Tag:installed sound

With speech intelligibility an essential consideration, the Arizona State Legislature found itself in trouble with poor audio, feedback, inconsistent mic levels and a variety of other issues. At the heart of its solution were Aspen digital audio processors from Lectrosonics, aslong with a selection of Shure mics and a Tannoy loudspeaker system.

Bob GingerAs a design/build firm specialising in A/V projects for government, medical, houses of worship, and institutional clients, Intent Digital stepped in to make the upgrade.

Lectrosonics Aspen SPNConference interface and power amplification units used in conjunction with Aspen SPN2412 24-input/12-output audio processors.

The installation began in January 2013, while the Legislature was in session, so much of the work was performed when meetings were not scheduled. The first set of mixers were activated in early February and the rest were brought on line progressively. The last set went live at the end of March.

‘The two Aspen systems – one each for the Senate and House of Representatives – are interfaced with our firm’s Energize Control System,’ says Bob Ginger, Technology Partner with Intent Digital.

In the Senate, the Intent Digital team deployed a single Lectrosonics Aspen SPNConference unit that is interfaced with three Aspen SPN2412 processors. This system is configured as a 72 x 36 matrix. For the House of Representatives, another SPNConference unit is interfaced with five more Aspen SPN2412 processors. This system is configured as a 120 by 60 matrix.

Completing the system in the Senate are 52 Shure gooseneck microphones, 50 Tannoy CMS501 loudspeakers, a JBL CBT50LA Constant beamwidth loudspeaker, two eight-channel Crown CT875 amplifiers, and a Crown XFMR4 transformer panel. In the House of Representatives, there are 112 Shure gooseneck microphones, 55 Tannoy CMS501 loudspeakers, 12 Tannoy Di5 loudspeakers, four CT875 amplifiers and XFMR4 transformer panel.

‘In both legislative bodies, these systems handle all audio for the various public committee hearings and voting sessions,’ Ginger says. ‘The Senate has four hearing rooms while the House has five. Both Aspen systems are controlled as one system via the Intent Digital Energize touchpanel, which is located at the Arizona Capitol Television Master Control. There are also Energize single-gang touchpanels in the Senate hearing rooms for basic room audio control. The Aspen system handles mixing of wired and wireless microphones in all rooms, as well as telephone conferencing, mix minus, press feeds, assisted listening feeds, recording and broadcast feeds, and room combining functions.’

‘The Aspen system is tailor made for this type of application,‘as its architecture is optimised for matrix mixing, equalisation, feedback elimination and auto-gain, without having to program a DSP project,’ Ginger says. ‘Having 48 mix buses available to create a multitude of program and mix minus feeds that can be sent to any combination of outputs at differing operating levels is a very powerful aspect of the Aspen processors. The Energize control system operates seamlessly with the processors to create any project configuration. The Aspen system can store the base default operating settings and Energize keeps track of the dynamically changing parameters. Therefore, if the system has to be restarted, Energize will set all the Aspen levels to the last good setting.

‘With the Lectrosonics equipment, it’s easy for our engineering team to create mixer configuration notes that engineering techs can use to quickly configure the Aspen units,’ he adds. ‘We don’t have to go through the DSP programming effort to create a project. Energize easily communicates with the Aspen systems over either a serial connection (RS-232) or Ethernet. We created live mixer touchpanel control pages for each room, some of which have as many as 32 microphones. The pages also contain output controls for room speakers, broadcast, recording, and assisted listening feeds. We are using quite a bit of mix-minus capability for speakers over the meeting participants heads, which is working very nicely for consistent sounding audio throughout the various rooms. The Energize control system does not require any software coding or compiling. Instead, it contains an impressive set of point-and-click tools to quickly select how source, output, mix bus, or crosspoint gains or mutes are to be controlled. This makes it very easy to gang any combination of audio mixes to an Energize control object. The audio sounds fantastic, rich and full, without feedback.’

 

One of the largest and most important theatres in the German-speaking countries, the Düsseldorf Schauspielhaus has recently upgraded its technical network with the installation of an Optocore fibre-optic digital backbone.

