The De Oosterpoort concert hall in the northern Dutch university city of Groningen has upgraded its Martin Audio sound reinforcement by replacing the W8LC compact line array that had served it for 14 years with an MLA Compact system.

Groningen hosts one of the largest annual European music festivals, the Eurosonic Noorderslag, when the venue hosts up to 3,500 visitors of which 1,850 are packed into the large room. This was the prompt for the new PA system, which was handled by Oosterpoort Technical Manager Pieter Stove, who was also responsible for commissioning the earlier line array.

Built in the 1970s as an amphitheatre, the acoustics of de Oosterpoort’s main theatre were designed for classical orchestral use. Fitted with adjustable acoustic panels, it is home to resident orchestra Noord Nederlands Orkest (NNO) but can also accommodate rock and pop performances. It also hosts theatre and conferences.

Modern-day requirements demanded a more adaptable sound system, however, and so the tech team organised an evaluation programme, setting stringent specifications, before issuing an EU tender.

Martin Audio’s Simon Honywill assisted with the MLA site demo at AFS’ request, whe installation carried out by Ampco Flashlight Sales (AFS).

Stove recognised the benefits of MLA’s control technology, and its coverage control became the deal clincher, since a single system could be tuned and tailored to any possible event or configuration (rather than requiring separate physical add-ons). It would also radically cut down turn-around times.

‘It was not hard to convince Oosterpoort that this should be the system of choice,’ says Ampco Flashlight specialist, Ramon van der Zalm.

‘It was a tight schedule – we did not have any time in between shows for a proper set-up, so we had to do a temporary install in the first instance and a permanent fix later on,’ Stove recalls. ‘MLA Compact proved to be a system with a fast setup, easy and flexible to use. We can say we have never heard a better sound in this venue, we were completely blown away.’

De Oosterpoort’s new PA comprises 18 MLA Compact cabinets in a LR hang (nine each side), eight DSX subs (three per side, with two for auxiliary use), eight MLA Mini on the subs for in/out fill (four per side) and four DD6 front of stage for the front fill – all controlled by a pair of dedicated Martin Audio Merlin processors.

Multiple presets have been stored in the system, which was set up by the highly experienced Mark Edwards, as Martin Audio tech support, local specialist Taco Amsing, Gert Jan Gomez, Dutch MLA specialist, and Ampco Flashlight network guru Ramon van der Zalm.

Having long equipped both its theatres with the brand, including the manufacturer’s classic LE floor monitors, De Oosterpoort’s relationship with Martin Audio equipment shows no signs of diminishing.

Delta Sound reports the successful completion of several prestigious and ambitious projects with Merging Technologies’ Ovation Audio & Event Sequencer.

The companies’ partnership began in the UK and quickly expanded to Delta’s offices in the Middle East, where increasingly complex events are in the ascendancy. Delta has demonstrated the ability to provide world-class systems expertise combined with the technical support necessary to ensure that major events run trouble free.

Among Scandinavia’s largest congress centres, the Messe Center Herning location in Herning, mid Jutland, hosts conferences, sports events and rock concerts, for which it has installed a new d&b audiotechnik sound system,

The selection of d&b was made by a team of in-house and external professionals after presentations and listening tests. ‘We wanted a premium brand system that would be rider-friendly for both in-house and visiting engineers, so we asked a number of companies to tender,’ explains Messe Center Herning (MCH) Head of Sound, Tommas Hviid Kristensen. ‘Each company set up a mono hang of their system so that we could hear them in the theatre and then decide which we preferred.’

‘We had applied for the tender and had come along to the set-up day. However, we quickly discovered when we were setting up that our sound card had broken, and due to the reasonably remote location of the theatre, it was a long drive for us to get a replacement, which meant we had very little time left in our set up slot,’ adds Lars Baun Frederiksen, MD of Alfa Audio, d&b’s Denmark distributor. ‘We literally flew the speakers, gave the system one or two quick tweaks, then just enabled ArrayProcessing – it sounded fantastic. Everyone at the theatre was impressed at how easy it was to make the system sound good, straight out of the box.’

The installation was completed with the assistance of d&b’s ArrayProcessing line array optimisation tool. ‘There are a number of presets that you can use,’ Frederiksen says. ‘For example, you could tell the system to leave out the balcony, or perhaps you don’t need the sound to reach all the back rows if they’re empty. No other manufacturer has anything like ArrayProcessing, as it is extremely powerful yet easy to use.’

