Perth-based AAA Productions has served Australian live sound with high-end professional services for more than 25 years – a tenure that has seen its equipment portfolio grow in step with its expertise. Currently being the only certified L-Acoustics product supplier in Western Australia, the most recent addition to the AAA stock is a substantial L-Acoustics K2 loudspeaker system.

Supplied by integrated technology solutions company and L-Acoustics distributor Hills SVL, the system comprises 40 K2 enclosures, 24 SB28 high-powered subwoofers and six LA-Raks, ready to service AAA’s festival and tour duties.

‘We took delivery of our first L-Acoustics Kudo system back in 2005,’ says Neil Campbell from AAA. ‘We’ve been extremely happy with the L-Acoustics product since we first started using it, and wanted to continue our association with the manufacturer. We also had an existing V-DOSC system, which had served us well for many years, but we felt that it was important for us to be able to offer the very latest cabinets. When we were ready to look at a new system, K2 was the obvious choice because it’s highly flexible.’

Since the company took delivery late last year, the K2 has been at work on high-profile productions including tours and one-off gigs by Michael McIntyre, Ronan Keating, John Butler Trio, Arcadia Spider, Garbage, Ben Harper, Missy Higgins and Rodriguez. Campbell is not only pleased with the performance of the system, but also the smooth way in which the purchase went through.

‘Gerry Gavros at Hills assisted in expediting the sea shipment to meet our deadline for the summer festival season,’ he says. ‘In fact, the system arrived a week ahead of schedule, which allowed us more time to get familiar with it before hitting the road. And our audio guys are delighted; they love new toys and these are the best new toys we’ve had for a long time. Our clients are also impressed by the sonic improvements in the K2, especially in the high end, where it has a marked improvement in clarity and fidelity.’

Opened in 1891, the Academy of Music Theatre in Northampton, Massachusetts, quickly attracted leading troupes and big-name performers from Mae West to Harry Houdini. America’s first municipally-owned theatre, the advent of film in the 1930s marked a silent films, followed by talkies, in addition to live entertainment.

Having taken in a wide variety of programming – from rock concerts and theatrical productions, to films, literary arts, dance and youth programmes –a suitable sound system has been essential. The Academy recently turned to veteran touring sound engineer Jason Raboin to design and install a new one…

The project presented a number of challenges. The speakers needed to provide consistent coverage throughout the entire theatre without interfering with sightlines to the stage or distracting from the architecture of the 125-year-old opera house. Additionally, limited rigging options demanded compact, lightweight loudspeakers as part of a visually unobtrusive sound system.

The system Raboin designed centres four Fulcrum Acoustic CX1595 15-inch Coaxial Loudspeakers powered by Ashly nXp amplifiers. The speakers provide the requisite output capability and optimal 90° x 45° dispersion, while their weight and design ensures minimal effect on sight lines and aesthetics. Two portable Fulcrum Acoustic Sub215 Dual 15 inch Direct-Radiating Subwoofers provide concert-level low frequency for the theatre, while also minimising visual impact.

As a touring sound engineer for artists including Joan Baez, Modest Mouse and Lake Street Dive, Raboin has worked on a variety of audio systems in the field: ‘I have not heard anything that sounds better than Fulcrum Acoustic speakers, he says. ‘When you combine their fidelity, low weight and compact size, they really were the only choice for this installation. It was hard to believe that such a compact system would be able to cover the venue at the desired SPL, but the system exceeded our expectations and the theatre’s design goals.’

Fittingly, the new sound system had its debut performance with Northampton’s annual Django in June Festival, which features the ‘gypsy jazz’ popularised by Django Reinhardt in the 1930s and 40s when the Academy also was in full swing. ‘Django in June was so happy to offer the inaugural performance of the new sound system,’ festival founder Andrew Lawrence says. ‘I enjoyed the performances immensely and thought the sound was impeccable.’

More: www.fulcrum-acoustic.com

Community Professional Loudspeakers has named New Delhi-based Acoustic Arts Pvt Ltd as its distributor for India.

Established in 1999 by Siddharth ‘Sunny’ Chhibber, Acoustic Arts is focused on the distribution of A/V products from leading brands, including Biamp, Powersoft, Audix, Televic, Beyerdynamic, AMX and Christie. The entire Community product range now joins this portfolio.

‘Prior to distributing the brand, we had used Community products when they conclusively offered the best solution for applications,’ says company MD, Siddharth Chhibber. ‘Community is, of course, a market leader in large scale all-weather loudspeakers, but also excels in architectural loudspeakers for difficult acoustic environments, for which we see a great need in India. With outstanding audio quality, proven reliability and a comprehensive product range, Community significantly enhances the solutions we can provide and is a welcome addition to our portfolio.’

‘With its focus on providing nationwide distribution, together with market-leading sales and technical support for installers and systems integrators, we are confident Acoustic Arts will be a valuable partner,’ says Community APAC Sales Manager, Kim Muurholm Juergensen. ‘Acoustic Arts and Community have already enjoyed good growth in 2016 and with this new partnership we aim to take it to a higher level, working together for the benefit of our customers. India is an important market for us, and with Acoustic Arts’ value added approach we feel strongly we are on the right track. I am really looking forward to working with Sunny and his team, to serve existing customers well and to introduce Community’s quality loudspeakers to many new ones.’

Giving its most recent venue acquisition a completely new sound installation, the Academy Music Group (AMG) again enlisted Adlib – this time for the O2 Forum Kentish Town.

The brief for the 2,300-capacity venue – one of the most popular live music destinations in London – was to future-proof the technical infrastructure, and give productions the flexibility and facilities they need to stage world-class performances with the convenience of using the house system. 

