venue for hosting a broad range of events, spanning everything from plays, corporate presentations, and rock concerts to opera, chamber music, and symphony orchestras. Since the wide range of events requires different acoustical characteristics, the hall relies on the flexible active acoustics of Constellation to provide acoustical environments ideal for each production. Operators may select one of the five pre-programmed Constellation presets to create frequency-balanced, natural reverberation with decay times spaced between one second (off) for amplified concerts and two seconds for choral and organ music performances. The variable acoustics have greatly expanded the hall’s programming and audience. “I think it is fair to say that Constellation is so flexible that it benefits almost every event we’ve had here since we opened,” states Aivar Sirelpuu, general manager for the Nokia Concert Hall. Linda Madalik, the acoustical consultant for the concert hall, concurs: “The sound in the Nokia Concert Hall is very natural. There are no zones of poor acoustic quality anywhere in the audience seating area. The acoustical conditions on stage are also perfect.” The installed system comprises Constellation and VRAS processors, 72 precision-calibrated omnidirectional and cardioid microphones, and 274 discreet loudspeakers, with Meyer Sound models that include Stella-4C™, Stella-8C™, UP-4XP, UPM-1P, and UPJunior™ VariO™ loudspeakers, and UMS-1P subwoofers. A Lemur touch-screen controller serves as the control interface for selecting the appropriate setting from the presets. For amplified events, the hall is ready with a Meyer Sound reinforcement system that works hand-in-glove with the hall’s acoustics. Anchored by a total of 30 MICA® and M’elodie® line array loudspeakers in a LCR configuration, the system also includes M1D line array and UPA-1P loudspeakers, 700-HP subwoofers, and a Galileo® loudspeaker management system. “During our first two months of operation, we have hosted plays and ballet, conferences, jazz, musical theatre, as well as choral, symphony, pop, and rock concerts,” says Priit Rebane of the Baltic Development Group (BDG), the managing partner of the Solaris Centre. “The Meyer Sound systems have worked well on all of them. We have found Constellation to be a great tool not only for acoustic performances, but it also works in combination with the main reinforcement system to enhance jazz and musical shows.” Although Constellation is normally turned off for high-volume rock music, an intermediate Constellation setting is often applied at minimally amplified concerts to add a “live” feel to the hall. This was the case for a concert by noted jazz singer Nino Katamadze. “Nokia Concert Hall has been one of the best venues we have ever had the pleasure to perform at,” Katamadze says. “We were amazed by the quality of the light and sound systems. The acoustics were sensational. We can’t wait to perform there again!” In addition to Constellation, the Solaris Centre also features Meyer Sound’s Cinema Experience in nine of its movie theatres. The principal designer of all audio systems at Solaris Centre was San Francisco-based Dave Dennison, with installation by Tallinn-based Eventech under the direction of managing director Tonu Susi. Principal architect was Raivo Puusepp Architects of Estonia. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2675 Waikiki Shell’s 18-Year-Old UPA a Testament to Meyer Sound System Longevity Nestled below the Diamond Head mountain bordering Waikiki Beach, Honolulu’s Waikiki Shell is truly an outdoor venue in paradise. In 1991, BAUS Engineering installed eight Meyer Sound UPA-1A loudspeakers here, sitting atop poles night and day as permanent lawn delays. For loudspeakers, this was no 18-year holiday. These UPA-1A loudspeakers have braved some of the most treacherous weather conditions, including the Hurricane Iniki in 1992, and are still performing like the first day they were installed. “They were outside through the hurricane and numerous tropical storms,” says John Fuhrmann, the event services manager for the City of Honolulu’s Department of Enterprise Services, the venue’s operator. “Also, the Shell operates year round, so they were constantly exposed to humidity and salt air. We used them for every show, and we’ve been very pleased with them.” The UPA-1A loudspeakers were recently brought back to BAUS Engineering for refurbishment and for upgrading the drivers to the newer Berkeley-built compression drivers as found in the self-powered UPA-1P. Signal processing and delay was now provided by a new Galileo® loudspeaker management system. “These UPAs testify to the quality and reliability of Meyer Sound products,” states Randy Bauske, owner of BAUS Engineering. “Eight speakers times 18 years makes 144 total operating years, working thousands of shows, with no failures due to weather exposure.” Bauske confesses that even he was somewhat surprised by the loudspeakers’ longevity. “I was expecting the norm of 10 to 12 years,” he says. “But the stainless steel hardware prevented corrosion, and the cabinets were totally protected so there was no damage at all to the wood.” He was also pleased to discover that all the parts he needed were still available. “After 18 years, the UPAs were far from obsolete. Meyer has made improvements, but the design never went out of date. That is truly extraordinary in this industry.” Seeing the performance and durability of the UPA delays, the venue made an easy decision to replace the house system mounted at the shell with two Meyer Sound MVC-5 graduated vertical coverage loudspeakers to cover all front seating areas for high school and college graduations, corporate events, and various community gatherings. For amplified pop/rock concerts, rental systems are brought in to complement the installed system. “The old system just ran out of gas before you hit the delays,” says Bauske. “Now with the MVC-5s we have seamless coverage from front to back as well as side to side.” According to Fuhrmann, “Clarity and coverage are critical for this type of venue, and the new Meyer system will be much better for events we have here. For example, we just had graduation ceremonies for an elite private college. Parents paid a lot of money for the privilege of being there, and they wanted to hear everything clearly.” Owned and operated by the City of Honolulu as part of the Neal S. Blaisdell Center, the Waikiki Shell has permanent seating for 1,958 and allows additional seating for up to 500 in the front “pool” area. The lawn can accommodate up to 6,000. In addition to a variety of community events, the Waikiki Shell hosts outdoor concerts by the Honolulu Symphony, national touring acts (Jimmy Buffett made a recent stop), and radio station-sponsored promotions featuring local bands. