Tag:installed sound

In an Australian first, DiGiCo and Nexo have become an essential element in a new Performing Arts Centre. The installation is part of a full audiovisual solution designed, supplied and installed by Dominica Sound at Helensvale Primary, one of Australia’s most respected schools.

Helensvale PrimaryLocated in Helensvale along Queensland’s Gold Coast, the school’s new hall measures approximately 40m x 25m with a stage at one end and elevated seating at the other. It can accommodate 1,100-plus people and is designed for a wide variety of applications as Steve McCallum, Director of Dominica explains:

‘Helensvale wanted to ensure the space was able to accommodate a wide variety of events. The school was previously hiring halls at the local Arts Centre but wanted to become self-contained in order to cut operational overheads. It also intends renting the centre out to other schools to generate income while saving other schools money at the same time.’

The audio system comprises a Nexo Geo-S12 system, including four Geo-S12 speakers (a Geo-S1230 and a Geo-S1210 flown per side) and two RS15s ground stacked either side of stage. McCallum’s choice of loudspeaker system was based on the requirement for even sound distribution across the room.

‘The distance from the stage to the end of the hall was too far to use anything else,’ he says. ‘We would have had to have used delay speakers half way down the hall using other products and that wouldn’t have worked well for people sitting in certain parts of the hall. The reflections would have made it near impossible to get right. There was also raked seating up the back which ran about 4m high. People sitting in those seats also needed to be considered. With the Geo-S12 system, we were able to get the sound evenly dispersed across the whole space. It sounds beautifully clear from end to end. Even kids with the weakest of voices can be heard perfectly now from anywhere in the entire room.’

Nexo Geo-S12To compliment the speaker system, the centre installed an SD11 console: ‘We went with DiGiCo because it turned out to be a higher-quality and more cost-effective solution than anything else,’ he says. ‘When looking at other digital consoles that would have required a digital core, the price point became comparative to the DiGiCo. The sound quality of any other digital console wouldn’t have been anywhere near as good as the SD11 so it was a simple choice.’

Another advantage of the SD11 was the ability to configure the console for non-technical users, such as teachers and student A/V operators from other schools. ‘Helensvale holds a talent show every single school day at the end of the day, so the system is getting regular use. The DiGiCo was set up with every input on every layer so anybody could walk in, clearly see which fader belonged to which input and begin using the desk. The teachers have commented on how easy it is to use. They just turn it on, select the inputs and then control volume, it’s that simple.’

In addition to the sound system, a complete lighting solution was also installed by Dominica. six LED strips, 24 white bars, five colour bars, 18 coloured LEDs, 22 white LEDs and a Strand 200+ console were installed. A 6m-wide projector screen was also installed at the rear of the stage.

‘The school doesn’t have easy access to the lighting system so we decided on LED lighting with changers. It was a low-maintenance and long-lasting solution, which we could set and forget. We decided to go for a 6m screen because we wanted to make sure anyone sitting at the back could still read text off the screen. From a 40m distance, a 6m screen is really required. We put the sight screen at the back of stage as it was the only place dark enough to get a really good image.’

Feedback from the school has been extremely positive also. ‘Everyone loves the new system. One of the teachers told me they feel like they’ve won the lottery. We wish them all the best with their new space.’

More: www.grouptechnologies.com.au

Building its presence among premium concert venues in the Amsterdam region, Martin Audio has added new Amsterdam rock venue (and cultural centre), Duycker to its CV.

DuyckerThe new venue joins the iconic Paradiso and Melkweg clubs, and sees a Martin Audio W8LCi compact line array system installed in partnership with Dutch distributor, TM Audio.

Owned by the local government, and situated near Schiphol Airport (in the affluent town of Hoofddorp), the complex comprises two live rooms and a café bar, where sound reinforcement is provided by Martin Audio’s AQ architectural range.

The Martin Audio W8LCi system, meanwhile, was chosen for the 850-capacity live room after it had proven itself against modular systems – experienced freelance sound engineer, Gerald Chermin, was brought in as technical director to select the system, as well as to streamline the routing and optimise the system.

With a large balcony affecting both sightlines and coverage patterns, Chermin called on experience gained working with companies such as Ampco, to assemble some of the market leading systems in a competitive shoot-out: ‘We assembled a panel of different sound engineers, with one person tuning all the systems. We realised the line array approach would overcome both balcony coverage sightline issues, whereas going modular would have required too many boxes.’

