Photo Credit: Guido Coppa on Unsplash

CHICAGO – USIS AV upgraded the audio system within two floors of Chicago’s Willis Tower (formerly the Sears Tower). The upgrade, covering more than 90,000 square feet of space, included the use of ten of LEA Professional’s 354 Connect Series amplifiers.

More details from LEA Professional (www.leaprofessional.com):

The second tallest building in the Western Hemisphere, Willis Tower (formerly Sears Tower) located in the heart of Downtown Chicago, is home to more than 100 companies and is one of the city’s most iconic tourist attractions. When a tower client needed a powerful, flexible, and scalable audio system, top audio supplier USIS AV looked to industry pioneer LEA Professional.

The team at USIS AV was tasked with the AV design and build in two floors of the tower, encompassing over 90,000 square feet. The floors are leased by a global coworking company who provide premium work, meeting and event spaces around the world and needed a multifunctional system that could meet the ever-changing needs of their clientele. The unique space in Willis Tower was designed to be re-configured depending on the specific need, with flex walls allowing the area to accommodate both small breakout sessions and open out for larger conference and event settings.

For Anthony Magarelli, Director of Engineering at USIS AV, the historical landmark came with its challenges, not only were the team ensuring equal acoustic coverage across 17 different rooms within 90,000 square ft of space, USIS AV also had to contend with high ceilings and floor-to-ceiling glass.

“Product placement was a real challenge on this project and we were constantly re-evaluating zone layout and counts,” commented Magarelli. “That was the beauty of working with LEA Professional amplifiers, their system is completely scalable so their form factor worked really well in this space and eliminated some of the main challenges.”

For Pearl River, New York based USIS AV, IoT capabilities such as LEA Professional’s Cloud Platform are vital to providing exceptional customer care.

“The ability to have this system on the cloud allows us to troubleshoot projects with any of our certified support staff across different time zones,” said Magarelli. “No matter where our client might be based, we can still provide them with an incredible level of support, even in a time where travel is not always possible.”

In the end, USIS AV installed ten 354 CONNECT SERIES amplifiers to provide equal coverage across the two floors. With the global pandemic causing delays all over the world, Margarelli was working against the clock to get this project completed on time.

“It was LEA Professional’s responsiveness and professionalism that made it possible for us to finish this project, despite challenging circumstances,” said Margarelli. “While we experienced some delays from other manufactures, LEA got us their product on time and they were with us every step of the way.”

“We are proud LEA Professional’s pioneering technology could be part of such an iconic building,” said Joey Palkowitch, North America Sales Manager for LEA Professional. “It’s a thrill for us to have the Cloud Platform sitting amongst the cloud’s in downtown Chicago and we look forward to working with USIS AV on more projects in the future.”

OCONTO FALLS, WI – Located at the Oconto Falls High School in Wisconsin, an older sound system in the Falls Area Performing Arts Center (PAC) has been replaced with Martin Audio’s new scalable resolution Wavefront Precision Mini (WPM) line array.

More details from Martin Audio (www.martin-audio.com):

Part of a complete AV upgrade to the technical infrastructure, the work was carried out by Camera Corner Connecting Point in Green Bay, Wisconsin, following a competitive bidding process.

According to their project designer, Steve Littlepage, the contract was broken into two phases: a complete video upgrade, followed by the installation of the PA and system processing, as well as supply (and relocation) of a new digital mixing console.

The function of the PA was to provide an even coverage for a seated audience of up to 700, and be sufficiently versatile to serve not only a range of school events, but incoming productions hosted through a community foundation, for which the school has a long history.

The existing sound system was inadequate for both high school musical productions and outside productions, relying on a point source center cluster hung from the ceiling above the orchestra pit, and a pair of smaller point source speakers mounted on either side of the proscenium. “The audio coverage across the audience was less than ideal, and feedback issues from microphones on stage were souring performances,” noted Littlepage. The primary goal for the new PA system, therefore, was to improve the experience for the audience.

Camera Corner was given carte blanche by the client to design a system “that would solve their issues and help the venue be a technology leader in the area.” After careful consideration, their PA of choice was the WPM—their first Martin Audio line array deployment.

“We considered a variety of manufacturers, focusing on line array solutions for the venue, but the WPM had exactly the right coverage to price ratio for the project,” Littlepage continued. “Using an array allowed reduction of the level variance from the front to back of the audience—unlike the point source solutions we considered—and the wide horizontal pattern allowed consistent coverage left to right across the venue.”

The designer was also aware that the locations for where they could place new loudspeakers were limited, and this additionally created weight restrictions. Camera Corner’s solution was to hang the arrays from the building truss—between the proscenium opening and the first ceiling cloud. “The compact size of the WPM allowed us to do this while still minimizing the impact this location had on the lighting system.”

Through a combination of Martin Audio Display optimization software and EASE modelling of the arrays, Camera Corner was able to illustrate the coverage of the system during the design phase and explain the advantages of this system to the school officials.

“Attention was given to reduce the amount of stage wash coming from the arrays as well as slapback off the rear wall. It was important to improve the gain before feedback of the system as the school theater performances are regularly run by student operators.”

The design comprised five Martin Audio WPM elements per side, with one SXF115 subwoofer flown above each array. Two SX218 subwoofers sit at the proscenium opening to round out the bottom end for more audio intensive events, while four Blackline X8 speakers serve as lip fills across the front of the stage. The arrays are permanently hung, and the ground subwoofers and lip fills can be moved when necessary for a particular event or when not in use.

To further optimize this, the main PA system is powered by Martin Audio iKON amplifiers—one iK81 assigned to each array, in single-box resolution. An iK42 has been deployed for the SX218 subwoofers, with two channels per cabinet. Spare channels of the iK81 amplifiers, not being used for the arrays, are used to drive the Blackline X8 lip fills.

At the same time Camera Corner replaced the entire video system, and added Crestron control for the audio and video system. They incorporated two operating modes for the system, a ‘Performance’ mode for theater, and ‘Presentation’ mode, for simple lecture style presentations.

In summary, Steve Littlepage said, “I am thoroughly impressed with the WPM. I had some reservations as to whether the compact loudspeaker would live up to its marketing material, but was blown away with the power and clarity of the rig.

“I knew that any line array solution would provide the necessary SPL but being able to circuit the array with single-enclosure resolution allowed the Display software to optimize each loudspeaker to provide a seamless audio experience from back to front.

“The coverage in the auditorium matched what we predicted in both Display and EASE. Based on this experience, I will turn to Martin Audio again for future projects. In fact we are planning an event for our own engineering team to dive into the details of the system and use it as a location for acoustical analysis training.”

