DORTMUND, Germany – Looking to provide guests an even greater live sound experience, Konzerthaus Dortmund collaborated with Audio Pro and integrators B+B Event Technology to upgrade its sound system to a state-of-the-art Harman Professional audio solution. Replacing the venue’s previous JBL sound system, the new Harman Professional audio solution features JBL’s flagship VTX Series loudspeakers, Crown amplifiers and a Soundcraft mixing console.

More details from Harman Professional (http://pro.harman.com):

Known as one of the leading concert and event halls in Germany, Konzerthaus Dortmund hosts hundreds of shows each year and can accommodate up to 1,550 guests. With acts ranging from classical music and piano recitals to pop and rock-and-roll concerts, mixed with an increased demand for loudspeaker-supported events, the venue decided to invest in a new audio system that delivers pristine sound for all types of genres and performances. Originally planning for the install to take place towards the end of 2020, a halt in events and gatherings due to COVID-19 sped up the timeline. During the break in action, Konzerthaus used the time to upgrade from its previous JBL system in preparation for when concerts and live events returned. Designed and installed by Audio Pro and B+B, the new-and-improved Harman Professional audio solution features an array of JBL Professional VTX, VerTec and VRX Series loudspeakers.

“Konzerthaus continued to see an increase in the number of amplified shows, so the need for higher-end equipment to support these shows also increased,” said Carsten Peter of Audio Pro. “The venue features a relatively long reverberation time with a complex acoustical environment, so we didn’t want to send any energy against the wall. After several days of listening tests, it was clear that the Harman system and JBL loudspeakers offered the best audio performance and control.”

Delivering crystal-clear sound with even distribution across the venue, the system’s main cluster is designed in mono and features JBL VTX A8 dual 8” compact line array loudspeakers. With JBL’s proprietary woofers and latest-generation high-frequency transducer and waveguide technology, the VTX A8s offer unmatched performance and efficiency with a consistent 110-degrees of horizontal coverage. Complementing the VTX A8s, B+B built the left and right side hangs with JBL VT4886 high-directivity line arrays. For added flexibility, the system allows Konzerthaus to tailor the sound for any show by using additional VT4886 speakers as front fills during musical performances or JBL AC15s as front fills for speaking events.

Ensuring everybody in the audience is treated to exceptional sound, B+B installed JBL AM7212 systems to cover the seats above the stage, while JBL VRX932LA-1 line array loudspeakers function as delay fills and bring exceptional sound to the venue’s most distant seats.

The system also includes VTX B18 subwoofers, which incorporate JBL’s patented Slip Stream double-flared exponential low-frequency port design to provide authoritative bass, improved airflow and reduced audible turbulence. Crown I-Tech 4x3500HD and I-Tech 5000HD amplifiers power the complex solution, while a Soundcraft Vi5000 digital console provides Konzerthaus premium mixing capabilities. In addition to uncompromising performance and dependability, the mixer and amps help maintain peak system operation by sending and receiving digital AES signals. Configured with Harman HiQnet Audio Architect and JBL Performance Manager software, the powerful solution takes the venue’s events to the next level and provides an enhanced concert experience for everybody in attendance.

“The JBL VTX A8 clearly and immediately convinced all those who were present at the listening tests. It was noticeable that due to the precisely defined coverage that significantly less acoustic artifacts arise in the very sensitive room and therefore the signal is much clearer and more directly audible,” said Sebastian Müller-Eckhard, Project Manager at B+B. “In addition, the speech intelligibility was significantly improved. The very clever rigging concept was also positively noticed.”

More photos:

Enhancements with the new Bose portable PA products include improved clarity and bass, wireless mixer control and space-saving RaceTrack design subwoofer drivers

FRAMINGHAM, MA — Bose Professional debuts the Bose L1 Pro portable line array systems, the next-level advancement of a PA category invented by Bose 17 years ago with the release of the original L1. The L1 Pro systems usher in a new era of on-the-go audio for singer-songwriters, mobile DJs and bands. The three new systems — the L1 Pro8, the L1 Pro16, and L1 Pro32 with its choice of two subwoofers — offer legendary 180-degree horizontal coverage along with unmatched clarity and tonal balance. A unique RaceTrack woofer design integrated into the L1 Pro8, L1 Pro16 and the Bose Sub1 and Sub2 modular subwoofers, provides extended base response and less bulk, making the subwoofers much easier to transport, carry, and fit onstage. Built-in multi-channel mixers offer EQ, reverb and phantom power, while Bluetooth streaming capabilities and access to the complete library of ToneMatch custom EQ presets, allows performers to play with recording-studio tonal quality.

These three new portable PA systems are designed to give artists choices, suit different styles and audiences, and provide an impressive solution for creators reintroducing live music and sound experiences into venues and online platforms across the world today. The ultra-portable L1 Pro8 provides a perfect solution for intimate spaces; the portable-with-punch L1 Pro16 performs exceptionally in small-to-medium spaces; and the peak-performance L1 Pro32 is an unrivalled portable system for entertaining large audiences. With a modular design, each system is easy to pack, carry and set up, and this new generation offers a truly stunning size-to-performance ratio.

The systems feature a new RaceTrack shaped LF driver, which fits in a narrower enclosure, making transport easier.

“The new L1 Pro family gives users an ideal balance of performance and control on stage and portability everywhere else,” comments Craig Jackson, portable PA category manager for Bose Professional. “We took what our customers loved about the original L1 systems and focused on making improvements in almost every dimension. The L1 Pro family delivers more output and bass extension than ever before and doesn’t compromise on portability. We’ve expanded the I/O and integrated ToneMatch technology allowing users to quickly optimize the sound of their instruments and microphones. And with our new L1 Mix app complete control of all mixing functionality is available from your mobile device. We are excited bring the L1 Pro family to market can’t wait for our customers to experience them.”

The Bose L1 Pro portable systems are complemented by the L1 Mix app, placing complete wireless control in the hands of users for on-the-fly tweaks via controls that are both intuitive and instant. Performers can adjust mixer settings via phone or tablet from the stage, or even walk the room, hear how the mix sounds, and fine-tune on-the-go. Volume and tone settings can be changed in the app as well, with users able to watch the LED encoder move to match — the mixer and app are always in sync, in real-time.

The L1 Pro8 – Generous Coverage

The L1 Pro8 is incredibly portable, weighing in at only 38.9 pounds (17.7 kilograms). An ideal companion for shows in small venues such as coffee shops and cafes, the slim, visually pleasing design allows performers to benefit from setup simplicity and supreme clarity. As the most portable L1 Pro system, the L1 Pro8 makes it easy to get from vehicle to venue in one trip.

• C-shaped line array features eight articulated 2” neodymium drivers; 180-degree horizontal coverage with wide vertical dispersion, allowing audiences to hear clearly whether seated or standing, and even off to the extreme sides in small to medium venues
• Integrated 7″ × 13″ subwoofer features a high-excursion RaceTrack driver; performance rivals a conventional 12” woofer with a smaller footprint

L1 Pro16 – Versatile Coverage

The L1 Pro16 expertly balances power and portability, offering a streamlined system with high output and extended low frequency. At a weight of only 53.7 pounds (24.4 kilograms), it is the perfect fit for DJs, singer-songwriters, and small groups performing in small-to-medium sized venues clubs and bars, with users benefitting from portable system that offers extra room in a vehicle and on stage, alongside expanded bandwidth.