The system has been designed to provide plenty of headroom, and is based around seven W8LCi enclosures per side, with one W8LCDi Downfill at the base. Six Martin Audio WS218X subs are stacked, three a side, to provide LF extension.

The main system is run three way but driven in four separate parts by a combination of Martin Audio MA6.8Q and Powersoft K8/K10 amplifiers, processed via XTA DC1048 4-input/8-output DSP. Three DiGiCo SD8s have been provided for FOH, monitor (and portable) duties.

‘We have definitely made the right choice with the Martin Audio system, which is proving popular with incoming production crews,’ Chermin says. ‘We chose the system not only because it represented excellent value for money but the fact that it could be divided up into four separate sections.

‘We also knew we could depend on excellent back-up from TM Audio and [sister company] Lightco, who provided the lighting.’

Meanwhile in the café bar, music sourced from a DJ or computer, mixed via an Allen & Heath GR2 analogue zone mixer, is played out through four Martin Audio AQ8, two AQ6 and an AQ210 subwoofer, managed by a dedicated AQX system controller.

The arrival of Vari-Lites in the near future will place the final piece in the lighting jigsaw – operating under the control of Lightco-supplied Avolites desks. But the local population has a leading destination venue to kick-start their weekends.

More: www.martin-audio.com
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Turkey distributor Elit Light&Sound Technologies has reported a series of installations and projects in Istanbul using L-Acoustics loudspeaker systems.

Buena Vista concert, IstanbulAmong them, technical production companies 911 Music and Pia Stage Technologies worked with Elit to provide sound and lighting for a concert at new Istanbul venue, Ora Arena. Featuring the Buena Vista Social Club and Omara Portuondo, the gig called on 12 L-Acoustics Kara WST line source speakers per side, together with four L-Acoustics ARCS, ten SB18 and six SB28 subwoofers for the main PA. The system was driven by ten LA8 amplified controllers. Onstage, 16 active 112P coaxial loudspeakers provided monitoring.

The prestigious concert featuring the multiple Grammy-winning Cuban band was organised by Turkish event management company Unilife.

‘The Kara system never disappointed us,’ says911 Music partner, Hamid Nejatemin. ‘The 10° vertical, 110° horizontal dispersion enabled us to achieve equal sound at every point in the hall. The line array created an “in your face” effect even at FOH, 50m away. The ARCS also took care of the blind spots.’

Also in Istanbul, bar-restaurant chain Bistro 33 has installed L-Acoustics systems into two new premises. Two 108P coaxial loudspeakers and two SB15P subwoofers have been used at 33 Bağdat Street, providing a sound ambience to match the chilled atmosphere, quality and comfort of the new branch. Meanwhile, Elit has installed four 8XTi coaxial loudspeakers and two SB18i subwoofers, powered by two LA4 amplified controllers, into Bistro 33 at the Palladium Shopping Mall.

Giritli by Theo has opened its doors to the public at Istanbul Suadiye, again with an L-Acoustics sound system from Elit. The brainchild of Theo Kalyoncu, son of leading Turkish singer Fedon, Giritli is inspired by the Greek islands and offers cuisine and live music from the Aegean and Crete, in addition to a line up of surprise guest artists who regularly take the stage. Here, four L-Acoustics 8XT coaxial loudspeakers and two SB118 subs powered by LA4 amplifiers have been installed.

More: www.l-acoustics.com
More: www.elit-tr.com


Coming to London’s West End from Broadway for a short run at the Vaudeville Theatre, Master Class saw veteran sound designer Jon Gottlieb fly in at short notice to recreate his Broadway design.

Tyne DalyWorking on Terrence McNally’s Tony Award-winning play with local associate sound designer Crispian Covell and Orbital Sound, they had to work quickly ahead of the official opening in early February 2012.

Gottlieb’s involvement with Master Class dates back to the first production in 1995, which clocked up nearly 600 performances. An ardent fan of Meyer Sound loudspeaker systems, Gottlieb was initially concerned about how to replicate his Broadway design in the West End environment in the minimal time available…

‘This was a challenging transfer,’ he says. ‘We knew that we had to hit the ground running from the moment we arrived, and I was hoping that we could replicate the Broadway system as closely as possible. I was extremely pleased to find that Orbital already had an excellent stock of Meyer cabinets, and we were able to build a very similar system – with one major difference. The Vaudeville Theatre does not have any rigging points for a centre cluster, and so I had to rethink this. With a bit of ingenuity, and some very crafty cabinet placements on the proscenium and upstage areas, we managed to create an excellent result. The play is only very lightly reinforced but it has to sound totally natural and directionally perfect, in order to create the right sense of conceptual space within the actress’ mind.

