Project News

Project News Headlines

DiGiGrid Delivers for Dream Academy

19/09/2019

KV2 Audio pops up in The Den with Royal Exchange Theatre, Manchester

18/09/2019

St. Malachy Church Blends Liturgy and Light with Chauvet Professional

17/09/2019

Wärtsilä Entertainment Systems redefines Nightlife at Sea with first WPS install

16/09/2019

L-Acoustics Syva Helps Evergreen Ministries Focus on the Message

16/09/2019

Once Upon A Synth: An Electronic Tale

16/09/2019

The English National Ballet select Harlequin Floors for their new home at London City Island

13/09/2019

DiGiGrid Delivers for Dream Academy

13/09/2019

Little Hoglet, Big Control for China’s Lake Installation

12/09/2019

Gothenburg Cathedral Upgrades with Yamaha

12/09/2019

Dolby Cinema opens at ODEON Trafford Centre

12/09/2019

Leeds Trinity University Takes Control of its TV Studios with Vista by Chroma-Q

11/09/2019

Yamaha Audio Systems Aid Learning at Innovative INHA University

11/09/2019

Stitcher Equips New Podcast Studios with Allen & Heath

11/09/2019

First Assembly Church strikes a chord with d&b Soundscape

11/09/2019

Ayrton chosen for Church of Our Saviour, Singapore

10/09/2019

Uni of Salford’s New Adelphi Now Boasts 65 Audient Products

10/09/2019

Huge Valledupar Cathedral Relies on Renkus-Heinz to Maintain Clarity

09/09/2019

HUST Delivers High Quality Sound to Grand Park Hotel Rovinj with Biamp, Community and Apart

09/09/2019

ArcSystem Brings Power Savings and Flawless Dimming to Centennial Concert Hall

09/09/2019

Vari-Lite and Strand provide high performance solutions for Caruth Auditorium

06/09/2019

New Sheffield venue ‘Network’ chooses HK Audio Linear 5 sound systems

04/09/2019

Saskatchewan’s Casino Regina invests in Robert Juliat Oz Followspots for Show Lounge

02/09/2019

Minneapolis Convention Center adds Ayrton Bora-S fixtures to main auditorium

02/09/2019

Idlewild Baptist Church Turns to DiGiCo for Live Services, Broadcast, and Teaching Applications

02/09/2019

DiGiGrid Delivers for Dream Academy

DiGiGrid Delivers for Dream Academy
DiGiGrid Delivers for Dream Academy

USA – Brian Young runs Dream Academy, a small full-service studio based in the foothills of Los Angeles. He is an experienced operator who engineers and produces for local talent as well as keeping a strong focus on writing for, recording and producing his own band, The Fashion Focus. Other artists also engage Brian for mixing and remixing duties, keeping this in-demand all-rounder very busy. Dream Academy is based around an older Pro Tools HD system which is employed for most of the recording and editing that takes place, with two satellite Ableton and Logic systems for midi/synth/modular work.

Like all engineers, Brian is always on the lookout for improvements to his set-up and ways that will smooth and enhance the creative process. Seeking the widest possible scope from the most efficient configuration of hardware, he began looking into AoIP systems with the aim of integrating multiple DAWs together; the older (but perfectly stable) system and a separate new composition rig, running VSTs and softsynths.

Brian was aware of DiGiGrid’s potential to help but wasn’t completely sure if his ambitions could be achieved. Having consulted with DiGiGrid’s Dan Page, it was apparent that the DLI Pro Tools to SoundGrid Interface would not only meet his requirements but significantly increase his options. The use of two DLIs allowed the connection of Pro Tools HD and Avid interfaces with a SoundGrid network in the middle. This meant he could add the second DAW to the SoundGrid network, giving him a direct connection between the two DAWs and allowing the synths connected to the Avid I/O to be used with either DAW.

“The DLIs gave me the ability to incorporate multiple DAWs via separate computers, to use external FX processing if needed AND run my AVID interfaces over the network, connecting multiple rooms, all with near zero latency. Dan was a great help when it came to incorporating DiGiGrid into my existing system to get the most out of it. DiGiGrid has been working flawlessly and breathed new life into what some might say is an antiquated system.”

Brian Young’s deployment of DiGiGrid at Dream Academy is an excellent example of the way in which the use of the DLI interface allows the integration of Pro Tools into a SoundGrid network for the sharing of I/O between multiple DAWS. Because Pro Tools does not offer this sharing capability, it is not easily achieved in any other way. The DiGiGrid DLI solution is straightforward and offers unrivalled flexibility.

“With my new found flexibility, I’m happy that DiGiGrid has provided me with a much better solution than simply dumping an inherently stable system and risking thousands on ‘the next big thing’, I couldn’t be happier with my system.”