• J-shaped line array features 16 articulated 2” neodymium drivers; 180-degree horizontal coverage, tight vertical control on top, and wide dispersion on the bottom, covers audiences whether set up on the floor, an elevated stage, and even off to the extreme sides in medium-to-large venues
• Integrated 10″ × 18″ subwoofer features a high-excursion neodymium RaceTrack driver; performance rivals a conventional 15” woofer with a smaller footprint

L1 Pro32 – Uniform Coverage

The peak of portable PA, the L1 Pro32 is the most advanced L1 portable line array ever, weighing just 28.8 pounds (13.0 kilograms). The Sub1 and Sub2 modular subwoofers weigh 35.5 pounds (16.1 kilograms) and 51.7 pounds (23.4 kilograms) respectively, meaning even this top performer is powerful and portable. With supreme clarity and output, the L1 Pro32 gives DJs, singer-songwriters, and bands an unrivaled portable PA system with a powerful bass for medium-to-large-sized venues and events such as weddings and festivals.

• Straight line array, features 32 articulated 2″ neodymium drivers; 180-degree horizontal coverage with the most focused vertical coverage pattern and highest SPL over distance in an L1 ever — providing intricate sonic detail, clarity, and consistency, even off to the extreme sides in larger venues
• Combines with the Bose Sub1 or Sub2 powered bass module via a single-cable and SubMatch connectivity is included for both power and audio
• Stack two Sub1 or Sub2 subwoofers for even more bass, or unleash Cardioid Mode for focused, directional performance that negates rear-firing bass energy, steering the bass out front, and reducing feedback

Each L1 Pro system features a built-in mixer, allowing creators to connect various instruments, microphones and other sources with ease. Two combo XLR-1/4” phantom-powered inputs, 1/4″ and 1/8″ (3.5 millimeter) aux inputs are included. Illuminated rotary encoders provide instant access to volume, tone and reverb settings per channel too. There is even the option to add in additional instruments and other audio sources via a dedicated ToneMatch port — one cable provides both power and digital audio between the system and an optional Bose T4S or T8S mixer (sold separately).

The L1 Pro portable line array systems will be available starting October 2020. For more information on the L1 Pro systems and where to buy please visit PRO.BOSE.COM/L1.

NEWPORT NEWS, VA – Sound Ideas provided a Danley system for Los Pentecostales de Newport News, a Pentecostal church serving the Hispanic community in Newport News, VA. The system includes SM80F full range loudspeakers, FLX12 monitors and a DNA 20k4 Pro amplifier.

More details from Danley Sound Labs (www.danleysoundlabs.com):

Los Pentecostales de Newport News is a Pentecostal church serving the Hispanic community in Newport News, Virginia. With seemingly-boundless energy, Pastor Mario Zunzunegui delivers impassioned services and encourages strong community bonds. The band that supports him is talented and sounds its best at high volume and with abundant bass. Los Pentecostales had a high-performance sound reinforcement system that most churches – and indeed many clubs – would find more than adequate. But when local production and integration firm Sound Ideas provided a Danley rig for an outdoor Covid-19 service, Pastor Mario and the rest of the congregation saw new possibilities for clarity and impact. After a successful indoor demo, the church now has its own high-impact Danley system composed of SM80F full range loudspeakers, FLX12 monitors and a DNA 20k4 Pro amplifier.

Los Pentecostales de Newport started out years ago with an MI-grade sound reinforcement system and upgraded significantly three years ago with the help of Sound Ideas (design and installation) and Winter Sound (the actual sale of the equipment). Sound Ideas owner Paul Popadak continued his involvement with the church maintaining the new system. Thus, when Pastor Mario heard that Popadak was helping area churches deliver outdoor services during Virginia’s Covid-19 lockdown, he asked him to help at Los Pentecostales.

“Los Pentecostales de Newport News has a congregation of around 450,” Popadak explained. “They like their services loud with lots of bass. I had to explain to Pastor Mario that my stereo pair of Danley SM80 loudspeakers and four TH118 subwoofers were really about one-quarter of the system they had in their sanctuary – and we would be outdoors. I said, ‘maybe expect a little less.’ But it turned out to be actually more! A lot more! Everyone was stunned at the coverage, the clarity, and the volume. Pastor Mario was immediately interested in the possibility of upgrading to a Danley system indoors.”

Popadak worked with Jay Andrews, Danley eastern regional sales manager, to model the room and to arrange a demo of the system he would eventually install: two Danley SM80Fs and two Danley TH118 subwoofers powered by a four-channel Danley DNA 20k4 Pro amplifier with integrated DSP and model-specific presets. The SM80F utilizes the SM80 (the same box Pastor Mario was so impressed by at the outdoor service) as the full range section of the SM80F and integrates two 15-inch LF drivers in Danley’s patented Tapped Horn configuration to deliver an astounding full range response all in one loudspeaker. “The Danley demo blew away their entire rig, which was way bigger and, again, no slouch,” Popadak said. “The Danleys kept sound off the parallel surfaces of the sanctuary (a former bowling alley) and its phase-coherent, point-source performance was significantly more articulate than their previous system.”

“I really liked the way Paul’s Danley rig sounded outside, and everyone was looking forward to the demo inside,” said Pastor Mario. “He and Jay fired it up, and I was speechless. I loved the tightness of the sound. It was very clear, and the bass was very even. I tell people now, once you hear a Danley system, you really cannot compare it to other speakers. Danley is in a class by itself. I had a deposit check in Paul’s hand before the end of the demo!” and again, Winter Sound again helped with the purchasing and logistics.

To provide the same Danley clarity on stage, Popadak added a pair of Danley FLX12 loudspeakers as monitors and powered them with existing amplifiers from the previous system. “Our old system was really good, and we’re still using two of its subwoofers to supplement the Danley system,” Pastor Mario said. “But the Danley system is way better! We are planning to sell the old system and use the money to buy two Danley TH118 subwoofers and another Danley amp! Then our system will be complete and 100% Danley.” Los Pentecostales de Newport News celebrated the new Danley sound system with a service devoted entirely to music. “Everyone is ecstatic!” Popadak said.

Two QPC QMini Receptacle to LC Adapters — the left is a 2-channel with composite dust cover; the right is a 4-channel version with metal dust cover

QPC expands its QMini connector line of engineered fiber optic solutions with the QMiniLC, a QMini to LC adapter. These new QMini Receptacle to LC Adapters provide a QMini interface on one end and LC Duplex on the other and the connectors are available with 2- or 4- channels and with singlemode or multimode lenses and a choice of composite or metal dust covers.

Like all of QPC’s family of QMini Expanded Beam fiber optic connectors, the new additions are precision built to exacting MIL-DTL-83526/20 and MIL-DTL-83526/21 specs. Designed as a standard 2-hole XLR mount flange receptacle, the QMiniLC installs and connects easily in a standard pre-punched XLR chassis and is DiGiCo compatible; while the jam nut design makes for fast and secure attachments in the field, shop or assembly line.

As Expanded Beam fiber optic connectors are designed to operate in harsh environments, they employ non-physical contact fiber optic termini that are fully sealed behind an anti-reflective coated ball lens. This lens expands the beam to many times its original size aiding optical alignment and minimizing the effects of dust, debris, vibration, and other environmental conditions. Because there is no wear on the optical surfaces/end faces of the termini during use, the QMini connector has excellent durability, in excess of 3,000 mating cycles, providing a long service life interconnect solution.

