London nightclub fabric has collaborated with Pioneer Pro Audio and Powersoft to over the sound system for its first outdoor event. Set for July in London’s Victoria Park, the Lovebox Festival will feature the fabric stage – the only stage at Lovebox to boast an exclusive pro audio partner. The partnership between the two brands has already proved itself in leading dance venues across the world, including the clubbing hotspot of Ibiza.

The fabric arena is a 2,000-capacity, 38m circular tent recreating fabric’s Room One. Here, Powersoft’s class-D switch-mode K Series has been used by Pioneer Pro Audio Manager, Alex Barrand, to drive Pioneer 4m x 3m GS-Wave dancefloor surround stacks, eight XY-218 18-inch twin bass reflex subwoofers and 12 XY-122 two-way loudspeakers. In addition, it will exploit the Italian company’s Armonía Pro Audio Suite software for remote control and monitoring of the system, and advanced DSP.

‘Powersoft has been my preferred amplifier partner from Day One,’ Barrand says. ‘We know we can rely on K series, because the power consumption is phenomenal, the capabilities are amazing and it just gives you peace of mind. The excellent damping factor on the subs, in particular, is unbelievable.’

With a condensed 1U form factor, six K10 (2 x 2kW/8Ω) and four K2 (2 x 1kW/8Ω) amplifiers have been chosen to drive the fabric 4.1 system. ‘Extra subwoofers will be brought in to create more low end for the Friday drum ‘n’ bass night, and we will be using another eight K10 for the additional in fill,’ Barrand says. ‘We will also run all amplifiers in AES/EBU which is a more elegant and cleaner way of doing things in terms of redundancy. Our aim is to create a real club feel environment, designed to keep people in there for extended periods.’

The installation will also take advantage of Armonía software and DSP, which will run the system live: ‘We have access from front of house, so we can drop in the fills and subs as the atmosphere in the room starts to build,’ Barrand  says. ‘We are working direct with the DJs, since we are all on radios so thanks to Armonia, we will introduce additional sound and step it up bit by bit. We don’t want a massive SPL peak when the room is empty.’

Pioneer Pro Audio has also designed a drum ’n’ bass preset for Armonia: ‘This gets us ahead of the curve as we can switch in the preset at the start of the festival. It will be tuned to drum and bass on the Friday, whereas the more typical fabric club sound on the Saturday requires a greater boost in the midrange, so we will switch to Preset 2.’

‘In an outdoor applications, K series is perfect in fabric’s attempts to create the feel of a nightclub,’ says Powersoft Brand & Communication Director, Francesco Fanicchi. ‘And, of course the efficiency of the amplifiers, in an environment where power is scarce, is vital.’

Add this to the fact that a birch wood floor, similar to the one in fabric’s Room One is being installed to give the right kind of feedback, and the fact that the tent’s walls will be double draped with damping material to control sideways reflections and contain low frequencies, and the simulated fabric Room One environment will be complete.

It is perfectly set-up for Lovebox to host live acts and DJs, including Ricardo Villalobos, Jackmaster and Kano.

FBT Audio has released the SUBline range of bass reflex subwoofers, promising greater power from smaller, more portable enclosures, using class-D amplification, switch-mode power supplies and DSP presets for accompanying full range enclosures.

Comprising two passive and four active models, SUBline boasts road-ready, tour-grade birch plywood construction, integrated carrying handles and optional wheels, plus in/out stereo connectors facilitating the use of a single sub in left-right stereo set-ups.

The 12-inch SUBline 112SA is rated at 700W RMS and delivers 130/133dB SPL with a frequency response of 40Hz–140Hz. Also rated at 700W RMS, the 15-inch SUBline 115SA boasts an SPL output of 132/135dB with a 40Hz–140Hz frequency response. Both models offer users the choice of eight presets from the onboard DSP plus multiple EQ modes with two LPF crossover settings and a cardioid configuration.

The larger 18-inch SUBline 118SA is rated at 1.2kW RMS, producing 134/137dB SPL within a frequency response of 33Hz–100Hz. Six DSP presets are available with four EQ settings, two LPF crossovers and six step digital delay up to 3.5m. The largest of the active models is the 218SA double 18-inch, rated at 1.2kW RMS, producing 140dB peak SPL across 30Hz–120Hz.

