PreSonus has followed its StudioLive RM16AI and RM32AI 32x16x3, rackmount Active Integration digital mixers with two new StudioLive RML-series models offering line-level inputs, in addition to the XLR mic inputs found in the RM series.

Designed for live-sound mixing and studio recording, the StudioLive RML16AI and RML32AI provide 32 internal channels and 25 buses, a 52x34 FireWire 800 recording interface, AVB Ethernet networking, and Fat Channel processing on all input channels and all buses, including a 4-band parametric EQ, compressor, gate and limiter.

The mixers can be controlled with UC Surface touch-control software for Mac, Windows and iPad. Alternatively, the StudioLive CS18AI AVB control surface provides motorised faders.

Using AVB Ethernet networking, two StudioLive RML and RM can be cascaded mixers to create larger mixing systems – a 16-input mixer with a 32-input mixer will rpovide a 48-channel mixing system, or two 32-input mixers a 64-channel system. Both mixers in the expanded systems can be controlled from a StudioLive CS18AI, from UC Surface, and from Studio One.

A Stage Box mode lets you use StudioLive RML mixers as remote I/O devices in conjunction with StudioLive AI-series consoles. You can use the RML as simple I/O, bypassing the internal mixer, or as a monitor mixer and remote I/O.

In addition to UC Surface touch control software, the rackmount mixers come with integrated Capture recording software for Mac and Windows, with true Virtual Soundcheck mode; and Studio One 3 Artist DAW for Mac and Windows. PreSonus’ free QMix-AI aux-mix control software for iPhone/iPod touch enables musicians to control their own monitor mixes.

The 3U-high rackmount RML16AI provides eight locking XLR mic inputs and eight combo locking XLR/TRS line inputs, each with a recallable XMax class-A preamp, as well as eight XLR line outs and three main outs (left, right, and mono/centre). Similarly, the 4U-high RML32AI offers 24 locking XLR mic inputs and eight combo locking XLR/TRS line inputs, 16 XLR line outs and main outs.

Other features include front-panel input signal-present and clip LEDs for monitoring levels and rear-panel mirror of the line outputs on a DB25 connector for connecting to wireless in-ear systems. The rear panel contains an option slot that comes with two FireWire 800 ports, an AVB Ethernet networking port, and SPDIF I/O. Alternatively, the slot can accept an optional Dante card.

‘With the  StudioLive RML mixers’ line inputs, you have more flexibility both in the studio and on the stage,’ says PreSonus Senior Product Manager, Ray Tantzen. ‘With 96kHz, Burr-Brown converters and integrated preamp and Fat Channel control from Studio One 3.2, RML mixers make great audio interfaces, in addition to unrivaled mixers.’

More: www.presonus.com

PreSonus has released two StudioLive RML-series models offering line-level inputs in addition to the XLR mic inputs found in the RM series. Otherwise, the new RML-series and the RM-series mixers are identical, with the same recallable XMax preamps and up to 96kHz operation.

Designed for live-sound mixing and studio recording, StudioLive RML16AI and RML32AI mixers provide 32 internal channels and 25 buses, a 52x34 FireWire 800 recording interface, AVB Ethernet networking, and Fat Channel signal processing on all input channels and all buses, including a 4-band parametric EQ, compressor, gate and limiter. The my be controlled using UC Surface touch-control software for Mac, Windows and iPad, and by the StudioLive CS18AI AVB control surface, which provides motorised faders.

Using AVB Ethernet networking, any two StudioLive RML and RM mixers can be linked to create larger mixing systems. Both mixers in the expanded systems can be controlled from a StudioLive CS18AI, from UC Surface, and from Studio One.

A Stage Box mode enables StudioLive RML mixers to be used as remote I/O devices in conjunction with StudioLive AI-series consoles – as simple I/O, bypassing the internal mixer, or as a monitor mixer and remote I/O.

In addition to UC Surface touch control software, the rackmount mixers come with integrated Capture recording software for Mac and Windows, with true Virtual Soundcheck mode; and Studio One 3 Artist DAW for Mac and Windows. PreSonus’ free QMix-AI aux-mix control software for iPhone/iPod touch enables musicians to control their own monitor mixes.

StudioLive RML-series rack-mount mixers are available immediately with MAP/street prices of StudioLive RML16AI US$1,199.95 and StudioLive RML32AI US$1,799.

More: www.presonus.com

The ULT10 is the latest in PreSonus ULT line of active loudspeakers, joining the ULT12 and ULT15 full-range systems and the ULT18 subwoofer.

The ULT10 features PreSonus’ proprietary rotatable Pivot X110 horn and a proprietary 10-inch, low-frequency driver with a 2.5-inch voice coil. The system is bi-amped and driven by a 1.3kW (peak) class-D amplifier, generating up to 130dB SPL, with a 60Hz-8kHz (-3dB) frequency response.

The Pivot X110 horn combines ultra-wide horizontal coverage (110°) for broad coverage with focused vertical dispersion (50°) for long throw. In addition, the Pivot X110 horn’s large size (11 x 11 inches) enables it to control the dispersion pattern lower in the frequency range than smaller conventional horns, so it maintains more consistent gain on- and off-axis, ensuring that the audience at the sides has the same listening experience as those in front.

The horn can be rotated 90˚, so the ULT10 enclosure can be mounted in a horizontal configuration while still maintaining its 110˚ x 50˚ coverage pattern. Along with its compact size, this serves centre channel duties in an LCR system or an under-balcony fill. Rotating the Pivot X110 horn can also help fix FOH issues in tall, narrow venues by minimising early reflections and providing more directed coverage.