QMini is a hermaphroditic connector allowing multiple plug-to-plug cable assemblies to be combined to extend the length of the system. These connectors are available with two or four channels and with singlemode or multimode lenses. In addition to the standard plugs and receptacles, QPC offers a 90-degree option for plugs and a low-profile backshell for receptacles for applications with space constraints.

For more info, contact QPC Fiber Optic, LLC at www.qpcfiber.com.

Contour XO provides the L-Acoustics sonic signature in an IEM co-engineered with JH Audio

L-Acoustics reinforces its mission of elevating the listening experience for professionals and audiophiles worldwide with its first offering in personal audio, Contour XO in-ear monitor powered by JH Audio.

More details from L-Acoustics (www.l-acoustics.com):

Contour XO comes in a carrying case with all the cables and accessories required for use, including tips in multiple sizes for a perfect fit

Contour XO is born from the meeting of two pro sound icons: Jerry Harvey and Dr. Christian Heil. Both pioneered technologies that forever changed the pro audio industry: multi-driver in-ear monitors and the present-day concert PA based on the L-Acoustics line source array.

Jerry Harvey, the founder of JH Audio, focused on the in-ear experience. Challenged by mega-stars demanding better sound quality on stage, Harvey developed the first custom dual balanced armature in-ear monitor. Demand caught fire, catapulting him into the position of a world-leading custom in-ear monitor manufacturer.

L-Acoustics, founded by Dr. Christian Heil, revolutionized the live sound industry not once, but twice, bringing the Wavefront Sculpture Technology of V-DOSC line source arrays to the masses in 1992, and then in 2016 deepened the connection between artist and audience with the first object-based mixing technology for live events, L-ISA Immersive Hyperreal Sound.

For the first time, Harvey and Heil have combined their R&D teams’ forces to reproduce the renowned L-Acoustics sonic signature frequency contour in a premium, 10-driver in-ear monitor (IEM) that elevates the standard for in-ear monitoring.

Designed to reproduce the nuances, emotion, and impact of live music, L-Acoustics professional sound systems have their own “sonic signature.” Widely viewed as the benchmark for the live music and performing arts industries, the L-Acoustics sonic signature is natural, dynamic, generous, and consistent. Contour XO provides that perfect reference IEM on stage, at the mixing desk, in the studio, or on the move.

Furthermore, the development of Contour XO supports the upcoming release of new L-ISA binaural object-based mixing software tools currently in beta testing with a select pool of audio professionals.

Contour XO is a 10-driver balanced armature IEM with 3-way crossover delivering the signature sound of live music in a compact footprint

“I was impressed by the jeweler-like precision with which JH Audio could tune to match our frequency contour in such a miniaturized enclosure,” comments Christian Heil of the new Contour XO. “The first time I tried the prototype, I put on my favorite playlist, and it took me 20 seconds to love them. There’s a very generous, deep low-end contour, and a high-end extension that I’ve never heard on an IEM before. The sound is natural and powerful! We recently launched sound systems for private use via our new division, L-Acoustics Creations, allowing music lovers to ‘bring the concert home.’ This IEM extends that lifestyle philosophy further still with the concept of L-Acoustics sound wearables to bring the concert with you, anywhere.”

Jerry Harvey was pleased with the new audiophile tech fusion, “I’ve been trying to make my in-ears sound like an L-Acoustics PA for years. It wasn’t until their team challenged us that we got as close as we could. The L-Acoustics R&D team has been great to work with!”

“It was an exhilarating challenge to collaborate with the fast-paced and talented team at JH Audio on the first L-Acoustics IEM. We knew that the outcome of our joint efforts would need to fulfill criteria that are both measurable and pleasurable,” explains Christophe Combet, L-Acoustics Executive Director of Research and Development. “The testing process was iterative and uncompromising, right up through the final review and approval from our expert ears listening committee. Contour XO achieves pocket-size portability for our sonic signature, earning the same golden logo that adorns our PAs around the world.”

Contour XO provides the ideal tool for engineers using the new binaural features of L-ISA Immersive Hyperreal Sound mixing software

The newly designed universal in-ear monitors bring listeners inside the music with ten balanced armature drivers and three-way crossover in a quad low, dual mid, and quad high configuration. Contour XO offers control of the low end with bass adjustment of up to 15 dB above flat response. Artists, musicians, sound professionals, and audiophiles alike will appreciate the individual care and attention to detail transmitted by the limited-edition premium in-ear audio solution, Contour XO.

Guillaume Le Nost, L-Acoustics Executive Director of Creative Technologies, elaborates on how the IEM represents a creative product fit for the company. “Object-based mixing to achieve natural, spatialized audio is the future of sound. The success of L-ISA Immersive Hyperreal Sound technology has led us to seek ways to further streamline the production process. L-ISA binaural software tools are scheduled to be released in early 2021. We are pleased to offer early access to this L-ISA binaural software package to first adopters of Contour XO.”

Available now via the L-Acoustics eStore, customers can choose from both universal and custom fit options of Contour XO to bring home the iconic L-Acoustics sonic signature in an innovative personal package. The universal fit model is priced at €1,620 including VAT. Custom fit Contour XO are available for an additional €340 plus tax.

Meyer Sound has officially released Spacemap Go, which it calls an industry game changer in spatial sound design and mixing.

More details from Meyer Sound (www.meyersound.com):

Available October 28 as a free app for Apple iPad, Spacemap Go can transform the thousands of Meyer Sound GALAXY Network Platform processors in the field into powerful, flexible and user-friendly tools for spatial sound design and mixing. Spacemap Go works with multiple GALAXY processors, and it can be controlled by a single iPad or with multiple iPads to provide a larger and more varied control surface, or to allow simultaneous control by multiple users. Spacemap Go can be implemented with a free update to GALAXY firmware and Compass control software. Users with existing GALAXY inventory need only supply one or more iPads as appropriate for the application.

SEAMLESS COMPATIBILITY

Spacemap Go offers seamless compatibility with popular sound design and show control programs such as QLab. For example, a complex sound design can be assembled using QLab in the studio, perhaps initially combining all multichannel cues into a stereo rough mix for reference. When on site, the tracks can be quickly expanded into a multi-channel spatial mix using Spacemap Go’s templates for common multi-channel configurations. The templates can be customized for a particular setup, while panning trajectories can be created with the touch of a finger and, if desired, captured for playback during performance. Although spatial trajectories can be created, edited and stored using the graphical interface, the detailed matrix remains immediately accessible for reference or direct data entry.

In addition to QLab, Spacemap Go can be automated by popular DAWs such as Ableton Live, Apple Logic Pro X, AVID Pro Tools, MOTU Digital Performer, and Reaper, taking advantage of the iPad’s multi-touch interface for effortless spatial automation. GALAXY now supports the RTTrPM protocol, allowing integration with real-time tracking systems such as BlackTrax.

ACCESSIBLE AND EASY

Systems are quickly and easily configured by Spacemap Go using any combination of GALAXY 408 or GALAXY 816 using Milan AVB, AES3 or analog as inputs and outputs. Spacemap Systems can be configured for up to 32 inputs and as many outputs as are provided by the processors. Each GALAXY provides up to 232 matrix crosspoints. Multiple iPads may be used to control a system, providing immediate access to additional channels or allowing simultaneous access to different screen views.

FREE DOWNLOAD IN APPLE APP STORE

Spacemap Go is available as a free download from the Apple App Store as of October 28, 2020. Spacemap Go is compatible with any iPad capable of running the latest iPadOS.