For applications requiring low-end support without integral amplification, the 1.2kW 118S and 218S are calibrated for se performance with FBT’s DLM26 Digital Loudspeaker Management processor. The 18-inch 118S produces 133/136dB SPL, as compared to the 139/143dB SPL delivered by the double 18-inch 218S. All of the subwoofers include integrated M20 top mount speaker sockets.

‘SUBline represents real Italian innovation, with incredibly compact yet powerful subwoofers that open up entirely new possibilities for both portable use and fixed installations,’ says, of FBT Audio (UK) MD, Mark Parkhouse.

More: www.fbt.it/en

The full-range Ventis loudspeaker line from Italian innovator FBT offers solutions for both fixed installation and portable use, flexibility of use and characteristic Italian design.

The Ventis line has been expanded with the release of the 8-inch Ventis 108A, plus the 12-inch and 15-inch 112MA and 115MA multipurpose pole-mountable wedges, all available in both passive and active configurations. They join the existing 15-inch 115A, the 12-inch 112A, 10-inch 110A and 6.5-inch 206A – all two-way, bass reflex designs housed in 15mm birch plywood, loaded with custom B&C compression drivers and proprietary long-excursion woofers.

The Ventis 108A is intended for applications where space is limited but audio quality is of paramount importance. With 700W + 200W class-D bi-amplification, the compact, supremely portable speaker delivers a 131dB SPL, a frequency response of 65Hz–20kHz, and broad coverage courtesy of its 80°(H) x 50°(V) Constant Directivity Rotatable Horn. The passive version, the Ventis 108, delivers 250W into 8Ω for 126dB SPL, and features a built-in passive crossover with soft-trip protection for the LF and HF, plus Neutrik Speakon NL-4 In and Link Out connectors, and four M5 rigging points for installation. Both are as comfortable mounted on the wall with the optional bracket, or used with a standard pole-mount.

The 112MA and 115MA can be deployed either for precision 90° floor monitoring or as a pole-mounted main PA.

Rated at 700W + 200W, the bi-amplified class-D 112MA delivers 129dB max SPL from a 12-inch coaxial custom woofer with a 2.5-inch voice coil, plus a 1-inch B&C HF section with a 1.7-inch voice coil. Boasting a frequency response of 55Hz–20kHz, this multipurpose enclosure also includes six factory presents for a range of scenarios. The passive 112M is also available, rated at 400W into 8Ω for 129dB, with a built-in passive crossover and Neutrik Speakon NL-4 In and Link Out connectors.

The 115MA is also rated at 700W + 200W uses custom class-D amplification to deliver 132dB and a frequency response of 50Hz–20kHz via a 15-inch coaxial custom woofer with a 2.5-inch voice coil, and a 1-inch B&C throat with a 1.7-inch voice coil. Again, six factory presets are onboard. The passive version, the Ventis 115M, is rated at 400W for 130dB.

More: www.fbt.it/en

Among the largest owners of DiGiCo audio consoles in the South Africa rental market, Festival Sound has increased its investment with an SD11 and a further SD9 to its inventory.

The young and vibrant company bought its first SD9 with two fully populated D-Rack and Little Red Boxes in 2012. Since then, its complement of DiGiCo products has grown with an SD11 and another SD9 added at the end of 2016. ‘The addition of the second SD9 made it possible for Festival Sound to supply two 96 channels consoles for FOH and monitor land,’ says Jaco Beaukes from South African distributor DWR Distribution, which supplied the consoles. ‘This was a big step forward with serious benefits for them as they often supply gear for shows that demand high channel count consoles.’

April 2017 marked another big advance with the addition of a Waves Server-One and a Waves upgrade kit to one of the SD9s. Festival Sound owner Petru Palmer loves the sound of DiGiCo, with the preamps being one of his favourite aspects of the brand. ‘Being able to add world renowned plugins to his mix, with very low latency, is like giving an artist a new set of paint brushes and a vast arrangement of exciting colours to paint with,’ he says.