Düsseldorf SchauspielhausOpened in 1970 in the Bernhard Peacock building at Gustaf-Gründgens Platz, the theatre was designed by architect Bernhard Pfau. Inside, it offers a large 760-seat auditorium and a smaller room with seating for up to 200. It also contains the Young Schauspielhaus Dusseldorf-Rath, with separate 300- and 100-seat theatre spaces. The venue hosts local artists and institutions, as well as dance, experimental music and the visual arts.

Optocore dealer, Synthax, provided a number of modules to installation contractor, Salzbrenner Stagetec Media Group to provide a fully redundant distribution system from stage to FOH. In order to meet safety and legal requirements, the house system is now interfaced to the fire alarm/voice evacuation system, via one of the modified Optocore X6R-FX units.

Salzbrenner’s rack design revolved around two Optocore DD32R-FX AES-EBU hubs from which the network is constructed, and includes a number of Optocore/SANE converters connected to the Yamaha mixing platforms. These include X6R-FX providing 16LI (Line In) channels and V3R-TP-8LI. In addition six X6R-FX are equipped with 8MI (Mic In)/8LO (Line Out) boards, with four V3R-TP-8LO, X6R-FX-16MI, X6R-TP-8MI/8LO and X6R-TP-16LO.

The new technology has provided more flexible routing options for sound engineer, Hans-Jürgen Becker and the Schauspielhaus technical team.

‘Optocore is well known for flexibility and custom solutions,’ says Synthax Optocore Product Specialist, Kai Reiter. ‘In addition to the high-channel count platform, this installation has unique fire alarm firmware, which allows the fire alarm to trigger the Optocore system mute. Thanks to this feature, the theatre passed all the rigorous safety tests and conforms to fire regulations.’

More: www.optocore.com

 

One of the oldest, largest and most prestigious contemporary art exhibitions in the world, the Venice Biennale gathers work from artists worldwide for a six-month festival. Among the exhibits in 2103’s 55th Biennale, Francesca Grilli’s Time Lapse combines architecture, vintage products and photography with a sound installation.

Time LapseThe project encompasses an audio installation by DJs Donato Dozzy and Rabih Beaini, together with a display of photographs by Armin Linke, which together present a re-reading through sound and photography of the architecture of the Olivetti Showroom. The installation by Dozzy and Beaini offers up an electronic soundscape that feeds off the space’s architecture and mixes it with the sounds of the vintage Olivetti typewriters.

The sound for the installation calls on Funktion-One loudspeakers, which have been provided through the UK company’s Italian partner, Sound Division. Sound Division also supplied technical infrastructure for the Italian Pavilion’s launch party. This invitation-only event saw DJs and live acts combine to launch the Italian nation’s representation at the festival. Sound Division supplied two Funktion-One Resolution 2 loudspeakers and two F221 bass enclosures.

The loudspeakers are displayed, not hidden – their visual identities, as well as their sonic qualities, being part of the installation. A selection including F101, F1201 and Resolution 2s have been used, along with an F121 bass enclosure. Two violet F101s are tucked between the typewriters on the upper balcony, along with an F1201 facing across the room. On the mezzanine level a white F101 rests on a plinth and the ground floor uses a Resolution 2, two F101s (one violet, one white) and the F121 bass enclosure.

Francesca Grilli is one of 14 artists who have contributed to the Italian Pavilion, which is themed with the title Vice Versa. Her exhibit uses the effects of dripping water on metal - the repetitive sound and the corrosive effect it has on a metal canvas - and the power of her own voice to produce a compelling spectacle. Funktion-One Resolution 1 loudspeakers have been used to bring sonic impact to the performance.

‘The Venice Biennale is such an important event, not only for Italy but for the world,’ says Sound Division’s Flavio Manieri. ‘It’s a platform for people to share radical ideas and creativity – it means a lot to be involved on the scale we are.

‘Funktion-One speakers are an excellent fit for an environment that is focused on pioneering design and creative spirit. We’re very proud of everything we’ve helped to achieve with Funktion-One and the Venice Biennale.’

Time Lapse can be found in the Olivetti Showroom, situated in Venice’s famous Piazza San Marco. The historic building, which was once the flagship of the great Italian family business, is an architectural gem. It was created by Venetian architect Carlo Scarpa in 1958 but fell into disuse following the company’s sale in the 1980s, most recently housing a souvenir shop. In 2012, having been taken over by FAI (the Italian National Trust) the showroom has been restored and fitted out with vintage Olivetti products as an exploration of technology past.