SPACEMAP GO PUBLIC ROUNDTABLES

Meyer Sound is hosting a series of public roundtables November 4, November 11, November 18, and December 2. Throughout each discussion, Meyer Sound panelists will be available for Q&A. Register for the 9 AM PST sessions here and the 5 PM PST sessions here.

Chaka Khan brings down the (virtual) house, produced by MixOne Sound. Photo: Steve Thrasher

LOS ANGELES – For over a decade, Southern California based full-service AV and staging company MixOne Sound has tackled live and virtual concerts, conferences and commercial productions of all sizes. Two of their most recent shows highlight rap rock trio Fever 333 and 10-time GRAMMY Award winning superstar Chaka Khan. From ‘action!’ to the closing credits, an Allen & Heath dLive handily managed the broadcast mixes.

More details from Allen & Heath (www.allen-heath.com):

MixOne Sound owner Spenser Bishop goes DEEP with the dLive OptTronik compressor during a video production session featuring funk superstar Chaka Khan. Photo by Steve Thrasher

“The transition from our previous console platform to A&H was super smooth,” notes MixOne Sound owner Spenser Bishop during a quick post-show chat. “By my second show on dLive I was totally comfortable, it was a lot easier to jump into than other consoles for sure. This is the first desk we’ve walked up to in a long time where we thought, ‘plenty of horsepower, sounds great, don’t need external FX processing’ and you just get to mixing.” MixOne Sound partners Gregg Hudson and Kevin Garcia nod in agreement before returning to wrap up the load-out of their last set of the day.

The MixOne Sound broadcast and control room mix came together on an Allen & Heath dLive S5000 with SuperMADI and Waves cards, a DM64 MixRack with a gigaACE card at the stage and a DX32 Modular Expander packed with PRIME preamps. The house stage mix was powered by four dBTechnologies S118 subwoofers, two IG3T side fills, and a mixture of LVX XM 12 and 15 stage monitors.

“If I had to highlight two features we really loved, I’d go with the onboard SRC and DEEP effects,” adds Bishop. “Whether I have Dante or Waves or I need SuperMADI to do inserts, the desk sees it and handles the sample rate conversions in and out. Nobody else makes it this easy. Perfect for studio and broadcast where we’re seeing a lot of 48kHz on other devices, but we’re able to keep things at 96kHz in dLive land. Multiple sample rates and multiple formats at once. Such a stellar feature.”

Allen & Heath PRIME preamp modules are a completely new Allen & Heath design, using ultra-linear components to best exploit the full potential of the 96kHz XCVI FPGA core. Photo by Steve Thrasher

“Wait, I have to talk about the PRIME cards, too,” Bishop adds with a chuckle. PRIME preamp modules are a completely new Allen & Heath design, using the latest converter technology and ultra-linear components to best exploit the full potential of the 96kHz XCVI FPGA core, delivering next-level audio quality for critical audio applications. “PRIME is the closest feel and sound to analog I’ve heard from digital. And the pre’s that come on the desk aren’t far behind. I noticed mixing Chaka’s vocals today — the clarity, the low noise floor, all very clean and very true.”

dLive’s DEEP processing architecture embeds class-leading compressors and processing emulations directly within dLive’s input and mix channels. An array of bespoke algorithms including graphic EQs, compressors and a 64 channel Automatic Mic Mixer (AMM) can be inserted on the fly without burning effects slots and without the latency, limitations and licenses associated with external plug-ins.

“DEEP rocks,” says Bishop. “The OptTronik DEEP compressor is great as a ‘one knob’ compressor, especially in a broadcast environment to keep things level without anything noticeably squashy going on. I have another go-to outboard optical compressor that I like, but I think the internal dLive OptTronik sounds better. Don’t tell [redacted] that I said that, though!” Commenting on how prevalent the OptTronik was throughout his mix, Bishop added, “I had OptTronik running on almost every input with Chaka. And every output. It was awesome not being limited on how many instances I could run and not having to worry about phase and latency weirdness like on other systems and desks. Super fun to play with that many plug-ins at once and not have the ‘carwash’ sound other desks tend to get when they are hit that hard. dLive still gave us the high definition sound we need.”

Summing up his thoughts, Bishop notes, “dLive is allowing me to mix at a whole new level. It sounds like a studio desk, I can mix 128 channels at 96kHz, it is beyond stable and I’m not being limited with what I can do. And it has purple lights!”

Fever 333 kicks into high gear during their recent livestream set, powered by an Allen & Heath dLive for broadcast, with dBTechnologies monitors and fills for in-house sound.. Photo by Steve Thrasher

Jerry Harvey and Melody DePree

ORLANDO, FL — JH Audio recently announced that it has added Melody DePree to the company’s staff. DePree, who joined JH Audio last month, is working out of the company’s Los Angeles offices handling artist relations and on-site services as well as audiology and impressions. She brings years of experience and contacts throughout the live concert community and her considerable knowledge of audio and IEMs to the position.

For more information, visit JH Audio at www.jhaudio.com.

Preston Gray

BUENA PARK, CA — Yamaha Corporation of America (YCA) has named Preston Gray as Director of Marketing for Professional Audio, responsible for Yamaha and NEXO professional, commercial and live sound products as well as audio workstation tools from Steinberg Media Technologies.

Gray will focus on expanding the company’s total systems approach, providing sound engineers, system integrators and designers with unified solutions that cross multiple product segments and create more efficient audio workflows. He reports to Randy Beck, Yamaha Vice President of Integrated Marketing.

“It’s our goal at Yamaha to inspire greatness,” Gray said. “Not only do we inspire great music, but we know how it should sound. Yamaha’s professional audio solutions represent a complete and reliable choice for our customers, and a choice to connect to the world around us through music.”

Gray was previously Field Sales Engineer Manager for Yamaha Commercial Audio and NEXO products, managing a team of Field Sales Engineers who provide Yamaha Commercial Audio and NEXO channel partners with pre-sales and technical design support, while closely aligning with their business activities.

“Preston is uniquely qualified to lead our pro audio marketing efforts,” said Beck. “He has hands-on experience with all our products at the engineering and sales levels, he understands our customers and their challenges and, most important, he knows what it takes for a manufacturer to meet and exceed customers’ needs as they grow and build with us for long-term success.”

Gray joined Yamaha in 2016 as a District Manager representing NEXO systems. Prior to working for Yamaha, he was the Audio Department Manager at Morris Light & Sound based in Nashville, Tenn., and he has extensive experience as a system engineer on top-grossing country tours.

Gray received his Bachelor of Science degree with a focus in Audio Engineering and Marketing from Belmont University. He is based in Dallas, Texas.

For more information about Yamaha Corporation of America, visit usa.yamaha.com.

