HK Audio has introduced the Linear 3 series of active speakers and added two active models to its Linear Sub family of subwoofers.

Linear 3 is aimed at bands and DJs in every scenario, offering balanced, sound, low-end, clear speech reproduction, and advanced DSP technology. The first members of the Linear 3 family are the 12-inch/1-inch L3 112 FA, the 15-inch/1-inch L3 115 FA and the multipurpose 12-inch/1-inch L3 112 XA – which functions both as a top and as a stage monitor.

The technology behind Linear 3 is intended to provide consistently good results, even for users who have no sound engineering experience or a pro audio knowledge. Four EQ presets – Bass Boost, Flat (LF), Flat (HMF) and Contour, two of which are active at any one time – provide options for shaping the sound to fit the music style, venue and audience.

 In addition, the Linear 3 mid/high units offer plenty of headroom thanks to their 1.2kW class-D power amplifiers, Intelligent Multiband Limiters ensure tonal integrity at every volume level, and precision directivity means the sound will go straight to the audience, with few unwanted reflections.

They are also for use in conjunction with Linear Sub subwoofers, including the new 15-inch L Sub 1500 A and the 18-inch L Sub 1800 A. The low-end punch the L Sub 1500 A and the L Sub 1800 A deliver is similarly suited to the Linear 5 series, and they can also be used to extend the Elelemnts Base systems. Flexible and powerful, the new subwoofers are each equipped with a stereo input, meaning they can be easily be configured in half stacks, full stacks, 2.1 set-ups, and in mono sub clusters.

‘Linear 3 is the easiest way to impress your audience,’ says HK Audio Product Manager, Alexander Wollenberg. ‘Whether you’re a PA system expert or prefer to focus entirely on giving your best possible performance, Linear 3 gives you optimal results in seconds thanks to our groundbreaking technology, a bunch of logical yet innovative design features, and made-in-Germany quality. Plus, if you need an extra dose of thumping low-end power, the new Linear Sub basses are the perfect add-on. Linear 3 offers top performance you can trust in – every single time.’

The Linear 3 series and Linear Sub models are shipping now, with the L3 112 XA set for Q3 2017.

More: www.hkaudio.com

With Capital Sound Hire providing full audio production for Il Divo’s album promotion tour, Amor & Pasion, the company’s recently purchased Outline GTO C-12 loudspeaker system is receiving its first major tour at arenas throughout the UK, Europe and Scandinavia.

Recording in seven languages, selling more than 30m albums worldwide and scoring 160 certified gold and platinum hits in 35 countries, Il Divo are the first ‘classical crossover’ act to reach the top of the US Billboard 200. For live work, Capital Sound has been the group’s audio supplier from the outset: ‘Believe it or not, this is year 12, says Capital General Manager, Paul Timmins. ‘Each successive Il Divo tour has brought new challenges and achievements for us as the band have grown and it’s now a very comfortable partnership’.

The system used for a recent show at London’s O2 Arena provides a snapshot of the current equipment configuration. It also highlights how (relatively) little equipment is now needed to deliver high-quality audio in major international concert venues.

‘Our designs for Il Divo have historically involved flying subwoofers and 2016 is no exception with Outline GTO Subs flown directly behind the main left and right arrays, each of which comprise 12 GTO C-12 modules plus a single GTO-DF down fill enclosure,’ says Capital’s Robin Conway, who designed the system. ‘There are also flown side fills for the stage (each containing six Outline Mantas28 cabinets), behind and in line with the main LR arrays. The positioning of these has improved the sightlines to the stage and screen significantly by reducing the overall profile of the flown systems. Flying subs may seem a little strange for this type of show, but our experience with Il Divo’s audiences suggest that they are not fans of large subwoofer stacks, so a combination of flown and discreetly positioned ground-stacked subs is the best solution for this client’.

Capital’s recent Outline purchase included a amplification and processing package, which has further enhanced the efficiency of the whole audio system. ‘The Powersoft X8 amplifiers are not only driving the main FOH set-up but also the onstage monitoring,’ Conway explains. ‘The flexibility of the X8 amps enabled us to build multi-purpose amplifier packages (each containing three X8s with custom PACom, NL4 patch and Dante Network Distribution), which combine all the power we need for both FOH and monitors into just six touring racks. This gives us a very efficient use of truck space as well as being quick and easy to move and use.

‘Even on this, our first outing with the new equipment, the Outline system has impressed us,’ he adds. ‘The flying systems are very simple to understand and the touring team are consequently finding it easy to communicate the processes to local crew during load ins and outs. The audio coverage is really accurate and the frequency response front to back of the audience plane is very predictable. Having phase coherent boxes also really helps with system set-up.’

 ‘Outline has always been the first choice in my rider as it delivers such pure sound quality and detail,’ says Il Divo FOH engineer, Matteo Cifelli. ‘Like it's predecessor the Butterfly, the GTO C-12 is outstanding on vocals and acoustic instruments so I could not imagine a better system for Il Divo.

‘The main advantage of this system is the unbelievable throw, which means we don’t use delays in most of the venues where you would generally need them. The clarity in the high-mid range is perfectly matched to what I hear at FOH, even 120m away. We achieved perfect coverage at the O2 in London with only 12 boxes per side on the main hang, and the recent show at the Ziggo Dome in Amsterdam confirmed the unbelievable clarity you can get, even at the very end of the second floor – no-one in this audience is penalised because of their seating position.’

‘As a studio engineer, sound quality is what I look for first, in any system,’ he continues. ‘Having produced the tracks that are being performed on this tour, I know how they must sound - the C-12 is the only system I have used so far (and we have used many in three months of touring around the world) that delivers the exact mix and balance I was listening to when mixing the tracks in my studio in London.

