Tag:installed sound

Pacha Ibiza set a new model for nightclubs when it opened in 1973. Almost 20 years on, it continues to be a benchmark, with franchised clubs all over the world. Not about to stand still, the original club has recently updated its sound system.

Pacha Ibiza‘We were looking to the complete renewal of the sound system,’ says Toni Prats, Technical Director for the Pacha Group. ‘What we wanted to achieve was a more homogeneous and exciting sound throughout the Ibiza club and the dancefloors.’

Prats called on Imaginamusica, the d&b audiotechnik Partner for Northeast Spain.

‘We discussed if the truth was that we needed higher SPLs to meet our goals,’ Prats continues. ‘We didn’t. They demonstrated we just needed a more detailed and articulate sound system, and that system was the d&b V-Series. We were also certain we wanted extra definition for the low end without losing the low/mid frequencies impact; these are what make people dance. The third consideration was space, we wanted the new system to occupy minimal space; each square metre is very important; this is Pacha club, we don’t want our customers to feel like they are cattle in a truck. What we understood from Imaginamusica was that the d&b V-Series would meet all our requirements.’

Imaginamusica Project Manager Enric Esteve called in Juanma de Casas from d&b’s Spain Application Support office to assist with system design. He, in turn, was joined by Jonas ‘Jones’ Wagner from d&b Application Support in Germany.

‘The acoustic environment is complex but very interesting from the point of view of the clubs clients,’ de Casas explains. ‘Beyond the main dance area are many dedicated VIP areas which need a spatial consideration, plus other public levels. Although essentially open plan, each area exists on a different level, maybe 60cm step up or down, rising eventually to a balcony overlooking the dancefloor. It was important as well to be able to control all these areas independently.’

Wagner assisted de Casas with the overall final design: ‘Based on the V-Series loudspeakers we put in arrays of V-Tops on all four sides of the main dancefloor with two stacks of four cardioid V-Sub combined with a floor array of omnidirectional B2-Subs for extended lower frequency reach into every area. Then three further stereo arrays of V were flown in the major VIP areas, all with flown V-Subs. Smaller areas and the DJ booth received attention from Q7 and Q10 fills, and 27A-Subs from the d&b White range proved ideal for providing added low end presence in the more remote areas; the 27A being both small and cardioid.’

The whole system is controlled using d&b R1’s Remote software, and driven by d&b D12 amplifiers. ‘Since the system has been installed we have had numerous comments from our DJs,’ Prats says, ‘Tiesto, Luciano, David Guetta; all have been surprised by the sound quality of the system, in the booth and around the club.

‘The option of a multipurpose system with an entirely coherent and consistent sound performance, and one in which system layout is correct for the varying locations of the DJ booth and public areas, has given us the homogeneity we wanted,’ he adds. ‘Everywhere sounds as good as everywhere else. Additionally the significant reduction in footprint and visual impact makes for a winning combination. Imaginamusica convinced us by demonstrating that not only had they one of the best sound systems, but it also had the best technical support and accountability to the sound quality. They did not sell the sound system, but a particular kind of sound. That is very important to us.’

 

A member of the Australian C3 Church movement, Bayside Church is located in Cheltenham, Victoria, where it provides vibrant and contemporary worship services for all age groups. Production Manager Tom Moore oversees the maintenance and purchase of equipment, training and team management. With its numbers growing quickly – the main sanctuary seats over 500 and the church congregation currently tops 1,000 – he aims to keep the A/V set-up in step with the church’s needs. The first major upgrade is the installation of a DiGiCo SD9 mixing console supplied by DiGiCo’s regional agent, Group Technologies.

Production Manager Tom Moore‘This is our first DiGiCo purchase,’ he reports. ‘However, I had seen these consoles in action when dealing with Dominica Sound on the Gold Coast. I had always heard great things about the quality of DiGiCo.

‘We had pretty specific goals and requirements that I felt were important in choosing a console,’ he continues. ‘The console had to obviously sound good, but it was also very important that it was user friendly as the entire sound production team is made up of volunteers with a mixture of little to no audio experience outside of church. I was really surprised how easy it was for the volunteers to start using the console. After one training session I was able to let the other sound engineers mix by themselves without any problems at all. I honestly don’t think this would have been possible with any other console that I have used previously.’

