In summer 2013, the main PA serving the four stands at Signal Iduna Park, home to Borussia Dortmund, were replaced by system integrator fulfil engineering. Initially left for a future upgrade, the system providing coverage to the corners of the ground has now also been replaced.

Powersoft’s super energy-efficient Ottocanali installation amplifiers have been specified in combination with the advanced X8 Series, which were supplied by the Italian manufacturer’s German distributor, Laauser & Vohl. ‘Whenever I visited fulfil, Powersoft amplifiers had always been an important topic of conversation,’ says L&V Dales Director, Friedemann Wüstner.

Early in 2016, fulfil received an Ottocanali 12K4 on demo – and when the criteria were for high power output, eco-friendly devices, controllable through the proprietary Armonía Pro Audio Suite software platform, Powersoft answered all the questions. According to fulfil engineering Technical Designer Timo Boerger, with the first Ottocanali 12K already successfully driving the PA in front of the stadium, it logical to use the same platform inside the stadium as well.

The installation was supported by Powersoft Business Development Manager for Install, Marc Kocks, who had determined the final specification using Powersoft’s Design and Comparison Tool. ‘This enabled us to propose the most efficient solution,’ he says. ‘It calculated solution allowed us to compare the new Powersoft data with the old system. The outcome immediately convinced the user of the huge saving in mains power and cooling required when compared with the previous system.’

The task was to optimise the existing tri-amped EAW KF750 (35°x35°), EAW KF650 (60°x45°) and ASR665 (60°x45°) loudspeakers in the centre roof and infield, and on northeast and northwest corners, southeast and southwest corners. This was accomplished in four racks of DSP-equipped amplifiers and other equipment. Assigned to the various frequency bands of the system, using analogue inputs only, are eight Ottocanali (six 12K4DSP+ETH and two 8K4DSP+ETH) plus four X8 DSP+ETH amps – designating that these models are Ethernet-supporting (rather than Dante).

The specification also took into account the additional LF required to accurately convey the ‘heartbeat’ which is broadcast by the loudspeaker theme before the start of each match. ‘We used the existing EAW presets and Powersoft provided us additional settings for the ASR that were not already in place,’ Boerger explains. ‘The entire system is monitored and controlled via Armonía software – and in particular we are using the Presets/Delays/Gains and Mute Groups in the DSP.’

In terms of designation, the long stands (west/east) are equipped with an Ottocanali 8K4 (HF), an Ottocanali 12K4 (MF) and an X8 (LF) for the Infield PA (which comprises nine KF750 point source enclosures per side).

The short stands (south/west) are equipped with two Ottocanali 12K4 (MF/HF) and an X8 (LF) for two KF 650 boxes, ten ASR655 and six KF750 in the corners. All signals are transmitted by fibre-optic on an Ateïs network, and every amplifier input is fed from its own dedicated Output on the matrix, while each stand and infield PA has its own bus from the mixing desk.

Boerger believes that the Powersoft solution was the right one: ‘We wanted the amplifiers to be monitored and controllable.’ he says. ‘The fact that they have a GPO to trigger an alarm, when something is not fully working, was also important.’

And with the amplifiers continuously sending status messages, fault and error warnings to Armonía, he knew he was in safe hands – as this was required specifically for the HF and MF bands. ‘The Powersoft amplifiers offered everything we needed for this installation,’ he concludes.

More: www.powersoft-audio.com

Powersoft has put its name to the multi-platform PAcalculate app for Android, iOS, Windows-Phone and Blackberry devices for anyone working in PA, sound reinforcement, sound systems, electroacoustics and wider professional audio.

Developed by Brusi Acoustics – a Spanish company specialising in electroacoustics and providing an independent laboratory for loudspeaker directivity testing – it is marketed by Doctor Pro Audio, a leading web portal. The app provides calculators, utilities and reference information, and currently supports Simplified Chinese, English, French, German, Italian, Portuguese, Russian and Spanish,

 Explaining the sponsorship, , Powersoft Brand & Communications Director Francesco Fanicchi says: ‘We have decided to implement our brand on the app, by focusing on a dedicated session regarding the Powersoft limiter thresholds.’

This tool is designed to provide a starting point for a limiter set-up, performing real-life tests to validate and tune the results. To use the tool, users need to select AES power (Nominal Impedance and Safety Level – from Safe to Performance) of speakers and the result returned by the app will enable a maximum voltage (Threshold Vrms, Threshold Vpeak, Clip V) to be set.

Since these limiters follow specific Powersoft criteria, the company has added a description to emphasise that correct limiting requires at least two stages in series. The first is a slow-reaction time to RMS level, designed to behave as thermal protection for the voice coil. The second, with faster time constants, is set to protect the transducer from excessive voltage peaks and therefore from mechanical damage. There is also an optional Clip Limiter (Powersoft X and Ottocanali Series) with a zero-attack time and look-ahead. It is designed to set maximum voltage, which should never be crossed without adding distortion.

‘I hold the Powersoft brand in very high esteem for its constant innovation, both inside and outside of their comfort zone, so it’s great to see the company as a sponsor of PAcalculate and join the ever growing community of users across the different platforms,’ says José Brusi, the developer of the app.

More: www.powersoft-audio.com

Providing the sound services for  such entertainment industry events as the Golden Globes, Academy Awards Oscar nominees luncheon, Director’s Guild Awards, American Cinema Editors’ Eddie Awards, Visual Effects Society awards, and the Clive Davis Pre-Grammy Party, Encore Event Technologies had very specific equipment requirements. To meet these, the company has purchased Meyer Sound Leopard linear sound reinforcement system and Yamaha Rivage PM10 mixing console.