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2674 WAVES OFFERS THREE NEW ARTIST COLLABORATION COLLECTIONS, CREATED WITH TOP PRODUCERS AND ENGINEERS — Company offers the Chris Lord-Alge Artist Signature Collection; The Jack Joseph Puig Artist Signature Collection; and Eddie Kramer HLS Channel and PIE Compressor — TEL AVIV, ISRAEL — Waves Audio continues its highly successful string of Waves Artists Collaborations as it offers two new bundles plus two new plug-ins: The Chris Lord-Alge Artist Signature Collection and The Jack Joseph Puig Artist Signature Collection, both part of the Waves Signature Series, and Eddie Kramer HLS Channel and Eddie Kramer PIE Compressor, from the Waves Modeling line. The Waves Signature Series features customized multi-effects plug-ins (with compression, EQ, reverb and more) based on the personal processing chains and settings of top producers and engineers. The Waves Modeling line consists of software plug-ins based on vintage and rare hardware, such as SSL, API, and Neve mixing console components. The Chris Lord-Alge Artist Signature Collection Following closely on the heels of the Waves Modeling CLA Classic Compressors, Waves Signature Series presents The Chris Lord-Alge Artist Signature Collection. These six application-specific plug-ins (CLA Bass, CLA Drums, CLA Vocals, CLA Guitars, CLA Effects and CLA Unplugged) are the result of close collaboration between GRAMMY® Award-winning mixing engineer Lord-Alge and the Waves R&D team. With a mixing career spanning almost three decades, Chris Lord-Alge has worked alongside such artists as Green Day, U2, Creed, Snow Patrol, Daughtry, Nickelback, Jimmy Eat World, Santana and many others. Created from CLA’s custom processing chains, this collection gives users instant access to Chris Lord-Alge’s signature sound: radio-ready rock with an edge. The Chris Lord-Alge Artist Signature Collection is Native only and has an MSRP of $800. The Jack Joseph Puig Artist Signature Collection Over the past three decades, JJP has helped redefine the role of the producer/mixing engineer, working with such acts as John Mayer, Black Eyed Peas, No Doubt, Panic at the Disco, Weezer, Goo Goo Dolls, the Pussycat Dolls and many more. Following the successful JJP Collection, which modeled rare pieces of vintage gear from his personal arsenal, Waves Signature Series introduces the Jack Joseph Puig Artist Signature Collection. Developed in close association with JJP himself, these six application-specific plug-ins (JJP Bass, JJP Strings & Keys, JJP Drums, JJP Vocals, JJP Guitars and JJP Cymbals & Percussion) were created from JJP’s personal processing chains and give users immediate access to Puig’s larger-than-life pop/rock sound. The Jack Joseph Puig Artist Signature Collection is Native only and has an MSRP of $800. Both the new Chris Lord-Alge and the Jack Joseph Puig Artist Signature Collections are part of the Waves Signature Series. The Waves Signature Series is Waves’ exclusive line of application-specific audio processors, created in collaboration with the world's top producers, engineers, and mixing engineers. Each and every Signature Series plug-in has been precision-crafted to capture the artist's distinct sound and production style, using custom multi-effect processing chains designed by the artists themselves. Eddie Kramer HLS Channel / Eddie Kramer PIE Compressor Over the course of a production and engineering career that spans more than four decades, Eddie Kramer was the man behind the board for some of the biggest names in music history, including Jimi Hendrix, Led Zeppelin, Kiss, The Beatles, David Bowie and many more. Continuing a fruitful partnership that recently resulted in Waves Signature Series’ Eddie Kramer Collection, Waves announces the latest in its Modeling line: the Eddie Kramer HLS Channel and the Eddie Kramer PIE Compressor. Created in collaboration with Kramer himself, these meticulously modeled plug-ins are based on the vintage gear he used in historic sessions by such acts as Jimi Hendrix and Led Zeppelin at London’s acclaimed Olympic Studios. The HLS Channel Strip was modeled on the Helios recording console from the Rolling Stones’ mobile truck (and which was immortalized in Deep Purple’s “Smoke on the Water.”) The PIE Compressor was modeled on the vintage Pye compressor, which was a mainstay in high-end British studios during the ‘60s & ‘70s. The Eddie Kramer HLS Channel and the Eddie Kramer PIE Compressor are Native and TDM. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2673 Alcons @ Integrated Systems Europe 2010 / post show edition Alcons can look back on another very successful participation in the ISE show. Playing on home-turf, many international clients and interested potentials, stopped-by the stand for fresh-brewed coffee (or a Heineken) and a chat. ISE is one of the few shows, where Alcons displays both her general product line and the AV / Digital Cinema product line at the same time. This year’s highlights on the Alcons stand were the CRMS 3-way reference cinema sound system and the LR7 micro pro-ribbon line-array system. As a result of the increasing interest in Alcons pro-ribbon sound systems for sound-for-picture applications, Alcons Audio showed the CRMS system: The Cinema Ribbon Monitor System is a reference-quality sound reproduction system, with fully matched loudspeaker, processing and amplifier components. The 3-way reference system is designed for A/V projects, high quality screening rooms, post-production rooms, high quality home theatre installations a.o. Unique design feature is that the MHF section acts both as MHF section for the main/front system, as well as full-range surround system, resulting in a very uniform sound stage throughout the entire listening area. The LR7 micro pro-ribbon line-array saw its first appearance at ISE in final finish, including the LR7B micro line-array bass: A system not wider than 3 CD’s, available in any color and with the industry’s best “size/weight-to-throw” ratio, which is suitable for A/V projects, where very compact form factor with perfect line-array projection and imaging are required. Tom Back: “Again, the ISE show was able to attract potentials that we would not have met at other shows. It speaks for itself that the CRMS system attracted a lot of attention, with many home-theatre and sound-for-picture integrators visiting the stand to have a look and listen to this new reference system. Also the micro LR7 line-array could receive the warm interest of the ISE public, following superb critics from German and French test magazines. Also, stand visitors were very impressed with our pro-ribbon sound quality from the VR8 monitors. We’ll be back at ISE in 2011 for sure!”. More information on: HYPERLINK "http://www.alconsaudio.com" www.alconsaudio.com and HYPERLINK "http://www.proribbontechnology.com" www.proribbontechnology.com World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2672 New auditorium at K.M.E. Following extensive investments and a short building time a 170 sqm huge auditorium opened at K.M.E, Auerbacher Str. 268 in Klingenthal. An audio competence centre with optimized, lively acoustic was created to present K.M.E. systems adequate under live conditions. In the functional acoustic structure with symmetrical room design the frequency neutral reverberation time delivers a natural listening experience. Not only sound properties of the systems but also hardware features like rigging and mounting options can now be presented. Modern electronic and media infrastructure like HD projector plus 4 m motor driven screen are installed. An extensive audio–video–production delivers a comfortable control of all elements. Heavy load mounting point with chain hoists ChainMaster D8Plus and a truss FD 34 enable to mount bigger systems like the line array PANO with up to 500 kg per side. The room can be dimmed automatically. 