The School’s Network Manager, Brandon Olsen, also praised the system which had become an expedient, as opportunities were starting to be lost to other venues.

“We have noticed a huge change in the quality of audio we are able to project within our PAC,” he said. “With the flexibility of flown arrays, floor subwoofers, and stage center fills, we now have the ultimate confidence in the quality of what each member of the audience is hearing.

“With everything from meetings with 10+ microphones to full performance modes with audio, this system has expanded the PAC to levels we never thought were imaginable in the space. Wherever you’re seated, the audience experience never changes.

“With the flexibility and functionality of our Martin Audio system, the PAC usage has more than doubled and new opportunities are back on the table in this amazing newly updated space.”

Following the installation Camera Corner provided full operator training for the key personnel and assisted with the first event for the new system, which Steve Littlepage says “went fantastically”. Managing the project was Tony Stahl, and account manager was Chris Lecher.

More photos:

NASHVILLE — The Live Events Lift Up Festival, also known as LEVL UP Fest, will stream live from the historic Ryman Auditorium in Nashville on Wednesday, December 16 at 8:30 p.m. Eastern. This “festival of music and stories of life on and off the road” will feature performances from more than 25 artists and entertainers who have stepped up to honor all those who help them “go live.” Throughout the event, we’ll hear stories from artists and crew about what it means to be part of a “road family” and get a glimpse behind the scenes of what it takes to produce live entertainment and events.

More details from the Live Events Lift Up Festival/LEVL UP Fest (www.liveeventsliftup.org):

In early March 2020, the live events industry was shut down by mandate in response to the Covid-19 pandemic. Suddenly, an entire workforce whose livelihoods revolve around creating events where people gather, came to a grinding halt. The collapse of the eco-system in the live events industry, from supply chain to front lines, quickly became catastrophic. Live events support more than 12 million jobs; and according to statistics from several sources, including the Department of Labor, 77% of the workers in live events have lost 100% of their income. Event pros are grappling with the loss of their income, the uncertainty of when work might return, whether the Government might do enough to stabilize the industry and trying to figure out how they are going to survive.

“We’ve seen depression and anxiety take hold across our community, loss of life due to suicide, families in fear of losing homes and generational small businesses closing their doors,” says Shannon Cook, Co-Founder of LEVL UP Fest.  “With large-scale gatherings not expected to return until mid to late 2021, workers across this industry face a very uncertain future.”

That uncertainty and the very nature of the events industry is what led the team behind LEVL UP Fest to create this benefit according to Eileen Valois, Co-Founder of LEVL UP Fest. Valois says, “In times of crisis, the entertainment and events industry have always stepped up with a call to action and so many incredible events like Live Aid and Farm Aid to the more recent Global Citizen events. Behind the scenes of every one of those benefits are the millions of people in our workforce. The average concert requires nearly 500 people to make it possible, from concessions and security to tour bus drivers, technical crew and everyone in between. This is OUR crisis and now we need to take care of our own.” Valois, who is the Senior Vice President of Sports & Fan Entertainment at leading production solutions provider PRG and Cook, who is the Chief Operating Officer for TOURtech, are joined by five additional co-founders, representing a cross-section of the events industry including entertainment and private events.

The LEVL UP Fest team says their top priority is to support the people behind live events. They also feel the lessons learned in 2020 demand that they pay attention to coming back stronger, more resilient and more diverse than they were before. To achieve this, they’ve named three beneficiaries for funds raised by the festival. MusiCares and The Roadie Clinic are two of those organizations whose focus is on critical assistance in times of need and mental health and wellness support. With an eye on the future, LEVL UP Fest named the Country Music Association Foundation (CMAF) as their third beneficiary with funds to be used for the CMA EDU program, supporting LEVL UP’s goal of strengthening and diversifying the industry through outreach, education and job placement. Donations can be made at any time now through December at www.liveeventsliftup.org.   The LEVL UP Fest team will also launch their merch store this week on their website.  East Wind Screenprint has partnered with the LEVL UP Fest to design merchandise and will donate 50% of the net proceeds back to the Festival.

LEVL UP Fest has garnered wide-spread support from across the industry. David Fischette, CEO and Chief Creative for Go West Creative has taken on the role of Executive Producer. Keith Levenson, Co-Founder of Fustercluck Music and Conductor/Composer for The Who since 1994, as well as for many other stages in theater, television, and music, is the group’s Music Supervisor. More than 30 professionals were brought together as an “Industry Council” to provide insight throughout the planning process; as well as organizations including Roadies of Color United, Event Safety Alliance, and We Make Events. Show Makers, a 501(C)(3) organization that provides resources for people who make events, is the Philanthropic Partner to LEVL UP Fest and will facilitate all funds raised in association with the event. TOURtech, a company that provides Wi-Fi and public safety technologies for live events and among the many suppliers impacted by the shutdown of live events, has stepped up as the supporting entity of record for LEVL UP Fest. The group says they are grateful to all of the partners who are providing a myriad of production and venue services and support.  Industry Council members and Partners can be found on their website.

LEVL UP Fest will be a free virtual event and featured on the NoCap Shows platform.  Combining high-quality video and audio streaming with a text-based ticketing system, NoCap streams concerts from well-known music clubs and theaters and utilizes the venue’s full production capabilities to create a high-fidelity performance experience for fans on their mobile phones and devices. Grammy-nominated producer and musician Cisco Adler – who partnered on NoCap with singer and songwriter Donavon Frankenreiter – is hoping the platform will usher in a new business model for artists, venues and touring crews that have largely been sidelined by the spread of coronavirus. Cisco Adler is among the partners that the LEVL UP Fest team credits with making this event possible.

The group says to stay tuned for additional announcements in the coming weeks about additional places to watch, event sponsors and the all-important artist line up and special performances that we can expect to see.

An aerial view of one of Aaron Lewis and Sully Erna’s recent stops on The American Drive-In Tour

THORNTON, CO – Brown Note Productions deployed a K2 system for outdoor concert trek featuring Aaron Lewis and Sully Erna, the voices of Staind and Godsmack.

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

Produced by Danny Wimmer Presents, the tour was reinforced via an L-Acoustics K2 system carried by Brown Note Productions

Along with retro-tech like vinyl turntables and instant film cameras, which have enjoyed a popularity resurgence in recent years, the drive-in movie theaters of old are also experiencing a revival in 2020. But that boom hasn’t always been sparked by patrons flocking to catch the latest Hollywood blockbuster.

