Having begun by providing audio systems for corporate, social and arts events in 1990, Audio-pro moved into live music events, positioning itself at the leading edge of Chile’s concert touring market in the mid and late nineties.

Today, the company – which is based in Viña del Mar, near Santiago – is also able to handle large-scale concerts following the purchase of an L-Acoustics touring system.

‘We had to buy the best loudspeaker system in the world,’ says company owner, Jorge Diez. ‘L-Acoustics K1 was the clear choice, for its rider friendliness, quality sound and longevity. We knew it would be a good investment.’

Ordered in December 2016, the system is the first of its kind in Chile, comprising 48 K1, 24 K1-SB subs, 36 K2, 24 KS28 subs, along with 18 LA-Rak IIs, each with three LA12 X amplifiers, and four ARCS WiFo. The first fruit of the investment was being able to take on supplying the main stage sound system for Lollapalooza, where the bill included Metallica, Cage The Elephant, Rancid, We Are The Grand, Jimmy Eat World and Two Door Cinema Club.

Audio-pro had already supplied the sound system for the third largest stage at Lollapalooza, increasing its role at the festival with the L-Acoustics K1 system for 2017. ‘We have been involved with Lollapalooza Chile Festival for the past four years,’ Diez says. ‘When Lotus, the festival’s technical producers, learned of the arrival of our K1 system, they wanted it for the festival.’

Audio-pro was again contracted to supply the third stage this year, but with its new K1 system, it was also able to take on the main stage. ‘This meant that we did two of the three most important stages of Lollapalloza Chile,’ Diez explains. ‘Without a doubt, the power of K1 is a very positive point for a festival of this magnitude and we are very grateful for the trust that Lotus, the festival’s promoters, put in our company.’

With more than 140,000 people attending, this was the largest crowd in the festival’s history and meant that the main stage system needed to cover a large area. With the help of Alex Soto (L-Acoustics Application Engineer for Latin America and the Caribbean) and using Soundvision to help with the design, the Audio-pro team were able to devise a system that would provide perfect coverage for the entire arena.

‘This was a major challenge as we needed to cover up to 220m in depth and 170m width,’ Soto explains. ‘To achieve this, we had a set-up that comprised 28 K1 with six K2 as down fill, plus 12 K1-SB in throw configuration. Side hangs were a further 20 K1 plus four K2 as down fill, with ten K1SB, again in throw configuration. We also had three delay towers, each with hangs of eight K2. We used two K2 and four distributed ARCS WiFo as front fill, with 24 KS28 and 16 SB28 ground stacked subs in an electronic arc configuration.’

In addition to aiding with system design for Lollapalooza and being present throughout the festival, Soto has trained Audio-pro’s team of engineers, ensuring that they’ll get the very best of their system for all events on which they use it in Chile and beyond.

‘This was the first project with our new L-Acoustics system and the bands’ engineers were very happy with both our service and our new equipment,’ Diez concludes. ‘We have been extremely well supported and I am really happy to have entered the exclusive club of companies that use K1. I’m sure that this purchase will position Audio-pro as an important player in the competitive sound reinforcement industry and that we will gain new customers because of it. With our world-class service, highly-qualified sound engineers and now this K1 system, we have the ideal mix.’

Audio-Technica has announced the ATDM-0604 Digital SmartMixer, featuring an intuitive user interface, echo-cancelling and flexible web remote functionality.

The ATDM-0604 is a six-channel automatic mixer intended for use for meetings, conferences, soft codec applications, courtroom proceedings, radio and TV broadcasts and other applications involving the use of multiple microphones or other media inputs. SmartMixer technology allows channels to be mixed automatically in gate or gain sharing mode ensuring consistent, high-quality audio output from all inputs in a set-up without the introduction of feedback, excessive ambient noise or comb filtering.

Controls and LED indicators on the mixer’s front panel allow easy adjustment of input/output and gain levels; setting and recall of presets; phantom power switching, low-cut filter, automatic mixing and acoustic echo cancellation (AEC); changing of IP configuration (Auto or Static) and other functions. A full complement of digital signal processing is available for inputs and outputs, including parametric EQ, compressor, limiter and feedback control.

Control and monitoring tools are accessible locally on the front panel or via the Web Remote interface, which allows users to handle these adjustments from a Windows-based PC, Mac, iOS or Android device and make additional changes to the input and output settings, select gate or gain sharing mode when using Smart Mix, and adjust other advanced settings.

The mixer is equipped with four balanced microphone inputs, two balanced mic/line inputs and one unbalanced stereo input, along with two balanced and two unbalanced outputs. Network (Cat5e or better) and USB ports are also included, as are A/B Audio-Technica Link ports that let users connect six ATDM-0604 mixers via Cat5e cable for simultaneous use within an expanded set-up.

