Mexico - Xcaret México, a resort and amusement park, has upgraded its hotel entertainment venue, the Teatro del Rio, with an Allen & Heath dLive system.
Due to the layout and distance between the stage and FOH, any Cat 5 run was impractical. As such, the installation included two dLive DM48 MixRacks, one positioned under the stage and the second in a control room at FOH.
Supplied by Representaciones de Audio, the MixRacks are further equipped with Dante cards and connected over two underground fibre-optic links. dLive’s powerful scene management system enables rapid, complex changes on stage, while all signals are then processed and mixed locally with matrix outputs sent over Dante to the DM48 at FOH, where they are patched to a speaker processor.
Sound engineer, Diego Andrade comments, “dLive is a complete and powerful mixing tool for both studio and live sound. It’s user-friendly but at the same time can be configured to the smallest detail, to handle the most demanding shows. With the Dante option card, the system can grow and compliment itself. It’s definitely a high-end system that guarantees the complete satisfaction of users and listeners alike.”
Additionally, the control centre consists of three IP8 remote controllers and a touch-enabled computer running dLive Director, all connected through a PoE Ethernet switch. The strip layout on the IP8 controllers follows the scene automation, always presenting relevant faders to the operator.
The head of audio at Xcaret México, Eduardo Urbina, adds, “Excellent sound, prac
UK - Shure has launched a free integrated systems certification programme to offer sales and technical advice about its products and solutions.
Courses from the Shure Audio Institute (SAI) Integrated Systems Certification programme are available through Shure’s regional websites and are open to all clients looking to gain up-to-date knowledge on how to purchase, resell, and technically support Shure products in the integrated systems market.
The microphone manufacturer has also launched a new training space at its UK offices at the I.O Centre, Waltham Abbey. It is fitted out with high-end equipment including Shure Microflex Advance MXA910 ceiling microphone arrays, IntelliMix P300 audio conferencing processors and ANIUSB-MATRIX for use in video conferencing applications, with a third-party DSP platform for voice lift. Those who wish to attend the training facility can simply plug in their laptops via USB to gain access to the AV system in the room.
Andrew Francis, manager of applications at Shure UK, comments: “We welcome any visitors to come in and talk to us about our technology. We can now deliver the best possible training and technical support to all our customers, as well as designing and building a unique space to be able to demonstrate how end users can create their own workspaces and use the technology within them effectively.”
Argentina - The Lollapalooza festival, created by Jane’s Addiction front man, Perry Ferrell, is a global entertainment phenomenon that brings the world’s hottest music acts together. This year’s festival in Argentina saw the likes of Chance the Rapper, The Red Hot Chili Peppers, Imagine Dragons, Wiz Khalifa, Lana Del Rey and so many more. Clair Brothers was there to deliver the sound to the thousands of frenzied fans in attendance.
Although the 2018 festival didn’t make it to the final day due to severe thunder and lightning storms, that didn’t dampen the spirits of Fabian Giordano, owner of Giordano Sonido - Clair Brothers rental partner in the region, who has provided audio for Lollapalooza in Argentina since 2015.
“Yes, we were disappointed about having to cancel the final day of shows, but the two days we did have were amazing. The Clair Brothers i218 is the most powerful PA system in the industry and proved it again and again this year, with a wide range of acts and musical styles performing all day long with soundchecks during the night. The complete i218 system used on the Perry Ferrell stage provided lots of headroom without distortion, which made it very comfortable when mixing such a variety of bands going on, one after another.”
The familiar logistical challenge at a festival of this magnitude is making each act, no matter how divergent in style or size, sound as fantastic as possible. This year was no different. Sonido adds: “On a single stage we can open with a DJ, followed immediately by a multi-player rock and roll ba
Spain - Ultra Enterprises has spent its second consecutive summer in Ibiza, delivering nine-weeks of Resistance at the world’s largest nightclub.
In keeping with the group’s consummate production values, a special Funktion-One Vero sound system was drafted in for each event.
Key to the success of this Ibiza run is the stunning visual and acoustic canvas it provides for the top name artists who come to perform. The Ultra team pride itself on enabling the best possible audience experience by using the best technology available.
According to Richard Milstein, creative director and director of design for Ultra Worldwide and Resistance, working with Tony Andrews and his Funktion-One team has long been a key part of achieving those high aspirations: “Sound is one of the most important components of this. Funktion-One - especially for our Resistance brand - has been our number one system for many years,” he said. “It’s our main choice of sound system. Tony always recommends the best configurations for whatever environment we’re in.”