More: www.sounddivision.it
More: www.funktion-one.com

 

The principal venue of Moscow’s International Performing Arts Center, the 1,735-seat Svetlanov Hall has recently installed a Meyer Sound Constellation acoustic system, along with a Mica line array sound reinforcement system.

Svetlanov HallThe hall’s 1.7s natural reverberation time is well suited to orchestral performance and its 5,500-pipe organ – it is the home of conductor Vladimir Spivakov and the National Philharmonic of Russia – and the addition of the Constellation system provides approriate acoustics for pop and jazz performances.

‘Constellation makes Svetlanov Hall one of the best in Russia for all kinds of classical music,’ says Pavel Kravchun, associate professor of acoustics at Moscow Lomonosov State University, curator of organs for the Performing Arts Center, and an accomplished organist. ‘When I played the organ in the improved acoustics for the first time, I enjoyed the long, cathedral-like reverberations. Constellation makes the organ sound richer, and better balanced. Now Svetlanov Hall is not one hall but a number of concert halls with optimum acoustics for every kind of music.’

The Svetlanov Hall Constellation system uses 137 active loudspeakers placed overhead and around the perimeter of the venue. A unique feature in this particular system is the ‘active acoustical canopy’. This comprises 16 Meyer Sound Stella-8C installation loudspeakers suspended inside colour-matched cylindrical enclosures, and supplies critical early reflections for the stage and front seating areas. The system also incorporates Meyer Sound UP-4XP 48 V loudspeakers and MM-4XP self-powered loudspeakers, as well as ten UMS-SM subwoofers, which are used to enhance the sound of its organ.

Svetlanov Hall At the heart of the Constellation system (which is operated from the DiGiCo console at FOH) are four D-Mitri DVRAS digital processors, which host the VRAS algorithms. The complete D-Mitri system comprises 14 frames, and 48 miniature microphones are strategically placed around the hall to pick up the room’s physical response.

The reinforcement system is based around main arrays of ten-each MICA loudspeakers flown under dual 600-HP subwoofers. Designed by consultant Dave Dennison, the system also includes dual ground-stacked 700-HP subwoofers, six rear array UPQ-1P loudspeakers, seven front-fill M1D line array loudspeakers, and a Galileo loudspeaker management system with one Galileo 616 processor. Both the Constellation and reinforcement systems were supplied and installed by DSS (Digital Sound Systems) of Moscow under the direction of Vladimir Marchenko.

The Moscow International Performing Arts Center was designed under the direction of principal architects Vladilen Krasilnikov and Yuri Gnedovsky, and is is named to honour conductor Evgeny Svetlanov.

More: www.meyersound.com

 

As well as accommodating the Mormon Tabernacle Choir in summer and at Christmas, Salt Lake City’s 21,000-seat LDS Conference Center is the main meeting hall for conferences of the Church of Jesus Christ of Latter-day Saints. A recent investment in its technical systems has seem its sound reinforcement system expanded with the addition of L-Acoustics Karai, SB18i and Kiva arrays.

LDS Conference CenterInstalled by Poll Sound – L-Acoustics’ local Certified Provider for install, rental and distribution channels – the new systems are primarily for speech reinforcement and musical augmentation, and complement an existing dV-Dosc and dV-Sub music reinforcement system provided by the same integration team six years ago.

According to Poll Sound General Manager and Lead Sound System Designer Deward Timothy, the most recent install is made up of two parts: an exploded center cluster for the front lower bowl seating and a delay ring for the rear lower bowl seats: The front system features three arrays of 10 Karai enclosures, fanned in an LCR arrangement to provide coverage to the main aisle approximately 100-ft back. Low frequencies are supplied by two cardioid sub arrays each consisting of three SB18i hung between the Karai hangs.

A delay ring consisting of seven arrays of four Kiva modules covers the rear lower bowl seats at the back of the main aisle. With the far rear corners a considerable distance from the centre cluster, two more four-element Kiva arrays extend coverage to those areas. Two additional arrays above the rostrum provide both front fill, and mask any rear-of-room reflection.

