UK - It has been another outstanding year for multi award-winning UK songstress, Paloma Faith. Paloma and co. are now touring on the strength of her fourth album, The Architect and her engineers are using DiGiCo consoles to run the show, provided by UK rental company, Adlib.
Mixing the Paloma show is no mean feat, it seems. The show's channel-count out front is at 75, which is broken down into drums and electronics, 20 lines of keys, guitars, vocals, and various drum triggers. The sheer size of the show meant a DiGiCo console was a must-have, says Paloma's FOH engineer, Andy Williamson.
“I could have done this show on an SD5, but we're using that on monitors [with James Neale], so I'm on the SD7; and I have to say, this show really is an exercise in chopping,” Andy says. “There is that much going on, it had to be a DiGiCo to make it work - and I have a comedy amount of Waves plugins on here, too. I have to use dynamic compression across the whole thing, and all the tracks are cut to hell; it's a bit of a noisy jigsaw, really, but it works well, and these consoles are always great sounding and super-reliable.”
Monitor engineer, James Neale, has been working with Paloma since 2014. He has built up a good working relationship with her, her trust in him making her feel more relaxed on stage. He started using DiGiCo consoles a few years back, whilst mixing Ellie Goulding, opting for them for the overall sonic quality the brand offers and because he needed more outputs for the show.
“I started out on the SD7 and have used most of
USA - Since their start in California’s Newbury Park in 2011, alternative indie rock band The Neighbourhood has gone on to chart multiple times in the US, release three albums, tour internationally, and perform multiple times at Coachella. The band stepped up to an Allen & Heath dLive Digital Mixing System at FOH and monitors, with two C1500 Control Surfaces, a DM32 MixRack and a DM64 MixRack.
Monitor engineer Jason Hines sums up the dLive system as being “intuitive and flexible.” Hines noted a number of particularly useful features for touring monitor engineers. "The flexibility of the External Input to PAFL Source in the Surface Audio Preferences and PAFL Settings is amazing. The way it is designed takes the annoyance out of talkback systems on stage. Another great feature that I love is the option of having an IEM fader and a wedge fader.”
Michael Bangs, Allen & Heath USA live sound touring manager notes: “We’ve seen a growing number of tours utilizing the compact C1500 for both FOH and monitors in a similar sort of setup as Jason’s. Having toured for years running monitors myself, I can certainly relate to the importance of having a super flexible workflow. dLive comes from that design approach - work with engineers, not against them.”
Speaking to the road-worthiness of the compact dLive C1500 Control Surface, Hines notes, “The little desks we used were tossed up and down in the truck at least 60 times in less than two months. They were robust and they held together. I was also really impressed with the calibration of
UK - On a high from last year’s 40th anniversary celebration, PLASA Show returns to London Olympia on 16-18 September, providing a stage for the world of live entertainment technology. The show continues to explore the cutting-edge of innovation and creativity and brings the biggest brands to thousands of visitors.
Audio heavyweights L-Acoustics, Peavey and Adamson, and lighting pioneers Robe, DTS, ETC and Philips are among the 200+ brands exhibiting at the show. And, with last year’s showfloor selling out, extra stands have been released for smaller companies representing all sectors of the industry, from DJ and club, to worship and education.
The show provides invaluable opportunities for those with an interest in working with lighting consoles and loudspeaker systems by providing dedicated training sessions and demos. There will also be more hands-on experiences than ever before, where visitors can sharpen their skills on the latest products guided by expert brand representatives.
New features include a showfloor seminar theatre that will serve as an epicentre for production specialists and riggers looking to elevate their knowledge. This is in addition to the lighting, pro audio and AV, and Fast Track theatres on the Gallery level, delivering continuous next-level content throughout the show.
The Gallery will include an enhanced bar area, a PLASA Members Zone, and a photography display of the Lightpower Collection which shines a light on live rock 'n' roll performance.
PLASA’s internationally recognised Awards for Innovation
UK - Technical production supplier Blitz has announced the appointment of Martyn Hunt as theatre and sound project development manager.
Hunt will work towards growing the company’s portfolio within the theatre sector. He will also act as technical support on a daily basis for all theatre productions.
Hunt has worked worldwide designing and engineering sound in theatre, live events and broadcast. He started out in in regional theatre 30 years ago and quickly moved to the West End. Hunt has since held the role of head of sound on a number of long-running productions.