‘Working with Orbital – and particularly local associate sound designer Crispian Covell – made my life a great deal easier. They were able to supply everything we needed, including lots of extra gear just in case we wanted to do things differently and were incredibly flexible and supportive at every stage. Crispian recommended a d&b audiotechnik E0 surround sound system – something I hadn’t worked with before, as on Broadway we simply worked with the in-house surround system – and it sounds just great. It has a wonderful sound and superb quality.

‘We have a Yamaha M2000 mixer front of house, as the show uses a surprising number of outputs – between the main system, the surrounds, the onstage foldback for the actors to hear the playback during the monologues, and all the ancillary support systems. The playback runs off two redundant Q.Labs systems, which helped make the transfer a much easier process. We simply took the previous files, made some small changes and were ready to go. The play has had standing ovations every night in preview, so we are confident that we have got it just about right.’

Jon GottliebGottlieb’s design involves creating a sound that reflects the very direct communication between Maria Callas and her audience. As she is alternately dismayed and impressed by the students in her master class series, she recollects the highs and lows of her own career – retreating into her mind at the end of each act, with a culminating monologue.

The original design involved working closely with the director, Stephen Wadsworth, who was keen to experiment with a number of elements in the existing sound score. The objective was to sustain a unique aural environment that would be specific to the creative elements of the new production – building on Gottlieb’s long-standing experience with the original show, for example in heightening the audience reactions to Callas’ performances at La Scala, Gottlieb lightly miked former Cagney & Lacey star Tyne Daly to manipulate her voice in the La Scala sequences, to make it sound as if she was physically there.

The surround system is a key element to this, giving the audience the sense psychologically and acoustically that they are actually at La Scala with Maria Callas.

The main proscenium system comprises Meyer Sound UPA-1P self-powered cabinets with USW-1P subs, complemented by Meyer Sound Galileo 616 digital processors. A total of 32 d&b audiotechnik E0 cabinets are deployed for the surround sound system and, for communications, Orbital supplied the HME four-way DX210 digital radio communications system for the stage management. The sound operator for Master Class at the Vaudeville is Candy Dunn.

More: www.dbaudio.com
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On the Las Vegas Strip, the Imperial Palace has long attracted tourists with the world’s largest and finest classic car showroom, a wealth of entertainment options, as well as a prime location convention business and access to the Las Vegas monorail.

Human Nature TheaterThe hotel’s Human Nature Theater features Australia’s Human Nature – a Motown tribute showcasing the harmonies of Toby Allen, Phil Burton, Andrew Tierney and Michael Tierney. To retain its technical appeal, the theatre recently received a substantial upgrade of its sound reinforcement system.

After evaluating a number of sound reinforcement systems, Imperial Palace Technical Director J Eric D’Richards selected a DAS Audio system, comprised of Aero 8 powered two-way line array elements, Aero 12A powered two-way, mid-high line array modules and LX-218A powered subwoofers – all managed by a DAS Audio DSP-4080 stereo/mono loudspeaker processor.

‘We evaluated a number of sound systems from several manufacturers and the DAS system offered the ideal blend of system performance and value,’ D’Richards says, ‘The Aero 2 system’s compact form factor and low-profile from the house perspective was just right, as it didn’t interfere with the audience’s line of sight to the stage. Equally notable, the sound quality of the equipment is very impressive. The system exhibits excellent speech intelligibility and music reproduction capabilities as well as even dispersion throughout the room – all of which were prominent factors in the equipment’s deployment.’

The Human Nature Theater uses two main loudspeaker clusters flown over the left and right front edges of the stage – each comprising six Aero 12A loudspeakers with five LX-218A subwoofers low-frequency support. Two LX218As are stacked on the left and right sides of the stage, with the fifth enclosure inside a cubicle underneath the front centre of the stage. Two Aero 8A enclosures are placed of the LX-218A stacks at the stage sides for in-fill, and are angled in toward the front/centre seating immediately in front of the stage.

