Nexo has released the Geo-M10 mid-size line array, a high-output sound reinforcement system for long-throw theatre and live music applications, promising ‘an unprecedented ratio of LF response to cabinet size’ from a single 10-inch driver.

The Geo-M10 system is twice as powerful as its sister Geo-M6, launched two years ago. While the M10 design aesthetic is comparable to the elegant new-generation silhouette of the M6, the larger M10 cabinet draws on structural and acoustic innovations first released in Nexo’s STM Series modular line array, in particular the STM M28.

The M10 name refelects the single 10-inch neodymium LF driver, which is paired with a 1.4-inch titanium diaphragm HF driver. With a footprint of 531mm (W) x 288mm (H) x 355mm (D), this two-way passive module offers a frequency response of 59Hz-20kHz with nominal peak SPL of 131dB. There are two versions of the M10 cabinet, offering 12.5° and 25° of vertical dispersion. Both have 80°/120° horizontal dispersion which can be configured manually, without tools, by removing the magnetic grille and adjusting Nexo’s flange fixing system.

Nexo claims several advantages to the use of a single 10-inch driver, instead of the more common double-6-inch configuration. The principle benefit being a lower frequency response from a two-way cabinet. The box keeps a narrow profile, and its height provides for tighter inter-cabinet angles.

A single-driver design also offers better vertical control. Nexo’s proprietary Directivity/Phase Device (DPD) extends upper line source coupling frequency limits between the adjacent 10-inch drivers, so the adjacent loudspeakers couple as coherently as if there were twice as many 6-inch drivers, mounted at half the physical distance.

Cabinet size has been a critical consideration for Nexo’s R&D engineers, guiding their choice of components and enclosure materials, down to the lightweight neodymium driver. In all, the M10 weighs 21kg, and its compact dimensions mean minimal visual impact and improved sightlines, an important consideration for its target market of theatres, auditoria and conferencing venues.

The Geo-M10 is partnered by a dedicated subbass cabinet, the MSub15. Weighing 36kg, this is available in a robust touring package with steel grille or an installation version with cloth grille. It has large composite bumpers on each corner, and side handles. It flies with the M10 in a low-profile array, operable in omni or cardioid mode, thanks to front and back connection plates. The MSub15s are the same width as the M10 cabinets, but taller – two subs are equivalent in height to three M10s.

The M10 can be flown or groundstacked, with or without the MSub15. Up to 12 M10 or eight MSub15 modules can be combined in a single flown column, or, for instance, three MSub15s can be arrayed above nine M10 cabinets, using one of two dedicated bumper accessories. Alternatively, the M10 elements can be ground-stacked on top of the MSub15s, with between -12° to +12° of tilt.

The rigging system for the Geo-M10 evolves another step from the original designs in the Geo-M6 and the STM Series. The internal three-point rigging system now features automatic locking and no loose parts. Two different bumper options are available, both with optional expansion bar, as well as an extension accessory for groundstacking.

Highly cost-effective amplification is via Nexo’s NXAmp4x4 TDcontroller; with up to four M10 cabinets per channel, and up to three subs per channel, the system can be controlled over a network using a Dante, Ethersound or AES/EBU digital expansion card.

Available in black and white, touring and installation cabinet versions as standard, M10 can also be ordered in the full range of RAL colour options. It has full TUV certification.

More: www.nexo-sa.com

The Classic Open-Air Music Festival in Nuremberg saw German rental company In Phase Event put its Nexo’s STM Series modular line array system into action recently. Running alongside Nexo Geo-S and M6 systems, the STM extended coverage to the ‘enchanted’ event’s 280m audience area.

The Classic Open-Air Music Festival is one of the largest of its kind in Europe – a series of free outdoor concerts organised by the city that features the Nuremberg state orchestras performing live in the Luitpoldhain park. As a mark of respect to the tragic events in Munich this summer, two July dates were cancelled, but an enthusiastic crowd of 60,000 people gathered for the next scheduled concert, with the Nuremberg Symphony Orchestra conducted by Alexander Shelley and featuring organ soloist Cameron Carpenter.

Among the primary rental suppliers of Nexo systems in Germany, In Phase Event CEO Ernst Sieber and his team chose STM for the main PA at the large Luitpoldhain park venue, augmenting the system with a variety of other Nexo loudspeaker types for the delay lines. On each side of the stage, the main hangs comprised 16 STM M28 compact ‘omni’ modules, flown underneath three STM M46 main modules. Eight RS18 subbass cabinets were ground-stacked centrally in cardioid mode.

Thirteen delay towers were required to cover the audience area – six carried ten Geo-S8 cabinets, five were equipped with nine Geo-M6 modules plus an RS15 sub running in cardioid mode, and two contained five STM M28 cabinets and an RS18 sub also in cardioid mode.

All of the PA was run on optical fibre over a Dante network, fully controlled by Nexo/Yamaha amplifiers and mixing consoles, alongside AuviTran’s AVS Monitor. Yamaha digital desks were used, with experienced classical engineer Florian Denzler on a CL5 at front-of-house, and system technician Sven Kallenbach handling audio distribution via a CL1.