As the hotel’s resident production services provider for the world-renowned International Ballroom of the Beverly Hilton – where these events are held – Encore serves more than 300 events annually.

The audio system for each must provide good speech intelligibility for up to 1,100 guests, along with the horsepower for live music, often from A-list artists. In addition, it has to deliver the high-impact associated with blockbuster Hollywood soundtracks. All these factors were taken into account by Rachel Wolfe, Director of Event Technologies at Encore’s Beverly Hills location, in making her selection of the Leopard-based system.

‘We had a Meyer Sound Mica system in here for about ten years and we were pleased with its performance, but I felt like it was time to invest in newer, updated technology,’ she says. ‘I’d heard Leopard at other venues and was convinced it was the right choice. The power and clarity are all I expect from Meyer, and Leopard’s wide coverage works well with the shape of the room. Also, the slender profile of the arrays is visually appealing and fits in well with our other staging requirements.’

Clint Rowland, a freelance FOH engineer frequently contracted by Encore to mix events at the venue, admits he was both excited and hesitant when the Leopard system made its debut: ‘I was somewhat nervous because I had relied on the Mica loudspeakers for the six years I had worked here,’ he confesses. ‘But I was relieved and excited when I first started pumping music through it.

‘I was even more impressed when they put up a podium mic and then walked around with a wireless lav. This is a tricky room to work in, with a low ceiling that’s covered with video and lighting gear, and layout changes drastically with different events. But Leopard is giving us great sound and superb gain before feedback.’

Provided by Chicago-area integrator TC Furlong, the new system uses dual arrays of six-each Leopard line array loudspeakers and supplemented by four 1100-LFC low-frequency elements. The complete set-up also includes 11 UPJ-1P VariO loudspeakers and four UPM-1P loudspeakers, one MM-4XP self-powered loudspeaker and four MJF-210 stage monitors.

Jack Hayback, another regular freelancer at the venue, appreciates the accolades he’s received from clients regarding the sound quality at recent events: ‘We’re getting rave reviews for Leopard and 1100-LFC. There’s just so much clarity from top to bottom, and the high-frequency response is so well controlled and predictable. It’s just a fantastic box, and we’re all enjoying it.’

For his part, Rowland is happy that the full spectrum of programme material and output levels is served: ‘It doesn’t matter if we’re doing a corporate show with talking heads, or a fundraiser with A-list bands, or an awards show,’ he says, ‘The volume level does not affect the tonality. You can mix a low volume presenter and then move to a dinner band, then on to a full rock performance or action movie soundtracks. Whatever you do, the system behaves in a linear fashion. You don’t have to push it to a certain volume to get the sound you want. You get ‘power without the pain’ as one of my colleagues likes to say.’

The recent audio renewal by TC Furlong also included installation of a new Yamaha Rivage PM10 digital mixing console. Other production technology available from Encore at the International Ballroom includes six Christie Roadster 14K HD LCD projectors, a permanent lighting grid with over 350 fixtures (moving lights from Vari-lite, Quantum and GLP), and high-speed networking including SMPTE fibre-optic connection.

The PreSonus Air active loudspeaker/mixer range offers three full-range loudspeakers for mobile and installed sound applications.

The series includes the Air10, with a 10-inch woofer, Air12 with 12-inch woofer, and the Air15 with a 15-inch woofer. The loudspeakers are driven by class-D/class-A/B amplifiers – 500W (continuous), class-D amplifier for the woofer and 200W (continuous), class-A/B for the HF driver.

The Air15s and Air18s active subwoofers complete the series. Both models employ 1.2kW (dynamic) of class-D amplification and operate to 35Hz. Although designed for use with Air-series full-range loudspeakers, Air-series subwoofers can be used with virtually any full-range loudspeaker thanks to a variable low-pass filter. Presets for the Air10, Air12 and Air15 enable quick configuration for an Air three-way system.

Air loudspeakers are equipped with further DSP presets to customise their response for use as front-of-house mains, monitor wedges, music playback, ‘enhanced low end’ and a ‘warmer sound’, and for improved speech intelligibility. Treble and bass controls boost or cut by 10dB to compensate for room anomalies. Location presets optimise performance for stand and bracket mounting, as well as flown installation.

Air subwoofers have DSP presets for normal front-of-house use and for extended low end. The subwoofers offer presets to quickly configure a cardioid array (end-fire or ground-stacked). Polarity reverse and a variable alignment delay are also provided to configure more complicated arrays or to align a sub to a full-range system.

The full-range speakers’ moulded plastic, multi-angle enclosure sport non-skid rubber feet on the bottom for upright front-of-house use and on one side for stage monitor applications. The integrated dual-position pole mount lets you aim the speaker level or at a 7.5˚ downward tilt.

Air-series full-range loudspeakers offer an onboard mixer with two combo XLR mic/TRS line inputs, each with a class-A microphone preamplifier and independent gain control. A stereo mini-jack connection admits signals from consumer audio devices. A balanced XLR Mix output passes signals to other Air-series loudspeakers. Air subwoofers sport two combo XLR and quarter-inch TRS line-level inputs with level control, and throughputs are provided to connect full-range systems or multiple subwoofers in larger systems.

More: www.presonus.com

Quest Engineering has announced its MX line of weatherproof indoor/outdoor loudspeakers rated up to IP67.

Described as ‘a system of audio building blocks that allows architects and venue designers to create a seamless full range audio presence without compromising on aesthetics’, the range is based around the MX601 (6-inch/1-inch/80W) and MX801 (8-inch/1-inch/100W) two-way, full range, wall or ceiling mountable loudspeakers. These can be augmented with a compact subwoofer system.