Palmer will be using his newly equipped SD9 for the first time at the Gospel Spectacular show, hosted at the Joburg Theatre, and is anticipating many further projects throughout the rest of 2017.

Fulcrum Acoustic has introduced the CS118 Subcardioid Subwoofer module, designed for permanent installation in a wide range of applications and venues, including performing arts centres, houses of worship, sporting facilities and nightclubs.

Featuring a single, high-power 18-inch direct radiating woofer in a rugged, compact enclosure, the CS118 uses Fulcrum's patent-pending Passive Cardioid Technology to reduce excessive rear low frequency radiation by up to 10dB without the need for additional drivers, amplifiers or signal processing. Its subcardioid pattern is created via a highly refined acoustical circuit balancing the LF driver’s position with the enclosure's depth and volume, as well as rear ports incorporating a calibrated resistive element.

The CS118 combines Fulcrum's proprietary TQ processing with innovative acoustical circuitry to deliver exacting pattern control, high performance and precision transient response, even at very high SPLs.

More: www.fulcrum-acoustic.com

Fulcrum Acoustic has launched its Cardioid Subwoofers, designed with patent-pending Passive Cardioid Technology to overcome excessive rear low frequency radiation.

Fulcrum’s Passive Cardioid Technology (introduced in the FL283 and FLS115 line array products) is the basis for a line of Cardioid Subwoofers that includes that CS118 18-inch and CS121 21-inch models. These are tailored to eliminate excessive rear LF radiation without any of the additional requirements of active cardioid systems, using a single passive cardioid speaker performing as an active cardioid array. By achieving LF directional control without additional amplifiers, drivers or signal processors in less than half the space required for active cardioid array systems, Cardioid Subwoofers allow the use of cardioid arrays in applications that might not otherwise have the budget or space to accommodate them.

This subcardioid behaviour is produced by a acoustical circuit, which balances the position of the low-frequency driver, the enclosure depth and volume, and rear-mounted ports that include a calibrated resistive element. By opting for a subcardioid pattern as opposed to a pure, hyper or super cardioid pattern, the rear rejection increases when the modules are deployed in an array.

‘Passive Cardioid Technology evolved from listening to our customers’ needs and directing our efforts toward satisfying those needs,’ says Fulcrum co-founder and Lead Product Designer, David Gunness. ‘We see this technology as potentially game changing for the pro audio industry, and as something we will continue to develop into new applications going forward.’

More: www.fulcrum-acoustic.com

Fulcrum Acoustic has introduced the FLS115 Subcardioid Subwoofer to complement its FL283 Subcardioid Line Array.

Aimed at sue in venues, including performing arts centres, houses of worship, sporting facilities and nightclubs, the FLS115 design calls on Fulcrum’s Passive Cardioid Technology to reduce excessive rear low-frequency radiation without the need for additional drivers, amplifiers or signal processing. Fulcrum’s proprietary TQ processing, delivers exacting pattern control, as well as unparalleled performance and precise transient response, even at very high SPLs.

Like the FL283, the FLS115 enclosure and rigging are designed to accommodate up to 20° of splay between adjacent cabinets, providing for more sharply curved arrays than comparable line array systems.

More: www.fulcrum-acoustic.com

Oklahoma City’s premier large event venue, the Chesapeake Energy Arena is also home to the NBA’s Oklahoma City Thunder. Modernising its sound system for the Thunder’s 2016-17 season, it now has the first large-scale use of Fulcrum’s CS121 subwoofers and the NBA’s first permanent installation of EAW’s Anya adaptive-array system.

Designed by Marsh/PMK’s Jerrold Stevens and installed by Ford A/V, the advanced technology audio solution gives the Oklahoma City Thunder a sound to match their name. ‘The sound system needed excellent intelligibility, fidelity, output and bandwidth to enhance the overall fan experience and become more competitive with other NBA arenas,‘ Stevens explains.

Claiming the largest vinyl selection in the US North East, Record Archive is a music and entertainment destination that also sells CDs and DVDs, gifts and vintage clothing and decor. To support sales and promote new revenue, the venue hosts live music and events in its eclectic Backroom Lounge, which features a Tyrannosaurus Rex skeleton, Velvet Elvis (Velvis) paintings, mid-century modern furniture, a beer and wine bar, and high-performance loudspeakers from Fulcrum Acoustic.