‘Size and footprint was also a consideration, as we wanted something that had a small footprint but didn’t feel cramped when being used. The layout of the SD9 was also very similar to analogue consoles that many of the volunteers had used before so much of their knowledge was easily transferable.’

Bayside Churches SD9 sees a wide range of performances and acts, which Moore says it readily accommodates: ‘The SD9 is being used in the FOH of the main auditorium. Its operational at Youth service on Friday night and two regular services over the weekend. There are often other events in the auditorium that it also gets used for including men’s and women’s events. We are running two D-Racks [one on stage and one at Ops] via Cat5e to control all inputs and outputs.’

As the SD9 is compatible with all of the DiGiCo SD Series, Moore is also able to add additional consoles as required: ‘We didn’t want to be stuck with a console that we would have to upgrade in a few years because of advances in technology,’ he says. ‘The software updates allow us to upgrade when we need to, which will increase the life of the console.

‘We have had heaps of comments in the past few weeks about how much the sound has improved and cleaned up. Even congregation members that aren’t tech savvy or musical have noticed the different, as it has taken away the harshness from a less than adequate PA. The SD9 has really enabled us to get 110% out of our current set-up.’

More: www.grouptechnologies.com.au
More: www.digico.org

 

Set to become home to a two-year residency by Carlos Santana through 2014, the House of Blues Las Vegas at the Mandalay Bay Hotel in Las Vegas works to high and demanding standards. Its most recent investment has been in JBL VTX Series line array for FOH sound.

Mandalay Bay Hotel House of BluesSound Image designed and installed the system – the first company to install a JBL VTX – under the direction of Jason Schmidlapp and with support from Dave Kaiser of Sound Marketing West, Harman Professional’s regional sales representative. The set-up includes two 13-box hangs of ten VTX 25 line arrays and three VerTec VT4880A arrayable subwoofers on each side of the stage, complemented by six ASB7128 subwoofers under the stage and six VerTec VT4886 subcompact line array elements for upper balcony fill. In addition, a JBL AC18 two-way loudspeaker and ASB6112 12-inch subwoofer are installed in each of the VIP suites.

‘The House of Blues Las Vegas had gotten to the point where it really needed to upgrade its sound system,’ said Dan Schartoff, VP of Production for House of Blues Entertainment. ‘The VTX boxes were a bit larger than the previous system so the suspension points had to change, and we also had to work around the room’s upper balcony. We had to move the array stacks slightly upstage and offstage to keep the sight lines to the stage clear. As it turned out, this enabled us to give patrons a better view of the stage since previously some of the speakers were stacked on the stage underneath the flown speakers. The better, more focused coverage of the VTX line arrays enabled us to eliminate the on-stage speakers while delivering much better sound.

‘The two array hangs are fairly close to the balcony, so we decided to install the subwoofers in the middle of both arrays. Six VTX V25 provide balcony coverage with three VT4880A flown in the middle of the array and four V25 for floor coverage,’ he explains. ‘The 13-box arrays were carefully designed to fit the available space and the bottom V25 enclosure of the balcony section is at the same elevation as the first row of the balcony, providing excellent off-axis coverage. The subwoofers are in the middle and close to the balcony surfaces, which helps to reduce reflections while at the same time allowing for improved under-balcony penetration since the lower V25 enclosures have line of sight coverage to the back of the room.’

The loudspeakers are powered by Crown IT 12000HD and XTi Series amplifiers. Loudspeaker management is performed via dbx DriveRack 4800 speaker management systems. A Soundcraft Vi1 digital live sound console handles some front-of-house mixing duties. ‘We used Harman HiQnet System Architect software to do the set-up and installation, which really streamlined the whole process,’ Schmidlapp says.

‘We were eager to do an installation with the new VTX line arrays as soon as we’d heard about them, and we bid on the House of Blues job, which would give us a great setting as a showcase room. If you’re going to go big, what better place to go big than Las Vegas? At the same time we were contracted to do the install, Carlos Santana was looking for someplace with a younger, hip clientele for his upcoming residency and chose the House of Blues. The timing wound up being perfect for us.

‘What a perfect deal – Santana is being showcased with the newest pro rig on the market,’ Schmidlapp adds. ‘I think Santana’s pretty impressed with it. Wait until you hear it.’