‘The objective for the engineers of the MX Series was to take the compact wallmount speaker to a new standard of performance,’ says Quest Engineering’s Frank Hinton. ‘This meant consulting with a wide range of venue and public space designers to determine what is needed in a modern designed architectural space. To achieve the desired outcomes a completely new approach to the design was required, both technically for the audio performance, and in developing new manufacturing techniques. The result is a refined appearance that fits visually into any environment, reproduces hi-fi quality music and speech; and is easy to install.’

Ceiling speaker versions are also available.

More: www.questaudio.com.au

A new permanent Meyer Sound Leo Family reinforcement system has been installed at New York City’s Radio City Music Hall to support performances by the Radio City Rockettes, including this summer’s New York Spectacular and the Christmas Spectacular slated for the coming holiday season.

‘As the leading company in live entertainment, we are focused on delivering a theatrical experience at Radio City that is fresh, contemporary and unparalleled,’ says Larry Sedwick, Senior VP of Production for the Madison Square Garden Company, which operates the venue. ‘It’s important to create a one-of-a-kind experience for our audiences no matter where they are seated in this 6,000-seat venue – the largest indoor theatre in the world. Our sound system upgrades allow us to bring our productions to make our audiences feel even closer to the show.’

The new system uses main arrays of Lyon loudspeakers concealed behind scrim in a false proscenium, based on a nearly identical main system that was crafted by SCK Sound Design and first deployed for the 2014 Christmas Spectacular. ‘The main PA had to go in a very specific location and be hidden from view,’ says Andrew Keister, a partner with Steve Canyon Kennedy in SCK Sound Design. ‘The spectaculars do projection mapping all over the front ceiling and false proscenium, which precludes use of large, flown arrays that would cast shadows. The Lyons, with their extraordinary power-to-size ratio, were a perfect fit and significantly out-performed the previous solution.’

The main system used for the New York Spectacular, again with sound design by SCK, comprised LR arrays of 16 each Lyon loudspeakers, plus a centre downfill array of eight Leopard elements. Bass support was supplied by 30 900-LFC elements, set as 18 in a cardioid pattern on the side proscenium, six in a centre cardioid and six on a rear truss. Eight additional 900-LFC elements were purchased for use on forthcoming rock-style concerts.

The new system (supplied by PRG of New York with sale facilitated by Bob Rendon) also includes a Galileo Callisto loudspeaker management system with three Galileo Callisto 616 processors and six Galileo 616 processors. For immersive surround effects, this summer’s New York Spectacular system also incorporated four arrays of eight each Leopard line array loudspeakers. ‘Most of these Leopards were rentals,’ notes Keister, ‘as the requirements for surround systems will change from show to show.’

The Radio City Rockettes shows are mixed on a pair of DiGiCo SD7 digital consoles, with staff engineers Patrick Healey and Michael Jenkins handling the live orchestra, vocal, playback and supplementary sounds – including 80 channels of wireless dedicated to the special microphones built into the 80 Rockettes tap shoes.

The new system incorporates a complete D-Mitri digital audio platform equipped with SpaceMap 3D panning and Wild Tracks multichannel playback: ‘The power of the D-Mitri platform enabled us to program innovative, multi-dimensional effects that perfectly complement the video mapping,’ Keister adds. ‘The result is a truly immersive audio experience.’

More: www.meyersound.com

Following his From Here to Now to You tour in 2013-2014, Jack Johnson been largely absent from the live circuit. But the impending release of a new album, All The Light Above It Too, has brought the former professional surfer-turned-singer/songwriter, actor and activist back out with his band – and Rat Sound’s L-Acoustics K1/K2 system.

Like many of Rat’s clients, Johnson has a long history with the Camarillo-based sound company, which has handled all of his tours since 2000. Although the 2013-2014 trek carried a Kara-based loudspeaker system that was ideal for the more intimate theatres and performing arts venues on that run, this latest tour stopped at much larger spaces – including California’s 17,500-seat Hollywood Bowl and Washington’s 22,000-seat Gorge Amphitheater on its four-week journey – all of which were sold out.



‘This system has been the perfect size for the tour,’ says Rat Sound System Tech and Crew Chief, Bjarne Hemmingsen, who designed the loudspeaker model in L-Acoustics’ Soundvision software each morning. ‘The show sits at around 94dBa with some very soft delicate parts, and K1/K2 is great at providing even coverage throughout each venue while still keeping a full sound at the very back.’

The tour’s standard loudspeaker configuration comprises 12 K1 plus four Kara downs flown per side, flanked by far left and right hangs of up to 12 K2. Four more Kara spread out across the stage lip handled front fill, while six ARCS II enclosures – horizontally arrayed in threes on each side of the stage – delivered out fill. Eight SB28 subs per side, groundstacked in two stacks of four, delivered the robust low end, and all systems were powered and processed by LA8 amplified controllers.

‘I appreciate that I can easily configure this system in so many different ways to perfectly suit each venue,’ Hemmingsen says. ‘For venues that don’t require side arrays but are still quite wide, we used four K1 paired with eight to 12 K2 for the mains – or sometimes just the K2s alone for even smaller venues. Being able to control the horizontal HF with K2 solves a lot of reflection issues, especially for the side arrays. Its ability to cover 70° and keep the HF off the walls really helps a lot. And the results that I get in Soundvision are always spot on.’



‘This system has a great, full, natural sound with a very controlled low end and requires almost no EQ. Jack covers a lot of musical genres with his set – from folk and reggae to pop and rock – and each variation of the L-Acoustics system worked well with them all.’



