Tag:installed sound

HelixNet PartylineOne of the first UK fixed installations for Clear-Com’s advanced networked partyline intercom system, a HelixNet system has been installed at the Royal Albert Hall.

As sole UK distributor for the Clear-Com range of communications systems, theatre, event and entertainment specialist Orbital Sound took care of the system design and installaion for the Grade 1 listed building.

‘Our challenge was to find a way of upgrading what was essentially a very out-of-date system within a competitive budget,’ Orbital Sound Sales Director, Tom Byrne, explains. ‘The old wiring was up to 30 years old in places, complete with enough buzzes and hums to make the communications virtually unintelligible. It was clearly not an option to rip out the wiring infrastructure and replace it, so we came up with a different approach that has saved literally thousands of pounds.

‘Clear-Com’s HelixNet represents the ideal solution, providing the RAH with digital a four-channel comms system that runs on single 3-pin XLR cables without any compromise on quality. The venue now has crystal clear sound on all channels, with the system configured around a HelixNet Base station together with 15 belt packs, and appropriate interface cards.

‘We also supplied a TW47 walkie-talkie interface, which integrates the venue’s existing Motorola units to HelixNet, enabling full communications between the two systems. This is a great example of how HelixNet can be deployed to use existing or low-budget wiring infrastructure to create a large-scale communications network simply and rapidly.’

More: www.orbitalsound.com
More: www.clearcom.com


Counting the likes of Alexander McQueen Men’s autumn/winter and Moschino’s spring/summer CheapAndChic 2013 runway shows, and Microsoft’s IE9 web film premiere among its recent events, London’s Farmiloe Building shares the limelingt of both fashion and hi-tech events as well as providing the setting for film/TV/commercials location, stills shoots and pop-ups.

Farmiloe BuildingA recent fashion event put London-based RSH Audio into the spotlight, when it supplied a Funktion-One sound system. Answering a brief from Aztec Event Services, RSH supplied equipment from its recently bolstered stock of black Funktion-One speakers.

‘The brief from my client, Liam Bremer at Aztec, was to supply a high quality audio system, but a clean look was essential to match the stage and set,’ RSH Director, Joe Haycocks, explains. ‘By using our Resolution 4 mid-highs over F221 bass units, we were able to tailor the sound on the XTA processor to suit the fact that the system was placed behind the actual fabric of the set.

‘This flexibility – without resorting to harsh equalisation –is one of the brilliant things about Funktion-One’s systems,’ he continues. ‘We have made use of this for a number of events where high impact, yet invisible audio is desired, such as cinemas, and other branded sets and stages. And we’ve always had a brilliant result.’

An identical system was used for the Farmiloe Building’s downstairs bar area, where black scrims over the Res 4s for a similarly discreet look.

‘For me, RSH Audio is more than an equipment supplier,’ says Aztec’s Liam Bremer. ‘The quality of service, flexible approach and attention to detail make working with them very easy, and needless to say the sound is second to none.’

RSH has enjoyed a busy summer supplying sound to a mixture of corporate events, to parties for promoters like London Warehouse Events, and to festivals including LeeFest. Haycocks says that RSH enjoys being part of the Funktion-One family of companies: ’I’ve had the benefit of the rental network for a while now, and regularly work with other companies when I need extra kit, but it’s great to be officially on the rental users list.’

More: www.rshaudio.co.uk
More: www.aztecuk.com
more: www.funktion-one.com


Along with its lawns, courtyards, fountains and plazas, Grand Park offers a year-round programme of music and entertainment to Los Angeles County. One of the world’s largest premier arts destinations, performances are held in a number of multi-use stages, spaces and lawns, thanks to a system of ‘media hydrants’ and a Soundcraft Vi1 digital live sound console that can be quickly moved to any location.

Event Manager Matt Saltzman (Pic: Javier Guillen)Grand Park’ Event Manager Matt Saltzman explains that the entire park is wired with fibre-optic cable, buried underground and running betwee the media hydrants that located throughout the park and linked to the main control room. These hydrants provide digital audio and video connections via a Riedel light-pipe data network and are terminated with Cat 5e for audio, video and control. Embedded in concrete, the connectors face outward horizontally for durability and waterproofing. The units are locked with a steel gate when not in use.

‘In planning the A/V system for Grand Park, the County wanted to ensure live music and entertainment would be accessible in the widest variety of areas throughout the park,’ Saltzman says. ‘They devised the underground fire-optic system to enable us to do this, rather than have to restrict performances to the stage area. However, to make this idea work we needed to be able to move the mixing console to each area. The Soundcraft Vi1’s digital connectivity enables us to do that.’