Record Archive opened in Rochester, New York, in 1975. Today, its Backroom Lounge event space requires high-fidelity sound for a variety of acoustic and moderately amplified bands. A recent sound upgrade required compact, efficient loudspeakers to keep the stage area clean and give performers good onstage sound.

‘A major concern in our Backroom Lounge expansion was upgrading its PA which was made up of speakers accumulated over time and stacked on the stage,’ explains Record Archive president Richard Storms. ‘Fulcrum loudspeakers provided the quantum leap in sound quality we required for attracting top regional and national acts, as well as new store customers.’

The simple yet effective system comprises two Fulcrum CX1295 12-inch coaxial loudspeakers, giving consistent on- and off-axis to evenly cover the room’s seating area. On stage, three Fulcrum FX896 coaxial vocal monitors serve the performers; helping minimises monitor mixing duties. A Sub118 direct-radiating subwoofer just off stage provides low frequency punch for live, in-store performances.

Two channels from an Ashly nXp8002 amplifier drive the main CX 1295 loudspeakers, with four channels from Ashly's nXp8004 for the Fulcrum wedges and theFulcrum Sub118 sub.

‘We’ve heard nothing but rave reviews on our new sound system,’ reports Record Archive VP, Alayna Alderman. ‘The Backroom Lounge has been a huge success and Fulcrum’s speakers have helped make it the best sounding room in town.’

Fulcrum Acoustic has announced a partnership with audio rigging hardware innovator Polar Focus over FL283 Kestrel rigging.

‘Our FL283 line array module is fully horn loaded for precise pattern control, so it is important that its rigging also provides aiming flexibility and utility,’ says Fulcrum co-founder, David Gunness. ‘Polar Focus’ Kestrel fly bar features infinitely adjustable tilt control while under full load, without requiring re-rigging the array or using chain hoists. When attached to supporting XY Grid hardware, the pan angle of the Kestrel frame can also be adjusted in seconds without any re-rigging.’

‘The Kestrel frame was designed to provide enhanced functionality and ease of installation for Fulcrum’s FL283 Subcardioid Line Array Module and its companion FLS115 Subcardioid Subwoofer,’ adds Polar Focus owner, Mike Akrep. ‘The frame accommodates up to 12 FL283 modules in an array. Polar Focus is pleased to offer innovation and utility to help support Fulcrum Acoustic customers.’

Under the new partnership, Fulcrum Acoustic will package Polar Focus Kestrel fly bars with its FL283/FLS115 Line Array systems, and Polar Focus will provide accessory hardware for connecting Fulcrum line array speakers to supporting structures.

More: www.fulcrum-acoustic.com

Funktion-One has extended its line of bass reflex speakers with the release of the BR132, a bass reflex design based around a 32-inch driver.

With development pushed forward by a requirement at Output in New York, the BR132 uses Powersoft’s high-power M-Force linear transducer and M-Drive amplifier along with Funktion-One’s own cone, surround and enclosure technology to deliver a 25Hz-65Hz performance. It is around 40 per cent smaller than the company’s horn-loaded F132 (released in 2016).

‘Output was purpose built around the sound system,’ says Output owner, Nicolas Matar. ‘My goal was to have the best club system in the world, taking the listening experience to a new level. We set out to give the music the system it deserves and bass reinforcement is of course a major part of that. Having a lot of bass is one thing, but achieving the low frequency clarity and resolution that we have in Output has really been a huge achievement.

‘When we opened Output four-and-a-half years ago, I asked Funktion-One to do something unique and special for the club. The result was a massive bass horn extension that was originally developed for a client in South Korea who was transmitting messages across the DMZ to the North. It sounded truly spectacular but had a huge footprint. We were forced to build our DJ booth around this massive piece and that resulted in our DJ booth being too high and disconnected from the audience.

‘We felt that we made a worthy sacrifice in order to have superior sound but over time, more and more DJs started to complain that they felt disconnect from their audience. We communicated this to Funktion-One and they developed this new product with a smaller footprint.’