In the neighbouring reverberation free anechoic chamber with a measurement distance of up to 7,5 m can be carried out extensive acoustic sources testing with focus on directivity, frequency and phase response. In the future we offer trainings, workshops and product demonstration for K.M.E. dealers but also for end users. Concrete offers you will be informed about in time. Individual presentations we offer on request and with preregistration. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2671 We Want Miles—Meyer Sound Brings Legendary Jazz Sound to Multimedia Exhibit in Paris At We Want Miles: Jazz Face to Face With Its Legend, the first large-scale exhibition dedicated to jazz great Miles Davis, his music was the focus. Thousands of visitors flocked to Musée de la Musique in Paris this winter to get a close-up look at his illustrious career and rediscover the music that has touched the lives of countless fans. Transporting enthusiastic visitors to the world of Davis’s sound was the responsibility of curator Vincent Bessière and sound designers Philippe Wojtowicz and Mathias Abherve, with compact Meyer Sound systems strategically distributed throughout two levels of the exhibit hall. The exhibit will move to Montreal in April, 2010. To “show” music in a museum space was no easy feat. The venue’s reverberant physical acoustics and the close proximity of the listening spaces demanded careful control of the sound. Meanwhile, the visibility of the audio equipment had to be kept to a minimum to ensure visitors could focus on the musical instruments, stage clothes, portraits, session sheets, and other never-before-shown artifacts. Most important of all, sound clarity was a priority in order to accurately reflect the immense musical talent of the artist. “Unlike other exhibitions, the audio here is not just ambient sound for the environment. The idea is to provide the audience with a true listening experience. Visitors stay for a long time at one place just to listen to Miles,” says Wojtowicz. “The team agreed early on that this exhibit would be created with respect for Miles Davis’s music. This was key, and dictated the choice of Meyer Sound systems.” >From Davis’s St. Louis, Missouri home to his last concert at La Villette in Paris in 1991, visitors followed the evolution of his music through Meyer Sound’s miniature MM-4 and UPM-1P loudspeakers in the listening rooms. A series of projection screens showing footage of live performances were complemented by UPM-1P loudspeakers and UMS-1P subwoofers. Using acoustical panels, carpeting, and the predictable coverage of Meyer Sound loudspeakers, the designers effectively provided crystalline sound clarity while minimizing interference between the numerous audio sources. The compact loudspeaker enclosures were largely hidden from view. All of the Meyer Sound equipment was provided by Paris-based Dispatch. “I have used the MM-4s many times before. They are lightweight, visually discreet, and most importantly, they sound fantastic,” says Wojtowicz. “Sound opens a new dimension for the visitors, gives context to open their imagination. Using a high-quality sound system allows me to help transmit a lot of emotions for the exhibit.” The Paris debut of We Want Miles: Jazz Face to Face With Its Legend has received critical acclaim for its sight and sound from visitors from around the world, including The New York Times’ Yasmine Ryan, who reported that the exhibition “is infused with the spontaneous and elegant nature of the man and his music: cool and understated in all the right places.” On April 30, 2010, We Want Miles will move to the Montreal Museum of Fine Arts in Canada, where a Meyer Sound MM-4XP and UPM-1P loudspeaker system configured by Philippe Wojtowicz will be used. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2670 Meyer Sound MM-4XPD Gives Direction to Celtic Woman Tour and Virtual Reality Environments at KAUST At first glance, the North American tour of Celtic Woman appears to have little in common with the virtual reality environments at a high-tech university in Saudi Arabia. On closer inspection, a keen observer would note that both rely on Meyer Sound’s new self-powered MM-4XPD miniature directional loudspeaker to project low-distortion, wide-bandwidth sound precisely where it is wanted, while minimizing audio leakage and interference with reflective surfaces. Meeting similar performance standards as the popular MM-4XP miniature loudspeaker, the MM-4XPD adds the advantage of a hypercardioid coverage pattern, providing a unique solution for controlling sound in highly reverberant open spaces. With a 10 dB attenuation between the front and the back of the loudspeaker, this new technology reduces excitation of the room even at low frequencies, and enables sound designers to bring audio clarity to notoriously challenging environments that include restaurants, bars, trade show booths, retail spaces, and museums. The MM-4XPD features a four-inch-square faceplate and weighs only 5.2 lbs, with an impressive peak output of 113 dB SPL. The MM-4XPD effectively solved a vexing problem on the recent Celtic Woman tour. “The singers all wear sensitive omnidirectional condenser headset mics, sometimes with 13 on stage at once,” says Wayne Pauley, the tour’s FOH engineer. “In-ear monitors prevent monitor bleed, but when the singers moved close to the front fills the backwash threatened to cause feedback and phasing issues.” To address the problem and ensure the best possible sound for VIP ticketholders in the front rows, frontfill loudspeakers were replaced with 12 MM-4XPD directional loudspeakers midway through the tour. “The change not only improved gain before feedback, but it also let me optimize the sound quality for the front-row audience,” says Pauley. “Now I don’t have to make huge cuts in the EQ just to keep the system stable when singers move downstage.” The MM-4XPD achieves its remarkable hypercardioid directional characteristic using a patent-pending passive design that employs a single four-inch driver manufactured at Meyer Sound’s Berkeley headquarters. This approach eliminates the added bulk and costs of designs that require a second active driver. The hypercardioid coverage pattern, combined with excellent voice intelligibility and wide-bandwidth reproduction, makes the MM-4XPD well-suited for demanding applications such as the virtual reality environments at the new King Abdullah University of Science and Technology (KAUST) in Saudi Arabia. Audio systems for these leading-edge, immersive AV environments were designed and prototyped at the California Institute of Telecommunications and Information Technology (Calit2) at the University of California, San Diego. “We needed to solve two big problems,” observes Peter Otto, head of Calit2’s Sonic Arts Group. “First we needed to control audio leakage from one area to another in a large, open space. We also wanted to control reflections from hard surfaces, including the video displays and a large nearby window. The MM-4XPD proved to be the perfect solution.” Other loudspeaker systems were investigated for the KAUST installation, but involved unacceptable compromises. “We tried other approaches to restricted coverage but found the digital