System specialist David Hochstenbach from Nexo’s Engineering Support Team was on hand to help set up the system, and was himself impressed by the results from the HF coupling between STM M46 and M28 modules over the long throw: ‘By the end of our tuning day, the sound was clear and pure,’ he says. ‘It felt like a gigantic hi-fi. It was a great pleasure to work with such a positive crew as the In Phase team, who loved the phase coherence of our systems as much as the super-fast rigging of the hardware.’

The Paul and Henri Carnal Hall – a futuristic building by architect Bernard Tschumi that has recently been added to the campus of the exclusive Rosey boarding school in Rolle, Switzerland – is centred on a 900-seat auditorium, designed by Arup Acoustics that is dedicated to classical music, welcoming world-famous orchestras such as the St Petersburg Philharmonic.

With the installation of a Nexo sound reinforcement system, it is also able to stage concerts, musicals, operas, lectures and film shows, as well as a huge range of other events to nourish students’ cultural appetites.

ZAP Audio was invited to design a PA system, with ZAP director Frédéric Walder recounting the project that began in 2014: ‘Originally, Le Rosey wanted the hall to be unamplified with only speech reinforcement capability, so we installed a small active audio system. Then the remit for the venue was expanded to include cinema presentations in surround sound, and concerts with bands and artists from the school. We were looking for a main PA at around the same time that Nexo launched its new Geo-M Series, a scalable low-profile line array which suited the venue perfectly.’

In the Concert Hall, there are 900 seats in 406m², with a 183m² stage. The 51m² orchestra pit is located on a platform that can be raised to seating level to create 75 extra seats, or to stage level, adding 50m² to the stage. A gallery runs around the auditorium.

Walder used Nexo’s proprietary NS-1 design simulation software to design a LCR system with surround, which has been installed by Auditech. For the main PA, he selected two arrays each with 12 Geo-M6 cabinets, flown from a dedicated M6 bumper. Sub-bass is provided by two Nexo RS15 sub cabinets, running in cardio mode. An additional four Geo-M620s are used for front fill. Stage monitoring is handled by Nexo PS10-R2 wedges.

For surround, there are ten Geo-M620 cabinets positioned around the auditorium. The gallery is handled by another six M620s. For the total of 50 Geo-M6 cabinets and subs, the amplification is Nexo NXAmp4x4/NXAmp4x1 units, fitted with Dante cards to provide network functionality.

‘Although the surround speakers are fixed, the main PA arrays can be easily taken down if necessary, lowered directly into the custom-designed flightcases. The network allows the Hall to move the front-of-house control to a variety of positions,’ Walder explains.

‘Because of the presence of a nearby train station, the hall is a floating room design. The acoustics are magnificent, and, with the addition of the Nexo Geo-M6, I would consider this alongside the KKL in Lucerne as the best-sounding modern concert auditorium in Switzerland.’

This prestigious installation will give visibility to the Nexo brand in front of some very important people. Institut Le Rosey counts in excess of 5,000 former students in its alumni registry, including generations of dynastic families including Rothschilds, Borgheses, Hohenlohes, Hohenzollerns and Metternichs.

Founded in 1985, the Rock in Rio music festival has set up in its original home six times, as well as visiting Madrid, Las Vegas and Lisbon. It’s most recent outing saw it return to Lisbon for a seventh time, using a Next-proaudio sound system for the first.

Rock in Rio is one of the largest music festivals in the world, with 1.5m people attending the first event, 700.000 attending the second and fourth, about 1.2m attending the third, and around 350.000 people at each of the Lisbon events.

Held in Bela Vista Park in Lisbon, Next-proaudio set up a LA212x system on EDP Rock Street, as well as on Street Dance for the five-day event. The systems comprised six LA212x boxes along with six LAs418 double subwoofers groundstacked at each stage and complemented by a PX System as side fill on Street Dance, ten active stage monitors Lam114xA and two HFA108 as front fill on EDP Rock Street.

According Carlos Cruz, sound engineer for EDP Rock Street, ‘the system was providing consistent coverage and clarity response from front to back of the audience’.

More: www.next-proaudio.com

Portuguese Audio Manufacturer Next-proaudio has announced the appointment of Kish Pishgaman as exclusive distributor in Iran and Iraq.

Based in Tehran, Kish Pishgaman was founded in 1991 and is one of the pioneers of professional sound and light design, installation and commissioning services in Iran. The company is among is the country’s leading A/V integrators, providing turnkey solutions, designing and installing a project, and providing after-sales services. The company also collaborates with AFMG and NTI to provide training.

Kish Pishgaman counts two decades of experience in sound and acoustics, employing professional engineers and the latest technologies on projects in Iran's top religious venues.

‘We are proud to be associated with Next-proaudio, and excited to be working together,’ says Kish Pishgaman Commercial Advisor, Farhad Amirsaeedi,.


‘We are truly pleased to welcome Kish Pishgaman to our team,’ says Next-proaudio Sales Manager, Sergio Pinto. ‘It is a very professional company that offers high-quality solutions and unparalleled support to the market. With our product portfolio, we see great potentials in Iran installation market. This is another step in our continued growth in the Middle East professional audio market.’

More: www.next-proaudio.com

A Martin Audio MLA Mini Multi-cellular Loudspeaker Array has been installed at the University of Oslo (UiO) flagship auditorium – the Aula, famous ceremonial hall, known for its festive events, concerts and art.