Aron Ross, sound director of Blitz, comments: “It is a real pleasure to have Martyn as part of the team here at Blitz. His wealth of industry experience and technical expertise will prove invaluable as we grow our client base. He also brings a fantastic work ethic and sense of humour to everything he does.”
Blitz, a GES company, has supplied the theatre industry for over 30 years and currently provides sound and technical support to high profile productions including The Phantom of the Opera and the UK tours of Some Mothers Do ‘Ave ‘Em and Trainspotting.
USA - LifeWay Students, part of LifeWay Christian Resources, holds summer camps that travel across the nation. The annual X. WKND kick-off event is an opportunity for all the summer camp staff members to come together as one before heading out on the road.
Held inside the Shocco Springs Conference Centre, production designer Jake Brantley wanted to give the 2018 event an in-the-round worship experience, so he worked with Elite Multimedia Productions who provided a full rig of audio, lighting and LED video.
“This year we wanted to do something a little different, so we started talking about what was possible in a gymnasium with very limited rigging points,” says Brantley. “We started playing around with the idea of doing it in the round, but one of the challenges was that the highest point in the ceiling is only at 26ft, so we decided to push our LED video surfaces to the outside of the room, facing in. In this set-up, no matter where you were in the house, when you were looking at the stage, your LED visual surface was in the background. It was a unique challenge, but it turned out really well
“Elite Multimedia Productions knows that when I am coming up with a design, it’s going to be ambitious and a little different,” adds Brantley. “They do a great job of helping us find the right gear that fits both our dream design and our budget. When working to fill out a gear list, you have to be willing to give-and-take a little bit, and Peter Streiff at Elite Multimedia did a great job helping us turn our vision into a successful event.
UK - Originally constructed in 1808, Glazier’s Hall is characterised by a blend of refined tradition and contemporary design. Sat beside the Thames, the building offers seven strikingly individual spaces for corporate events and functions. It also adjoins the historical London Bridge - a distinction made all the more tangible following the completion of the London Bridge Arches, a new subterranean space where the foundations of the bridge’s original wharf are visible.
Beyond the bare brick walls of the venue flows the Thames, while within the acoustically challenging space, an almost invisible K-array solution delivers smooth and precise audio coverage.
Previously a back-of-house zone, the newly transformed space is the seventh function area available for hire within Glazier’s Hall, offering three long, arched vaults where original bricks are complimented by minimalist architectural lighting. At the far end of the vaults are the stones that adjoin the river, while to the right, visitors can gaze through three hermetically sealed windows at one of the British capital’s best-appointed wine cellars. The overall effect is unlike anywhere else in the city.
“The building is actually Grade II listed – the floor is actually all original Yorkstone paving from 1808, and we are on a raft in the Thames,” explains Glazier’s Hall managing director, Samantha Enstone. “Our vision was to convert and use more riverside space and create a unique environment using the walls from 1808. But of course part of the challenge was to achieve the right balanc
The Netherlands - Poppodium (Pop Stage) Patronaat is a popular three-room venue in Haarlem, a historic city outside of Amsterdam. The venue has recently upgraded the audio systems in two of its rooms by installing four SSL L200 consoles at front of house and monitor positions, all supplied by SSL Live distributor Audio Electronics Mattijsen (AEM).
Patronaat was started in 1984, in the renovated patronage hall / gymnasium of a former school building by the Pop Music Foundation of Kennerlerland. The venue went from strength to strength, and in 2005, after a brief relocation, a new Patronaat building was officially opened on the original site. The Foundation has been a long-term beneficiary of a substantial arts subsidy - common in cities around the Netherlands - and a founding principal of Patronaat was to use that subsidy, and income from bigger touring acts, to give smaller, up-and-coming acts a stage to perform on. It’s a strategy that continues undiminished today.
The complex has three rooms, sized as large (950 capacity), medium (350 capacity), and small (120 capacity), with independent entrances and in-out freight vehicle access into the middle of the building via the central Schlucht street. The combined rooms see an average of 130,000 visitors a year for around 500 productions.
Benno Linnemann, head of sound at Patronaat, says that a busy week might include up to 15 gigs, functions, or events throughout the building. "That's mainly live music, plus dance and some private and corporate bookings," he explains.