The enclosure offers two combo XLR and quarter-inch TRS inputs and a mic/line input with PreSonus’ XMax mic preamp and a line-level-only input. The inputs have independent level control, allowing audio sources to be mixed internally and summed to a balanced XLR output for daisychaining multiple units. A separate direct output for the line input channel provides additional flexibility.

The ULT10 features a lightweight, Baltic birch enclosure with a tour grade, 16-gauge, powder-coated steel grille; ergonomic handles; a locking IEC power connector; and a defeatable front-panel power-indicator LED. A multi-angle enclosure enables ULT10s to serve as mains or monitor wedges. 

The ULT10 is shipping at an expected street price of US$899.95.

More: www.presonus.com

Wowing audiences on his 2016 Pretty Boy, Dirty Boy (PBDB) world tour, Colombian singer songwriter Maluma (aka Juan Luis Londoño Arias) placed a premium on the sound quality of his PA system. To help FOH engineer Lucas Pinzón with the delivery of the ‘sweet tenor voice and streetwise yet romantic delivery’, DiGiCo consoles have become an indispensable element of the sound system.

Pinzón has been working with Maluma for the past year and, depending on local availably, uses either an SD10 or SD8 at FOH, along with an SD-Rack, Madi-Rack and DiGi-Rack, throughout the tour: ‘I have been using DiGiCo consoles since 2009 and I prefer them to any other console because of their quality, their amazingly transparent sound, friendly interface and, of course, their powerful Stealth Digital Processing,’ he says.

‘They are definitely my choice as a FOH engineer and I always have the support of my Production Manager during the process of getting the consoles for each show. DiGiCo is getting bigger each day in every North, Central and South American country and I trust deeply in the quality it brings to my mixes.’

For the PBDB World Tour, Pinzón has 48 input channels and ten outputs for the main PA, subs, front fills, as well as an IEM talkback system for the lighting and video engineers to allow them to communicate with the stage and to have click tracks for show cues.

But with the tour playing arenas all over the world, Pinzón sometimes finds it a challenge to get the clarity he wants in the mix: ‘Fortunately, DiGiCo helps me get the warmth and pure sound I’m looking for,’ he says. ’There are some features on the desk that I really love, such as the ability to customise the layers as I need them to be, the Audio Enhancer that can inserted on my groups – a definite plus – the matrix input Channel or Aux mix, which gives me the ability to create a million combinations for the IEM mixes, Tube emulation, and the recent Core 2 update which means that SD8 sessions can be loaded onto an SD10 console.

‘Also, the new V822 [Core 2] is works very well, plus the fact that we can gain share between the FOH and monitor consoles. It’s so simple to set, and works amazingly.’

Pinzón and the team are also happy with the consoles and with the support they get from DiGiCo: ‘Fernando Delgado is always on hand to help if I need him. His response is fast, accurate, friendly and precise, making me feel confident in using DiGiCo consoles.’

Maluma is about to start the final leg of the PBDB Wolrd Tour, which will travel to Spain, Venezuela, Mexico and Argentina. Pinzón will continue to rely on DiGiCo throughout.

More: www.digico.org

The unveiling of a 100ft-high mural of Prince took place in downtown Minneapolis recently, accompanied by a weekend of events. The US$500,000 ‘Crown Our Prince’ project has been in development for seven years, with the mural undertaken by Florida street painter, Hiero Veiga.

For the Purple Block Party to coincide with the reveal, local company Slamhammer Audio was brought into handle production, including sound reinforcement. Having been a loyal customer of Martin Audio for the past two decades, the company fielded a combination of eight Martin Audio W8LC Compacts, eight WS218X subs and a pair of W8LM Mini for front fills. For delays – set at the FOH position, and shooting back towards the rear of the crowd – they turned to a pair of Martin Audio CDD-Live and CSX-Live118B subs.

The reveal party was a free event bringing several thousand people to the downtown Minneapolis Ramp A on a perfect evening. The timing was also appropriate, as Prince would have turned 64 on 7 June.

From a production perspective, the main challenge was the small footprint of the bandstand and limited time, since the street could not be closed during the day. ‘With the stage itself needing to be constructed in a very small area, we built sound wing platforms and mounted the PA on those instead of rigging from the stage,’ says Slamhammer Sales Manager, Cam Dickison.

However, the night had been ‘full of love, joy, and even some tears’ he reports, with appearances from both of Prince’s sisters and performances from Prince cover band Dr Mambo’s Combo, as well as DJ Mickey Breeze. The event was hosted by Chantel Sings and Walter ‘Q-Bear’ Banks, and the whole event was live streamed.

In conclusion, Dickison says: ‘We love working with the Prince Organisation and honouring his legacy, while showing the world that Minneapolis is more than just a fly-over city. We have done multiple events with the Organisation and the Minneapolis Downtown Council over the years, including the Prince Live on the Big Screen events. These are the two main forces that turned this Prince mural and block party dream into a reality.’

The technical crew also managed to pull off a challenging task, he says. While Dr Mambo’s Combo brought in their own sound engineer, Slamhammer’s Brian Scocchera was on monitors, Matt Fradley mixed FOH for the rest of the show and Mack Swanson was behind the lighting desk.

More: https://martin-audio.com

The BBC’s double-header weekend of Proms In The Park and BBC Radio 2 Live in Hyde Park (Festival In a Day) saw extreme high winds and driving rain had blight performances from Frankie Valli’s band and the BBC Concert Orchestra, ABC, All Saints, Rick Astley and The Feeling on their opening day.

As the following day made way for bright sunshine, Status Quo and Madness got the evening party going and were perfect curtain-raisers for the headline act, Elton John. But neither changeable weather conditions nor a noise sensitive environment compromised the sound – delivered by a Martin Audio’s Multi-cellular Loudspeaker Array (MLA), and its Display software.