The new loudspeaker system comprises mainly the d&b Y-Series and delivers complete flexibility for reproducing speech and music. Each of the two arrays feature four Y8 and four Y12 loudspeakers. ‘We wanted to use the Y-Series throughout the install,’ Frederiksen says. ‘There was a requirement for more powerful subs – not just in one place – to provide a little more flexibility when more power is required for larger concerts. So we decided to use the V-Series subs and had some extra ones added that we could put stage left and right if required.’

The Y8 and Y12 loudspeakers share the same driver arrangement, with two 8-inch dipolar mounted drivers and a 1.4-inch HF driver combined with a central waveguide. Their advanced bass-reflex design delivers full bandwidth capabilities with an extended low-frequency output.

At the MCH Theatre the loudspeakers are driven by four D20 amplifiers for the Y8 and Y12s and a D80 amplifier for the subwoofers. Both four-channel devices contain extensive Digital Signal Processing capabilities to provide comprehensive loudspeaker management and specific switchable filter functions, enabling the user to accurately target the system response, whatever the requirements.

Two d&b DS10 Audio network bridges were also installed at the MCH Theatre – one at the FOH position and one at the amplifiers. DS10 makes it possible to input AES3 signals into the Dante stream, and to convert from Dante back to AES3 going into the amplifiers. It’s also simple to connect external consoles to the system via a Dante interface.

d&b’s ArrayCalc simulation software ensured optimum performance results for the theatre: ‘ArrayProcessing is calculated within the ArrayCalc software, which is regularly updated,’ Frederiksen says. ‘There are presets in the software that you can design, so the system can be optimized for speech or music, along with changing its level, level drop, areas to be excluded or adjusting reflections. The aim is to have the same optimum frequency response in all different areas of the hall. You can also remote control the whole system in the software too, via R1 running on the computer at the front of house. It’s so easy – once a customer has seen it, they are able to use it by themselves. It means there are no mistakes, since you can’t move crossover points, so the speaker system will always sound as good as possible.’

Staged at Amsterdam’s NDSM Docklands recently, the DGTL Festival welcomed around 15,000 partygoers for two days of electronic music. Waiting to entertain them were the likes of Maceo Plex, Jamie Jones, Tom Trago (live), Jennifer Cardini, DJ Koze, and Joy Orbison back-to-back with George Fitzgerald – along with numerous Funktion-One loudspeakers systems.

The event prides itself on balanced programming. While other festivals hinge on large-draw headliners, DGTL combines big names with local and international emerging talents. Such a focus on the musical output demanded sound production to match. The organisers drafted in Think! AV to deliver Funktion-One loudspeaker set-ups for five of DGTL’s six areas.

A cross-country tour to over 60 large-scale venues including a sold-out show at Madison Square Garden has seen country music star Dierks Bentley confirming the success of his most recent studio album, The Mountain. The tour also marks a13th year on tour with Dierks Bentley for FOH and System Engineer James ‘Pugsley’ McDermott – but the first using PK Sound Trinity Advanced Robotic Line Arrays.

‘It’s been a technological advancement not only in deployment, but also sonically,’ he says of the new PA, which features full-size main hangs with up to 16 Trinity boxes on each side of the stage, plus a dozen Trinity 10s for side hanging and front fills.
The tour crew also flew six Gravity 218 subwoofers per side, with an optional six per side on the ground, which were used in different configurations to fit the size and shape of each venue.

McDermott believes that the addition of Trinity loudspeakers has brought the Dierks Bentley sound system to another level, giving the crew added flexibility to control the contours of the soundfield, especially in the mid and high frequency ranges – granting the crew increased three-dimensional sound shaping capabilities, and allowing them to fit the sound field to any venue’s dimensions using PK Sound’s Kontrol software. ‘Every Trinity box can be whatever you want it to be,’ he says.

While a 120° dispersion pattern can be an asset in some venues, it is too wide for others. Accordingly, Trinity’s adjustable soundfield enables the system engineer to tailor each individual box to be as wide or narrow as is needed for the venue. ‘Each box can be set from anywhere between 50° and 120°, and you can use them symmetrically or asymmetrically,’ McDermott confirms. ‘I was having problems with a side-hang blowing into a video wall to the side of the audience, and all I had to do was just close up the boxes that were pointed at it, and that solved the issue.

‘Once you start eliminating reflections and getting the rig to run efficiently instead of having to fight the reflections and fight with the room, that’s where the Trinity really shines, because you have the ability to take the room out of the equation.’

Production Manager Jay Ballinger – who, like McDermott, has been on tour with the Dierks Bentley road crew for more than a decade – reckons Trinity to have increased the crew’s efficiency by streamlining the rigging process, from load-in, to system setup, load-out and transporting to the next venue, making the whole process safer and faster. ‘I love how it flies vertical with the touch of a button,’ he says. ‘And with the built-in mechanics, it brings itself into curved position for the show.
‘Trinity takes up less space both in the truck, as well as on stage and in the wings. The tour has cut its cable trunks by more than half, and we went from full-size cable trunks to half-size ones. Plus, it’s safer, because there is nothing to get your fingers stuck in.’