                 The CS218L Subwoofer

The CS218L is a low-profile, dual-18” subcardioid subwoofer module intended for permanent installation in a wide range of venues. Its premium, high power transducers are physically engaging, yet are musically articulate enough to reproduce the subtlety and harmonic nuance of an upright bass or the low strings of a piano. Twelve M10 mounting points facilitate either horizontal or vertical overhead suspension. Four vibration isolation feet prevent spurious vibrations and “walking” in horizontal ground stack applications.
The CS218L incorporates Fulcrum’s patented Passive Cardioid Technology to address one of the major challenges of many direct-radiating subwoofers: excessive rear LF radiation. Unlike active cardioid loudspeakers, Fulcrum’s passive cardioid technology does not require an additional amplifier channel or additional transducer to achieve its impressive low frequency directional control: >10 dB of rear rejection over the subwoofer’s operating range.
The subcardioid behavior is produced by a meticulously conceived acoustical circuit that balances the position of the low frequency driver, the enclosure depth and volume, and specially constructed rear-mounted ports which include a calibrated resistive element. By opting for a subcardioid pattern as opposed to a pure, hyper or super cardioid pattern, the rear rejection increases when the modules are deployed in a subwoofer array.
Fulcrum Acoustic’s TQ processing is an integral part of the CS218L design. Sound, innovative acoustical design combined with state of the art digital processing leads to exceptional clarity and precise transient response, even at very high sound pressure levels. The required digital signal processing can be provided by one of many supported platforms.

For more info, visit fulcrum-acoustic.com

ATK Versacom productions in 2020 range from a major space launch to handling the 2020 Democratic National Convention

BURNSVILLE, MN – When COVID-19 struck, the entire live event industry ground to a halt. Yet ironically, the lockdown created even stronger demand for entertainment. Faced with high content demand and strict safety protocols, ATK Versacom (Valencia, CA) set out to develop new tools and techniques for remotely producing broadcast-worthy live events.

Intercoms for large productions are an ATK Versacom specialty, routinely handling hundreds of audio pathways via RTS digital matrix systems and keypanels. But with talent and crew in lockdown, an outside-the-box solution was needed. The answer was VLink, an online virtual intercom matrix, also by RTS.

“Needless to say, it got a little scary as we scrambled to figure out how to generate some kind of revenue in this new world,” says Jim Fay, ATK Versacom General Manager. “That meant finding the devices and applying technology so people could do their jobs away from the set. Communication becomes even more critical in that situation, and RTS VLink was the ideal solution.”

The RTS VLink in use at the 2020 DNC

ATK Versacom Technical Development Manager, Juan Gallardo, partnered with audio specialist Sean Prickett of Drop Ship Audio to develop dedicated “flypacks” for remote production. They designed a system of audio and computer gear, all pre-wired into a large Pelican case. Software elements like the VLink intercom were preprogrammed onto a tablet. They also produced a cheat sheet – a laminated set of instructions – so that even the technology-challenged could connect remotely. Once the flypack was delivered, all the talent had to do was open the case, plug it in and follow the directions, using their own earphones and an Internet connection.

Gallardo and Prickett developed the system for the season finale of a top TV singing competition. After a few lessons learned and some insightful streamlining, they had a production audio system that could produce live events in real time with seamless communication. The show’s tech team were very happy with the VLink solution. Jim Fay credits RTS VLink with being a key element. He notes that VLink essentially provides the same functionality as an RTS KP-5032 keypanel, enabling traditional intercom functionality without interfering with talent performances.

“VLink is pretty amazing. It allows us to do mix-minus, direct IFB, and straight program feeds,” says Fay. “What’s great is that the app itself is free. You just buy or rent a license seat for every person who needs to hear the IFB or program feed, for every round trip from the analog to the VoIP side of the audio circuit. It also works seamlessly with traditional RTS gear.”

As a result, ATK Versacom is as busy now as they were before the pandemic. Their productions have included this year’s major space launch and political convention coverage. The new audio production system, with comms powered by RTS VLink, will also be a key element on the upcoming season of another high-rating vocal talent TV show, with the performers and audience interacting live between separate locations.

“It just shows you how creative people can be, adapting to this extreme situation,” concludes Jim Fay. “Remote production is the new reality, and with tools like VLink, we can still produce amazing content. It’s an extremely robust product, and it works like a champ.”

RTS offers a 30-day free trial of the VLink virtual intercom matrix.

For more info, visit https://products.rtsintercoms.com/na/en/rts-VLink/

Sommer Cables Aqua Marinex Line

Sommer Cables announces AQUA MARINEX, a line of high-quality cables for permanent installation in damp environments/underwater — (depending on model, between 65 and 160 feet deep). This super robust universal cable series for outdoor installs are offered in a wide range of flame retardant cables, certified in accordance with valid EU Construction Products Regulation.

Designed for reliable signal transmission of audio, video, data, power and DMX lighting control under the most adverse weather and environmental conditions such as rain, snow, ice, mud, salt/chlorine water, heat, etc., these notch-resistant, cold-flexible PUR cables feature tough cases equipped with a braid of aramid fibers, usually used in bulletproof protective vests.

For outdoor applications in landscape gardening, garden technology, terraces, pool and pond environments, fountains, sauna facilities, boatbuilding, surveillance technology, etc., matching connectors in protection classes IP44 to IP67 are also offered. For indoor installations, a range of flame retardant cables, certified in accordance with valid EU Construction Products Regulation are also available.

Sommer cable is shipping versions for power, loudspeakers, video/satellite, microphone/DMX, data and illumination applications.

For more info, visit sommercable.com.

PreSonus CDL12P Constant-Directivity Loudspeaker

BATON ROUGE, LA – PreSonus announced details about the company’s new CDL12P full-range, constant-directivity, powered sound-reinforcement loudspeaker.

More details from PreSonus (www.presonus.com):

PreSonus’ new CDL12P full-range, constant-directivity, powered sound-reinforcement loudspeaker combines the best attributes of point source and line array technology to provide the flexibility demanded by modern sound-reinforcement applications. Its unique, patent-pending, constant-directivity design enables it to radiate a highly focused pattern with consistent SPL throughout the frequency-response range, both on- and off-axis. The result is clear, articulate speech intelligibility and natural music reproduction.

The CDL12P is portable and can be used alone, in tandem with a subwoofer, or in an array, making it a great choice for touring bands and mobile DJs, as well as for fixed installs in small and midsize venues that don’t need a networkable loudspeaker. The original Dante-enabled CDL12 is recommended for venues that require a networkable constant-directivity loudspeaker.

Each CDL12P consists of eight 2-inch drivers aligned in a segmented circular-arc high-frequency array centered in front of a 12-inch woofer. The outputs of the low-frequency driver and the high-frequency array travel on the same acoustic axis, as with a coaxial studio monitor. Because the highs and lows emanate from the same point, they arrive at listeners’ ears at the exact same time, so the CDL12P doesn’t create any smearing in the crossover frequencies, ensuring better intelligibility throughout the frequency-response range and better sonic coherence across the entire venue. A low, 420 Hz crossover frequency minimizes comb filtering. Regardless of how many CDL12Ps you stack (up to six total), you get focused sound with consistent SPL coverage both on- and off-axis. Each CDL12P delivers 120° horizontal by 15° vertical dispersion, so six enclosures rigged together form a 120° x 90° coverage pattern.

The CDL12P’s integrated 500x500W Class D power amplifier features onboard DSP presets to facilitate and simplify arrayed configurations. The integrated DSP offers a high-pass filter; a limiter; tuning for use with PreSonus CDL18s, AIR18s, and ULT18 subwoofers; and controls for the number of enclosures used. A dual-angle pole mount is provided, supporting the use of one or two enclosures when pole-mounted on a tripod stand, or atop the companion CDL18s, ULT18, or AIR18s subwoofer, allowing the system to adapt to varying audience sizes. Heavy-duty aluminum rigging with integrated pin-loaded hardware rated for a 10:1 load ensures a safe solution for flown installations.