More: www.audio-technica.com

Audio-Technica has released the ATH-M50xBB Professional Monitor Headphone, a limited-edition blue/black version of the ATH-M50x and part of its M-Series line of headphones for critical audio applications including recording, live sound, broadcast, DJing and personal listening

The headphones feature metallic blue earcups and black accents including distinctive trimming, earpads and headband. The 45mm large-aperture drivers and sound-isolating earcups are part of the headphones’ robust construction, which incorporates technology drawn from Audio-Technica’s history in the field of high-performance professional audio, providing power handling, very high SPL capability. With professional-grade earpad and headband material and a collapsible design with detachable cable, the ATH-M50xBB headphones remain comfortable throughout long monitoring sessions and transport easily.

Audio-Technica’s limited-edition ATH-M50xBB are available at US$169 MAP. They join the currently available ATH-M50x models in black (ATH-M50x) and white (ATH-M50xWH).

More: www.audio-technica.com

Audio-Technica has released its ATH-M50xSTS and ATH-M50xSTS-USB StreamSet streaming headsets, specifically developed to address the needs of live-streaming content creators.

Based on the ATH-M50x professional monitor headphones and incorporating technology from the company’s 20 Series microphones, the ATH-M50xSTS and ATH-M50xSTS-USB deliver full-spectrum, ‘studio-quality’ sound using 45mm drivers. The headsets come with two sets of earpads – M50x earpads stress audio quality and sound isolation, and mesh and leatherette earpads that prioritise breathability and comfort. optimum positioning even with head movement. The headsets’ microphone can be muted quickly and efficiently by flipping the boom arm into the up position.

The ATH-M50xSTS uses a 2m (6.6ft) permanently attached cable with 3.5mm headphone input plus 6.3mm/quarter-inch adapter, and XLR microphone output. The ATH-M50xSTS-USB uses a 2m permanently attached cable with USB-A connection (and USB-A to USB-C adapter) for plug-and-play connectivity to PCs and Macs. In addition, the ATH-M50xSTS-USB includes an A/D converter with a sampling rate up to 96kHz/24 bits, and sidetone circuitry that lets vocals be heard in the headset (with volume controlled by a dial on the earcup) for a natural, conversational feel.

The ATH-M50xSTS is available with an MSRP of US$199, and the ATH-M50xSTS-USB with an MSRP of US$229.

More: www.audio-technica.com

Audio-Technica’s ATM350a Cardioid Condenser Instrument Microphone comes in six systems offering mounting solutions for a variety of instruments, including woodwinds, strings, brass, percussion, drums and piano.

Following the ATM350, the ATM350a is capable of handling 159dB maximum SPL, a 10dB increase over its predecessor. This allows the mic to cope with a greater range of extremely powerful, dynamic sound sources. Like the ATM350, the new mic features a cardioid polar pattern that reduces side and rear pickup and protects against feedback. The mic’s in-line power module incorporates a switchable 80Hz hi-pass filter to help control undesired ambient noise.

The six ATM350a Microphone Systems combine the instrument microphone with unique UniMount components, giving sound engineers and musicians plenty of dependable mounting options when working on stage or in the studio. Options include a rugged drum mount, all-new magnetic piano mount, upgraded universal clip-on mount, expandable woodwind mount, and two strong, flexible goosenecks (5-inch and 9-inch) that can be attached to any of the mounts.

Audix has appointed Bardy Hayes and Alex Schloesser of Global Market Management (GMM) as its exclusive representatives in the Asia-Pacific region.

Hayes is a veteran of the pro-audio industry with experience in regional touring, sound contracting, retail and distribution. He has managed export sales for top pro audio brands for 20 years. He is based in the company’s San Diego office.

Based in Singapore, Schloesser owned a major rental, broadcast and sound installation company in Cologne, Germany for 28 years. His professional background includes live sound touring, broadcast engineering, systems integration and product development.

‘This is a really exciting opportunity and the timing is just right,’ he says. ‘I have known and used Audix microphones for the last 25 years and I truly love the sound they give me, even in challenging environments.’

‘We are excited about the addition of Bardy and Alex to the Audix team,’ says Audix VP of Sales & Marketing, Chris Doss. ‘Their industry experience and knowledge of the Asia-Pacific market is ideal to foster growth of the Audix brand in the region.’

Hayes and Schloesser are supported by Jesse Hayes in the GMM San Diego office.

Setting the standard for all tribute acts, the Australian Pink Floyd Show reckons to have sold more than four million tickets to performances in 35 countries, bringing a concert experience that is often indistinguishable from the original – any era you want.