‘The support from both Capital and Outline is outstanding. The GTO C-12 is a brand new system for all of us, so we are still experimenting with different configurations every day. Outline have been very supportive, sending their engineers to help us set up the system in the best way possible and they are always available with suggestions and support.’

‘Our decision to buy into Outline, while possibly surprising for some, was actually a no-brainer for us,’ Timmins says. ‘Having got to know the company over a period, we realised that we were dealing with quality people who have a genuine passion for audio, producing great products that simply sound amazing. These were the real drivers behind our investment in the GTO C-12 system. We heard the large-format GTO in 2012 while our inventory featured two main loudspeaker brands and in late 2015, when we decided to expand our offering further, Outline was at the top of our list.

‘Further tests conducted in London’s 02 Arena just blew us away with the power and tonality of the GTO C-12 line array, driven with the extraordinary Powersoft X8 amplifiers. The low weight, compact footprint and intuitive packaging of the GTO C-12 system makes it perfect for our market place, which goes from large theatres to arenas and outdoor festivals across mainland Europe.

‘During and since our purchase the support from Giorgio, Luca, Giulio and the team in Italy has been incredible,’ he closes. ‘It’s the perfect fit for a manufacturer and rental company that we both have similar ethics of service, support and relationships.’

With her recent Life Love Flesh Blood album, Imelda May has replaced her earlier rockabilly romps with a more country/soul ballad approach. She also has a new FOH sound team, with Nick Ingram following a line of experienced sound engineers that have included Trevor Gilligan and Gerry Wilkes – both of whom have used Capital Sound as their equipment vendor.

With a background in classical music, Ingram was in good shape for a series of concert hall and theatre venues on which the tour is based – and took up the recommendation from Capital’s Paul Timmins to use a Martin Audio MLA Compact PA.

Although this was the first time Ingram had taken the system out following three days’ production rehearsals at Music Bank, he is no stranger to the platform, having previously mixed his other charge, Jake Bugg through the system. ‘I experienced MLA at Hyde Park [British Summer Time] and the sound was unbelievable,’ he reports. ‘After all the historic problems with noise restrictions on the site, Hyde Park is now somewhere you look forward to rather than with dread. I also mixed Jake on the John Peel Stage at Glastonbury with the MLA Compact – I thought there was never going to be enough PA [to carry] but once again it was fantastic.’

Thanks to an instinctive compatibility with Imelda May, Ingram – who has circumstantially found himself specialising in acoustic singer-songwriters – has coaxed a new subtlety and versatility out of MLA with a classical musician’s sensitivity. He has succeeded in matching concert hall acoustics and natural reverberation to the full range timbre of the artist. ‘These are all seated shows, and although the rooms hold around 2,000 people, in terms of a space to fill they are large so you need a box that will throw – and MLA Compact certainly does that so well.

‘At G-Live [Guildford], for instance, I was mixing on the balcony near the back and the drop-off was almost non-existent. But more significantly it’s the frequency response of MLA which remains identical.’

He believes sound engineers are spoilt nowadays with the new generation of line arrays: ‘And for all the PA’s I have used what I love about MLA is that musically it delivers the same expectation but with a warmth and natural transparent sound, and not too much bite.

‘Working in concert halls with an acoustic artist the stage sound can be maybe 30-to-40 per cent of my mix so it blends naturally with the room, and with a seated performance it is also vital to walk the floor to check for consistency at the seats. Just as when I attend a classical concert I want to hear the tiniest tap of a triangle, so I want to hear every breath [of Imelda’s delivery] and her audiences expect to hear every word.’

The sound reinforcement inventory that ensures this happens is based around 24 MLA Compact enclosures, 12 elements hung on each side of the stage. Handling the low frequencies are eight WS218X subs. The increasingly indispensable Martin Audio DD6s serve as lip fills and some XD12s, sat wide, perform both out and in fill.

Imelda May is presently supported by seven backing musicians – but this will grow for the occasional show, with additional horns and backing vocals. This set-up occupies around 34 inputs on a Midas Pro 2C console.

Timmins is delighted with the rapport immediately established between system tech Dan Draper and Nick Ingram (who are joined by Fran Bemrose on monitors). ‘We are pleased to have brought him into the fold and he seems able to second guess what a sound engineer wants.’ Ingram agrees. ‘Since I’m more of a musician and sound engineer than a technical person, I need someone like Dan who can explain everything to me.’

In terms of tuning and profiling MLA there has been little work required in the dedicated Dispaly software other than to run the sound open, full range and flat. ‘I want the sound to be as natural as possible, and MLA is astonishing.’

He has typically been averaging 94dB(A) at the desk. ‘I almost want the acoustic sound to be as if there’s no PA on it at all. I don’t want it to sound digital.’

Timmins, who has himself been offering production support to tour manager, Brett Spence, agrees ‘This is a different type of music source for MLA, the clarity of the sound is fantastic and Nick gets a really big sound without making it excessively loud. These shows feel really comfortable.’

More: www.martin-audio.com

Following an upgrade of its Danley Sound Labs sound reinforcement system to feature a stereo pair of J1-94 Jericho Horns – used mainly at massive outdoor arenas like Louisiana State University’s 102,000-seat Tiger Stadium – some are saying that Iron City is now the best place to see a concert in the world.

Built into the framework of two former automotive warehouses in downtown Birmingham, Iron City has unarguably been the best live music venue in Alabama since opening in 2013. Its owners strove for perfection in every detail, making it a place where patrons and musicians alike feel that their experience is the priority.