Case in point, Sully Erna and Aaron Lewis, frontmen for the hard rock bands Godsmack and Staind, very recently wrapped up “The American Drive-In Tour,” a 13-date, coast-to-coast run of “unplugged” concerts, many of which were staged in classic ‘50s-era outdoor cinemas. To best reinforce every acoustic musical nuance and every word of intimate banter between these “old friends” of 25 years, Denver-based concert sound company Brown Note Productions (BNP) chose to carry an L-Acoustics K2 system for the tour.

Produced by Danny Wimmer Presents (DWP), the promoter behind popular festivals like Sacramento’s Aftershock, Daytona Beach’s Rockville, and Louisville’s “Trifesta” (Bourbon & Beyond, Hometown Rising, and Louder Than Life), The American Drive-In Tour ran from early October through early November. Marking the first time that these two musicians have shared a stage, each stop of the nationwide trek featured an impromptu setlist of each artists’ hits, choice covers, and many private stories and laughs.

According to Brown Note Productions President Ryan Knutson, the choice of PA was simple yet elegantly effective: arrays of eight L-Acoustics K2 were flown on each side of the stage, while eight KS28 subs were horizontally spread out in linear arrangement on the ground below. Two ARCS Wide, one each at the far left and right corners of the stage, delivered coverage to two small VIP areas, and the entire system was driven via LA-RAK II touring racks loaded with LA12X amplified controllers.

“I made the decision to use K2 for its flexibility in pattern control, provided by Panflex, as well as its versatility to be deployed as either a single-point-hang or ground-stacked system based on what was needed each night,” Knutson shares. “With only three guys on stage—Aaron and Sully, plus a third guitarist that Sully has recorded with on his solo projects—the stages were relatively small, so K2’s light weight, compact profile, and high output were also key reasons that we carried the system.”

“The drive-ins and other venues were all essentially big outdoor parking lots, so using the Soundvision predictions along with analyzer software and multiple measurement mics always achieved the desired end result, which was a powerful, beautiful-sounding rig for FOH Engineer Jeff Gilmer,” notes Brown Note Productions System Engineer Matt Brown. “Jeff has been Aaron Lewis and Staind’s engineer for 20 years, and he consistently delivered a great mix every night, and everyone was ‘all smiles’ at the end of each show.”

Eight K2 per side and eight KS28 delivered plenty of coverage, presence, and punch

For more details about the tour, visit www.aaronandsully.com. Brown Note Productions can be found online at www.brownnote.com.

Mountlake Terrace, WA-based Symetrix has announced their expanded control solution, Symetrix In Control.

More details from Symetrix (www.symetrix.co):

With Symetrix In Control, users have more control from the same processor with the freedom to design, display and deploy tailored user experiences and system control solutions.

After releasing the T-5 Glass Touchscreen remote and the W Series IP remotes this year, the addition of Lua Scripting in Symetrix Composer 8.0 software completes the Symetrix In Control Solution. Everything needed to get started is available on the Symetrix website for instant access to control with no additional fees or licenses.

SYEMTRIX IN CONTROL

You are in control with Symetrix’s free, out-of-the-box solutions. Whether you’re programming a small restaurant or a 50,000-seat stadium, the Symetrix control solution allows complete system control without complicated programming.

ARC-WEB is an out-of-the-box virtual user interface that can be used on a smartphone, tablet or PC as a standalone primary control system or as an addition to other Symetrix control hardware. ARC-WEB can control presets for volume, mute, and source selection for any application.

The Web-Based Event Scheduler is a free addition to the Control Server allowing access to events and scheduled presets by time and day, providing a way to automate routing, source selection and volume for daily changes, special events, holidays or other automated configuration changes. The Web-Based Event Scheduler is accessible from the Control Server using any web browser on a connected smartphone, tablet or PC.

No other DSP platform offers the range of free, simple system control options available from Symetrix products through a simple web browser.

SYMETRIX FULL CONTROL

Symetrix enables you to take full control of your AV systems processing, programming and integration with our cutting-edge tools. Design and display unique system control interfaces for elevated user experiences.

SymVue control software offers total control with rapid GUI authoring including full control over colors, fonts, custom symbols and graphics to satisfy your exact requirements. Parameter changes and indicators on all control devices are kept in perfect synchronization and work alongside Symetrix ARC remotes, W Series remotes, ARC-WEB and other 3rd party control systems.

T-5 Touchscreen remotes provide access to custom SymVue control screens created for your system and tailored to your needs. Bright, high resolution screens with highly responsive touch control allow user to have full control in a desktop or wall mounted configuration.

Programming for a restaurant, for example, can begin by simply adding a Symetrix T-5 Touchscreen to your design file. Once you add the T-5, create your interface for the bar zone with selector and volume control. Then create a second screen for the patio area, link them both together, and export them to the T-5 as a SymVue screen.

SYMETRIX, MORE CONTROL

Intelligent Modules provide even more control from the same Symetrix DSPs. Symetrix’s mission is to reduce the complexity of your system by increasing the value of your signal processor and eliminating the need for any unnecessary hardware and programming. Symetrix Composer 8.0 unlocks unlimited Intelligent Module creation and use with no additional fees.

Lua scripting allows the user to create custom Intelligent Modules for Symetrix Composer 8.0, providing solutions for tasks as simple as handling a fire alarm system mute, more complex tasks like changing camera positions based on detected audio levels in a city council chamber or any other control task within a system. You have more control over your AV system with the free ability to leverage Lua scripting in Symetrix Composer 8.0 to create custom Intelligent Modules.

With Symetrix, you are In Control. Download Symetrix Composer software from the Symetrix website, complete the Composer Basic Training online, and jump into designing and programming instantly. Symetrix doesn’t charge additional fees or licenses to access the full range of control options, so there’s nothing standing between you and control of your systems.

Discover new ways to work at: https://www.symetrix.co/symetrix-in-control/

Join a Symetrix In Control webinar at: https://www.symetrix.co/online-training-webinars/

Bluesound Professional launched the BSW150 network active subwoofer.

More details from Bluesound Professional (www.bluesoundprofessional.com):

The BSW150 adds powerful, deep bass to any wired or wireless Bluesound Professional system and features the convenience of precision BluOS app control. The BSW150 will be available in late November in both black or white finishes.

The Bluesound Professional BSW150 is a network active subwoofer with streaming capability designed specifically for use in commercial installations. Designed to fit neatly in boardrooms or small commercial establishments, this compact subwoofer digs deeper and plays louder than its bulkier rivals. With several clever installation options, the BSW150 can be easily positioned to fit perfectly into the location of choice.

The BSW150 is based on the established BluOS platform and can be network paired with other Bluesound Professional speakers or streamers to form a complete system which is capable of playing and distributing content from local network storage as well as from a large number of streaming services, including some specifically designed for commercial use, such as SoundMachine, Custom Channels, QSIC and internet radio stations or it can be connected to other equipment through its line input.