The Martin Audio control environment can store sound presets for different weather scenarios: ‘We have designed the system to compensate for changes in humidity – the more humidity there is, the brighter the sound over distance,’ R&D Director Jason Baird explains. ‘But we now have a means of doing some simple EQ changes to the HF, which system tech Toby Donovan can apply accordingly.’

Donovan himself confirmed this advantage as the weather improved dramatically overnight: ‘By having different presets for different conditions saved as snapshots in the Display software we could change the set-ups to suit on the day.’

Martin Audio Product Support Engineer on site, Chris Pyne, also highlighted the ongoing development of the Display platform, predominantly to increase the LF control and consistency. ‘There are some more software changes planned prior to release at the end of this month,’ he says. ‘We are looking at the internal balance of the system and aiming to make it more plug-and-play.’

With the general design model established last year for the Festival Republic-promoted events, and rubber stamped by Head of Production Dick Tee and noise consultants, Vanguardia, 2016 was all about nuances.

The most significant was the addition of a fourth delay ring – giving 12 delay masts in total. Two points were set 350m from the mix position, comprising eight Martin Audio MLA Compacts (tapped at a 1s delay time). Toby Donovan and crew chief Kevin Smith both approved of the decision. ‘Festival Republic wanted to extend coverage to the main entrance gate but without any spill – and MLA was more than capable of that,’ Smith says.

The other significant change was the positioning of the VIP grandstand. Martin Audio DD6’s trialed so successfully last year in delivering punchy sound that this year Capital Sound standardised on the technology, deploying 14 enclosures inside the pavilion and 12 outside, all controlled from the main desk. As to the stage design, the main PA hangs again comprised 16 MLA boxes and an MLD Downfill each side, with 12 MLA per side acting as side fills (this year dispensing entirely with the MLD). Capital again fielded 26 MLX subs in a broadside cardioid array – 17 forward facing along the front, and nine on top reversed. A pair of Martin Audio W8LM was positioned on every other sub stack, with a further stack of three W8LM as ‘wing fills’ on each side. Distribution around the site was via a 13-node Optocore fibre ring.

Martin Audio’s LE1500s were provided for stage monitoring along with some WS218X as side fills, while DD12s were also stationed backstage at the VIP interview stage. Of the 12 delay positions, four were equipped with three MLX in cardioid pattern – these being the whole of Ring 2 and the central delay on Ring 3.

But with the BBC Introducing stage missing this year it was the fourth ring of delays, as well as the swirling winds blowing east that challenged the power of MLA to contain the sound within the boundary, without exceeding offsite levels of 75dB(A). ‘With so many delay towers, it was a real feat to have achieved show levels while maintaining offsite levels,’ Baird says.

Smith pinpoints the additional challenge of stationing speaker positions out of camera shot: ‘For PITP it’s all about getting the camera shot, the most critical one being from the crane; we even had to move the FOH position is to one side.’

Towards the end of the evening as the pomp, ceremony and national fervour built towards the fireworks crescendo, the FOH desk received increasing stem mixes from the BBC – not only from the Royal Albert Hall but other UK sites. He also praised the increasing role of DD12s in Capital Sound productions. ‘They perform really well as orchestra fills and on the VIP stage – they are extremely powerful, and deliver very clear sound.’

‘I’m very happy with the way it’s gone this year based on the 2015 model and modification with Jason [Baird’s] design,’ he adds.

One of the most unusual deployments of RCF’s active HDL6-A line array can be found in sound sculptor Mark Fell’s Protomusic #1 installation at the Sage Gateshead, part of the Great Exhibition of the North.

The installation of 40 of these compact elements was carried out by RCF partner Nitelites, to contour the curvilinear glass and stainless superstructure of the building. The installation was carried out in just three days and involves bespoke mounting bracketry, manufactured in-house by Nitelites, enabling each speaker to be optimised at the correct tilt angle, while remaining discreet.

Fell’s soundscape of real-world sounds that represent the North of England, have been reproduced by 60 traditional instruments from around the world by Royal Northern Sinfonia, as well as non-professional players and independent musicians, in what amounts to three hours’ worth of material, recorded over a two-month period. The soundscape plays using a non-repetitive algorithm at low-level, with each of the 40 speakers receiving its own independent feed.

Sage Gateshead enjoys a close relationship with RCF, as Nitelites previously installed flagship RCF systems in its two main rooms, making the venue exclusively an RCF house. At the end of the exhibition, Sage Gateshead will take ownership and repurpose a quantity of the boxes being used in Protomusic #1 while the remainder will return to Nitelites’ hire inventory.

‘We have a number of halls in which we stage events, and the PA is receiving positive feedback,’ says Sage Gateshead Technical Manager, Clair Willis. ‘It was based on this experience that I suggested the use of RCF within this project. With the opening of the exhibition, the organisation had wanted something to animate the concourse and Mark’s idea was selected by the programming team as the immersive experience it wanted.’

‘To convince Mark about the merits of the HDL6 we shipped him a unit to try out,’ recalls Nitelites Project Manager, Ed Gamble.

‘When I arrived on-site and considered the venue’s spatial and sonic characteristics, I could see it was a particularly complex and challenging acoustic environment, with hard surfaces that there was no point fighting against. I knew that this project needed a great deal of care and forethought, which was why finding the right speaker unit was so imperative,’ Fell says. ‘Within about 15 minutes of setting up the speaker in my studio and playing different sounds through it, I knew that it was exactly what I needed,’

In fact, the results surpassed his expectations: ‘It displayed a stunning level of controllability, clarity and detail. This allowed me to work with an exceptional level of precision within the space, turning what seemed like challenges into creative opportunities. Basically I was overjoyed with the results: the team at Nitelites were meticulous in their planning and execution and I was very impressed with the HDL-6A’s performance.