While Output is a fixed installation environment, the BR132 is also suited to mid-size live and touring applications. Unlike the horn-loaded alternative, the direct radiator design of the BR132 means that the cone is visible. It is effective in small numbers, as is the case at Output, where two BR132s make a strong impact.

‘The reviews from our patrons, artists, management and friends have been tremendous,’ Matar  reports. ‘Many people have found the added low frequency resolution to be un-matched by anything else they’ve ever experienced. With the addition of the BR132s, we re-configured the system to a true five-way design with the BRs handling the 18Hz-40Hz frequency band. That range is very hard to produce with other speakers. But now with the BR addition, Output is a truly full bodied audio experience where you can really feel the music as well as hear it.’

The BR132 is available now through Funktion-One global network of dealers and distributors.

More: www.funktion-one.com

UK loudspeaker manufacturer Funktion-One has added the Evo 7TH and the Evo 7TL-215 to its Evolution Touring Series, bringing supplementary mid/high and mid/bass enclosures to the line.

Evolution 7TL-215 features two Evo 7T horn-loaded 15-inch drivers. It provides mid-bass reinforcement for flown and ground-stacked Evo configurations. Evolution 7TH is the mid-high section of the Evo 7T. It features 10-inch mid-range and a 1.4-inch compression driver for high frequencies. The Evo7TH is significantly smaller than the Evo 7T, making it extremely flexible and adaptable to a number of configurations. When used with Evo 7T, the Evo7 TH is inverted, meaning the high frequencies and mids mirror perfectly, maintaining coherency which enables mutual reinforcement for increased reach and audience capacity.

Having developed a user-friendly flying system for the series last year, these additions to the series also come with integrated flying gear, enabling rapid configuration with all the components in the Evo 7T flying clusters.

The increase in scalability that comes with the addition of the Evo 7TH and 7TL-215 mean that Evo configurations can comfortably deliver precise and even coverage to audiences of up to 10,000.

‘The Evo Series was born out of the discoveries we made while developing Vero, so the methodology is the same: there needs to be a genuine way of getting more power and more throw to the top – whether it’s a cluster or an array,’ says Funktion-One founder, Tony Andrews. ‘The Evo 7TH gives us exactly that but to maintain balance with the extended mid-highs, we needed to reinforce the mid-bass frequencies, so we developed the 7TL-215.

‘We’re happy with how the Evo 7T has performed in a wide variety of tour, live and festival applications. These supplementary additions to the series open up what’s possible, in terms of configurations and audience sizes.’

More: www.funktion-one.com

Southampton’s Switch is a 1,200-capacity nightclub that has grown from a musical nucleus into a state-of-the-art, after-dark venue. The UK club is also is home to a Funktion-One loudspeaker system from Audio Feed, which has been projection mapped for added visual appeal.

Switch is the brainchild of Gary Bennetton, Richard Gilbert, Ryan Keary and Peter Toland, who are connected by a shared passion for good music: ‘We had seen the music scene in Southampton evolving over a number of years and had been trying to cater for a more production and music-led audience by hosting a number of warehouse parties in the city,’ Bennetton explains.

‘The demand for this grew and grew to a point that we knew we needed to take it to the next level. We opened our own venue so we could then create an immersive dance music space. Having our own venue and permanent installations was the only way we could take things to the next level.’

Getting the right sound system was a key requisite from the very beginning, so they contacted Oz Jefferies at Audio Feed about designing a Funktion-One sound system: ‘The building we have is an extremely old building with high ceilings and an auditorium feel about it,’ says Gilbert. ‘We knew that filling the space was going to be no small task and wanted to make sure the acoustics worked in the room. Whilst immersing the dancefloor with audio we also wanted to make an impact not to be forgotten. Funktion-One was the best option.’

Jefferies and his team installed flown arrangements of two Funktion-One Evo 6EH speakers together with two F215 Mk2 bass speakers on both sides of the stage area. The Evo 6EH is the mid-high section of an Evo 6 enclosed in a neat birch ply cabinet, offering high output and controlled directivity. Eight Funktion-One F121 bass enclosures are ground-stacked on one side and eight F101 compact loudspeakers have been deployed for infill reinforcement in the peripheral areas.