Two brief US tour legs comprised Johnson’s latest outing – an East Coast trek for the first two weeks of June, followed a month later by a West Coast run for the last two weeks of July. The system that Rat Sound carried remained unchanged between the two trips and was steered by Michael Pollock, Johnson’s FOH Engineer for the past 17 years. Key additional audio crewmembers included Monitor Engineer Casey McDaniel, as well as Rat Sound PA Tech Mike Gazdziak and Monitor Tech Kyle Rogan.

Dubai-based AVenger Electronics has been appointed RCF distributor for the UAE and Oman.

‘Since RCF has the entire range of professional audio products in its portfolio, catering for the installation, touring, MI and Evacuation segments, we considered them our preferred choice for servicing the markets in the UAE and Oman,’ explains AVenger sales manager, Joseph Ninel Rebero. ‘This would range from small portable PA to large stadium installations.’

The move was prompted by Avenger Electronics, who approached RCF, having recognised RCF’s existing high brand value in the region. ‘We knew it was well established in both the touring and MI market,’ Rebero adds.

With extensive knowledge of RCF through his time with previous distributors, Rebero will lead the team that will be focused on promotion throughout the UAE and Oman: ‘Our mission will be to focus more on the integration market to bring RCF up to the next level in this segment,’ he says, forecasting that initial impact is likely to be created through the Live & Pro Series, as well as a new business music solution products, due for imminent release.

AVenger Electronics has begun a vigorous marketing campaign, favouring roadshows and seminars over trade shows in the Middle East, and will also exploit opportunities via direct marketing, social media, newsletters and displays through dealer networks, as well as onsite demos, training and consultant visits.

‘Having known Joseph Ninel Rebero for some time, when he informed me about the new company he was about to co-found with other experienced people in the industry – people who already had deep knowledge of RCF, its products and philosophy – their appointment was a no brainer,’ says RCF Europe & Middle East Sales Manager, Luca Ombrati. ‘AVenger Electronics’ decision to keep RCF as the unique and exclusive audio brand in its portfolio, in view of its very broad product offering, further confirmed our impression that they were best suited to our needs.’

RCF’s D-Line MK4 range of loudspeakers is the latest implementation of the company’s FiRPhase processing, targeting applications in live sound reinforcement, sound hire, portable and installed A/V systems, live music and theatre, nightclubs and houses of worship, where they can be used as a front of house PA system, high-powered floor monitors and unobtrusive fixed installation.

The range comprises the HD 32-A Mk4 two-way active speaker, HD 12-A Mk4 two-way active speaker and HD 10-A Mk4 1.4kW super lightweight speaker.

RCF class-D power amplifier’s technology combines high-performance operation and high efficiency with a lightweight solution. D-Line amplifiers features a solid mechanical aluminium structure which not only stabilizes the amplifier during transportation but also assists in heat dissipation. All D-Line amplifiers use SMPS power supply section for maximum output and minimum transportation weight.

The HD Series uses proprietary FiRPhase technology advanced FIR filtering algorithms designed to deliver transparent sound and clarity. The FiRPhase algorithm optimises dynamics, amplitude and phase patterns and ensures minimum latency in the system.

The cabinet design incorporates ergonomic handles with rubber hand grip, Powercon I/O connectors, and two M10 and three M6 threaded inserts for optional mounting hardware.

The HD 32-A Mk4 offers 1.4kW peak power with 131dB max SPL. It uses a 90° x 60° wide-dispersion constant-directivity horn, and is loaded with a 12-inch woofer with 2.5-inch voice coil and a 2-inch HF driver with a titanium dome and neodymium 3-inch voice coil. The HD 12-A Mk4 also delivers 1.4kW peak power with 130dB max SPL. Its 90° x 60°, wide-dispersion constant-directivity horn is accompanied by a 12-inch woofer, high power with 2.5-inch voice coil and a 1-inch HF driver with a titanium dome, and neodymium 1.5-inch voice coil. The HD 10-A Mk4 delivers 800W peak power at 128dB max SPL. It uses a 90° x 70° wide-dispersion constant-directivity horn and is loaded with a 10-inch woofer, high power with 2-inch voice coil and 1-inch HF driver with a titanium dome and neodymium 1-inch voice coil.

More: www.rcf.it

RCF has released the HDL 6-A loudspeaker system, incorporating FiRPhase processing, and HDL 12-AS subwoofer for live sound reinforcement and installed sound applications.

With a 1.4kW two-channel class-D amplifier driving the system, the HDL 6-a uses proprietary FiRPhase algorithms to manage system parameters including crossover, phase correction, limiting and protection. The cabinet uses two 6-inch RCF transducers for a bass reproduction and a high-powered compression driver mounted on a 100°x10° waveguide.

The ND 340 high-power compression driver is one of the key components of the HDL6-A. Its Pure Titanium diaphragm and 1.7-inch voice coil with a crossover point of 900Hz gives the driver coherence in the vocal range. Its dispersion control includes a switch for short or long throw applications.

Two 6.5-inch woofers with 2-inch edge-wound copper voice coil handle LF reproduction. The water resistant fibre cone with Polycotton M-roll surround give strength and durability. Extremely low weight is assured by its high-power neodymium magnetic structure.

RCF class-D power amplifiers combine performance with efficiency into a lightweight solution. The amplifiers features a solid mechanical aluminium structure which not only stabilises the amplifier during transportation but also assists in heat dissipation. Each input board presents both XLR/jack balanced inputs, XLR output link, volume and a switchable EQ Mode.

