Hard on the heels of the announcement of LDI's award for Best Audio Product at the show for the newly launched Legend 3000 tri-purpose mixing console, Midas seems to be on a winning streak as the company closes out 2001. To add to the collection on the corporate mantelpiece, Midas can now add a Pro Audio Review PAR Excellence 2001 Award for the Legend 3000, an EDDY Award from Entertainment Design for the Midas Heritage Theatre software, and a TEC Award nomination for the Midas Heritage 1000.
The Heritage Theatre software was one of just five outstanding new products to be singled out for an EDDY for major technical advancement in the field of professional audio (see yesterday's news). Representing Midas to receive the award at the 10th annual EDDY Awards ceremony in New York City was MD Bob Doyle. "We've had an absolutely amazing year," commented Doyle. "The Heritage Series has continued to go from strength to strength, and in two short years I think it's fair to say that the Heritage 3000 is now a new industry standard in concert sound."
Orbital Sound has recently added a range of outdoor Rock speakers from US-based manufacturer Rockustics to its extensive hire portfolio. For intrepid outdoor sound engineers, the company can supply a variety of Rocks to suit every outdoor application. Products include Punk Rocks, Octa Rocks, Econa Rocks, Rocky Too, Rocky Junior and even a Sub Rock! Designed to withstand both wind and water erosion, the Rocks can exist in sub-zero temperatures beneath snow and ice for months at a time.
Daniel Parton of Orbital¹s hire department, commented: "The Rocks blend seamlessly into any outdoor environment and offer innovative alternatives for a variety leisure-build installations. Their their unique aesthetics offer huge potential for any themed environment and have been used successfully for a number of exhibition stands and special events."
After last month's successful sound design for Alice in Wonderland, Autograph Sound Recording has delivered another design and installation to the RSC, this time for their seasonal production of The Lion, The Witch and the Wardrobe at London's Sadlers Wells.
The company was called in to take over the sound design for the production for the first time since its stage debut four years ago. Terry Jardine’s new design makes sole use of the Meyer Sound loudspeaker range, including the MSL-2, UPA-1C and UPM-1. A 70-input Cadac J-type mixing console is also in use, along with a 28-channel Sennheiser radio microphone system.
Simon Baker, a leading member of the Autograph sound design team, worked alongside Terry as one of two associate designers, creating over 100 new sound effects for the production, with a standalone system utilizing a Yamaha 03D and two Akai S6000s. Autograph's Chris Full also played the role of associate designer, supervising the installation and the orchestral mix. With only ten days from get-in to the first public performance, the team coordinated the installation perfectly, overcoming the enormous task of rigging, positioning and equalizing the 67 Meyer Sound loudspeakers around the auditorium.
Critically acclaimed Spiritualized have been using Shure microphones on their latest European tour ‘Let it Come Down’, which unveiled the band’s much-anticipated new line-up and album. A Spiritualized gig is a complex affair: FOH Engineer Graham Pattison dealt with up to 72 input channels from the new 13-piece line-up which featured a 6-piece brass section. For the London shows, a 6-voice choir was also added to the set.
Lead singer and guitarist Jason Pierce used a Shure Beta 58A for vocals, plus a Shure SM57 for miking up his guitar cab as did his two fellow guitarists, whilst the choir all utilized Shure Beta 87As. The brass section benefited from Shure Beta 56s and 57As, which are specifically engineered for drums and instruments. The PA system was supplied by Canegreen and featured two Midas Heritage 3000 consoles for the FOH and monitor positions, plus Meyer amplification and loudspeakers.
Acoustic Dimensions will be involved in the first challenge for the new reality-based television show, ‘Challenge America with Erin Brockovich’. New York City Mayor, Rudolph Giuliani, issued the challenge to rebuild rundown soccer fields and to renovate a theatre in lower Manhattan. Ms. Brockovich has been asked to finish the project in one week - without a cent to work with.
The abandoned theatre was originally designed by Robert Moses in the 1930s. Joseph Papp used it in the 1950s as the first home for the famous New York Shakespeare Festival, which is now based in Central Park. By the 1970s, the theatre itself had fallen into disrepair and neglect, blocked off by chain link fence and covered in graffiti.
Acoustic Dimensions donated its services to consult with HLW Architects on the renovation of the theatre. The new design involved the removal of the dilapidated stage house, leaving the band shell open to a view of the East River, whilst a series of cables and canopies reshaped the structure. Acoustic Dimensions consulted on the acoustics for the band shell and on the design of the cabling structure to eliminate vibration and whistling from the wind. Now completed, the theatre is open to the public.
