Soundcraft Studer Appoints Angel Perez To Position Of Applications Engineer, Intercontinental
Perez, a veteran with more than 15 years in the audio field, is a recognized professional in the television and audio industry in Puerto Rico. His role in this new position is to support Soundcraft and Studer distributors in the region in all matters related to digital audio consoles. Among his responsibilities, he will be the first line of sales and technical application support for our clients, working with them to enable effective and appropriate use of the product range to meet their specific needs. He will report to Jaime Albors, Senior Director of Sales Intercontinental, Harman Professional and will operate from the company’s Intercontinental sales office in San Juan, Puerto Rico.
Perez joins Harman Professional from Univision Puerto Rico, a network affiliate from the Univision Network in the United States. Perez was the head audio engineer of the production department and had the responsibility of working with the engineering department to design, select and integrate the audio equipment to be used in their daily and special productions. He also worked closely with the station vendors and rental companies in equipment selection and implementation for various national and international productions.
Perez also worked as freelance audio engineer for various artists and events in Puerto Rico. As an active member of his church, he leads the audio team and has a vast understanding of the house of worship market as well. This is the perfect mix of knowledge, as he doesn’t only understand the broadcast market, but the live sound and house of worship markets as well.
“I am positive that Angel G. Perez’s contribution to our team and to our distributors will be noticed immediately as our office has been bridging the gap between the factories and our customers. It is a great pleasure to have him as a resource for our distributors, customers and prospects and he will soon be visiting the territory to share his knowledge and expertise among our distributors,” Albors says.
Perez comments about his new role, “As a member of the audio production crew in a broadcast environment, I truly understand the needs of our customers and changing situations on a TV station. Having served as a resource to the engineering department, I am also aware of the technical advantages and options that Studer brings to the distributors and end users in all aspects of the market. I look forward to visit the territory and being able to provide turnkey solutions to our distributors, partners and customers as well.”
DigiTech® Chooses QNX® for Real Time Operating System Control
QNX is providing its comprehensive software platform for the JamMan line of pedals, giving users increased control and a more varied feature set. The QNX Neutrino Real Time Operating System (RTOS) is a modular, industrial-strength operating system that offers high reliability and fast, predictable response times. Highly scalable, the QNX Neutrino RTOS has a proven track record in everything from television remote controls to the Space Shuttle.
“DigiTech, much like our artist base, is deeply committed to innovation and not simply resting on accomplishments. Enabling new levels of functionality and creativity in our pedals is a goal we continually seek to emulate. Now with processing powered by the QNX Neutrino operating system, we can offer higher performance, greater functionality and unsurpassed reliability,” stated Rob Urry, president of the Harman Music Group. “With QNX we are implementing the same technology that is used by organizations such as Audi, Lockheed Martin and NASA.”
QNX technology is highly popular in the automotive infotainment market, where it ships in more than 200 vehicle models. Brands such as Acura, BMW, Cadillac, Chevrolet, Chrysler, Dodge, Fiat, Ford, GMC, Infiniti, Honda, Hyundai, Jaguar, Jeep, Land Rover, Mazda, Mercedes, Mitsubishi, Nissan, Toyota, and Volkswagen now use QNX technology as the software foundation for their digital instrument clusters, hands-free systems, multimedia head units, 3D navigation systems, or rear-seat entertainment products.
The reliability of the QNX Neutrino RTOS comes from its true microkernel architecture, which runs every driver, protocol stack, file system and application in the safety of memory-protected user space, outside the operating system kernel. As a result, individual components can fail and be automatically restarted without affecting other components or the kernel.
QNX and Neutrino are trademarks of QNX Software Systems GmbH & Co. KG, which are registered trademarks and/or used in certain jurisdictions, and are used under license by QNX Software Systems Co. All other trademarks belong to their respective owners.
Frattalone And Associates Preserves And Improves Landmark Center With JBL CBT Column Speakers
Frattalone and Associates installed JBL CBT70J Column Arrays and CBT70JE Bass Extensions to improve the audio of the 6-story cavernous structure, which was struggling to overcome a consistent 3-second-reverb time. Additionally, Steven M. Frattalone, President of Frattalone and Associates and his team were tasked with ensuring the new sound installation did not distract from the ornate architecture and aesthetics of the Center. Through the use of CBT brackets, augmented with custom wall mounts, the team implemented the speaker system without compromising the atmosphere of the Center.
“After the installation and accurate aiming using our EASE model, we were able to make significant improvements in the intelligibility over the old system and provided seamless coverage throughout the Center,” stated Frattalone. “Using the CBT brackets and custom wall mounts allowed us to blend the CBT’s into the columns, making them nearly invisible.”