‘Carlos Santana performing through a VTX line array system at the House of Blues Las Vegas is a match made in heaven,’ says Paul Bauman, Senior Manager of Tour Sound for JBL Professional, who was instrumental in providing onsite support during the installation. ‘This project was truly a team effort under the guidance of Dan Schartoff and his team at Live Nation, coupled with Sound Image’s expert design and implementation and outstanding support from Sound Marketing West.’

‘I can honestly say JBL hit the nail on the head with VTX – I can’t say enough about how good this box sounds,’ says Rob Mailman, Touring Operations Manager for Sound Image and FOH engineer for Santana. ‘It is very transparent, solid throughout all bands and does really well not leaving me fatigued at the end of a long and loud show.’

More: www.sound-image.com
More: www.jblpro.com
More: www.soundcraft.com

 

When Jesus My King Church senior pastor and founder Dr Steven Francis oversaw its relcation in Singapore, he wanted to ensure that services in the church’s new home could be supported by live music. Wisely, he looked to install loudspeakers for both reinforcement and stage monitoring. As usual in Singapore, however, space was at a premium.

Jesus My King ChurchLocal contractor Sindo Exports worked in conjunction with Singapore sound consultant Robert Soo of Cogent Acoustics, who specified the system and recommended QSC’s K-Series. ‘After surveying the venue, I figured that the K Series best fitted the bill,’ he says. ‘The hall is wide and fan-shaped, with an extremely low ceiling, and a floor space that leaves little room for the FOH booth and even the stage after fitting in all the required seats.’

Five K10 boxes were installed, of which three form the main front-of-house system and two serve as wedges for musicians’ monitoring. Soo also specified a pair of KW181 subwoofers (one positioned on either side of the stage) and used smaller K8s (three in total) as fill speakers towards the back of the church. Two K8s are used in a separate training room and a sixth plays music in the church’s main reception area.

Both Sindo Exports and Robert Soo are pleased with what has been achieved in a fairly compact fifth-floor property, as is the church founder: ‘Reverend Francis was already impressed with QSC products from a previous experience,’ Soo explains. ‘He had no problem with any of my suggestions, including the choice of active monitors, which I considered for this project because they save on the space required to house a rack of amplifiers.’

More: www.sindoexport.com
More: http://qsc.com

 

Prior to the installation of a new loudspeaker system, the relatively high reverberation times of the town hall of Mid-Berlin have made its meetings more than a little problematic. Large windows and solid surfaces all played their part in ensuring poor speech intelligibility for all present – until the administrative office issued a mandate to consultant Akustikbüro Krämer & Stegmaier to find a solution to the problem.

Mid-BerlinKrämer & Stegmaier knew that digital beam-steering would solve the issue in the town hall, and considered a system it had tried before. Systemintegration Berlin General Manager/Project Engineer Gerd Thielemann had other ideas, however, having used Tannoy’s QFlex digital beam steering range,.

QFlex uses a beam-steering algorithm that allows precise control over the throw of the loudspeaker. Users can focus the sound on the seats and away from the ceiling, walls and partitions, reducing reverberation times without the need for acoustic dampening treatments for the space. The result is that no matter where you sit you hear the direct sound from the loudspeakers with much higher speech intelligibility. It’s clear, focused, high quality sound that is evenly spread to the required areas.

With all the data available, the Krämer & Stegmaier designers simulated different approaches with CATT-Acoustic. Based on the results the decision was made to go with the most effective solution – the QFlex 24. The QFlex are used in an arrangement with three Kling und Freitag CA 106 for monitoring. The STI- measurements made after the installations were 0.63 and 0.72, putting it very high on the intelligibility scale.

‘Tannoy’s QFlex is performing excellently in the space,’ Thielemann reports. ‘The hall has a lot of glass and reverberant surfaces, and the precise beam-steering technology available from Tannoy allows us to avoid reflections.’

 

Yuanlin Performance HallNoted for its literature and poetry, Taiwan’s Changhua County is home to the Yuanlin Performance Hall, which has recently completed an extensive refit of its sound systems – incorporating several QSC PLX amplifiers and WideLine-10 line array loudspeaker elements with subwoofers.