19th September 2019

KV2 Audio pops up in The Den with Royal Exchange Theatre, Manchester

KV2 Audio pops up in The Den with Royal Exchange Theatre, Manchester
KV2 Audio pops up in The Den with Royal Exchange Theatre, Manchester

UK – The Den is a brand new pop-up theatre that forms a key part of the Royal Exchange theatre’s local exchange programme. Funded by a generous £1M gift from the Oglesby Charitable Trust, this unique and inventive performance space was designed by the award-winning architectural studio, Haworth Tompkins as an informal space-within-a-space for residents to make and share theatre and to see work from the Royal Exchange. Pro audio specialists, Autograph Sales & Installations, provided key elements of the sound reinforcement equipment for the new space including seven EX10 compact, full range active loudspeaker systems from KV2 Audio and an Allen & Heath Qu-16 rack-mountable digital mixer.

Sorcha Steele, head of sound at the Royal Exchange, was responsible designing the audio system for The Den, a task she found slightly daunting given the scope of requirements for the space and the range of possibilities before her. “I had to give a lot of thought to what we are using the space for, who is going to be operating it and how easy is it to rig and put together the system within the space quickly and easily,” she recalls.

“The first thing I had to consider was the type of venues it will be going to and how that impacts on practical things like power supplies and cable runs. The Den will only ever go into existing buildings, it’s not designed to be outdoors; for example, in Stalybridge it was in the old market hall, but it could easily be constructed in a school gym or warehouse. In all likelihood, power in those venues will come down to standard 13 amp sockets so I had to design a system that could easily run off of that infrastructure.”

“The Den can also be constructed in three different sizes, so the system needed to be flexible enough to cater to that. With the programme being different each time it goes out, I also had to plan to cover everything from spoken word to small bands and everything in between!”

Ultimately, Sorcha settled on a KV2 solution built on the EX10 compact, high output active speaker system flown from a circular truss above the centre of the performance area. “With my experience of working with KV2 EX10 units over the past few years, I have always found them to be a very versatile unit so I knew they could deliver the quality I wanted,” she observes. “Part of our remit as technicians on this project is to also encourage others from the community to get involved with the tech side of things and to show that there are other careers in theatre that don’t involve performing on stage. Having a system that is easy to put together while we take them through basic signal flow makes the whole process less intimidating for them. The EX10s are quick and easy to set up, the sound quality is truly excellent, and the fact that they are active means that we don’t have any amp racks to worry about, which was perfect for this application.”

“That’s also the reason we chose the Allen & Heath QU-16,” continues Sorcha. “It’s a powerful console for its size, and the surface and menu structure make it really easy to explain what we’re doing as we’re doing it. Being able to connect our QLab system directly over USB is also a bonus as it streamlines the workflow to something that young technicians and community members can understand. Being compact also makes our ops area relatively small so there are more seats available for people to experience the performances and take part in what we do.”

Overall, The Den was deemed to be a huge success. “The local community in Stalybridge really got involved and supported the project with great enthusiasm. We had a variety of performances from all age groups, held workshops and got to eat ice-cream in the sun! I’m already looking forward to next year!”

KV2 Audio pops up in The Den with Royal Exchange Theatre, Manchester KV2 Audio pops up in The Den with Royal Exchange Theatre, Manchester

18th September 2019

St. Malachy Church Blends Liturgy and Light with Chauvet Professional

St. Malachy Church Blends Liturgy and Light with Chauvet Professional
St. Malachy Church Blends Liturgy and Light with Chauvet Professional

USA – Stained glass windows have traditionally provided a beautiful visual backdrop that’s added passion and power to services inside Catholic churches. The rectangular stained-glass windows at St Malachy also fill this role with their vivid colours and religious-themed abstract patterns. However, this dynamic church outside Detroit recently took a step beyond stained glass and began engaging worshippers with a modern colour-rendering LED lighting system that features Chauvet Professional fixtures.

“Colour and lighting have always been critical elements to the Catholic mass even before lighting fixtures were invented,” said St. Malachy LD Dave Corbat. “This parish takes a proactive role in reaching out to worshippers. This led to the idea of introducing colourful lighting to create an immersive environment in the sanctuary.”

St. Malachy engaged system designer Nathan Cole of Sound Planning Communications to create and install a new lighting system that augmented the 800-seat church’s existing rig with LED fixtures. His design adds four Rogue R2 Wash fixtures to the main lighting pipe, and called for two more units to be arranged on the ground near the altar. A collection of COLORdash Batten-Quad 12 linear wash fixtures was also positioned on the ground for uplighting.

“The combination of the Rogue R2 Washes and COLORdash Batten-Quad 12s gives us unparalleled flexibility in what we can do with the lighting in our space,” said Corbat. “We are able to get creative with our lighting design, and use it in a way that enhances the liturgical experience for our congregation.”