JBL’s Constant Beamwidth Technology is designed for venues that typically use larger point-and-shoot speakers, looking for a smaller, more accurate solution for their sound needs. In addition, CBT technology provides a more even front-to-back sound coverage, similar to line arrays used in concert systems.
“We continue to have tremendous success with the CBT’s,” continued Frattalone. “The speaker system, which plays a vital role in the success of this venue, has superior sound quality and is visually discreet. The historic aspect, along with the new sound of the Center, will continue to make a lasting impression for years to come.”
For more information on Frattalone and Associates, Inc. please visit www.frattalone.com.
AKG’s DMS 700 Is Installed As Part Of A Complete Sound System Renovation At Miller Outdoor Theatre In Houston, Texas
In updating the theater’s wireless audio system, Rob Slaughter of Hairel Enterprises was called on to carry out the installation, which consists of twenty-four channels each having both belt-pack and hand-held transmitters. Greg Stevens of AudioVend assisted Hairel Enterprises in commissioning the new system.
“We wanted the DMS 700 because it, combined with other systems upgrades, gives us an all digital signal path for our wireless system, which couldn’t quite be matched by other manufacturers” said Cliff Presswood, one of the staff audio engineers at the Miller Outdoor Theater. “In addition to the clear, articulate sound and wide tuning range, the DMS 700 gives us the flexibility to broadcast a very large number of channels simultaneously, and really limits any distortion or high noise levels.”
“The DMS 700 is designed to offer a level of flexibility that is unmatched by analogue systems or other digital wireless systems,” commented Joseph Wagoner, AKG’s product manager for tour and installed sound. “It’s ideal for any application where audio quality, channel quality and ease-of-use are important, which is what makes it the perfect selection for the Miller Outdoor Theater.”
West Virginia University Coliseum Goes Big With JBL PD Series Loudspeakers
Located in Morgantown, West Virginia, the West Virginia University Coliseum seats 14,000. The upgrade to the audio system was part of a larger renovation that included the installation of a new NBA-style video scoreboard and a new lighting system.
The main bowl system at the Coliseum features a variety of JBL PD Series loudspeaker models, including the PD5212/64, PD5212/95 and PD5322/64, with 10 PD5122 low-frequency loudspeakers intermingled on top of the scoreboard, alternating with the other PD Series models. The main bowl system also includes one JBL ASB6118 subwoofer on the top of the scoreboard.
Other PD Series speakers are placed underneath the scoreboard to cover the floor area, while the speakers on top of the scoreboard cover the lower decks, also providing low-frequency output. Additionally, a top satellite ring of PD5212/64 loudspeakers ties into a circular catwalk, covering two-thirds of the top deck. Crown CTs amplifiers power the system.
“This was our first time working with the PD Series and we were extremely pleased,” said Ian Wolfe of Acoustical Design Group. “We got excellent pattern control, terrific overall frequency response, the loudspeakers were easy to install and the price was right as well.”
“We have a great working relationship with JBL and we try to incorporate them into most of our projects,” said Ken Blanchies of Panasonic’s Tech Services Group. “Given the value and quality of product they have, it’s a great company to work with.”
According to Blanchies, the PD Series loudspeakers provide smooth coverage and perform according spec. “That’s an important quality because the Coliseum was built in 1970 and we were dealing with acoustic properties that weren’t even considered back then,” Blanchies said. “There is a ton of concrete surfaces, including on the roof, so we were dealing with a lot of reflections and lobing. Once Ian came in and tuned the system, he put some small parametric notch filters in six or seven locations, and we were ready to go.”
“The collaboration with Ian Wolfe and his team was phenomenal, I can’t speak highly enough of them,” Blanchies said.
For more information on Acoustical Design Group, please visit www.adgkc.com
Pete Anderson Stays True To His Sonic Roots With Soundcraft Ghost Console
“I needed an analog board to mix on, but I didn’t want anything too big, so I checked out the Soundcraft Ghost console,” Anderson says. “When I first hooked up the Ghost, I played one of my recordings and the songs sounded exactly how I wanted them to sound, right away. All the magic I wanted just kicked in.”
From 1986 to 2003, Anderson was best known as Dwight Yoakam’s producer, lead guitarist and music partner. Since then, Anderson has produced albums for top country artists such as Tanya Tucker and Mark Chesnutt, while embarking on his own solo career and starting his own label, Little Dog Records. In all of Anderson’s work, his irreverence for the mundane is apparent, but so too is the respect he holds for his musical roots. This respect lies not only in the composition of songs he produces and plays, but in the sonic elements as well.