The integrated DSP manages crossover, equalisation, soft limiter, compressor and dynamic bass boost. The FiRPhase algorithm optimises dynamics, amplitude and phase patterns even on mid-low frequencies, ensuring minimum latency in the system.

The cabinet is moulded from a polypropylene composite designed to damp vibrations even at maximum volume settings, as well as maximum reliability and strength for intensive use on the road.

The integrated mechanics are both fast and reconfigurable, allowing the system engineer to create genuine J-shaped or spiral arrays. It features two composite polypropylene rear handles designed for portability. The heavy-duty front grille is power coated. A special transparent-to-sound foam backing inside helps the further protection of the transducers from dust.

Housing a 12-inch woofer, the accompanying HDL 12-AS is a compact active sub enclosure, featuring a 1.4kW class -D amplifier. It has a built-in digital stereo crossover (DSP) with adjustable crossover frequency to connect the HDL 6-A line array module or a satellite.

More: www.rcf.it

The headquarters of the State Parliament of Baden-Wuerttemberg has recently completed an intensive three-year, €52.1m (US$58.6m) renovation project, which includes sustainability improvements, energy saving technologies, and new media systems and A/V networking.

Designed and installed by Aveo Konferenzsysteme, MediasPro Medientechnik worked with Aveo to provide and commission the new audio system, featuring Renkus-Heinz digitally steered arrays.

In the plenary chamber, two Iconyx ICL-FR arrays have been built into the back wall behind the committee. The line arrays’ digital beam steering technology enables precise focusing of multiple sound beams. Using only two line arrays, the sound coverage can be focused into the plenary chamber as well as the audience seating, while avoiding the ceiling, walls, windows, and other reflective surfaces. Two PN 212 double-12-inch subwoofers can be added for music and media performances.

Audio requirements elsewhere in the building are addressed by an additional IC-Live line array system, with MediasPro providing a pair of ICL-R steerable arrays for mobile use. These systems can also be complemented with two IC212S-R subwoofers for musical events.

In the Parliament building’s conference rooms, eight CF-81-FR loudspeakers provide additional sound reinforcement. All loudspeakers are networked and controlled via Renkus-Heinz Rhaon software systems.

The system has been exceptionally well received: ‘Our client particularly appreciated the great sound, precise focus, loudness, and low feedback of the Iconyx systems,’ reports Michael Voessing, MediasPro General Manager.

With facilities to match, education standards in Singapore rank among the highest in the world. Recently, the senior school campus at Dulwich College (Singapore) opened a 700-seat auditorium, equipped with a state-of-the-art sound reinforcement is an audio installation based on Renkus-Heinz’s VARIAi modular installation array.

Not to be confused with the London-based school of the same name, Dulwich College (Singapore) opened in 2014 in the Bukit Batok region of the city. It is the seventh international school to bear the name, following other locations in Asia, including Shanghai, Beijing, and Seoul. The auditorium is part of the school’s new performing arts centre. Boasting a façade inspired by the Barry Building in London, the facility occupies 301,390-sq-ft and incorporates two black box theatres, a library, a gymnasium and dance studio.

At its heart is the auditorium, with an A/V design courtesy of CCW Consultants, which was then made a reality by leading systems integrator Electro-Acoustics Systems (EAS). The theatre’s shape provided a particular challenge for the design of the sound reinforcement system. ‘The auditorium is a dual-level theatre consisting of a wide stage and a short front-to-rear audience area, so the flexibility of the VARIA system was the key to providing the desired results,’ explains EAS Senior Systems Engineer Chua Cong Wei.

The full system is based on an LCR configuration of three line array hangs, each comprising five VARIAi VAX101 10-inch line array modules. ‘VARIAi gave us the modular options of three different cabinet angles, so we were able to create long, middle and short throw combinations all in a single configurable array,’ Chua continues. ‘This was accomplished by having three 7° boxes on the top, followed by a 15° and a 22.5° box below - a variation of waveguides for targeted horizontal coverage. As a result, the VARIAi array switches from 90° (top) to 120° (bottom), so we can optimise sound coverage in every corner of the venue.’

Low-frequency support is delivered courtesy of two flown VAX115Si dual 15-inch subwoofers. Moving deeper into the audience area, four wall-mounted TRX121 12-inch enclosures, located two per-side, provide side fill. Finally, performers are served by four Renkus Heinz CFX1121M monitors.

‘Complete coverage from the stall to the upper balcony level is achieved with only five cabinets per array,’ adds Chua. ‘For this venue, the VARIAi triumphs over a traditional line array, both sonically and visually.’

More: www.renkus-heinz.com

Renkus-Heinz has announced the immediate availability of Dante-enabled versions of the Iconyx Gen5 and IC Live for fixed installation. Iconyx IC Series and IC Live ICL-F Series models are now available in -RD versions, offering Dual Redundant Dante connectivity with audio transport and configurable sample rates up to 96kHz.

Concurrently, Renkus-Heinz has announced the release of Rhaon 2.1, a major update to the company s Rhaon II software, now with support for Dante connectivity. The v2.1 update of Rhaon II (Renkus-Heinz Audio Operations Network) incorporates more than 100 software updates and enhancements, including support for multiple zones, as well as a new Device Icon View mode for organising larger systems. System Status reports covering all device parameters can easily be generated, and copy/paste of DSP settings between different device types is also supported.

‘Dante has become the industry s go-to protocol for creating and maintaining a stable, user-friendly digital signal throughout an audio system,’ says Renkus-Heinz North American Sales Manager, Ladd Temple. ‘Compatible with any installation, from small churches and schools to international airports and stadia, Renkus-Heinz and Dante technology have combined to deliver the tools installers need to make their projects the most technologically advanced.