The Heritage Theatre software, developed by Stardraw for Midas, was one of five new products to be singled out for an EDDY award for major technical advancement in the field of professional audio.
The Heritage Theatre software sits on top of the Stardraw platform and enables offline editing of any scenes and settings for the Heritage 1000 console. For this system, MIDI is used to communicate with the desk, but the Stardraw engine can communicate with any other hardware or software using any protocol. Stardraw provided Midas with an SDK (software development kit) which can be used by any manufacturer to develop add-ins for their specific products. The same system is used throughout the Klark Teknik Group for all their software-controlled products.
Commenting on the Eddy award, MD of Midas, Bob Doyle, told us: "This is a milestone award for Midas and the Heritage Theatre software under Stardraw. They say software is never finished and it can be difficult for judges to make an award. In this case the Stardraw team worked very hard in conjunction with Midas to deliver the system on time and I hope everyone has as much fun using it as we did developing it."
The EDDY was presented in New York on December 7th 2001.
Sennheiser has added three new professional models to its range of professional headphones and headsets. All three models are closed back, circumaural designs. Two new broadcast/location sound recording headsets, the HMD 280 pro and HMD 281 pro, combine neodymium-equipped drivers, providing an 8Hz - 25kHz, virtually linear frequency response for critical monitoring, with a high quality noise compensating microphone system. Designed for live presentation, reporting, talkback and intercom applications, the HMD 280 combines an excellent quality and comfortable 102dB SPL headphone monitoring system, with 32dB ambient noise rejection and a super-cardioid boom mic. Mounted on a flexible either-side boom with especially low structure-borne noise, the high directivity microphone capsule ensures clarity of speech, even in the most noisy production environments.
The similarly specified, single-sided HMD 281, specially developed for talkback applications in combination with film and TV cameras, features the same premium components and performance. Both headsets are available in alternative belt pack compatible configurations for Clearcom (4-pin female XLR - HMD28X/CC) and RTS (5-pin male XLR - HMD28X/RTS) intercom systems.
The HD 280 pro monitoring headphone is also now available, intended for broadcast, ENG and all sound production applications. Capable of up to 32dB ambient noise rejection, this ultra-sensitive, neodymium equipped headphone, delivers a precise, linear, extended frequency response and 102 dB SPL for critical monitoring. Comfortable and firm fitting, and easily ad
The ancient Herod Atticus amphitheatre in Athens, situated against the stunning backdrop of the Acropolis, recently played host to ‘Bravo China and Greece,’ a spectacular multicultural performance billed as a celebration of the ancient cultures of China and Greece in view of their forthcoming roles as Olympic hosts in 2004 and 2008. Audio production company for the event, one of the biggest ever to be staged in the open-air venue, was Athens-based Sound Control, also the distributor for Midas, Klark Teknik and ElectroVoice.
Production manager, Sound Control's Renos Papapaschos specified a powerful Electro-Voice X-line system for the show, plus a full complement of Midas consoles and Klark Teknik processing. A 64-frame Heritage 2000 was on FOH duties, whilst a Heritage 3000 catered for monitoring requirements. An XL3 plus sidecar looked after the recording of the show and a Midas Venice handled the audio for video/TV feeds. Two Klark Teknik DN9848 digital audio processors were controlling the X-line and a rack of DN360s looked after EQ for the monitor system.
’Bravo China and Greece’ featured the cream of the two countries' classical and folk performers with the backing of a full orchestra led by renowned conductor, Hu Yongyan, who currently serves as musical director and conductor for the Shanghai Broadcasting Symphony Orchestra.
Kent's event of the year went off with a bang, as 12,000 people gathered at Hop Farm for a night of fun, fireworks and pop, with performances from acts including Hear'say, Liberty, Jo Breezer, Right Said Fred, Thymes 4, Dodgy, Supersister, A1 and the All Stars.
PA Company SRD group supplied for the event a GAE Director FOH system which consisted of four flown mid/highs per side married with two bass cabinets whilst additional cabinets and bass support were ground stacked. Monitor duties where handled by a mixture of GAE Modular II, Pro-Stage and 152TM cabinets all powered by QSC Powerlight amplifiers, with PL218s, 230s, 236s, PL6s and even PL9s being pressed into service. On the microphone front all wired and wireless microphones were Shure, with Premier Series Wireless fitted with Beta58 and 87 capsules seeing the most vocal action on the day.