In Anderson’s mind, the tools used to record and mix a song are as important as the instruments used to play the songs. “I think of myself as a sound architect, I’m looking at a certain place I want to take a record,” he says. “With analog boards, you can push the faders and push the EQ to get that analog distortion—the kind of sound that made Chess recordings so memorable and Ray Charles’ voice so iconic.”
The Soundcraft Ghost has been a perfect fit for Anderson as well as his collaborators in the studio. “The other thing that’s so great about the Ghost is it has channels of analog strips and in the aux section you can do all your effects,” Anderson says. “A lot of engineers like the convenience of digital, being able to use a mouse and all that, but they still like to mix with faders and a tangible surface.”
Anderson recently completed production of Mark Chesnutt’s latest release, Outlaw—a record of Chesnutt performing classics from the “Outlaw Country” sub-genre, featuring tracks from the likes of Waylon Jennings, Willie Nelson and Hank Williams, Jr. True to form, Outlaw represents Anderson’s rebellious-yet-reverential approach. “The idea wasn’t to take these songs and change them, but we did want to tighten up the arrangements from the originals,” Anderson said.
In late 2009, Anderson released a solo album, Even Things Up, which showcases his appreciation for—and mastery of—the blues. “For Even Things Up, I wanted to play straight blues,” he says. “I think the blues world is very interesting because it’s a broad umbrella—there are no sonic boundaries. In country, there’s a ceiling for what you can do because every act needs to be marketable. But with the blues, you’re not planning on selling a million records and there’s a creative freedom that goes with that. At the same time, you can find a blues festival every day of the year and the blues will always resonate with listeners.”
While Even Things Up represents a revisiting of Anderson’s musical roots, the Soundcraft Ghost enables him to revisit his sonic roots as well. “The Ghost is an unbelievable fit to add that soft edge to digital recordings, which can sound so hard.”
For more information on Little Dog Records, please visit www.littledogrecords.com
For more information on Pete Anderson, please visit www.peteanderson.com
AKG’s Smart Battery Power Technology Improves Product Life Cycle, Saves Money And Energy For A Greener Experience
One feature that comes standard on all of AKG’s wireless microphone systems is a drop-in charger contact that allows users to simply insert the handheld microphone (HT) or belt pack transmitter (PT) into the charging dock. Once in the dock, the microphone’s battery is charged with Pulse Wave Technology without having to remove it from the casing. Transmitting a high current through the battery in waves for a short period of time before turning it down, this Pulse Wave charging method prevents excess heat build up and allows the battery to maintain its temperature for a faster overall charging cycle and longer life cycle. Using the Pulse Wave Technology, any nickel metal hydride AA battery can go from dead to fully charged in just two hours, and once charged, can operate for up to seven to eight hours at a time.
“Digital wireless technology has traditionally used an excessive amount of energy in an inefficient manner,” commented Joseph Wagoner, Product Manager for Wireless, Tour, and Installed Sound, AKG. “That’s not the case with our systems. Where other systems will get three or four hours on a fully charged battery, AKG’s will get nearly twice as much. Our battery power technology represents the smartest and most advanced charging methods available for microphone and wireless microphone systems.”
The most sophisticated AKG battery technology is found with the WMS 4500, which utilizes a specially packaged Nickel Metal Hydride battery pack called the BA4000 that comes with a computer chip that monitors the battery’s condition and usage. When in use, the BA4000 monitors the voltage level and current consumption, and when the battery is placed in the charger, relays those levels to the charging unit and adjusts its charging cycle accordingly to provide a rapid recovery time and full charge. This unit also includes the logic to alert the user when the battery needs a deep cycle charge. When the red light turns on, it indicates that the battery should be cycled for 18 hours for extended life and performance.
“AKG’s battery power technology provides two main benefits to our customers,” continued Wagoner. “One is the benefit to the environment that comes with using less batteries and producing less waste. The other is the cost savings. When you look at the amount of money one spends on batteries per week with other systems, compared to the money saved with smart battery technology, the savings will result in the wireless system paying for itself over time."
Harman Professional Strengthens India Sales Team To Support Emerging Market Strategy
Garg, an electrical engineer with a degree in management from AIMA, comes to Harman with 22 years of experience at Bhartia Cutler Hammer, a switchgear company, and most recently Bose India, where he was the head of the Professional Division for sales for the past 12 years. At Harman, he will work with his team to generate demand in India for Harman Professional products across all markets - including MI, broadcast/recording, cinema, tour-sound and more – using various sales, channel network and business development strategies.
Reporting to Garg, Ghose will be responsible for providing support for all of Harman Professional’s sales initiatives in Western India. Ghose is also an electrical engineer who specializes in telecommunications. Before coming to Harman, Ghose worked for nine years at various different Audio-Visual and electronics companies, where he gained experience in sales, distribution, channel management and product operations.
