Working with founding partner JMG Sound, United Plugins has released the DarkFire ‘analogue-like’ preamp and saturator plug-in.

DarkFire enables users to sculpt its harmonic treatment before blending it with the original audio signal, ‘adding depth, width, and movement for a more dynamic and expressive sound’.

The signal is first sent through the plug-in’s Input Filter for processing – HP controlling the frequency of its high-pass filter and LP controlling the frequency of its low-pass filter – before being sent through the saturator; this generates additional harmonics that are then separated from the original signal for further processing.

DarkFire’s Harmonic Shaper offers low, mid and high EQ, all modelled on a passive tube equaliser for warm and musical tone shaping. Input Drive controls the amount of gain applied to the saturator’s input, Harmonics Level controls the level of processed signal added to the dry signal, Comp applies dynamic compression, modelled on classic FET and VCA compressors known for their fast attack times and distinctive tones), Stereo controls the amount of stereo content, Depth controls the amount of ‘3D depth’, based on a multiple short delays-driven psychoacoustic trick, and Mod controls the depth of the modulation effect.

The Output Filter– also featuring HP controlling the frequency of its high-pass filter and LP controlling the frequency of its low-pass filter –is used to process the added signal further before being combines with the dry signal.

An Adv (advanced) feature on the toolbar at the top of the GUI introduces additional Input Filter and Harmonic Shaper settings.

Slope selects the filter types for each filter (also available as additional Output Filter settings); Tape/Tube selects the saturation type; 60/100, 300/700, while 4K/10K selects the frequencies for the three-band EQ. Press On/Off enables a compander that applies more saturation to the quieter levels; VCA/FET selects the compressor type; Full/High selects if the stereo widening is applied to the full frequency range or only the HF; Tight/Deep selects the delay length for the depth effect; and Slow/Fast selects the modulation rate.

More:: https://unitedplugins.com/DarkFire

In a tremendous show of support for communities impacted by Hurricane Helene, some of the biggest names in music came together for the Concert for Carolina, in front of 82,000 fans packed into Charlotte’s Bank of America Stadium in October.

Raising more than US$24.5m for relief efforts, Special Event Services (SES) was selected to deploy an extensive Outline GTO line array system to deliver sound from an in-the-round stage throughout the stadium.

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With the employment of a new tweeter in its A214-M, the full PSI Audio active monitor range has been updated.

The PSI Audio A214-M is a centre loudspeaker option for use in surround or immersive set-ups, as the centre speaker often needs to fit beneath a screen. The A214-M can be operated vertically or horizontally, the latter option being the choice for positioning it under a TV or projector screen. It delivers ample power even for demanding cinematic experiences and delivers s 53Hz to 23kHz frequency response with precision, further improved by the new driver.

A limiting factor to this latest performance upgrade was the availability of suitable components – so the company took its design and manufacture in house. One aspect of design that has long played a major role in PSI Audio development is the coherence of sound across the different loudspeaker models. In immersive set-ups in particular, different sized monitors are often combined to accommodate limitations in space. In order to maintain a cohesive sound image, it is necessary for the loudspeakers to be matched in their sonic characteristics. With the A214-M now featuring the updated tweeter, coherence between the different models is now assured.

PSI Audio prides itself on its in-house development and manufacturing, and on proprietary technology that makes the speakers’ outstanding acoustic accuracy possible. This includes the use of Compensated Phase Response (CPR) and Adaptive Output Impedance (AOI) technologies, with class-G/H amplifiers and specifically designed drivers. To ensure these technologies are implemented correctly, PSI Audio speakers are manufactured and calibrated in the company’s premises in Switzerland.

More: www.psiaudio.swiss

L-Acoustics is to open a major operations and creative hub for the Americas at Nashville Yards, joining similar hubs in Paris, Los Angeles, London and Singapore. Expected to launch in the summer of 2025, the venture is being made in collaboration with sports and live entertainment company AEG Presents and real estate investment company Southwest Value Partners.

‘The opening of our Americas headquarters in Nashville, the Music City, marks a significant milestone for L-Acoustics globally and reinforces our commitment to serving our partners throughout North America from a central location, says L-Acoustics CEO, Laurent Vaissié.