Ballinger notes that, on this first tour with PK Sound’s more efficient line arrays and subwoofers, his crew managed to gain 40 minutes in their day: ‘In a nutshell, it was about the bottom line. This is not a cheap PA, but at the end of the day it saved on touring costs, and it saved our crew from potential injuries, as well as truck space, weight, and fuel costs.

‘The real reason I fought for this PA is that we want the best gear we can get for our tour and our team,’ Ballinger concludes. ‘I want them to have the best tools to do their job, and this is the best PA out there, in my opinion.’

More: www.pksound.ca

Among the most acoustically impressive venues in Doha, the College of North Atlantic Qatar (CNAQ) recently appointed systems integrator Audio Visual Technology (AV Tech) to undertake a refurbishment of its multi-purpose auditorium. Now completed, the veue’s video, projection and lighting systems are state-of-the-art, with sound reinforcement handled by a Renkus-Heinz IC-Live loudspeaker system.

The auditorium has long been the heart of the institution. Over the course of two years, AV Tech Technical Sales Manager Mahmoud El Zein has led upgrades to every technical system in the building. The result is a world-class hall capable of hosting a broad variety of events, from spoken-word corporate presentations and local musical acts, to touring theatrical productions.

Prior to the refurbishment, the space contained an aging line array system. Despite the excellent acoustic properties, coverage remained an issue. ‘The old array system was single-beam and difficult to control – the drivers had become worn out and were no longer offering the desired performance,’ explains El Zein. The replacement had to be ‘a fixed installation, that would stay in place for many years and offer good quality, while protecting the aesthetics of the room.’

Two Renkus-Heinz IC-Live FR Dual columns now serve the auditorium, discretely mounted at either side of the stage in a left-right configuration. The choice reflects the multi-purpose use of the space, with enough power to support the ambitious productions it sometimes hosts. The active arrays each combine ten 6.5-inch, neodymium-loaded transducers plus six 1-inch HF compression drivers, all spread across two modules. For musical performances, two IC215S-R subwoofers add precise low-end support. Front and centre fills are handled by five PN61R two-way enclosures, installed into the lip of the stage. Full and even coverage across every seat in the house is ensured with the subtle use of Renkus-Heinz beam steering.

‘This project was personal for me and I know that CNAQ is happy,’ reflects El Zein, ‘It’s a very good solution.’

Part of Newark-on-Trent’s heritage is the Palace Theatre – built in the 1920s as a picture house but now offering a proscenium arch theatre with front stall, rear stall, circle and boxes. The 600-seat venue has recently replaced an aging Martin Blackline rig with a ‘significant’ EM Acoustics Halo-C system to meet the demands of modern productions.

‘We were well overdue for an upgrade,’ admits venue Technical Manager, Mark Noutch. ‘By modern standards, our old system was seriously underpowered and we continually failed to deliver quality sound with any energy to the furthest parts of the theatre. My goal was therefore to design a system that would deliver sufficient power to cover every seat in the house with the same clarity and energy. It also needed to be compact enough that when flown it would leave enough space to accommodate any ground-stacked touring elements.

‘However, my ultimate ambition was really to provide a system of sufficient power and quality such that touring acts would no longer feel the need to bring in their own systems, thus creating a further potential long-term income stream for the venue.’

Noutch already had experience of EM Acoustics from visiting productions: ‘I know how much EM gear is esteemed in the theatre world, and on every occasion we’ve had it here at the Palace, the engineers and crew have commented on the clarity, reliability, affordability and build quality. So as you can imagine, once I knew that we were in the market for a new system, it didn’t take long to sit down and start our planning.’

That said, Noutch did look at other systems as well to begin with – equally, the ones that had impressed him and his team when they were brought into the Palace, and which he felt deserved a ‘serious look’. However, it was EM Acoustics’ Halo-C system that won out.

Noutch spent some time discussing the theatre’s requirements with EM’s David Kelland and how they could best achieve their vision: ‘Being a traditional theatre space, and in our case with a listed ceiling with no available load capacity, we had several limitations to contend with,’ Noutch explains. ‘We don’t have much ground-stack capacity either, so our only option in order to leave floor space for touring systems and to alleviate the issues of the relentless nightly de-rigs was to fly the system from a wall bracket to side of the proscenium arch. At 17kg per box the Halo-C is ridiculously light considering the power it delivers and a total hang weight of 140kg was a no-brainer.’