signal processing introduced unacceptable delays,” adds Otto. “Also, they did not provide the robustness we’re accustomed to with Meyer Sound products.” Sound equipment installed at KAUST also includes Meyer Sound’s MM-4XP miniature loudspeakers and UMS-1P subwoofers. Like the MM-4XP miniature loudspeaker and the MM-4XPV miniature loudspeaker with volume control, the MM-4XPD utilizes a remote 48V DC power supply. Because the amplifier and signal processing circuits can store DC and tolerate voltage drops, installers can use light-gauge cables over long runs. Installation costs are greatly reduced while preserving the clear performance advantages of self-powered systems. A single MPS-488 rackmount eight-channel power supply provides balanced audio and DC power for up to eight MM-4XP family loudspeakers, with connections over a single cable terminated with a five-pin connector (Switchcraft EN3). World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2669 Hong Kong Repertory Theatre Presents Scrooge with a New Meyer Sound System This winter, the Hong Kong Repertory Theatre performed 20 shows of Leslie Bricusse’s Scrooge, a musical based on Charles Dickens’s A Christmas Carol. Staged at the Hong Kong City Hall’s 463-seat proscenium theatre, the presentation marked the christening of HKRep’s new Meyer Sound system, which provided a pristine and dynamic soundscape to complete a remarkable live theatre experience. “Space is very limited, so the speaker system has to be as small as possible, yet able to deliver exceptional sound pressure levels,” says sound designer Yuen Cheuk-wa. “There are bangs, thunder, explosions, tornados, and low drones, which demand a lot of headroom and low-frequency extension.” Using Meyer Sound’s MAPP Online Pro™ acoustical prediction program, Yuen designed a system featuring two UPA-2P, four UPJunior™ VariO™, and six MM-4XP miniature loudspeakers, in addition to four UMS-1P subwoofers. A Galileo® loudspeaker management system with Compass™ control software was used for system drive and processing. Meyer Sound's Matrix3™ audio show control allowed Yuen to create a sound design that immersed audiences in a haunting ambience for ghost Jacob Marley, and captivating gestural effects for the ghosts of Christmas Past, Present, and Yet to Come. Wild Tracks™ hard disk playback was used for all of the show’s music multitracks, along with a CueMixer™ serving as a control surface for the sound effects operator. “Scrooge covers a wide range of dynamics, from tender ballads to powerful thunder cracks,” Yuen says. “The director wanted to make the show sound present and natural, without sounding excessively loud. Meyer loudspeakers have a consistent tonal quality necessary to create the highly accurate coverage patterns we needed. The seams between coverage of each cabinet are essentially unnoticeable. The UMS-1Ps spaced along the forestage sounded powerful but are not seen. Even the producer asked where the subs were when he came to the dress rehearsal!" FOH mixing was handled by Kee ‘ah B’ King-yin, audio engineer at HKRep, with show programming by Lee Hoi-fai. Cheung King-ching, student intern from the Hong Kong Academy for Performing Arts, provided assistance. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2668 AUDIO-TECHNICA CONTINUES ITS SUPPORT OF THE WORLD’S FINEST ATHLETES AT THE XXI WINTER OLYMPIC GAMES IN VANCOUVER STOW, OH — Audio-Technica, a world leader in transducer technology, announces that over 3,000 of its microphones will be used at the XXI Winter Olympic Games, taking place in Vancouver, British Columbia, Canada, this February. The use of Audio-Technica microphones for the broadcast of the 2010 Winter Games marks the continuation of A-T’s Olympic involvement, which has been consistent since the Summer Games in Atlanta in 1996. Olympic Broadcast Services Vancouver (OBSV) is the Host Broadcaster for the Vancouver 2010 Olympic Games, responsible for producing and distributing audio and video coverage of the Games. To generate an international production, OBSV will deploy all cameras, develop graphics, and capture audio at each sporting venue. OBSV will transmit this international production to all radio and television Rights Holding Broadcasters, who will adapt the signal for transmission on their networks. In this way, each nation will receive unbiased coverage of the event, thereby avoiding any national favoritism, commercial identification, advertising or interviews. Olympic Broadcast Services Vancouver will use the AT4050 Large Diaphragm Multi-pattern Microphone and BP4025 X/Y Stereo Field Recording Microphone to create the 5.1 surround sound ambience at the Olympic events. In Vancouver, there are several different audio environments, each of which will present unique challenges for the broadcasters and audio engineers. For instance, in ski jump alone, there are three distinct surround-sound scenarios that will employ a combination of AT4050’s and BP4025’s: the start house, which is an enclosed environment; the preparation for and start of the jump, when the skiers are ready to go down the hill; and the jump in motion – when viewers start to see the crowd, the mixers try to blend in the surround sound of the crowd base as well. The sonic details will be added by using a large number of Audio-Technica’s shotgun microphones, including the 21.22”-long BP4071L Line + Gradient Condenser for outdoor and long-distance pickup in such sports as downhill skiing, figure skating and half-pipe sports; the AT898 Subminiature Lavalier Microphone with individual body packs in curling, operating up to 48 channels of simultaneous wireless; custom A-T boundary mics for hockey; and many more microphones. “The sound of competitive sports is crucial, and Audio-Technica is proud to be a critical part of bringing the experience of the Games to viewers around the world,” said Michael Edwards, Audio-Technica Director of Product Management. “When Audio-Technica began a successful relationship with the Olympic broadcasters in Atlanta in 1996, we made a dedication to the capture of audio in broadcast sports. Because of this, we have been given the opportunity to help improve the sound and reduce mic visibility in the process. As a result of our experience with Olympic broadcasts, Audio-Technica continues ongoing product development in order to meet the needs of professional broadcasters in a variety of settings around the world.” The Vancouver 2010 Winter Games will feature athletes from a projected 80+ countries competing in 86 events in seven sports, with media representatives covering the event for a worldwide audience of billions. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2667 Minimal Beats and Maximal Synths at Splurgo Audio Splurgo Audio is proud to announce two new samplepacks.

Synth Collection Vol. 03 In today's dance scene there are many styles that can be defined as dance, trance or anything like. Jumpstyle, eurodance and hands up are just a few of them. We tried to represent quite some styles in this third installment of synth loops. These synths are harder and better than ever! The pack contains 56 loops at 140 bpm in the key of A. This pack is available in Sony Acid WAV and Apple Garageband AIFF for $7.95. 