There are four SSL L200 con
Europe - Following its launch at Prolight+Sound in Frankfurt in April, Outline has announced the availability of a major firmware upgrade for the Newton DSP hub.
It is accompanied by a complementary release (v1.6) for their Dashboard computer / remote control programme.
The new v0.76 upgrade is comprehensive and its main features include the inclusion of two layers of IIR filters on every input channel, plus a further two layers of filtering on every output (in addition to the existing four), one IIR and the other a dedicated all-pass, both with phase trace visible via Dashboard.
Output channels may now be grouped to facilitate control over multiple outputs simultaneously (including group ‘flat’ where all parameter values within the group are reset to zero) while it is now also possible to create temporary links within input and output channels.
A new copy and paste function allows complete sets of parameters to be copied directly from one Newton unit to another, while a further feature allows all processing parameters from a single unit to be set back to flat if required.
France - In December 2017, France’s Sorbonne prepared to ring in the new year and a new era of highly intelligible audio with the installation of an L-Acoustics Syva system in the university’s Grand Amphitheatre.
The configuration was designed to address the challenges of a reverberant space while complementing the architecture of the room, originally inaugurated in 1889 and classified as a national Historical Monument since 1975.
“The events we hold in the Grand Amphitheatre of the Sorbonne range from conferences, speeches, and awards ceremonies to concerts, and are all highly prestigious,” says the venue’s AV technical manager Mathieu Miot. “However, this is a very reverberant space with few sound absorption elements. Our old system was desperately lacking in directivity and resulted in a significant loss of intelligibility. We needed a system that would address these issues, respect the venue’s historical aesthetics, and that could be installed without any physical impact on the building.”
Audio consultancy firm Altia Acoustics was hired to conduct a public address system audit. Over the course of two years, a dozen people from different departments in the Sorbonne compared systems, which included beam steering technology and stacked line-arrays from a variety of manufacturers. As trials were in progress, Sorbonne event organisers continued to hire external service providers for their on-going audio requirements and L‑Acoustics Kiva was often the temporary rental solution provided. Hearing Kiva in action prompted the Sorbonne’
UK - Michael McIntryre’s Big World Tour is selling out arenas around the world.
With just one microphone and playback music, there is no need for a large format console, but the desk of choice needs to deliver sonic quality and extensive functionality. For Steve Carr, McIntyre’s Front of House engineer, the choice is the DiGiCo SD11, supplied by audio rental company Capital Sound for the UK and Ireland leg of the tour.
“The SD11 has all the wonderful features of the larger consoles in the DiGiCo SD range in a really compact, lightweight format, and that’s important on several levels” says Steve. “We use the SD11 because we don’t need a large surface to handle the show. It’s also great for the truck pack, it’s great for the service provider because it’s relatively inexpensive to hire out, and it offers a similar sound quality and power to the larger desks in the SD Range.”
Steve has been using DiGiCo since the SD Range was launched, first touring with the flagship SD7, then spec’ing the SD11 around seven years ago when he was project managing and babysitting FOH at festivals, using it for an auxiliary desk for music, DJs, etc.
“I became really familiar with the desk then,” he adds. “It’s a great workhorse and the sound quality is great. Ideally, I’d like to use SD Rack, but the DiGi-Rack I’m using for the tour works well for me.”
The tour travels throughout the UK and Europe until February 2019 and then continues in Asia.
UK - The annual Summer Exhibition at the Royal Academy of Arts is one of the highlights of London’s cultural season, and its VIP Preview Party is attended by the elite from the art and fashion world as well as wealthy buyers. The Burlington House courtyard is turned into a concert venue for the event, and this year, the champagne set was entertained by chart-topping singer-songwriter Anne Marie.
London-based rental house Fisher Productions provides production for the show, which presents some interesting acoustic and practical challenges. Following its success with the Nexo STM Series modular line array with Laura Mvula last summer, Ben Webb of Fisher AV decided to specify STM ground-stacks again, “for the simplest reason, we have extremely tight set-up deadlines at the Royal Academy, and we can wheel in the plug-and-play STM system and be ready to go in minutes”.
The cobbled courtyard is surrounded on all sides by the Royal Academy and the Royal Geographical Society offices, so soundcheck opportunities are minimal. Inevitably, slap-back can be a factor in this confined space, made even worse this year by a monumental Anish Kapoor sculpture, erected in the centre of the courtyard, directly in front of the PA.