‘Being part of this dynamic creative hub perfectly aligns with our ambition to connect people through the best-shared sound experience, building a vibrant community with the most creative artists and entertainment professionals alongside industry leaders like AEG Presents and CAA.’

L-Acoustics will be located in the development’s creative office building on the fourth level, along with AEG Presents. Adjacent to The Pinnacle, the indoor live music and event venue, the building rises eleven storeys above Church Street with three levels of curated retail, dining and entertainment, along with best-in-class private amenities including meeting hubs, entertainment spaces, and a large outdoor vegetated deck overlooking Nashville Yards.

L-Acoustics will maintain a presence on the US West Coast with global business, product management, communication, and application leadership functions based in Westlake Village, California. ‘L-Acoustics is the industry leader in premium sound technology, and their innovative equipment elevates the experience at venues across the globe,’ says Southwest Value Partners Managing Partner, Cary Mack. ‘They are the embodiment of our vision for Nashville Yards as a dynamic and unique environment where the entertainment, tech, finance and creative classes intersect.’

The Pinnacle music and event venue at Nashville Yards, will feature an L-Acoustics K2 professionals sound system installed by Clair Global, and is set to open in March 2025, and a list of already-announced shows. ‘We are thrilled that L-Acoustics has selected Nashville Yards as its Southeastern US home and showcase,’ says Ted Tanner, Executive Vice President of Real Estate Development for AEG. ‘Joining companies such as AEG Presents and CAA as anchors of our creative office building in the heart of our vibrant new entertainment district will further establish Nashville Yards as the City’s newest hub for innovative organisations.

‘L-Acoustics has been a valued partner of AEG Presents, providing sound equipment, technology, and consultation for numerous of their business units, including global touring, festivals, venues and The Pinnacle,’ he adds. ‘This new headquarters will enable further collaboration and innovation, benefiting the sound experience for our artists and fans worldwide.’

More: http://pinnaclenashville.com

Visinting a range of venues from intimate theatres to concert halls and major arenas, a recent UK and European tour saw Adlib provide audio, lighting and video systems, as well as sound design, for  Il Divo. Te core PA featured main hangs of up to three L2 and one L2D enclosures per side, complemented by 12 KS28 subwoofers, eight X8, and four X12 fills. For larger venues, the system was expanded to include Kara II side hangs of up to 12 enclosures per side with additional KS28 subwoofers. In arena settings, such as Amsterdam’s Ziggo Dome, the system was scaled up to K1 arrays for main hangs, with L2 repurposed effectively as side hangs.

‘During planning, we proposed L2 as mains with Kara sides for smaller venues, scaling up to K1 for arenas with L2 as sides,’ explains Il Divo FOH engineer, Chris Beddall. ‘This approach leveraged L2’s lightness and excellent coverage, ensuring consistent, high-quality sound throughout the tour. I hadn’t heard L2 before this tour, but it provided great coverage and the smooth high-end detail you expect from L-Acoustics. Scaling up to K1 was like meeting an old friend.’

Working with Beddall, Adlib’s Richy Nicholson prioritised vocal clarity and consistent coverage: ‘We ultimately selected L2 for its superior adaptability across varying venue sizes and types. The decision proved transformative for the tour’s audio quality.’

Using L-Acoustics Soundvision software, the team optimised loudspeaker placement and coverage for each venue’s unique architecture. ‘L2 was chosen to provide the best possible consistency when scaling between venues of varying sizes’ notes Adlib System Engineer, Billy Bryson. ‘Many venues that would previously have required a split system approach could be covered by a single hang of L2 per side, improving low-frequency control in these rooms. The cardioid dispersion pattern was key to keeping the stage sounding clean, and not interfering with the flown Kara II side fills, which L-Series manages to do without compromising transient response.’

The compact design of L-Series also brought significant operational benefits throughout the tour. ‘The reduced weight and size compared to traditional arrays meant more efficient truck packing,’ says Nicholson. ‘While maintaining our truck count, the space efficiency gave us greater flexibility in load-in and load-out procedures. The system’s quick deployment capabilities also meant reduced setup times and lower energy consumption during preparation phases.’