Having purchased its first L-Acoustics system in 2002, Belgium-based A/V solutions provider AED group has now taken delivery of its first K1 system – expanding one of the world’s largest stocks of L-Acoustics sound reinforcement systems.

AED owns more than 1,500 L-Acoustics K-series line arrays (Kiva, Kiva II, Kara, K2 and K1), along with more than 1,000 L-Acoustics subwoofers (KS28 and SB28) along with over 1,000 wedges. The company dry hires its inventory to others, making it a key supporting partner and supplier across Europe’s rental industry. This latest purchase of 96 K1 cabinets both strengthens the K1 network and helps to meet the continuing demand for this large-scale line source array, which has become the industry standard.

‘When we purchased our first L-Acoustics products, V-Dosc was the reference in concert touring,’ says sound engineer and Account Manager Piet Verstraete. ‘To us, it was clear that this was a highly innovative manufacturer and we knew investing in its product range was a strategic and long-reaching decision.

‘Our faith has been justified and over the years, L-Acoustics has set many benchmarks including the use of its Soundvision simulation software, locked-out loudspeaker presets, dedicated amplifiers, trained engineers and more. Today, 15 years after our first experience with the company, we are still fully satisfied with the close partnership that we’ve established together.’

‘AED has been a key partner since V-Dosc,’ agrees L-Acoustics Director of Business Development, Jochen Frohn. ‘We could not be more pleased that they’ve chosen to continue to be one of the most important suppliers of L-Acoustics to European productions.’

AED’s K1 purchase will allow it to offer the full range of L-Acoustics systems to its clients, and to give extra support especially to the Benelux market, which often sees peak demand for high-profile EDM festivals and events. ‘The extra K1 in the market will help to serve these high-profile events, for which the L-Acoustics partner network works together to supply,’ Verstraete says. ‘A further benefit is that K1 will now become more easily accessible to a wider range of productions, but still with the L-Acoustics K-system guidelins.’

Since AED told its customers of their new investment, interest in K1 has been high: ‘Because of the nature of our business, we’re not always aware of what shows our customers are doing with our products,’ Verstraete concludes. ‘But we can already say with certainty that you will see our new brown boxes on major EDM shows this summer.’

Alcons Audio has announced a wide-dispersion version of the LR28 Larger Format Line Array. The 110º horizontal dispersion LR28/110 is designed as an extension of the existing three-way, 80º dispersion LR28/80.

Featuring the same faceprint down fill and components (two 14-inch woofers, four 6.5-inch midrange and a RBN1402rsr pro-ribbon driver) on a 110º waveguide, the LR28/110 is powered and controlled by four channels of the Sentinel10 amplified loudspeaker controller. Like the LR28/80, it has a rigging system that enables angle setting on the cabinets without lifting the array, resulting in safer and faster set-up with minimal handling.

More: www.alconsaudio.com

The 2016 Rock im Bergbad open-air festival saw four high-profile acts perform in front of the panorama of Harrl and the Weser mountains of Bückeburg in Lower Saxony. For its sound set-up, technical service provider Auditiv deployed an Alcons LR18 pro-ribbon line array.

Featuring latter-day Genesis frontman Ray Wilson, The Lords, the glamrock icons Sweety Glitter & The Sweethearts, and local hardrock hero Jabba’s Cortex, the 35m x 55m audience area was served by nine Alcons LR18s per side and RR12s as near-fills. The bass was handled by six Alcons cardioid BC543 boxes, with even Sentinel S10s for power and control the system.

The compact LR18 three-way line source system combines very high SPL and long throw, using Alcons’ pro-ribbon driver technology for mid/high frequencies – giving an ultra-fast impulse response with up to 90 per cent less distortion. The LR18 offers linear reproduction with high speech intelligibility with consistent sound balance at any sound level.

Timo Osterberg was on-site as sound engineer, and supervised FOH for Jabba’s Cortex and Sweety Glitter.

‘Headroom, headroom, headroom – that’s what you immediately notice,’ he says. ‘The stereo image was fantastic; stereo effects are extremely precise to locate. The low-mids of the LR18 are so convincing that I do not know when and if I’ve ever heard such a detail. The bass was very clean and tight. Even in very low frequencies, I could not detect any conspicuous resonances.’

In addition to the direct sound characteristics, Osterberg also impressed with the system’s throw and ratio of size to sound of the array. ‘Interestingly, despite increasing distance to the system (>40m), there is hardly any sound loss,’ he says. ‘Sure, it gets a little quieter, but the sound is still there. Pressure and resolution are not a problem with the LR18 at all. Where many systems only carry pressure, but not a nice sound, the LR18 remains extremely honest and faithful even at high levels.’

Respecting the prescribed volume limitation to 100dB was not a problem, SPL averaging 98dB.

‘We have seen many concerts, including world stars in large halls or stadiums,’ says Mathias G Walter, associate of organiser Nordharrd-Concerts. ‘Not infrequently, the sound quality was painful in the truest sense of the word – shrieking highs and completely overdriven bass. We are enthusiastic about the ultra-clean and smooth sound quality that we were able to experience at concert Rock im Bergbad. The entire concert was a listening pleasure. We are already looking forward to our next event – preferably with the same technology and the same team.’

Alcons has launched the LR28/110 Wide Dispersion Larger Format Line Array – a three-way, line-source sound system for use as vertical array with extended horizontal coverage the largest applications.

The LR28/110 is element of the Alcons application-configurable touring package, including the LR28 line-arrays, LB28 bass array extension, BC543 cardioid subwoofer system, Sentinel amplified loudspeaker controller, ARC 3D-simulation tool and power/signal- distribution and transport logistics.