Minimal House Beats – Also known as buftech and microhouse, minimal house found it roots in the early 90s developed from minimal techno and glitch house. Nowadays it's still a popular genre and has some loyal followers. We're doing our best to keep the followers happy, so here are new loops for your new minimal house project. The pack contains 72 loops at 130 bpm. This pack is available in Sony Acid WAV and Apple Garageband AIFF for $9.95. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2666 Sensaphonics earphones rock the GRAMMY® Awards Over half the performances on the 2010 Grammy telecast use Sensaphonics custom earphones for in-ear monitoring. CHICAGO, IL (February 5, 2010) – The 52nd Annual GRAMMY® Awards were telecast on CBS on Sunday, January 21, setting viewership records with a string of one-of-a-kind performances and unrelenting star power. With big productions of nominated and classic songs realized through cross-genre instrumentation, unexpected duet pairings and showy staging, the program embraced the sense of spectacle and style people have come to expect from “Music’s Biggest Night.” Most performers on the show used in-ear monitors, which afford high fidelity and freedom of movement while eliminating on-stage feedback. This year’s Grammy telecast featured 16 performance segments, nine of which featured artists using Sensaphonics earphones. This is especially impressive because professional earphones are custom-fit devices, meaning each artist brings and uses their personal in-ears on stage. Sensaphonics earphones are favored by discriminating artists and engineers for their unique combination of reference-quality sound, and comfortable, soft-gel silicone earpieces. “Watching the Grammies was a real treat for me this year,” says Sensaphonics founder and president, Dr. Michael Santucci. “To see our clients on the telecast using products that we made for them by hand was very rewarding. And it confirms that our ability to deliver a high-impact monitoring experience at safer levels and with unparalleled comfort is being embraced by artists and engineers across the industry.” With six Grammy awards and ten nominations, this year’s biggest winner was Beyonce. Amid her acceptance speeches, she performed a rock-style medley of her hit “If I Were A Boy” with Alanis Morissette’s “You Oughta Know.” Beyonce’s entire tour uses Sensaphonics 2MAX earphones, with the artist’s personal silver plated pair customized by Sensaphonics Japan to match her tour staging and costuming. In other performances, Mary J. Blige wore her 2MAX for her duet with Andrea Bocelli, while Maxwell wore his 3D Active Ambient IEM system to sing the classic “Where Is The Love?” with Roberta Flack. Other artists using Sensaphonics in their Grammy performances included Stevie Nicks, Jennifer Hudson, Usher, Eminem and Dave Matthews, all of who wore their Model 2X-S earphones. The latest Sensaphonics model, the innovative 3MAX triple-drier earphones, made an impact at the Grammy Awards as well. Rock legend Jon Bon Jovi, one of the beta testers during 3MAX product development, was wearing his prototype set in performance. In addition, the evening’s opening performer, Lady Gaga, just became the first official customer for the 3MAX, the world’s first triple-driver earphones in a silicone earpiece design. “Literally from beginning to end, the Grammy telecast was a testament to how much artists rely on their in-ear systems to create great performances,” says Santucci. “For a small technology company like Sensaphonics to achieve this kind of impact on the Grammy stage is very gratifying.” World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2665 New Features... New Sounds! Operating System Version 3.5 for the Minimoog Voyager Analog synthesizer adds a number of new features, including quick save, category browse, and legato glide. After you update your Voyager to OS 3.5, there is a new bank of the freshest Voyager presets on the planet available as a free download. Programmed by Mile Davis keyboardist Adam Holzman, Danish producer Daniel Muschinsky, Moog engineer Steve Dunnington and Moog associate Ben Hovey, these sounds span the spectrum from classic to cutting edge. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2664 The Moog Guitar Adds MIDI The spirit of sonic exploration kindled by The Moog Guitar has led many intrepid guitarists to imagine the possibilities of combining its ground-breaking innovations with MIDI guitar technology. At Winter NAMM 2010, imagination became reality: introducing The Moog Guitar Model E1-M. Works With the Latest MIDI Converters and Virtual Guitar Systems Fast, Accurate Tracking, Low Latency Design Industry-Standard 13 Pin Hex Output Magnetic and Piezo Pickup Signals Still Accessible Added Controls: MIDI Volume, Output Toggle & MIDI Patch Change Toggle World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2663 Shipping Begins on Taurus 3 Bass Pedals Taurus 3 Bass Pedals have begun making their way to musicians worldwide. Things will never be the same. Taurus 3 customers: the fact that we are shipping does not necessarily mean that we are currently shipping YOUR order. We have a 4-5 month backlog and each one is hand-built here in the factory. It will take some time to build all 1,000 pieces. Please be patient with us. For the most part, orders will be shipped on a first come, first served basis. We will notify you in advance of shipping your unit if you purchased your Taurus directly from Moog. At that time, we will advise the total to be charged to your credit card. If for some reason, you cannot accept the unit at this time, please understand that with the demand we have for these units, we will not be able to hold any. A delay will cause your unit to be rescheduled towards the end of the build. So be prepared, your unit will be coming soon. If you purchased your Taurus from one of our Authorized Dealers, we will notify them prior to shipping their order. Please contact your dealer for further information. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2662 Announcing CAL: The New Self-Powered Steerable Column Array Loudspeakers from Meyer Sound Meyer Sound has announced CAL, a new series of self-powered steerable column array loudspeakers that offer unprecedented control and low-profile aesthetics. Providing exceptional intelligibility in highly reverberant environments, the Meyer Sound CAL steerable column array loudspeakers feature unparalleled vertical coverage control and low-distortion sound developed and refined through years of scientific research in steering sound technology. Without sacrificing any power, the vertical beam can be angled up or down 30 degrees and can be configured with vertical beam widths from five to 60 degrees. Multiple or split beams can be used as needed to fit the application. Using a range of vertical control presets programmed for the steerable column array loudspeakers, system integrators can choose the angle and dispersion to accurately project sound where needed while avoiding surfaces that interfere with speech signal transmissions. For acoustically challenging spaces such as churches, mosques, airports, cruise ships, stadiums, and theme parks, intelligible voice reproduction and smooth audio coverage can now be achieved with fewer, strategically placed loudspeakers, effectively preserving a venue’s aesthetic integrity. The high-fidelity CAL steerable column array loudspeakers incorporate powerful digital signal processing as found in the Meyer Sound D-Mitri digital audio platform, and are built upon sound directivity research in collaboration with the University of California Berkeley’s Center for New Music and Audio Technologies (CNMAT). Designed by Meyer Sound engineers to be used for sound field synthesis applications and optimized for beam steering, each driver and tweeter is powered by a dedicated amplifier channel to accurately control the vertical behavior. CAL provides 120 degrees of horizontal coverage and is available in three versions of column lengths ranging from less than one meter up to 1.8 meters to meet an installation’s power and coverage requirements, operating across a frequency range of 150 Hz to 10 kHz. CAL supports AES/EBU digital and AVB-enabled Ethernet inputs in addition to line level analog inputs, and is equipped with the RMS remote monitoring system. Available options include weather protection and custom color finishes. Product will begin shipping in December 2010. For more information, please contact Meyer Sound at sales@meyersound.com. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2661 Ashen White Productions Chooses Community Solutions for Hamilton Landmark Church Community Professional loudspeakers have been installed in St Patrick’s Roman Catholic Church, Hamilton, Ontario, in a system designed by Toronto-based Ashen White Productions. Completed in 1877, St Patricks is a landmark in the city’s downtown centre, and one of the finest examples of 13th century gothic revival architecture in southern Ontario. Undoubtedly a building of great beauty and local importance, in acoustical terms it presented Ashen White Productions’ head of sales and installation, Warren Potter, with a large reverberant space with limitations on how and where audio equipment could be installed. Warren Potter met with the Church leaders to help determine their needs and goals. Sound quality and coverage were the key factors, but in addition to the need for speech intelligibility the system had to be suitable for the large numbers of musical performances held in the church. The project began with clearing out the old and very inadequate system, much of which could be traced back to the 50s and 60s. “For the new system the key element was the choice of loudspeaker system and Community Professional Loudspeakers held the answers”, commented Mr Potter. “We decided on Community for several reasons. The first reason was Community had a box that fitted every need perfectly for the project – VERIS 3564 for the mains, VERIS 8 for the delays, I/O5 for the altar fill and I/O8 for the choir loft fill”. “Because of the traditional nature and layout of the church, having subwoofers was not really an option”, expanded Mr Potter, “So a box with a 15-inch low-frequency driver was required to fill the room with warmth. However, going from a 15-inch LF to a horn never really works well or sounds right when you’re dealing with live audio, especially for critical speech applications as in a church. Here comes VERIS 3564 to save the day, with its mid-range driver allowing the LF to be a true LF. And having the MF on a lens for directionality, rather than compression keeps everything smooth and warm, as well as projecting a sound that is close to your face even when the box is further away”. “The 3564 had no problems filling the room in the LF range, allowing us to crossover the VERIS 8 delay boxes up around 200Hz and turn them into a more of mid-high box. This also allowed the 8-inch driver to ideally reproduce the frequencies near the crossover point to the horn”. Mr Potter continues. “The I/O5 is nice and small, and can be hidden from sight very easily, while still producing the volume needed to fill the required area. The I/O8 can easily fill the choir loft”. The main VERIS 3564 loudspeakers are powered by a Crest CC4000 amplifier, providing 750W/channel (8 Ohm), while the VERIS 8 delay loudspeakers in the main hall use a Crest CC2800 amplifier, giving 500W/channel. For the choir balcony, the Community I/O8 fills are served by a Crest CPX900 amplifier, as is the I/O5 loudspeaker at the altar. Mr Potter also had an eye on the church’s future needs: “Thinking ahead, the I/O8 and I/O5 loudspeakers can easily be reconfigured to act as monitors for future use. The boxes can produce the volume and the amplifier is more than large enough”. On stage, Mr Potter specified four of Community’s MVP-12M 12-inch/1-inch wedge monitors, a small-profile loudspeaker that ‘has a clean look to it and can easily provide the necessary reinforcement for the needs of this church’. These provide two mixes – using a Crest CC2800 amplifier, giving 525W/channel into 8 Ohm with a single wedge per mix or 900W/channel with two wedges per mix. In all cases, the amplifier output has been limited below its maximum capacity. Running the loudspeakers is a Xilica XP‐4080 digital loudspeaker management and two graphic equalisers have also been incorporated into the set-up – an Ashly GQX‐3102 for the main system and a dbx 231 for the stage monitors. Finishing off at front-of-house is a 16-channel Soundcraft GB2R analogue console; modest, but well suited to the needs of St Patrick’s. “The system sounds great”, concludes Mr Potter. “Both the staff and the members of the church are thrilled with the new system, with many commenting about how nice it is to hear every word that is said during a service, whether they are in the front row or the back row. As the one who focuses the boxes, tunes the system and mixes the first couple of services/events, the system works very well with the room. The room has ‘natural warmth’ to it, and it also is able to transmit low mid-range frequencies very well. It’s not a ‘hang time’ like you get in an arena. I attended a concert that featured a 20-to-25 person choir before we did the installation. Their natural unamplified singing could be felt in my chest both underneath the choir loft as well as at the other end of the room. So the 15-inch LF of the 3564s produce a warm sound in the room; and with the directionality of the MF and HF the services have never sounded better. No matter where in the room you are, you feel as if you are being spoken to in person, up close and personal – as opposed to being spoken to as a group through a sound system. Because we are using a Crest Audio CC4000 on the 3564s and a CC2800 on the VERIS 8s, we have lots of headroom in the amplifiers allowing them to stay nice and juicy. We can really crank it up when we need to, without drying up the rails and thinning out the sound. There’s no such thing as too much headroom”. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2660 XANTECH APPOINTS RGB COMMUNICATIONS AS U.K. DISTRIBUTOR — Market-leading, award-winning technical distributor chosen by Xantech to expand company’s presence throughout U.K. — SYLMAR, CA, USA, January 26, 2010 — Xantech Corporation (Booth #2A51), a leading provider of whole-house entertainment and automation systems, announces the appointment of RGB Communications as its U.K. distributor. Based in Hungerford, Berkshire, RGB Communications is renowned as the U.K.’s leading technical distributor of audio-visual connectivity and control solutions. Gordon Innocent, RGB Chairman, states, “We are excited to work with Xantech, who share our passion for providing reliable, innovative and technically superb products. We look forward to bringing our new solutions to market and have extensive marketing and support activities planned.” Graham Hallett, Xantech President, adds, “RGB Communications offer a level of professionalism that provides our customers with consistency, high-level technical support and experience, which precisely aligns with Xantech’s product line and planned trajectory for growth. Xantech is proud to have RGB join our network of distributors.” ### About RGB Communications: RGB Communications Ltd is the leading U.K. technical trade distributor of Audio Visual connectivity, control and presentation products for the commercial and residential markets. Founded in 1991, RGB Communications has established a reputation for delivering high quality products backed by totally professional and friendly technical support and service. RGB’s commitment to and achievements within the A/V industry have been recognized with the prestigious 2002, 2004 and 2007 Distributor of the Year Award. For more information visit: www.rgbcomms.co.uk. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2659 Top 2000 in Concert with Alcons The New Year’s event Top 2000 In Concert was not only a splashing end of the year 2009; It was foremost the closing ceremony of the eleventh edition of the annual music marathon on Radio 2. The closing concert took place in Amsterdam’s Heineken Music Hall and was broadcasted on Radio 2 and the second Dutch television channel on January 1st 2010, right after the clock striked 0:00 marking the end of 2009. 
 
This eleventh edition saw national and international artists performing their own song + one personal favorite from the Top2000, among which Acda en de Munnik, Ruth Jacot, Spandau Ballet, Jamie Cullum, Björn Again, Lee Towers, Rowwen Hèze and Jeroen van der Boom. 