In addition to serving as stage lights and reaching areas that are not covered by the church’s ellipsoidal units, the Rogue fixtures are bringing a new visual dimension to services. Drawing on the wide 12° to 49° zoom range of the RGBW fixtures, Corbat is able to focus richly coloured light on various architectural elements on the church’s walls as well as its ceiling to convey different moods.

“As moving fixtures with the ability to create a wide range of colours, the Rogues greatly expand our capability to support services,” said Corbat. “We are using these moving wash fixtures to highlight areas during liturgy as well as to project colours onto our ceiling so we can better reflect the mood of the liturgical season.”

The new lighting fixtures also enable the church to provide a more engaging environment for special events, such as its annual concert and performances by visiting music groups like the University of Michigan Men’s Glee Club. It is through this commitment to reaching out to people that St. Malachy has enjoyed an impressive growth record, which according to Detroit Catholic magazine has led it to become one of the few churches in its area to hold three masses every Sunday.

St. Malachy Church Blends Liturgy and Light with Chauvet ProfessionalSt. Malachy Church Blends Liturgy and Light with Chauvet Professional

17th September 2019

Wärtsilä Entertainment Systems redefines Nightlife at Sea with first WPS install

Wärtsilä Entertainment Systems redefines Nightlife at Sea with first WPS install
Wärtsilä Entertainment Systems redefines Nightlife at Sea with first WPS install

USA – Wärtsilä Entertainment Systems has solved the challenge of delivering a premium nightclub experience at sea with the first ever installation of Martin Audio’s recently launched WPS optimised line array. The latest member of the Wavefront Precision family was specified long before its official launch to cater to the entertainment needs of Scarlet Lady, the very first ship in the Virgin Voyages fleet.

“We started audio specification for the ship back in 2016 but thanks to the strength of relationship with Martin Audio we were able to glimpse into the future product road map and as a consequence believed that the product that would become WPS was a perfect fit for the nightclub,” explained Rob Shuard, vice president, design and engineering of Wärtsilä Entertainment Systems. “We felt WPS would offer the perfect marriage of high performance, control, consistency and coverage in an ultra-compact format, befitting of the Virgin Voyages vision.”

‘The Manor’ nightclub is named after Virgin’s first music studio in England. The space was designed utilising two ship decks of height to maximise how the room feels and mimic the structure of land-based clubs. Wärtsilä Entertainment Systems has equipped The Manor with a state-of-the-art acoustic design as well as industry-leading equipment to support DJ sets, and Martin Audio’s WPS will take pride of place.

The set-up in the nightclub consists of four WPS left and right of the stage, flown over two SX218 subwoofers. Supplementing this are a further four arrays, each of three WPS, flown over the dance floor. The system is all powered by four iKON iK42 amplifiers supporting a two box resolution for enhanced coverage, consistency and control.

Virgin Voyages is a new venture from the Virgin brand, which aims to redefine the experience of sea travel. While on ship, Virgin Voyages sailors will have the opportunity to choose from a festival-like line-up of all-new completely original entertainment developed by some of the world’s most-talked about producers, directors and artists as a part of the company’s creative collective.

“Virgin Voyages will redefine entertainment at sea and to help deliver on this mission it’s essential that we have the latest technology and superior audio to enrich our sailors’ experience onboard,” stated Daren Hirst, director, entertainment technical of Virgin Voyages. “We’re delighted to have Martin Audio’s latest Wavefront Precision line array in The Manor, knowing that its low distortion, richness of tone and clarity will provide endless hours of pumping tunes for our sailors.”

WPS is designed to set a new benchmark for 8” line arrays and is the fourth model in the award winning and best-selling Wavefront Precision optimised line array series. It is a passive three-way system which integrates a high density of drive units in a very compact enclosure. It features two 8” LF drivers, four 4” midrange drivers and four 1” exit HF compression drivers loaded by a moulded HF horn which occupies the full width of the enclosure, defining the 100° horizontal constant directivity coverage pattern of both the HF and midrange sections.

The 4” midrange drivers are compression-loaded to raise efficiency and enter the horn walls via annular slots close to the HF throat to sum effectively with the HF wavefront. In the HF section, four 1” exit compression drivers deliver pristine high frequency sound without the harshness and distortion associated with larger format devices.

The 8” LF drivers are set back behind the walls of the HF horn, with a small volume of air in front of each driver increasing the output at the upper end of its operating range. The LF exit apertures are spaced apart horizontally to provide useful LF horizontal pattern control.