To serve up to 1,300 audience members for what was originally intended to host mainly blues acts, Iron City’s original system included two Danley BC-218 subwoofers, six TH-118 subwoofers, two SH-64 loudspeakers, two SM-96 loudspeakers, and – for main full-range coverage – two SH-96HO loudspeakers. Musicians, meanwhile, get Danley SM-LPM monitors.

‘The subwoofer system at Iron City is monstrous,’ says Scott Oliver, President of Centerline Audio Visual, the company that facilitated the purchase of the Jericho Horn upgrade. ‘The punch and depth are what audio folks dream of but rarely, if ever, experience.’

As pleased as everyone was with the sound quality of the system, there were calls for more overall output from the mains once Iron City started booking acts like Rob Zombie, Slayer and Marilyn Manson. ‘The SH-96HOs sounded great, but we were running at 95 per cent to get the volume we needed for loud rock acts,’ says Jason Westbrook, Iron City Production Manager, who, together with Danley’s Chief Engineer Ivan Beaver, worked to make continual improvements to the system and orchestrated the Jericho Horn overhaul.

‘Iron City’s owner, Steve DeMedicis, is a huge Danley fan and the kind of person who wants to be the first kid on the block with a new toy. When I explained what Jericho Horns could do and that Iron City would be the first club in the world to use them, he jumped onboard.’

‘A lot of people have the pre-conceived notion that Danley Jericho Horns are just for outdoor stadia,’ says Oliver. ‘That’s simply not true. By using Danley’s patented innovative technologies, the Jerichos achieve what line arrays promise but fail to deliver: even coverage from front to back and side to side, not just in terms of SPL, but also in terms of frequency response and phase coherence. Each box in a line array interacts with the boxes next to it, creating hot and cold lobes across the spectrum – notice that line array advocates only ever present two-dimensional predictions, which masks the worst problems. The Jericho Horn is truly a point source, meaning no interference or lobes. I encourage everyone who loves great sound (played loud) to work Iron City into their travel plans. It’s the blueprint for music venues of the future.’

Westbrook worked with his staff, Charles ‘Murph’ Murphy, Chris Stokes, and ‘Bamm’ aka Fernandez Johnson to hang and wire the two new Danley J1-94 Jericho Horns, and then he and Beaver tuned the system. In addition, Westbrook added two Danley SH-95s for front fill and two SH-69s for balcony fill, and reworked the Lake processing that drives the system.

‘The Jerichos effectively tripled our system,’ he says. ‘It’s like we’ve got three SH-96HOs per side, and we can slam acts like the heavy metal super-group Hellyeah without breaking a sweat. And it’s ruler-flat – engineers keep showing me their SMAART output – look at how flat your system is”. And I’m like, “yep”. I hand them the tools to reshape the output, but everyone leaves it alone because it sounds so great as is! And even though it gets super loud, the clarity makes it easy to have a conversation – the bartenders can easily hear drink orders even when the band is raging on stage.’

More: www.danleysoundlabs.com

JBL Professional has released HiQnet Performance Manager 2.1 software, bringing new additional for measuring and tuning live sound reinforcement systems.

Performance Manager v2.1 integrates Rational Acoustics’ Smaart acoustic testing and measurement software directly into the Performance Manager workflow, providing unprecedented access to measurement information over the network in real time.

‘We are pleased to collaborate with Rational Acoustics to integrate industry-leading Smaart technology directly within our software platform, which now includes extremely powerful measurement integration for seamless measuring and tuning operations,’ says Harman Professional Solutions Tour Sound Systems Product Manager, George Georgallis. ‘With v2.1, real-time frequency and phase response measurements are displayed and controlled within Performance Manager, allowing engineers to measure and adjust system parameters from one screen. This simplifies and accelerates the system optimization process while eliminating opportunities for errors’

Smaart acoustic testing and measurement software is the most widely used software for real-time sound system measurement, optimisation and control. The dual-channel, FFT-based software provides diagnosis and solution of problems by viewing the frequency content of signals and measure the response of electrical and electro-acoustic systems in detail. Smaart can be used to identify tones or frequencies of interest, and to help with feedback suppression and channel equalisation. In this way, Smaart can accelerate and streamline the process of setting up and aligning JBL speaker systems in a performance environment.

‘JBL has taken great advantage of the Smaart API to provide an elegant, easy-to-use interface for controlling and viewing Smaart measurement data within the new Performance Manager 2.1,’ says Rational Acoustics Director of Technical Services, John Aldrich. ‘This integration underscores the shared commitment between both companies of providing comprehensive and powerful software toolkits for today’s audio technicians and engineers.’

In addition to Smaart software integration, Performance Manager 2.1 features an entirely new Go-Online mode that offers more intuitive options for system synchronisation and management of online devices. A new Line Array Control Panel makes using the Line Array Calculator, a key tool for system configuration, more intuitive and easier to use. In addition, features have been added to Select Input Source mode to make managing and monitoring AES audio distribution a simpler operation. Finally, a number of bug fixes and key performance enhancements improve on the user experience, speed and ease of use.

Broadcasted live from the historic Beacon Theatre in New York City, the 2016 Tony Awards says Firehouse Productions using a JBL VT4886 sound reinforcement system to serve the live audience from a compact footprint.

‘The JBL VT4886 offers an incredible amount of power and control in a very small package, and I’ve had excellent results with it on numerous live shows,’ confirms Firehouse Productions Lead Design & Integration Engineer, Mark Dittmar. ‘At the Beacon Theatre, which is an extremely small venue, size and taking up less space are very important. JBL VT4886 is a spectacular-sounding speaker in a very small package, which is a great combination for a show like the Tony Awards.’