Handling the sound reinforcement for the band has fallen to Capital Sound on many occasions – including their recent UK and European theatre tour. With the FOH team of sound engineer Trevor Gilligan and system tech Mark Edwards, Capital Sound rolled out a DiGiCo SD5 mixing desk, Martin Audio W8LC Compact Line Array, and created a library of presets for Powersoft’s proprietary Armonía software to serve new X Series amplifiers. A newly configured returns rack – designed by project manager, Robin Conway – ensures the new platform is operating at its best

Gilligan – with 35 years in the industry working with the likes of Kasabian, St Etienne, Buzzcocks and the Hoosiers – reckons the Powersoft amplifiers have already proven themselves with Outline Butterfly PA system on an earlier tour. ‘The new X8s have opened up the whole sound field in terms of vocal separation,’ he reports. ‘And the smooth, seamless power means you don’t have to drive them hard. Just like the last time I used Powersoft, you immediately notice the clarity and sonic power.

‘The UK tour package is now so compact that it requires a truck fewer than previous years,’ he says of the Aussie Floys shows. ‘Every space saving helps, and certainly the X8s have helped enormously in that respect. And you just switch them on, and off they go...’

For Conway, the new X8 inventory was a no brainer after long experience of Powersoft in the active Martin Audio systems Capital Sound runs in rental stock, including the flagship MLA. ‘When we made the purchasing decision we knew we were investing in a significant platform – it was totally logical and we had no worries about the reliability of Powersoft. It has amazing broadcast quality.’

He adds that, having recently converted to a Dante returns core, the X8s onboard Dante facility provided a compelling reason for purchasing: ‘It made complete sense and simplifies the signal chain, with seamless integration. It is exactly what we are looking to achieve in standardising our rental infrastructure.’

Capital Sound runs four touring racks, each consisting of three X8 – giving 24 amplifier channels per rack. ‘This gives us just 12U of real estate, drawing very little power and easily fitting within a 63A, three-phase touring power supply system; this makes it a hugely efficient option.

‘On this tour the boxes have sounded incredible; having a powerful, DSP-driven amp with power, headroom, functionality and the ability to drive different boxes is perfect for our needs. Also, Armonía gives us massive control and flexibility – it means the signal chain is no longer convoluted because we can bring everything into a single piece of software.

‘We are finding new features of X8 every day and going forward we expect more of our engineers to move from their present set-up onto Armonía.’

Avid has released new software for the Venue S6L live sound system.

Enhancements in the Venue 5.2 software update include I/O sharing with Avid True Gain Technology as well as support for the DNT-192 Option Card, claiming reduced costs and improved efficiency. In addition, a free standalone version of Venue 5.2 enables engineers to work on show files for Venue S6L offline without needing a system.

I/O sharing and gain tracking enables the sharing of Stage 64 I/O racks across two Venue S6L systems, with automatic gain tracking. Avid True Gain Technology automatically manages gain compensation to ensure appropriate signal levels in each engineer’s mix, providing all engineers on a network with the same set-up, including fully independent control of all input gain levels.

Venue 5.2 also supports the new Venue DNT-192 Dante Option Card for Venue S6L. With widespread industry adoption of Audinate’s Dante networking protocol, the Venue DNT-192 card enables engineers to integrate Venue S6L into a Dante infrastructures and with Dante-enabled devices such as audio mixers, amps, preamps and DSP wireless mics.

Venue 5.2 Standalone software is a free standalone version of Venue 5.2 software that enables engineers to pre-program shows, work on show files offline, or familiarise themselves with Venue software without a console.

More: www.avid.com/S6L

BAE Audio has announced the PDI passive direct injection box, which claims to have a new transformer design ‘to lend any signal passed through it a pleasingly warm analogue richness’.

The PDI features Neutrik connectors, including a quarter-inch input and low-impedance XLR output one side, with dual audio through outputs on the reverse. This allows unique routing configurations, like sending a guitar signal both via the Lo-Z output to a console as well as via the dual Hi-Z through outputs to two separate amplifiers. A ground lift switch helps tame any ground loop issues on the fly.

The PDI’s new transformer design is similar to those in vintage rack gear found in top studios around the world. Hand-assembled in California, the PDI features a gold-plated PCB and through-hole components for signal integrity throughout. Recessed switches and connectors combine with a rugged steel chassis to help it stand up to the beating of daily studio or stage use.

‘Many DI boxes on the market will make your direct signal sound a bit sterile, but the PDI gives you a mix-ready sound for guitar, bass, keyboards or just about any other instrument,’ says BAE Audio CEO, Mark Loughman. ‘Whether you choose that sound in the mix as-is, or route it to outboard gear or amplifiers for additional manipulation, the PDI is a great tool for adding life to your direct sources.’

The PDI is shipping now and will retail for US$120.