‘I really appreciate the fact that the entire system is self-powered,’ says D’Richards. ‘We have limited space in this room, so the fact that we didn’t have to concern ourselves with housing a separate equipment rack just for power amplifiers was a big plus. The system’s self-powered design also streamlined system cabling considerably.

‘We have three shows each day here: Name That Tune Live in the afternoon, Human Nature in the evening, and Frank Marino’s Divas Las Vegas as our late night entertainment,’ he adds. ‘Given the diversity of our entertainment, we needed a system that was versatile and could handle everything from A-Cappella vocals and heavy dance oriented music to the clear speech intelligibility necessary for a game show. Our new DAS system delivers on all fronts.

‘We do 72 shows per month in this room, so sound quality and reliability is vitally important. In the seven plus months we’ve had the equipment, I’ve encountered no issues whatsoever. In terms of performance, our DAS system has been terrific and, as other sound reinforcement requirements evolve, DAS Audio will be at the top of our list.’

More: www.dasaudio.com


Counted among Israel’s hottest nightclubs, The Beat has revamped its sound system with the help of local QSC distributor, Kilim Electronics.

The BeatThe new PA system is based on QSC KLA Series Active Line Arrays and both K and KW Series Active Loudspeakers. Two KLA arrays, each with three KLA12 loudspeaker elements, are suspended on either side of the club’s main stage, with eight KW181 subwoofers for the low end. Two K12s supplelent the main PA, providing out-fill.On stage, six K12 active loudspeakers provide monitors for The Beat’s performing musicians.

As one of Israel’s best-known music venues, The Beat hosts live music from local artists and performers, as well as big-name artists on the international touring circuit. Every Tuesday night the club holds an ‘open mic’ night, when any artists may take the stage to perform, bringing only their instruments with them – many of whom have noticed the improvement.

‘A lot of artists play at The Beat on tour, and most of the live sound engineers who’ve worked here since the summer have commented on the improved sound quality and power offered by the new QSC system,’ say Doron and Erez, owners of the nightclub. ‘Most have liked the fact that the system produces audio at a high volume but does not hurt their ears like other nightclub PA systems.

‘The sound is clear without distortion, the subs are strong but not too overpowering, and the number of people who arrive at the club is increasing from week to week.’

‘The use of KLA, KW and K Series loudspeakers is very convenient and efficient,’ Gadi Kilim, head of Kilim Electronics, adds. ‘Since there are no amplifiers which physically take a lot of space, and the current draw of the K Family amplifier module is so low – the QSC system is the smart solution for permanent installations, especially when the audience is close to the stage.’

More: www.kilim.org.il
More: www.qscaudio.com


The Palazzetto dello Sport Paolo Ferraris in Casale Monferrato has a new sound system, courtesy of local distributor AudioLink. The news system is based upon the QSC Audio Q-Sys integrated platform, KLA Series active line arrays, and K Series active loudspeakers.

Palazzetto dello Sport Paolo FerrarisInformally known as the PalaFerraris, the multi-purpose venue in Northwestern Italy hosts a range of indoor sports, concerts and other events. More importantly, it is home to newly-promoted Serie A basketball team AS Junior Casale.

The past year has been a memorable one for the team – in 2011 Junior Casale were crowned outright champions of LegaDue and, in a dramatic playoff final, clinched promotion to the top division of Italian basketball. As a top-level team needs a top-level arena, Casale Monferrato city council commissioned a major renovation of the PalaFerraris, increasing the seating capacity to 3,510 – and installing a state-of-the-art sound system.

When it came to finding an audio control system with the power and flexibility to meet the diverse needs of the venue, the Q-Sys platform was the obvious choice. Designed with the technical support of experienced independent audio-visual consultant Angelo Rovero, the entire PalaFerraris audio system is built around a single Q-Sys Core 1000 unit. With all processing, monitoring and routing centrally controlled by Q-Sys, the system can seamlessly handle music, prerecorded messages, live announcements and in-game sound effects, maintaining the highest audio quality throughout.

The entire system can be managed from an iPad running the Q-Sys Controller App and Q-Sys Designer software, which allows the user to assemble custom control interfaces (UCIs), placing practically any element of the system under fingertip control. At PalaFerraris, an operator can now monitor and adjust levels, switch source selection and trigger music and jingles instantly using the iPad’s touch screen.