LDS CC Audio CrewPower and processing for all of the new speaker components are supplied by a combined total of 14 LA8 and LA4 amplified controllers.

‘Many of the leaders of the Church of Jesus Christ of Latter-day Saints are soft-spoken individuals, so our job is a bit like trying to reinforce a whisper, which can be a challenge in a room of this size,’ says Chris Martin, who has served as the FOH mix engineer for the 360-voice Mormon Tabernacle Choir and 110-piece Orchestra for more than a decade. ‘We measured one of our quietest talkers on our previous system last year at 50dB; the gain-before-feedback was next to nothing. With the Karai, however, we were able to bring him up another 20dB, so the difference has been huge.

‘Although we used to get multiple complaints from audience members who couldn’t hear, we recently filtered 125,000 people through the centre in one weekend for our General Conference and had zero complaints – not one. That’s quite a testament to the system’s clarity and intelligibility. Plus, I rarely use any EQ these days. What used to require layers of outboard 31-band EQs – in addition to parametrics on the channel strip for a podium mic – has been narrowed down to just a tiny bit of filtering on our Yamaha PM1D’s channel strip.’

LDS CC stageMartin also believes that the Karai enclosures has not only complemented the preexisting dV-Dosc arrays, but breathed new life into them: ‘Because our primary house arrays are spaced so far apart – nearly 150-ft – we mix music in an LCR format,’ he explains. ‘With our previous center cluster in the room, we essentially had to ‘dumb down’ the voicing of the dV-Dosc arrays somewhat to maintain sonic consistency between all three output channels. But now that we’re using Karai, we’re able to let the dV-Dosc do what they were meant to do in the first place and it sounds beautiful. Choir conductors and officials absolutely love the transparency and sonic quality of the new system. We finally have the answer to what we’ve been looking to achieve for years.’

‘Our goal with this most recent project was to engineer and install a system for the lower bowl that still accomplished the original goal of high intelligibility, but also offered higher quality and optimal gain-before-feedback,’ Timothy adds. ‘After the first production with it in December, comments of praise poured in from everyone including the golden-ear mix engineers, ecclesiastical leaders, musicians, building officials and audience members alike. In terms of subjective quality, this system truly hits a home run.’

 

The reopening of The Atkinson gives Southport (UK) its flagship arts and cultural venue, following the completion of a three-year, £17m redevelopment programme.

The Atkinson StudioThe project saw London-based theatre specialist, Theatreplan, serve as theatre consultant, overseeing the redevelopment of the venue’s two auditoria. For soundreinforcement, Theatreplan specifed EM Acoustics loudspeakers throughout both rooms, which were installed by Oxford Sound and Media, along with the rest of the loose audio equipment.

The main performance venue, the Atkinson Theatre, is a traditional proscenium arch theatre with a capacity of 440, and also houses a state-of-the-art cinema screen. The second venue, called the Studio, is designed to be a more flexible performance space.

Featuring a large permanent stage, an open floor and balcony seating, the Studio is well suited to music and children’s theatre. It can seat up to 300 or as few as 60 for more intimate events.

‘It was clear that the spaces are going to be used by a huge range of performers with widely differing skill levels, so the equipment needs to be easy to use while delivering high-quality sound throughout the complex,’ says Theatreplan’s Mathew Smethurst-Evans.

For the Atkinson Theatre, Smethurst-Evans opted for a combination of EM Acoustics flagship MSE-159 and MSE-156 full-range, point source loudspeakers for the proscenium arch and side fill, supplemented by five i-2 front fill speakers. A pair of flown EMS-118s provide low frequency reinforcement and pair of ultra-compact EMS-51s handle fill for the Minstrels Gallery. Stage monitoring is handled by six EM Acoustics dedicated M-12 wedges.

The Studio relies exclusively on MSE-156s throughout (six in total) with low-end reinforcement coming from two groundstacked EMS-118 subs plus six M-12 stage monitors. All amplification is from EM Acoustics amplifiers.