‘From the floor of Sage Gateshead it looked amazing — a super neat job,’ he adds. ‘PA companies often have an approach to cable management that I find aesthetically challenging so this was a very different experience.’

Gamble regards the speakers’ 100° x 10° vertical coverage perfect for the project, focusing the sound on the listener. ‘Because of the control pattern, HDL6-A provides a seamless audio experience from area to area along the concourse. The other benefits of using the HDL6-A are the weight and size, which are incredible.’

Fell also invited participation from the public with iPhone and Android apps enabling users could record sound, images and add text to be automatically sent to his server. ‘I’m really happy with the work, it was a new experience for me to work with so many musicians and that was a great part of the process,’ he says. ‘Without doubt the HDL6-A enclosures delivered the level of sonic quality that I had hoped for. I’m super happy because I like sonic detail and clarity, and the speakers delivered that.’

Leading Chilean technical production company Provetec handles a variety key events across the country. Earlier this year, the company made a major investment in an L-Acoustics K2 loudspeaker system – the first in Chile.

‘Two years ago, Provetec bought a substantial Kara system and it has worked very well for them,’ explains Cristian Osorio Fuentes from L-Acoustics distributor VGL, who sold the system to Provetec. ‘When they decided they wanted to increase their L-Acoustics inventory, the next logical step for them was invest in K2.

‘This is because K2 is incredible; the quality of sound it produces for the big spaces is perfect and it has no competition as far as long throw is concerned. K2 has the sonic signature associated with L-Acoustics, excellent definition and control of cover, as well as a fantastic rigging system.’

Provetec’s system includes 24 K2 cabinets, 16 SB28 subs, four LA-Raks and the aforementioned rigging system. Osorio Fuentes is sure that having K2 in its inventory will help to further increase Provetec’s penetration of the Chilean market: ‘K2 makes a difference to sound systems the world over,’ he says. ‘Together with K1, it is the most popular system on international riders.

‘Provetec is really happy with the new K2 system,’ says Osorio Fuentes. ‘Ricardo Marques, the company’s owner, is a big fan of L-Acoustics in general. He has always trusted them and loved the sound of the brand’s products from the very beginning. That’s why he knew that L-Acoustics was the best choice for his new system.’

The company is waiting for Chile’s high season to start before it puts its K2 system to full use, when it is already earmarked for various festivals.

‘We are very happy to have Ricardo and Provetec onboard with K2,’ concludes L-Acoustics Sales Manager Tim McCall. ‘Their successful experience with Kara has proven what an effective, flexible and profitable package L-Acoustics can offer and that has allowed them to take the next step up to the equally impressive and flexible K2. This system is going to prove very popular with the coming festival season.’

Solid State Logic has appointed Provision AVL as distributor of its live sound systems in the UAE, KSA, Kuwait, Oman and Bahrain.

Formed in 2014, Provision AVL has established its position as a leading sales and distribution company in the Middle East, representing premium brands including Prolyte Group, Chauvet Lighting, Clair Brothers, Admiral Staging and Le Maitre Effects. The move to distribute SSL’s Live range was obvious to company MD, Kevin Boujikian...

‘Back in my college days, the first and foremost audio console brand discussed around our Audio Engineering classes was Solid State Logic,’ he says. ‘Twelve years on, it was vital for us at Provision AVL to add a leading audio console brand alongside the exciting portfolio of lighting, staging and trussing products we already represent – hence the simple decision to go with Solid State Logic. The Live series compliments what we already offer in terms of audio systems. Our immediate priority now, will be to increase sales, exposure, and support across the region alongside the SSL team led by Philippe.’

‘We have worked with Provision AVL previously on our core music creation products, such as SiX, and Fusion,’ says SSL Director of International Sales, Philippe Guerinet. ‘As part of our strategy to further develop our live sound presence in the region, expanding Provision AVL’s portfolio to include the SSL Live range is a natural progression to achieve our goals. Starting with the forthcoming ProLight & Sound show in Dubai, we look forward to growing our customer base in the region.’

Completing its debut run at The Old Vic in London, Just for One Day - The Live Aid Musical received an Olivier Award nomination for for Outstanding Musical Contribution on top of acclaim for the performances from its show band and cast.

Gareth Owen spearheaded the sound design for the production. ‘My approach was to imagine what the songs from the concert would sound like with today’s technology,’ he explains. ‘The goal was to maintain the essence of the original performances while infusing modern production values.’

Own chose Point Source Audio’s Series9 lavalier microphones for the production: ‘The mics performed exceptionally well,’ Owen reports. ‘We had ample opportunity over the run to compare them to various other microphones and each and every time we came back to Series9.’

Held at Wembley Stadium in London and JFK Stadium in Philadelphia in July 1985, Live Aid raised approximately US$127m to help alleviate the Ethiopian famine. ‘Live Aid was iconic – it showcased the power of music to unite people across continents for a humanitarian cause,’ Owen says.

‘I started by collating all the music from the show into a playlist and listening to it on repeat. There are so many iconic songs there which I thought I knew but realised I really didn’t when I started really drilling down into them. Details of effects and orchestrations were meticulously researched – I think I read every online thread about 80s reverb ever written.’

The show featured a live band on stage, which performed with minimal acoustic screening. When this was combined with the lavalier microphones hidden in the cast’s hair, was a challenging design prospect.

‘My old friend [Cirque du Soleil Vegas Sound Designer] Jonathon Deans had been extolling the virtues of Point Source Audio microphones to me for years,’ Own says. ‘I’d always wanted to use them and finally the opportunity presented itself to me for Just for One Day in London.’