The mid/high heart of the LR28 is the RBN1402rsr, a 14-inch tall, single-diaphragm pro-ribbon transducer with 14-inch voice-coil. The RBN1402rsr and mid section (featuring four high-efficiency 6.5-inch midrange transducers) are jointly mounted on an aluminium cassette for heat-dissipation/reduced power-compression and prolonged system output. The LF section comprises two reflex-loaded, custom 14-inch drivers with reinforced cone and large voice-coil Neodymium motor structure for improved heat dissipation and reduced power compression.

‘A long-term ambition was to see how far we could take our pro-ribbon transducer technology, in terms of sheer power output,’ says Alcons co-founder and R&D head Philip de Haan. ‘We could have made a three-block of LR18 compact mid-size line array units as an under-fill for the LR28, but we wanted to have a dedicated system to maintain the identical performance and array-coupling down to the lowest cabinet. We also knew that a wider dispersion version of the LR28 would prove to be an ideal solution in out fill or delay situations where the audience area is spread more widely and less throw is necessary. The 110º horizontal dispersion of the LR28/110 is maintained up to the highest frequencies, and it can be deployed in dedicated 110º arrays, in combination with the LR28/80, with the LB28 line array bass extension or with both in larger arrays.’

Like the LR28/80, the LR28/110 is powered and controlled by four channels of the Sentinel10 amplified loudspeaker controller. Through the integrated processing and feedback, the ALC offers LR28-specific drive processing with array compensation, filter-presets, system EQ, phase-matching and other facilities. The Signal Integrity Sensing pre-wiring of the LF and MF sections ensures dynamic cable/connector compensation between the LR28 and Sentinel, resulting in a fast, tight mid/bass response and further reducing distortion.

The patent-pending rigging system enables angle setting on the cabinets without lifting the array, resulting in safer and faster set-up with minimal handling. The flying system facilitates two different ways of array assembling - caterpillar and pre-rig-style – with compressed and non-compressed suspension. It has a WLL of 24 cabinets under 10:1 safety.

‘Up to 90 per cent lower distortion and a flat frequency response beyond 20kHz at the highest concert sound pressure levels became a reality with the LR28,’ de Haan concludes. ‘The LR28/110 module extends this capability, delivering enhanced coverage and even better audience experience.’

More: www.alconsaudio.com

Targetting audio rental companies who service festivals throughout the summer season, the first Alcons Audio’s LR28 larger format pro-ribbon line array was placed with Trondheim Lyd AS for extended evaluation. After two summers of use, the results are in…

‘In 2015, one of our customers wanted to start using a new outside amphitheatre,’ says Trondheim Lyd CEO, Hege Strand-Nustad. ‘We also needed a system that had a longer throw than the others available, so our technicians went out and listened to several products. When they heard the Alcons LR28, they came back and said, “we can stop looking…”.’

With fully-predictable linear response behaviour, high intelligibility and consistent tonal balance at any volume, the Alcons pro-ribbon technology in the LR28 delivers a super-fast impulse response, with up to 90 per cent less distortion, and a flat frequency response beyond 20kHz. A true HF peak power handling of 3kW and RMS-to-peak ratio of 1:15 means it excels in intelligibility and throw, with maximum dynamic headroom reserve.

The mid-frequency features four high-efficiency 6.5-inch transducers in a slot-loaded configuration, with the low frequency section comprising reflex-loaded, custom 14-inch woofers with reinforced cones and large voice-coils. Both feature a Neodymium motor for improved heat dissipation, reducing power compression.

‘We did A/B tests with several brands and set-ups,’ adds the company’s Arnstein Fossvik. ‘The Alcons LR28 was consistently superior in both sound quality and throw. The chosen system also had to be very reliable, rugged and withstand the Norwegian climate, as well as being easy to predict, rig and optimise. As the LR28 was a brand-new system, there was a lot of discussion at Trondheim Lyd but in-depth research and discussions with Alcons reassured everyone at the company that it was the right solution.’

As well as the qualities of the LR28 loudspeakers, the power and control by Alcons Sentinel10 amplified loudspeaker controller provides LR28-specific drive processing with array-compensation, filter-presets, system EQ, phase-matching and other features. The Signal Integrity Sensing pre-wiring of the LF and MF sections ensures dynamic cable/connector compensation between the LR28 and Sentinel, resulting in fast and tight mid and bass response, while reducing distortion even further. The system damping factor of 10,000 is maintained, regardless of cable length, gauge or system impedance.

The system arrived at Trondheim Lyd in June 2015 and was immediately put to work on a number of shows which included performances by Roxette, Mike and the Mechanics, The Waterboys, Susanne Vega and the Dum Dum Boys. ‘After the first show, our engineers said it was like sitting in a studio with very good studio monitors… except there is a 10,000-strong audience with you and it is significantly louder,’ Strand-Nustad reports. ‘We were genuinely proud of being the first rental company in the world to own a system that clearly set a new standard for PAs.’

Since then, Trondheim Lyd’s LR28 has been used on an array of major Norwegian festivals and indoor shows. These have included the Pstereo, Olavsfestdagene, Tahiti and Sverresborg festivals and gigs by Status Quo, 10CC, Stratovarius, Susanne Sundfør, indie rockers Bob Hund, DJ Tiesto and heavy metal band Sabaton.