A full Vero vertical array system was brought in to be used exclusively for the weekly shows.
The two Vero hangs - placed near the walls to prevent secondary reflections and to heighten the immersive stereophonic sound – are designed to fill the entire room. Each is topped with two V60s - hitting the VIP area right at the back of the room - and completed with three V315s, three V90s and a further V60 to penetrate deep into the cavity beneath the balcony.
During the nine
UK - Shure Incorporated has announced that Tuomo George-Tolonen has been promoted to senior director, pro audio sales, Western Europe.
Tuomo has been with Shure since 2006, when he joined what was to become the Shure UK Systems team as an applications engineer. He previously worked at Genelec US. In 2008, Tuomo assumed responsibility for RF regulatory affairs, joining the BEIRG steering committee to jointly represent PMSE industry needs regarding RF spectrum allocation.
“His enthusiasm, passion for technology, and ability to identify and realise new opportunities, led to this promotion,” comments Peter James, vice president of global sales, pro audio. “Under his leadership, Shure UK has experienced continuous growth in the pro audio vertical, and has been at the forefront of developing important relationships with the most influential people and organisations in key segments.”
As senior director, Tuomo will continue his regulatory work and industry interactions, and will play a significant role in helping secure Shure’s position as a leading authority on RF for microphone and monitoring applications, supporting Shure UK and countries throughout Europe. He will continue to be based in the Shure UK Waltham Abbey office.
USA - At this year’s LDI show, CAST Group (stand 2255) will demo the latest from wysiwyg, BlackTrax and also present a new native software for broadcast. The company will also launch its global training programme.
CAST will present release R41 of wysiwyg in the USA for the first time. On stand, the new BlackTrax V2.3.3 will be at the heart of a presentation designed by Dream Laser that will combine tracking with lighting, media interactivity, moving projection mapping, 3D positional audio and camera tracking for broadcast. Lighting for the demonstration - which will include the opportunity to get hands-on and will feature live performances and interactive games - will be powered by Luminex; media support will come from disguise and Notch; L-Acoustic will provide 3D positional audio; and projectors and PTZ cameras will be from Panasonic.
Meanwhile CAST’s new broadcast software, code-named Herald and powered by BlackTrax, will also be demo'd.
Andrew Gordon, director of business development at CAST Group, comments: “This is the first time that we’ve shown the software publicly. We’ve been testing it with focus groups in the broadcast and production market - and we’ve had an overwhelming response.
“Our goal with Phase 1 of the system is to aid in the automation of broadcast with the function of not only camera control, but also to become an aggregate control suite for all cameras on a production as well.”
“Herald’s node-based editor is a user’s dream. For the first time in broadcast software dedicated to cameras, the qu
Croatia - AV solutions provider HUST has completed the design and installation of new audio and video systems for the largest conference hall of the Croatian Catholic University (Hrvatsko Katoličko Sveučilište) in Zagreb.
HUST was commissioned to provide the main conference hall with a triple projection system and high-quality audio throughout, with a focused sound system for the centre screen.
To deliver uniform sound levels and clarity throughout the hall, HUST designed a distributed system using Community D8 two-way high output ceiling loudspeakers, with D10SUB ceiling-mount subwoofers adding extended response and low frequency impact. An additional pair of Community V2-28 dual eight-inch full-range two-way loudspeakers is positioned above the stage to focus sound on the main 5.5m wide screen.
Two further 3.6m screens and three high output Epson 3LCD full HD projectors complete the video system. For people with hearing difficulties, HUST also installed a Univox induction loop system. The whole system is controlled by a Biamp TesiraFORTÉ, with a Windows PC-based custom interactive interface.
With basic controls, users have the ability to manage the content source, audio configuration, motorized lowering of screens and room light dimming with predefined scenes. The system is managed at several different levels of administration in accordance with the privileges assigned by user name and password. Designed as a modular system, HUST has future-proofed it to be easily expandable, both at the current location and in additional remote micro-
USA - Nemesis Audio has agreed an exclusive distribution agreement with Pro-Sound for the distribution of the entire range of Nemesis Audio products in North and South America and Canada.