In-ear monitoring was again Shure, with PSM700 systems used throughout. Wired mics utilized included the Beta 91, Beta56 and Beta57's along with SM57s and SM58s. Stuart Roberts, managing director of SRD Group commented: "I use QSC because in addition to the fact that they combine bulletproof reliability and sonic superiority, when it comes to output power versus current draw they’re second to none. GAE cabinets are renowned for their dynamic response and the fast transient behaviour of QSC Powerlight amplifiers significantly enhance this aspect of the system. As for wireless systems we chose Shure Premier because, in live performance, it's the only system that sounds like a mic on a wire."
Cadac Electronics has extended its successful series of technical seminars, announcing a new programme for 2002. Kicking off on 23 January at Cadac's UK premises in Luton, the 2002 schedule is focusing on Quality Engineering for Live Sound Applications - combining practical presentations on Balancing and Shielding, EMC, Gain Structure, as well as comparisons between Digital and Analogue console design approaches.
The monthly seminar series is designed to provide sound operators, engineers, designers, installers and consultants with an invaluable insight into key engineering and design issues, based on Cadac's extensive design expertise. The seminars are led by sound and console design expert Tony Waldron, formerly head of sound at London's Royal National Theatre.The Cadac Sound Seminars for 2002 reflect Cadac's corporate philosophy of sharing information and providing an educational framework, covering the spectrum of professional sound topics. The popular 2001 programme included a series of presentations in Luton, as well as a number of regional events.
The Cadac team staged seminars during the 2001 PALA show in Singapore, hosted by Sennheiser Asia. Entitled ‘Quality by Design’, these took place in front of a specially invited audience of around 20 sound designers and consultants. Sebastian Wong of Sennheiser Asia commented: "The feedback from participants was very positive. It is the Cadac team's willingness to share their experiences that makes the seminars most interesting and useful." Cadac seminars were also held in the US - at Masque Sound
TC Group, the Danish parent company of TC Electronic, TC Works, and TC-Helicon, has made an offer to the shareholders of TGI plc to purchase their holdings in the company. TGI plc, listed on the London Stock Exchange, is a holding-company comprising four companies representing individual platforms on the pro audio market - loudspeaker manufacturers Tannoy and Martin Audio; Swedish company Lab Gruppen - manufacturer of power supplies and high-end amplifiers, and GLL - a manufacturer of speakers for the in-car market.
"The purpose for wishing to merge with TGI plc is actually quite simple. It is a matter of creating synergy between the TC technology in digital audio processing and TGI's years of experience in developing, producing and marketing speakers. By combining digital technology from TC and the speakers developed and produced within the TGI plc Group, we will be able to develop and market new products, that we believe will have a significant potential in the markets," says TC Group CEO, Anders Fauerskov.
He continued: "In the recent years TC have invested considerably in the development of the digital technology which we are now introducing to the market. In this context it is believed that TGI plc and TC are ideal partners, due to the TGI companies' experience and position on their markets today. With a portfolio of high-end products and reputation for top-end quality, the TGI companies are a perfect match for TC Group, known as one of the leading companies in the digital processing industry."
Classic Sound, the UK's only dedicated 5.1 film and classical music facility, has taken delivery of a TC electronics 6000 surround sound effects unit supplied by distributor HHB. Classic Sound’s 6000 unit is networked to the main 5.1 mix room and the facility’s two editing suites, where it is being used for DVD and film projects and 5.1 mastering work.
Neil Hutchinson, director and co-owner of Classic Sound, say: "Since opening last March we have seen a steady increase in the number of 5.1 projects we are handling. A large proportion of our workload is now for 5.1-based product such as DVDV, DVDA, SACD and cinema release."
He continued: "The TC 6000 was an obvious addition to our equipment list as it complements our already extensive range of outboard reverb units, which include two Lexicon 480L and 300L units and two TC5000 reverbs."
MC2 Audio has announced the appointment of three new international distributors since the PLASA Show in September. The company has welcomed to its network of agents worldwide IS Music Trading, based in Tallinn, Estonia; Triangle Sound & Image, based in Lebanon; and Prolight, based in Warsaw, Poland. MC2 Audio director Ian McCarthy told PLASA Media: “We are looking forward to working with our new partners to take our products forward in these exciting new markets and we wish them every success."