Having hosted the Nobel Peace Prize until the auditorium became too small, when the ceremony was moved to the Oslo City Hall, the Aula’s connection with Nobel today revolves around the Nobel Lecture, which is frequently presented here, while many other civic dignitaries also give lectures. In addition, the Aula is used for high-profile events such as the Oslo Opera Festival, as well as classical concerts ranging from the Norwegian Radio Orchestra 70^th year jubilee concerts to small jazz concerts.

The integration was carried out by Atendi AS, Martin Audio’s pan-Scandinavia distributor, and – according to Øystein Wierli, Head of Audio Sales – is the conclusion of a journey, that began nearly two years ago. During the bidding process six speaker brands were invited to conduct demos, with Atendi successfully auditioning the Martin Audio MLA Mini at the end of September 2015.

COWI Norway was the specialist consulting company, and Geir Kristoffersen, Head of Section Acoustics, Noise, Vibrations, Electroacoustics, Stage and A/V, produced system specifications in collaboration with the technical crew at UiO and colleagues at COWI. Having worked on concerts in the Aula some years ago, Wierli knew the task he faced: ‘My first idea to solve the problematic room, with its long reverb time, was MLA Mini. The venue has a glass ceiling, a wooden floor and marble walls decorated with Munch paintings. This makes it acoustically challenging.’

However, MLA Mini was only adopted after intense testing and measurements conducted in September last year by COWI, but consistently MLA Mini provided the system with the most even coverage. ‘One of the requirements was that the PA system needed to be supplied in white in order to minimise the attention the loudspeaker system normally commands in a setting like this,’ Øystein continued, ‘with consistent coverage throughout the whole venue being a further prerequisite.’

During commissioning, it was very obvious that a distinct slap-back echo could be heard in the front row of seats from the upper balcony at the rear of the hall. By using MLA’s Hard Avoid feature, it was possible to reduce the energy in that part of the room, losing the distinct echo completely.

The new PA design is based around eight MLA Mini and two MSX subs each side of the stage. Atendi also installed a front fill system consisting of four DD6 speakers, a delay system comprising a further pair of DD6, with two more DD6 as floor wedges. All amps were installed in a single rack in the attic above the Aula.

The new PA rig will now be used on a daily basis, as the Aula conducts guided tours of the venue (the attraction being the Munch paintings). Hence the tour guides will also use the new MLA Mini for speech reinforcement. In addition, the venue will also host concerts, receptions, press and media events, and so the sound system will be subjected to an arduous duty cycle.

The installation was project managed by Atendi’s Lorry Kristiansen and Øystein Wierli himself, while Martin Audio’s Product Support Engineer, Robin Dibble supported both the demos last year and the commissioning. ‘He is a fantastic person to have on jobs like this,’ Øystein enthuses, ‘and the success of this project has meant that MLA Mini in white will be an ongoing available variant from Martin Audio.’

Held in the Belgian town of Boom, Tomorrowland is presently among the largest of electronic music festivals, with the 2016 event attracting 60,000 people on each of three days. Serving up the sounds were almost 600 L-Acoustics loudspeakers specified for eight areas, including the huge main stage.

The system is owned by Phlippo Productions – an L-Acoustics partner for the past four years – who also supplied eight technicians for the build. Design for the audio systems was by Noizboyz, a group of freelance audio technicians specialising in live sound for EDM. They have specified L-Acoustics systems for Tomorrowland since first becoming involved with the festival in 2011.

Built for the international events in Rio de Janeiro, and located in the heart of the Barra Olympic Park, the three adjoining Carioca Arenas are furnished with Community loudspeaker systems by Soundvision Engenharia de Audio e Video.

The main contractor, Honeywell do Brasil, appointed Soundvision to provide the A/V systems for all three Carioca Arenas, with Community R Series chosen for their proven reliability, high output, high intelligibility and accurate coverage.

A combination of R.5Man models were used to provide the dispersion patterns required for even coverage of the 360° seating areas. In each of the arenas, the loudspeakers are driven by Crown DCi amplifiers with BSS Blu-800 processors providing system DSP.

Carioca Arena 1 has a seating capacity of 16,000 and spans more than 38,000sq-m, while Carioca Arena 2 and Arena 3 have a capacity of 10,000 each. A total of 96 R.5Max loudspeakers have been installed in all three multipurpose venues.

After hosting basketball, wrestling and judo events, Carioca Arena 1 and Arena 2 will become part of a permanent athletic training centre, with facilities for a variety of sporting disciplines. Carioca Arena 3 hosted taekwondo and fencing competitions, and will now transform into a specialist sports school for 850 full-time students.

‘We have substantial experience with R Series, which we installed for three of the 2014 FIFA World Cup stadiums in Brazil,’ says Soundvision Comercial Director, Antonio Tadeu Torquato ‘Community also has a strong track record with world-class arenas and stadiums and the Carioca Arenas project has again proven R Series’ excellent quality and reliability in professional sports venues.’

‘When the Riverhouse on the Deschutes was acquired by the Vesta Hospitality Group, the management wanted new A/V systems with local support,’ says Audio Visual Bend owner Tony Sprando. ‘Our entire business is commercial A/V, so they came to us – we design every system we build, and we use a lot of Symetrix DSPs.’