Before coming to Harman, Khanna spent a total of nine years working in AV sales, with eight of those years working as the Regional Sales Manager for North and South India at Bose. Prior to Bose, he worked in Skyweb India as a Senior Executive in Corporate Relations. In his new position, Khanna will focus on the sales portfolio for Harman Professional’s Northern region, and will report directly to Garg, who will in turn report directly to David McKinney.
“Everyone at Harman Professional is very excited to welcome Kaushal, Robin and Vibhor to the team in India,” said David McKinney, Senior Director of Sales for Asia, Harman Professional. “They will all be working closely with our marketing & communications, technical support and service teams to develop new strategies and initiatives that will ultimately bring a greater level of support to dealers, customers and channel partners throughout all of India, and we are confident that each member will make a different but equally important contribution to that goal.”
Radhusteatret Ski Invests In Soundcraft Vi6™
Situated in the heart of the Norwegian town of Ski to the southeast of Oslo, the Rådhusteatret theater recently upgraded its sound system with a Soundcraft Vi6 digital console. With two stages--respectively catering for 365, and between 60 and 100 people--it is used for local as well as touring productions.
The theatre boasts a broad spectrum of performance, ranging from theatrical productions, musicals, choir, ballet, jazz and rock concerts, conferences, and even the occasional heavy metal band.
“While this broad range of productions is interesting to work with it requires a flexible equipment set up,” says technical director Hans Erikstad. “The advantages of a digital mixing console became increasingly clear in recent years so we searched for the ideal solution.”
Several options were evaluated in the decision process, but the technical team kept coming back to Soundcraft Vi series digital mixers. The theatre’s sound engineer, Fredrik Pagander, explains: “We previously used a Soundcraft MH3 console, which we were very happy with--and we definitely wanted a similar work surface with the digital board.
“Sound quality was another main factor in the decision process--and we found both requirements more than adequately fulfilled with the Vi6. I must say that I have been very impressed with the sound quality right from the start, and it feels a very natural desk to work with.”
As a creative process, he says, mixing should be supported by an intuitive user interface, and the Vistonics II system also handsomely fulfills that remit.
The Soundcraft Vi6 was supplied by Oslo-based LydRommet AS, Harman’s distributor in the territory.
The theatre boasts a broad spectrum of performance, ranging from theatrical productions, musicals, choir, ballet, jazz and rock concerts, conferences, and even the occasional heavy metal band.
“While this broad range of productions is interesting to work with it requires a flexible equipment set up,” says technical director Hans Erikstad. “The advantages of a digital mixing console became increasingly clear in recent years so we searched for the ideal solution.”
Several options were evaluated in the decision process, but the technical team kept coming back to Soundcraft Vi series digital mixers. The theatre’s sound engineer, Fredrik Pagander, explains: “We previously used a Soundcraft MH3 console, which we were very happy with--and we definitely wanted a similar work surface with the digital board.
“Sound quality was another main factor in the decision process--and we found both requirements more than adequately fulfilled with the Vi6. I must say that I have been very impressed with the sound quality right from the start, and it feels a very natural desk to work with.”
As a creative process, he says, mixing should be supported by an intuitive user interface, and the Vistonics II system also handsomely fulfills that remit.
The Soundcraft Vi6 was supplied by Oslo-based LydRommet AS, Harman’s distributor in the territory.
Studer Celebrates Sale Of 1,000th OnAir 3000 Digital Console
In a crowning achievement, Studer recently sold OnAir 3000 digital consoles to some of the world’s most prestigious broadcasting companies, and in the process, sales of the OnAir 3000 have now surpassed the 1,000 mark—a testament to the product’s popularity in even the most demanding broadcast applications.
“Today we celebrate a milestone, as we have now sold more than 1,000 OnAir 3000 consoles,” said Keith Watson, Marketing Director – Mixing. “We designed the OnAir 3000 for the medium to upper segment of the broadcast market and we have enjoyed tremendous success, thanks to the product’s tremendous ease of use and versatility. To that end, it’s only fitting that we surpass the 1,000 mark with sales to three of the most successful broadcasters in the world.”
Recent purchases of OnAir 3000 consoles include: the BBC (British Broadcasting Corporation), the largest broadcasting organization in the world; Rede Globo of Brazil, the largest television network in Latin America and the third largest network in the world; the Danish Broadcasting Corporation, the national broadcaster for Denmark; TRT (Turkish Radio and Television Corporation), the national public broadcaster for Turkey; ERTU (Egyptian Radio and Television Union), which runs the internationally-recognised television station Nile TV.