Outline has launched the new H.A.R.D. 212 'low-profile' stage monitor, ideal for no-nonsense television studio and live band applications. Its unique acoustic architecture, with a folded waveguide (patent pending) for reproducing mid/high frequencies, has enabled the cabinet's maximum height from the floor to be limited to just 33cm, combining compactness with high quality performance.
Fitted with three neodymium loudspeakers - 2 x 12" woofers and a 3" compression driver loaded with the waveguide, the H.A.R.D. 212 can produce a maximum SPL of 135dB (AES), 141 peak, from 60Hz to 17kHz, with an almost constant polar response over a listening distance of between 0 and 3 metres. Another interesting feature of the enclosure is its lack of susceptibility to feedback, even at high SPLs, say Outline. The use of speakers with neodymium magnets has allowed the system's weight to be reduced by 50% compared with those fitted with traditional ferrite magnets, and the H.A.R.D. 212 weighs in at just 26kg.
The manufacturer states that for best results, the unit should be bi-amped, using Outline T2.5 and T4.5 digital power amps for the top and bottom end respectively. The system's parameters are controlled by a Genius 6 24-bit digital processor which, thanks to its 60 storable presets, enables timbre to be personalized and recalled precisely when required by performers. The control/power rack can drive up to four H.A.R.D. 212 units in parallel. The cabinet is also available in a semi-finished version, which can be given a custom paint job to match TV studio or stage sets, and
Yamaha’s eagerly-anticipated new DM2000 digital mixing console was launched last month at an uncommonly extravagant presentation in Birmingham.
The city was chosen for the corporate facilities of the ICC, the hospitality of the city centre’s main restaurant strip and the proximity of the following morning’s Sound Broadcast Equipment Show (SBES) at the NEC - for which Yamaha’s event provided a significant curtain-raiser.
In another world-launch coup for the Japanese company’s UK operation, Yamaha-Kemble UK’s sales and marketing director Ricci Hodgson hosted a dramatic unveiling of the DM2000 amid dry ice and thunderous sound effects. This was followed by a detailed description of the DM2000’s specifications by Terry Holton, head of the R&D team in London, for which the new console represents a major evolutionary step from the hugely successful 02R.
Holton emphasized the desk’s high-resolution audio quality - 24-bit/96kHz digital audio on all 96 channels - made possible by a new-generation chip developed at Yamaha’s own plant in Japan. Other breakthroughs include new mic preamps; full support for LCRS and 5.1 surround formats as well as stereo; copious expansion card slots; and dedicated software interfaces for digital audio workstations such as ProTools and Nuendo.
After revealing an SRP of $14,500 and a target shipping date of next March, Hodgson rounded off proceedings by introducing a live demo of the console. Engineer Simon Honeywell mixed a disco-driven performance of Mozart’s Eine Kleine Nachtmusik by
Autograph Sales Ltd, an authorized distributor for Digital Talkback, has reported an excellent response to the company’s new DTB-2001 system since its launch at the PLASA Show in September. One of the major advantages of the DTB-2001, say Autograph, is its total compatibility with all two- and four-wire communications systems, including Clear-Com, for which Autograph Sales is the UK distributor. In addition, the DTB-2001 is the first system of its kind to exploit DECT technology, widely used in the telecoms industry. This form of digital frequency agility saves set up time and is licence exempt in the EU and many other countries worldwide.
Autograph Sales has sold and shipped over 30 Digital Talkback units since the product was launched at September's PLASA show. These units went to a variety of users, including broadcast clients, theatre and concert service providers, such as Gradav, Richmond Film Services and a multi-channel system to the Queens Theatre, Hornchurch.
CP Sound has just completed phase one in a major new club sound and lighting installation, in the Cellar Club at Reynolds nightclub in Stafford, West Midlands. The intimate 150-capacity space has vaulted ceilings, with arched passages snaking mysteriously below ground level. Above are two additional floors which are currently being developed and which will soon to become an integral part of what will be a much larger venue.
The sound system is all JBL, supplied by JBL's UK distributors Arbiter Pro Audio. The Cellar's dancefloor area features four JBL MS112 top speakers and two MS125S subs. The bar is serviced with four of the new JBL Control 29s, with Control 24 speakers also in the toilets. For the DJ booth, CP Sound supplied Technics SL1210 turntables and an Allen & Heath Xone:464 mixer, complete with a Denon DN-1800 twin CD player. The mixer was chosen to provide the facility of live microphones when the club has bands playing onstage. Distribution is by a Cloud CX133 zone mixer with a remote control - for operation from the bar area when desired. Amplifiers are all RSE.