Sitting on the bank of Oregon’s Deschutes River, the Riverhouse on the Deschutes hotel provides first-class accommodation. With its new ownership, it has prioritised its A/V services, calling on local company Audio Visual Bend for advice and installation.

‘We have a central hub location [for the hotel’s meeting spaces] and A/V rack that everything runs to, and it’s based around a Symetrix Radius DSP,’ Sprando explains. ‘We distribute video from the projection system, as well as background music from Pandora Mood, to two meeting spaces, which can be combined or separated. Separate players can be switched to different Pandora channels for each room.’

Sprando’s team provided an auxiliary XLR microphone input in each room for DJ or podium mics. Wireless microphone systems also serve the entire space, with handheld and lapel mics in each room. Users can select background music or aux inputs using smartphone, tablet, or laptop browsers to control the Symetrix Arc-Web embedded software control panels.

‘The Arc-Web panels have a digital readout with the name of the room, so users open a panel, and it says The Deschutes South or The Deschutes North,’ Sprando details. ‘Users hit the menu button and choose background music, video playback, or audio from a laptop, and they can set the volume. They also can control the system wirelessly from an iPad.’

Audio Visual Bend builds and tests their systems at tin house, but customers often want last-minute changes during installation: ‘I give kudos to the Symetrix tech guy who helped with that,’ Sprando says. ‘He was efficient, fast, and super helpful in making those changes.’

While the Symetrix Radius was adioted for the meeting rooms, the A/V system on the other side of the building are served a Symetrix Jupiter DSP. ‘The other side of the hotel has a full sports bar, restaurant, and lounge,’ Sprando says. ‘They have 12 TVs, and we needed to pull the audio feed off the cable box for the primary TV for when they want to watch one game on all of the TVs. We also installed two Pandora Mood players, one for the bar and one for the restaurant area. So we didn’t have many sources but we had to send audio everywhere, including the patio, the bathrooms, and so on. We only used three inputs but we used every output on the Jupiter.’

The Audio Visual Bend team also installed an Arc-Web panel for the Jupiter-based system. ‘We also put an iPad mini on an iPort Surface Mount inductive sleeve so it mounts on the wall,’ Sprando says. ‘They love it because they can pull out the iPad, call up the Pandora app, change the channel, and then hit the other icon for the volume control. Every zone is broken out with a name, and they can turn whatever they want up or down.’

Sprando especially credits Symetrix’ ease of programming in its selection: ‘One big reason I chose Symetrix is that I could learn how to program it in 30 minutes,’ he says. ‘The programming interface is beautiful and simple, and it looks and works the same as it does on the ARC control panel. I’ve had to program competing DSPs, and I was pulling my hair out; they have a web interface and a control panel that don’t look the same and don’t operate the same. Why not?’

Ease of use also affects the price: ‘Why, with other DSPs, do I have to make a high-priced buy-in and says my guys for a week of training someplace? That makes no sense,’ Sprando says. ‘Make it easy for me. That’s also the way we have to think for our customers: Keep it simple, like using a smartphone. Symetrix gets it right.’

Staged at Lagos’ Tafawa-Balewa Square, The Experienceis widely regarded as the world’s largest Gospel concert. Organised by The House on the Rock Church, the event saw Cytech World Communication provide an Outline sound system for Subfrantic Production Services production in front of a crowd of 700,000 people.

Having outperformed all the other systems used at previous editions, this was the fourth consecutive year that Outline’s GTO C-12s and Butterfly systems have served The Experience. The FOH audio set-up comprised 30 GTO C-12 line-source systems plus two underhung GTO-DF (down-fill) modules, while 16 DBS 18-2, eight Subtech 218 and four LAB 21 HS subwoofers ensured the low and infra-low frequencies power and precision.

Eighteen further GTO C-12 elements were used to provide the necessary coverage width for audience areas near the side of the stage, and 32 Butterfly systems were fielded as delay units. Eight DVS 12 enclosures filled in the close field, and two Doppias combined with four Subtech 218 handled side fill. The system was powered by Outline T-Series amplifiers.

With limited time at the venue, the audio team used Outline’s Openarray-3D acoustical prediction software to guide the installation of the sound system, which had to cover the entire Tafawa-Balewa Square – 280mx200m – bounded by tiered seating 20m high and 30m deep, running its full length.

More: www.outline.it

The new Vegas loudspeaker series from Outline promises ‘high-quality solutions for a large number of applications’ for contractors, installers/specifiers and integrators, as well as for audio production.

Featuring flexibility and common-voicing, all Vegas range models feature premium-class Italian-made components and are designed, sourced and manufactured to the standards Outline applies to its high-end touring audio products. Common characteristics are high intelligibility, high audio fidelity, attractive price points and excellent power-to-size ratios.

The full-range two-way Vegas 6.5, Vegas 10, Vegas 12 and Vegas 15 are equipped with a woofer and compression driver, with a passive crossover – on the Vegas 10, Vegas 12 and Vegas 15 models, the compression driver is mounted on a rotatable waveguide (90° x 60°) which can be rotated through 90° for required dispersion in horizontal or vertical orientations. The mouth’s dimensions ensure tight directivity control and the design of the cabinets, also makes them suited to use as stage monitors.