The installed system comprises LR hangs of seven Halo-C cabinets supplemented by six EMS-51 front fills, with 12 EMS-51s in the balcony boxes, two EMS-129 rear fills and two EMS-118 bass loudspeakers. A strong front fill was essential due to the proximity of the front row to the stage and the fact that the main hang sits very wide of the centre of the front row. Another important consideration was to ensure that the circle was equally well catered for as nearly 50 per cent of the audience is seated in the upper area.

Finally, Noutch wanted to ensure that special attention was paid to the corporate boxes as, despite their VIP status, they aren’t actually the best positions from which to view or listen. The main hangs are powered by a pair of EM Acoustics AQ-10 amplifiers with system processing courtesy of a couple of DSC48s. The fill/delay systems are driven by the venue’s existing MC² amplifiers.

‘We installed the system ourselves and asked Ed [Kinsella] and David to commission it, which they gladly did for us. I’m delighted with the results,’ Noutch says. ‘Not only does it sound absolutely amazing from every seat in the auditorium, but it’s just so much more flexible than our previous system. It’s configured in such a way that we can allow incoming companies to use all or just the specific parts of the system that they need whilst we retain control of the rest. I’m proud to say that we now have the best sound system of any venue in the area.’

More: www.emacoustics.co.uk

Hosted by New York City’s Lincoln Center for the Performing Arts, the Lincoln Center Festival is an annual even that typically features more than 40 performances across the centre’s campus over the course of 20 days. This year’s festival featured 46 performances that covered dance, music, theatre and film from the US. With many events happening on the same days in different venues, it is necessary for festival production to be well choreographed with care given to the sound reinforcement needs of each act.

David Jensen and David Meschter – Head of Production and Sound Supervisor for the festival respectively – chose an EAW Adaptive system to meet the needs of two of the events. To do this, they worked closely with Anderson Audio, who supplied the system and support for the festival.

The first event was a showing of the film Naked Lunch with live orchestral accompaniment at Alice Tully Hall. ‘Composer Howard Shore was adamant that the dialogue be localised on the screen,’ Meschter says. ‘This was challenging since the screen was upstage with the orchestra in front of it and the jazz quartet positioned even further downstage. I was looking for a system that could be hung high enough to deliver the vocals “above” those components while keeping it focused. Anna was perfect. Originally, we were just going to reinforce the vocals, but ultimately we used the system for everything.’

‘We ran the film in six tracks – source materials, vocals and other – with the music provided by the live orchestra and the jazz quartet,’ Jensen adds. ‘The goal was for the jazz quartet to be more prominent than the orchestra while making sure people could hear dialogue and other effects from the movie. Anna worked incredibly well for this application.’

The Anna system comprised LR hangs of six modules each and a centre cluster of six, hung behind the movie screen. The team used EAW Resolution 2 software to ensure the system design would achieve their audio objectives. ‘Anna was quite successful at making it appear that the movie dialogue was coming from the screen, while allowing the music to envelope the room,’ Meschter reports. ‘The musicians and conductor were very happy with the result as no one was distracted by the sound of dialogue blowing past them. It did exactly what we needed it to do and sounded great.’ The precise vertical control that Anna arrays provided allowed the dialog to be shot over the musicians on stage, keeping it out of the orchestral instruments mics while allowing the dialogue to be well distributed across the entire audience.

Shortly after the close of Naked Lunch, the Anna system was moved to the Geffen Hall for the Carlinhos Brown concert. Because Geffen Hall was designed for the Philharmonic, it is a reverberant room, making it difficult to control sound in reinforced, live applications. The hall is a long, rectangular box with two tiers of seating along the side walls. The challenge is covering those seats without putting excessive energy on the walls.

‘It’s a beautiful hall, and David wanted the show’s acoustic treatments to be visually appealing,’ Meschter explains.

The Carlinhos Brown show was going to be greatly amplified with lots of monitor sound generated on stage that the team did not want projected into the house. In the past they had hung black velour along the sides and back of the stage to deaden the stage a bit. Although effective, Jensen knew that it could be better: ‘The needs of this concert are what originally led us to the Anna system,’ Meschter continues. ‘We knew we required something that would help control the sound on the sides of the room and cut it off right before it hit the back wall, minimising energy splashing around. Anna was the only system we found that could do that.’

Again Meschter, Jensen and (Anderson Audio owner) Chris Anderson used Resolution 2 software to design the system to ensure even coverage throughout the venue. This time they used an LR system of 16 Anna modules – eight per side – and four Otto subwoofers, stacked in pairs under each column array.

‘The system was perfect for Latin, percussion-y music,’ Anderson says. ‘It went up quickly, was precise and clean, with excellent coverage and sound quality. The show was loud but there was still plenty of headroom. Everyone in the audience seemed to really enjoy themselves.’