With its compact footprint, the Vi1 is relatively easy to move from place to place and connect the Vi1 to the audio system using a Soundcraft Compact Stagebox. The Vi1 connects to the stagebox using a single Cat5e cable, and its output is plugged into a media hydrant via Cat5e. Saltzman notes that this arrangement eliminates the need for anywhere from 15 to 30 XLR cables. In some instances, he doesn’t even have to move the board – he or one of his staff will use an iPad to control front of house mixing from a remote location.

The Vi1’s built-in processing, reverb, compression and EQ and eliminate the need for outboard effects racks, further adding to the mobility of the set-up. ‘All we need at front of house is literally a single power strip,’ Saltzman says.

He points out that the Soundcraft Vi1’s control and flexibility make it equally comfortable for house staff and visiting sound engineers to use. ‘It can be set up to feel like a traditional analogue console, or you can use its processing and flexibility to take advantage of all of its digital features, like assigning input groups and saving cues on the console’s cue/snapshot system.’

In fact, Saltzman discovered an unforeseen advantage of the Vi1 minutes before one particular performance: ‘Ten minutes before show time I accidentally pulled the AC power to the console at the end of soundcheck – without bothering to save my settings. Luckily for me, the Vi1 had backed everything up and recalled all my settings. The show went off without a hitch.’


While the original Pittsburgh Dan Rooney’s Cafe & Bar may now be gone, it is certainly not forgotten. The lively watering hole has been recreated from its early-1900s roots at Empire City Casino (which is owned by the same family) to bring the Rooney family spirit, culture, and story to the people of Westchester and the tri-state area.

Dan Rooney’s Cafe & Bar At the revived Dan Rooney’s, patrons have 35 flat-screen TVs for sports viewing and its own take on live music, accompanied by Irish beer and pub fare from a menu created by Michelin starred chef, Christopher Lee. The accompanying audio system has recently been updated by Dobil Laboratories, with Project Manager Conor W McCaskey managing all aspects of the project.

The installation calls on four DAS Audio Convert 12A line array enclosures supported by an LX-212A band-pass sub bass system. Onstage, there are also two DAS Audio Road 12A stage monitors.

‘Dan Rooney’s has a well-deserved reputation for being a great place to eat, kick back and enjoy quality entertainment,’ McCaskey says. ‘Dueling piano players is the main source of live musical entertainment, and the pianos sit very close together. The patrons gather around to create a lively, intimate environment.

‘The Convert 12As serve as the main loudspeakers – because of the space limitations, these are positioned directly overhead the two pianos, suspended from a circular trussing system we had manufactured for the project.

‘Each performer also has their own stage monitor, and for low frequency support, the LX-212A is recessed into the ceiling, so it’s completely hidden. The room has hardwood flooring, so it’s quite lively from an acoustic perspective.’

With all loudspeaker systems being self-powered, McCaskey and his crew were assured the power amplification was ideally matched to the loudspeakers. Similarly, there was no need to find a place to house any power amplifiers and system cabling was streamlined considerably. In addition to these factors however, McCaskey was particularly impressed with the system’s sound quality, SPL performance, and the DAS rigging hardware.

‘The DAS product was very easy to work with,’ he says. ‘The process of rigging each Convert loudspeaker to the truss and getting power to it was virtually a plug-and-play affair. We were also very impressed with the system’s sound quality – and it has tons of power to attract people from the gaming floor into the closed pub to see what’s going on.’

The new system has been in operation for a few months and, according to Mike Rooney, Director of Media Convergence at Empire City, the club management and patrons couldn’t be happier: ‘The system is working flawlessly,’ he reports. ‘We literally just turn it on, and give the performers a place to plug in and do their thing. We’ve received positive feedback from everyone who’s come in contact with the new system. This was the first time I used DAS products and I look forward to working with the company again in the future.’

More: www.dobil.com
More: www.dasaudio.com


Formerly a Town Hall, the London’s Battersea Arts Centre now houses performance spaces with audience capacities ranging from ten to 500, and is regarded as one of the UK’s most influential theatres. Its most recent event has been the installation of a new audio system by Orbital Sound.

Battersea Arts CentreThe new system is designed for semi-permanent installation in the venue’s main room, as well as allowing flexible deployment in other spaces, and comprises a central hang of seven d&b audiotechnik T-10 enclosures, plus two ground-stacked d&b E15X-Subs, per side. Key selection criteria included configuration flexibility and scalability, as well as exceptional sound quality.