All Vegas enclosures are made with high-quality phenolic-glued Baltic birch wood, and are protected by an epoxy powder coated, resonance-free steel grille over acoustically transparent foam. Every cabinet is coated with a high-tech black textured polyurea scratch-free finish. Custom RAL colour paint finishes are available upon request, enabling these compact enclosures to fit unobtrusively a diversity of locations.

For further extension of the low end and greater dynamics, a line of high performance subwoofers is also available.

Integral mounting hardware, compatible with various mounting brackets, supports a range of installation options.

More: www.outline.it

England’s Oxford University has opened two Harvard-style lecture theatres within its Blavatnik School of Government, where Renkus-Heinz Iconyx digitally steered array loudspeakers provide the sound reinforcement.

Originally based across three temporary sites, the Blavatnik School of Government is named after benefactor Blavatnik, a Russian-born US citizen now based in the UK. Courtesy of his £75m donation, the school is now housed in its own permanent home, designed by architects Herzog and de Meuron. The building has been designed for minimal environmental impact while offering flexible, contemporary teaching spaces, including the two lecture theatres. Its challenge is to help create the next generation of political thinkers.

But while the horseshoe configuration brings students and lecturers closer together, it created a challenge of its own – understanding the lectures. The combination of a curved rear wall, metal-framed ceilings and wooden floors all served to create the kind of reverberation that can confuse even the brightest mind. In response, pairs of Renkus-Heinz Iconyx IC-8-RII digitally steered array loudspeakers serve each theatre, having been discretely installed into recesses at either side of the lecturer’s podium. Custom colour-matched help the speakers to go unnoticed, as they make certain that hard, reflective surfaces are avoided and that every lecture is delivered with flawless intelligibility.

UK-based Renkus-Heinz distributor Polar Audio was brought into the project by consultant Hewshott International, while UK-based systems integrator Snelling Business Systems conducting the installation. ‘Our experiences of installing Iconyx into some very acoustically challenging heritage sites left us in no doubt that it was the ideal solution for the school,’ says Stuart Leader, Installation Manager at Polar Audio. ‘Although it’s a new building and the lecture theatres met every environmental and educational requirement, the nature of their design meant that they were significantly acoustically compromised. The Iconyx speakers overcame the potential pitfalls to the great satisfaction of the client. Given that communication sits at the heart of the Blavatnik global vision, Iconyx is playing its own part in that respect by delivering audio clarity in a crucial area of the school’s function.’

‘The school is impressed with the qualities of the Iconyx speakers,’ says Snelling Business Systems Sales Manager, Steve Royans. ‘They offer a clarity that is absolutely essential in this multi-faceted academic environment and achieve this in spite of the acoustic challenges presented by the rooms.’

UK sales, installation and hire specialist, Pro Audio Systems (PAS), has reported its single largest EM Acoustics sale to date – event management experts, Midland Conference Services, has taken delivery of a significant EMS Series system from EM Acoustics complete with flying equipment and a rack of Lab.gruppen power amplifiers.

According to PAS’s Dave Simpson, the sale to MCS is proof of growing interest in EM Acoustics since becoming a main dealer for the brand in March 2015: ‘EM Acoustics products have quickly become a very worthwhile addition to our sales portfolio,’ he says.

‘Our business is all about matching products to applications, usually within strict budgets, and the inclusion of EM has given us access to a new range of loudspeaker products that makes this task much easier at a professional level. We have already had several notable sales, including two sales to the Alhambra theatre in Bradford – a pair of EMS-118 subs for the Studio Theatre and a number of EMS-51s as part of the show relay system. We also recently installed several EMS-61s into the main hall of the British Muslim Heritage Centre, which is used as a conference and events area as well as a mosque.

‘We’re very happy to be part of the EM family,’ he adds. ‘The build quality is exemplary, the acoustic performance is always impressive and they are a very easy company to deal with. We couldn’t ask for more, really.’

‘Our business has grown considerably over the past couple of years, so we decided that the time was right to make a big investment in our PA equipment,’ Midland Conference Services Senior Technical Manager Jon Lane offers. ‘After several discussions with our freelancers and technicians, it was clear that EM Acoustics was the most popular option. After a successful week-long trial of the kit arranged via EM Acoustics’ Dave Kelland, we decided to go ahead and make the purchase. Both the sound and build quality are excellent, and in terms of value, I think that EM Acoustics has very few rivals. I’ve listened to loudspeakers from other brands that cost considerably more and yet don’t sound anywhere near as good. We were also pleased to discover that all the products are manufactured in the UK – which is important to us as a business.’

The system purchased by Midland Conference Services comprises four EMS-51 boxes, EMS-81 boxes, four EMS-121 boxes, four EMS-118 subs and yokes for all cabinets. The system is driven by eight Lab.gruppen power amps.

‘EM Acoustics offers a diverse range of speakers and their ability to be versatile enables us to provide flexible solutions to our clients, which is really important,’ added Lane. ‘We are delighted with our new purchase and the service we received from both Pro Audio Systems and EM acoustics was second to none.’

Peavey Electronics has announced the RBN 112 speaker and RBN 215 powered subwoofer.