The CDL12P comes with a six-year warranty, so in the unlikely event you experience an issue, you can count on PreSonus to make it right. It’s available now at your favorite PreSonus dealer for a U.S. price of $999.95. For more information visit www.presonus.com/products/CDL12P.

Two PreSonus CDL12P loudspeakers stacked with a PreSonus ULT18 subwoofer.

PreSonus CDL12P array.

For a video, go to https://www.youtube.com/watch?v=pXtQQfpthec

August 15, 2020; Tulsa, OK, USA; Nikita Ababiy and Jarvis Williams during their bout on the Matchroom boxing fight card on August 15, 2020 in Tulsa, Oklahoma. Photo Credit: Ed Mulholland/Matchroom

TULSA, OK – Holden Productions and Matchroom Boxing dropped a boxing match in the middle of downtown Tulsa on Aug. 15 for a night of fights headlined by Cecilia Brækhus and Jessica McCaskill. Arizona Sound Productions (AZSP) provided audio support, deploying RCF HDL 6-A arrays and RCF SUB 8003-AS subwoofers.

More details from RCF (www.rcf-usa.com):

With a long and storied history, professional boxing has carried an undeniable mystique with events that are larger than life—the allure of bright lights, a commanding introduction from the announcer, and fighters unleashed by the iconic ring of the bell. But for most live events in 2020, one major element is missing—the roar of ring-side fans. When Arizona Sound Productions was hired to provide video and sound production for a string of boxing matches across the US, they found themselves with new protocols, unique challenges, and time to kill.

“Working this year has been interesting, to say the least,” said Jared Jasinski, owner and lead engineer for Arizona Sound Productions [AZSP] based in Phoenix. “With COVID restrictions we’ve been forced to be more creative and think outside the box. We’ve had opportunities to create something different for viewers at home, without an audience we can put a boxing ring anywhere [outdoors] and make it look great on camera.”

Arizona Sound Productions got its start in 2011 with small to mid-sized church and school installs, moving into sound reinforcement for live events and festivals. From there the company grew into larger events for Fortune 500 clients, MTV concert series for one, and lending support for Super Bowl XLIX back in 2015 at the University of Phoenix Stadium in Glendale Arizona.

On August 15, 2020, AZSP set the stage in Oklahoma, making boxing history with what has been called the “street fight” concept. AZSP clients’ Holden Productions and Matchroom Boxing dropped a boxing match in the middle of downtown Tulsa for a night of fights headlined by Cecilia Brækhus, defending her Women’s Welter Weight title against contender, Jessica McCaskill. The match was staged at the intersection of East 5th Street and South Boston Avenue with no fans present. Medical protocols and strict social distancing guidelines were in place for a full night of action.

“It was an intense process,” described Jasinski. “COVID testing was required for everyone on my crew, before traveling to Oklahoma, then again when we arrived. Once we were all cleared our driver took us to the hotel, where we received quarantine wrist bands. A staffer then escorted us straight to our rooms where we were basically quarantined for two days,” added Jasinski. “It was an odd feeling, but nice to run through details, finish CAD work, have ZOOM calls, and have some time to review our game plan for the week. It’s not a fun process, but at the end of the day we’re glad to be working.”

Using EASE Focus to determine hang points and angles, ASP designed a small line array rig with 16 RCF HDL 6-A Active Line Array Modules. Line arrays were hung around the boxing ring to cover the floor level, made up of judges, fighters, staff, production crew, refs and boxing officials. “The [HDL] 6-A has been a game changer for us,” said Jasinski. “It’s a great sounding, powerful speaker with an amazing price point. We jumped on board right away. We could throw it up on a stick for small gigs, to building 10-module arrays for festivals—it’s a very versatile box. We built 4 box arrays in stereo hanging over the ring on the north side to cover the ring walk, 3 box arrays on the south side, and one box for the east and west, basically straight down to hit the floor area. For that extra punch, we added six [RCF] SUB 8003-AS under the ring. We wanted to have enough sound to create that ‘live energy’ when the boxers come down the walkway. We built LED video walls for the entrance and above the ring and created most of the lighting design with local company, Omni Lighting. Having a thundering audio to support it all, it looks and sounds amazing—the RCF system works perfectly for what we are doing,” said Jasinski.

August 14, 2020; Tulsa, OK, USA; Scenics from the ring build for the Matchroom card on August 15, 2020 in Tulsa, Oklahoma. Photo Credit: Ed Mulholland/Matchroom Boxing USA

With so many sporting events opting for no fans during the pandemic, many production companies are using the opportunity to fill in the blanks. The television experience for fans has only changed slightly, but in a way, the energy from a crowd is a major contributor to the “live feel”. “We didn’t add any crowd noise or anything like that,” added Jasinski. “We did take advantage of capturing natural city sounds—it played off that raw, street feel very well. We had ambient mics set up around the ring to get pops from punches from the fighters and things like that. With all the streetlights changing colors throughout the match, visually it was a nice touch.”

Arizona Sound Productions will continue the tour with press conferences, weigh-ins, and boxing matches, through various states in the US. According to Jasinski, the new partnership is described as the ideal match that ensued by being in the right place at the right time. “Originally the [Jacobs/Chavez] fight was supposed to be in Vegas and something happened where the commissioner wouldn’t allow the fight there, so it moved to Phoenix,” said Jasinski. “There are few downtown venues [in Phoenix] where we have house systems installed, and they recommended us to help out at a press conference. What started out as being available to set up mics and hang a few banners, ended up evolving into a full production gig for a sold-out fight across the street in the arena [Talking Stick Resort Arena] for the Julio Cesar Chavez Jr vs Daniel Jacobs fight. Things went little crazy that night, 5 rounds in Chavez called the fight, and a riot damn near broke out. Nothing was damaged, thankfully”.

Photos provided by Matchroom Boxing

Sound Image deployed an L-Acoustics K1/K2 system for The Caverns’ first “Above Ground Concert Series” shows in October (photo: Erika Goldring). Jason Isbell & The 400 Unit are pictured in this photo, taken on Oct. 9. 

PELHAM, TN – Home of the Emmy-winning PBS television series Bluegrass Underground, The Caverns is a naturally occurring subterranean amphitheater at the base of the Cumberland Plateau in Tennessee’s Pelham valley. Having hosted performances from many of the biggest and fastest-rising names in music, its Big Mouth Cave annually draws more than 50,000 visitors to experience concerts in a truly unique setting with natural acoustics and otherworldly beauty.

However, like all other music venues in 2020, even this prehistoric site had to close its “mouth” for the current pandemic. But that didn’t stop Jason Isbell and The 400 Unit from kicking off The Caverns’ new COVID-compliant “Above Ground Concert Series” with a four-night run of outdoor shows on the grounds above the cave with an L-Acoustics K1/K2 system deployed by Sound Image.

More details from L-Acoustics (www.l-acoustics.com):

Jason Isbell and The 400 Unit performed four consecutive dates at The Caverns Amphitheater (photo: Erika Goldring)

For ten years, Sound Image has been the primary audio provider for The Caverns and was brought in to supply the new Caverns Amphitheater—as the grassy hillside overlooking scenic Payne Cove is now known—with a sound reinforcement system for the four-time Grammy Award-winning artist’s shows, which ran from October 8 to 11.

In keeping with CDC and state guidance for large gatherings, audiences watched the gigs from socially distanced “pods”—roped off sections for two, four or six family members or friends—which were at least six feet from each other and 15 feet from the stage.