The subwoofer features a 8” LF driver powered by a high efficiency amplifier including a low power standby mode. The frequency response of the subwoofer is 22Hz – 150Hz. Inbuilt DSP allows for equalization as well as other audio processing. Access to content is via wired ethernet or WiFi for glitch-free streaming.

Control of the speaker can be accomplished by any Windows/Mac computer as well as any iOS/Android phone or tablets, the Bluesound Professional CP100 wall mount controller and many third-party control systems. Customize volume, crossover and phase control directly in the BluOS Controller app. Security provisions prevent any unauthorized control of the system. The BSW150 is available in black or white finishes.

“At Bluesound Professional, our focus is to combine exceptional sound quality with unique flexibility and convenience for both the installer and their customers”, explained Graeme Harrison, Vice President and General Manager for Bluesound Professional. “Of course, reliability of the components as well as the BluOS operating system is also paramount so the brand is all about testing and continuous improvement.”

Key Features of the Bluesound Professional BSW150:

• 150 WATTS. An all-new 150W Smart DSP Amplifier platform with custom-designed power supply packs a punch, allowing the BSW150 to play louder and dig deeper (22Hz), with tighter, more musical control.
• 8 INCHES. Boasting an 8” driver, the BSW150 pushes more air and gives the amplifier more room to maneuver.
• WIRED OR WIRELESS. A HiFi WiFi subwoofer. No wires, no mess, no hassle.
• BluOS. The world’s leading hi-res multi-room system connects the BSW150 to any other Bluesound Professional Player or Speaker with precise control in the BluOS app.
• USE IT ANYWHERE. With a functional compact design meant to work in multiple setups, in any space and any décor, the BSW150 maximizes placement flexibility.

The wired supercardioid MD 445 vocal microphone and the MM 445 mic head for use with Sennheiser wireless transmitters.

The Sennheiser MD 445  is a new large-diaphragm, dynamic stage microphone offering a tight supercardioid pickup pattern, providing not only maximum isolation from other on-stage sound sources but also a high level of feedback resistance.

“The MD 445 is the most powerful microphone in our MD range,” says Kai Lange, senior product manager with Sennheiser. “If its sister model, the MD 435, is the beauty, the MD 445 certainly is the beast. It effortlessly cuts through loud stage sound and establishes an audibly greater proximity to the vocals. Its direct, high-resolution sound gives vocals a totally new richness, intensity and assertiveness.”

The acoustics of the MD 445 have been tailored to modern stage set-ups with “B” stages and runways in front of the P.A. At the core of the acoustic design is a newly developed voice coil made of lightweight aluminum-copper. Its fast transient response ensures a very detailed, nuanced and transparent sound that is complemented by rich mid-range and bass.

Thanks to its high-rejection, supercardioid pickup pattern, the MD 445 has enormous gain before feedback. Dynamics are wide at 146 dB(A) and the microphone can handle sound pressure levels of up to 163 dB/1 kHz.

The mic is built to withstand a life on tour, featuring a metal casing and a shock-mounted capsule to protect from structure-borne noise. A hum-compensating coil shields the microphone against electromagnetic interference.

The MM 445 microphone head combined with an SKM 6000 handheld transmitter

For use with Sennheiser’s wireless transmitters, the capsule of the MD 445 is also available as MM 445 microphone head. Fitted with Sennheiser’s standard capsule interface, the MM 445 can be used with Sennheiser wireless series ranging from the evolution wireless G4 and 2000 series to Digital 6000 and Digital 9000.

The MD 445 microphone and MM 445 microphone head each retail at USD $619.

For more info, visit sennheiser.com.

Photo: Daniel Mikkelsen Photography

NORWAY – As with many other countries, the live event industry in Norway has been hit hard by the global Covid-19 pandemic. With all concert and cultural events either postponed or cancelled, Norwegian artists who had performances booked were left to wait until live shows could resume.

But folk/rock band Violet Road came up with an imaginative solution to the problem, bringing their music to 18 coastal communities from the foredeck of a 60-year-old ship. An Alcons Audio pro-ribbon audio system was a vital part of the solution.

More details from Alcons Audio (www.alconsaudio.com):

Photo: Daniel Mikkelsen Photography

Violet Road had over 60 shows lined up for the 2020 festival season, all of which were cancelled. When the band put their heads together, bassist Hogne Rundberg came up with the idea of buying a boat. “We thought it would be the perfect tour combination – a stage, food, lodging and transport all rolled into one,” he smiles.

The band purchased the Vulkana, a 22m (73ft) former fishing vessel, built in 1957 and later rebuilt as a spa and tourist craft. With a loading capacity of 80 tons and space for a crew of five, plus 12 passengers, it had every facility the band needed. These included a full kitchen and lounge with a fireplace below decks, as well as a sauna (heated by a wood-fired oven), a hot tub on the aft deck and diving board. Everything a touring band could need!

The foredeck was fitted as a sound stage, allowing the band to moor the vessel and perform to audiences of up to 200 people on quaysides and pierheads, close enough to enjoy the performance but far enough for Covid safety. In this way, touring and performing on the ship was also an effective way of ensuring the band and crew could safely isolate themselves.

“We needed a compact, lightweight PA that didn’t take up much space on board and was easy to handle. At the same time we did not want to compromise on the sound quality in any way for the open air audiences,” says Hogne.

He continues, “On our 2019 tour we had a really great experience with the Alcons LR14 pro-ribbon ultra-compact line-array system, where we played at venues including small community centres, churches, cathedrals, industrial production halls, even in old mines.

Whatever space we played in, the LR14 system surprised us with its amazing sound quality.”

Arne Grimstad, sound engineer on that tour, was asked to return and he chose a simple Alcons system comprising six LR14 and BF181 compact subwoofers, powered and controlled by a Sentinel10 amplified loudspeaker controller.

Once everything was in place, the band set sail on their unique coastal summer tour of northern Norway, starting in Furuflaten and ending, one month later, in Lysnes.

“The LR14 system works in small and large settings. It is one box that covers all spaces,” says Arne. “On the 2019 tour this setup gave exceptional cover for a sitting audience of 750 people and, on this one, the response from people after every show was that the system sounded incredible, even enough every venue was outdoors and improvised. One audience member even said ‘the rest of the world simply needs to realize that Alcons Audio is better than anything else!’

“The system is easy and quick to set up and, when you get this kind of feedback, it’s even more fun to go out and work.”