Audio Feed and Funktion-One proved to be a winning combination: ‘Oz at Audio Feed is truly part of the Switch family,’ says Bennetton. ‘They’re one of the key partners we work alongside to ensure that excellence is achieved. Whether it’s securing the latest kit, redesigning the speaker set up, or providing equipment for a last minute DJ tech rider, there’s no job too big or small. We can always rely on Audio Feed.’

Gilbert adds: ‘The Funktion-One sound system not only sounds incredible but adds the subtle visual impact through its great design. Since flying the mid and tops this September, the sound throughout the whole, large Switch dancefloor stepped up yet another level. It’s something that we are continually complimented on.’

Something else that has helped the sound system reach new levels is the recent implementation of XTA APA amplifiers.

‘This Saturday saw the installation of the new XTA APA amplifiers in the club,’ Gilbert  says. ‘It was amazing. When customers with no experience in the industry notice the difference without being prompted, you know that the impact has been serious. The new amps offer improvements to the volume, clarity and definition – we’re over the moon with the results. You can really feel the music on the dancefloor.’

The owners decided to bring in an extra visual element that works with the iconic look of the Funktion-One set-up: ‘Projection mapping is something we have always been interested in and hoped to have as an integral part of the production set-up,’ Bennetton  explains. ‘Once we saw it being used to specifically map the Funktion-One sound system, we all agreed that we had to have it. It’s a great way to bring people’s attention to the install and add visual creativity to our set -up.’

Since opening, Switch has welcomed an line-up of guests including Fat Boy Slim, Jamie Jones, Snoop Dog and Eats Everything. Jefferies believes the venue will go from strength to strength: ‘Switch’s owners aren’t just interested in running a nightclub, they care passionately about the important elements that make a night out at Switch an unforgettable experience. I’m very proud of the work we’ve done with them and of how well the sound system is performing.’

Switch is set for a big year, with the bookings for 2017 including DJs Sven Vath, Kolsch, Joris Voorn, Jamie Jones, as well as brands like Space and Elrow.

Supporting the release of his second studio album, Eternamente Ora(Forever Now), – which includes the hit single, ‘Amen’– Italian electropop singer, songwriter and multi-instrumentalist Francesco Gabbani has embarked on a series of live dates across the country. Accompanying him is renowned FOH engineer, Fabrizio Fruzzetti and Allen & Heath’s ultra-compact Qu-Pac digital mixer.

Fruzzetti serves as sound engineer for many top artists and festivals in Italy, including the Primavera Jazz Festival, Stadio, Dolcenera and Nina Zilli, Grignani, as well as working on a number of TV commercials.

‘Qu-Pac is a great mixer offering dynamic management control options, which can be accessed via the iPad app or the mixer’s touchscreen,’ he says. ‘This enables very fast operation, and the possibility to include several operators or places, such as monitor or FOH position. The app is very comprehensive and intuitive, allowing you to keep everything under control simultaneously. Also, each control is customisable, so it fits perfectly into any technical set-up.’

The band set-up for Gabbani comprises drums, keyboard with Pro Tools, vocoder, and Francesco’s vocals, synth vocoder, acoustic and electric guitars. Fruzzetti uses stereo delay FX on vocals and synth vocoder and Hall on vocals and acoustic guitar.

More: www.allen-heath.com

Recognised as one of Germany’s finest live jazz venues, the Theaterstübchen Kassel began a programme of renovation beginning in 2012, that has now seen a new public address system installed. The venue’s operator, Markus Knierim, followed the recommendation of sound engineer Rolf Dressler and chose a pro-ribbon system from Alcons Audio.

Auditiv installed two Alcons pro-ribbon LR7 micro line-array in the 120-seat (300 without seating) large Theaterstübchen (Little Theatre Room), supplemented by one Alcons BF151 as bass support. The system is driven and managed by an Alcons ALC2 (2 x 1kW) controller. Dressler  reports that, although small, the system ‘is absolutely sufficient for 95 per cent of the events in the room’.