‘It was a pleasure working with Adlib on this tour,’ Beddall concludes. ‘Their friendly, experienced team ensured even the most challenging days ran smoothly. This was especially true in the hands of Billy Bryson, who consistently delivered a fantastic-sounding system. Combining Adlib’s expertise with an L-Acoustics PA made this tour seamless and enjoyable.’

A recent outdoor concert at Delhi Technological University (DTU) provided a showcase of Sufi fusion music, headed by leading exponent Bismil ki Mehfil (Mohd Asif). To deliver the emotion and energy of the performances, ShowTech fielded a Martin Audio WPL line array PA, comprising eight WPL per side with a centre fill of eightBismil ki Mehfil enclosures. Additionally, 12 SXH218 subwoofers in a front-firing configuration, and a further eight SX218 in a reverse cardioid set-up serves as centre fill.

Having studied since the age of five under maestros from the Moradabad and Delhi gharanas, Bismil ki Mehfil captivated 7,000-8,000 audience with songs including his hit single Tere Bina and a cover of Nusrat Fateh Ali Khan’s Kali Kali Zulfon Ke Phande.

The system was powered by Martin Audio iKon iK42 DSP amplifiers, delivering 20kW of class-D power. The system’s Hard Avoid feature available in the accompanying Display software, prevented low-frequency spill on the stage.

With technical support from Martin Audio territory distributor VMT Enterprise, ShowTech’s engineers, supervised the system. The event also showcased the capabilities of Martin Audio’s technology and the partnership between VMT and ShowTech. ‘The audio system truly made the difference for Bismil ki Mehfil,’ says ShowTech System Engineer, Tarvinder Singh. ‘The clarity, depth and precision it provided brought his powerful vocals and the richness of Sufi music to life, and the audience was fully engaged throughout.’

‘Working on the sound system for this event was an absolute pleasure,’ adds VMT Pre-Design & Sales Engineer, Dharam Koli. ‘ The set-up ensured crystal clear sound, which played a key role in creating a deeply engaging atmosphere. Seeing the audience connect so profoundly with the performance was incredibly rewarding.

‘At VMT we pride ourselves on delivering solutions that exceed expectations, and this event was a testament to that commitment.’

More: https://martin-audio.com

American musician, composer, synth programmer, record producer and conductor Anthony Marinelli has launched a new synthesiser course, Think Like a Synth, as ‘my way of sharing everything I’ve learned over decades of creating signature sounds for hit records, blockbuster films and iconic ad campaigns’.

‘When I started out, I was incredibly fortunate to have mentors like Quincy Jones, Giorgio Moroder, Jack Nitzsche, Arthur B Rubenstein, and my gifted synth teacher, Clark Spangler,’ Marinelli explains. ‘Their generosity and wisdom had a profound impact on shaping my career, and now I feel compelled to give back by passing down what I’ve learned.

‘My goal with Think Like a Synth is to make synthesis approachable, fun and transformative. I’ve packed decades of time tested-techniques, tips and insights into this course to help you.’

The course aims to enable subscribers to confidently design signature patches from scratch, modify presets to best fit a track, understand every knob ‘no guesswork required’, and create fat basses, soaring leads and unique sounds.

The course presentation uses informative and engaging on-screen graphics that include Quick Tips, Synth Knowledge, Lesson Homework, Ear-Training, Fun Facts and Synth Patch Block Diagrams. ‘These tools will guide you step by step as I show you how to build patches, unlock creative possibilities, and truly Think Like a Synth.,’ Marinelli says. ‘Whether you’re just starting out or looking to refine your skills, this course will give you the confidence and knowledge to take your music to the next level.’

More: https://anthonymarinellimusic.com/products/think-like-a-synth

The Roland Corporation has announced the adoption of bold carbon reduction targets as part of its move towards a decarbonised society.

In alignment with the international Paris Agreement treaty on climate change, Roland aims to reduce greenhouse gas emissions across its operations and value chain, paving the way for ‘a sustainable future that supports creativity, music, and artistic expression’.

Reduction targets are set in line with the concept of SBT (Science Based Targets – Corporate greenhouse gas emission reduction targets consistent with the levels required by the Paris Agreement adopted in 2015) with the goal of achieving carbon neutrality as declared in the Paris Agreement in mind.