When it comes to selecting a lavalier mic for theatrical performances, there are a few criteria that Owen feels are critical to success. ‘Audio quality comes first and foremost when selecting a microphone. It also needs to be small enough to hide in plain sight on a performer. Finally, it needs to be robust – it doesn’t matter how small it is or how good it sounds if it breaks halfway through the opening number.’

Point Source Audio’s microphones, specifically the Series9 GO-9WL lavaliers, proved instrumental in meeting these demands. With a maximum SPL handing of 142dB and a sensitivity of -39dB, they use Endure connectors and an IP57 waterproof rating.

‘Just For One Day is one of the most challenging shows I have done for a while,’ Owen reflects. ‘Through the sheer perseverance and bloody mindedness of myself and my Associate Sound Designer Andy Green, as well as the brilliant work of Head of Sound Joe Green and the rest of the team, we beat the sound in to a shape that I wasn’t just happy with, I was truly ecstatic with. It was a hell of a journey, but I couldn’t be prouder of the end result.’

More: www.point-sourceaudio.com

Professional Wireless Systems (PWS) has purchased the two Bel Digital BM-A1-64Dante monitoring units for use on its latest music awards show system in Miami.

A subsidiary of Masque Sound, PWS is a supplier and supporter of wireless systems for live and broadcast events, including the NFL Super Bowl, the Lollapalooza festival and the Latin Grammy Awards. The BM-A1-64Dante monitoring units are the first units to be issued.

‘We had an analogue monitoring system but it required us to either put a splitter in line or get a return feed from the main show splitter,’ explains PWS General Manager, Jim Van Winkle. ‘We had been looking for a way to monitor through Dante and we decided this box would be a good solution. We recently deployed the Bel monitors for the first time and everybody picked it up pretty quickly – and we’re very happy with it. We used both of our units on a recent Latin music awards show, one at the mic racks backstage for the lead RF engineer, and one on stage where the RF A2 can check a mic before handing it off to the talent.’

The BM-A1-64Dante is being used for monitoring all live mic feeds set up by PWS, including units from Sennheiser, Shure, AKG and Audio-Technica. ‘Being able to connect by Dante has streamlined our set-up time,’ Van Winkle reports. ‘The system is very easy to use and reliable. We plan on using these units on all of our large shows.’

See also:
Bel Digital BM-A1-64Dante

A major A/V system upgrade has seen the London HQ of Australia’s largest global insurer, QBE, home to a custom K-Array loudspeaker installation. Supplied by UK distributor 2B Heard, and installed by The Pyramid Group, the loudspeaker system provides localised audio coverage of the company’s Broker Lounge and Town Hall meeting spaces while being hidden from view.

QBE’s European headquarters comprise a range of purpose designed meeting spaces, reception, events areas, and a dual divisible meeting room, as well as 45 newly created meeting rooms and office spaces.

The focal point of the QBE building is the Broker’s Lounge, an impressive 31m by 7.5m space that’s mainly used for presentations – although it can be specifically re-purposed to host a range of live events in a Town Hall format, or smaller individual meeting spaces as and when required. To fulfil the need for audio coverage of the flexible space, Pyramid’s installation team was challenged with creating an equally flexible loudspeaker system, including multi-zone coverage.

The client’s high expectation in terms of audio quality coupled with a key requirement that the loudspeaker should be invisibly integrated into the room’s décor pointed towards a clear solution – K-Array’s extremely compact but powerful Tornado-KT2 compact architectural speakers.

‘The client’s brief was for us to achieve uniform audio coverage of the whole room while keeping the speakers essentially hidden from view,’ explains Pyramid Group Senior A/V Project Manager , Will Cannon. ‘Our solution was an evenly-spaced matrix of down-firing KT2 speakers, ceiling mounted and positioned between the slats of the contemporary Hunter Douglas suspended ceiling, flush with the lower edges so as to avoid any possible diffraction effects. Working within the physical constraints of the ceiling structure, the KT2s offered us the best combination of pleasing aesthetics and desired dispersion.’

The speakers are configured in groups of seven, with each group aimed towards one row of seating directly below. Each group is assigned to a zone on the AMX touchscreen control system, allowing the client to select any combination of zones at a single touch, dependent on the room layout and seating

The KT2 speakers’ selectable 32Ω impedance feature proved to be a highly practical function, enabling amplifiers to power multiple speakers more efficiently from each of their eight configurable outputs.

With aesthetics playing such a major factor in the audio system design and in order to maintain an uncluttered floor space, the very compact dual 10-inch KU210 K-Array subwoofers are also located above the suspended ceiling, requiring only 15cm of installation space. These are assigned one per group of six KT2 satellites so that even in a reduced configuration, full frequency response is still possible.

‘We worked with Dave Wooster at 2B Heard on a concept that would provide a discreet option. Following Dave’s initial EASE Focus simulations we then selected a final design, and what we’ve created is an incredibly uniform near field coverage pattern with a natural listening experience even at high levels, and with absolutely no delay effects,’ confirms Cannon. ‘For music, the KU210 subs kick in to give serious bass response down to 42Hz.

‘We’ve put as much control over the sound system in the client’s hands as possible. For a music event everything can be full on with subwoofer support, but if they have, for example, a small meeting of only 20 people or so the unused zones can simply be switched off, keeping the audio exceptionally focused.’

‘The client is very pleased with the result,’ he concludes. ‘The coverage of the room is excellent, spoken word reinforcement is very clear, and the KU210 subs complement the KT2 satellites perfectly for a quality music programme.’

QBE’s Head of Corporate Real Estate Services, Mark Thompson, attests to the success of the project: ‘Our thanks to Will and the team at Pyramid who have delivered an integrated audio solution to budget with an exceptional eye for detail, managing timescales in sometimes challenging situations, and ultimately ensuring that we met our goals on time, and with complete customer satisfaction.’