For Fisher Productions, Ben Webb specified compact ground-stacks comprising 3x STM M28 main modules, over a B112 bass module, over a S118 sub. Either side of the main STM stacks are three LS18 18” subs, the third of which is primarily used to support a pole-mounted array of 3x GEO M6 compact line array modules providing out-fill. This w
Germany - A gathering of customers, industry partners and employees heralded the official opening of the new Experience Centre at the Adam Hall Group headquarters located in Neu-Anspach near Frankfurt.
Using the theme Come Together, the benchmark was set from the onset by a sound-and-light show with pyrotechnics. Special guests and famous music acts provided the entertainment. Speeches by company founder David Kirby and managing directors Alexander Pietschmann and Markus Jahnel rounded out the house-warming party.
More than 20m euros has been invested in the construction of two new building complexes, the Experience Centre and the expanded Logistics Park.
The Experience Centre has been specially designed for business customers, partners, organisations and employees and, as an architectural hallmark of the Adam Hall Group, includes a fully-equipped product showroom, a large theatre auditorium for live shows and demonstrations.
It also houses educational facilities for the newly-founded Adam Hall Academy, which as of 18 June, offers a full seminar programme for the industry in conjunction with DEAplus, the German Event Academy organisation and the company restaurant coined. The integrated R&D and engineering department in the other half of the Experience Centre houses an anechoic measuring room, various endurance and climatic test rigs, a photometric laboratory and ample space for modelling and 3D prototyping.
“The dynamic markets of our time require courage, mobility, innovation and high customer orientation,” says CEO Ale
UK - Rumoured to have cost £20m to develop, the opulent new Hide Restaurant in London’s Mayfair, is the brainchild of chef, Ollie Dabbous in collaboration with Hedonism Wines.
With spectacular views over Green Park from the three-storey building on Piccadilly, it features a sound system infrastructure comprising matched Harman components, specified and installed by Penguin Media Solutions.
The three floors, swathed in an earthy combination of antique oak, bronze mirrors and aged brass, are linked visually by a spectacular pressed-oak spiral staircase, and audibly by background music, routed by BSS Soundweb, delivered by an array of JBL ceiling speakers and processed in Crown’s advanced multi-channel DCi network amplifiers. Two amp racks - one in the basement and one on the Mezzanine - are connected via BSS’ proprietary BLU-Link, with all channels fully assigned.
All Harman products were supplied by Sound Technology Ltd, the UK and Ireland distributors, and supported by Hugo Burnard, Senior Applications Engineer at Sound Technology’s Application Team.
Working to a design conceived by Tatiana and Hedonism’s Evgeny Chichvarkin, along with These White Walls studio and Lustedgreen architects, Penguin’s Director of Operations, Dylan Thompson has not only equipped the two main restaurants and basement Bar with JBL but also five private dining rooms, corridors, toilets and other service areas.
Thompson comments, “The reason we specified Harman components and went to Sound Technology was because it’s a one stop shop, and when yo
USA - After performing more than 70 concerts so far this year, Nathaniel Rateliff and the Night Sweats continue their 2018 tour for fans in Europe and North America with monitor engineer Davy Gleeson using an Allen & Heath dLive S Class to mix the band’s in-ear monitors. “They started with wedges,” he said. “But the in-ears help Nathaniel balance his voice with the band. And, the boys like to boogie on stage so this keeps it clean for them.”
Gleeson, who also acts as production manager and stage manager on the tour, had used an Allen & Heath GLD when he worked at Black Box Pro Audio of Glasgow, Scotland. “We were very impressed with the GLD’s sonic quality and user-friendliness,” he said. “So, when the dLive came out, I put it on the rider for Rateliff’s tour. It’s got the same work flow as the GLD but pumped up on steroids. And, I’ve AB’d it with other digital consoles and it sounds a lot better.
“I have a scene for each song,” continued Gleeson. “And, with the dLive’s cue-list editor, I can drag-n-drop songs to create a new set in about 20 seconds. It’s super easy.” He uses the dLive’s Virtual Sound Check to review monitor mixes with the band. “The VSC is simple,” he says. “One click of a button and you’re going; another click and you’re back out again.”