It wasn’t just the audiences who enjoyed the fact that Violet Road, Arne and Alcons were able to bring some much-needed cheer to 18 Norwegian communities in this very difficult year. As lead singer and guitarist Kjetil Holmstad-Solberg says, “I have never been on a more comfortable tour. Your bed was close and you did not have the stress of catching planes, trains or other transport. This really gave touring a more pleasant flavour!”

For more information on Violet Road, go to www.violetroad.no

      The GXLIEM4 quad mix transmitter with four bodypacks

CAD Audio introduces three new IEM systems to its GXL Series. The GXLIEM systems deliver top-end performance, flexibility and value. The GXLIEM Wireless IEM Systems are available in three configurations — a single mix transmitter (GXLIEM), dual mix transmitter (GXLIEM2) and quad mix transmitter (GXLIEM4) base station that transmits discrete mixes to your performers. With their near-infinite bodypack receiver monitoring ability, users can set up multiple mixes with high bodypack receiver counts.

The GXLIEM systems Frequency Agile design aides in the assurance of a clean, clear, channel plan. In addition, the bodypack receiver has a high contrast display, a battery life indicator and is supplied with MEB1 high performance earbuds. The robust, rack mountable, all-metal transmitter is supplied with rack ears, antenna relocation kit and half wave antenna. Systems operate in 900 MHz band free from TV and FCC regulatory issues. Systems are supplied with equal quantity BodyPack receivers to transmitters.

Street prices are: $199 for a Single (GXLIEM); $299 for a Dual (GXLIEM4); and $499 for a Quad (GXLIEM4).

For more info, visit www.cadaudio.com.

SAINT LOUIS PARK, MN – Taylor Sound facilities manager T. Perry Bowers chose QSC TouchMix-8 and TouchMix-16 touchscreen digital mixers as well as the full range of QSC K.2 Series active loudspeakers for local bands and artists taking advantage of the company’s Band Share program.

More details from QSC (www.qsc.com):

Taylor Sound is a full-service studio serving musicians in the Minneapolis–Saint Paul metropolitan area. Located just west of Minneapolis, the complex features rehearsal rooms, on-site recording, and even music video production in a massive, green-screen-equipped room. Facilities manager T. Perry Bowers wanted to increase access for local bands and artists who lacked the budget to lock out a rehearsal space of their own, so he created the Band Share program, in which bands pay for one or two nights per week in a room equipped with a drum kit, backline, and P.A. For the latter, he chose QSC TouchMix-8 and TouchMix-16 touchscreen digital mixers as well as the full range of QSC K.2 Series active loudspeakers.

“All three of our Band Share rooms are bookable online, and you can get an access code and come in without ever talking to a human being in person,” explains Bowers. “Room A, the smallest, is good for a trio or quartet, and contains a TouchMix-8 digital mixer and K8.2 series loudspeakers. Room B has a TouchMix-8 and pair of K10.2. In room C, the largest, we have the TouchMix-16 and four K12.2s. All of the loudspeakers are set up as main PA monitors, though sometimes bands move them because they want to practice as if they’re onstage.”

Coronavirus safety has been an obvious benefit of the automated, Airbnb-style access, but bands coming in “cold” means P.A. equipment needs to be easy to use. Between the TouchMix series’ “Simple Mode” for new users and built-in tutorials, the mixers pleasantly surprised Bowers in this regard.

“At first, I was honestly a little concerned,” he says. “I was thinking about putting conventional mixers in there with a familiar fader layout, because unlike big-city rehearsal studios, I don’t have a full-time staff to help people any time they need something. But then I found that the bands were really easily adapting to TouchMix — the preamp gains are on knobs and most of the other operations are on the touchscreen. Bands were just going in there and figuring out things like the input presets, which set EQ and dynamics settings for different types of vocals and instruments. They were dialing in great mixes. There’s always one member in any band who knows a little more about audio, and that helps, but so does the QSC TouchMix interface which is really intuitive.”

The TouchMix scene memories have also been invaluable given the large number of bands sharing each space. “The first time a band shows up, they might spend a bit more time with the TouchMix,” notes Bowers. “But by the second time, they call up their band name and songs by scene memory and they’re off and running. With TouchMix, nobody needs 45 minutes to get set up anymore, and for bands to spend more of their paid time playing means I have more satisfied customers.”

Ensuring that artists are undisturbed by feedback and other acoustical gremlins is also key to making a largely automatic rehearsal-room model work. Here, the TouchMix series’ Anti-Feedback and Room Tuning wizards were key. “When we first installed these systems, we ran all the wizards. Dialing out the feedback, room modes, and other problems took only about 15 minutes per room, and the TouchMix saves the results globally — it doesn’t change when you call up scene memories. When any band comes in, the P.A. is as optimized as can be for the space. This is also important because I’ve introduced some new [Shure Beta 87A] mics, which are condensers meant for stage use. They’re super clear on vocals but more prone to feedback than a dynamic mic. But with the Anti-Feedback wizard, we’ve had no problems so far.”

TouchMix niceties such as Class-A mic preamps, integrated studio-quality effects, and onboard recording to a connected USB drive also contribute to the premium experience Bowers wants for his clients. No less important, though, is the clarity of the part of the P.A. the bands actually hear: the loudspeakers.

“I gravitated to the sound of the K.2 Series early on when our regional rep, Excellence Marketing, was demonstrating them,” recalls Bowers. “Then, when we got them into our space, it was simply night and day compared to what we used to have — and what we used to have was one of the most popular powered P.A. monitors you’d see if you walked into a Guitar Center or wherever. You know how it goes — you think a loudspeaker is just fine because it’s what you’ve known, then you work with something truly high-quality, like QSC, and you just can’t ever go back. That’s what the K.2 Series has done for us. They sounded so good right out of the box. They do have their own EQ curve presets, and I think it’s the one called ‘Stage Monitor 2’ that sounds especially good in our rooms.”

Taylor Sound’s rehearsal regulars seem to agree. “When a band checks out of rehearsal, we send them a little survey by text message,” says Bowers. “Those who have rehearsed in other spaces have said things like they can now hear their vocals a lot more clearly above the guitars, that their band members are not getting into volume wars during practice, and that other P.A.s have sounded muffled by comparison. Many, many P.A. systems will spend most of their power-on hours in a rehearsal studio, and QSC really shines at this application. They’re like a studio monitor, only for live use.”

1. Perry Bowers is filming video blogs featuring Taylor Sound’s QSC systems in action. View them at www.taylor-sound.com/taylor-sound-blog.

Harman Professional Solutions is launching their AKG CS300 Digital Conference System Series, offering highly scalable configurations and features to support the unique needs of a variety of customers in the China market.