QSC has appointed Audiologic as an exclusive distribution partner for live sound in the UK. Under the arrangement, Audiologic will provide a holistic customer support, from daily interaction to service and training.

‘We are extremely proud to be awarded the exclusive UK distribution for QSC Live Sound products’, says Audiologic MD, Andy Lewis. ‘Over the past two years, we have demonstrated real in-market value for QSC with their Systems portfolio with proven system design services, technical support and project advice. We look forward to providing the professional audio market with the same level of service and support with QSC Live Sound products.’

Audiologic is has already successfully worked as Industry Market Partner for the QSC Systems portfolio. Audiologic is one of the A/V industry’s most respected providers in the UK and Ireland combining detailed product knowledge with excellent standards of customer service.

‘As the QSC brand strengthens, we must evolve our distribution model and go to market strategies’, adds, QSC UK & Ireland MD, Duncan Savage. ‘Audiologic provides the technical expertise and support models required to meet our customers’ expectations, and we’re enthusiastic to work with them in the Live Sound market as well. As we ramp up our Live Sound presence across the EMEA region, we will look to Audiologic to provide the highest levels of support to our customers in the UK and Ireland.’

Radial Engineering has announced the JDX Direct-Drive, a footpedal-style unit that simulates the sound of a guitar amplifier while doubling up as a direct box.

‘We had been asking the Radial engineering team to come up with a solution that would enable a guitarist to connect directly to the PA before hitting the amp,’ says Radial Central Territory Manager, David ‘Shuu’ Guidish, who spent almost two decades on stage as a guitar tech with various bands including a ten-year stint with Nickelback. ‘This would allow a sound engineer to capture the tone right after the pedals and manage it before it hits the amps, eliminating unknowns such as room acoustics and resonance which invariably will force the musician to change the tone on stage each night.

‘It is important to clarify that the JDX Direct-Drive is not like a regular direct box. What the Radial Einsteins did was replicate the sound of a guitar amp in a pedal format by emulating various guitar amp and speaker curves, starting with the popular JDX. The JDX Direct-Drive sounds natural, like a real amp. This allows the engineer to mix and match the pre-stage-amp tone with the miked sound of the cabinet to quickly get a consistent tone night after night. For fly dates and guys who play in clubs, the JDX Direct-Drive eliminates the need to carry an amp to the gig. Today, with the high cost of airline fees, this is truly a remarkable advancement.’

The Radial JDX Direct-Drive offers a traditional quarter-inch guitar input and passive thru-put to feed a stage amp. This is then followed by a dedicated tuner output that is buffered in order to eliminate loading on the pickup or noise from the quartz clock. The guitar signal is then passed through a series of filters to create Radial’s signature JDX tone – modelled after the sound of a Shure SM57 mic in front of a Marshall 4x12 speaker cabinet.

The JDX Direct-Drive pushes the boundaries with two more settings. The first adds a typical Marshall tube head character to the signal path while the second brings in something similar to a Fender Twin combo. The two tones can be further tailored using a presence switch. The amp tone signal exits the JDX Direct-Drive via either a quarter-inch guitar level output or via a balanced XLR to feed the PA. The direct box output is fitted with a 180° polarity reverse switch to help phase-align monitors with the stage amplifier along with a ground/earth lift switch to help eliminate the hum and buzz caused by ground loops. The unit may be powered using a standard 9V supply or pedalboard power brick.

The MAP for the JDX Direct-Drive is US$199.99.

More: www.radialeng.com

Radial Engineering has redesigned and upgraded the Tonebone BigShot I/O instrument selector.

‘Today, playing on stage is all about efficiency and maximising performance – no-one wants to compromise,’ says Radial’s Mike Bauer. ‘If you are a bass player, you want to select between your active and passive basses quickly without having to adjust the volume on your amp after the changeover. The same applies to acoustic guitar, electric guitar or any other instrument. The changeover must happen fluidly. More importantly, if you change the output level from the instrument going to the amp, you invariably change the levels going to the PA and monitors. This means that the audio engineers must scramble to follow suit in order to maintain a proper balance.

‘The BigShot I/O is a passive instrument selector that lets you select between two instruments using a footswitch. Input-B is equipped with a level control to pad down the input of the louder instrument to match the output. Should a passive instrument like an electric guitar be used, a separate three-position Bright switch may be inserted into the signal path to compensate for the load and the effect of the cable capacitance. Full-size LEDs give you immediate visual confirmation of the active input.’

Because the I/O is true-bypass, it addresses the needs of the most demanding purist. It is equipped with a separate tuner output – with a simple foot stomp, the sound going to the amp is muted and diverted to the tuner for quiet on-stage adjustments. Compact, rugged and fully passive, the BigShot I/O does not require any powering to make it work other than for the LEDs.

The Tonebone BigShot I/O is now shipping at an MAP of US$89.99.

More: www.radialeng.com

US PA specialist Rat Sound has purchased an Allen & Heath dLive system, which has gone directly to work on a nationwide tour by LA-based indie band, Edward Sharp and the Magnetic Zeros (ESMZ).

 Comprising a dLive S5000 control surface and DM64 MixRack, Rat Sound’s dLive system is managing FOH and recording duties.



Formed by Alex Ebert in 2007, ESMZ play a wide range of original music that draws from folk, rock, gospel and psychedelic roots, and are promoting their newly released album, PersonA. The tour is visiting venues ranging from smaller ‘underplay’ houses to larger auditoriums.