After commissioning, it was quickly put through its paces by Little Bulb Theatre’s production of Orpheus, which featured a demanding live score ranging from hot club jazz to grand opera, including a ground-shaking baroque organ.

The venue’s brief called for a system with the smallest practical complement of loudspeakers necessary to achieve excellent quality of sound in the Grand Hall, its largest room, with a 500-plus capacity. An additional requirement was the ability to re-deploy some of the loudspeakers in other performance spaces in the 70-room complex, while leaving a workable system in the Grand Hall for smaller events and spoken-word reinforcement.

‘We researched various options before making our decision, but it was the sheer flexibility and scalability of the T-Series that won the day, in addition to its sound quality,’ says Philip Bentley, the venue’s Technical Manager. ‘Overall, going the d&b route with the T-10 system gave us more control than with the other systems we compared – the design’s inherent line-array and point-source options simply offered us a lot more for our money.

Battersea Arts Centre‘We can use the new loudspeakers in an array format, or divide them up into smaller point-source systems, enabling us to cover simultaneous events in a number of rooms. For example, we had to set up the Council Chamber in a 150-seat cinema configuration recently, and were able to use five of the T-10s per side in LR hangs, with two of the subs. This left the remaining units as a point-source system in the Grand Hall, ready for other events. This degree of flexibility is key to our longer-term planning, as it gives us the facility to expand our complement of T-Series in affordable stages, safe in the knowledge that the system components are inter-compatible, and can therefore be used around our building in multiple permutations and combinations.

‘The products are small and relatively lightweight, and are therefore easy to rig, while being unobtrusive in our smaller rooms – an important point given the historic nature of our site and its architecture. We strive to make our venue as welcoming an environment as possible, and that ethos is now reflected in our technical equipment as much as in the building itself.’

Sound designer Ed Clarke was responsible for the design of Little Bulb Theatre’s Orpheus, employing every aspect of the new system to achieve the critically acclaimed results: ‘Orpheus was a deceptively complex piece of theatre – a seven-piece band, eight actors using radios, and with the style varying between 1930s Paris Cabaret, grand opera and French romantic classical. And the baroque organ. It was always going to be particularly tricky in the Grand Hall, as the company were using so much of the space – not simply the stage, but also coming down some considerable distance into the auditorium. I needed a system that would cope with gentle, unobtrusive vocal reinforcement, as well as really quite loud amplification of the organ.

‘The d&b T10 system was just perfect for this kind of project, in terms of its audio competence, and in terms of its simplicity and size from the rigging point of view,’ he continues. ‘Either as point-source or arrayed – we used all 14 boxes that Orbital supplied in two arrays for Orpheus – the real star feature of the T10 is its controllability. In a big space like the Grand Hall you need a system that’s going to do what you expect it to do right out of the box. It has a transparency that allows reinforcement, as opposed to amplification, to work particularly well. The show received a number of notices commenting on the”earth-shaking” sound of the organ – we kept it quiet that the sound was mostly invented behind the sound desk, and that the earth-shaking result was largely due to those four EX-15s.’

Orbital Sound’s system design for Battersea Arts Centre included the necessary mounting and rigging hardware to cover the various re-deployment scenarios, with typically three of the d&b T-10 units being used per side on a cluster bracket, pole-mounted from a E15X-Sub. Three d&b audiotechnik D6 amplifiers were also supplied, with each channel capable of driving up to four T-10 loudspeakers, further contributing to the system’s flexibility.

The sound system installation forms part of a restoration and refurbishment programme, which includes improvements to the venue’s technical infrastructure, as well as work on key architectural features such as its octagonal glass dome.

More: www.orbitalsound.com
More: www.dbaudio.com


Designed by architect Niels Guldager and featuring a ‘New American’ menu, the Vitae restaurant marries the history of New York’s Midtown with sound and acoustics design elements.

Vitae restaurant‘Bad sound can ruin an otherwise perfect restaurant environment,’ Guldager observes – displaying an awareness in advance of many of his contemporaries. ‘ I want the right background music level and clarity so people can hear the music but still hold a conversation. And clarity is key in getting sound into the sweet spot as a design element.’

Guldager worked with contractor David Schwartz of Essential Communications to design the sound system for Vitae – which is located near the Grand Central Terminal. ‘The restaurant’s design didn’t always allow us to place the loudspeakers in the best locations for coverage,’ Schwartz says. ‘And, the restaurant has several different ceiling heights.’