More: www.baeaudio.com

The relationship between London’s Barbican Centre and Autograph Sales & Installations is a long and close one, which includes not only the supply of audio equipment and ongoing support but also the recent installation of a venue-wide digital transport network in the hall to assist house technicians in handling anything the diverse programme of events might throw at them.

Dance, film, theatre, diverse visual arts and every conceivable genre of music are all presented by the complex throughout the year, and it’s essential that the audio infrastructure is not only technically able to meet the expected standards but also offers the familiarity and rider-acceptance expected by visiting sound engineers. With this in mind the Barbican Music Department have recently completed a major upgrade to the stage monitoring system in the Hall, assisted once again by Autograph Sales & Installations.

A DiGiCo SD10 is the chosen mixing platform, joining an SD7 – the main auditorium console – and an SD9, which fulfils a number of roles depending on what’s needed on the day. Likewise, the SD10 is intended principally for monitor use but can easily be deployed in numerous other roles, connecting quickly and reliably with the other DiGiCo consoles and SD-Racks using the venue’s digital backbone.

After a lengthy process of evaluation, the Barbican’s audio team chose d&b audiotechnik’s M4 stage monitors (joining the existing inventory of d&b Max-15s), powered by D20 quad-channel, DSP-equipped amplifiers. ‘Once again we found Autograph’s advice and support to be invaluable on this project’, says Barbican Technical Manager, Mark Bloxsidge. ‘Autograph arranged demos and loans of equipment for us to evaluate in our own venue, which allowed our whole technical team to try them out before we made the decision.

‘The SD10 was our first and only choice for monitors, as it’s perfect for that application and works beautifully with our existing consoles, racks and infrastructure. Our schedules are very tight, so a console which connects in seconds using two fibre-optic cables is ideal.

‘The d&b M4s are light and easy to handle and have a great sound with the minimum of EQ. We find that they are accepted by musicians across all genres, from Classical to EDM, which certainly makes my job easier.’

Having lost a number of gigs on account of its choice of loudspeaker systems, Pennsylvania rental company Bauder Audio Systems consolidated its entire inventory around L-Acoustics. And after using K2 and Kara systems for three years, the company has recently purchased 92 Kiva II enclosures.

‘We use them in so many ways,’ says Production Manager, Brian Naab. ‘We have a couple of 1,400-to-1,800-seat theatres we work with for which Kiva is perfect. We hang arrays from Genie towers for outdoor events. The fact that Kiva II weigh 31lb each means we can hang between eight and 12 elements and still be well under the limit for even a Genie tower. It’s so fast and efficient, plus the coverage is exceptional and it sounds great.

‘We have plenty of applications for ground stacks and, using the Kiet II bracket, we’re looking forward to mounting up to three of them in a vertical array on a standard speaker stand. So, for that smaller gig where we need more SPL and fairly wide horizontal coverage but there is physically nowhere to hang boxes, this is a great looking and much better-sounding alternative to just a speaker on a stick. We are all actually pretty excited about that application.’

A few months ago Bauder was prepping for an acoustic set with The Band Perry at the intimate, 300-seat Prospector Bar and Grill, which had no room for a line array system and nowhere to hide. The combination of the stature of the artist and the size of the venue made for a situation where audio had to be perfect. ‘The Kiva/Kiet II/SB15m ground stack configuration let us use L-Acoustics in a setting where we would have had to compromise before. We foresee a lot of potential applications for that combination.’

Corporate clients also welcome the system’s small size. ‘With these corporate event designers, audio is often kind of an afterthought,’ he says. ‘They often put in these giant video walls, and then hanging speakers becomes a sightline issue. So being able to tuck these small five- or six-box arrays tight against the ceiling and above the scenery opens up some possibilities that were just simply not there before now.

‘We see this as a straight up improvement in every way possible,’ Naab adds. ‘Packaging, SPL, coverage, sound quality, ease of use. And combined with the Kara and K2 we had already invested in, we get a single, seamless platform that we can use for literally any gig we get called for.’

Bauder does ‘quite a bit of rock and roll, some corporate, and a good deal of theatre and one-offs – the country concert after the Phillies game or the 76ers game where you get three minutes to roll in a PA and have a show, plus a handful of special events,’ Naab says. ‘Previous to this, we were split between a couple of other brands that make quality products but are rarely seen on tour riders. Now, instead of having to explain how what we had was equivalent to what they asked for on the rider, clients hear ‘L-Acoustics’ and we can immediately move on to the next thing on their list. There is never even a question about it.

‘We started with a K2 rig and some Kara enclosures three years ago and it began paying off right away. As soon as we started making these changes, I knew I wanted everything in the building to say L-Acoustics on it. Rick [Bauder, company owner] was completely behind the idea of us getting on one platform – one software package, one rigging system, one amplification system and, crucially, one learning curve.’