‘Investing in the LR28 was a very good decision,’ says Fossvik. ‘After 18 months of using it, we’ve only had positive feedback from sound engineers, artist management and audiences. As the system is very directional, we have also received a very good response from neighbours living close to festivals and arenas. Engineers have been particularly curious about the technology behind it. Espen Husby, a high profile Norwegian sound engineer, has said that he can hear and do things with the LR28 that he can’t do with conventional systems.’

‘Trondheim Concerts, the biggest concert promoter in the middle of Norway, is a big fan of the LR28. It means they don’t need delay towers, which impact on the view for the audience. At their most used outdoor venue, the Sverresborg Arena, it means several thousand people have a better view of the stage, instead of having to stand behind delay towers,’ adds Trondheim Lyd Project Manager and sound engineer, Espen Hammer.

Fossvik continues: ‘As a PA system designer, it is always fun to try something new and I’m thankful to work at a company that trusts us workers and is willing to take the chance to be first in the world to try a new, large format system – and to have the chance of working together with the manufacturer for its future development – is a system designer’s dream. Especially when it’s such an extremely good one.’

‘We have highest respect for TrondheimLyd, taking this giant leap to step into a brand new system and new technology,’ says Alcons Audio MD, Tom Back. ‘In a market that seems to be dominated by “rider-friendliness”, only few people let their ears do the talking. It’s our belief those are the true leaders that are advancing the art of sound reinforcement.’

More: www.alconsaudio.com

Solid State Logic Live mixing and Amadeus Audio’s recently-released PMX 12 D loudspeakers are at the centre of the Arts & Creative Technology Center (ACT), in Gwangju, South Korea. Launched with a major festival and exhibition, ACT Center holds a dynamic year-round programme of activities bring leading Asian and international artists together to collaborate, and inspire.

One of the centre’s primary resources is the Arts & Technology Convergence Lab, which is a breeding ground for new work in media arts, interaction design, engineering and digital fabrication. The centre will also research, produce, exhibit and distribute innovative contents and artworks that demonstrate the creative use of emerging technology, cultural diversity and traditions of Asia.

The ACT Center is part of the Asian Culture Center (ACC), one of the major cultural initiatives of the Korean Ministry of Culture, Sports and Tourism. Located on the site of the former provincial government building, ACC hosts several institutions and facilities that include the ACT Center, the Research Institute for Asian Culture, Library & Archive, Center for Children, multiple theatres and exhibition halls.

The Amadeus PMX 12 D speakers installed in the ACT Center feature built-in 24/96 DSP, along with analogue, AES3 and Dante inputs. Their drivers comprise a coaxial 12-inch woofer and a 2-inch tweeter with compression driver bi-amplified using two high-resonance digital amplifiers. The PPM-PWM fixed frequency class-D amplifiers are equipped with a high-efficiency switched mode power supply, delivering 1.5kW (LF)/400W (HF).

‘We were among the first manufacturers of electroacoustical equipment to look into audio transfers over Internet Protocol,’ says Amadeus R&D Director, Michel Deluc. ‘We are committed to minimising latency as well as unnecessary AD/DA conversions that impact signal quality. This started ten years ago, the year we wrapped up development of our first line of bi-amped coaxial systems featuring EtherSound I/O, which was designed for the French Institute for Research & Coordination Acoustic/Music (IRCAM). The technological gains offered by Dante and its widespread adoption led us to consider its implementation in our systems.’

Each speaker channel is under control by a powerful, 64-bit digital processing unit capable of 118dB dynamic range. Each of onboard DSP units includes a module dedicated to managing core system parameters, including system EQ, time alignment between sections, limiting, and transducer thermal protection. This level of control makes the PMX D Series fully protected and able to operate at the full extent of its abilities. Given that digital-to-analogue conversion should happen at the latest possible stage in an electro-acoustical speaker system, the PMX D Series also integrates two digital inputs/outputs conforming to the AES3 digital audio data transfer standard. These are coupled with a 96kHz, 24-bit converters placed as close as possible to the electronic amplifiers, thus working in perfect combination with them.

‘Before meeting the ACT Center President, I had no sound system installation ideas for this venue, Space 1 (called The Ground) – the room is 70m by 30m with 18m ceilings,’ says C2 Artechnolozy CEO, Dongyup Kwak. ‘The President’s wish was to create a platform for artists, designers, engineers, and researchers to develop forward-thinking ideas, aiming for the ACT Center to become a multicultural interface that fosters knowledge and skill exchange between creatives in Asia and the rest of the world.

‘We proposed a state-of-the-art audiovisual immersive canvas containing among other things, an immersive giant screen, a 3D spatial sound environment, and a multi-layer video mapping system capable of showing the biggest installations,’ he continues. For immersive installations and exhibitions, we had to create an intelligent ceiling, equipped with chain motors, including audio, video and network connections. So, I designed a custom steel truss featuring 64 chain hoists and 64 digital cable reels with Cat5E network cable reels using mercury-whetted contacts.

‘For audio, we selected a Sonic Emotion Wave I 3D wave field synthesis rendering unit for processing of up to 32 input and up to 64 output channels.

‘The piece de resistance within this installation was the speaker system design. The requirements were practically unrealisable. The technical, networking and acoustical constraints pushed us to develop a new series of bi-powered and Dante-enabled point source loudspeakers, allowing remote control of each built-in DSP for an optimal adjustment to the acoustical properties of the listening space. The Amadeus PMX D Series speaker was born from creating the sound system for this installation by enhancing our original PMX speaker design with these new technical capabilities,’ states Gaetan BYK, Marketing Manger at Amadeus.’