Among these, Scope 1 and Scope 2 propose reduction of CO2 emissions by 42 per cent in FY2030 compared to FY2022, while Scope 3 identifies a 25 per cent reduction from FY2022 levels in FY2030 for Categories 1, 4, 11 and 12, which account for more than 90 per cent of total CO2 emissions, respectively

Roland’s efforts are disclosed in line with TCFD (Task Force on Climate-related Financial Disclosures) recommendations. Current progress and results reported by the Coropration include total CO2 emissions in FY2023 reduced by 12 per cent from the previous year.

‘Roland is dedicated to transparency in its ESG initiatives,’ the company states. ‘Comprehensive ESG data is publicly available, showcasing Roland’s progress and commitment. Roland has also disclosed data on the content of its environmental (E), social (S), and governance (G) initiatives.’

See also: 
Martin Audio reduces environmental footprint

Located on the top three floors of the Heron Tower – the second tallest building in London’s financial district – the Sushisamba rooftop restaurant and bar boasts panoramic views of the city through floor-to-ceiling windows. To add a suitably impressive soundtrack to this vista, the venue recently called on Cosmic Electronics to upgrade its sound system with KV2 ESD loudspeakers.

‘Sushisamba is a magical place,’ says Cosmic Electronics CEO, Mark Damon. ‘They wanted a system that wouldn’t take away from the splendour of the restaurant – it needed to blend into the surroundings whilst sounding amazing and consistent across every floor.’

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In what he describes as one of his ‘biggest and most ambitious sound design yet’, sound designer Gareth Owen is using four d&b Soundscape DS100 signal engines and more than 350 d&b loudspeakers on the 40^th anniversary production of Andrew Lloyd Webber’s Starlight Express at the Troubador Theatre in London’s Wembley Park.

Having used d&b Soundscape on more than a dozen musical theatre sound designs to date, Owen has played a significant role in Soundscape’s development. En-Snap, the cue automation software that provides show control workflow features for Soundscape, is the result of a collaboration between Gareth Owen Sound and d&b. Now in V3, one of En-Snap’s latest advances is the integration and support of advanced tracking systems. It’s a feature used to great effect here to enable the accurate movement of vocal reinforcement – a unique challenge for this fast-paced show.

In this arena-style configuration, with performer action and audience listening zones in all directions, the challenges for coverage and coherence were considerable. However, time and budget proved the only effective limitations.

‘I’m not sure I could tell you what the creative limits are for this show,’ Owen says. ‘Even on a show with a budget and a design remit like Starlight Express, at a certain point common sense has to come into play – I’m really happy with the results.

‘In what is a complicated room, with a complicated seating arrangement and performance area, we’ve achieved everything we could possibly achieve.’

The extensive loudspeaker set-up includes Y-Series line arrays across the stage front, plus V-Series point source cabinets and a number of smaller additional loudspeakers. The production also sees Owen’s first use of d&b’s XSL-Sub, the small/medium format flyable cardioid subwoofer – which he calls ‘a massive step forward’.

Owen praises the ‘exceptional’ support from d&b, with Application Support specialist Steve Jones singled out in particular. He also highlights the contribution from Phil Hurley and Stage Sound Services. ‘He just makes it work,’ says Owen. ‘I’m pretty sure we couldn’t achieve half of what we do without his support.’

‘I think we achieved exactly what we wanted to do,’ he adds. ‘You know, it’s hugely important with all shows – and even more so with an Andrew Lloyd Webber show – to not screw it up. We don’t want anyone to say ‘it could have sounded better’. Happily, no-one did, and I’m very pleased with that.’

More: www.dbaudio.com

The University of Manchester’s Martin Harris Centre for Music and Drama has long been a cornerstone of the institute’s performing arts and education programmes. Home to two key performance spaces – the Cosmo Rodewald Concert Hall the John Thaw Studio Theatre – the venue recently completed an upgrade to meet evolving teaching and performance needs.

The project was led by Stage Electrics, a trusted audiovisual partner of the University for more than two decades, in collaboration with EM Acoustics. The focus was on integrating high-quality audio systems tailored to each space to improve the audio experience for students, faculty, visiting performers and audiences alike.

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