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

The AKG CS300 Digital Conference System Series is a hand-in-hand, wired premium digital conference system that is ideal for convention centers, conference centers, hotel meeting rooms, corporate enterprises and government buildings. The system includes three components: the CS300MU Main Control Unit, CS300CU Chairman Unit with Redundancy and CS300DU Delegate Unit with Redundancy.

“Modern conference rooms require state-of-the-art communication systems that deliver rock-solid reliability, pristine audio quality and superior flexibility,” said Daryl Wong, Harman Professional Solutions Director, China Product Development. “The CS300 Digital Conference System Series provides a dependable, high-quality communications platform for meetings and conferences at any scale.”

With advanced testing and redundancy features, the AKG CS300 Digital Conference System Series provides maximum reliability for critical communications. Dual redundant microphone outputs on the CS300CU and CS300DU automatically prevent dropped connections. Both units can be connected or disconnected freely, without requiring extra downtime to boot up. And to ensure error-free operation, the entire system features self-testing capability with fault lists and locations of every microphone, speaker, button, screen and LED.

To capture and distribute crystal clear audio with minimum latency, the CS300 Series employs RISC processing at premium 96 kHz, 24-bit quality. For enhanced clarity at the source, every microphone channel features a built-in noise gate, automatic gain and equalizer. Additionally, interference-resistant body materials protect the CS300MU, CS300CU and CS300DU from mobile phone signals and other noise sources. The system also provides internal MP3 recording with storage for up to 1.500 hours of meetings, interviews, speeches or lectures.

With plenty of connectivity, a flexible, modular design and advanced video tracking capability, the system can adapt and scale to a wide range of applications. The CS300MU Main Control Unit features six channel outputs, each capable of supporting up to 120 individual stations for a total of 4096 stations. Additionally, the CS300MU can be configured as main unit, mirror or expandable unit for larger applications. The system also supports video tracking via RS-422, RS-485 and RS-232, which can be pre-programmed offline for added convenience.

QSC announces the availability of several new Attero Tech by QSC solutions, including additions to the Axon family of network audio interfaces and Axiom family of analog audio I/O extenders, as well as a new purpose-built network amplifier. Like the rest of the Attero Tech by QSC portfolio, these new endpoints can quickly and easily integrate into the Q-SYS Ecosystem with Q-SYS Extensions available in Q-SYS Designer Software.

More details from QSC (www.qsc.com):

“Since adding the Attero Tech line of innovative I/O endpoints to the QSC portfolio, we have been able to offer Q-SYS customers several cost-effective options to on-ramp audio into the software-based Q-SYS Ecosystem,” says Trent Wagner, Audio Product Manager, QSC. “These new Attero Tech by QSC solutions expand our portfolio with multiple form factors giving integrators additional flexibility to select the interface or extender that works best for any number of applications including higher education, corporate and hospitality.”

Axon Series Network Audio Interfaces

• The Axon D2i is a single-gang Dante/AES67 network audio I/O wallplate, allowing for easy integration of analog devices into network audio applications. It features two XLR+quarter-inch TRS combo inputs for on-ramp of microphones, instruments or mixer outputs in applications where conveniently located audio connectivity is a must. It also includes an Axiom port for integration of Attero Tech by QSC Axiom wallplates (USB, Bluetooth or XLR) for additional I/O customization.
• The Axon DBU is a surface-mount Dante/AES67 network audio interface offering bi-directional USB and stereo Bluetooth audio I/O for the Q-SYS Ecosystem. It allows users to connect their personal devices to integrate the room’s audio into their web conferencing applications (such as Microsoft Teams, Zoom and Google Meet) via USB or Bluetooth. Its compact form factor allows maximizing system design flexibility with capabilities to mount under a table or in a rack.

Axiom Series Analog Audio I/O Extenders

• The Axiom AXPio audio expander includes two Flex I/O channels, allowing integrators to pair the AXPio with up to two Axiom wallplates (Axiom ML1, USB1, BT1) to simply and cost-effectively integrate analog audio devices into a room’s audio system, including QSC Business Music mixers and amplifiers. In addition, the AXPio provides RS-232 connectivity for control integration into Q-SYS.
• The Axiom USB1 provides bi-directional USB audio connectivity for education, corporate or hospitality applications. With the USB1, users can interface a device’s USB audio with the room’s audio system. It also offers BYOD support, allowing users to connect their laptops and integrate the room’s audio into web conferencing applications.
• The Axiom BT1 is a bi-directional Bluetooth audio wallplate that allows users to easily connect consumer-grade devices to a room’s audio system for music playback or Bluetooth conference call bridging, making this ideal for education, corporate or hospitality AV systems.

Attero Tech by QSC Network Amplifier

• The Axon DTH1620 is a Dante/AES67 network amplifier specifically designed to support high-channel, low-power applications, such as theme park rides, attractions and immersive exhibits. It offers 20 watts to each of its 16 channels in a ruggedized and compact form factor. It specializes in its ability to support both traditional passive transducers and haptic transducers for specialized audio applications.

LAKE FOREST, IL – TC Furlong will host a three-day virtual live event from Dec. 1-3 that will feature zoom presentations by Allen & Heath, Avid, DiGiCo, Lawo, RCF, Solid State Logic, Waves, and Yamaha. These manufacturer partners will be showcasing the latest in digital mixing console technology.

More details from TC Furlong (www.tcfurlong.com):

To RSVP via Zoom:

https://us02web.zoom.us/webinar/register/1216052789135/WN_exKcJidlRo-Ka3CLv2XABA.

Each day will consist of a 2-hour morning main live event session from 10:00 until 12 noon Central Time with presentations from three manufacturers, followed by an afternoon breakout Q&A session where participants can meet with manufacturer reps in small group settings as well as participate in additional events. Once registered for the main event, attendees will be given the opportunity to register for breakout Q&A sessions and exclusive deep dive webinars with selected manufacturers. Main session participants will also be eligible for giveaways.

To view past TC Furlong Digital Console Expo wrap ups, visit

https://tcfurlong.com/tc-furlong-inc-presents-digital-console-expo-2018/

TAMPA, FL – Joey Donovan at Donovan Audio Designs detailed an upgrade at Sligh Middle Magnet School in Tampa that included five Ashly Audio KLR-5000 High Performance Power Amplifiers and one KLR-2000 High Performance Amplifier to power the custom Ramsdell Pro Audio stereo line array loudspeaker system.

More details from Ashly Audio (www.ashly.com):

Sligh Middle Magnet School in Tampa, Florida has an audio system worthy of a superstar performance thanks to professional wrestler Thaddeus Bullard’s charitable organization, the Bullard Family Foundation.

Bullard’s foundation supports programs that provide opportunities to those in struggling communities to achieve more than what statistics might imply of them. His website states that he avoided the reach of statistics because teachers and local leaders took an interest in his success and “his community began investing in him.”