After weighing the challenges, Schwartz chose Community’s new D-Series ceiling loudspeakers, their smooth dispersion giving him good coverage throughout the restaurant. The D-Series also offered him seven different sized models, with uniform voicing, to help achieve consistent sound level and clarity in the different ceiling heights.

Schwartz chose D-Series 6-, 8- and 10-inch models and notes that he was able to achieve ‘good blending despite the three different models of loudspeaker’. The system also has zones for music adjustment and source selection. This allows a choice of level and music style for private parties in spaces like the mezzanine.

With its modern appearance, qualty food and attention to sound, Vitae has won excellent reviews from publications like the New York Post, Wall Street Journal and Virtual Gourmet, as well as from patrons’


Hong Kong’s Space Museum has extended its attraction with the installation of an Omnimax planetarium system. The museum’s Lecture Hall has not only benefitted from the new projection system, but its audio system includes a TiMax2 SoundHub16 multichannel delay matrix as a surround system management and spatialisation processor.

Hong Kong Space MuseumThe new sound system uses a d&b audiotechnik 7.1-channel surround set-up – a total of three E12D screen channels with two S18 subwoofers, and left and left-rear surround (mirrored on the right) distributed via four E8s. All the loudspeakers are driven by d&b D12 and D6 amplifiers, with two further d&b M6s available for mobile stage foldback.

This upgrade is a departure from the left/right use of loudspeakers and subs, and goes further than a conventional cinema system due to the multipurpose nature of the room – and also the desire to offer a special movie experience. Films such as Space Junk 3D, To the Arctic and The Last Reef: Cities Beneath the Sea have their standard 7.1 audio enhanced by TiMax to provide a more immersive aural effect than otherwise possible.

TiMax SoundHub is able to quickly switch between various different audio routing, EQ, level profiling and spatialisation set-ups for different applications – LCR sound reinforcement for lectures and presentations on the main stage, 5.1 movie playback, straight 7.1 and TiMax-enhanced 7.1, which uses delay-matrix Image Definitions to blend the incoming standard 7.1 content across screen and surround channels to provide an enveloping soundfield across a wide audience area.

With the TiMax SoundHub’s timeline cue programming and multichannel playback server, any sound effects and music beds required for live performances like drama and musicals can be created and edited easily. The system was designed and installed by TiMax SoundHub HK/PRC distributor, Sound Works & Supplies.

See also:
Much Ado About Audio: RSC Re-opens in Stratford
TiMax SoundHub-M enhances museum space
Sound show at New York City Performing Arts Centre
Deutsches NationalTeater stages sound upgrade
Tanz de Vampire adds bite with sound localisation
Case Study: Aida at the Royal Albert Hall

Opened in 2011 to host the European Basketball Championships, Lithuania’s Kaunas Žalgiris Arena is now a multipurpose hall that is able to accommodate up to 17,500 when used for music concerts.

Žalgiris ArenaBuilt by the Kaunas City government at a cost of €50m, it is the largest in the Baltic states and required a sound system that could reach every seat in the house. The arena management found this in a Martin Audio H3+ horn-loaded system – the largest H3+ complement installed in a single location.

The system was proposed by Martin Audio’s Lithuanian distributor, Audiotonas. The proposal met the specification and provided further advantages when used for basketball or ice hockey matches: ‘During basketball play in particular, we typically have audience noise crossing over at 105dB – and thanks to the H3+ the bowl sound can be heard loud and clear above it,’ Audiotonas co-owner, Algirdas Sidiskis, explains. ‘On top of that, powerful enclosures run with no subwoofer support, are great for the music breaks during pauses in the play. And excellent sound coverage is delivered to every seat in the arena.’

Having won a competitive tender for the installation, Audiotonas was responsible for both the main bowl sound and the PA/VA systems within the five-zone complex, which were designed by project engineers, Orunas Urbonas and Darius Zalaga. The Martin Audio components had been selected in view of their suitability to fulfil the project requirements, in terms of SPL, power output and frequency range as well as compliance with venue-style specifications for both speech intelligibility and music playback.

The main bowl PA operates as 24 zones and – following Ease predictions – comprises 52 Blackline H3+ enclosures set around the perimeter in two lower and upper rings, firing back into the audience. These are complemented by four AM15 stadium boxes to cover the playing area under the LED video cube, all mounted on custom brackets.