 
The live-sound was engineered by The Ribbon Network member Hof Audio from Haren, the Netherlands, supplying FOH and stage monitoring. The system was designed by Bart Hof. The main system consisted of two flown arrays of 24 units Alcons LR16 compact line–array systems, complemented by groundstacked subwoofers. The frontfill system was configured using in total 12 units Alcons LR14 ultra-compact line-array systems. Hof is using the LR14 more often as front fill and is very positive about it: “Especially the LR14’s small front- and footprint make this speaker ideal for this application, although being an array speaker”, according to Bart. The Alcons LR16 system performed excellent in the superb acoustics of the HMH. The Dutch engineers as well as Spandau Ballet’s engineer, Colin Norfield who used Alcons systems with Toto concerts were all enthusiast about the result. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2658 First Dutch Streetcaster screen launched in Lelystad The first Streetcaster screen in Holland was recently launched in the city of Lelystad, where it is placed on the Stadhuisplein in the centre of the city. This screen is the first Dutch project for Streetcaster and will be followed by other screens in several other Dutch cities. For audio reproduction, the screen is fitted with Alcons LR7 micro line-arrays. Streetcaster is a new concept which could be compared with the famous Town-crier phenomena from ancient times. Streetcaster installs and exploits big LED-screens in public areas in villages or cities. Streetcaster does not only install and maintain the actual screens but also provides and generates all content. The concept is aimed at a wide audience and therefore generates a programming which varies from local and national news, public announcements for cultural events and happenings or commercials. A Streetcaster screen is more than just an electronic billboard with video and audio capabilities. “The commercial options of a Streetcaster screen are quite obvious.” explains creative director Hans ter Burg of Streetcaster. “But a Streetcaster screen does have much more possibilities. Every screen is supported by an editorial staff which engages itself to generate content for the screen. Apart from public announcements and commercial messages, the screen can also be used for news made available by local broadcasting companies; Even tweets from Twitter are visible, by using certain codewords in the message. A web interface can be used by the editors for fast upload of new content through the internet”. The screen can also be used during (sports) events, festivals, festivities and concerts. As the screen is fully interactive, it features a camera and connection facilities for large scale live gaming events and connected with the internet, even game events between several cities featuring a Streetcaster screen are possible! The LED-screen itself measures 24 m2 (258 ft2) and is supplied by Philips which also supplied all digital driver electronics. The supporting column features in- and outputs for connecting equipment like a game console, microphone or any other sound source. The installation and infrastructure is supplied by Dutch system integration company Sinus Pro from Hoofddorp. “Such a screen looks very simple but involves much more systems because of the interactive capabilities.” explains Peter Kaandorp from Sinus Pro. (Streetcaster / Alcons press cont’d) All control electronics for the screen are situated in a control room in a nearby multi-storey car park, connected with a web interface using multiple fibre optic cables which carry all audio, video and control signals. For sound reproduction, a special loudspeaker system was installed which is aimed at a precisely defined area of the town square. “The use of an Alcons loudspeaker system was a deliberate choice for us.” tells Peter Kaandorp. “The screen in Lelystad is placed right in the city centre on the main square and neighbouring houses should experience no inconvenience from the screen. This required very precise projection control, so we use six line array cabinets of the new Alcons LR7 ultra compact line-array system to project the sound at the area in front of the screen, defined in cooperation with local authorities.” The volume level is quite low during daily use but can be increased to higher levels during special events like football matches or mini concerts. “Here another unique feature of the Alcons LR7 comes into play, as we need the best intelligibility at lowest up to highest SPL’s possible”. Following the success of the Streetcaster screen in Lelystad other Dutch cities already have showed interest in the concept. Not only was this the first Streetcaster project, it was also the first installation of the Alcons LR7 micro line-array worldwide! More information on: HYPERLINK "http://www.alconsaudio.com" www.alconsaudio.com, HYPERLINK "http://www.sinuspro.nl" www.sinuspro.nl and HYPERLINK "http://www.streetcaster.nl" www.streetcaster.nl World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2657 Community ENTASYS and VLF loudspeakers have recently been installed in the Gothic Hall of Stadhuis Kortrijk, the grand 16th century City Hall in Kortrijk, Belgium. Mario Clabots, of Community distributor M-Pro, worked on the project together with Zedelgem-based audio installation specialist company, Falco. “The Gothic Hall is a multi-purpose room, used primarily for meetings, conferences and presentations, so intelligibility is critical”, explained Clabots. “Against us, the room was long and narrow with a high reverberation time, so a very special solution was needed”. “The venue had bad past experience with distributed audio systems, some quite expensive and nothing that worked or provided satisfactory intelligibility”, continued Clabots, “So they were not prepared to make a decision again based on design work alone; they insisted on a full demonstration so the results could be heard and properly proved”. M-Pro and Falco jointly designed a system based around the new Community ENTASYS, a three-way, full-range column loudspeaker system that delivers true line-array performance with exceptionally controlled vertical dispersion. Two ENTASYS FR, in a single-column configuration, would be mounted centrally on the short wall behind the presentation position, firing down the length of the hall, and a single Community VLF212 dual 12-inch sub would supply the low frequency. “Aesthetically it would work perfectly, but we had obvious concerns about the speaker location being behind the presenter and panel microphones”, commented Clabots. “For the demo we therefore took the whole proposed system, which also consisted of a Symetrix Symnet Express DSP audio matrix mixer with ARC2 control panel, Amptec A1.5 amplification, a MIPRO ACT52 dual receiver with 2 ACT5H handheld mics, six Astatic 915B gooseneck mics and an Australian Monitor MYMTCD tuner/CD player”. “At the demonstration, any fears of interference with presenter or mics, or lack of even coverage in the room were instantly dispersed. We could experience the very narrow vertical beamwidth of the ENTASYS from the front to the back of the room and intelligibility and coverage were excellent throughout”, said Clabots. “The Mayor and his staff instantly gave the system the thumbs up and they wouldn’t let us take away our demo gear until Falco had installed the permanent system” World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2656 Meyer Sound Connects 13,000 Youth to the “World’s Most Exciting Orchestra” Hailed by The Times of London as “the most exciting, most joyful, most exotic orchestra in the world,” the Simón Bolívar Youth Orchestra enraptured 13,000 young Canadians late last year with an electrifying performance in Toronto’s Rogers Centre, home