New York-based Pro-Sound is run by industry veterans Jim Flynn and Andy Hilton who combine many years of industry experience with a hand-picked team of technical experts to handle their sales and support operations across many audio disciplines including broadcast, theatre sound and concert touring.
Pro-Sound CEO Andy Hilton comments: “Nemesis products are ground-breaking and very well thought out and are already deployed on many theatre musicals in the USA. We aim to increase the line’s presence within this market area and further expand into new markets.”
Chris Headlam, Nemesis Audio managing director, adds: “With the ever-increasing presence of Nemesis Audio products in the USA and around the world, it was high time we started to look at a distribution arrangement to better handle sales, service back up and new releases in the USA and beyond.”
Pro-Sound’s first outing with the Nemesis Audio product range will be at this year’s AES New York convention this week on stand 548.
Along with the Pro-Sound team, Nemesis Audio’s Richard Carter will be on hand to demonstrate the features the various products bring to the industry.
Hilton concludes: “With products such as the CCS-2 Computer Control Switch and the popular Dante-SW Switch handling show control duties on many major musicals on Broadway and the wider USA we wanted to bring
USA - As the second-oldest professional symphony in the United States, the Grammy Award-winning St. Louis Symphony Orchestra is proud of its longevity and tradition. For the past half century, the SLSO has performed in Powell Hall, a world-class acoustic concert hall that seats over 2,600. Its acoustics are excellent for the orchestra itself but far less than excellent for amplified sound.
Until recently, spoken word for lectures and presentations was difficult to understand and sometimes came with feedback. Reinforcement for both instruments and vocalists during amplified concerts was also challenged with gain-before-feedback issues that were only partially remedied by destructive equalization. After extensive research, the SLSO found that Danley Sound Labs’ point-source technologies deliver excellent intelligibility and gain-before-feedback.
“When I first heard there was a possibility we could work with the St. Louis Symphony Orchestra I was ecstatic,” stated Mike Hedden, Danley Sound Labs president and the AV veteran in charge of designing the new Powell Hall sound system. “The SLSO has won multi-Grammy awards so being included in their consideration was a huge honour in itself.
A stereo pair of 440 lb. Danley J3-94 Jericho Horns now covers most of Powell Hall’s seats. Although they’re solid down to 70 Hz, the team installed a pair of Danley TH118 subwoofers to get down another octave. Above each Jericho Horn, a Danley SH62 full-range loudspeaker covers the farthest balcony seats. Two four-channel Danley DNA 20k4 Pro amplifiers and on
Germany - Twenty years ago the former central railway station in the spa town of Baden-Baden was repurposed as the ticket office and foyer for a new venue, Festival Hall Baden-Baden, the country’s largest venue for opera, ballet and live classical music.
Thanks to its state-of-the-art acoustics, Festival Hall Baden-Baden is renowned for its excellent sound. It also stages presentations, jazz, rock and other amplified events. For these, a new Yamaha CL5 digital mixing console is helping to keep the venue’s commitment to the highest quality audio on the right track.
Since Festival Hall Baden-Baden opened in 1998, the former station’s neo-Renaissance style ticket hall and waiting rooms have formed a historic entry for visitors into the modern, 2500-capacity auditorium, which was built in the space where the track and platforms used to be.
The auditorium was designed with the highest quality audio in mind, using acoustic values calculated by physicist Karlheinz Müller. The acoustics are perfect for the venue’s classical productions, but maintaining those high standards is just as important for events where amplification is needed. This is why a Yamaha CL5 digital console and two Rio1608-D2 I/O racks were chosen for the audio upgrade.
The new system was supplied in July by Karlsruhe-based Rock Shop GmbH.
“For amplified events, it was very important that the sound had to be neutral and uncoloured, to work seamlessly with the high-quality acoustics. The familiarity of the Yamaha workflow for visiting engineers was also an advantage,
UK - Flare Audio has extended its range of ear plugs with the introduction of Sleeep, billed as “a comfortable, light, and unobtrusive way of blocking out unwanted noise, day, or night”.
Sleeep builds on advances made by Flare’s previous ranges of ear plugs, Isolate and Snoozers, using an engineered metal core to exclude sound, while a comfortable memory foam tip fits snugly to the wearer’s ear, ensuring a comfortable fit for all night use. The addition of dual tips – one at each end - maximise comfort for sleeping on your side. The audio innovators have been able to reduce the size of the sleeping aid by slimming the metal core by over half from its earlier model, Snoozers, from 5.5mm to 2mm, without losing any of its audio qualities.