‘Dante implementation is presently in the works as well for the company s multiple point source and line array products.  Also currently in development is a fibre-optic Dante option. This will give our customers even more flexibility and control, particularly with systems covering a very large listening area.’

More: www.renkus-heinz.com

Officially opening its doors after several years redevelopment, the Queen Elisabeth Hall (QEH) and its accompanying congress centre in Antwerp is now home to the Royal Flemish Philharmonic. The hall is now equipped with audio, video and lighting systems from regional A/V provider and integrator Face.

For the audio, more than 70 Renkus-Heinz beam steering loudspeakers are installed throughout the venue’s multiple spaces in the complex –collectively the Elisabeth Center Antwerp. Of these, the 2,000 seat Queen Elisabeth Hall demanded the greatest attention from Face.

The multi-purpose room was the subject of a comprehensive overhaul designed to improve its acoustics, and as a result Face worked closely with design company Charcoalblue and acoustic specialists Kirkegaard Associates to ensure an optimum sound at every seat in the house. ‘QEH [wished] to be regarded as one of Europe’s leading concert halls, so it stands to reason that the loudspeaker system had to be superlative,’ says Face Project Division Manager Steven Kemland.

Careful consideration of the room’s acoustical properties and coverage issues led to the specification of a 22-box primary LR array comprising Renkus-Heinz Variai Modular Installation Array Systems. Powerful low-frequency woofers, lightweight neodymium compression drivers, and optimum ease of vertical control are among the primary benefits of the Variai boxes, which also feature advanced cabinet and waveguide designs.

The LR arrays further comprise flown VAX15 subs and conventional RHX81 speakers for the side balconies, ensuring 270° audio coverage for each cluster. ‘The Renkus-Heinz team helped us deliver the best possible result, drawing up the original Ease design and undertaking the first simulations for the placement of the speakers in cooperation with Face,’ Kemland says.

Renkus-Heinz is also well represented elsewhere in the venue. A total of 26 custom CFX41 stair step speakers – positioned in three rows – accommodate different stage configurations, while DRS218 subs, RHX101 speakers and VAX101 array modules handle mobile infill and upper balcony delay duties. There is also an integrated speech system, based around Iconyx IC24 and IC8 speakers, for the side balconies and choir wagon.

The concert hall is now anticipating a busy and diverse schedule that includes orchestral performances and dates by Kraftwerk. Easily handling the dramatic shifts in tone, the 70-box Renkus-Heinz system, is already part of the venue’s fabric: ‘As expected, the system has been performing brilliantly, and the feedback we have received from the venue has been superb,’ Kemland reports.

More: www.renkus-heinz.com

Edelweiss Audio reckons to have breaken new ground with the completion of an installation at Russia’s Krasnodar Stadium, with a manufacturer using specially designed Funktion-One Evo loudspeaker enclosures.

Edelweiss Audio – the Funktion-One distributor for Russia  – was initially invited to take part in a listening test alongside companies representing most of the pro audio manufacturers active in arena and stadium sound as part of a detailed specification and tender process.

Having impressed the owners, Edelweiss and Funktion-One were shortlisted and invited back for a second round of listening tests.

‘A number of factors, not least the geometry of the stands, meant that a horn-loaded solution would work best,’ explains Edelweiss Audio Technical, Director Andrei Kremenchugskiy. ‘We were looking at up to 90° coverage, which is very hard to achieve effectively using a line array.’

The owners were sold on the Funktion-One sound, which at the time was demonstrated using Resolution 5s, and appointed Edelweiss as the audio contractor for the project.

Krasnodar Stadium’s roof has two layers, which are split by a cavernous space. The architect originally wanted the loudspeakers to be positioned between these layers. Unsurprisingly, Edelweiss and Funktion-One had other ideas, so Kremenchugskiy worked with John Newsham and others at Funktion-One in the UK on a solution. The result was the development of new customised product – the Evo 6EHQ. These specially designed enclosures house four Evo 6 waveguides, arrayed two wide and two deep.

‘We spoke to Andrei and he explained that if we could get 90° vertical and 45° horizontal dispersion, then he could deliver a really good solution for the stadium,’ Newsham recalls. ‘On paper, it looked like combining four Evo 6EHs would work the way we wanted but we needed to do some tests in order to find out exactly how to combine them. We didn’t have the height available to just do a vertical hang.’

Newsham led some field tests at Funktion-One HQ in the UK: ‘For the horizontal coverage of 45°, we wanted to figure out whether coupling the mids or the high-frequencies would produce the smoothest result. In the end the best solution was to couple the mids and let the high frequencies separate. We then developed a special cabinet to house the four Evo 6 waveguides fixed at the correct angles.’

A total of 18 Evo 6EHQ enclosures have been deployed around the stadium, approximately 20m apart. Funktion-One F215 Mk2 bass enclosures were paired with the new F124 24-inch bass enclosures and installed between the Evo 6EHQs. Six standard Evo 6EH loudspeakers were supplied for pitch coverage.

More: www.funktion-one.com

Built in 1993, and declared a heritage site by UNESCO, the Sacred Heart Church has recently completed an 18-month restoration that includes a full sound system upgrade and the commissioning of the first Martin Audio BlacklineX loudspeaker system in India.