FOH engineer Steve Taylor says ESMZ’s ten members are multi-talented artists who move from one instrument to another, often in the same song, resulting in as many as 60 mic and direct sources in the FOH mix. In many venues, the band’s stage is crowded and stage level is high, so even close-miked instruments pick up unwanted sounds making it difficult to separate individual instruments or voices in the mix. Taylor uses the dLive system to meet these challenges in creative ways that free the band to entertain audiences with their unique style of music.

For each of ESMZ’s songs, he sets up a dLive ‘scene’, assigning sources to faders and customising EQ and effects for that song’s mix of instruments and voices. He tunes the dLive’s input channel gates to trigger on the frequency range of individual instruments and voices. Then, he pans sources and uses small amounts of delay to create space and width in the mix.

Taylor records ESMZ concerts to a laptop in multitrack via the dLive’s Dante card and in stereo to a thumb drive. He saves the entire dLive configuration to another thumb drive as a backup.

ESMZ monitor engineer Jerry Lopez has also switched to a dLive S5000 surface with a DM64 MixRack as well while on tour. He creates as many as 32 mixes sending them to in-ear monitors, side fill and wedge monitors on the stage: ‘The beauty of the dLive is I can put the band’s input list wherever I want it on the surface and the dLive has all the features I need to create my own work flow,’ he says.

Lopez likes the dLive’s ‘English’ preamps and Taylor says the mixer is ‘cleaner and more defined’ than other digital mixers he has used. Both engineers found the dLive easy to learn and love the drag-and-drop set-up screens. Taylor says this is ‘early in the game’ for ESMZ and adds, ‘The dLive will help us achieve Alex’s goal of moving the band to the next level for sound and professionalism.’

With a world tour taking in venues spread as far and wide as Canada, South Korea, Japan, the UK, Europe, the Czech Republic, Norway, Sweden and Finland, the Red Hot Chili Peppers regard a consistent stage monitoring system as essential.

To ensure they have it, Rat Sound Systems has chosen its own SuperWedge monitors. To take full advantage of the SuperWedge’s features, Dave Rat has looked to the performance and routing capabilities of Powersoft X4 power amplifiers. When Red Hot Chili Peppers monitor engineer Mark Vanderwall subsequently requested X4 amplifiers to drive the rest of the monitor system, the tour moved to an all-X4 monitor power section, delivering incredible output and performance from two compact racks.

Rat Sound’s SuperWedge features four independent speakers, accommodating all four inputs from the X4 amplifier. Rat Sound engineers were able to use the Powersoft X4’s routing (configurable with Armonía software) to enable multiple output configurations for the SuperWedges to tailor their output to The Red Hot Chili Peppers’ on-stage needs. For bassist Flea and drummer Chad Smith, the X4 drives SuperWedges containing a pair of 12-inch drivers, a 10-inch driver and a 2-inch driver.

‘Using input 1 on the X4 sends signal to all four speakers, while using Armonía to separate frequencies between 40Hz and 80Hz into one 12-inch, 40Hz and 250Hz into the other, and 250Hz to 20kHz in to the 10-inch and 2-inch speakers,’ explains Dave Rat. ‘This results in a four-way wedge that reduces comb filtering interference in the 80-250Hz region that occurs when both 12’s reproduce this frequencies.’

Input 2 on the X4 allows the SuperWedge to function as a conventional tri-amp wedge, using one 12-inch speaker plus the 10-inch and 2-inch speakers. Input 3 outputs to only the 40Hz to 80Hz 12-inch, enabling direct control of sub frequencies exclusively. Each X4 was able to drive a pair of SuperWedges with plenty of headroom thanks to its 3kW of power per channel at 4Ω.

Guitarist Josh Klinghoffer’s SuperWedges each have one of their 12-inch speakers replaced with a 12-inch Celestion guitar speaker. With the X4’s routing, these deliver a standard triamp wedge configuration on Input 1, and use Input 2 to deliver full-range output to the guitar speaker only. Using an emulated output on the guitar rig, this allows Klinghoffer to hear a guitar sound from the SuperWedge that is extremely close in tone to the sound of his guitar rig. Operating in stereo, these are driven by one X4 each.

Red Hot Chili Peppers monitor engineer Mark Vanderwall was impressed with the performance of the Powersoft X4 with the Rat Sound SuperWedges during early tests, and he requested X4 amplifiers to drive the rest of the monitoring system, which includes EAW MicroWedge 12s, dual drum thumpers, a drum sub, two Rat Sound L-wedges, and side fills. Due to their small footprint, the ten X4s that comprised the final system were easily fit in two custom-panelled racks designed by Jon Monson, head of touring at Rat Sound, which fit directly under Vanderwall’s console. ‘It’s hard to imagine that each of these racks can hold up to 120kW at 2Ω power with 24 inputs and 24 outputs,’ Rat says. ‘Not to mention providing five high-quality limiters per output.’

To accommodate a demanding large-scale international tour such as this, reliability and efficiency were key factors: ‘We feel very confident in the integrity of this setup thanks to using Powersoft across the board,’ Rat says. ‘The systems have been running exactly as planned and we even included a backup X4 in each rack pre-loaded with all of the necessary configurations to replace any other X4 in the rack for added redundancy.’

Rat Sound assembled two identical stand-alone monitoring systems for the tour, allowing the two systems to leapfrog for shows that are too far apart to truck the gear quickly enough. Rat Sound was pleased to acquire the full complement of 20 X4s necessary to facilitate both systems knowing that they will remain a valuable asset for countless future tours.

‘Powersoft’s X series amplifiers and our Rat Sound SuperWedges compliment each other perfectly’ Rat says. ‘ Having so much power and versatility in such a compact package is truly amazing. The multiple configurations, clarity and volume levels we are able to achive with the X4 powering the SuperWedges is breathtaking. Literally the combo at high levels will give you an adrenaline rush they are so loud and clear.