Sleeep works by blocking sound with its metal core rather than absorbing it, as traditional earplugs do. Available in two models, Sleeep and Sleeep PRO, the sleeping earplugs come in natural aluminium or silver pink, and titanium. The new cores are ergonomically designed to allow greater comfort and a more discrete fit.
“After the success of Isolate, which is ideal for daytime functions, we felt there was a need for a comfortable, unobtrusive and effective sleep aid which people could wear at night,” says Davies Roberts, CEO, and co-founder of Flare. “Having spent many months experimenting and fine tuning the product, we believe Sleeep, successfully fulfils all those functions and are confident it will be as successful as Isolate.”
New Zealand - Specifying an Audient ASP4816 console to be at the heart of Studio A completed the studio upgrades at Waikato Institute of Technology (Wintec) this July. Bringing analogue back to the School of Media Arts’ studio after a 13-year hiatus was a decision championed by music technician, Brad Morgan.
Brad explains that the original studio centred around an analogue console. “Its age and maintenance downtime was becoming an issue and in 2003/2004 the decision was made to go to Pro Tools HD with a Control|24. The workflow was simple and the ease of an ‘in-the-box’ solution was convenient for staff and students.
“Fast forward 13 years and the decision to create a hybrid system taking in the best of both analogue and digital workflows was something that was welcomed with open arms. External gates/dynamics and effects racks that had been in storage for many years would now be reinstated,” he continues.
“Students had experienced some level of tactile control with the previous system, but I knew that this system and workflow would not only sound better, but also be of great benefit to their learning i.e. signal flow, bussing, external inserts, I/O routing from DAW, patchbay usage, analogue mixing as opposed to in-the-box.”
Having guest lectured on a couple of lessons to get everybody up and running, Brad is happy to report that 25-30 students have already learnt the system since its install and that feedback has been “really positive. Like any piece of equipment, you have to spend time learning it correctly in order to get
UK - The Hackney Empire recently made for a stunning location for three days of demonstrations of 3D sound by Astro Spatial Audio, hosted by 2B Heard.
The event marked the first full UK demonstrations of Astro Spatial Audio’s immersive audio solution. A guest list of industry VIPs responded, with more than 50 industry influencers gathering to experience two full demos designed to illustrate Astro Spatial Audio’s scalability.
For the first demonstration, the stage of the Hackney Empire was ringed with 16 pole-mounted K-array Kayman KY102 line array columns configured for wide coverage plus eight overhead Domino KF210 enclosures and four Thunder-KMT218 double 18-inch subwoofers.
Guests were invited to stroll freely around the stage as they experienced perfectly phase-free, seamless 3D audio courtesy of a single 3RU Astro Spatial Audio SARA II Rendering Engine, calculating the position of each audio object in real time. In addition, with just two microphones positioned above the stage, attendees experienced the SARA II’s interactive room acoustics module, transforming the Hackney Empire into entirely different acoustic space with the press of a single button.
Finally, having demonstrated what Astro Spatial Audio can achieve with an extensive loudspeaker set-up, the audience was moved into the theatre’s main auditorium, where the same fully immersive, seamless performance was repeated with just five K-array Firenze KH7 speakers and two Firenze KS8 subwoofers.
“Some people assume that immersive audio means filling a venue with spea
UK - Situated on The Green in the gentrified North London suburb of Winchmore Hill, Buckle and Vaughan is a spacious bar / dining space that is all about atmosphere.
Owned by Neil Friar, it was atmosphere that was sadly lacking when the venue opened four years ago, largely because the sound system was insufficient for the venue’s needs. Several years later and Penguin Media Solutions have been brought in to upgrade the sound with a potent Martin Audio CDD6 ultra-compact solution, using Coaxial Differential Dispersion technology.
CDD series has provided the solution for many Penguin installations since its launch, and according to director of operations and project manager for this job, Dylan Thompson, “It’s difficult to justify installing anything other than CDD. It’s an attractive box, produces a great sound and has a useful dispersion. On top of that, it’s a recognised brand and it’s sensitively priced.”