The 2016 ceremony featured performances from the hottest shows on Broadway, including Hamilton, School of Rock and She Loves Me. With up to 30 lavalier mics on the stage simultaneously, it was important to manage gain before feedback, and en sure the live sound stayed out of the on-air mix. It was equally important to deliver excellent dialogue intelligibility. Finally, it was important for the arrays to take up minimal space and be hidden from the camera sightlines during the broadcast.

‘On a television show, we have to keep the PA hidden, but we also need great intelligibility,’ Dittmar says. ‘The VT4886 arrays worked really well and allowed us to place the PA in a space that other arrays wouldn’t fit.’

The JBL VT4886 features a true three-way system that is unique to the subcompact category, claiming exceptional sound quality and the highest SPL output in its class. The VT4886 also features a low-frequency diffraction absorber that eliminates cavity resonance and cabinet edge diffraction effects, which provided Firehouse with extra control over feedback. It is designed to deliver high-quality reinforcement of music and speech in a wide variety of applications, including concert audio and corporate A/V presentations of all types.

Confronted by high winds and driving rain, the three-day Chesapeake Bay Blues Festival pressed ahead with Palmetto Soundworks and a JBL VTX Series loudspeaker system recently.

‘We were in really poor weather conditions the whole weekend – we gave floating subs a whole new meaning,’ says Production Manager, Jared Miller. ‘The performance of the VTX rig was excellent, even with that much water. I was really impressed with the sound quality and reliability.’

The Chesapeake Bay Blues Festival line-up featured renowned artists, including Joe Bonamassa, The Robert Cray Band, John Mayall, Canned Heat, The Mavericks, Tab Benoit, Heritage Blues Orchestra and Sonny Landreth. To serve them, Palmetto Soundworks used JBL VTX Series line arrays for performance and ease of deployment. The system enabled guest engineers to mix the performances with minimal EQ adjustments.

‘The high end was really smooth, and the entire VTX system sounded really great out of the box,’ Miller says. ‘A lot of the guest engineers commented on the smoothness of the top end and the overall sound quality. From my point of view as a provider, it’s an easy day for me when guest engineers can start setting up, and it already sounds good. I don’t have to convince anyone of the quality of the VTX rig.’ 

The system included two main arrays of 12 VTX V20 loudspeakers, four groundstacks of three VTX G28 subwoofers, four groundstacks of two VTX S25 subwoofers and two VTX F12 for front fill. It was powered by Crown VRack 12000HD and VRack 4x3500HD amplifiers, which also performed well despite limited airflow. JBL HiQnet Performance Manager 2.0 software allowed the sound team to closely monitor the system through the bad weather.

‘Performance Manager 2.0 performed flawlessly – we knew we were going to have bad weather, and the software really allowed us to stay on top of the system,’ Miller reports. ‘The VTX arrays and VRack amplifiers performed great through some truly terrible conditions. There were no hiccups in the system.’

More: www.jblpro.com

EAW has appointed Jim Bobel to the position of North US Sales Engineer, responsible for all sales in the Northern US States from the Dakotas to Kansas and across to the East Coast.

‘Having watched Jim in his previous positions, I have always respected his relationship building and customer focus,’ says EAW North American Director of Sales, Jim Newhouse. ‘His ability to grow new business and lead has set him apart from his peers. We are proud to have him join our team.’

Bobel began his career working for the Guitar Center, where he climbed the ranks to General Manager. Shortly thereafter he spent time as a manufacturers rep and in manufacturing sales. During that time he gained valuable experience about the market that is sure to benefit EAW customers.

‘I have always respected the EAW brand and reputation their products have in the industry,’ Bobel says. ‘I look forward to introducing even more audio professionals to the audio solutions EAW offers and help build the brand further in my territory.’

More: http://eaw.com

A core FOH loudspeaker set-up of just nine K-array Firenze KH8 panels per-side was all that was required for a performance by street dance troupe Diversity at London’s O2 Arena recently.

It was the first opportunity to prove the Firenze system in such a prestigious setting, and was described by Sam Nankivell, of UK distributor 2B Heard, as ‘representing change in the industry, in one of the most iconic live performance venues in the world, where systems are tried and tested’.

The Firenze system arrived at the O2 as part of Diversity’s current ten-date UK arena tour, staged by Production North with Audiotech Services supplying the audio and video systems. Upon arrival at the O2, the K-array system immediately impressed local crew members more used to a longer, more challenging set-up. It’s a lot quicker to rig than we’re used to,’ says Stage Miracles local crew member, John Cuckston, who aided in flying the straight hangs of KH8 panels – a significant health and safety benefit for local crew members.

The K-array Firenze system was used throughout the tour, taking in arenas including Glasgow’s SSE Hydro, Nottingham’s Motorpoint Arena, the Manchester Arena and Birmingham’s Barclaycard Arena. But it was at the O2 that the Firenze system – compact enough to occupy less than half of a truck for the entire tour – demonstrated its ability to confound expectations and impress in a world-class arena.

‘The last time I mixed front of house in the O2, I was running 18 boxes per-side,’ says Diversity FOH engineer, Christian Lewis. ‘This arena sized system is occupying less than half of an artic. It sounds as good as any other system I’ve used. In fact because of the shallow box design the response is instant and there’s plenty of top end. It’s all there. Indeed, regardless of volume, the dynamics remain constant.’

Based on a flat panel-design with directivity determined digital acoustic steering, each self-powered IP45-rated enclosure houses 16 neodymium transducers (eight 8-inch for LF, eight 4-inch for MF and four 1.4-inch high frequency compression drivers). Panels are anchored in pre-cabled groups of three for fast rigging and deployment, while entire systems are flown in a straight line, with the option to tilt panels as required.