RCF has announce released RDNet software v3.1, bringing direct control of the onboard hi-pass filter, and new Shape Designer and Bass Shaper function to the RDNet Networked Management System.

With total integration among hardware components – transducers, amplifiers, DSP and inclination – RDNet now integrates a straightforward prediction feature to assist with line array set-up in simple systems in its Shape Designer. The software performs a two-dimensional calculation providing system curvature, system rigging point, and cabinet angles.

The new Bass Shaper tool helps sound system engineers to adjust the desired timbre on low frequencies. With three slides and a few steps, it is easy to correct the low-end behaviour, maintaining a tonal balance across the entire system. Additionally, RDNet now offers direct control on the internal HP filter on each cabinet, improving system flexibility and simplifying satellite-to-subwoofer phase alignment.

The interface is improved for faster adjustments, with high contrast colours and comfortable controls for touchscreen devices. New views like the single channel equalisation view are added.

More: www.rcfaudio.com

Nick Cave’s recent stadium tour saw Barak Koren (Ilse DeLange, Mell & Vintage Future, Marco Borsato) installed at FOH with a Waves SoundGrid Rack running plug-ins for his Avid Venue S6L console,

‘I have been using Waves plug-ins for the past 15 years, and plug-ins play a major role in my sound,’ he says. ‘I found that the Avid S6L’s sound and workflow, combined with Waves plug-ins integrated in the -operating system/surface is very impressive and easy to access.’

Waves’ SoundGrid Rack for Venue enables live sound engineers to run Waves plug-ins directly within Avid’s Venue S6L mixing console, with tactile control from the console’s surface knobs. The SoundGrid Rack is a plug-in that runs within the Venue S6L environment and loads up to eight SoundGrid-compatible Waves plug-ins per instance. All standard Venue plug-in features apply, including Config and Show modes, delay compensation, snapshot automation and detailed tactile control of plug-in parameters.

‘I find that using the Waves SoundGrid Rack for Venue software enabling Waves plug-ins to run integrally on the S6L mixer/console, adds a wide selection of tools and colours to my mix that I cannot get when working with any other mixer,’ Koren says. ‘The ability to control, save, manage and automate the plug-ins/chains/racks within the mixer’s OS is a huge benefit.’

Koren’s set-up is based on a 32-fader Venue S6L surface, integrating Waves SoundGrid Rack for Venue, two Waves Extreme SoundGrid Servers and additional outboard – an API 2500, two dbx 160As, two Empirical labs EL8 X Distressors, a Yamaha SPX 2000, LEX480L, an Eventide H3000 and a Lake LM44.

‘I find that the Primary Source Expander (PSE) is a perfect tool for mixing live sound,’ Koren continues. ‘It reduces stage bleed and sensitivity to feedback when a mic is idle by automatically lowering mic levels between musical phrases. PSE is a smart, handy tool that I use to treat quiet instruments on loud stages. I use the F6 Floating-Band Dynamic EQand the C6 Multiband Compressor on vocals and acoustic instruments. These two plug-ins help me maintain tonality and a dynamic range, without the need to “filter out” using EQ.

‘I use the DeEsser and Sibilance plug-ins on vocals. These allow me to maintain high frequency content without the need to take it out of the PA system, since all PA systems tend to push the high end in order to maintain HF over distance. I find the latter to be unnatural on vocals, and therefore use these two plug-ins to control HF content. I use the H-EQ Hybrid Equalizer on almost all instruments. It sounds amazing and gives me the option to toggle between creative and corrective EQ.

‘Another favourite is the Scheps Omni Channel – I mainly use the preamp (thump/saturation) to get an analogue feel/punch/distortion. I also find the Gate/Expander to be a very powerful tool as well as its DS2 section.

‘For compression, my choices are the PuigChild Compressor and the CLA76. H-Delay Hybrid Delay and the Manny Marroquin Delay are two delays that make the instruments ‘move’ in the mix. The dbx 160 Compressor/Limiter is my go-to bus compressor. It’s just a fast and great sounding compressor. The threshold control, in combination with its mix control, makes it quick and easy to find the right setting on a bus. And of course, the Scheps Parallel Particles for synth/electronics and when you look for something but don’t know what… It sparks up creativity and offers unpredictable solutions.

‘Thanks to Waves, I can smoothly and confidently recreate the analogue sound of Nick Cave and The Bad Seeds in the digital domain and enjoy the benefits of working with the Avid S6L, while having the advantage of easily using integrated essential Waves plug-ins.’

More: www.waves.com

Renkus-Heinz has released the C Series of professional loudspeakers for installed sound applications.

Presented as ‘a reinvention and evolution’ of the company’s CF/CFX Series, the C Series is designed to meet the needs of today’s Installed A/V professionals, with a broad range of systems to provide effective solutions for every sound reinforcement challenge. Designed for permanent installed applications, C Series loudspeakers are a cost-effective solution for theatres and performing arts spaces, houses of worship, multiuse venues, public spaces, and any project where quality sound, high performance, and pattern control are essential.

The new C Series loudspeakers incorporate the latest generation of Complex Conic Horns, with updated drivers to provide clean sound and tighter pattern control. Unlike conventional loudspeaker designs, Complex Conic horns provide consistent beamwidth over a wider frequency range. And as with all Renkus-Heinz products, C Series loudspeakers are backed by worldwide customer support.

C Series models will be available in amplified (CA Series) and passive (CX Series) models, in black or white finish. The CX42 stairstep loudspeaker, an updated version of the highly acclaimed CFX41, will only be available in a passive design. C Series will ship in Q1/Q2 2017.

More: www.renkus-heinz.com