‘We chose EM Acoustics products because we have been extremely impressed with them on recent projects,’ says Smethurst-Evans. ‘Simply put, we believe that there is little to compete with them at this price point. Thanks to their passive crossover design, EM loudspeakers are truly plug-and-play. The fact that users don’t have to worry about managing controller or amplifier presets immediately puts them at ease, and the sound quality is excellent. From the installer’s point of view, once the system is commissioned, they almost never have to go back because the products are robust and reliable. There is very little for the end user to do other than switch the system on and off. For this kind of project, EM Acoustics has proved time and again to be an ideal solution for all concerned.’

More: www.theatreplan.co.uk
More: www.emacoustics.co.uk

 

‘Being club promoters as well as restaurateurs, sound quality is incredibly important to us – and we think that is something that is too often overlooked by restaurants and bars.’ Speaking about London’s new Beagle restaurant, Kieran Clancy has the approval of both critics and punters on his side.

Inside the BeagleSituated within a stones throw of Hoxton tube station, Beagle ‘is a statement of warm industrial urbanism’, with sweeping arches of exposed brick broken up by heavyweight features. It houses a restaurant, which is flanked by a spacious bar and daytime coffee shop. And specialises in British food, craft beers, interesting wines and seasonal cocktails. While the décor could be described as minimal, its audio package is not...

London-based audio specialist Sound Services turned to Funktion-One’s F101 speakers –part of the company’s smaller but sonically solid range of compact loudspeakers – to meet Beagle’s expectations of sound quality and design. Along with bass definition and vocal intelligibility, the F101’s imaging detail and clarity help to address the challenging reverberation in the Beagle’s interior. Each speaker has been finished in black at the restaurant’s request, for discreet visual impact.

The venue’s dual-zone configuration is controlled by a Formula Sound audio management system with remote volume and source selection in each zone for local control. This is all powered by Full Fat Audio amplification.

‘For us, sound is as important as the rest of the fit out,’ Clancy says. ‘Funktion-One was the only option in our minds. We’ve used F101s at several events and always been surprised by their output. We’re getting great feedback all the time for the incredible sound quality at Beagle.’

Beagle is ia part of an extremely productive period for Sound Services. The company has installed new Funktion-One solutions at a string of Londond venues, including Basing House, Queen of Hoxton, Birthdays in Dalston, Old Blue Last, Dukes and Dalston Supertsore’s Dance Tunnel.

‘When you look back at everything we’ve done, and I include the rental jobs in there, it’s quite amazing,’ says Sound Services Technical Director, Rich Cufley. ‘We haven’t stopped…

‘With Funktion-One, we’ve got an incredible range of products that allow us to take on a huge variety of different projects,’ he adds. ‘And no matter which speaker we specify, we know it’s going to have unrivalled sonic performance and a standout level of quality.’

See also:

More: www.funktion-one.com

 

Providing not only Warsaw’s main art-house cinema but also housing the Polish National Film Archive, the Iluzjon Cinema has recently undergone a massive renovation – including its sound system.

Innovason Eclipse at the Iluzjon CinemaThe new installation was designed by audio consultant and system designer, Wojciech Zielinski from pro audio specialist, Dysten. At its centre is an Innovason Eclipse GT mixing console serving a fully networked Fohhn Audio loudspeaker system.

Due to its National Film Archive heritage, the cinema often screens silent movies accompanied by live music. In contrast to a typical cinema, this means that Iluzjon must be able to operate a live venue. This led Zielinski to specify the Eclipse and Fohhn set-up, providing both flexibility and ease of use.

The console workstation has been designed as a mobile unit so that it can be located in a traditional FOH position in the main auditorium or in a separate control room. Dysten built a custom lightweight, height-adjustable metal stand for the console, which allows it to be transported and also provides a comfortable working position for the engineer. The Eclipse retains full control of the network and audio distribution to both the cinema and the projection room from either location.

Iluzjon CinemaThe heart of the audio installation is the Server Room in the basement, which houses a 42U-high rack containing the Diocore stagebox for the Eclipse, active splitters for Sennheiser IEM transmitters and wireless receivers, fibre-optic network control, ES/Madi converters, Fohhn Net LAN interface and Fohhn DSP power amplifierss. All the connections to FOH are via a wall box in the control room that is linked to a floor box in the auditorium.