The sound system is completed by an SSL Live L300 digital mixing console. ‘There are several significant benefits that are key reasons to implement this network-based routing solution,’ says Philippe Guerinet, Director of International Sales/SSL France Manager. ‘Audio-over-IP allows us to put the stageboxes where needed, with minimal cabling, which in this complex exhibition hall set-up is very important. And it easily lets us connect all kinds of Dante-enabled gear: Amadeus PMX D (Dante-enabled) speaker systems, SSL L300 console, SSL Network I/O stage-boxes, and every other ancillary equipment needed. This approach allows us to solve classic constraints – especially channel count, synchronisation, redundancy, latency and signal distribution – without adding any traditional TDM solution.

‘Last but not least, the technical solutions chosen by ACT ensure total flexibility and an astonishing audio quality, while surprisingly reducing overall cost and making expansion straightforward as well as cost-effective.’

The specially developed Amadeus PMX D Series features a refined Dante I/O section, an onboard 96kHz, 24-bit DSP unit dedicated to managing core system parameters including system EQ, time alignment between sections, limiting, transducer thermal protection.

‘This studio-grade speaker system combined with the legendary sonic signature of SSL is a very good marriage, which makes listeners, attendees and artists very impressed,’ Dongyup Kwak concludes.

When Amate Audio introduced its original TriPhonic amplifier30 years ago, it was an industry first. Designed as a one-stop solution for L/R/sub systems,and with onboard signal processing, the TriPhonic amplifier design sold in thousands in its different variants, between 1986 and 2010.

Amate Audio has now reintroduced the concept in a new high-performance digital design. The TPD (TriPhonic Digital) amplifier uses latest-generation class-D amplifier circuitry, extensive onboard DSP and switched-mode power supply, but remains true to the original TP concept in terms of its simplicity of installation and operation. It will serve passive installations, including remote PC operation and preset settings for optimum configuration with Amate Audio’s Key and Joker series speaker systems.

The TPD boasts a host of new features. Third-generation class-D amplifier circuits provide high sonic performance, high efficiency and an almost total absence of thermal challenges. The TPD’s stereo channels each provide 500W of power and 1kW for the sub channel; all at 4Ω. The unit weighs 8kg.

Onboard DSP includes highly-accurate filters, parametric EQs, peak/RMS limiters and delays, enabling time-alignment of amplifier channels. No less than six DSP channels includes three fully configurable outputs for processing additional external amplifier racks.

Universal switched-mode power supply with Active Power Factor Correction, enable the amplifier to operate with any mains condition between 85V and 240V AC. Amate Audio’s EcoMode operation means that the amplifier automatically goes into standby in the absence of an audio signal and instantly powers on as soon as a signal is introduced. A USB connection enables control – and password-lock – of the TPD from a PC with the intuitive DSPLink software.

‘Amate Audio has always been innovative in its amplifier designs and the TPD, like the TP variants before it, offers installers a uniquely dedicated all-in-one solution for amplification and processing of LR satellite and sub sound reinforcement systems,’ says VP & Chief Technology Officer, Joan Amate. ‘Our first fully digital amplifier, it represents a completely state-of-the-art take on one of our most successful heritage designs.

‘Nothing compares with TPD, as a powerful, space saving, simple to install and operate, integrated solution, that fully exploits latest generation digital audio technologies.’

More: www.amateaudio.com

Anderson Audio has added an Eastern Acoustic Works (EAW) Anna Adaptive System to its inventory. With 16 Anna modules, the Harrisburg, Pennsylvania-based company regards it as its new flagship loudspeaker system.

‘The new Anna PA won’t replace our KF740 arrays, instead it will give us the opportunity to build a new client base and get work that we haven’t won before,’ says owner Chris Anderson. ‘This PA will allow us to provide solutions that other systems can’t,’ Anderson continues. ‘I believe that we will get festivals and events that we didn’t get before. When investing in something new, you want to make sure it will help grow your business – I am confident this will do exactly that.’

Anna provides Adaptive Performance for a wide range of applications that require exceptional sound quality, high output and precise coverage. In addition, Anna can adapt coverage to any venue geometry in seconds. It’s compact footprint – columns hang straight and array horizontally – and low weight allow it to be used for mobile as well as permanent installations.

Each Anna module includes 14 custom transducers: eight HF compression drivers, four 5-inch MF cone transducers combine, and dual high-power 10-inch LF cone transducers to extend horizontal pattern control well into the lower octaves. Enclosures also have 14 built-in amplifier and processing channels providing independent power and control of each loudspeaker component. 

With Resolution 2 software, Anna can assess 3D coverage of a space, determine processing and configuration for coverage, and then implement this in processing. If coverage requirements change, Resolution 2 can quickly reconfigure and still blanket the area with extremely high fidelity, output and coverage control.

Anderson Audio is a long-time EAW customer. The Anna joins a complement of KF730, KF740 and NTL720 line arrays; SB1000, SB2001 and NTL250 subwoofers, as well as JF and Redline point source systems. 

‘EAW sent out Bernie Broderick and Gino Pellicano out to Harrisburg to train our team on the new system,’ Anderson says. ‘It was exceptional. There are so many audio basics that make the system sound so good, it was fun to revisit them. Plus, the way the boxes combine, it takes advantage of acoustic principles that make it sound so much better than a J-shaped line array. I can’t express how happy we are with this addition to our inventory – we are having conversations with customers that we couldn’t have before. It is sure to help grow business.’

French high-end professional loudspeakers manufacturer APG has unveiled the full range of subwoofers from its SB Series.

Comprising the SB110, SB112, SB115-M2 and SB118, the new range is aimed at rental stagers and integrators and share the same acoustic features with the 10-inch SB110 offering 300W, the 12-inch SB112 offering 600W, the 15-inch SB115 offering 1kW and the 18-inch SB118 offering 1.4kW options.