In addition to its recent Kiva II purchase, Bauder Audio has also added 16 KS28 and 20 SB15m subs and a quantity of LA12X amplified controllers.

With ushers dressed as beekeepers, tens of thousands of the ‘principle players’ being absent and a rustic soundscape welcoming visitors to the venue, Be Play One was an unorthodox and ambitious event. Premiered at the Nottingham Arts Centre, it used TiMax SoundHub dynamic spatialisation, a 15.2 KV2 surround system and layered projection screens there was promise of quite the memorable multi-sensory experience.

The Wolfgang Buttress-inspired sound and music-scape was created for the UK Milan Expo 2015 pavilion, as part of his massive beehive and meadow installation – which sought to highlight the significance and plight of bees in our food chain and ecology. The show played for two nights to sold-out audiences and received rapturous reviews from the likes of the Guardian and BBC 6 Music.

Following his involvement in Milan alongside Mike Bedford of Hoare Lee, Out Board director Robin Whittaker designed and programmed Nottingam’s multichannel surround system for the 12-piece live band reinforcement and immersive soundscape playback and live streams. The KV2 speaker system choice was driven by positive results in other sound reinforcement projects including some high level TiMax theatre engagements: ‘The EX10s and EX12s delivered exactly what was needed and effortlessly handled the program content without losing clarity or definition,’ Whittaker says. ‘Its great to do what TiMax does best with a system that helps make it work so well’.

The music was composed by core members of Spiritualised and various collaborators assembled by installation artist Buttress, including acoustic and electronic musicians plus his own daughter on vocals. The absent but central performers were 30-40,000 bees who’s scuffling, tooting and waggling noises were live streamed from beehives run by Nottingham Trent University’s Dr Martin Bencsik who is a leading research specialist in the field and a central contributor to the Milan project. The bees’ constant activity was visually projected onto the translucent scrims in front of the band while the remote audio feeds of their complex hive chatter were immersively wrapped and floated around the audience by TiMax along with some of the music elements. As well as playback and all dynamic 3D spatialisation, TiMax2 SoundHub handled eq, delay and zone level trim for the multi channel system. A separate TiMax unit was in place for the walk-in soundscape.

Be Play One is now scheduled for a performance at London’s Kew Gardens, when the entire original Milan Expo pavilion will also be installed for an extended period as a visitor attraction.

See also:
Case Study: The Journey (2015 Milan World Expo installation)

More: www.outboard.co.uk

In more than two decades of gigging German punk rockers Beatsteaks have looked to Berlin-based Complete Audio for its sound system. Now the group can sell out the 24,000-capacity Waldbühne Berlin amphitheatre, recently calling on André Rauhut’s company for Martin Audio’s flagship MLA.

Complete Audio was the first company to invest globally in the new MLA platform when it was launched eight years ago – and it was the first choice both for this show and a second open-air show the band are due to play in August, this time at the slightly smaller Kindl Bühne Wulheide in Berlin.

The rental company s no stranger to the Waldbühne, having worked there many times in the past, and Rauhut has system presets to meet the challenges of a sensitive site: ‘Due to it being situated close to a residential area, they have strict SPL limits,’ he says. ‘And the measurement point is located at the very top of the venue. With MLA we are able to tweak out a few extra dBs due to its ability to Hard Avoid [sensitive areas]. This means less spill over the edge of the venue.’

Complete Audio deployed 15 MLA and two MLD Downfill enclosures per side, with out fill comprising nine MLA Compact per side. Ten MLX subwoofers were rigged on stage, left and right, with another broadside row in front of the stage comprising ten further MLX. This presented head of sound Benny Franke, accompanied by Martin Eckert, Nils Uhthoff and Roman Herbert, with a perfect set-up.

The show itself was notable for a surprise ‘reunion’ appearance by fellow Berlin punk band, Die Ärzte. ‘Their FOH tech knows us very well and trusted us with the system setup,’ Rauhut says. ‘We were extremely happy with the result – and the critics were equally positive in their comments over the following days.’

More: https://martin-audio.com

Pioneering ‘new jack swing’ in the early 1990s, R&B trio Bell Biv DeVoe recently entertained a sell-out crowd at the Mandalay Bay Events Center with Las-Vegas-based HAS Productions providing production support including a Vue al-class line array system.

With a quick load in/load out, and lots of required low-end support, the event was a match for HAS’ extensive Vue rig, explains HAS CEO, Larry Hall. ‘I’m a Vue zealot and, of course, it is the right choice for both schedule and performance reasons. We had load-in at 8am, line check by noon, three bands on the bill who required bounteous low-end support, sound check and doors at seven, and load out at 1am. We clearly had no time for tricky set-up and needed things to hang fast and sound great right out of the gate, which is why we went with Vue.’