‘We have thought of and anticipated every detail,’ Zielinski says. ‘In spite of the renovation, we had numerous constraints to deal with, so every element of the system had to be carefully thought out for maximum efficiency. There was no room for the superfluous in this installation.’The result is a great-sounding system that offers maximum flexibility to the user, enabling the venue to adapt the system quickly and easily to the different requirements of each screening. I am very proud of this system.’

 

Tucked beneath the former location of New York’s famed Studio 54, the 54 Below supper club has it sights set on Broadway – aiming to attract both its audiences and actors.

54 BelowIn keeping with this goal, the club’s owners called on their own cast of Broadway veterans to oversee its design, hospitality and programming. Among them, Tony-nominated sound designer, Peter Hylenski specified a Meyer Sound reinforcement system to showcase the venue’s entertainment.

Hosting up to three shows nightly in its main room, the club has all 144 of its seats within 24 feet of the stage. ‘My biggest challenge was coming up with smooth, even coverage throughout the room, considering its low ceiling and thrust stage,’ Hylenski says. ’I decided on a Meyer Sound solution based on the specific sizes and types of loudspeaker needed.’

Hylenski’s system comprises an inner ring of six UP-4XP 48 V loudspeakers for stage-side tables, plus four distributed and discreetly mounted UPJ-1P VariO speakers for the rest of the room. Four under-stage 500-HP subwoofers provide tightly controlled low end, two UPM-1XP 48 V loudspeakers are available for foldback, and the entire system is managed by a Galileo 616 processor.

54 Below Production Manager KJ Hardy believes that the system has raised the bar for audio quality in New York’s cabaret-style rooms: ‘Peter Hylenski has designed one of the best-sounding live performance venues in the city, and every band and singer that’s been here would agree,’ he says. ‘Between Peter’s design and the mixing skills of our FOH engineer, Kris Umezawa, the music comes across as astonishingly rich and balanced.’

For the system’s front end, Hylenski specified an Avid SC48 FOH console that is fed by outboard Millennia Media microphone preamplifiers, along with a JoeCo 24-track recorder for capturing live performances.

Since its opening, 54 Below has hosted a series Broadway talent, debuting with Patti LuPone and continuing with Leslie Uggams, Ben Vereen, Bebe Neuwirth, Doc Severinsen,and Rebecca Luker, among others. ‘We have customers migrating here from other well-known clubs,’ says Hardy. ‘And we hear time and again that our room is now the best in New York – due in large part to Meyer Sound’s quality and support.’

Acoustical design for 54 Below was charged to the Walters-Storyk Design Group, while Masque Sound provided and installed the audio system, with Matthew Peskie managing the project for Masque.

More: www.meyersound.com
More: www.wsdg.com

 

The brainchild of former Target CEO Bob Ulrich, the Musical Instrument Museum (MIM) in Phoenix, Arizona, houses more than 15,000 instruments from around 200 countries and territories around the world. When Ted Greenbaum was made the venue’s theatre manager, one of his priorities was to upgrade the sound reinforcement system in the 300-seat Music Theater. The venue now sports an all-Meyer Sound reinforcement and monitor system.

Musical Instrument MuseumThe system was recommended by MIM Music Theater Artistic Director Lowell Pickett, who had previously worked with Meyer Sound as a co-owner at Minneapolis’s Dakota jazz club: ‘The clarity and intelligibility are so much better now,’ Greenbaum reports. ‘The difference between the way it sounded before and now is remarkable, and people have been commenting on it.’

MIM features an Avid Venue D-Show Mix Rack system at front of house and an Avid C24 console in the control room. It uses a distributed loudspeaker system, with two Meyer Sound CQ-2s for main left and right with two USW-1P subwoofers for the low frequencies. A UPJ-1P VariO serves as centre fill to pull the image to the centre with the CQ-2s.

Two more UPJ-1P loudspeakers cover the back of the theatre, while five MM-4XP self-powered loudspeakers are used for front fill. Two additional MM4-XP loudspeakers and one UP-4XP 48 V loudspeaker are used to cover side and rear balconies, respectively. In addition, six more UPJ-1P loudspeakers serve as stage monitors, and a third CQ-2 is used as a drum monitor, while a Galileo loudspeaker management system provides drive and optimisation.

‘With a distributed system, the coverage and imaging are great,’ adds Greenbaum. ‘It was right for this room.’

More: www.meyersound.com

 
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