The audio system work on the Roman Catholic Church, which is set in the Mumbai township of Vashi, was undertaken by local system integrator Zoodio. Having specified Martin Audio solutions for around a decade, Zoodio had been directed to the project by the priest of nearby St John The Baptist Church, following the installation of a Martin Audio O-Line as part of a major renovation project there. This time, however, Zoodio turned to the new BlacklineX range for the first time – ‘a classic suite of passive loudspeakers for the modern era’, which builds on the heritage of the original Blackline installation and portable series.

‘Sacred Heart Church is much wider than St John’s, with its wings extended on one side,’ explains Zoodio Project Manager and co-ordinator, Dylan Hilton. ‘The ceiling heights are also different and the reverberation time much higher than St John’s.’ He therefore reasoned that the church required the loudspeakers to be much lower and closer to the congregation – and in addition to its suitability, BlacklineX also worked within budget.

The installation team assessed the challenges of providing coverage for a congregation that can amount to 2,500 people. ‘There had been a lot of complaints about the old system as the vocals were not very audible and was quite old and outdated,’ says Cleo Pereira, from Zoodio. ‘The task was to not only cover the centre of the church but also every corner with evenly distributed sound, and we felt that BlacklineX offered best solution for meeting this kind of installation requirement.’

Accordingly, the company has installed a pair of X15s for the PA, a pair of X12s for the wings and two pairs of X8 as delay for the PA and the wings. Fed from a series of choir vocal mics, acoustical instruments, lectern mic and further altar mics, the new system also needed to set a benchmark for the future.

‘The response we have received from the community has been excellent, and the priest also confirmed that clergy now really enjoy saying mass, as they can clearly hear themselves speak while doing so,’ Pereira reports.

The RCF HDL 20-A line array system installed in the Sage Gateshead 1,700-capacity main concert hall in late 2014 has now been followed by a further RCF system in the UK venue’s smaller Sage Two venue.

A flexible, ten-sided auditorium split over three levels, Sage Two holds 430 people theatre style, or 600 for a standing gig. Acting on behalf of installer Nitelites, Andy Magee selected a pair of RCF’s TTL6-A as the centrepiece of the first phase upgrade, with an HDL6-A composite line array to provide the two upper balconies 360° coverage.

‘The previous system did well for us but was starting to develop faults and was lacking in low frequencies and side fill coverage,’ says Sage Gateshead Technical Manager Neil Colebeck confirms. ‘We reviewed the situation in September, as we faced a heavy programme of gigs post summer.’

‘Sage Two’s sound system was falling short,’ agrees Nitelites Director and System Designer, Magee. ‘The room stages many performance genres – from classical, world and jazz music to straight theatre – some of it unamplified. Therefore, the reason for specifying the TTL6-A is because it is not only compact but packs a considerable punch. The first time I heard it I was blown away by the SPL. It seemed the ideal one-box solution.’

The three-way active TTL6-A is loaded with two 12-inch LF woofers, four 6.5-inch midranges and a 3-inch voice coil compression driver, with four channels of digital amplification and digital processing.

The TTL6-As are accompanied by eight Sub 8004-AS 18-inch subwoofers in a reverse cardioid pattern, and recessed under the stage apron. Three ultra-compact TT052-A act as lip fills, directing the audio to the front rows, while a pair of the discreet active TT08-A boxes are set out wide as side out fills, offering a maximum SPL of 128dB.

The design was confirmed with Ease Focus 3 software, which Magee used to model the room. ‘Aside from the massive bandwidth, the TTL6-A has a 90° horizontal, 30° vertical dispersion pattern, with -25°/+5° which is perfect in that room,’ he says.

Budget had also been a concern: ‘But we have received great support from Nitelites and have never experienced any problems with the RCF system in Room One, for which we have received excellent feedback. As for the TTL6-A Nitelites had already been doing a number of gigs with this box, so we were already familiar with it.’

There was also a recognition that the rear SPL rejection now offered by the cardioid subs would improve the lot of the monitor engineer. The system is rounded out by BSS Soundweb DSP and a Midas Pro 2 mixing desk with analogue drive rack.

‘Having now mixed shows through [the TTL6-A] you can hear the difference tenfold,’ Sage Gateshead Lead Audio Technician Graham Orchard reports.

Recently upgraded, the Sala Energia auditorium at the Arcadia Melzo multiplex in suburban Milan boasts the most powerful permanent Meyer Sound cinema sound system in the world, as well as one of Europe’s largest Dolby Atmos systems.

The first cinema to use Meyer Sound’s Leopard line array for all of its screen channels, the 630-seat Sala Energia is owned by Piero Fumagalli: ‘When I first heard the Leopard-based system in our Sala Energia, I was so excited and enthusiastic that I was moved to tears,’ he says. ‘I sensed immediately that the clarity, dynamics, and musicality of the Leopard arrays represented a major improvement over the previous system.

‘This system is our investment in the future,’ he continues. ‘Audiences are now willing to pay more to experience a film in the Sala Energia. We have patrons raving about both the sound and image technologies. In fact, they often applaud the sound demo trailers before the features.’

Fumagalli points out that Leopard supplied an ideal solution for Sala Energia’s 30m-wide auditorium, which also has a long throw distance to the back rows. ‘I had some doubts about using compact line arrays for screen loudspeakers, but when I heard Leopard I realised that this is a loudspeaker of such exceptional quality that it can absolutely be used in any application.’

The five screen channels each comprise seven Leopard loudspeakers flown under two 900-LFC low-frequency control elements. Additional low-end is provided by a behind-screen tower of ten X-800C subwoofers. Drive and system optimisation are supplied by a Galileo Callisto loudspeaker management system, comprising one Galileo 616 and two Galileo Callisto 616 array processors.