‘I can’t say how happy the Festival and I were to be so supported by EAW and Anderson Audio – it took a team to make this happen.’ Meschter concludes. ‘We were trying something new, that we had not used before, which can be intimidating. However, it is also incredibly rewarding when it performs exactly as it was envisioned.’

EAW has expanded its customer support to provide end-users with a more efficient customer experience. Support is now handled by two groups – Technical Support and Applications Engineering.

Technical Support, consisting of a discrete group of highly-trained technicians, offers troubleshooting, connectivity and setup assistance as well as handling questions about specific product information.

The dedicated Applications Engineering team provides product recommendations, design assistance, development of Resolution and Ease models as well as answers to advanced questions about products not typically covered in available product documents.

‘This shift in direction enables our Applications Engineering team to be more directly focused on customers that need assistance with system designs and complex scenarios, while Technical Support is organised to manage setup and troubleshooting,’ explains EAW Director of Marketing & Applications Engineering, Adam Shulman. ‘By dividing overall customer support into two related groups, we can tune each group to help customers with very specific needs. This will enhance the overall customer experience, ensuring our customers receive direct and rapid access to the information they need at critical steps in their business processes.

‘The goal of this structure is to provide our customers with faster response times and more direct access to the people who are best-suited to answer their questions, ensuring their experience with EAW is exceptional.’

More: www.eaw.com

EAW has released the Radius family of loudspeakers for portable and permanent installation applications.

Radius brings EAW’s acoustical design and technologies – including EAW Focusing and DynO – to a new powered and processed platform that integrates Dante networking and iOS-based prediction, control and monitoring. The Radius Series is a includes point source, line source, stage monitor and subwoofers. It comprises 8-inch and 12-inch two-way point-source loudspeakers that are available in two horn patterns, a double 8-inch articulated line array, single 12-inch and 18-inch subwoofer models, and a 12-inch co-axial stage monitor will soon be added.

At the heart of the Radius family is the EAWmosaic iOS-based application. An integrated and intuitive platform, this provides wireless prediction, control and monitoring at any location in a venue.

Beyond the all-wood enclosures, EAW Roadcoat finish, minimalist aesthetic and Power Factor Corrected class-D amplification, all models in the Radius family features a large, highly-legible navigation screen that provides on-box access to all functions through the use of a simple turn-and-push encoder. Dual locking etherCon connectors provide daisychain Dante connectivity for single cable audio and communications. There is also an integrated WAP connection on every loudspeaker to provide flexible router placement options. XLR audio input and thru connections provide an analogue input option and automatic fail-over redundancy. Power is delivered via powerCon inlet and loop connections to simplify cable management.

The rear panel LCD and encoder on each enclosure also provide direct access to a wide variety of functions. In addition to crossover and delay, users can select from a number of pre-tuned voicings or perform an Output Check to verify transducer and amplifier functionality without the need for external equipment. Many model specific functions are also directly accessible from the back panel alone.

The 41lb RSX208L line array module uses two 8-inch woofers and two 1.4-inch voice coil compression drivers in a compact three-way package. The design uses both 8-inch woofers for low-frequency reinforcement and DSP controlled mid-range. The RSX208L and RSX12 include array self-detection via onboard infrared sensors and accelerometers that enable OptiLogic technology to pre-optimise the array and air loss compensation processing to reduce set-up and tuning time.

The full-range point source models are the 8-inch two-way RSX86 and 89 (60° x 45° and 90° x 60° respectively) and the 12-inch two-way RSX126 and 129, which feature the same directivity options as their smaller siblings. The horns can be rotated for horizontal installation while maintaining the preferred directivity. The 8-inch models weigh 33lb and the 12-inch models weigh 58lb. There are four user-selectable pushbutton voicings that are based upon feedback from touring and installation contacts – they allow for a variety of tonal starting points without a computer or external processor.

The subwoofer models in the Radius family are the 76lb single 12-inch RSX12 and the 94lb single 18-inch RSX18. The RSX18 offers pushbutton cardioid functionality in stacks of two or three via simple rear-panel controls – no complex calculations are needed to achieve low-frequency control. Both models offer significant sub-bass ground support and a high-passed output for all full-range products in the family, while the RSX12 specifically can also be flown with the companion RSX208L line array.

‘The value of Radius is far greater than the sum of its parts,’ says EAW President and GM, TJ Smith.Many manufacturers are producing highly-featured products but very few are producing products that are self-aware of their location in the system and use that information to optimise system wide performance in a given venue. No one is making systems like this at this price point.’