The LR7 is a passive two-way loudspeaker system, equipped with a 4-inch pro-ribbon transducer. Although very small and only 8kg/17.6lb in weight, the system offers intelligibility and outstanding impulse response, making it a good match for jazz sound reinforcement.

As a freelance sound technician since 1986, Dressler has long favoured Alcons systems: ‘I’ve known Alcons since the first hour, and to this day there is nothing better for me in the mid and high frequency range. Anyone who is looking for a system that reinforces one-to-one what comes in, inevitably lands at Alcons.

‘There is nothing you cannot do with it,’ he adds. ‘The really amazing thing about the LR7 is that it offers – despite the small size – plenty of headroom.’

Dressler also often uses the larger Alcons QR24 or QR36 line-source columns at other events. ‘The system in the Theaterstübchen runs well over 200 days each year. In addition to the full live programme, there is a disco every Friday and Saturday. In the three years that we are working with the LR7, there have been no failures or any other problems.’

‘Bass legend Ron Carter had so much joy in the sonic experience that, according to his manager, he played a much longer set than planned,’ Dressler says. ‘Also the artists’ sound technicians ask me howwe produce this incredible sound – that’s the pro-ribbon of Alcons Audio.’

The theatre is about to start hosting pop/rock concerts, and has already welcomed Molly Hatchet and Berlin band MIA. When required, the existing Alcons system is supplemented by Auditiv, with a double 18-inch subwoofer per side as well as two Alcons RR12 pro-ribbon point-source array per side. An Alcons Sentinel S10 (4 x 2.5kW) provides the drive and control of the extended system.

In 2015, the Theaterstübchen received the Kassel Kulturpreis (Culture Award) for its JazzFrühling series of events, which attracts enthusiastic jazz fans from all over the country.

With approximately 2,650 students – more than 1,400 of whom are enrolled in music and theatre courses – Connecticut’s Greenwich High School had outgrown an old auditorium with poor acoustics, poor sightlines, and other shortcomings that dates back to 1970.

In response, a massive expansion project has given the school a new Performing Arts Center featuring a 1,325-seat, 35,000-ft auditorium with a proper stage, orchestra pit, and other facilities-including an extensive Renkus-Heinz VARIAi loudspeaker system.

The Harbinger VâRi 2200 Series two-way powered loudspeakers are aimed at a wide variety of applications and venues. Lightweight and equipped with a pole mount, the VâRi series includes two full-range speakers and a subwoofer.

The full-range V2212 features a 12-inch low-frequency driver and for spoken word, vocals, acoustic instruments. The V2215 full-range system uses a 15-inch woofer for DJs and live bands.

Each full-range speaker is driven by 600W of class-D amplification. An optical limiter offers fast response to potentially damaging transient peaks. Balanced top and side handles make transportation easy, and a rugged steel grille protects the drivers from the risks of the road. The V2212/15 also have a defeatable, front-mounted, LED clip indicator.

A built-in three-channel mixer and two-band EQ, address various applications. Mixer Channel 1 offers a switchable mic/line input with XLR and quarter-inch jacks, while Channel 2 sports quarter-inch and RCA line inputs and Channel 3 has a 3.5mm aux input for mobile audio devices. The VâRi V2212 and V2215 also feature a balanced XLR line out, so you can hook up multiple speakers for conferences, and larger or odd-shaped venues.

The VâRi V2218S subwoofer extends the system frequency response for acoustic and vocal performances. Featuring an 18-inch low-frequency driver powered by 1.5kW of class-D amplification, the V2218S includes an integrated crossover with selectable 90Hz/120Hz frequency control, input level control and 0°/180° input-polarity switch for optimisiing phase relationships in multiple-speaker set-ups. The subwoofer sports two combo inputs and selectable full-range link or high-pass XLR outputs.

As with the full-range speakers, the VâRi V2218S is protected by an optical limiter. There is also a defeatable, front-mounted, LED clip indicator-a feature not normally found in this price class. Heavy-duty casters, balanced side handles, a rugged steel grille, and a sturdy pole mount complete the package.

Harbinger VâRi Series loudspeakers are shipping now. The V2212 carries a street price of US$229.99, the V2215 is priced at US249.99 and the V2218S at US$499.99.