The 1.5kW RBN 112 speaker enclosure uses a proprietary 120mm true ribbon high-frequency driver with waveguide, and with 12-inch dual-voice coil neodymium Scorpion driver, with Peavey’s field replaceable basket technology. Features include programme EQ presets, side and top handles, multiple side and top fly points, and an ultra-braced molded enclosure.

Incorporating digital signal processing, the RBN series enclosures features two XLR/jack combination inputs, a 3.5mm input, and a mic/line level selection. Each input features digital infrasonic high-pass filters, a nine-band graphic EQ, and delay. Each output features a sophisticated compressor/limiter and fourth order high-pass/low-pass filters for crossover function and external subwoofer incorporation. The series comes equipped with bass enhancement and auto-off power down.

The RBN 215 powered subwoofer maintains full output down to 36Hz with 2kW peak power, and is constructed of heavily braced 18mm birch plywood. Features include dual 15-inch woofers, assignable crossover, heavy-duty locking casters, braced cabinet assembly, ground lift, pole mount, and a heavy-duty steel perforated grille.

‘Reliability is key when selecting a powered enclosure,’ says Peavey COO. Courtland Gray. ‘RBN enclosures feature an internal temperature monitor combined with a variable speed cooling fan, plus level and clip indication to ensure optimal performance. The set-up wizard makes the speaker system completely user-friendly with internal presets built into the DSP, allowing users to quickly select the speaker’s application or orientation via the LCD on the rear of the enclosure next to the power amp vu meter.’

US retail prices have been set at US$1,499.99 for the RBN 112, and US$1,999.99 for the RBN 215.

More: www.peavey.com

The Seven Peaks Festival, an annual music event curated by country music superstar Dierks Bentley pulled more than 12,000 into in the small mountain town of Buena Vista, Colorado, to enjoy three days of live music. Ensuring high-quality sound from wherever they stood in relation to the event’s three stages were PK Sound Trinity Line Arrays and Gravity Subwoofers.

Bentley’s relationship with the location began with last year’s recording of The Mountain, when he realsed that nearby Buena Vista would be the perfect place to host an outdoor festival and worked with Live Nation’s Brian O’Connell to put it together. ‘It’s a special place,’ says Bentley’s FOH and system engineer, James ‘Pugsley’ McDermott. ‘Dierks recorded the first music video for The Mountain on the same property, and we knew it’d be a great place to host a festival where people could camp out and enjoy the scenery.’

Comprising the Main Stage, which could support the full attendance of the event, the Whisky Road Stage which was fit for up to 5,000, and the Beach Stage for up to 3,000, the event needed systems that could operate effectively at altitude: ‘You need to make sure that the rig can stand up to the diminished air pressure since we’re operating at 8,000 feet above sea level,’ McDermott confirms. ‘You need drivers that can really push.’

In addition to the added power requirements, the systems also needed to ensure that the festival didn’t wear out its welcome with the surrounding community: ‘Some of these farms were less than 800 feet away,’ McDermott explains. ‘We needed to ensure that there’d be no uncontrolled noise pollution in there as well as spilling out into the neighbouring areas.’

McDermott used PK’s Trinity line arrays and Gravity speakers while running sound for Bentley’s eight month Burning Man Tour earlier this year. ‘These systems are very well put together, and adaptable to any venue and situation,’ he says. ‘PK did a great job designing these boxes and it’s made them really efficient to use and you know that what you put in, you’re going to get back out.’

The systems’ precision and ability to adjust ‘on the fly’ not only saved on set-up time at Seven Peaks, but allowed McDermott total control of the event: ‘With most systems you have to spend a lot of time with prediction software. It’s a great tool to have, but it’s never going to account for all the variables that can effect sound in a live environment,’ he says. ‘The control that you have with Trinity and Gravity allow you to really listen and make adjustments in the moment, which can be really powerful.’

McDermott employed 12 Trinity line arrays, and 12 Gravity subwoofers per side for the Main Stage, with 14 Trinity ten line arrays per side for coverage. The Whisky Road Stage had four Trinity arrays stacked on the stage, with three Gravity subs per side and the Beach Stage had two Trinity 10s stacked with two Gravity 2x18 subs for each side. This gave sufficient power for each stage with flexibility to suit the variety of artists that would be performing on each. Impressed by what his team was able to accomplish, McDermott said, ‘It always blows people away. In the grand scheme of things, the technological advancements in this stuff is really impressive, but at the end of the day it just sounds incredibly musical and all without too much DSP.’

‘The Trinity system was ultra-responsive and gave me better coverage and headroom than any other line array that I’ve used,’ says Trevor McIntosh, FOH engineer for Tracy Lawrence. ‘It inspired me to mix in a way that was more dynamic and impactful.’

‘It made for a real easy day,’ agrees Frank Sgambellone, FOH for Luke Bryan. ‘Pugsley had the system sounding brilliant when we arrived, and given that the site was asymmetrical, being able to steer the PA on the fly made sure that we had a great show.’

More: www.pksound.ca

PK Sound has released Trinity 10, claiming it to be ‘the first mid-size, three-dimensionally controlled sound system of its kind’.