Now it’s Bullard who is investing in the community, and a critical part of that outreach sees him supporting schools. Thus, thanks to funding from The Bullard Family Foundation, Sligh Middle Magnet School – a premier Medical Studies and Explorations program in Hillsborough County Public Schools – now has one of the most impressive audio setups in the Tampa area located in its gymnasium. And at the heart of the installation is Ashly Audio.

“The school district’s budgeting doesn’t ordinarily allow for this caliber of sound system in public middle school athletic facilities,” said Joey Donovan, Vice President of Audio at Donovan Audio Designs (pro audio division of ACCI). “But Thaddeus’s vision for this gymnasium included its use for performing arts, dances and other social events, appearances by his celebrity friends – Dave Bautista is a frequent visitor – and speeches. When I pointed out to him that it was a gym, and it wasn’t acoustically feasible to use it for such demanding uses, he asked me what it would take to make it work. Ultimately, we installed more than four times the normal amount of acoustical treatment you would normally find in a gymnasium in order to accommodate a high-performance sound reinforcement system in the space.”

The system relies on five Ashly Audio KLR-5000 High Performance Power Amplifiers and one KLR-2000 High Performance Amplifier to power the custom Ramsdell Pro Audio stereo line array loudspeaker system. The KLR Series is a high-efficiency, high-power amplifier offering that is an ideal choice for high-output speaker systems, line arrays, dual 18” subwoofers and much more. The KLR line is also versatile, as each unit provides a 3-position gain switch for both channels, a 3-position mode switch (bridged, stereo or parallel mono) and a 3-position 12dB/oct HPF switch (30Hz, 50Hz or off).

The system also makes use of the Ashly Audio Protēa ne24.24m Series DSP Matrix Processor, which uses modular expansion cards to provide up to 24-channels of audio matrixing and processing. Each input and output expansion card has an individual DSP processor. Matrixing allows you to route any input to any output and control individual levels once they have been assigned. Donovan called the ne24.24m “the absolute brains of the system.”

Further, Ashly Audio neWR-5 Programmable Multi-Function Network Decora Wall Remotes were installed to offer an intuitive level of control to those at the school. The neWR-5 offers integrators flexibility in what settings are offered to the end user, ensuring they control only what is necessary to effectively use the system.

“It’s designed to be as easy as possible,” Donovan said. “You can go in there, grab a microphone, and with one press of the control panel your system has come to life.”

“At the start of this there was a discussion of what it would take to really make a gym sound amazing,” Donovan said. “And with the support from the Bullard Family Foundation we were able to do what was needed to make that happen. You can see by what we put in there which brands we trust at this level, and Ashly is obviously incredibly important in that equation.”

GOTHA, Thuringia, Germany – Martin Audio’s German rental partner, Kotsch-Showtechnik from Nessetal near Gotha, recently supplied a high-quality sound reinforcement solution for the faithful reproduction of classical music at the Schlosshofkonzert 2020.

More details from Martin Audio (www.martin-audio.com):

In order to meet the COVID-19 requirements, the Gotha Thuringia Philharmonic Orchestra moved for three evenings into the beautiful courtyard of the baroque Friedenstein Castle in the City. Here, taking into account the rules of distance, a baroque evening, an operetta gala and a concert with violin and grand piano were able to take place in front of an audience of 400.

Torsten Kotsch, owner of Kotsch Showtechnik, implemented the sound and lighting design with his team and explained the special features required of classical music reinforcement: “The dynamic range of a classical concert is far greater than at many rock concerts,” he said. “Since the concerts were open-air, and not in a theater or concert hall, we had to pay special attention to the correct set-up of the system.”

The choice of loudspeaker technology was always going to be self-powered products from Martin Audio. The MLA Compact was used as the main PA, with the area in front of the stage covered with DD12 speakers, and CDD-LIVE8 speakers were used as stage monitors.

Torsten Kotsch explained this selection rationale: “I can connect all speakers via Martin Audio’s VU-Net and control and monitor them in the software,” he said. “Since we wanted to achieve the same sound experience at all seats, the mix of MLA Compact and DD12 was perfect. Both systems distribute sound homogeneously and thus ensure that all instruments are heard equally at all seats. The CDD-LIVE8s were used as stage monitors, as they have the same properties, and are extremely compact.

“The main PA was rigged continuously in the Castle courtyard for a week. Fortunately, there was no rain on the three days of the event, but there was rain between the days. That didn’t make much difference to the system, however,” he confirms.

Due to the structural requirements in the castle, the FOH position had to be set very far back—and a good 40 meters from the stage. In addition, the many reflective surfaces on and around the courtyard did not make mixing any easier. Here Torsten Kotsch used a special function of the MLA Compact to minimize reflections.

“With Martin Audio’s proprietary MLA technology I am able to set a Hard Avoid preset, among other things. These areas are defined and identified beforehand in the software. The preset for the speakers is then calculated so that as little energy as possible is emitted to these reflective surfaces.” The result was outstanding, and classical music fans and artists alike praised the quality of the sound system. “One guest told me that he found the violins as soft as butter and was very satisfied with the sound. Overall, the conductor and the soloists were delighted with the monitoring.

“And that’s the kind of positive feedback you like to hear¬—especially in times such as this.”

Matt Pliskin and Peter Tilley

LOS ANGELES – Focusrite announced promotions for two members of the company’s Focusrite Pro team. Matt Pliskin is now Focusrite Pro broadcast and immersive audio sales manager and Peter Tilley is now Focusrite Pro educational and post-production sales manager.

More details from Focusrite Pro (http://pro.focusrite.com):

Building on a steady year of sales and market growth, Focusrite bolsters its long-term strategic business plan with the announcement of two new appointments in its sales force representing its pro division, which includes RedNet range of Dante-networked audio converters and interfaces, Red interfaces and ISA mic pre’s. The new appointments include Matt Pliskin as Focusrite Pro Broadcast and Immersive Audio Sales Manager, and Peter Tilley as Focusrite Pro Educational and Post-Production Sales Manager. Both Pliskin and Tilley are being promoted from previous positions with Focusrite Pro. This strengthening of Focusrite’s Pro sales team reinforces a long-term sales growth strategy for the brand.

Matt Pliskin is promoted from his previous position as Focusrite Pro Senior Solutions Specialist. In his new capacity as Broadcast and Immersive Audio Sales Manager, his responsibilities will include (but not be limited to) strengthening relationships with the Broadcast Community in the U.S. and Canada; building upon Focusrite Pro’s presence in the immersive audio community and the post-production and recording verticals; and coordinating projects with Focusrite’s post-production sales personnel (Tilley in particular) to increase the brand’s market share in post facilities.