More: www.eaw.com

Based in Allendale, New Jersey, Outreach FX (OFX) recently equipped local churches with two EAW Radius sound reinforcement systems – meeting the contrasting demands of each.

‘One of the core constituents of OFX has always been churches. Everyone who works here comes from the church world and we understand how they work and what they need to succeed. Radius works extremely well in many church applications,’ explains Chad Smith, Project Manager/Designer for OFX.

‘The flexibility of the system, combined with how simple it is to deploy and how easy it is for volunteers to use, makes it ideal for churches.’

The Radius systems have been installed at the Philadelphia Christian Center and at the new Owings Mills Reistertown satellite campus for Columbia, Maryland-based Bridgeway Community Church.

‘The Philadelphia Christian Center sanctuary had a fairly high ceiling in a fan-shaped room, while the Owings Mills Reistertown space was wide with a very low ceiling,’ Smith recounts. ‘In both cases, Radius provided clean, even coverage of the seating areas and helped create the environment each service required.’



For the Philadelphia Christian Center installation, where the sanctuary seats 400 on the floor and another 200 in the balcony, Smith specified two arrays of five RSX208L three-way, self-powered loudspeakers. Two RSX218 dual 18-inch subwoofers provided additional low end with each located in the far corners of the floor. Two RSX12M stage monitors are on stage for use by speakers and musicians.

To cover the Owing Mills Reistertown sanctuary, Smith opted to hang four small arrays – each made up of two RSX208L loudspeakers – across the length of the stage. He also used four RSX18 18-inch subs, one placed behind each array, for additional low-end support. Both systems run over Dante, which allows audio and communication along a single Cat5 cable and reduces cabling cost and set-up complexity.

‘I tuned each system with the Mosaic software, which is very robust,’ Smith says. ‘The ability for us to deploy a software solution that our client can use that we can also fix as needed is genius. If there is a problem we just send them their set-up file, they upload to their iPad and everything is reset.

‘We knew going into the Philadelphia install that they were planning to move to a bigger space next year and wanted to take the system with them. With Radius, they can. I have no qualms about adding to the system so that it can cover a bigger sanctuary while still sound just as good as it sounds in their current location.’

Pittsburgh-based R&R Audio Services has expanded its sound reinforcement inventory with the purchase of an EAW Radius system, for use at outdoor festivals and summer shows.

From a line-up comprising point source, line source, stage monitor and subwoofer loudspeakers, R&R Audio Services has chosen eight RSX208L line array modules with plans to add the RSX18 subwoofer in readiness for the 2017 the summer festival season.

‘Radius is a true line array with features not found on similar systems on the market,’ explains comapny owner, Ron Perchinsky. ‘Between the EAWmosaic app and the easy-to-use DSP on the rear panel, it takes all of the guess work out of set-up.

‘EAWmosaic software, which provides prediction, control and monitoring of the system, is very user friendly,’ he continues. ‘For larger events, it can be used with Dante, or we can use all of the controls available through the back of the box for smaller set-ups. It seriously cuts down on set-up time, letting us know the heights and angles each venue requires.’

All Radius models are active and use Dante networking for single-cable audio and control. Additionally, the Radius RSX208L includes OptiLogic, which reduces set-up and tuning time when assembling arrays through a combination of integrated infrared transceivers and tilt sensors in the line array module. With OptiLogic, each module knows its position and splay angle within the array, allowing the system to pre-optimise its acoustical output.

‘We have nothing but positive feedback from our customers since we have started using Radius,’ Perchinsky reports. ‘This will be our go-to system for the upcoming summer festival season.’

Eighteen Sound is the latest transducer specialist to adopt Powersoft’s IPAL technology, a low frequency-dedicated system that integrates an 8.5kW switch mode amplifier module (IpalMod) with ultra-high motor force electro-dynamic transducers.

Eighteen Sound has designed its new iD Series transducers (18iD and 21iD) to couple with Powersoft’s Differential Pressure Control technology. This is the core technology of the IPAL (Integrated Powered Adaptive Loudspeaker).

In order to implement the technology, Eighteen Sound has used Powersoft’s IpalMod amplifier hardware module, overcoming the limitations of traditional transducers by featuring a zero latency pressure-sensor feedback, applying real-time correction to maximise Eighteen Sound high efficiency 18-inch and 21-inch transducers.

In taking the decision, Eighteen Sound recognised that despite the improvements made in design, materials and manufacturing process in the field of low-frequency reproduction, the traditional amplifier/loudspeaker approach still leaves major issues unaddressed: transducers come with physical limitations and uncertainties are caused as a result of loudspeakers’ intrinsically nonlinear behaviour.