For the lighting, CP chose the Pulsar Chroma range to illuminate and highlight the architectural elements in the bar. The arches of the room are down-lit with ChromaHearts, chosen for their multi-colour effects (14.7 million) and impressive 25,000 hour lamp life. Arches inset into the wall run along the length of the space on one side, naturally splitting the room into sections. The central columns of these sections are lit from four sides with ChromaDomes illuminating the brickwork. The ChromaDomes
As tribute bands go, the Australian Pink Floyd are a touch different: for a start they imitate a band that, on stage at least, have virtually no physical presence, so they are relieved the task of attempting to look like them.
Lead guitarist Steve McElroy - the David Gilmour of the band - does make some small gestures towards his cipher, the mic stand arrangement is identical, with the tuner strapped just so off a separate stalk. He even manages those strange facial gestures during the guitar solos that I remember so well from my time working with Gilmour in the early eighties. But essentially this is all about the music, and they don’t make a bad fist of it - indeed The Times is quoted on the band’s flyer as saying: "Probably the greatest tribute band in the world," which, in the wider scheme of things, places them on a par with Carlsberg Lager, entirely appropriate for an Aussie band.
The show opens in the Floyd tradition, with Shine on you Crazy Diamond, but thereafter plots its own course, and in so doing visits some of the more neglected corners of the Floyd pantheon. I must confess a nostalgic tear when I heard Dogs for what must be the first time in 20 years, and yes, sad git that I am, I have now dragged Animals out of my album collection. But as far as the audience is concerned, that’s entirely the point of the show, to evoke lost youth, and revisit the thrills of adolescence. That and the undisputed pleasure of hearing Comfortably Numb at volumes far outside the reaches of home hi-fi - it’s a lad thing you see, something to d
Mackie Industrial, the contractor products division of Mackie Designs, has introduced the DX 10E Expansion Card for the Mackie Industrial DX8 digital audio mixer and signal processor. The DX 10E Hardware/Software expansion kit transforms the DX8 into a sophisticated programmable 8x10 matrix mixer with enhanced signal processing capabilities. The kit also includes upgraded control software and an improved user interface.
"We've said since the introduction of the DX8 late last year that we were creating a platform capable of supporting the needs of systems integrators into the future," comments Costa Lakoumentas, product director for Mackie Industrial. "The DX 10E turns the DX8 into an incredibly powerful matrix mixer and signal processor unrivalled in functionality and value. Whether you need a sophisticated matrix mixer, a speaker processor, a paging controller or any one of a myriad other devices, with 8 inputs and 10 outputs the DX8 with DX 10E expansion kit delivers."
To coincide with the introduction of the DX 10E, Mackie Designs UK held a series of training seminars at their Wickford HQ. The DX8 was introduced last year as an 8x2 DSP-based digital audio mixer and signal processor for the contractor market.
Young Voices is an annual event featuring competing choirs from local schools. This year's shows have taken place in some of the UK's largest touring circuit arenas - Newcastle, Sheffield, Manchester and Birmingham. The show is different to most in that the 'choir' consists of 7,000 schoolchildren! To fit this amount of people into an arena takes up most of the available space.
Canegreen were chosen to supply audio for this year's event because of their experience in this field. Faced with the task of providing a full performance system with total coverage for the attending audience, together with a comprehensive fold back system for 7,000 choristers (and band) and with the added complications of set up restraints because of rehearsals, they decided to use the new EAW 760/761 line array system.
Canegreen managing director and Yes fan Yan Stile said: "We'd previously used this new system on Placebo and Muse's European tours with great success. The very small size of the box together with it's fast and comprehensive flying ability enabled our guys to have the system up and running in a fraction of the time it would normally take. Walking the room, the even coverage from front to back, bleacher to bar, was constant. We were very, very happy!"