Peter Tilley is promoted from his previous position as Focusrite Pro Western Regional Sales Manager. In his new position as Focusrite Pro Educational and Post-Production Sales Manager, his responsibilities will include (but not be limited to) strengthening relationships with the educational community in the U.S. and Canada; serving as a resource for educators and students on the use of Focusrite Pro in educational applications (including distance learning) as well as students’ potential future fields; and coordinating projects with Pliskin and the rest of the team to increase the brand’s market share in post facilities.

Dave Rieley, Focusrite Pro North American Sales Manager, stated, “Despite the unique challenges of 2020, Focusrite Pro’s market share is strong. Promoting these two loyal Focusrite Pro team members to their new roles will position the Focusrite Pro division for future growth in 2021 and beyond. We thank Matt and Peter for their continued passion and hard work in serving as a market resource on behalf of Focusrite Pro.”

Focusrite Pro is dedicated to removing creative and technical barriers by improving the workflows of audio professionals with scalable audio solutions that meet both their current and future requirements.

Powerful new app lets users design high-frequency horns on the move

Celestion, the premier manufacturer of professional audio drivers for sound reinforcement applications as well as guitar and bass loudspeakers, is pleased to announce the premiere of HornWizard, a new desktop and mobile application which is a portal to the company’s powerful horn design software.

HornWizard has been developed to introduce systems engineers to Celestion’s unmatched horn design capabilities. The App enables the user to test a basic concept design, using just a few parameters, to determine whether a particular horn specification could work in practice. In the App, users can reliably verify designs, quickly adjust them with different parameters and then view the results in a matter of seconds.

HornWizard has been created as a WPA (Web Progressive App), usable on both desktop and mobile devices to access Celestion’s full design software using a simplified parameter set. The app doesn’t contain any horn design software itself: it simply acts as a portal. The user can input parameters that are processed by the in-house software with results returned to the app interface.

HornWizard is not a complete horn simulator, but uses a simplified method to produce a close estimate of directivity and frequency response. First and foremost, it’s a “reality check” to see if particular specifications can be achieved within specified constraints. It also enables the user to see how different drivers work on the horn, aiding in the driver selection process.

HornWizard is available to download for free here.

YOKOHAMA, Japan — To coincide with the release of its new XY-1 and XY-2E professional speakers (https://fohonline.com/blogs/new-gear/pioneer-pro-audio-xy-1-and-xy-2), Pioneer Pro Audio has launched the new, refined Pioneer Pro Audio website.

Containing all the same useful information as the former site, the new portal is much more intuitive to navigate, enabling venue owners, installers, engineers and other customers to quickly find what they need – from inspiration for their next sound system to technical specifications. The new site will be available with a choice of English or Japanese text initially, with more languages to follow soon.

For more info, visit pioneerproaudio.com.

BACKNANG, Germany – d&b audiotechnik noted its participation in the inaugural Horizons Summit: Entertainment, Technology and Beyond.

More details from d&b audiotechnik (www.dbaudio.com):

German audio technology and solutions company, d&b audiotechnik today announces the inaugural Horizons Summit: Entertainment, Technology and Beyond. The virtual panel, featuring industry heavyweights discusses the effect the pandemic has had on the live events industry and how shared entertainment experiences might look in the future.

The discussion, led by journalist and author, Dan Daley, included Amnon Harman, Group CEO d&b audiotechnik; Jackie Wilgar, Senior Vice President Live Nation; Craig Hassall, CEO Royal Albert Hall, and James Gordon, CEO Audiotonix.

The Summit addressed common partner and customer concerns as well as industry trends including: the pivots required to keep live entertainment companies alive; the future of drive-in and virtual concerts; government support during the pandemic; and the indicators of industry recovery.

“2020 has brought incredible challenges for everyone in this industry. While many of these conversations have been taking place behind closed doors over the last few months, this Summit gives the industry the opportunity to openly address challenges and to discuss what we believe will be the future of live entertainment,” commented Amnon Harman, Group CEO, d&b audiotechnik. “Community matters, strength in numbers matters and we need to bring everyone together to navigate these challenging times.”

To watch the Summit go to https://www.facebook.com/watch/?v=181864380152043

Participant Bios:

Amnon Harman, Group CEO d&b audiotechnik

d&b audiotechnik is internationally regarded as a leading company for sound reinforcement systems in installed and mobile applications, with a reputation for the quality of construction, standard of service, system integration principles, and pioneering technological development. d&b sound systems are installed in venues across the globe and brought on tour with some of the music industry’s biggest artists. Amnon Harman, Group CEO of d&b audiotechnik will be representing d&b at the summit. Harman has been Group CEO of d&b since 2014. Prior to d&b Amnon was CEO and Chairman of AUGUSTA Technologie AG.

James Gordon, CEO Audiotonix

Audiotonix is a global market leader in the design, engineering and manufacture of professional audio mixing consoles and ancillary products, and includes leading live entertainment brands DiGiCo and KLANG:technologies. Their products are used extensively in live sound, broadcast, theatre production, installations, house of worship and recording studios. James Gordon, Chief Executive Officer, represents Audiotonix at the event. Gordon has been CEO of Audiotonix since 2014 and Managing Director of DiGiCo since 2007. Prior to this, Gordon was Sales Director at DiGiCo and has more than 20 years of experience in the professional audio industry having started as a trained sound technician.

Jackie Wilgar, Senior Vice President Live Nation Entertainment

Live Nation Entertainment is the world’s leading live entertainment company, working with artists to bring their creativity to life on stages around the world. In 2019 Live Nation brought over 40,000 shows and 100+ festivals to life, selling 500 million tickets. Participating in the summit from Live Nation Entertainment is Jackie Wilgar, Senior Vice President, Head of Marketing. Wilgar has 15 years of marketing experience in global consumer package goods and entertainment companies and was given A Top Women in Music Honoree from Billboard Magazine/Billboard.biz in 2012 and recognized by Fast Company as one of their Top 100 Most creative in Business in 2013.

Craig Hassall, CEO Royal Albert Hall,

Royal Albert Hall is one of the most iconic music and concert venues in the world. Located in London, England, the RAH normally hosts over 360 events a year, including classical music, jazz, world music, circus, rock, pop, opera, dance, comedy and tennis performances. Participating in the Summit from the Royal Albert Hall is Chief Executive, Craig Hassall. Hassall has worked in the performing arts for over 28 years and held roles including CEO of Opera Australia and CEO of English National Ballet. He also consulted on cultural aspects of the London 2012 Olympic Games.