‘We at Eighteen Sound always work towards superb sound quality, even in today’s most demanding sound reinforcement applications,’ say Sales & Marketing Director, Giacomo Previ. ‘Powersoft’s IPAL technology allows system designers to achieve an apparently impossible mission – the transducers and amplifier module performances, enhanced by the equally stunning integration of each component via the IPAL real-time feedback control, makes for an amazing sound.’

Both IPAL-compatible transducers have a nominal 2Ω impedance. In order to integrate them into the IPAL system, and optimise performance, a pair of either model should be connected in parallel when matched to an IpalMod amplifier module.

‘Eighteen Sound is the second major driver company to buy into our patented technology, says Powersoft Brand & Communication Director, Francesco Fanicchi. ‘iPAL-based amplifier/loudspeaker systems offer unprecedented acoustic performance and complete control of the system’s sound reproduction – and we are delighted that Eighteen Sound has joined the family of users. IPAL and the IpalMod bring many benefits, dramatically improving the electroacoustic efficiency in terms of high SPL and sonic performance.

‘On top of that, the IPAL system ensures consistent transducer performance over its entire life cycle and balances transducer differentials in every subwoofer application.’

The eighth Electric Zoo Festival attracted a reported 83,000 EDM fans to Randall’s Island Park in New York City with a lineup that featured many of the genre’s finest, including Tiësto, Hardwell and The Chainsmokers. According to the festival organiser, this year’s event included a sold-out Sunday crowd of 33,000, drewing fans from 90 countries and all 50 US states.

Working with technical producer Backbone International, Clearwing Productions provided sound reinforcement and lighting for the event, supplying the Main and Riverside Stages and the Hilltop Arena and Sunday School Grove tents with L-Acoustics K1, K2 and Kara PA systems. The two largest stages used L-Acoustics’ new KS28 subwoofers powered by LA12X amplified controllers in LA-Rak II touring racks.

The Electro-Voice Evid-S series is the latest member of the Evid (EV Innovative Design) family of commercial loudspeakers for installed applications.

The series includes 4-inch, 5.25-inch and 8-inch two-way models with matching dual-10-inch and single 12-inch subwoofers, addressing a wide range of indoor and outdoor applications – retail environments, hospitality settings such as bars, lounges, patios, pool areas and restaurants; conference and meeting rooms, fitness clubs, performing arts and sports venues and houses of worship.

The enclosures use true weatherproof construction for outdoor spaces, confirmed bytesting above and beyond industry norms. All models are paintable and IP54 certified for weather resistance; an IP65 weatherproof version is available for the 5.25-inch loudspeaker cabinet and the 10-inch subwoofer models.

A new wall-mount system makes installation quicker and easier than prviously – attach the wall-mount (a built-in bubble level saves time) and terminate the cables inside, apply the paint cover to protect the wall-mount until construction is completed (when the cover can be removed), and then simply slide the pre-wired speaker with adjustable arm onto the wall-mount and lock into place.

More: www.electrovoice.com

Electro-Voice has extended X-Line Advance family with the release of the X12-125F flying subwoofer.

The X12-125F features dual 15-inch high-output transducers in a very compact enclosure capable of delivering delivering 9.6kW output. It can be flown or groundstacked, and is performance-matched for optimal results with all current X-Line Advance models

The X12-125F features the X-Line family’s Integrated Rigging System for quick, secure and seamless deployment in arrays, and is sonically matched to the and X2 (high-performance) full-range models, and the X12-128 groundstacking dual 18-inch subwoofer. The X12-125F can also be used in groundstacked configurations, making it a versatile choice for rental companies and mobile applications, as well as fixed installations including live performance venues and houses of worship. Its very compact, lightweight 18-ply Baltic birch enclosure is finished in EVcoat for durability.

The X-Line Advance family currently comprises two-way vertical line-array loudspeaker elements providing 90° or 120° horizontal coverage, the dual 18-inch X12-128 ground-stacking subwoofer, the TG7 system power and processing rack, and a complete package of rigging and transport materials. The new X12-125F subwoofer complements existing X-Line Advance models in a wide range of possible system configurations:

More: www.electrovoice.com

EM Acoustics has announced the ESP Series of compact, self-powered, multipurpose loudspeakers.

Targetting a variety of live sound reinforcement applications, the range currently comprises the ESP-8 and ESP-12 loudspeakers, both with coaxial designs for true point-source performance, and the ESP-15S compact reflex subwoofer.

The ESP-8 is an 8-inch, two-way coaxial loudspeaker delivering a uniform 100° conical dispersion with smooth off-axis response free from the parallax effects of separate HF and LF drive units. The result is a compact, fully self-contained loudspeaker system suited to duties ranging from small FOH to speech reinforcement, front fill or compact stage monitoring.