Designed for low to very low frequency reinforcement support for small to high power sound systems, the SB range claims accuracy in low frequency reproduction and precision. The SB110 and SB112 host a ventilated ferrite cone driver, while the SB115-M2 and SB118 feature a Neodymium driver.

More: www.apg.audio

Since its launch, APG’s Uniline Compact series of loudspeakers has secured sales in Germany, Asia and France. In the three months since its launch, the Uniline Compact has been used on TV broadcast sets, concerts, jazz and rock festivals, corporate events and musicals.

The Uniline Compact – the UC206N (Narrow) and UC206W (Wide) – claims to be the only four-way active range available in such a compact form. It’s also one of the only systems with models offering constant horizontal acoustic dispersion – 70° on the Narrow version to improve throw distance as well as intelligibility; 105° on the Wide version – to ensure compatibility with WFS 3D sound. With the introduction of the new dedicated UC115B sub, the series is now complete.

Adopting the same approach as its Uniline big brother, the Uniline Compact allows rental stagers to use the UC range in any acoustical set up, whether flown or on the ground. The coaxial Isotop motor promises high intelligibility, in particular for the vocal bandwidth.

Because of its sonic performance, the UC range reckons to replace all conventional line arrays in 6.5-inch (17cm), 8-inch (20cm) and a wide range of system applications in 10-inch (25cm). With as few as two full-range speakers, the Uniline Compact can serve for audiences of between 100 and 1,500 people, and can be used as a supporting sound system for stage lip, delay, balcony front fill and side fill.

APG is now also offering its largest range of solutions to date, with the DMS range of digital processors, SA range of class-D amplifiers, the new DA15:4 and DA50:4 DSP amplifiers, and the Dante-enabled DMS48D, DA15:4D and DA50:4D amplifiers.

More: www.apg.audio

Based at Redhill in the UK, Arena Television has extended its event broadcasting services with the installation of Lawo’s System Monitoring and Realtime Telemetry Solution (SMART) for Broadcast Networks in its newest IP-based OB truck.

The company is already an extensive user of the vendor-agnostic Lawo VSM IP broadcast control system for comprehensive unified workflows across its trucks’ all-IP infrastructure. With vsmSOUL, VSM adds IP orchestration to traditional control functionality, such as vsmTally in a single, fully integrated solution.

‘With the purchase of SMART, Arena Television has a unique capability to extensively monitor and control our equipment while realizing significant operational benefits’, explains Dafydd Rees, Deputy Director of Operations at Arena Television. ‘One of the challenges that we intend to solve using SMART is offering operators an ability to easily monitor IP media streams across the IP network. It will plug the gap between traditional, well understood, video and audio monitoring tools and network switch monitoring, coalescing the two in a simple dashboard and providing unique insight into the media streams as they pass through the network. It will also allow engineers to proactively detect and diagnoses faults before they occur thereby further increasing the quality of the service that we provide to our customers.’

Lawo’s SMART range includes the smartDash System Monitoring and Realtime Telemetry, vendor-agnostic enterprise software for network and media visibility across an all-IP, all-SDI or hybrid WAN/LAN broadcast infrastructure, and the smartScope Deep Packet Inspection & Network Analyzer, a media-agnostic, high-density 24/7 analysis platform for IP flows in live production and delivery. smartDash provides a complete overview of a network and media streams. smartDash derives media network data, comprehensively documents network and supporting infrastructure. smartScope processes data packets for service compliance and analyzes the condition of the delivery network for clear demarcation between delivery and processing, reducing ‘meantime to repair’.

More: www.lawo.com

Thanks to a connection with producer Trevor Horn, the doors that used to be in London’s SARM (Basing Street) studios now grace Glasgow’s new Morsecode Studios.

Morsecode Studios owner Brendan Moon says the large studio space (which ‘felt big enough to play five-aside in’) was designed around the recording of Paul Epworth and Gun’s second album for Universal/Caroline, Favourite Pleasures. ‘We knew we’d have to record a drum kit in a big room all micked up properly, in a very old-school way. We also knew that there were going to be guitar and bass playing live alongside the drummers, so we would need isolation booths, or guitar modelling set-ups, for which we had one of the first Fractal axFX set-ups in the UK.

Central to the studio’s control room is one of the very last ‘classic’ ASP8024 desks to leave the Audient factory – Moon and in-house engineer/producer Liam McCluskey agree that the desk ‘has worked out very well’.

The studios’ design was a collective effort between Morsecode’s team, sound engineer Simon Bloor, Cameron Gower-Poole (Dua Lippa, Ellie Goulding, Little Mix) – also mix engineer from SARM Music Village (SMV) – and Metropolis engineer Ian Gore. ‘Ian was particularly helpful in assisting us with designing cable runs, as we decided they were all going to be old-school analogue, with miles of copper cable running through the walls,’ Moon says.

‘We couldn’t have done any of this without a mixing desk capable of handling a multitude of effects from different areas,’ he continues. ‘Right now in the studio we have a guitar area with lines going through to a separate isolation booth to a selection of vintage amplifiers both bass and guitar, a dedicated keyboard area, all of which are ready at any point for visiting musicians or bands to fire up. I can’t imagine doing any of this without a proper mixing desk.’

The British console gets the nod of approval across the board: ‘Cameron had trained on a similar Audient console as an audio student in London; for me it was an easily understandable layout, with all the facilities that we needed to run a studio with an analogue vibe and professional sound.’