QSC Audio Q-Sys‘Q-Sys was the ideal solution for the PalaFerraris,’ says AudioLink head, Stefano Cantadori. ‘The totally flexible architecture of the Q-Sys Core and the intuitive nature of the Q-Sys Designer software mean that configuring the entire system to fit the needs of the venue is exceptionally quick and easy. Our on-site specialist Giammario Piumatti, who is there to assist the client with programming the system, loves it because any last-minute ideas and requests can so easily be integrated, just as the system can easily be adapted in the future to cope with the evolving needs of the venue.’

To fully realise this potential, AudioLink suggested that PalaFerraris take a look at one of the newest additions to the House of K – the KLA Series active line array. Working with installation contractor Testa Marco, four KLA line arrays – each composed of three KLA12 active, two-way loudspeaker elements – were mounted above the main stands, delivering power and projection without restricting the view of any of the spectators. An additional complement of K Series K10 and K8 active loudspeakers were set at ground level to cover new court-side stands and provide discreet sound reinforcement around the court itself.

More: www.qscaudio.com


A change in ownership has seen Orange County’s 40-year-old Galaxy Theatre reinvented as a live venue. It now houses two separate performance spaces: the intimate 350-capacity Constellation Room and larger Observatory, which can accommodate an audience of more than 1,000.

Observatory crowdOne of the primary improvements made to the venue in the process was the installation of an L-Acoustics KARAi line source array system provided by Certified Provider, Rat Sound Systems.

Along with business partner Courtney Michaelis and a third silent partner, Jon Reiser makes up the team behind Galaxy’s move from lackluster aging venue into edgy hipster hangout – one that now attracts some of the brightest up-and-coming indie acts. Reiser is no stranger to SoCal’s indie music scene, having previously spent five years as a partner and talent buyer for Costa Mesa’s Detroit Bar.

Shortly after purchasing the Galaxy, Reiser brought in LA’s Foster the People to play the newly dubbed Observatory. Knowing that the club’s pre-existing PA system wouldn’t be adequate to cover the crowd for such a popular band, he turned to Rat Sound to provide a temporary dV-Dosc rig while simultaneously initiating the design process to permanently integrate a new KARAi system.

Today, the Observatory features left and right arrays each comprised of six KARAi elements flown adjacent to two SB18i subs. Four SB28 subs are also located on the floor – two housed in bunkers inside the stage plus one on each side of the stage. A custom enclosure built across the front of the stage houses four coaxial 8XT front fill speakers, while a single 115XT HiQ flown in the centre of the house two feet downstage of the stage lip serves as a downfill. All systems are powered and processed by LA8 amplified controllers housed in racks at the monitor mix position.

Rat Sound provided not only the installation of the L-Acoustics system, but the rest of the venue’s sound and lighting systems and acoustic treatments as a turnkey package. Rat Sound Director of Installations David Myers notes that the rental dV-Dosc system helped minimise the venue’s downtime to only two nights despite the significant amount of remodelling and equipment upgrades.

‘With the new acoustic treatments and KARAi system in place, the Observatory sounds phenomenal,’ says Myers. ‘KARAi is extremely coherent; it’s like having the artist right in front of you in a studio environment. And the bands, engineers, promoters and audiences are all loving the sound. The Naked and Famous recently played the room and their front-of-house engineer told us after the show that we had totally spoiled him for the rest of the dates on their tour.’

‘The Naked and Famous immediately booked another show with us for March and I know that a big part of that was because of how impressed they were with the system and production level,’ Reiser confirms. ‘We’ve had a lot of really great shows in here lately – including Scott Weiland, two nights with Young the Giant, and an epic New Year’s weekend with ATB and Tiësto – and everyone’s walked away at the end of the night being very happy with the house sound.’

More: www.observatoryoc.com
More: www.ratsound.com
More: www.l-Acoustics.com


With Lebanon recovering its stability in recent years, the country’s property development the nightlife of Beirut is looking to reclaim its former title of ‘Paris of the Middle East’.

Quest HPI-8i speaker systems.Many of the city’s bars and clubs have gained international acclaim, some attracting Hollywood celebrities on a regular basis. Whether you’re after old world charm, ultra chic modernity or a seamless blend of both; the nightlife in Beirut possesses a distinguishing magic with something to offer everyone…

Quest’s Lebanon distributor, Audiotec Group, recently completed one of the more unique installation projects in Beirut at a venue called Garcia’s Pub – becoming the first installer in the world to use Quest’s HPI-8i speaker systems.