Gleeson uses the dLive’s on-board effects exclusively. “I’ve got the multi-band compressor and the dynamic EQ on every channel along with a few reverbs. And, since we’re doing a lot of flying around, I don’t have to carry an ext
Poland - Production company PogoArt, owner of the largest Nexo PA system in Poland and a recent investor in Yamaha’s new Rivage PM7 digital mixing system, has helped Wroclaw Opera to stage an epic production of Guiseppe Verdi’s Nabucco. The sell-out performances of one of the most recognisable operas in history was presented outdoors, with the Wroclaw Opera building itself featuring in a special stage design capable of accommodating up to 350 artists.
Wroclaw Opera is accustomed to outdoor performance, but the production of Nabucco in Wroclaw’s central Plac Wolnosci was a most challenging one, featuring a 700sq.m stage with three levels for orchestra, ballet dancers, soloists and the Wroclaw Opera Choir. Marcin Nałecz-Niesiołowski, director of the Wroclaw Opera, who was conducting the performances, admitted that large productions are always a compromise because of the changing acoustics.
Against the backdrop of the opera house, the massive stage demanded a high-performance PA system, so director Krystian Lada called upon Sławek Pogorzała of PogoArt to provide a modular line array, the Nexo STM Series, coupled with Yamaha Rivage PM, CL and QL Series digital consoles.
“The most important issue was to achieve even coverage of the audience area, providing the highest-quality sound. STM M28 line array modules disperse over a very wide angle so this made it easy. Front-fill completed the coverage of the middle of the audience in the first rows,” says Pogorzała, owner of PogoArt.
For the main PA, left and right arrays of
UK - Field Day 2018 celebrated its short move from Victoria Park, Hackney, to Brockwell Park in Brixton by spectacularly overcoming the noise pollution issues with which both these sites have traditionally been dogged.
PA specialists, Capital Sound, ended up equipping all seven stages, with their account manager Paul Timmins able to declare an astonishing SPL of 100dB(A)15 on main stage - thanks to the deployment of Martin Audio’s MLA, with its unique ability to limit offsite noise thresholds while maintaining unprecedented levels in the main bowl.
Residentially bordered on all sides, Timmins was mindful of Lambeth Council’s restrictions on sound escape at the nearby Clapham Common. But with careful orientation of the stages, and strong focus on rear rejection - coupled with some inspired optimisation programming in the Martin Audio software - they were able to deliver the anticipated sonic atmospherics to nearly 30,000 fans, while maintaining offsite escape to within the maximum 75dB(A) stipulated.
Aside from Martin Audio’s PA, Timmins accredited this success to the amount of early planning that had taken place, involving promoters Broadwick Live, production company Ground Control, noise consultants Three Spires Acoustics and F1 Acoustics, who undertook site modelling.
Capital had been brought in by production manager Tommy Sheals-Barrett. “We’ve done Field Day for many years and it was good to be working with a new team at a new venue,” Paul Timmins continued. “Everyone was aware this was a notoriously difficult site. It was ob
Australia - Bloom - a new 24-hour underground club in Geelong, Australia - boasts an international-grade Funktion-One sound system, designed and installed by Full Throttle Entertainment.
At first glance, the sleepy seaside town of Geelong, 75km southwest of Melbourne, may seem an unusual choice of location for a club targeted at Australia’s clubbing cognoscenti. For the creative team behind the project, however, new venue Bloom is a perfect fit.
Bloom’s owners Ayman Muhor and John Kennedy - working with Aaron Cashion, Luke Jeantou and Adam Metwally - are well versed in the local club scene, having established and run a succession of the town’s best-loved venues and club nights. In creating Bloom, their aim was to take things to the next level: to provide a world-class club where music lovers could come together and lose themselves for the night - a venue that has one of the best sound systems in Australia.
To this end, Cashion approached Full Throttle Entertainment, who in turn recommended Funktion-One. Full Throttle’s Adam Ward recalls: “When Aaron came to Full Throttle he was pretty specific about his requirements for the project. The venue needed to raise the bar for the local area in terms of production value with a specific focus on the quality of the audio system.”
Cashion asked that the system be able to deliver a world-class level of audio, one worthy of showcasing the very best in underground music. As well as impressing a clientele long underserved by the local club scene, the team wanted to ensure the audio would satis
Australia - Over 6,600 athletes and team officials from more than 71 nations and territories descended on Australia’s Gold Coast to compete in the Gold Coast 2018 Commonwealth Games in April.