HAS deployed 12 al-12 line array modules per side as mains, eight al-8 for out fill, and 16 al-4s for front fill. Low-end was provided by 16 hs-221 infrasonic subwoofers floor-mounted in front of the stage in an arc delay.

Hall, who boasts the largest Vue al-class inventory in North America, stepped in to provide support for the Vegas show to Detroit-based SR Audio who provided full production support for the rest of the band’s US tour.

According to Hall, the al-class exceeded all expectation once again: ‘The Vue rig has enough horsepower to absolutely knock your socks off, but the right amount of finesse to keep things sane,’ he says.

The show featured supporting acts SWV, Whodini, EPMD, with a special performance by Dana Dane, and was hosted by the legendary DJ Biz Markie.

EAW has appointed Bernie Broderick and Jeremy Forsythe to the positions of Business Development Managers for live and installed sound, respectively.

‘Our goal is to continue to provide customers working in live sound and systems integration with direct access to individuals who are dedicated to those markets,’ explains EAW VP of Global Sales, Rusty Waite. ‘Bernie came to EAW with an extensive, high-level, background in live sound. Although his most recent role with EAW has been as Technical Training Manager, it was clear to us that his history, skillset and unique approach to the industry made him the perfect candidate for this new role.

Broderick brings nearly 30 years’ experience as sound company owner, professional touring FOH and systems technician, as well as 17 years as an educator for EAW. He was also one of the initial collaborators of the ADAPTive line of products and has worked intimately with hundreds of shows and numerous tours that use the product line.

‘Jeremy’s skills will be invaluable to consultants and integrators,’ Waite says. ‘By dedicating his focus to installed applications, EAW will offer our customers access to a level of knowledge and insight about EAW products that was not available before. Jeremy is available to work hands-on with everyone interested in using EAW products.’

Forsythe joins EAW from five years as lead designer and project manager for an A/V integration firm operated by Hollywood nightclub owner John Lyons – who was integral to the design and development of EAW’s Avalon club series loudspeakers. He also has an education in architecture that will be valuable to systems integrators.  

‘In many ways, I feel like I have been a member of the team for years,’ Forsythe says. ‘What is truly significant about these new roles is how they affect our customers. I have already felt a tremendous surge of positive energy coming from our base with the knowledge that they have a contact at EAW who intimately understands their needs. Expect many new and exciting things from EAW as we create new strategies focused on delivering value to our customers.’

More: http://eaw.com

The Hyundai Seoul department store’s Alt.1 Gallery is currently hosting the first showing of Beyond The Road in Asia, following its opening at London’s Saatchi Gallery. The exhibition includes works by artists from diverse fields, including film directors Danny Boyle and Alfonso Cuarón, perfume designer Azzi Glasser, and multimedia artist Tupac Martir.

The project is a collaboration between creative producer Colin Nightingale, creative director Stephen Dobbie and electronic music artist James Lavelle of British band Unkle, and is a ‘surrealist, immersive show’ encompassing 33 rooms in the department store that culminating in an immersive screening room.

In preparation for the Asia debut of Beyond The Road, sound designer Salvador Garza Fishburn and the event’s local promoter contacted local L-Acoustics Certified Provider SeoulSound to help create the immersive experience in the gallery. Fishburn specified an audio installation that would create and maintain an immersive audio experience throughout the 33 individual spaces. Previous experience with L-Acoustics sound systems had proved their ability to create a uniform aural experience across a range of products of varying sizes and formats.

Fishburn was also able to optimise his production time, making use of L-ISA Studio software suite to prepare creative and technical details for his sound design from his laptop while passing the mandatory two-week quarantine period in a hotel room upon arrival in Seoul. The sound was assisted by Carlos Mosquera, L-ISA Labs engineer at L-Acoustics, who helped him learn to use the L-ISA software

SeoulSound deployed more than 90 L-Acoustics boxes throughout the space, including 5XT, X8, X4i and monitors, along with Syva Sub and SB18 subwoofers. The small yet powerful X4i 4-inch coaxial loudspeaker played a crucial role in providing clear sound in ten of the smallest rooms.

X4i was also installed in the entry walkway of the gallery, as well as in the hallways that connect the rooms. The art exhibits in the hallways benefitted from the discreet profile of X4i, bridging a visitor’s immersive sound experience as they explored the different spaces. One hallway featured an art installation of a graffiti-laden London public bus stop and a phone booth, with three X4i, one eight-inch monitor and a Syva Sub tucked under bus stop seats.

The team at SeoulSound used the Array Morphing tool in LA Network Manager to balance low frequencies throughout the spaces. ‘As visitors explore all the rooms with their array of sights and sounds, we know that they are getting a uniform audio experience that will keep them immersed in the art from beginning to end,’ explains SeoulSound MD, Soon Il Yun.