Bruno Wayte of Mackie UK commented: "We are very pleased with the results Canegreen have achieved and especially the response from the engineers, customers and especially the audiences. Canegreen have put the KF 760/761 system through a rigorous work out, covering a full spectrum of live performed music in a myriad of
Shuttlesound has appointed Virgil Lund to its sales team. According to senior sales manager, Sean Maxwell, Lund's appointment completes "the strongest sales team we have ever had, with expertise across all areas of the professional audio market." Lund's particular speciality is in MI and the rental market, having come from almost a decade in MI and pro audio retail with the Academy of Sound where he held the position of assistant branch manager. "I'm extremely customer service-driven," explains Lund, "and I'm delighted to have the opportunity to develop my skills and passion for sound reinforcement across such a broad customer base with a wide range of products from prestigious brands. Having spent nearly 10 years on the other side of the counter, I think I'm in a good position to anticipate exactly what customers want from a supplier and make sure we deliver it!"
Virgil Lund, who will be looking after the southern part of the country, joins the already well established team of Andy Murray in the north whose expertise lies in installation and rental sales, David Howe who looks after 100V line and voice evacuation systems, and team manager Sean Maxwell.
Musselburgh, a seaside town just outside Edinburgh, is home to the Cube, a brand new 1,200-capacity club over two floors built from the ground up by local entrepreneur Alfredo Alongi. This impressive venue has the distinction of being the UK's first EViD installation. This new range of elegant ellipsoid loudspeakers from Electro-Voice designed specifically for contractors made its UK debut at the PLASA show earlier this year.
Installers Starstruck Sound and Light were responsible for specifying the EViDs. Starstruck's Kenny Taylor admitted that he had in fact specified another brand until Shuttlesound's Andy Murray walked in with an EViD to show him. "It was definitely a case of the right product at the right time," said Taylor. "Visually the EViDs look stunning - a real departure from the usual black box scenario - and being EV, I was fairly convinced they'd sound good as well, so specifying them was a very straightforward decision. The fact that they come in so many different sizes is also a great advantage, and of course they are dead easy to mount. I'm delighted with the results."
Taylor specified a total of 18 EViD 6.2 cabinets, which is the extended range, high output system. 14 are housed in the upstairs bar which receives its audio feed from a separate DJ area with a dancefloor. The two areas are connected by a walkway which spans the main club area downstairs. A further four EViD 6.2s provide audio for the downstairs bar off the main dancefloor. Kenny feels that his choice of the EVids was absolutely right for the club.
In a relatively new application, XTA's DP324 dynamics controller, or SiDD (Seriously Intelligent Digital Dynamics), has been chosen for use with the in-ear monitoring system for Sophie Ellis-Bextor and her band. A total of five channels were used under the control of monitor engineer Sean Busby-Little, who commented: "SiDD is a very versatile unit because it has so many functions, which are all easily accessible for a live gig situation. A lot of digital units tend to be a bit slow to access the parameters but I have not found that with these, everything is very user friendly . . . You would normally have to have at least three units chained together to achieve what you can do with one of these so the size of it is an added bonus, all the toys you need and it's only 1U."
SiDD (the DP324) is a powerful processing unit incorporating Brick-Wall limiting, input EQ, High and Low pass filters, ADT and Delay, Compression and Gate and Expansion with side-chain EQ. Interface software allows real-time control of multiple SiDD controllers with a PC. Over the past few years, in-ear monitoring has quickly become the de-facto foldback method for live performance and the engineering skill for balancing the sound have moved from the battle of feedback over level to a more finite art: that of creating the perfect mix for each performer. The use of high quality earpiece drivers within these systems makes the dynamics control of paramount importance to avoid damage to the musician’s hearing.
XTA products are available in the UK via Beyerdynamic.
Innovation - Turbosound’s official installer in Tyne and Wear - was recently commissioned to supply and install the sound system for a ‘wild west’ theme bar in Newcastle. Purpose-built on two floors, Buffalo Joe’s is the latest and now the largest theme bar to hit The Quayside, with a capacity of up to 1000 people.
Hosting a schedule of live entertainment six days a week - which includes a DJ throughout open hours, cabaret, live PA and bucking bronco - the owners considered the sound system to be a major priority. Innovation tendered successfully, and the company designed and installed the sound system, the main backbone of which is 12 Turbosound TCS-259 speakers positioned discreetly amongst the wild west props throughout the ground floor, six TCS-35 speakers set on the first floor, six TCS-118 subwoofers placed throughout the ground floor, along with one THL-818 enclosure on the dance floor.
Innovation founder and director Rob Hutchinson commented: "The design needed to incorporate less level aimed at the bar staff, yet at the same time be loud enough on the ground floor level to extend the dance floor sound to surrounding areas when required. The THL-818 horn-loaded enclosure on the dance floor enables the bottom end to kick."