The new PA was installed by local dealer Reyn Yang Professional, with the guidance of the QSC distributor in Taiwan, Prosound: ‘At first, our client specified a different, domestic set of speakers for the installation,’ Prosound’s Ben Su explains. ‘However, our Reyn Yang visited the hall several times and used Ease to model the performance of WideLine versus the client’s original choice for this venue. After further evaluation, the client chose to install the QSC system.’

A 12-element WL2102 system now provides audio in the main hall, supplemented with four WL118-sw subwoofers and driven by four PLX3102 amps and eight PLX3602s. An SC28 processor controls the overall system. ‘According to our clients, the performance of the system for both sound quality and control has been favourable,’ Su reports. ‘The feedback from users in the hall has been positive.’

More: www.reynyang.com.tw
More: http://qsc.com

 

The world premiere of a new production of the truck-busting, ear-crunching Monster Jam spectacle saw the world’s biggest monster trucks, daredevil demo riders, and FMX-ers from Team Marvel and Team Destruction engaged in the largest ever extreme sports battle Arnhem’s Gelredome.

Monster JamFor the 2011 event, almost 70 Powersoft Duecanali amplifiers were installed in the Gelredome arena by TM Audio. Olaf Landzaat created the system design and headed the installation team. In collaboration with Italian engineers at Powersoft, a custom-made Media Matrix plug-in was written, enabling the amps to be integrated into the system seamlessly.

For 2012, the house system at the Gelredome (also installed by TM Audio several years ago) has been expanded to include eight Martin Audio WSX318 subs, a DDA CS8 front of house mixer, Shure wireless systems and an ASL intercom system.

Ampco Flashlight also provided spectacular lighting, using six High End Showguns, 24 Clay Paky Sharpy luminaires, 24 Chromlech Jarag-5 halogen matrix units, 24 Showtec Sunstrip Active DMX stage blinders, four Archleds and four Strong Super Troupers.

The Ampco Flashlight crew comprised Jerry Zandwijk, Christiaan Schutte, Michel Bakker, Niels Bouwma, Jeroen Schmitz, Bart Luijk, Harry van der Hoof, Jurrien Hildebrand, and Bas Nacca and Nick de Weers.

 

Lund Cathedral in Sweden has extended its permanently sound installation with a further Renkus-Heinz IC16/8-R-II active array above its altar.

Lund CathedralThe country’s oldest and largest church, it dates back to 1080 and seats 1,800 –but can accommodate an extra 800 during major events that are frequently televised. Already fitted out with a Rhaon-equipped Iconyx digitally steerable system, the new array is just the latest part of a major sound upgrade.

The cavernous nave has historically challenged the cathedral’s bishops, whose voices have become hoarse when trying to project down such a long space. Some years ago a sound system was installed to help – originally with four wired microphones and a conventional loudspeaker system.

The last time this was replaced was 1987, when the church felt it was time for something more capable – as well as increasing the microphone count to 20, including two mics to bring the sound of the church tower bells inside the church. Many of the congregation had been unable to hear the bells over the level of conversation or a sermon.

The earlier PA had proved inadequate in both audio distribution and quality – including the fact that audio control was limited to a single volume knob. Having had the space acoustically analysed, the cathedral’s architect decided that the speakers should be mounted flat on the wall rather than tilted forward. A couple of brands with that capability were examined, but it was the Renkus-Heinz Iconyx that was chosen by installer Björn Carlsson with Svensk Musik TTS. It also had the effect of reducing the number of loudspeakers in the church from over 40 just 14, including the crypt.

‘They came to us because they wanted an intelligent, efficient solution that wouldn’t need to be changed every few years,’ says says the cathedral’s Lars Jonven. ‘The main issue with the new sound system is that Renkus-Heinz won on sound quality, proven technology and its very special directivity control.’

The addition of the IC16/8-R-II (finished in a special architecturally matched colour) provides additional projection of sound to the congregation.

Lund Cathedral‘We looked at a couple of other brands and their solutions involved installing many more speakers, actually more than they had in the old system,’ Jonven says. ‘Then there was another request for us to distribute the system digitally as far as possible. So, actually, the only part in the whole system that’s analogue is the microphones; everything else is distributed by MediaMatrix and CobraNet direct to the loudspeakers. So that was another big feature.’