Onboard each panel is an IP65-rated electronics module delivering eight channels of Powersoft DSP and amplification, using the Armonia platform for system EQ and control, and providing 2kW of power on each output. System optimisation to suit the venue can be achieved in minutes using AFMG’s Ease Focus software, which also forms the control interface for the creation of all required FIR algorithms, ensuring quick and simple operation over a single, trusted platform. Additionally, all of the Powersoft amplifier modules are IP addressable, enabling quick configuration updates.

The combination of all of the above is named Slim Array Technology (SAT) – quick to deploy, virtually invisible when flown, yet powerful enough to meet even the most challenging of environments.

For Diversity at the O2, for which the upper balcony of the arena was blocked, the system comprised nine KH8 panels per-side plus side-hangs of two per-side KH7 elements, each containing four 12-inch coaxial drivers with rotating waveguides. On stage, two side fills were based on portable KR802 systems, while eight hard to spot KH2 panels lined the lip of the stage for front fill. A total of 12 IP65-rated KS8 subs provided low frequency support on the ground. Had the full arena been in use, only a further three KH8 panels per-side would have been required. A DiGiCo SD9 was used for both front of house and monitors.

At front of house during set-up was System Tech Sergey Becker: ‘The nine KH8 panels per side are all progressively down-tilted at 2°, but the angling only provides minimal adjustment – regardless of how the system is deployed, the software will sort out the coverage,’ he explains. ‘In terms of the venue’s acoustic challenges, the system minimises reflections and gives a lot of direct sound, and that helps a lot. But I think the biggest advantage is the system’s physical size and the ease of rigging, which is amazing. It’s all pre-cabled and I can actually fly it on my own. It’s impressive, the size and the power you get out of it.’

‘When you hear the Firenze system, you realise its designed, first and foremost, to sound fantastic,’ Nankivell adds. ‘Taking 20 minutes from unloading the system to flying it provides a real wow factor, but it was conceived to deliver excellent sound reproduction, and that’s precisely what it does.’

Standing at front of house, Christian Lewis agrees: ‘When everyone moved from using point source clusters to line arrays, it was a big difference, but people got used to that change. Now it feels like this is the next step in the evolution of speaker systems.’

Opening with an all-star gala event featuring Las Vegas natives The Killers, Wayne Newton, Shamir, the Blue Man Group and Cirque du Soleil, Las Vegas’s new T-Mobile Arena is equipped with a Martin Audio MLA loudspeaker system – courtesy of Delicate Productions.

Chosen a to ensure consistent coverage throughout the venue, the installation is part of a two-year project representing an investment of US$375m. The 20,000-seat arena will host over 100 events a year, including sports ranging from UFC, boxing, hockey and basketball to concerts and awards shows.

Special Event Services (SES) recently put its L-Acoustics K1 and K2 sound reinforcement systems into action on an extensive North American outing with The Avett Brothers.

The Avett Brothers combine bluegrass, country, punk, pop, folk, rock, indie, honkytonk and ragtime to produce a unique sound that can be a challenge to reinforce in a concert setting...

Two of the most prestigious venues in Istanbul have recently installed L-Acoustics loudspeaker systems as the centre of their sound reinforcement.

Opened in 2014, the Volkswagen Arena is a multipurpose venue, which has primarily hosted live music and sports events. Since 2015, it has been the venue for the Turkish Airlines Euroleague matches played by the city’s Darüşşafaka Doğuş basketball team. Because of the venue’s busy programme of events, the change from an end-on concert hall to in-the-round basketball arena and back had to be possible within a day, yet needed to deliver the most comfortable and enjoyable spectator experience for basketball fans.

Elit Light/Sound Technologies was chosen to design and supply the technical infrastructure, which included portable telescopic bleachers to allow match audiences of up to 5,000. A bespoke audio system was required for announcements and playback at matches, for which Elit chose L-Acoustics. Maintaining sightlines for all seats was a priority, so six arrays of L-Acoustics ARCS Wide and ARCS Focus constant curvature line source loudspeakers, plus SB18M clusters, were flown from the venue roof. With an L-Case placed on top of each speaker tower to afford additional protection for the LA4X amplifier controllers that power the system, this solution delivers high-quality audio to all seats.

Elit Light/Sound Technologies also chose an L-Acoustics audio system for Babylon, a leading Turkish digital arts and culture organisation owned by live entertainment marketing company Pozitif Live, which runs three venues – Çeşme, Kilyos and the new Bomonti, a music, theatre and cinema venue created in Istanbul’s restored Bomonti brewery.

Designed as a ‘creative cultural campus’, the brief for Bomonti’s audio system was to deliver exceptional sound reinforcement, but not to aesthetically detract from the building’s historic internal fabric. Elit chose an L-Acoustics system comprising flown ARCS Focus and ARCS Wide, with floor-stacked SB28 subs plus 5XTs for fills. Stage monitors comprise L-Acoustics P series 112P and SB15P self-powered loudspeakers.

‘ARCS WiFo is the right choice for us, allowing us to provide a consistent sound level for the entire audience,’ says Ozan Murat, Technical Production Manager/sound engineer for Pozitif Live. ‘As with previous ARCS products, ARCS WiFo delivers high power for medium throw applications. But the most important feature of WiFo for me is its musical detail and outstanding dynamics for all genres of music. This makes L-Acoustics the only choice for us.’