Audio production specialist and official sponsor Norwest Productions deployed over 500 L‑Acoustics cabinets, including 124 K2, in 22 sporting venues.
“With the Games being held in our backyard, we’d always set our sights on being involved,” says Norwest’s Gra Whitehouse. “But the ceremonies audio project was an open tender, with all the usual pre-qualifying requirements, specifically around workplace safety processes and, of course, competency for the actual delivery of an audio project of that scale and nature. We knew we would need a watertight plan and some strategic investment.”
With their eyes set firmly on the prize, at the end of last year Norwest Productions decided to add 370 L-Acoustics cabinets to its inventory, including a substantial K2 system, as well as K1-SB, KS28, Kiva II, SB15, ARCS WiFo, LARAK II and LA4X amplified controllers.
“Our investment took our national inventory to around 900 of France’s finest and the results were superb,” says Whitehouse. “Combining this new stock with our existing inventory of dV-DOSC, Kudo, and 12XT, we were able to put together a proposal that delivered almost all games systems as a single-brand solution, with the exception of some application-specific paging systems.”
The remit for the entire contract was about achieving excellence for the spectator. Each audience member
USA - Allen & Heath’s SQ-7 digital mixer won the Best of Show award the 2018 InfoComm Show.
The prize was awarded by NewBay Media’s Pro Audio Group, who highlighted the desk’s technical performance, value, versatility and reliability.
Allen & Heath held SQ-7 training sessions at the event and also introduced interactive video displays for its ME Personal Monitoring system, a focused installed-sound #WallOfInstall, and ‘real world’ application touch panels and controllers from Allen & Heath and third-parties such as AMX, Attero Tech, Extron and RDK. The company also highlighted its dLive Digital Mixing System version V1.7 firmware with Shure integration.
In the Allen & Heath training session, Designing Efficient, Cost-Effective Distributed Audio and Integrated Hardware Control, installation product manager Martijn Verkerk presented a wide range of topics from audio networking basics to more advanced system design strategies.
Verkerk comments: “Having the opportunity to share and discuss various approaches to distributed audio and interactive AV was wonderful. As often happens, we learned as much from attendees as they learned from us when it comes to unique ways of designing and configuring highly flexible Allen & Heath installed solutions.”
Jeff Hawley, marketing manager, Allen & Heath USA, adds: “The Allen & Heath booth was hopping through the entire show, with queues forming around the SQ-7 and our other interactive displays. For SQ, fans spoke and we listened by bringing out this new
USA - Celebrating its third year of exhibiting at InfoComm, Current RMS demonstrated its rental management software to all that came by stand C1510 over the three days.
Since last year’s show, Current RMS has released a number of new features, showing that it’s expanding as per the changing needs of the industry the cloud-based software was built for.
Do a Deal, the most recent feature update, was well received by booth visitors, providing users with the ability to set a round figure on quotes and orders they create for their clients. For example, if a job comes out at £6,453, it can be rounded up or down to create a neater price and much friendlier quotations. Deal prices are flexible, and can be set on product groups, or the entire job, distributing the change in revenue accordingly and allowing users to keep track of the profitability for each job.
Alongside this update, Current has introduced other features for the AV, lighting & staging industry, including Global Check-in. This additional feature makes it easy to get all kit returning from multiple jobs, checked in and back on the shelves as quickly as possible, simply by scanning or manually entering your way through the assets.
Current thrives off feedback from customers, with all updates to the system built with feedback from its open Customer Wishlist in mind. Users simply pitch their own ideas or add votes onto others with what they’d like to see in the system.
USA - Fulcrum Acoustic has launched the FW15, a 15-inch coaxial cardioid stage monitor.
The FW15 incorporates Fulcrum Acoustic's patented passive cardioid technology, which enables attenuation of rear low frequency radiation that interferes with the audience, stage microphones and front-fills.
The FW15's coaxial transducer and 75° x 75° horn provides optimal coverage for monitoring applications, and its 3" compression driver and 3.5" voice coil 15" woofer assures robust headroom.