The Studer OnAir 3000 features a wide range of compact and elegant control surface modules and incorporates Studer’s patented “Touch-n-Action” philosophy, using colour GUI screens. The OnAir 3000 design is based on a completely modular desk and a new DSP engine. The fader module includes six fader strips, and up to eight fader modules may be fitted, giving a maximum console size of 48 faders. Layout options range from a highly comprehensive engineer-operated continuity console to a single fader panel for DJ and newsroom use or even a PC-operated system with no physical desk controls.
“Today we celebrate a milestone, as we have now sold more than 1,000 OnAir 3000 consoles,” said Keith Watson, Marketing Director – Mixing. “We designed the OnAir 3000 for the medium to upper segment of the broadcast market and we have enjoyed tremendous success, thanks to the product’s tremendous ease of use and versatility. To that end, it’s only fitting that we surpass the 1,000 mark with sales to three of the most successful broadcasters in the world.”
Recent purchases of OnAir 3000 consoles include: the BBC (British Broadcasting Corporation), the largest broadcasting organization in the world; Rede Globo of Brazil, the largest television network in Latin America and the third largest network in the world; the Danish Broadcasting Corporation, the national broadcaster for Denmark; TRT (Turkish Radio and Television Corporation), the national public broadcaster for Turkey; ERTU (Egyptian Radio and Television Union), which runs the internationally-recognised television station Nile TV.
The Studer OnAir 3000 features a wide range of compact and elegant control surface modules and incorporates Studer’s patented “Touch-n-Action” philosophy, using colour GUI screens. The OnAir 3000 design is based on a completely modular desk and a new DSP engine. The fader module includes six fader strips, and up to eight fader modules may be fitted, giving a maximum console size of 48 faders. Layout options range from a highly comprehensive engineer-operated continuity console to a single fader panel for DJ and newsroom use or even a PC-operated system with no physical desk controls.
Mark Ureda Named Vice President, General Manager of Harman Professional Loudspeaker Group
“What makes Mark ideal for this position is his broad understanding of the values, heritage and potential of both JBL Professional and Selenium,” Augsburger said today. “We are very pleased that he has elected to take this position and I am confident that his leadership will serve as a platform for a host of innovations and the delivery of the quality and performance that our customers demand.”
Mark Ureda joins Harman Professional with a rich background in acoustics and management. He began his career with the Altec Lansing Corporation, where he developed constant directivity horns, authored several technical papers and was awarded several patents. Since 1999, Ureda has been a technical consultant to JBL Professional, where he has developed software to predict the sound fields of loudspeaker arrays and has authored numerous technical papers on the topic.
“Mark’s close relationship with Harman and JBL Professional for more than a decade provides him a unique perspective on the markets we serve and the products we offer. His ability to leverage his management and technology skills is a crucial asset and I know the team at our Loudspeaker Group is looking forward to years of innovation and growth under his leadership,” Augsburger continued.
Mark Ureda joins Harman Professional from Northrop Grumman Corporation, a global defense company, where he had been employed since 1985. At Northrop, Ureda held the position of Vice President, Corporate Strategy, where he was responsible for corporate strategy development, mergers and acquisitions, strategic planning and competitive analysis. Northrop is a $30 billion aerospace company with more than 125,000 employees in all 50 states, and 25 countries.
Mark Ureda received a Bachelor of Science in Engineering from the University of California at Los Angeles, a Master of Science in Acoustics from the Pennsylvania State University and a Master of Business Administration from the UCLA Graduate School of Management.
“For more than 60 years, JBL Professional has stood for innovation, excellence and quality,” Ureda said today. “In my new role, I will drive JBL to new levels of system performance and competitive and financial strength. Selenium, likewise, is a brand and organization with tremendous potential and I look forward to becoming a catalyst for its global success going forward.”
Custom Audio Electronics Continues To Build Intricate Pedal Boards For Leading Musicians, Always Starting With The DigiTech Whammy™ Pedal
Custom Audio Electronics (CAE) is dedicated to providing musicians with the best possible equipment on the market, which is why owner Bob Bradshaw starts every custom pedal board with the DigiTechâ Whammy™ Pedal. Celebrating 20 years of success in Los Angeles, CAE continues to provide excellent musical solutions to guitar enthusiasts around the globe.
“The Whammy has been a staple in my custom pedal board setups from the beginning,” said Bradshaw. “From its simplistic design to its powerful note-bending ability, the Whammy should always be the starting point for any guitarist, young or old; professional or novice.”
Bradshaw, a legendary guitar systems designer, has designed and constructed pedal boards for multiple guitarists in bands including: Green Day, Elton John, U2, Van Halen, Lenny Kravitz, James Taylor, Prince, Motley Crue, Blink 182, Peter Frampton and many others.