‘This was a new installation with a venue capacity of just over 100 patrons,’ says one of Audiotec’s senior partners, Ralph Choueiri. ‘It was an old house in Beirut with the typical Lebanese architecture [early 20th century, high ceiling, big rooms] and located on the ground floor. It was transformed into a pub after extensive acoustic treatment for the ceiling and the floor. One of the main challenges with the venue was the fact that there were residents still living above the pub’.

Quest HPI-8i speakersThe choice to go with Quest products was a simple decision for Ralph and his team given their history of using Quest in projects throughout Lebanon: ‘Our wide experience in Quest products tells us that the HPI series is the high-end for sound performance. This particular client had some specific demands regarding the sound quality and with the considerable amount invested into the acoustic treatment, he needed the best sound system. We originally offered the HPI-8 but during negotiations we were informed that the new model (HPI-8i) became available for shipping so we quickly amended our proposal.’

The team at Audiotec made a comparison between the original HPI-8 and the new HPI-8i in order to gauge the improvement: ‘After we received the new HPI-8i speakers, we setup an A-B to compare the HPI-8 against the new model,’ Choueiri notes. ‘We could definitely hear an improvement in performance. We totally loved the power and clarity of the HPI-8i.’

The team assessed the installation and decided a distributed speaker set-up would achieve the best result both in terms of even dispersion across the venue and minimising any spill to the outside areas or levels above the pub. ‘We chose the 8-inch HPI’s because of the pub dimensions and because we aimed for even distribution. This is why we decided to install 16 speakers. The design was completed in coordination with Quest Engineering in Melbourne who provided great help when consulted.’

The final design was comprised of 16 HPI-8i speakers driven by four QA 2004 amplifiers connected with two speakers per channel.

More: www.questaudio.net


The opening of the new sanctuary at St Gabriel’s Catholic Church in Powat, California, marked the culmination of more than ten years’ planning and construction.

St Gabriel’s Catholic ChurchDesigned in traditional cruciform style by design-build contractor TB Penick & Sons and architects Hyndman & Hyndman, the church’s ambition and patience are evident in its architecture.

Although visually stunning, however, the many reverberant surfaces posed a challenge for AMT Systems, the Santa Clarita, CA-based audiovisual contractor responsible for designing and installing the church’s new audio system.

Toward the front of the church, the pulpit and altar reside beneath a massive domed wood and aluminum barreled ceiling that has been blow-torched and sanded to give it a rustic appearance. Hundreds of unfinished wood pews sit atop an expansive polished concrete floor, surrounded by a drywall interior.

Like many contemporary churches, St Gabriel’s incorporates music into most worship services, with live musicians and vocalists frequently taking part in services. In addition to being aesthetically pleasing, AMT Systems had to provide a steerable system with high intelligibility and musical output.

‘It’s a gorgeous looking facility, but acoustically it presented some difficult musicality and intelligibility issues,’ confirms AMT Systems’ Mike Shelton. ‘Cruciform architecture presents its own special challenges. Typically you have sound bouncing all over the place, muddying the intelligibility with echoes and timing problems. It’s very hard to get even coverage in cruciform transept spaces.’

Together with St Gabriel’s, AMT selected Iconyx digitally steerable line array loudspeaker technology from Renkus-Heinz – mounting two IC32/16-R systems on columns either side of the domed ceiling. The pastor’s mics route back to a DSP processor controlled by a Crestron touch screen and iPad. All musical instrument inputs route to a Yamaha LS9 mixer. Both inputs remain live throughout the programme or service.

Using Beamware modelling software, Shelton configured shape and throw distance to direct sound to the nave and other areas that have previously been dead spaces. Shelton reports that Beamware helped them eliminate much of the need for acoustical treatment, now only necessary on the domed ceiling to ensure maximum sound absorption from its highly reflective corrugated aluminium panels.

‘The church has really perfected their use of the Iconyx technology with this audio system,’ Shelton says. ‘They’re extremely pleased with the musical quality and the voice intelligibility is outstanding. Everybody loves the system.’

More: www.renkus-heinz.com
More: www.yamahaproaudio.com

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