He recalls that his company had originally been introduced to the project at its inception. “We have done previous work for the owner but for budgetary reasons they went for a local electrical contractor, and the 100V line system, with 3” drivers, created no atmosphere whatsoever. It would only go a couple of dB above the ambient noise and then sounded trebly and strained, with no bass, warmth or intelligibility whatsoever.”
Second time around Penguin were given free rein, and determined to match the aesthetic of the bright décor they commissioned a total of 10 CDD6 (with powerful 6.5” drivers) in white. A Blackline X2
France - The annual Yamaha Commercial Audio System Designer’s Conference (SDC) takes place in a different European country each year. This September, over 300 audio industry professionals from 36 countries joined the families and fun at Disneyland Paris.
Co-hosted by Yamaha Music Europe France and Nexo, this year’s SDC was subtitled Experiencing High Quality Sound In Relation To The Five Senses and featured around 70 sessions, which mixed experiential, immersive demonstrations with lectures and discussions. The programme was organised by Yamaha Music Europe’s Ron Bakker.
“My goal was to provide new ideas and insights into new audio technologies and applications, as a basis for discussions – not only about the technologies and their scientific backgrounds, but also about what we do with them now, and what we plan to do with them in the future,” he says.
The highlights of the conference were many and varied. Immersive demonstrations included Learprint: When Technique Becomes Art by Alain Français, which recreates the complex acoustics of a classical orchestra, with guests able to wander through the installation to understand the different acoustic perspectives for each section of musicians and the conductor.
Using an impressive surround array of over 260 Nexo ID24 loudspeakers, the demonstration of Wave Field Synthesis by Casper Schipper and Ji Youn Kang from The Game of Life Foundation proved so popular that an additional session had to be arranged, while Ron himself showed off his musical skills when demonst
Norway - Covering an area of 150 acres of wild Nordic terrain, Kristiansand Dyrepark and amusement park is one of Norway`s favourite visitor attractions and its favourite show is Kaptein Sabeltann (Captain Sabertooth). This year, the zoo decided to up the specification for audio on the show and has invested in a DiGiCo SD9 and S21, which have helped to address its complex signal distribution, an issue that its engineers say was easily solved with the DiGiCo system.
Kaptein Sabeltannis one of Norway’s most popular children’s characters and has been captivating audiences through stage, film, television, cartoons and books. The show has been performed at Kristianzand Zoo since it was first written in the early 1990s and, in 1994, won a Formoe a Spellemann prize, the Norwegian equivalent of the Grammy Awards, for Captain Sabertooth and the Treasure in Luna Bay.
The audio system for the show was designed, programmed, and is run by Lars Hareide Swenson and Kristian Bronebakk, with Lars operating the SD9 at FOH, and Kristian deploying the S21 at the monitor position. Design was in consultation with John Idar Bakke from DiGiCo’s Norwegian distributor, Scandec Systemer, which also supplied the consoles, which are owned by Lars and Kristian.
Whilst the SD9 is used as the control system for the main PA and surround system, the S21 is used as a convertor from Dante to MADI, and back to Dante, as well as handling the monitor system, which comprises 24 channels of wireless microphones and six channels of IEMs.
“The whole idea for the
UK - Nuffield Southampton Theatres (NST) is one of the UK’s leading professional theatre companies. Their success, both nationally and internationally, has enabled the company to open a second venue in the new, £28m Studio 144 development in the centre of Southampton.
Whilst the core of NST’s work remains traditional theatre, the new venue, NST City, aims to bring wider cultural to Southampton by offering more in the way of music, cinema and even circus as well as classic theatre. When it came to equipping the new venue, theatre consultants, Arup, specified a wide range of EM Acoustics’ ubiquitous EMS Series loudspeakers across the three performance spaces.
NST’s head of sound, Jon Roache, wasn’t involved in the specification process, but was pleased with the choice of EM Acoustics. “I’d been using and dealing with EM for a fair while in a previous job, so it was a pleasant surprise to discover that it was being rolled out across the board here at NST,” he says. “It’s nice that it’s across all the spaces.”
There are three performance spaces in total: the rehearsal studio which is equipped with two EMS-81X compact, multi-purpose loudspeakers described by Roache as “fantastic”.
The second room is the 133-seat Studio theatre, a completely configurable space designed for up-and-coming artists of any type, as well as cinema screenings. The system here comprises two EMS-121Xs and a pair of EMS-115 subs plus a number of EMS-51s for surround sound, all driven by EM Acoustics AQ-3 amplifiers. Part of the system design incl
UK - Monitor engineer Gavin Tempany has been out on tour Kylie Minogue. He has chosen a Solid State Logic L500 Plus for the shows, supplied by UK tour and events company Capital Sound Hire.