“Hearing a Whammy in action is the ultimate treat for fans coming to see their favorite band,” continued Bradshaw. “With the pedal, the artists can take their hit songs and completely rework them for an even greater experience. I’m very proud of my work and the Whammy ensures I provide my customers with the greatest sound possible.”
Twenty years ago, the Whammy pedal made its debut and to this day continues to support guitarists on stage, in the studio and in jam sessions around the world. To commemorate the past 20 years of success, DigiTech released 2,000 limited edition, chrome-platted, hand-signed Whammy pedals for collectors and musicians alike.
“Harman takes great pride in the DigiTech Whammy pedal, just as Bob takes great pride in his custom pedal boards,” said Rob Urry, President of the Harman Music Group. “We are very excited to continue supplying state-of-the-art pedals to musicians through Bob and CAE.”
DigiTech is a unit of Harman International Industries, Incorporated (www.harman.com).
“The Whammy has been a staple in my custom pedal board setups from the beginning,” said Bradshaw. “From its simplistic design to its powerful note-bending ability, the Whammy should always be the starting point for any guitarist, young or old; professional or novice.”
Bradshaw, a legendary guitar systems designer, has designed and constructed pedal boards for multiple guitarists in bands including: Green Day, Elton John, U2, Van Halen, Lenny Kravitz, James Taylor, Prince, Motley Crue, Blink 182, Peter Frampton and many others.
“Hearing a Whammy in action is the ultimate treat for fans coming to see their favorite band,” continued Bradshaw. “With the pedal, the artists can take their hit songs and completely rework them for an even greater experience. I’m very proud of my work and the Whammy ensures I provide my customers with the greatest sound possible.”
Twenty years ago, the Whammy pedal made its debut and to this day continues to support guitarists on stage, in the studio and in jam sessions around the world. To commemorate the past 20 years of success, DigiTech released 2,000 limited edition, chrome-platted, hand-signed Whammy pedals for collectors and musicians alike.
“Harman takes great pride in the DigiTech Whammy pedal, just as Bob takes great pride in his custom pedal boards,” said Rob Urry, President of the Harman Music Group. “We are very excited to continue supplying state-of-the-art pedals to musicians through Bob and CAE.”
DigiTech is a unit of Harman International Industries, Incorporated (www.harman.com).
FUNA International And BSS Audio Add Advanced Networking and Control Of Audio To World’s Largest Cruise Ship, Oasis of the Seas
The ship’s audio system, covering everything from background music, acrobatic, musical and comedic entertainment, is handled by 29 Soundweb London BLU-800 and 21 BLU-120 devices, with BLU-10 programmable touch screen remotes for local control outfitted throughout the ship as well.
“As BSS Audio signal processors have continued to become more advanced in their ability to provide comprehensive system networking and control, we have been able to use them in more complex and larger applications,” stated Derek Warner, Senior Project Manager, FUNA, International. “The Soundweb London platform provided us with a quality product, which was very user-friendly for our programmers. Collectively, we were able to pre-program and test our system prior to installation; a big help as our time for onsite programming can be very limited.”
The cruise liner contains four major theaters, each requiring a vast and greatly detailed sound installation. The ship’s Aqua theater, which hosts a variety of performances, is an outdoor venue that stretches across the entire width of the boat, port to starboard. Warner’s mission was to ensure the sound emanating from the stage is perfectly heard, while battling the ambient noise such as wind, engines, waves and thousands of excited guests.
During the nearly 2-year construction time of the world’s largest water vessel, the FUNA sound team was on duty for approximately six months to fine-tune the project that trumps any landlocked performance center. “With such a large install, we needed an experienced team to ensure our systems were properly handled and programmed,” continued Warner. “This is the fourth ship we’ve built out of Finland, using Soundweb London almost exclusively for DSP.”
For more information on FUNA International, please visit www.funa.com.
Country-Blues Guitarist Ford Thurston Takes To The Road With HardWire® Pedals
“As soon as I heard what the pedal could do this winter, I grabbed a guitar and started to rock it out,” said Thurston. “I’ve been using it for the majority of my work ever since.”
A Nashville native, Thurston has been playing the guitar for more than 22 years. It was only a matter of time before his talents lined him up with leading southern artists on stage and in the studio. The musician’s HardWire arsenal consists of an HT-2 Chromatic Tuner, DL-8 Delay/Looper, RV-7 Stereo Reverb and of course, the CM-2 Tube Overdrive pedal.
Thurston will be taking the Hardwire on tour with several Nashville acts, including Anthony Smith, Brynn Marie and all-female group Lucy Angel. “To completely entertain the fans throughout these tours I wanted a durable pedal that has its own sound, and that’s exactly what I get out of the Tube Overdrive,” continued Thurston.