‘L-Acoustics WiFo has provided excellent solutions for two very different venues,’ adds Elit’s Emre Defne. ‘The ease of set up and surprising power of this compact system make it extremely versatile. In fact, we have had very good results with WiFo in every type of venue we have worked with; it can solve any medium throw venue needs.’

More: www.l-acoustics.com

Serving UK music TV productions including Strictly Come Dancing, X-Factorand The Voice, Plus 4 Audio has recently purchased an L-Acoustics K2 variable curvature line source loudspeaker system to serve a rising number of arena shows for television.

Plus 4 owner Stewart Chaney’s history with L-Acoustics dates back to the 1990s, when he first heard the company’s V-Dosc system: ‘Adding the K2 means we’ve got pretty much every L-Acoustics product – from the small coaxial boxes, and smaller line arrays, up to and including K2,’ he says. ‘I was system engineer with it out in Spain for the first time and I think like most people when it was first on the market, I was amazed at what I was hearing.’

Stewart’s history with television also goes to when dV-Dosc was launched; using it for live-to-air shows seemed obvious: ‘No one else was doing it,’ he says. ‘Everyone was still using column speakers and all sorts of other things in TV studios for music shows. It seemed odd that we were not trying to do this properly; bringing a concert experience for the TV audience watching a band on stage whilst being sympathetic to the needs of lighting and set design. It would give a great reaction for TV and control the sound in a much better way, with less spill onto the stage and much more focused audio. The advantages were multiple; it seemed strange not to try it.

‘When K2 came out I honestly thought it was too big for our usual environment,’ he continues. ‘But we soon understood that it does make sense as we were seeing a general rise in the number of arena shows for television. We were sub hiring systems in for these shows but it just didn’t make business sense to keep doing that, we needed to look at investing in a long-term product with a good lifespan. K2 was the right choice as it’s well-suited to broadcast and music projects as well as being very popular in the dry hire market making it a great investment. ‘

Since taking delivery, Plus 4 has used K2 on projects including the Royal Variety Performance at London’s Royal Albert Hall and Sports Personality of the Year in Belfast: ‘Last time we did the Royal Variety Performance we used a Kara system,’ says Stewart. ‘This time, with Sir Elton John and Jeff Lynne’s ELO on the bill, along with a fully live orchestra, we knew we needed more headroom and more control of the room. K2 was absolutely the right choice for that.

For Sports Personality, the challenge was the orchestra being out in front of the PA . This is where the Panflex directivity comes into its own; by using this unique horizontal steering technology, which combines mechanically adjustable L-Fins with DSP algorithms effective from 300Hz, Stewart was able to direct the sound where it was needed and away from the orchestra microphones.

As a result, he also chose to use it on the recent National Television Awards at London’s O2 Arena. ‘Having K2 completes our L-Acoustics inventory and has opened up new project opportunities for us,’ he reflects.

The Egyptian capital’s music scene for more than a decade, the Cairo Jazz Club stages home grown and visiting artist, as well as providing a showcase for new talent. Earlier in 2016, it closed its doors for its annual renovations, and has now reopened with a fresh look and a new L-Acoustics loudspeaker system.

Comprising a combination of ARCS Wide and X Series loudspeakers, the sound system was designed and installed by Heliopolis-based Audio Technology, which has been working with the Club since 2006.

‘The project presented us with some interesting challenges,’ admits Audio Technology Sales & Marketing Manager, Amir Hany.

‘The club covers 200-sq-m in an L-shape with exposed air conduits as obstacles, which makes even sound coverage difficult. It hosts a variety of musical genres on different nights, including jazz, dance, acoustic, electronic and more.’

Add to this a stage area that becomes a dancefloor on certain nights, and the venue required a sound system that can be flexible, without sacrificing quality. In response, Audio Technology designed a distributed system, using L-Acoustics 3D modelling software and the input of L-Acoustics Application Engineer Oliver Hebert.

‘Three X15 HiQ coaxial cabinets cover the dancefloor area, and can be configured in different ways depending on the position of the DJ booth, or if a live band is playing,’ Hany explains. ‘Two SB18i subs reinforce the low-frequencies and are placed on the ground, while two ARCS Wide speakers cover the larger areas just outside the dancefloor.’

Additionally, two X12 cabinets cover the bar areas on one side of the club, with the remaining side covered by a further X12 and an X8 cabinet. The system is controlled and amplified by four LA4X amplified controllers.

‘Although the total number of cabinets isn’t large, the design and set up of the system is quite complex,’ Hany says. ‘The beauty of the L-Acoustics philosophy is that it offers a clear and streamlined product line, and all cabinets have the same sonic signature. This meant that we were able to install the loudspeakers we needed for the space, knowing that they would all interact smoothly. To make everything work seamlessly, we installed an L-Net Ethernet-based network, which allowed us to give the system the flexibility it needed.

‘There is an obvious difference in Cairo Jazz Club’s sound clarity and distribution since installing L-Acoustics in the venue. We are very happy with the outcome.’

‘When it came time to update our sound system, L-Acoustics was the best choice,’ says Cairo Jazz Club’s Alexander Rizk. ‘The L-Acoustics system addresses both the challenge of our diverse line-up and the awkward shape of the room. L-Acoustics also has the clearest, most highly defined sound on the market.’

More: www.l-acoustics.com

Claiming ‘everything you need – plus a little bit of magic’, Southern Africa production technology company Gearhouse SA has recently added an L-Acoustics K2 system to its Durban branch inventory.