Several L-Acoustics monitors were installed in larger, mid-sized rooms that required longer throw. One space contined a vast dining table and a grand piano placed in one of the corners. Four monitors installed in each of the four corners of this room accompanied by two SB18 subwoofers provided an immersive experience.

The exhibition’s immersive screening room is equipped with six X8 coaxial enclosures. A screen projection in the centre of this room could be viewed from seats situated on either side, with three X8 installed per side. Fishburn and his team created an audio piece to accompany the video content in which audio elements moved within the space to match the video.

Beyond The Road’s delivery of an immersive experience where sound plays a key role is a success from both a technical and aesthetic standpoint. The exhibit team ramped up rapidly, using L-ISA technology to deliver a multi-sensory exhibition that reinforced visual impact with an equally engaging sound design, leaving an indelible mark on its audience.

‘A few attendees acknowledged the creative focus given to the immersive sound experience of the exhibition and even enquired into the speakers that we used, seriously considering acquiring L-Acoustics for their home audio system,’ SeoulSound’s Yun concludes.

More: www.seoulsound.com

Embarking on a new US tour, Scottish rock band Biffy Clyro’s FOH engineer Jonny Lucas and monitor engineer Dan Speed will be using DiGiCo SD10 mixing consoles after their success on UK dates. Presently, they have three rigs located at points around the world, with two duplicate systems that include, in some instances, the more compact SD10-24.

Lucas has been working with Biffy Clyro for almost a decade. ‘I did my first show with them supporting The Who at Marlay Park in Dublin in June 2007,’ he recalls. ‘There was no soundcheck and only a 20-minute changeover. It was a baptism of fire.’

The Beijing National Stadium – or Birds Nest – the final of Sing China’s inaugural season attracted a live audience in excess of 60,000. Simultaneously broadcast by Zhejiang Television, the production called on Rightway Audio Consultants for an audio system using 218 L-Acoustics loudspeakers to reflect the scale of the show.

Sing China was hosted by TV personality Li Hua Shao, with renowned artists Jay Chou, Na Ying, Wang Feng and Harlem Yu as the coaches seeking new vocal talent. From public auditions, through a series of rounds , it was Jiang Dunhao of Team Wang Feng who was declared the winner.

‘We supplied all audio requirements for the two Playoff rounds and the final, which were all mixed by front-of -house engineer Jin Shaogang,’ explains Vincent Zhou, system designer for L-Acoustics’s Chinese distributor, Rightway Audio. ‘We have worked with the show’s production team for many years, supplying L-Acoustics for other series and so the show’s audio director, Jin Shaogang was familiar with L-Acoustics and trusted the system. We were both confident that K1’s power and clarity would provide the right solution for Sing China.’

Having worked at the Birds Nest before, Zhou and the Rightway team were familiar with the venue’s challenging reverb, as well as the obstacle posed by two permanently installed LED screens on the right-hand side of Level 3.

Working in conjunction with Jin Shaogang and L-Acoustics’ applications engineer Alvin Koh, Zhou used Soundvision to design a system that deployed delays to ensure even coverage of the venue, including an asymmetrical flown delay system to account for the LED screens and provide even cover for Levels 2 and 3. This approach meant that Jin Shaogang did not have to drive the system too hard, keeping the volume at a level that accounted for the reverb while ensuring good intelligibility throughout.

The final design comprised 12 K1 plus two K2 left and right for the main hangs, which cover the field, with the top K1 covering a distance of 125m. Two side hangs of ten K1 plus three K2 were positioned to cover Levels 1 and 2 to the side of the stage.

‘We used three K2 at the bottom of these arrays because we didn’t want the side hangs to affect the audience on the field, with the K2s at 35° in /55° out to give us less coverage of the field and therefore provide less interference,’ Zhou explains. ‘We had an additional three stacks of three Kara each for side fill and front fill, to ensure coverage.

‘We also used five ground stacked arrays of four K2, with two stacks either side and one in the middle, to cover Level 1 at the rear of the stadium. These were very easy to move if we needed to and, by using K2-Jacks, we were able to make the bottom cabinet of each array an exact angle. We didn’t fly these delays because the back of Level 1 is shadowed by Level 2, and the flying position was too high to be able to get coverage to the back of Level 1. We had nine hangs using a total of 48 K1, 18 K2 and 22 K1-SB cabinets, with four of them at stage left and five stage right to prevent energy going to the screens.

‘We had 16 SB28s each side configured in cardioid,’ he adds. ‘When you have a long horizontal array, you get narrow coverage in the horizontal, so we had stacks of just two cabinets to make them lower than the stage. In the horizontal, we had eights stacks of subs. This meant that the horizontal coverage was a little narrow, so we added some delays at the outside of the subs.’