“Ford’s use of the HardWire pedals during his live shows and studio sessions emphasizes Harman’s mission of providing high-quality equipment for musicians,” said Rob Urry, president of Harman Music Group. “We are pleased to offer industry-leading equipment to help them entertain the masses.
Raising the standards of performance and quality for guitar pedals, HardWire pedals are extreme performance pedals built to stand up to the demands of the life of a touring musician. The pedals preserve guitar tone by operating at a significantly higher voltage than standard pedals, performing best out of hot guitar pickups and in the high voltage environment of an amplifier effects loop. The high-voltage rails of the HardWire pedals guarantee constant effects performance throughout the life of the battery and prevent tone loss as it operates on a steady voltage.
“The HardWire pedals are some of the simplest pieces on my pedal board, but works better than all of my other equipment,” stated Thurston. “You turn it on and it’s not frumpy; it’s good to go.”
For more information and music samples, please visit www.myspace.com/fordthurston.
Electronic Design Company Puts JBL VLA Line Arrays In The Starting Lineup At TCF Bank Stadium
The opening of TCF Bank Stadium was part of an expansion to the University of Minnesota’s main campus, which is expected to include an additional 10 new academic buildings by 2015. As a member of the Big 10, one of college football’s most competitive conferences, TCF Bank Stadium was designed to provide fans with an experience on par with some of the country’s largest football stadiums. At the same time, TCF Bank Stadium is designed for purposes beyond football, and while it currently features a capacity of 50,805, it can support future expansion to up to 80,000 people.
To withstand the harsh climate of Minneapolis, EDC (which also installed the SMATV and permanent broadcast system), implemented the main PA system featuring JBL VLA weatherized line arrays, powered by Crown Macro-Tech-I amplifiers. Located in the west end zone of the stadium, the main PA system features a center array of seven VLA301 loudspeakers, flanked by left/right arrays of seven VLA601 loudspeakers each. For additional fill on the south side, the system also features three VLA901 loudspeakers. The system is built into the end zone video board, providing additional protection from the elements while also preserving a discreet appearance.
“We pre-assembled the speaker system on the ground, picked up each cluster as a single assembly and dropped them right in,” said Rustin Bullert of EDC. “The VLA loudspeakers provide remarkable output given their compact size and they have definitely met our expectations.”
JBL PD Series loudspeakers provide reinforcement on the north side of the stadium, and areas just below the scoreboard. The system is managed via Harman’s HiQnet™ System Architect™ platform. “The London software gave us capabilities that make game days easy to operate,” Bullert added.
Since the installation, the system has performed to expectations. “It’s been running great, everybody loves it,” Bullert said. “The sound is very even around the seating area.”
For more information on EDC, please visit www.edcsolutions.com
Egyptian Radio And TV Union Integrates Studer OnAir 3000 and Vista 8 Consoles For Growing Broadcast Capabilities
The new sales represent a total of six separate orders. First, the organization equipped three TV studios with three OnAir 3000 digital audio consoles and peripheral equipment such as active audio monitors, headphones, telephone hybrids and distribution amplifiers, as well as full engineering services, commissioning and training.
ERTU then equipped a complete music recording studio (Studio 45) with a Vista 8, satisfying the requirement for an audio multi-layering mixing console. This was supplied with a Pro Tools set-up, active audio monitors, headphones and other recording accessories.
Some of the Studer OnAir 3000’s are configured for 18 channels, some for 24-channel operation (for both on-air and production operation).
ERTU has also upgraded 11 on-air and 19 different production studios with peripheral equipment such as headphones, active audio monitors, microphones and recording equipment.
According to Studer’s business consultant for the Middle East and Africa, Mohamed Ali (of ICT), the enhancement of existing facilities is in line with the Union’s policy of continually reviewing and renewing their equipment as part of studio development throughout the country.
“ERTU has added many recent radio and TV channels, especially in connection with Nilesat (the Egyptian Satellite Company) — such as Nile Drama, Nile Comedy, Nile Sport, Nile News, Nile Live, etc.”
In addition, ERTU has recently ordered eight OB Vans, which will be equipped with Studer OnAir 2500’s — and these will be used for various TV OB applications.
In conclusion, Mohamed Ali states, “These orders further cement the strong business and personal relationship that Studer continues to enjoy with ERTU, and which now stretches back over a number of years.
“Besides the confidence they have in the brand’s reputation and reliability they are familiar with the operating system, and know they can depend on first class technical support.”
A spokesman for ERTU responded, “The management and staff have become accustomed to using Studer systems over a number of years and continue to be more than satisfied with the products. This has given us confidence in everything bearing the Studer name.
“We also appreciate the close relationship and trust we have developed with Mohamed at ICT, who is always sensitive to our needs.”