Martin Audio Blackline H3+Run bi-amped, with each channel controlled by its own DSP, source feeds to the system include live voice announcements and live music with separate line feeds from CD, MP3 and DVD.

Operating alongside are the four AM15s – one covering each axis. This two-way passive enclosure has been designed for applications where high SPL and weather-resistance are of prime importance.

The system is driven by Yamaha amplifiers in four amp racks, with DSP and control. Signal management is via CobraNet, using Biamp AudioFlex CM, with remote input and output modules. The separate voice evacuation is based on a Honeywell system and several thousand horns, ceiling speakers, wall-mount speakers and sound projectors (from AMC).

As a result of the careful planning that went inot the project, Algirdas Sidiskis reports that the client is ‘delighted’ with the new system.

More: www.audiotonas.lt
More: www.martin-audio.com
More: http://biamp.com


The massive South Point Hotel, Casino & Spa complex on the Las Vegas Strip has installed a QSC Audio Q-Sys Core 500i network processor, CX Series amplification and AcousticDesign ceiling speakers to handle paging and PA in its recently expanded Arena and Equestrian Center. And it’s not finisjhed yet, a the resort intends to extend the Q-Sys network into a US$m bowling arena planned for completion at the beginning of 2016.

South Point Hotel, Casino & Spa ‘When we expanded the arena we took the opportunity to upgrade the processing in there from BASIS to the new Q-Sys 500i.’ says Jason Lein, South Point Production Manager. ‘The system has so much processing power that all of the bowling arena expansion will be run off that same core as well. The bowling center will be built for broadcast TV and we’ll have two new equestrian arenas as well – we’ll run it all off that same system.’

South Point recently expanded a concourse and added meeting rooms to its Arena and Equestrian Center, which features a 4,600-seat show ring, an indoor practice arena and a covered outside arena. The centre also hosts motor sports and other events in addition to equestrian shows. ‘We created four different concourse zones,’ Lein explains. ‘We’ve got a bar, tunnels, a practice arena and 1,200 air-conditioned horse stalls, and new meeting rooms located on the concourse. We run approximately 144 different page configuration options, using both wired and wireless mics for paging. Depending on what horse events are in here we have to set up several different page zoning scenarios on the fly.’

Lein and his crew installed 12 AcousticDesign AD-CI52ST two-way ceiling speakers in the concourse and meeting rooms, as well as TSC-3 networked touchscreen controllers , and added QSC CX602 amplifiers to power the speakers. ‘Everything is QSC amp-based, even in the main arena,’ reports Lein. ‘We’ve got some PowerLight 4.0 amplifiers from the original install that we never need to replace, and we’re using the PL380s as well.’

Production staff members typically use wireless control of the Q-Sys set-up: ‘Whichever tech crew is assigned to an event will grab an iPad or the computer controller and set the paging configurations up prior to that show, based on that event’s needs,’ Lein says. ‘Switching from the BASIS to the Q-Sys system made it very easy for us to program these iPad-controllable UCIs [user control interfaces] to fit those needs, then reset the whole system before the next event, and then set up the next event, all off these UCIs. The Q-Sys system has been a big benefit for that alone.’

At the end of April 2013, South Point, Las Vegas Events and the Las Vegas Convention and Visitors Authority jointly announced a 12-year agreement with the US Bowling Congress to host seven championship events in Las Vegas beginning in 2016. South Point, which already features a 64-lane Bowling Center, home to the Professional Bowlers Association’s World Series of Bowling, will build a two-story complex housing a 60-lane bowling facility and two additional horse arenas (sound isolated from the floor above) on the lower level.

‘When we get into the new expansion, the two new arena bowls, we’ll install the new QSC AcousticDesign Series speakers,’ says Lein. ‘We’ll be installing over 100 of the 5.25-inch AD-CI52ST ceiling speakers throughout the bowling center hallways. We’ll also be installing AcousticDesign series speakers for the bowling lanes, with QSC subs placed throughout the bowling center. We’ll probably be adding more Q-Sys I/O Frames later this year.’

The upgrade to the Q-Sys system’s Layer 3 networking technology has made it easier for Lein to program the new set-up. ‘Our new design with Q-Sys, where the schematics are all-in- one is phenomenal. It definitely makes it easier on the programmer,’ he says.

Lein also likes the remote access offered by the system: ‘We’ve got one or two people, myself included, who handle the programming. When we’re at home and we get service calls, it’s so great to be able to have the remote Signal Probe and be able to analyse what’s going on with the system from anywhere.’

More: www.qsc.com

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.’

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