Kylie's latest world tour follows the release of her new album, Golden. It's a project heavily influenced by the Nashville country scene, which follows through onto the stage via set, costume, and narrative in a typically theatrical set. Kylie is joined on stage by five musicians and two backing singers, and all are supported at monitor world by experienced engineer Gavin Tempany (Dave Gilmour, Hans Zimmer, Will Young, OMD) and a Solid State Logic 500 Plus console.
While Tempany describes the 50 or so instrument and vocal inputs from show as "not too much compared to my usual madness", the aesthetics and design of the show have created a few side challenges. First, the monitor console position is under the stage, so video feeds are used for sight to stage. The backline is also under the stage, out of sight, as are the guitar and bass pedal boards.
These things all make good communications even more critical than usual, and as Tempany is also the hub for band-to-band and band-to-crew communications, the monitor position has additional critical roles. “There are a lot of talkback mics," says Tempany. "I think I'm up to 17 channels of communications now. All the musicians and techs have shout mics and there are a few techs with switches that route their talk either to the band and crew or just to the crew.
"The production comms are also fed to my cu
Argentina - Microphones from Audio-Technica are being used to capture both live and broadcast audio at Youth Olympics Games, taking place now in Buenos Aires.
The Youth Olympic Games, held every two years (Winter and Summer games staggered in years opposite the adult games), are an international multi-sport event organised by the International Olympic Committee. Buenos Aires 2018 is the scenario for 32 sports and 36 disciplines.
A wide selection of Audio-Technica microphones are being employed, including BP4071 Line + Gradient (Shotgun) Condenser Microphones, BP4073 Line + Gradient (Shotgun) Condenser Microphones, AT899 Subminiature Omnidirectional Condenser Lavalier Microphones and BP4001 Cardioid Dynamic Microphones (handheld, for interviews).
“We are pleased to be participating in the technical setup at the Buenos Aires Youth Olympic Games,” stated Audio-Technica’s Michael Edwards. “We know that these audio professionals need the peace of mind that can only come from dependable products, and we are proud to be a name they turn to for these high-profile events.”
USA - DiGiCo’s AES stand at Manhattan’s Javits Convention Centre this month will feature the highly-anticipated SD7 Quantum engine, which is now shipping to SD7 owners around the globe.
Developed with seventh generation Super FPGA devices that further increase audio processing power, Quantum 7 expands DiGiCo’s flagship SD7 to over 640 channels of processing in 96kHz operation that can be connected in the outside world to approaching 3000 potential I/Os. The engine is also equipped with eight newly assignable MADI connections and two DMI slots (DiGiCo Multi-Channel Interface) for AoIP and other connectivity options from the complete family of DMI card options. There are other powerful enhancements, too, including Nodal Processing and True Solo.
Nodal Processing means that for the first time processing can be applied to any node on the auxiliary section of the console, allowing engineers to send unique processing on each Aux send from a single, or multiple channels. This level of creativity will allow engineers to tailor and deliver dedicated mixes that were simply not possible before Quantum 7.
Coupled with Nodal Processing is the new True Solo system that allows the operator’s monitoring system to Solo almost any section of the console, and how that source is being processed and heard. This saves time and speeds up the process of managing the potentially daunting number of channels and busses available to the user.
Also shown on stand #629 will be the new DiGiCo 4REA4 audio solution. Designed to expand DiGiCo’s live performance re
South Africa - With a general insanity and a profound love and belief in the arts, Sue Clarence and her team staged the 26th Hilton Arts Festival, hosted at Hilton College in KwaZulu Natal. This year DWR Distribution’s SOS Charity Fund and the Hilton Festival stepped in to make a difference by bussing in 70 children from the Thembelihle Primary School to see three plays and attend two workshops.
Apart from the stunning weather on all three days, which was a first, what meant the most for Sue was the massive team effort from sponsors to high quality productions at this years’ festival. Everyone stood together from technical teams to cleaners, box office to arts, crafts and foodies. “We were one team and all equally important,” said Sue. “Another vital component is that the festival inspires creativity which is essential for the soul of a nation.”