The company has enjoyed steady expansion over the past few decades, and has operating bases in Johannesburg, Cape Town, Durban and a branch in the Ghanaian capital, Accra. The Durban Branch was opened in 1997 to service the demand in that region and to complement Gearhouse’s ability to support international touring requirements from local centres. With around 40 permanent staff and a pool of 60 freelancers, it is the smallest Gearhouse branch, but its work servicing outdoor events, conferences, corporate productions, government work and television shows is as important as that of the larger operations.

‘Gearhouse Group already has a large L-Acoustics inventory, including 24 dV-Dosc here in Durban, so it was the first manufacturer we looked at when we were looking for a flagship system,’ says Gary Loader, the branch Audio Operations Manager.

After considering the option of purchasing various used L-Acoustics systems, the company chose to invest in a new system comprising 24 K2 and 16 SB28 subs.

‘The K2 proved the best option for us. As well as complementing our stock of dV-DOSC, it also made sense to invest in equipment which would perfectly complement the Johannesburg branch equipment, which includes L-Acoustics K1, V-Dosc, Kudo, Kara and Arcs,’ Loader says. ‘The KwaZulu Natal Market is quite different to other regions in South Africa, with a strong conferencing thrust. The K2 system was purchased specifically to service events in the Durban International Convention Centre and the lightweight system is perfect for this sizeable venue and its various corporate events.’

Immediately put to use on a variety of events, the K2 system is already proving a hit with Gearhouse clients and staff. ‘Like all the other Gearhouse teams, we pride ourselves on providing the highest quality equipment and service,’ Loader says. ‘The K2 system sounds great, it’s compact, flexible and really straightforward to set up.’

Gearhouse Durban’s new K2 rig will already called upon to augment Gearhouse Johannesburg’s K1 system for a November event at the FNB Stadium where well-known evangelist Angus Buchanan gathered people from all denominations for The Sacred Assembly, an in-the-round event, proving the K2 is already a team player for Gearhouse in Durban, and beyond.

L-Acoustics has launched the Kiva II ultra-compact modular line source, adding 6dB max SPL over its predecessor, maximised amplifier density with 16Ω impedance, and a new rugged enclosure material

Despite its ultra-compact format, the Kiva II features the company’s proprietary Wavefront Sculpture Technology (WST), giving it a long-throw capability and allowing high SPL from the front to the back of the audience. Its coplanar transducer arrangement and new K-shaped coplanar transducer configuration generate a symmetric horizontal coverage of 100° without secondary lobes over the entire frequency range.  

Weighing 14kg (31lbs.), its lines and flush-fitted rigging allow it to be unobtrusive in a wide range of architectural settings, suiting it to installation in performing arts centres and use at special events requiring minimum visual obtrusion, and especially in L-ISA multichannel configuration installations.

‘Kiva II retains the elegance of its predecessor but that’s where the comparison ends,’ explains Cédric Montrezor, director of application, Installation at L-Acoustics. ‘Delivering an extra 6dB, the new model offers an impressive peak SPL of 137db. With only a “1.5dB” price increase, Kiva ii is now the SPL-to-size ratio benchmark in its format category.

‘Beside the whopping SPL, we also bring reinforced weather resistance, a rigging visual safety check, and new rigging accessories to expand the range of applications.’

Kiva II will ship in Q4 2016.

More: www.l-acoustics.com

Opened in 2011 with a gala concert featuring Rod Stewart, the Wagner Noël Performing Arts Center (WNPAC) is an US$81m music and theatre complex that includes a 1,800-seat performance hall, intimate 200-seat recital hall and the University of Texas music department.

As the main hall’s original PA system has consistently failed to meet the venue’s acoustical needs – the balconies that ring the interior right up to the stage make sound coverage virtually impossible using conventional sound reinforcement technology –WNPAC turned to A/V systems integrator LD Systems to design and install an L-Acoustics K2 solution.

While many churches are using repurposed premises, the First Baptist Church of Los Angeles occupies purpose-built premises. Looking forward, it recently called in CCI Solutions to design and install a new L-Acoustics set-up.

Built in 1927 and modelled on the Palace of Ducal in Italy, the landmark building is reminiscent of a European cathedral – deep and narrow with 60-ft ceilings. ‘It’s a cavernous space and really multi-use for a church,’ confirms CCI Solutions’ Duke DeJong.’ It is almost like a convention centre that the church owns and meets in. The main congregation doesn’t fill the auditorium, but they rent the space out to other larger congregations. So when we took on the job, there were multiple sound systems cobbled together to cover the range of uses. The goal was to have one good, clean system that could handle anything they threw at it.’

In addition to services for a number of congregations, the building is used as a shooting location for film and TV. ‘Given the movie and TV uses, the sound system also had to be low profile – Kiva fit the bill perfectly,’ DeJong says.

Systems from a number of manufacturers were considered, but were found wanting in both profile and cost. The chosen set-up is based around Kiva and X Series enclosures. ‘We’ve really fallen in love with L-Acoustics products over the last four or five years,’ DeJong continues. ‘They make some really great sounding speakers and they’re both very high-quality and cost-effective, which for church installs is a big issue.’

Another concern for installers and crews working in houses of worship is intelligibility, a spoken word is key to a church’s mission: ‘All of the L-Acoustics systems we use, including Kiva, have a great warmth-to-articulation ratio,’ says DeJong. ‘You can’t go into a church environment with a really aggressively voiced system. Spoken word and music have to co-exist without either sounding flabby or harsh, and the Kiva strikes a really nice balance between warmth and articulation.’

Ease of use and installation was another important consideration: ‘Installation has the potential to be a monstrous task in a room of this size,’ says Todd Gathany, CCI Solutions’ project lead for the installation. ‘Even with the extremely high ceilings and hard-to-reach locations for the fills, rigging the speakers went smoothly.’