More: www.harbingerproaudio.com

Harbinger Pro Audio has introduced the Vari 4000 series two-way loudspeakers for DJs, musicians and event hosts.

The Vari 4000 series combines 2.5kW (peak) class-D amplification with proprietary XR speaker technology in a plastic-cabinet loudspeaker. The Vari 4112 uses a XR 12-inch low-frequency driver to deliver up to 129dB SPL, while the Vari 4115 employs an XR 15-inch LF driver for up to 130dB SPL. Both models feature the company’s XR high-fidelity compression tweeter and offer an overall frequency response of from 35Hz to 22kHz.

A DSP crossover and full-bandwidth frequency management-including a seven-band EQ, knob-controlled treble and bass EQ, and a low-cut filter-ensure extremely accurate control of performance. A built-in frequency response display on the loudspeaker’s colour graphic LCD shows the frequency response curves that result from the current settings, and an iOS app allows tuning of a system from anywhere in a venue, using a Bluetooth wireless connection.

Ten preset voicings (which can be edited in the iOS app) configure the DSP for common applications, including Standard use, Club, Live Band, Vocal Boost and Floor Monitor/Wall settings. Five custom presets can also be stored. A dynamic DSP limiter provides system protection at maximum volume. In addition to controlling these DSP features, the iOS app accesses several other parameters, including which speaker outputs left and right in a stereo pair.

The variety of inputs make use of a mixer in some applications redundant. Both the Vari 4112 and the Vari 4115 have three independent input channels and five simultaneous audio inputs. Channels 1/2 have two mic/guitar/line combo inputs, while Channel 3 features left and right quarter-inch line inputs, a stereo 3.5mm aux input, and wireless Bluetooth audio input.

One or more pairs of Vari 4112s or Vari 4115s can be used as a stereo sound system, and additionally as a wide stereo amplification system for keyboards and through Harbinger’s Smart Stereo routing, which allows volume and tone control for two or more loudspeakers from the master unit or from the iOS app. It also supports integration of Vari 2318S 18-inch subwoofers with unified tuning and volume control from the master loudspeaker.

Vari 4000 series loudspeakers can be used in a free-standing system, as floor monitors, pole mounted, or flown using threaded fly points.

More: https://harbingerproaudio.com/vari-series

HD Pro Audio has appointed UK Main Dealer for the 10EaZy sound level measurement system from SGAudio Aps.

‘We see great potential in the touring and installed live sound market for 10EaZy, as an essential tool for both engineers and venues to keep them on the right side of noise regulations,’ says HD Pro Audio Sales Director, Andy Huffer of the system – which is intended for the live sound and entertainment industries. ‘Noise complaints have been identified by many as one of the primary threats to music and performance venues of all shapes and sizes, so to invest in an easy-to-manage way of monitoring SPL and liaise with the local authorities can only be a positive move.

‘10EaZy is already in use at some major UK venues such as the Royal Albert Hall and Union Chapel, and on tour with engineers such as Mick Hughes and Jon Burton,’ he adds. ‘We welcome enquiries from potential clients who need to know more about the simple user interface and capability for logging and remote analysis or those wanting to try the system out.’

‘Noise regulations often get a lot of bad press, as do concerts with poor audio performance due to excessive sound levels,’ says SGAudio Aps CEO, Jacob Navne-van Vliet. ‘Both challenges can be countered with proper and unambiguous monitoring. 10EaZy aims at providing this to secure a high quality experience for everyone involved in a sound reinforced performance.

‘We are always looking for dedicated dealers who understand the benefits that come with using 10EaZy at any kind of live event. HD Pro Audio is exactly that. The team has the knowledge and enthusiasm for great audio that we are looking. With HD Pro Audio’s position in the UK market, we are sure the company will be a key asset in the continued growth of 10EaZy in the UK.’

With a major two-phase transformation that began in 2009, Antwerp’s Queen Elisabeth Hall & Congress Centre is building a multifunctional concert venue incorporating a spacious congress facility. The project brings with it the requirement for an expertly engineered sound system – a task entrusted to Face.

The equipment that has been chosen for the job by the Belgian distributor comes from Renkus-Heinz, Powersoft and Martin Audio.