All Mobile Video Outfits New Epic 3D Mobile Production Truck With Studer Vista 8 Digital Console
All Mobile Video is the country's premier provider of end-to-end video and audio solutions for entertainment, sports, and news programming and events. The company offers the full spectrum of services--from spacious Manhattan-based sound stages with full post-production capabilities to mobile production and editing trucks and extensive uplink solutions that travel worldwide--as well as an extensive equipment inventory that allows them to fully custom spec any facility or location.
The Epic truck features a large audio room which, in addition to the Vista 8 console’s in-truck I/O complement, includes Studer stageboxes with up to 96 additional inputs.
This is the fifth Vista 8 that AMV has purchased for its mobile productions trucks. “AMV is one of the earliest and largest companies in the U.S. to commit heavily to the Studer Vista 8,” says Lee Blanco of AMV. “The advantages the Vista 8 offers are considerable and when the time came to choose a digital console for our new Epic truck, the Vista 8 was a natural fit.”
The Vista 8 digital console incorporates the worldwide-acclaimed Vistonics™ user interface, providing unmatched analog console-like control and a host of other groundbreaking features. The Vista 8 possesses powerful broadcast features to offer a highly sophisticated and flexible multipurpose live broadcast desk. For example, its unique Control Bay design offers rapid access to all faders in a small footprint, making it ideal for both fixed install broadcast and OB van applications.
Eric Duke, President of AMV, remarks, “AMV is pleased to have partnered with Studer in deploying the finest audio-equipped, 2D/3D-capable mobile units in the business!”
For more information on AMV, please visit www.allmobilevideo.com
Crown Audio Strengthens Team With Appointment Of Daniel Saenz To Position Of Market Manager For Installed Sound
Crown Audio today appointed Daniel Saenz to the position of Market Manager, Installed Sound. Saenz will be responsible for working directly with customers to support design and development of installed systems and deployment of Crown amplifiers for install applications. He will report to Vice President of Marketing, Marc Kellom.
Prior to joining Crown, Saenz served in multiple roles at Pelton, Marsh, and Kinsella, LLC., an AV consulting and design firm, most recently as Senior Director of Marketing and Business Development and managed the Las Vegas office. In this role he was responsible for marketing acoustics, AV, telecommunication and security services as well as consulting on major projects in the Las Vegas market. These projects ranged from hotels to theaters/showrooms and education facilities.
With Pelton, Marsh, and Kinsella, LLC., Saenz was a co-founder of the firm’s marketing committee which handled the firm’s marketing efforts nationwide from its Chicago, Dallas, and Las Vegas offices.
“At Crown we understand the need to educate our customer base on the best practices for system design and installation. Daniel brings more than 10 years of valuable experience working on the biggest and most intricate installed sound projects in the country. His understanding of project management, sound reinforcement, and technology will prove to be a valuable resource to our customers,” stated Kellom.
“It’s an honor to join a company like Crown that is known throughout the industry as an innovation leader. Throughout my time as a consultant, I became very familiar with Crown and the quality of products the company delivers across a broad range of markets, including installed sound,” stated Saenz.
Saenz holds a Bachelor’s Degree in Audio Arts & Acoustics from Columbia College of Chicago and an MBA from the University of Nevada, Las Vegas.
Crown is a unit of Harman International Industries, Incorporated (www.harman.com).
Prior to joining Crown, Saenz served in multiple roles at Pelton, Marsh, and Kinsella, LLC., an AV consulting and design firm, most recently as Senior Director of Marketing and Business Development and managed the Las Vegas office. In this role he was responsible for marketing acoustics, AV, telecommunication and security services as well as consulting on major projects in the Las Vegas market. These projects ranged from hotels to theaters/showrooms and education facilities.
With Pelton, Marsh, and Kinsella, LLC., Saenz was a co-founder of the firm’s marketing committee which handled the firm’s marketing efforts nationwide from its Chicago, Dallas, and Las Vegas offices.
“At Crown we understand the need to educate our customer base on the best practices for system design and installation. Daniel brings more than 10 years of valuable experience working on the biggest and most intricate installed sound projects in the country. His understanding of project management, sound reinforcement, and technology will prove to be a valuable resource to our customers,” stated Kellom.
“It’s an honor to join a company like Crown that is known throughout the industry as an innovation leader. Throughout my time as a consultant, I became very familiar with Crown and the quality of products the company delivers across a broad range of markets, including installed sound,” stated Saenz.
Saenz holds a Bachelor’s Degree in Audio Arts & Acoustics from Columbia College of Chicago and an MBA from the University of Nevada, Las Vegas.
Crown is a unit of Harman International Industries, Incorporated (www.harman.com).
Subscribe to:
Posts (Atom)
Posts