Using the same high= and mid=frequency components and waveguide design, Trinity 10 has identical voicing to the full-size Trinity for seamless integration when both models are used together. Trinity 10 is configured remotely, providing control over the vertical and horizontal polar directivity of the entire array, and is powered by a 3kW class-D amplifier for high headroom and clear output.

Each Trinity 10 module features a Coherent Midrange Integrator (CMI) to combine mid/high-range frequencies, as well as precisely spaced low frequency apertures for smooth and controlled directivity. The CMI waveguide is variably adjustable from 50-20°, both symmetrically and asymmetrically, giving engineers the ability to focus the soundfield and increasing the loudspeakers’ long-throw capabilities by increasing its sensitivity.

Trinity 10 is loaded with dual band-pass loaded, 10-inch transducers to provide greater accuracy and output than traditional front-loaded designs, plus two 6.5-inch midrange transducers coupled to a CMI waveguide through phase plugs designed to increase sensitivity and ensure seamless integration with high frequencies. Trinity 10 also features a dual driver high-frequency compression device coupled directly to an integrated planar waveguide, dramatically reducing the overall length and internal diffraction and significantly reducing distortion across the entire high frequency band.

PK Sound’s Kontrol software offers control of the internal functions of each module remotely including safety and DSP, so that each array can be flown straight and adjusted in the air. PK Sound’s Kontrol Auto-Array feature communicates with each module and automatically arranges modules into the proper position in each array, removing the need for time-consuming manual arrangement.

Trinity 10 also uses Auto-Align, a unique rigging system that is remotely adjustable from 0-12° in 0.1° increments. Auto-Align removes the need for cumbersome rigging links, significantly reducing setup time and increasing safety. To further reduce setup time, the Trinity 10 system stacks efficiently on carts four or six high with a fly bar that remains attached during transport.

In addition to vertical directivity, Trinity 10 provides 25 horizontal directivity options that can be arranged in any order in the array and fine-tuned on the fly, giving users the flexibility to change the directivity of the system to suit any number of audience configurations in a multitude of different venues.

‘Trinity 10 is the next evolution in robotic line array technology and provides unparalleled soundfield control in a mid-size solution,’ says PK Sound President/CEO, Jeremy Bridge. ‘By giving users the ability to sculpt the sound field in all three dimensions, precision and accuracy previously unobtainable can now be achieved. This vastly increases both traditional and creative applications for both artists and engineers.

‘Trinity 10’s patented technology provides engineers with a new set of soundfield control tools to overcome the challenges they face on a daily basis without compromising acoustic integrity,’ he adds. ‘Trinity 10 combined with Kontrol loudspeaker management software lets engineers instantly adjust every aspect of the sound field remotely without the need for drastic DSP.’

Each Trinity 10 module also includes local control functions, giving users access to key loudspeaker functionality and providing additional setup flexibility. Trinity 10 modules also feature a weatherproof amplifier plate and interconnects to ensure consistent performance in demanding outdoor conditions.

More: www.pksound.ca

Beginning as a small mission church on Singapore’s Tanglin Road in 1958 for 30 to 40 children, Grace Assembly of God Church (AOG) has become a multi-generational family church of about 4,000 worshippers running 13 services on any given weekend. Along with its success, however, AOG faced a constant shortage of space, leading to a move to redevelop its existing building – including the need for sound.

When the go-ahead was given, the church wasted no time and assembled an outstanding development team under the new leadership of senior pastor Calvin Lee. With one large hall on two levels as the main sanctuary and three smaller worship halls, along with offices and other rooms, a premier sound system was a pre-requisite.

Robert Soo of Cogent Acoustics was appointed A/V consultant for the project, with Electronics & Engineering (E&E) winning the tender for the supply and integration of systems. ‘For the main hall, I proposed a point source system rather than a line array for two main reasons,’ Soo explains. ‘It would not only give much better control over the various sections of the two level worship hall, but would also ensure an unobstructed view of the three large LED video walls at the stage front. As the ceiling height is low for the other three smaller halls, an EAW point-source speaker system was chosen.

‘We needed a quality power amplifier system that was consistent, reliable and would drive the EAWs efficiently. So when E&E proposed the Powersoft K and M series, the decision was almost a no brainer.’

Thirty amplifiers are assigned to drive the different parts of an EAW system. These comprised the powerful K series in the form of four K2, three K8, and a K10, as well as a M28Q, two M14D, 12 M20D, five M30D and a pair of M50Q. The speaker system comprises six QX596 and four SB1002 subs, backed up with four MK5396, 22 MK2396, four MK8196, six JF10, 24 VFM109 and four SB180.

Five Yamaha CL mixers have also been provided for mixing. All are run on a network, so that any mixer in any hall is able to access any input source from any hall. ‘This makes it powerful and flexible for the operational crew running their events and programmes,’ says Soo, adding that the amplifiers have been working flawlessly, adding to the immersive experience that the sound system and visuals afford the congregation.’

London-based event company Capital Sound has made its first investment in Powersoft amplification technology, pairing 24 X8 amplifiers with its new Outline GTO line array system.

The new amplifiers will be housed in eight specially configured amp racks, containing three X8s, with custom 4U power distro and speaker patch, with the flightcases designed for in-the-field efficiency. The X Series offers eight 5.2kW/2Ω channels in a 2U-high rackmount chassis.