to the Toronto Blue Jays of Major League Baseball. In order to effectively connect musicians to audience, Montreal-based Solotech applied a system of Meyer Sound MILO® line array loudspeakers to the retractable-roof stadium, transforming it aurally into a fine concert hall. Produced by Toronto-based Glenn Gould Foundation, the student concert was the culmination of a three-day celebration honoring Dr. José Antonio Abreu, founder of the Simón Bolívar Youth Orchestra and recipient of the 2008 Glenn Gould Prize. “I’m sure it was a transforming moment for the young people there,” says Brian Levine, managing director of the Glenn Gould Foundation. “It was a breathtaking musical experience, and it ended with the shouting adulation you’d expect for rock superstars.” Levine realized from the outset that the concert could succeed only if the music was delivered to the audience with an accurate balance of robust power and delicate subtlety. “Clearly the emotional involvement could not have been achieved unless the music was presented effectively,” Levine says. “If they had heard music lacking impact or vibrancy, it simply would not have worked.” David Brazeau of Solotech was tasked with the design specifics, with the goal to tackle challenges imposed by the stadium’s long reverberation time and the more than 50 mics on stage. The loudspeaker configuration was anchored by 28 front-facing MILO line array loudspeakers, with 32 MICA® line array loudspeakers supplying side coverage. The system also comprised 14 700-HP subwoofers (six flown, eight ground-stacked), four UPQ-1P loudspeakers for corner fill, and ten UPA-1P loudspeakers for front fill and overhead stage monitors. A Galileo® loudspeaker management system controlled the system, with tuning by Solotech’s David Vincent using the SIM® 3 audio analyzer. All audio systems and support personnel were provided through joint sponsorship of Meyer Sound and Solotech. FOH duties were served by John Pellowe of Meyer Sound and former FOH engineer for Luciano Pavarotti. “I had expected the energetic, colorful Latin selections to have a lot of impact, but I was surprised by the core classical material,” says Levine. “The finale of Tchaikovsky’s Fourth Symphony you could equate to a fine concert hall experience. It was effective, powerful, and true to the music.” Yet, it is the concert’s impact on the future orchestral musicians and conductors that really matter, Levine explains. “This was an event that touched the lives of many young people and we are gratified that John and Helen Meyer expressed personal interest in sponsoring the project.” The Simón Bolívar Youth Orchestra (SBYO) represents the pinnacle of Venezuela’s State Foundation for the National System of Youth and Children’s Orchestras, commonly known as “El Sistema”. Founded in 1975 by Dr. Abreu, the government-funded organization is renowned for its successful development of musical talent through community orchestras and choruses that provide free, high-quality instruction and instruments for students from all socioeconomic groups. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2655 Meyer Sound MICA, M’elodie Are “Live and Ticking” with Immersive Multimedia Tour Drei ??? Anchored by a potent Meyer Sound system with MICA® and M’elodie® line array loudspeakers, Drei ??? was a live touring rendition of an immensely popular series of German radio plays based on the American juvenile detective novels. After an earlier, smaller-scale tour proved wildly successful, performers portraying the three intrepid investigators were booked for a 2009 tour in venues throughout Germany holding multigenerational audiences of up to 13,000 avid fans. An immersive multimedia tour, Die Drei ??? Und Der Seltsame Wecker—LIVE AND TICKING involved sophisticated lighting, a foley artist on stage, and a multichannel sound system. The tour’s producers, Münster, Germany-based Bucardo GmbH, enlisted the mb-media Engineering and Design of Hamburg to handle the technical requirements, with the POOL Group GmbH of Emsdetten implementing the complete production. Although the sound system configuration varied by location, the core setup comprised two hangs of 12 MICA line array loudspeakers per side, with eight M’elodie line array loudspeakers as outfill. An additional eight UPM-1P and six UPA-1P loudspeakers supplied near- and center-fill. Six more hangs, each with up to 20 M1D (10 each directing to front and back), along with UltraSeries™ loudspeakers as downfill, provided the multipoint channels. Bass power was supplied by 700-HP subwoofers, with processing and signal distribution handled by a Galileo® loudspeaker management system comprising three Galileo 616 processors. FOH engineer Thorsten Maier of mb-media found the Meyer Sound self-powered loudspeakers to be remarkably mixer-friendly. “After System Engineer Thomas Mundorf set up the system, I did not need much time for sound checks,” Maier claims. “I found I could use most of the setup from previous shows, except for a few specific feedback frequencies and some artistic decisions.” Once shows were underway, Maier was pleasantly surprised with the results. “The Meyer Sound components exhibited perfect voice intelligibility,” he maintains, “even with up to seven different channels playing simultaneously and with audio clips mixed with the voices.” While the multichannel systems primarily provided diffuse atmospheric soundscapes, the main systems—consisting of seamlessly transitioning Meyer Sound loudspeakers of different series—supplied the clear, perfectly time-aligned audio essential for transparent intelligibility in all seats. In addition to Maier and Mundorf, other key members of the tour’s sound team included technical director Andreas Barth of mb-media, monitor technician Christian Käufl, and the experienced crew from the POOL Group GmbH including sound technicians Frank Uhlig and Benjamin Stillecke. World Wide Pro Audio / Broadcast Directory 1997 - 2009 http://www.audiodirectory.nl/html/php/press.php?id=2654 Torben Lysholm Wins The Golden Mic (in Danish) Lydtekniker/ Producer Torben 'Luny Tune' Lysholm er blevet kåret som vinder af Den Gyldne Mikrofon for sin indsats på Lydmaskinen.dk, Danmarks største forum for professionelle og amatører i musik- og lydbranchen. Torben Lysholm driver selskabet Tune Town og har mange års erfaring med mix, produktion og mastering af danske og internationale kunstnere. Han deler gerne ud af sin omfattende viden om lyd og teknik, og et overbevisende flertal af Lydmaskinens brugere har kvitteret for hjælpen ved at pege på Torben som fortjent vinder af dette års Gyldne Mikrofon, en DPA 4015-TL brednyremikrofon med popfilter og antivibrationsophæng. 4015-TL er en alsidig mikrofon, der er velegnet til utallige instrumenter og som speak/dub- eller vokalmikrofon, og Torben Lysholm ser frem til at arbejde med den på kommende produktioner. "Mikrofonen er dejlig smooth med præcis top og masser af krop i vokalen," siger Torben 'Luny Tune' Lysholm, som allerede med succes har brugt den på jazzvokal til en kræsen fransk kunde. "Ved blot at placere den hensigtsmæssigt har jeg fået den åbne lyd, jeg gerne ville have. Den er tight og varm i lyden, uden at åbenheden er blevet kompromitteret. Den tager godt imod EQ og er således nem at arbejde med, selv med mange dubs.” Præmien er sponseret af DPA Microphones, og samarbejdet med Lydmaskinen.dk er en naturlig forlængelse af DPA's engagement i audiobranchen. "Lydmaskinen er et kvalitetsbevidst forum, hvor entusiaster mødes og udveksler erfaringer. Kvalificeret formidling er til gavn for alle med interesse for god lyd, og det er en fornøjelse at kunne belønne en af ildsjælene,” siger DPA's medgrundlægger, salgs- og marketingdirektør Morten Støve. World Wide Pro Audio / Broadcast Directory 1997 - 2009