The cathedral also uses an iPad remote control for its Nion system. A controller is installed to the side of the nave, which remains where it is, but TTS also supplied a wireless iPad. This allows an operator to control sound from, for example, a service in the crypt, from where the fixed controller would be unreachable.

The same goes for christenings, which are held in the Northern Chapel and is also obscured from the mix position. Again, the iPad allows remote control from the chapel area itself – and is much appreciated by the church for its flexibility.

A pair of IC24-R arrays covers the central area of the nave, each delivering four separate beams of sound, while a combination of IC16-R and IC8-R arrays cover other areas with an IC7 in the crypt.

The IC16/8-RII uses coaxial transducers with triple tweeter arrays driven by multichannel audiophile high-current amplifiers, allowing up to eight individually steerable multiple beams from each unit. The triple tweeter ‘array within an array’ design reduces the distance between HF sources for greatly improved high frequency performance with consistent broad horizontal dispersion and reduced grating lobes.

‘The whole system gives us much better sound naturally,’ says Carlsson. ‘Each priest has their own headset and there are presets that adjust the EQ to their individual timbre and volume. It’s a fantastic solution.’

More: www.renkus-heinz.com

 

Headquartered in the Malaysia’s Petaling Jaya – hub of the New Life Group of Churches – the New Life Restoration Centre has installed a Soundcraft Si Compact 32 digital mixing console to serve the requirements of running services for two distinct congregations – one English speaking, the other Mandarin.

Soundcraft Si CompactThe church conducts two Sunday services in English, with around 450 people attending each service, while around 400 members of the congregation are welcomed to the Chinese service.

According to New Life’s Media Executive Vince Seah, the Soundcraft desk is central to a new technical set-up, as a series of source feeds need to be mixed, including the pastor mic, live and recorded music: ‘For our sound engineers to mix three live worship sessions, with different groups of musicians in a single weekend was just too much for our old desk to take,’ he says. ‘We were taking hours to sound check and sometimes had to forego this entirely, which often ended up with bad mixing.’

After 20 years working with an analogue desk, the church was directed to Soundcraft by local dealer, AVF Trading. ‘After several meetings, they convinced us that the Soundcraft Si Compact 32 would solve our problems, based on the quality of the product, Soundcraft’s excellent reputation and good after sales support,’ Seah says.

He reports that all 32 channels and eight auxes were currently being used, adding that New Life had immediately recognised the advantages of the Si Compact 32. In particular, he highlighted a number of features, including the multi presets, motorised faders, generous aux and bus capacity, quick response, recallable show settings and compact footprint.

‘The Si Compact 32 has been an excellent purchase and represents good value for money within the budget,’ he adds. ‘As our first digital mixer it is providing us with a lot more than we anticipated and will enable our technicians to improve their abilities and indulge in more creative mixing.’

 

Clyfford Still MuseumWhen he died, leading American painter Clyfford Still willed his entire art collection to an American city willing to create a permanent home for it. During his life, Still had led the abstract-expressionist movement until he disappeared from the art scene in 1951.

Three decades in the making, the Clyfford Still Museum has opened its doors in downtown Denver. The 28,000-sq-ft steel and concrete building houses more than 2,400 of Still’s works, as well as a collection of the artist’s journals, sketchbooks and archives.

Its massive glass-lined lobby has windows extending from tiled floors to concrete ceiling – visually stunning, its highly reverberant acoustic presents a familiar problem for the large-screen video presentation that runs in the museum’s entry. Denver-based Empowercom stepped in to tame the challenging acoustics – with a Renkus-Heinz’s Iconyx steerable array loudspeaker system as its primary weapon.

‘The content management committee on the project had suggested the Iconyx system, and everyone involved unanimously agreed they were the only speakers that would meet the needs of the space,’ says Empowercom Vice President Terri Jackson. ‘Being able to steer the sound away from the abundance of reflective surfaces was key. Using the Iconyx, we were able to focus the sound to a concentrated area directly in front of the screen, rather than create a cacophony across the entire lobby.

‘The programme contains both narration and music, and the Iconyx delivers on both spoken word intelligibility and musical performance.

‘It’s also a very high-end space, and the Iconyx really fits in with the décor,’ she adds. ‘It’s an elegant, low-profile design that actually blends with the surroundings.’

More: www.renkus-heinz.com

 
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