Lewis Capaldi and rock band, Gun still rehearse in the large space after being the first to record here, and since then the Audient console has been clocking up studio hours recording King King (British Blues Band of the Year), a full album with solo artist Baz Moore, as well as local up-and-coming acts Stephanie Cheape (SMA Scotland’s Best Unsigned Act 2017) who recently headlined the Scottish venue King Tuts.

‘Morsecode Management client, Natasha Cook Jenkins has just hit 10m views on YouTube from her EP that was recorded in the studio, and we’re working on another joint project with the guys at SMV: a new Glaswegian group not a million miles away from the Black Eyed Peas called the Pretty Machine, which will be released some-time next year,’ says Moon, listing the studios’ growing number of successes.

Moon describes as those main soundproof doors ‘his most prized possessions’, salvaged from the old SARM Basing Street. ‘It’s nice to have a bit of history, knowing that everyone from Grace Jones, Led Zepplin, Free, Bob Marley, Live Aid, Frankie Goes to Hollywood, Drake, Rihanna and Trevor Horn have all walked through these very doors to make their recordings,’ he says. ‘We should put up a sign, but we haven’t done that yet.

‘It’s only been this summer that we have opened our doors to the general public to be able to book the studio and we have been impressed by the number of customers we’ve had, both from record labels and local bands. The studio was kept a bit of a secret, but we felt now was the time to let it be known to the wider musical public.’

Having begun by providing audio systems for corporate, social and arts events in 1990, Audio-pro moved into live music events, positioning itself at the leading edge of Chile’s concert touring market in the mid and late nineties.

Today, the company – which is based in Viña del Mar, near Santiago – is also able to handle large-scale concerts following the purchase of an L-Acoustics touring system.

‘We had to buy the best loudspeaker system in the world,’ says company owner, Jorge Diez. ‘L-Acoustics K1 was the clear choice, for its rider friendliness, quality sound and longevity. We knew it would be a good investment.’

Ordered in December 2016, the system is the first of its kind in Chile, comprising 48 K1, 24 K1-SB subs, 36 K2, 24 KS28 subs, along with 18 LA-Rak IIs, each with three LA12 X amplifiers, and four ARCS WiFo. The first fruit of the investment was being able to take on supplying the main stage sound system for Lollapalooza, where the bill included Metallica, Cage The Elephant, Rancid, We Are The Grand, Jimmy Eat World and Two Door Cinema Club.

Audio-pro had already supplied the sound system for the third largest stage at Lollapalooza, increasing its role at the festival with the L-Acoustics K1 system for 2017. ‘We have been involved with Lollapalooza Chile Festival for the past four years,’ Diez says. ‘When Lotus, the festival’s technical producers, learned of the arrival of our K1 system, they wanted it for the festival.’

Audio-pro was again contracted to supply the third stage this year, but with its new K1 system, it was also able to take on the main stage. ‘This meant that we did two of the three most important stages of Lollapalloza Chile,’ Diez explains. ‘Without a doubt, the power of K1 is a very positive point for a festival of this magnitude and we are very grateful for the trust that Lotus, the festival’s promoters, put in our company.’

With more than 140,000 people attending, this was the largest crowd in the festival’s history and meant that the main stage system needed to cover a large area. With the help of Alex Soto (L-Acoustics Application Engineer for Latin America and the Caribbean) and using Soundvision to help with the design, the Audio-pro team were able to devise a system that would provide perfect coverage for the entire arena.

‘This was a major challenge as we needed to cover up to 220m in depth and 170m width,’ Soto explains. ‘To achieve this, we had a set-up that comprised 28 K1 with six K2 as down fill, plus 12 K1-SB in throw configuration. Side hangs were a further 20 K1 plus four K2 as down fill, with ten K1SB, again in throw configuration. We also had three delay towers, each with hangs of eight K2. We used two K2 and four distributed ARCS WiFo as front fill, with 24 KS28 and 16 SB28 ground stacked subs in an electronic arc configuration.’

In addition to aiding with system design for Lollapalooza and being present throughout the festival, Soto has trained Audio-pro’s team of engineers, ensuring that they’ll get the very best of their system for all events on which they use it in Chile and beyond.

‘This was the first project with our new L-Acoustics system and the bands’ engineers were very happy with both our service and our new equipment,’ Diez concludes. ‘We have been extremely well supported and I am really happy to have entered the exclusive club of companies that use K1. I’m sure that this purchase will position Audio-pro as an important player in the competitive sound reinforcement industry and that we will gain new customers because of it. With our world-class service, highly-qualified sound engineers and now this K1 system, we have the ideal mix.’

Setting the standard for all tribute acts, the Australian Pink Floyd Show reckons to have sold more than four million tickets to performances in 35 countries, bringing a concert experience that is often indistinguishable from the original – any era you want.

Handling the sound reinforcement for the band has fallen to Capital Sound on many occasions – including their recent UK and European theatre tour. With the FOH team of sound engineer Trevor Gilligan and system tech Mark Edwards, Capital Sound rolled out a DiGiCo SD5 mixing desk, Martin Audio W8LC Compact Line Array, and created a library of presets for Powersoft’s proprietary Armonía software to serve new X Series amplifiers. A newly configured returns rack – designed by project manager, Robin Conway – ensures the new platform is operating at its best

Gilligan – with 35 years in the industry working with the likes of Kasabian, St Etienne, Buzzcocks and the Hoosiers – reckons the Powersoft amplifiers have already proven themselves with Outline Butterfly PA system on an earlier tour. ‘The new X8s have opened up the whole sound field in terms of vocal separation,’ he reports. ‘And the smooth, seamless power means you don’t have to drive them hard. Just like the last time I used Powersoft, you immediately notice the clarity and sonic power.