According to Sound Image system tech Chris Demonbreun, the main PA featured left and right hangs of four L-Acoustics K1 enclosures over five K2, with two Kudo cabinets positioned below as frontfills. Two additional ground-stacked K2 were deployed off stage right to address a few of the audience pods not covered by the main arrays. Four groups of three vertically-oriented SB28 subs, each set up in cardioid mode, “kept the low end off of the stage and did some delay steering to maintain smooth low-end coverage throughout the listening area,” he says. The entire system was powered by 15 LA8 amplified controllers located under the stage, driven with AES and analog fallback, while an L-Acoustics P1 processor at FOH provided system processing and control.

The main arrays were each comprised of four K1 enclosures over five K2, while a dozen SB28 subs in cardioid mode delivered the low end

Demonbreun points to Danny Poland, production manager for The Caverns, as the final decision-maker to use L-Acoustics, “which is always a great idea, in my opinion,” he concurs. “With approximately 750 people each night spread out across the hillside seating, which is 200 feet wide and 400 feet deep, Danny knew that we would be able to get full audience coverage with K1/K2, and that it would sound great.”

Cain Hogsed, the band’s FOH engineer, agrees: “Although we typically use existing venue or local PA when touring, L-Acoustics is one of the more common systems we see, and I’m always thankful for it. I’ve enjoyed mixing on K2 and V-DOSC rigs in the past, so when I was told we were going to be on K2 for these shows, I knew we would have plenty of coverage and clarity, and we certainly did.”

With all four shows being outdoors, Hogsed notes that weather conditions are always a potential challenge. “Having to deal with wind and rain, my experience was different every night,” he says. “During the second and third shows, I was actually mixing under a tarp while Chris, my system tech, held visqueen over the console. Thankfully, even though the weather was highly unpredictable, the L-Acoustics PA was consistent and balanced.”

Aside from praising Hogsed for his “killer mix every night,” Demonbreun chalks up a good part of the system’s success to the resources found in Soundvision. “I believe that this system did better than other competitive PAs would have done thanks to the use of new L-Acoustics autosolver tools like Autofilter and Autoclimate,” he describes. “They allowed me to make sure that the people in the front didn’t get blasted with high end while still allowing those in the back to hear nice, clear, full-range audio. It sounded nearly the same everywhere, within 4 dB from the front to the back, which is something that L-Acoustics makes it easy to do.”

An aerial view of The Caverns Amphitheater, the newly-established hillside venue located just outside of Big Mouth Cave in Pelham, Tennessee

The Caverns’ general manager, Joe Lurgio, was duly impressed with the results as well. “Personally, I was told repeatedly by the artist team, who were both behind the scenes and in the audience, that they were blown away by the audio—especially for a brand-new venue,” he says. “Without having a dress rehearsal, we were nervous that we might have undersized the rig, but it sounded great from everywhere in the ‘house.’ The amphitheater is a natural bowl shape and allowed for the sound to hit everyone, and Sound Image really delivered with the right loudspeaker setup for these shows. We can’t wait to do more.”

Nashville Scene also chimed in on the audio with an article on the final show, which read: “Isbell’s voice was smooth, naturalistic and in fine form Sunday, never having to strain to be heard. For an outdoor space, everything sounded crisp and condensed. That was no small feat…”

One dollar from all ticket sales was donated to NIVA, the National Independent Venue Association, to benefit music venues currently closed because of the pandemic. Learn more about NIVA at SaveOurStages.com.

Sound Image can be found online at www.sound-image.com.

For more info, visit l-acoustics.com.

Mac Johnson will be working closely with the company’s partners and customers to support them in education in his new role as Market Development Manager

PETALUMA, CA – Point Source Audio has named Mac Johnson as its Market Development Manager. Previously, Johnson toured as a Production Sound Engineer on a variety of Broadway productions, as well as working as a sound designer for theatrical productions, music festivals and corporate events.

With 30+ years of experience in the professional audio industry, Johnson understands where the sound starts and how to capture it. As well as being a mixer and designer, he is also a performer and knows how microphones are an extension of an artist’s instrument.

Prior to joining Point Source Audio, Johnson was the managing partner of an event production company in Charleston, SC and became an integral part of Meyer Sound’s team in 2007, where he spent 13+ years working in various roles across multiple departments, markets segments and all sales regions.

Having championed Point Source Audio’s new AVIXA CTS training Johnson will be working closely with all of the company’s clients to support them in education and development of new markets for Point Source Audio. His role as Market Development Manager is set to put him on the front lines of markets requiring a true understanding of the design to integration processes as well as end user applications.

“Having had extensive experience as a production manager, sound designer and FOH engineer, it is a privilege to have Mac join the team,” commented Point Source Audio’s President, James Lamb. “He is proving himself to be a great asset by providing our customers with targeted training courses, including our recently developed MIKE’s Academy, and I’m positive he will continue to develop lasting relationships with our clients and deliver effective marketing strategies in this important role.”

Johnson stated: “It’s a real honor to be joining the Point Source Audio Team. The company’s mission has always been to add value for the customer, not just through revolutionary microphones and headsets, but also with exceptional service and it’s great to be a part of that core focus. I hope that my experiences with the audio industry will contribute to Point Source Audio’s already established global presence.”

For more information visit www.point-sourceaudio.com.

New technology brings arena shows and conferences into the home

NEW YORK, NY — Fireplay, in partnership with Production Resource Group (PRG) and Clair Global, has announced the launch of Virtual Crowd, a technology that is changing the way people connect during the COVID-19 pandemic. Virtual Crowd is the most advanced, fully customizable, and scalable multimedia technology that allows artists, speakers, and performers to interact with their fans, employees, or clients in real time while seamlessly showcasing high-quality production value and design within the online and hybrid experiences.

“Fireplay has been working continuously since the shutdowns to find a solution to allow real, meaningful, and interactive concerts and events to happen safely whilst being unable to gather in large groups,” says Nick Whitehouse, CEO of Fireplay. “Nothing will ever replace the experience of an in-person live show, but I believe Virtual Crowd is a fantastic way for artists, live events, concerts and streams to re-engage their audiences who are getting tired of watching virtual events. I am really proud of the team here at Fireplay and excited that the two biggest and most respected companies in the industry have partnered with us to support our vision with their equipment, tech, and most importantly, creating jobs to put crew back to work.”

Virtual Crowd offers a unique, creative, and flexible solution, allowing performers or speakers to see and interact with their audience on large video screens. Meanwhile, fans experience a live and interactive performance with professional production value and can interact directly with the performer. The aesthetics are customizable in order to suit any event, brand, or business environment — from concerts, e-sports, and TV shows to business meetings and conferences.

One of the most unique visual features of Virtual Crowd is Interview Mode, which allows the client or production team to choose one or two guests and interact with them directly. Whether it’s an interaction between a lucky fan and a performer, a journalist asking a question at a digital press conference, a remote emcee or a thought leader stepping up to deliver a keynote at a virtual conference, Interview Mode offers an easy way to interact and create memorable moments.

In addition – powered by Clair Global’s Virtual Live Audience proprietary platform – Virtual Crowd delivers minimal latency, ensuring that viewers are seeing the live action with no visible delays. Logging in and logging on is a snap for participants, and a robust Moderation Mode ensures that moderators have full control of who participates in the event, as well as how they interact.