Both the Outline GTO C-12 line array and the Powersoft amplifiers were supplied by UK distributor CUK Audio: ‘We have friends in the industry who have long promoted Powersoft and when we set up a demo at O2, and CUK Audio showed us the X Series, it became a no-brainer,’ says Capital Sound Project Manager, Robin Conway. ‘These new amplifiers are just so powerful, compact and clever, with a ridiculous amount of features.

‘At O2, we were able to drive the majority of the demo rig off just three amplifiers,’ he adds. ‘We have 192 channels of X8 amplification, and as our biggest PA rig will only comprise 104 amplifier channels there is flexibility to extend the Outline rig at a later stage. And since we have recently implemented a Dante returns system, having the Dante integration is brilliant as it will fall seamlessly into the new infrastructure, with our Lake LM44 processors and Cisco SG300 ten-port switches. There will be little in the way of XLR connections now in the signal flow – it will all be done with Dante and Data.’

‘Outline has traditionally used Powersoft K Series [in its products] but this is the evolution of that series,’ says Rich Soper, CUK Audio Brand Manager (Live Sound). ‘Not only was it much more cost-effective for Capital to go with X Series but it has a more advanced DSP platform, based on a tried and tested base, and they will be saving on rack space as well. The Dante implementation is really nice, because Powersoft’s new Armonía v2.7.0 software allows you to stream eight processed or unprocessed Dante signals out of the amps – pre or post DSP.’

The sale will be fully supported by CUK Audio, and Soper will arrange technical training, both internally and externally, for Capital personnel and their freelance sound engineers. ‘Rich has been really hands on from the beginning,’ says Conway. ‘We have experienced the complexity of Powersoft integration in our Martin Audio MLA, and that reliability – coupled with Outline’s recommendation – gave us all the assurance we needed.

Powersoft has appointed Audiobrains as its new Japanese distributor, following discussions with Audiobrains’ Sales & Marketing representative Shin Yamada and final agreement with CEO Fujii Shuzo.

Audiobrains’ distribution portfolio includes Martin Audio, Symetrix and beyerdynamic, and the company also enjoys dealer status for Avid consoles and d&b audiotechnik loudspeakers. Powersoft adds an important piece to the jigsaw. ‘Powersoft fits comfortably into several professional sectors, both for touring and installation,’ says Yamada. ‘This is a great opportunity and we are delighted to be representing the brand.’

Also key to brokering the deal was Powersoft Regional Sales Manager, Arthur Soh: ‘He opened door for us at Powersoft and talked at length both about opportunities in the Japanese market and the worldwide situation,’ confirms the Audiobrains man.

‘We believe that, with Audiobrains’ experience in the pro audio market, we will be able to build our brand image and awareness in the Japanese market,’ Soh adds. ‘The company’s strong contacts in the touring market will give us more exposure in the Japanese rental market.”

Although Powersoft already has good brand recognition in Japan, Shin Yamada believes there is scope for further exposure: ‘The K and M series are already popular in the touring sector but I believe X and Ottocanali series will open new doors in installation and build the company’s reputation much further.’

Established in 2007 Audiobrains will quickly embark on a series of roadshows, seminars and media initiatives to support its handling of Powersoft. The company has already received full training from Powersoft Applications Engineer Remo Orsoni, while Yamada himself will conduct domestic customer training. Meanwhile, a Technical Support/Application Engineer based in Singapore, will be supporting the APAC region with ongoing training and the company’s Sound School programme.

‘I strongly believe that Powersoft will drive our business forward to the next level, in terms of offering lightweight, high-powered solutions, with high-quality DSP and digital audio streaming,’ Yamada  says. ‘This will give both the touring and installation sectors an opportunity to invest in advanced power and technology.’

Studio Berar DOO has added Powersoft to its distribution portfolio, joining the likes of Midas, Soundcraft, Yamaha, JBL, d&b audiotechnik, Martin Audio, Turbosound, AKG, Shure, Crown, Audio-Tehnica and Sennheiser

The Serbian pro audio specialist had been searching for a brand that would meet its own criteria for high quality and the requirements of its clients: ‘We very quickly came across Powersoft and immediately liked the fact that we share the same philosophy – uncompromising quality and remarkable standards,’ Sales Director, Bojan Počuča. ‘Powersoft products are the most advanced solutions in the field of audio amplification production and are an essential component in any signal chain.’

Počuča explains that the decision was based on decades of experience in renting and selling solutions in the audio field, and anticipates a cooperation that will become increasingly productive.

‘Bearing in mind the incredible price/performance ratio we expect Powersoft’s products to find their way to designers, integrators, audio engineers and all who recognise the benefits of Powersoft over other manufacturers,’ he says. ‘Through Powersoft, we hope they will gain additional insight into the new standards that can be attained by specifying this brand.’

‘Since the first time we got in touch with Studio Berar we could see the high degree of professionalism and capacity of the team, both in touring and installation,’ says Powersoft’s Regional Account Manager Stefano Previtali. ‘Without doubt, they share the same passion and philosophy that characterises Powersoft. We believe we have finally found the perfect match to spread awareness of superior audio technologies also in the Serbian territory.’