The ESP-12 is the bigger brother to the ESP-8, sporting the same coaxial design in a compact, lightweight, multi-angle enclosure. Both enclosures benefit use onboard class-D amplification technology and DSP processing, as well as reliable limiting. The amplifier power supply is a universal voltage design, meaning that ESP-8 and ESP-12 will operate across the globe. Four built-in presets are available for different applications: stand-alone use; flat response; use with a subwoofer; and stage monitoring. A number of intuitive rigging options are available for swift and easy set up.

The ESP-15S compact reflex subwoofer that extends the low frequency performance of the ESP Series down to 45Hz. The ESP-15S claims a very high power-to-size ratio, as do the ESP-8 and ESP-12. Integral handles, a polemount fixing and optional castors make the ESP-15 easy to deploy in a wide range of applications, while four presets each use a different low-pass filter.

More: www.emacoustics.com

Following the appointment of Contact Distribution as EM Acoustics’ Canads distributor, EM Acoustics has added to its North American presence with Cardone, Soloman & Associates.

The first rep firm appointment for the British loudspeaker manufacturer, Cardone, Solomon & Associates based in New York. ‘A year since the launch of EM Acoustics North America, we are in a position to appoint a well-known rep firm, and have been very methodical in looking at all the options available to us,’ explains Jim Shearing of EM Acoustics North America. ‘I have known of Cardone, Solomon & Associates for many years; it is a well-established and highly respected name with a successful track record in professional audio throughout the Northeast and Mid-Atlantic regions.

‘The company will only recommend equipment which will truly be of value and make good sense for the long-term health of that particular organisation. This consistency and reliability over time has become a core part of its reputation. Each member of the CS&A team brings something unique to the table and it has been a distinct honour to work with all of them to help bring EM Acoustics loudspeakers to their line card.’

‘John Cardone, myself and everyone at Cardone, Solomon & Associates is excited about becoming the first US-based, manufacturer’s representatives for EM Acoustics’ incredible sounding and thoughtfully engineered loudspeaker products,’ says C&SA founder, Mike Solomon. ‘As CS&A celebrates our 20th anniversary, we are so very proud to represent EM Acoustics, a company that is committed to excellence, is responsive in providing applications-orientated loudspeaker systems, inventory, and timely support that meets our customer’s needs.’

Located in the Northeast of The Netherlands, Emmen’s new Atlas Theater is a multi-purpose performing arts facility designed by noted Danish architect Henning Larsen. With a main auditorium seating 822, its Renkus-Heinz Iconyx IC Live system ensures even coverage throughout

Already the cultural heart of Emmen, the Atlas Theater has been equipped with a turnkey multifunctional audio system conceived by consultant Steven Kemland from Theateradvies BV. Leading regional supplier Ampco-Flashlight Sales implemented the solution, led by Project Manager Frans van Houten. The expansive system extends throughout all public and back of house areas, including the venue’s 300-capacity black box theatre and main auditorium.

Two permanently installed IC Live arrays are positioned to the left and right of the stage, both comprising a single ICL-F-Dual-RN and single ICL-F-RN. The columns provide sound reinforcement, particularly during spoken word presentations and meetings. ‘The IC Live system, with its active beam-steering technology, is for this venue the ideal system – it’s very versatile,’ explains Frans van Houten. ‘The system performs as a fixed installation with three beams per side ensuring even coverage over the floor seating and the auditorium’s two balconies.’

The IC Live columns are also used in conjunction with the theatre’s acoustic control system, helping to deliver controlled reverberation and surround effects. ‘The Renkus-Heinz system functions precisely as we intended,’ van Houten reports. ‘With its powerful beam-steering functionality, it delivers clarity to every seat in the auditorium, making certain that every in the audience is happy.’

DiGiCo SD8 and SD9 digital consoles handle the theatre’s mixing duties, while amplification is from Powersoft’s Ottocanali amps and signal processing is based entirely on Symetrix Radius units.

Equipson has added the SL 210 A to its range of line array loudspeaker systems.

The SL 210 A is an active speaker, using 1kW class-D amplification built-in a DSP and a full control pannel on the rear for configurations and set-up. Presets can be selected via a multipurpose menu (temperature, IP address, mode, mute, filter parameters, protection or shutdown), to suit a wide variety of professional applications. The speaker can also be connected via Ethernet to be managed by a tablet or smartphone using WorkCAD 3 software.

The speaker is composed of two 10-inch transducers and a 1.75-inch compression driver, providing a frequency response of 84Hz to 18kHz (±3dB ) and delivering a 129dB maximum SPL (135dB peak).

More: www.workproaudio.com