‘Alvin gave me a lot of suggestions that were really helpful and, because Soundvision is such a powerful tool, I was able to produce a model that was very close to the Birds Nest’s model. The results were perfect and the entire team was very happy.’

More: www.l-acoustics.com

Promoting their third album, Get Weird, with a major tour of Europe, Oceania and Asia’s arenas and summer festivals, Little Mix have a pair of DiGiCo consoles for their sound mix.

Monitor engineer Craig Pryde has used DiGiCo consoles since 2008, and has worked with Little Mix since they won the X Factor three years later: ‘The SD10 sounds great,’ he reports. ‘It’s extremely flexible in its set up and having so many output buses available makes it really easy to provide all the extra mixes required for this kind of show, including understage cues, integration with show radios, the video team, etc. Rehearsal time was extremely tight for this tour and the fact that the offline editor is exactly the same as the console meant the vast majority of work could be done before arriving at rehearsals.’

Front of House engineer Mark Littlewood first used DiGiCo in late 2013, mixing One Direction on an SD7. He’s been with Little Mix since December 2015: ‘As the tour is completely sold out, I knew FOH space would be at a premium,’ he says. ‘I chose the SD9 because it sits perfectly on the drive rack and takes up a tiny footprint. The FOH PA tech actually takes up more room than the console. Having a full 24 faders on one layer also gives me access to everything I need quickly, with the other layer only a button push away.’

Supplied by Wigwam Acoustics, the DiGiCo consoles are handling 43 Madi inputs and six Sennheiser SKM5200 handheld wireless microphones for Little Mix, plus further playback, piano, acoustic guitar and six wireless microphones for the opening acts. Both engineers are taking advantage of the options offered by Waves SoundGrid, which allows Waves integration into DiGiCo consoles.

‘Using Waves delivers very polished results,’ Pryde says. ‘Using Waves Tracks Live multitrack recording software during rehearsals also allowed for making fine tweaks in the breaks. It meant Mark and I didn’t have to interrupt rehearsals from an audio point of view.’

‘SoundGrid had been rock solid in performance,’ Littlewood offers. ‘I’ve been so impressed that I’ve bought my own system to use on my S21 console that will be used on the European and festival dates later in the year.’

As well as being happy with the hardware and software, both engineers have welcomed the support they have received: ‘DiGiCo is a fantastic company to deal with, always available and willing to listen and help. It’s also great to see sales support manager Mark Saunders visiting productions, checking up with their products in a real environment,’ Pryde says.

‘The SD9 has been rock solid and I had great service from DiGiCo when I purchased my S21 late last year,’ Pryde concludes. ‘As much as anything, I love the fact that I no longer have a bad back from lifting analogue boards and racks.’

Having kicked off at Cardiff’s Motorpoint Arena, the former X Factor winners added a number of shows added to the UK arena leg of the tour in response to the high demand for tickets saw. The tour now moves to Australia and Asia, before returning to Europe for further headline and festival shows.

The first DiGiCo SD5 mixing console has arrived in Africa, purchased from DWR Distribution by South African technical supplier, Blue Array Productions.

With Kobus van Rensburg at the helm, Blue Array has served international artists visiting South Africa using some of the very best i audio engineers in the country. ‘There are many reasons why we’ve gone down the SD5 route,’ says company Head of Audio, Marinus Visser. ‘It’s on every international rider, which was the main selling point, but for our shows, it was the shear ability of the console–- all the things it can do, the enormous I/O count and its exceptional audio quality.

‘As Blue Array typically works on international productions, we have invested heavily in d&b audiotechnik sound systems. Having something that sounds so good complementing these amazing PA systems is completely justified.’

Since taking ownership of the SD5, the console has already gone out on an international show. ‘The only problem was that I only had to set up and assist the American monitor engineer,’ Marinus jokes.

‘The SD5 was something Blue Array has wanted for quite a while,’ comments Kyle Robson from DWR Distribution. ‘Blue Array is a great company and everything they do is rock solid and professional. The SD5 was the first in the country, which was a huge thing for me, it was like being a kid in a candy store. When I took the console out of the box, I had that very special feeling.

‘The SD5 is in a league of its own, that’s the reason it’s on most riders,’ he continues. ‘If you know how to use a baby DiGiCo console, you will also know how to use a bigger one. It’s easy to get around and the only difference on the SD5 is the bigger work surface and higher channel count. That’s the great thing with DiGiCo – all the consoles sound identical and the software is the same.’

‘Thank you to Kobus and his team for their support,’ offers Duncan Riley of DWR. ‘I hope that they’ll have many happy gigs with their SD5. We can’t wait to see the console in action again.’