The set-up also includes 30 HMS-12 and six HMS-15AC surround loudspeakers for side, rear, and overhead surrounds, and eight additional X-800C subwoofers for surround effects. The system was provided by Meyer Sound’s Italian distributor Linear Sound, a division of Eko Music Group, and installed by Brusaporto-based Sangalli Tecnologie under the supervision of Giancarlo Terzi.

Images are delivered to an 30m x 16m Harkness Perlux white screen by two Christie 4K digital projectors, with two Cinemeccanica Victoria 8 projectors for 70mm film screenings.

Opened in 1997, Sala Energia posts impressive per-cinema ticket sales across a variety of genres, including both recent blockbuster digital releases and 70mm roadshow versions of classic re-releases. Arcadia Cinemas operates movie multiplexes at four locations across northern Italy.

More: www.meyersound.com

As Asia’s leading destination for MICE (Meetings, Incentives, Conferences & Events), Singapore’s Sands Expo & Convention Centre has upgraded its inventory of A/V equipment, bringing the first Meyer Sound Lyon and Leopard linear sound reinforcement systems to Singapore.

Located within the Marina Bay Sands resort, the centre has taken 156 Meyer Sound loudspeakers to support large-scale corporate events and concerts, representing the largest investment in Leo Family technology by any hotel/MICE operator in the world to date.

‘Our Lyon and Leopard systems can be configured for precise sound distribution and powerful projection – even at continuously high output levels,’ says Marina Bay Sands VP of Sales, Mike Lee. ‘They also provide superior vocal intelligibility and a consistently linear response. From an operational standpoint, we also appreciate the simplified cabling, faster and easier set-up, and reduced storage space over conventional systems.’

The centre’s investment includes 36 Lyon and 42 Leopard line array loudspeakers supplemented by 24 1100-LFC and 16 900-LFC low-frequency control elements. The systems are not permanently installed, and can be moved and configured as needed in any of the integrated resort’s numerous indoor and outdoor events spaces. Also included are 24 MJF-210 and 12 MJF-212A stage monitors and eight Galileo Callisto 616 array processors.

‘Our self-powered systems eliminate separate amplifiers, processors and cable sets,’ says Meyer Sound VP of Solutions & Strategy, John McMahon. ‘Set-up time for staging live events is shortened as a result, simplifying the production process and saving the user time and money on a daily basis.’

Sands Expo & Convention Centre’s Leo system purchase also provides the resort with a greater flexibility and consistency in system design. All Leo Family loudspeakers and subwoofers share the same sonic signature, which allows for easy configuration and scalability to any size venue or any application. ‘Our upgraded audio, video and lighting inventory is a strategic investment aimed at further enriching the experience of our customers,’ Lee says. ‘With even greater technical quality, we can meet increasing demand from event planners that bring in world-class entertainers requiring the best in A/V capabilities.’

The centre’s new systems had their debut in the second edition of the Sands Live concert series, featuring world-renowned acts performing in the integrated resort’s entertainment venues. A one-stop solution was also provided for the closing ceremony of the 8^th ASEAN Para Games in the Sands Grand Ballroom through the use of a Lyon system and Vari-Lite VL4000 lighting.

‘With more than 2,700 athletes, officials, sponsors, community partners and volunteers, the ceremony was a true audio-visual spectacle, and a milestone for Marina Bay Sands as the official host venue,’ Lee says.

Sands Expo and Convention Centre’s new investment follows a 2012 purchase of 50-total Milo, Mina and CQ-2 line array loudspeakers and 700-HP subwoofers. All systems were supplied by Singapore-based Coda Group. ‘The advantages of highly linear, self-powered Meyer Sound reinforcement systems make them an ideal solution for a variety of exhibition centre, conference centre, and multi-use rental applications,’ says McMahon. ‘This allows them to be interchangeable and scalable as events require.’

More: www.meyersound.com

In early summer 2015, German sound specialist Schallmeister completely renewed its amplifier inventory, upgrading to Powersoft’s class-D switched-mode models. ‘We changed our entire situation,’ confirms Tim Jansen, who co-founded the company with Marcus Ugljanin in 1999.

Constantly striving to develop innovative technology concepts for conferences, trade shows and concerts, Schallmeister replaced its two-channel amplifiers (with no onboard DSP) with four-channel Powersoft amps and advanced digital signal processing. ‘With Powersoft we have less weight, less truck space – but more power and versatility,’ Jansen says.

In the corporate sector, the company was recently invited to provide sound reinforcement for a private party at the Alte Schmiedehalle in Düsseldorf, in front of 3,000 people. The headline act was singer-songwriter Andreas Bourani. The main PA system for the event comprised active MLA Compact/MLX subs from Martin Audio. However, a pair of Powersoft’s new flagship X4s were assigned to the W8LM Mini Line Array and subwoofers – used as side fill – while three Powersoft M50Q drove Martin Audio LE1200 floor monitors.

The size and weight of the four-channel M50Q is at a minimum thanks to the 1U standard and the reduced depth of the equipment. The entire series is available in HDSP+ETH versions, offering remote control and advanced signal processing abilities through Powersoft’s proprietary Armonía Pro Audio Suite. The X4 series implements a new system of channel routing, new worldwide compatible three-phase power supply and a revolutionary fully-featured DSP. In addition, it natively supports AES3, two redundant Dante digital streams and analog inputs, providing up to four different selectable input sources per channel.

Restating the advantages of low weight, low truck space, high efficiency and enormous volume Jansen reports that, ‘everyone was extremely happy with the quality of the sound – the whole system sounded exceptionally good, with lots of punch and power, and there were no changes required of the Bourani crew.’

More: www.powersoft-audio.com