‘The UK tour package is now so compact that it requires a truck fewer than previous years,’ he says of the Aussie Floys shows. ‘Every space saving helps, and certainly the X8s have helped enormously in that respect. And you just switch them on, and off they go...’

For Conway, the new X8 inventory was a no brainer after long experience of Powersoft in the active Martin Audio systems Capital Sound runs in rental stock, including the flagship MLA. ‘When we made the purchasing decision we knew we were investing in a significant platform – it was totally logical and we had no worries about the reliability of Powersoft. It has amazing broadcast quality.’

He adds that, having recently converted to a Dante returns core, the X8s onboard Dante facility provided a compelling reason for purchasing: ‘It made complete sense and simplifies the signal chain, with seamless integration. It is exactly what we are looking to achieve in standardising our rental infrastructure.’

Capital Sound runs four touring racks, each consisting of three X8 – giving 24 amplifier channels per rack. ‘This gives us just 12U of real estate, drawing very little power and easily fitting within a 63A, three-phase touring power supply system; this makes it a hugely efficient option.

‘On this tour the boxes have sounded incredible; having a powerful, DSP-driven amp with power, headroom, functionality and the ability to drive different boxes is perfect for our needs. Also, Armonía gives us massive control and flexibility – it means the signal chain is no longer convoluted because we can bring everything into a single piece of software.

‘We are finding new features of X8 every day and going forward we expect more of our engineers to move from their present set-up onto Armonía.’

Designed for high-level dance venues, DAS Audio’s Sound Force sound system has made its European debut at City Beats in Salzburg, serving the freshly-renovated Sternbräu building,

One of the Austrian city’s trendiest clubs, City Beats owners called in local company Licht Ton Video to handle the sound installation. Heading the project were company owner Markus Schwenter, Johannes Stummer and K24 Technik & Vertrieb (DAS Audio distributor in Austria), who recommended the installation of Sound Force systems. This loudspeaker range was designed for venues like City Beats, where the club’s size, shape, décor and sound make a powerful system and a striking visual design a must.

City Beats uses two hangs that include two SF-215 systems and one SF-112 system each, flown from the ceiling and angled to provide end-to-end coverage to the club’s main room. These systems provide the definition needed for the club´s dance music and are driven by DAS D-100 amplifiers. Four of the SF-30A powered subwoofer systems provide low-end – these incorporate a moving magnet linear motor design, an ultra-high power amplifier and a 30-inch polyethylene cone that offers SPL equivalent to the performance of two 21-inch speakers.

The sound technicians recommended drawing from DAS Audio’s Artec 500 and Arco Series of products for the club’s entrances, adjacent areas and bars. Eight Artec 510 systems, two Artec 508 systems and eight Arco 4T systems were brought in and paired with DAS D and CSA-T Series amplifiers. The professional sound system was topped off with a set of four Artec 508A powered systems as monitors for the DJ booth.

The Sound Force systems at City Beats back the nightclub’s reputation for top-of-the-line sound, and are a match for the venue’s philosophy: the name itself refers to the heartbeat of the city. Holding strong on Salzburg’s party circuit, City Beats has created a series of rooms dedicated to various global destinations, each with a décor designed to evoke scenes from some of the world’s top clubs.

More: www.dasaudio.com

Autograph Sales & Installations was called in to Surrey’s Dorking Halls to provide sound reinforcement for its main performance space. Recently completed, the result is a ‘substantial’ EM Acoustics Halo-C loudspeaker system.

Having opened in 1931, the venue’s inter-war facade now house contemporary entertainment and conference complex offering three separate spaces hosting live music, cinema, corporate events, comedy and theatrical productions. The main hall, which has a capacity of 791 seated, rising above 1,000 when part-standing, is now served by 22 Halo-C compact line-array elements plus a single MSE-218 subwoofer per side, and four EMS-61 modules. The system is powered and managed by two EM Acoustics DQ20s and one DQ6 advanced system amplifiers.

High on the venue’s priority list was improving sight lines, requiring the new PA to be flown: ‘The fixed flying points are only rated at 500kg each, which effectively eliminated a self-powered system but it also pointed us straight at Halo-C, which is very light at only 17Kgk per module,’ explains Autograph Sales Engineer, Peppe Mallozzi. ‘Our final design uses 11 Halo-C compact line array elements per side and even including the rigging and cables the total load is only 270kg per hang, while easily meeting all performance specifications.’

‘When tuning the system I was amazed how little needed doing in terms of EQ to make it sound completely natural,’ he reports. ‘It’s almost totally flat, yet there’s plenty of power when needed and the vocal intelligibility for stand-up and similar applications is just outstanding. Once again, Halo-C’s combination of low weight, space-efficient power and processing plus superb audio quality in a very cost-effective package has enabled us to deliver a top-quality solution and stay within budget.’

‘The only real issue we had to contend with is that the hanging positions are quite wide and fairly close to the wall, but we know that this is something that Halo-C is very good at coping with,’ adds EM Acoustics’ Ed Kinsella, who specified the system. ‘Indeed, we managed to achieve flawless coverage throughout the entire room with no delays at all and just a few EMS-61 for front fill.’

‘As always, Peppe and Autograph as a whole have been very patient and a pleasure to deal with throughout this project, as indeed have Ed & Mike [Kinsella and Wheeler], says Michael Knight, Technical & Facilities Manager at Dorking Halls. ‘From the initial demo to final tuning they’ve been happy to offer advice and support. There were no attempts to blind us with science or to reinvent the wheel – just honest explanations based on solid loudspeaker theory. All in all, that is a bit of a rarity these days.’