The system uses a single central, seven-enclosure Kiva array with two flown SB15s, and SB28 subs on the floor, plus X8 coaxial enclosures fill. Initially, its size looked like it might prove to be an issue with some audiences.

‘The home congregation was fine, but the others were more sceptical when they saw the size of the array,’ Gathany confirms. ‘But you could actually see the attitude change as they began to push the system. They kept asking our people if they could turn it up more until they got it to a point where they said they didn’t want to go any louder for their services. When they were assured that they still had plenty of headroom and the system was not being pushed, they were as sold as we are on Kiva.’

Big, bright and bold, the US$84m venue, the new Smart Financial Centre at Sugar Land performing arts centre in Texas opened with a touring production of Dirty Dancing and appearances from Jerry Seinfeld, Don Henley, Dave Matthews and Reba McEntire.

Combining duties as a concert hall, civic centre and theatrical centre in a single shape-adjusting venue, it also features an L-Acoustics K2 line array system installed by LD Systems and designed by consultant Scott Bray of Wrightson, Johnson, Haddon & Williams, Inc. (WJHW).

The new venue’s sound system uses a theatrical LCR design – 13 K2 enclosures make up the left and right array hangs, with eight SB28 subs flown behind each of those arrays, while the central cluster is made up of 12 Kara enclosures. In addition, there are five delay arrays of six Kara enclosures each suspended over the balcony. A flexible Kara front fill system uses up to eight Kara enclosures along the stage lip for front fill coverage. All of these are powered by 22 LA8 and four LA4X amplified controllers housed in LA-Rak racks.

Flanking masonry walls cradle a glazed façade designed to reveal the iconic bowl-shaped arena within, but one able to adapt to performance and audience requirements. Its largest configuration of 6,500 seats can be adjusted, using deployable walls alongside balconies, which extend down to the orchestra floor, to 4,600 seats for smaller shows and civic events. At 2,900 seats, the hall presents an elegant theatrical experience for the patrons of Broadway shows and holiday spectacles.

‘This is a premier performance venue for the entire region, so they wanted the absolute best sound possible, and they got it,’ says LD Sales Engineer, Kevin Broussard.

The K2/Kara system suits the facility’s variable seating design, notes WJHW design consultant Scott Bray. Using L-Acoustics’ Soundvision predictive 3D system design software and LA Network Manager, the WJHW team was able to calibrate the system based on the position of the movable walls and curtains – three primary room configurations in all – as well as automatically move delay speakers in and out of the system on chain hoists, all at the push of a button.

L-Acoustics’ Soundvision predictive 3D system design software gave WJHW a highly accurate model of what each configuration would need in terms of EQ and delays before the first speaker was put in place; the system was then fine-tuned on site. ‘We felt confident that what we saw in Soundvision is what we’d hear in the venue, and that’s exactly what happened,’ says Bray. ‘We needed highly accurate pattern control, to keep the sound on the seating no matter what the configuration was. We were able to get hold of Soundvision 3.0, and map out perfect coverage patterns.’

He also notes that the K2’s rider friendliness had a huge impact on the decision. ‘Artists know the L-Acoustics K2,’ he says. ‘You’d have a hard time finding an engineer who wasn’t familiar with the system.’

Broussard points out that, while the K2 is designed as a touring rig, it works exceptionally well as an installed sound system, one with the advantage of being able to be hoisted by a dedicated winch for maintenance. ‘The arrays can be flown and then lowered or raised as necessary,’ he says. ‘That’s another level of flexibility for this system.’

But both Broussard and Bray – and everyone else who has heard the system – have first and foremost praised its sound quality. ‘It just sounds incredible,’ Broussard says. ‘Very punchy but never losing articulation.’ Bray agrees, ‘It’s just fantastic sounding,’ he says, adding the ultimate sound-system compliment. ‘It’s like listening to a really good stereo system.’

L-Acoustics’ LA12X amplified controller is the first of the company’s products to receive certification from the Avnu Alliance – the body overseeing interoperability of open Audio Video Bridging (AVB) and Time-Sensitive Networking (TSN) standards.

A member of the Avnu Alliance since 2015, L-Acoustics has committed its development resources to open standard AVB technology, which streamlines network infrastructure by combining audio signal transmission with system control and monitoring. The Avnu-certified LA12X and LA4X amplified controllers include AVB bridge functionality, reducing the need for additional costly networking equipment and facilitating set-up and interoperability of systems. Together, they are the first Avnu-certified amplified controllers to be launched with both Bridge and Listener technology.

To accompany LA12X and LA4X, LA Network Manager software is also updated with an AVB controller, which eases connection with other systems and integrates via a user-friendly interface.

‘Enabled by our membership in Avnu Alliance, we have implemented AVB technology and certified it for interoperability and compliance, which ensures our products are future-proof and increases the value of our partners investments in L-Acoustics systems,’ says L-Acoustics Director of Electronics, Genio Kronauer. ‘By participating in an open community, we also have a voice in the advancement of the technologies for our industry.’

The amplified controllers with new AVB-enabled firmware are currently in a pilot phase with select L-Acoustics partners and will be rolled out widely in Q2 2017. All LA4X amplified controllers manufactured since June 2015 and all LA12X ship AVB-ready, which means that L-Acoustics partners will benefit from AVB via a simple firmware update. LA4X manufactured before June 2015 will require an updated DSP card, available through L-Acoustics service team.

‘Avnu certification ensures a combination of features and ease of use that will offer tremendous benefits to integrators who want to easily integrate powerful, cost-effective networked audio solutions,’ says Avnu Alliance President, Gary Stuebing.

More: www.l-acoustics.com