Earlier this year, a conversation between Sue and DWR’s Michael Taylor-Broderick, sparked an idea! They decided to make a small difference and plant a seed to develop the love of arts in the lives of 70 children in grade 7 and 8, who would otherwise not have the opportunity or means to experience the festival.
“The kids arrived by bus and were given a packed lunch by the festival,” said Sue. “Furthermore, a selected group got to work alongside Hilton college boys in a piece of street theatre which performed over the festival weekend.”
The children are all ecstatic, counting the sleeps until 2019 and are overwhelmed by the opportunity, reported Kate Coleman, the marketing and comm
USA - One of the most common problems for touring musicians is losing the seal on their custom acrylic in-ear monitors. The result is a loss of low frequencies – obviously a huge issue for bass players. Téja, the bassist for Janelle Monae, knows this from personal experience.
“It’s a real distraction on stage, because we depend on our in-ears,” she says. “It was frustrating, because they sounded good when the isolation was there, but the seal would always pop when I was singing, or even just smiling too big, and I would lose all the bass response. I had them remade several times, but nothing helped.”
Before a recent Janelle Monae show in Chicago, band and crew members met with Sensaphonics personnel Claudia Pyne (artist relations) and Dr. Laura Sinnott, Au.D., about hearing health and in-ear monitors. During the discussion, Téja brought up some of her questions and concerns, especially regarding her difficulty in maintaining a seal on stage. She was excited to learn about the flexible soft silicone in Sensaphonics earpieces, which provide significantly more isolation and a stronger, more persistent seal.
“When Claudia showed us these soft, pliable moulds that fit deep into the ear canal, I was like, ‘this is what I’ve been wanting!’ Until that moment, I didn’t even know that soft molds existed,” says Téja.
After listening to and loving the accurate, neutral response of a Sensaphonics dual-driver sample, Téja ordered the 3MAX triple-driver, single crossover model designed to deliver a little extra bass sound. She re
Europe - Voted ‘Best Guitarist’ at the recent European Blues Awards (2017), Finnish guitarist and singer-songwriter, Erja Lyytinen, hits the road this autumn to begin her Another World tour across Europe, accompanied by an Allen & Heath SQ-5 digital mixing system.
Supplied by Allen & Heath’s Finnish distributors, F-Musiikki-Oy, the single SQ-5 handles both FOH and monitor duties for the tour, with Lyytinen herself commenting favourably on the sound of the SQ: “The new SQ mixer works great with the IEM and the whole band has been very satisfied with the improved sound quality.”
The compact set-up comprises an SQ connected via SLink to an AR2412 AudioRack for remote I/O, which is rack-mounted with a wireless IEM system and positioned on stage for a fast, simple set-up at any venue.
Sound engineer Olli Huttunen adds, “SQ-5 is a compact, versatile and exceptionally good sounding console. I love the ability it has to change the surface to just the way I want, this is particularly useful when handling IEM´s from the FOH position.”
The tour currently consists of 40 shows across Europe, starting in Finland and making its way to the UK and Germany this November, and supports her new single Another World, released 5 October.
USA - The 2018 revival of the Rogers and Hammerstein's classic musical, Carousel, has just completed its run at the Imperial Theatre in New York City with a sound design that earned the show and its Broadway Sound designer – and Tony winner - Scott Lehrer, with associate Alex Neumann, a Tony nomination this year.
Lehrer asserts that traditional revivals necessitate a transparent sound system so that the audience can remain unaware of the reinforcement. To achieve this, he made extensive use of TiMax delay-matrix spatialization, and explains, “It’s part of my toolbox and people hear it and they hear my work as sounding better because of it.”
For the audience to hear the full breadth of the 34 actors on the stage, as well as the 26-strong orchestra of solely acoustic instruments, Lehrer created a wide spread of time zones across the stage using TiMax2 SoundHub, to pull as much vocal and orchestral differentiation from the big choral numbers as possible.
He reveals, “When there’s a group of people singing, there can be four people singing lead vocals and we can actually time them across the stage from left to right. Also, when the voices are coming from a wider stereo field time-wise rather than volume-wise, it makes it a lot easier to hear four people singing. We’re not piling them up in one position in the centre of the stage.”
The TiMax2 Soundhub spatially distributed 40 assorted mic sources from a Yamaha Rivage console onward to a system of flown d&b Y8 line arrays and d&b V7 point source cabinets, with surround