The monitor's pattern control, coupled with Fulcrum's TQ DSP processing allows superior consistency and gain-before-feedback both on- and off-axis. The clarity and source separation of the FW15 allows performers to clearly distinguish their own voice among others. This capability benefits mix engineers as well as performers.
The FW15's multi-faceted enclosure includes 40° and 55° angles for downstage and upstage distances respectively. Its road-ready, ergonomic design includes stout double grille construction and four input options positioned close to the stage to reduce the visual impact of connected cables. The powerful yet very portable FW15 coaxial cardioid stage monitor features integrated handles to facilitate carrying.
The FW15 stage monitor's cardioid behaviour is produced by an acoustical circuit that balances the position of the coaxial driver/horn assembly, the enclosure depth and volume, and specially constructed side ports toward the back of the cabinet which include a calibrated resistive element. The FW15's subcardioid low-frequency control p
USA - Harman Professional Solutions has announced the availability of Dante firmware version 4.0 for all Dante-enabled BSS and Crown devices. This firmware adds support for Dante Domain Manager, allowing BSS and Crown users to leverage its many benefits.
While Dante Domain Manager itself is a paid software application sold through Audinate, the Dante 4.0 firmware upgrade for BSS and Crown devices is free.
Iain Gregory, director large venue solutions and marketing at Harman Professional Solutions, comments: “We are proud to be among the first Dante licensees to offer signal processors and amplifiers which are fully supported within Dante Domain Manager. This free firmware upgrade demonstrates Harman’s commitment to providing our customers with the valuable, cutting-edge IT tools they demand.”
“Our Dante-enabled BSS and Crown devices are perfect solutions for installed sound systems of any size. And with the power of Dante Domain Manager, administering these devices - especially on large scale enterprise networks - just become even easier.”
USA - This year’s Festival International de Louisiane in Lafayette, Louisiana attracted over 300,000 festival goers with a world-wide audience listening to an FM and streaming broadcast from the festival’s Main Stage mixed on an Allen & Heath dLive C Class C3500 digital mixing system with DM0 MixRack.
Paul McCasland of Show And Tell Productions mixed the live broadcast from a temporary studio in the nearby Lafayette Science Museum. “I’ve been doing this particular event for over 15 years,” he says. “And, this year, we had a 48-channel Dante split from the Main Stage fed directly to us over a fibre network.”
McCasland mixed down to a stereo pair fed to another temporary studio in the museum where radio station KRVS combined the four festival stages with live commentary and interviews using an Allen & Heath SQ5 digital mixer also supplied by Show And Tell.
“Last year, I used an Allen & Heath GLD-80 digital mixer for this event and it was great,” adds McCasland. “But, this year, I needed more inputs so I tried out a dLive for the first time. And, I was able to figure out everything and do all of the routing and configuration before the first band started. It’s very intuitive.
“I have a couple of audience mics which add some ‘air’ to the broadcast mix,” continues McCasland. “I dialled-out the wind noise on those mics with a high-pass filter and used the channel compressors when someone started screaming into a mic on the stage. And, I was very happy with the on-board effects like the reverb. The A
USA - For automobile enthusiasts, history buffs, and anyone who’s generally curious, the Gilmore Car Museum is the place to go. Located on 90 acres in the rural town of Hickory Corners, Michigan, the museum opened in 1966 with just 35 cars from the personal collection of founder Donald Gilmore.
Success and interest led to even more interest and success, and partnerships with other classic car organisations helped to grow the collection to nearly 400 cars that are displayed in an ever-growing number of outbuildings.
Local AV integration firm Crookston Audio installed a paging system a decade ago centred on an Ashly amplifier that is still going strong. However, so much expansion has happened since then that the museum called the company back to extend it. Crookston obliged with new Ashly amplification and DSP, using Dante to feed signal to the more remote outbuildings.
“Paging is a challenge at the Gilmore Car Museum because everything is spread out,” explained John Crookston, owner of Crookston Audio. “The system we gave them 10 years ago is still great, but several organisations had since added buildings that weren’t covered. In addition, budget constraints for the original system prevented us from delaying any of the output, so there was a noticeable ‘Grand Canyon’ effect whenever anyone made an announcement. With Ashly’s Pema Series and nXp Series combined processors and multi-channel amplifiers with Dante, we could address both problems at the same time.”
He continued, “We’ve been using Ashly for a long time. We lik