“The fact that our team was able to come together to develop a technology tailored to experiencing live events during these unfamiliar times is exciting,” said Matt Clair, Chief Information Officer at Clair Global. “Clair’s pivot towards packaged data services allowed us to utilize our experience in production audio/IT and be back at the table working alongside PRG and Fireplay in a new way. The prospect of getting our road crew – and the entire live events industry – back to work with the deployment of each and every Virtual Crowd system is the biggest win from our vantage point.”

The COVID-19 pandemic presents a host of challenges for those in entertainment and business and has devastated the industry that supports live events. However, Virtual Crowd provides a vehicle for entertainment and events to be enjoyed again.

“PRG is excited to collaborate with two well respected companies in entertainment to bring to market a vital missing piece of live shows,” said Randy Hutson, CEO of PRG’s Music Group. “This solution, while creating jobs for our crews, will create an environment of live enhancement to support an artist’s interaction with their audiences. Further, with PRG’s unsurpassed inventory of technology, clients can easily activate Virtual Crowd on any scale, anywhere around the world.”

For a preview of Virtual Crowd, go to www.virtualcrowd.live.

ALLEROED, Denmark – DPA Microphones has upgraded its renowned 4098 Gooseneck Microphone to include its CORE by DPA technology. With this update, the 4098 CORE mic will join DPA’s other CORE products in offering minimal distortion across the entire dynamic range, increasing audio clarity and openness and further enhancing DPA’s already stellar sound. Perfect for both podium and conference room miking, the DPA 4098 CORE is the ideal solution for instances when high speech intelligibility is paramount. This has proven especially true for today’s socially distanced, video conferencing world.

“When we first launched CORE by DPA, we knew we wanted to implement this technology into all DPA mics to provide an even greater user experience,” says René Moerch, product manager at DPA Microphones. “By increasing the dynamic range of the mics, CORE by DPA extends the point at which the distortion is just starting to become audible. Incorporating this technology to the 4098 allows presenters, politicians, pastors, instructors, and more, to be heard through the mic as though they are speaking to the viewer/listener directly.”

With CORE by DPA technology, the 4098 CORE mics capture a wider dynamic range so that the 1 percent THD is now lifted with 8 dB to 133 dB SPL.

Best suited to the installation market, the DPA 4098 CORE offers trouble-free installation with the most clear, transparent and natural sound available on the miniature mic market. The mic is capable of handling extremely high SPL before clipping, which enables it to deliver pristine speech intelligibility regardless of whether the speaker is loud or soft-toned. With a linear response, low distortion and extremely large dynamic range, the mics perform well in even the most challenging environments.

The DPA 4098 CORE is available in a variety of arrangements. For more info, visit https://www.dpamicrophones.com/gooseneck/gooseneck-microphone

The latest edition of Experiment Intrinsic is hosted at East London’s Shacklewell Lane Mosque

LONDON — Experiment Intrinsic provides ambient all-night adventures in electronic music, exploring the spaces created with sound. They formulate alcohol-free, limited capacity events in intimate and spiritual spaces catering to all the senses.  Of course, the quality of sound is of utmost importance, and for this reason a TiMax SoundHub spatial processor is always at the heart of the immersive sound system.

Experiment Intrinsic’s sound system is curated by George Yankov of Sova Audio. Though every event’s immersive audio setup in terms of speaker and electronics configurations is dependent on the venue layout, budget and application, Yankov explains, “TiMax is central for spatial audio control”.

Before using TiMax, Yankov claims nothing ‘ticked all the boxes for reliability, supreme audio quality, ease of use, Dante plus a combination of analogue and digital inputs and outputs etc. With TiMax we can turn any audio source into pure sonic wizardry, the way we wanted it to be.”

Sparking the curiosity of Experiment Intrinsic is TiMax’s open platform. George concedes, “We have long been on the look-out for a product that doesn’t limit you in what you can do but instead gives you a green light to figure out new ways of using it.”

For the latest edition of Experiment Intrinsic, hosted at East London’s Shacklewell Lane Mosque, TiMax is set up so spatial image definition objects represent single output channels or combinations of multiple speakers. These define the pan positions within the 3D space and how they interact with each other. Yankov uses this consequent “spread” to define how precise the localisation is, then automation and MIDI to create ultimate excitement.

TiMax SoundHub receives the DJ feed from the mixing console via Dante. The processed signal then routes to the four and eight channel Linea Research amplifiers driving Funktion One loudspeakers. A MIDI controller preprogrammed with various panning effects triggers also connects to TiMax so that both master and auxiliary sends feed TiMax. The DJ then has full control over which sounds they want to spatialize.

The inspired setup is proving a hit. Yankov maintains, “Once a DJ has laid his hands on our setups they spread the word of excitement and the next artist arrives even more prepared. Our immersive audio systems using TiMax are becoming a benchmark for events such as Experiment Intrinsic.”

This is high praise as Yankov, no stranger to ‘immersive’ systems, claims they all come with an element of ‘confusion’! However, with TiMax, “After many tests and feedback from the artists, we came up with this very straightforward setup, where spatial audio can actually be used just like any other effects processor: by controlling the wet and dry of the effects through the auxiliary sends.  Such a game changer if you think outside the box!”

In conclusion, Yankov divulges even higher praise: “Sova Audio has a special approach to running its business. We choose our long-term partners very carefully and I must say you rarely find such refined gentlemen in the industry as Dave and Robin. Not only is their product second to none, but the level of customer care is phenomenal.”

For more info, visit sova-audio.co.uk or outboard.co.uk/timax.html

Provision AVS deployed two Fulcrum Acoustic DX1595 Dual-15” Coaxial Loudspeakers for the main left and right coverage in the theater.

FUQUAY-VARINA, NC — The 294-seat Fuquay-Varina Performing Arts Center in Fuquay-Varina, North Carolina features art galleries, dance studios, and an intimate theater. The theater is a rectangular 294 seat intimate space with tiered seating.

Despite thoughtful acoustic treatment in the theater design, their original sound system struggled with clarity and uniformity of coverage when it first opened in 2019. John Linden with Provision AVS (Wake Forest, NC; provisionavs.com) deployed two Fulcrum Acoustic DX1595 Dual-15” Coaxial Loudspeakers for the main left and right coverage in the theater. The coaxial transducer coupled with the traditional low frequency transducer in the DX15 supplied the full frequency range Linden was looking for coming from the sides. “We liked how big and full it sounded,” says Linden. “The coverage of the DX15s fit really well in the room. The DX15s, coupled with the CS Subwoofer, provided solid, extended bass for concerts and musical theater.”

Linden flew a CCX1295 Coaxial Cardioid Loudspeaker in the center above the stage to fill the center coverage. A CX896 was flown directly underneath the CCX12 and pointed straight down to provide down fill to the first few rows.

A single CS121 Subcardioid Subwoofer was flown behind the CCX and CX loudspeakers in the center of the stage. The center CCX12 and CS121 Subwoofer incorporate Fulcrum Acoustic’s Passive Cardioid Technology. Passive Cardioid Technology reduces the rear low frequency radiation that would otherwise fill the stage, resulting in feedback and degrading clarity for the audience.

“The new Fulcrum system provides remarkable clarity and fidelity,” says Dave Wright, the Technical Director of the theater. “The extended frequency response and seat-to-seat consistency gave me a great canvas to work with. I’m confident I could hand this system to any touring engineer and they would have everything they need.”

For more info, visit fulcrum-acoustic.com