Summing up, Dom Harter, managing director of Martin Audio concluded: “As one of pro audio’s founding brands, we are delighted to be part of this prestigious and exciting project from Virgin Voyages and grateful for Wärtsilä Entertainment Systems’ faith in us so far ahead of the announcement of WPS. Wavefront Precision line arrays have been the fastest selling in the company’s 48-year history and I’m sure WPS will add to that success and for Virgin Voyages it will help unite their sailors in spell binding entertainment.”

16th September 2019

L-Acoustics Syva Helps Evergreen Ministries Focus on the Message

L-Acoustics Syva Helps Evergreen Ministries Focus on the Message

USA – Evergreen Ministries had put its faith in acoustical orthodoxy when the Hudsonville, Michigan church had its previous sound system installed. However, with the worship space residing in a mid-sized square building with largely metal construction that created reverberation problems, speech intelligibility and musical articulation were a frequent challenge. “They had a pretty typical flown PA, but it wasn’t really the kind of system they needed for a space like this,” recalls Todd Billin, design/sales engineer at Parkway Electric & Communications, a Holland, Michigan-based AV systems integrator with a long history of working on sound and video designs with houses of worship.

The solution came in the form of the slim L-Acoustics Syva colinear system that is perfectly suited to medium-throw applications like Evergreen Ministries’ 550-seat sanctuary. The Syva system designed and installed by Parkway comprises a pair of Syva and Syva Low enclosures on each side of the half-moon stage, plus four Syva Subs that are installed underneath the stage, two per side. In addition, an L-Acoustics X12 short-throw loudspeaker is flown above the center of the stage to reinforce speech intelligibility, while four ultra-compact 5XT are arrayed across the lip of the stage as frontfills. Three L-Acoustics LA4X amplified controllers power the entire loudspeaker system.

Billin says the Syva system not only solved the problems caused by the reverberant space, with its attendant speech-intelligibility issues, but also provided a much more musical sound system for the church’s worship music. “In particular, the Syva Sub and Syva Low really defined the low end for music, something the congregation had never experienced before,” he says.

But Syva also fixed another problem that the church was not necessarily aware it even had before. “All of the components in the old sound system were flown, and they had to hang them in such a way as to avoid creating sightline problems, but that wasn’t necessarily the best configuration for the sound,” he explains. The Syva system, on the other hand, brought the sound down to stage level, which also brought deeper worshipper engagement with it. “Before, the sound was kind of disembodied; it wasn’t coming from the stage,” says Billin. “Now, the sound from the stage is connected to what’s taking place on the stage. It was a huge jump in engagement level.”

Adam Locker, Evergreen Ministries’ director of operations and worship, agrees that the Syva system has actually increased engagement during services, and says he and the congregation love the way the search for a new sound system has turned out. But it wasn’t without its anxieties. “The Syva system sounds fantastic, and it looks just as good as it sounds,” he says. “But in the beginning I was concerned that after all this time of having a big, rock concert-type PA system up near the ceiling that people would wonder if something like the Syva could really deliver the same amount of sound. But it does, and it delivers it with so much more quality and presence. We were all surprised that something so slim and sleek could give us this kind of coverage.”

Furthermore, Billin says the Syva’s excellent gain-before-feedback characteristics allow the church’s vocalists to be positioned towards the front of the stage. “That combined with the use of in-ear monitors means the singers and musicians now have a much greater connection to the sound on stage,” he says. “All of that makes a huge difference in connecting with people in the seats. Syva really made a difference for Evergreen Ministries.”

16th September 2019

Once Upon A Synth: An Electronic Tale

Once Upon A Synth: An Electronic Tale

Canada – ‘Once Upon A Synth’ YouTuber, Nebs is currently working with a beautifully streamlined set-up in his home studio, which at its core comprises the Audient iD22 audio interface, a Roland FP-10 MIDI controller and Ableton Live. He recently released an album using this and an array of different synthesisers from his collection, upping the ante on the lead-up to its release by filming the recording process track by track for his 60k YouTube channel subscribers.

“It’s the first time I’ve filmed myself recording an album. It was definitely a bit stressful at first because as soon as the camera is rolling it adds this extra pressure to not make mistakes,” he admits when asked about the 13-part Making The Album series. “I think I got more comfortable around the 4th or 5th song. On the bright side, it forces me to make decisions quicker and to actually finish my songs. Posting videos on YouTube creates a sort of social pressure which definitely motivates me to keep going.”

A musician and a programmer from Canada, Nebs goes under the moniker ‘Coatseller’ for his own music, alongside his huge YouTube presence as ‘Once Upon A Synth’. Keeping the synthesiser at its heart, he delivers his pieces to camera with a dry wit, with content ranging from anthropomorphised synth animations and ‘How to’ videos, to a number of indie song recordings, as well as the excellent Art 2 Music series, where he studies a painting and composes music to go with it – live!

“The #art2music series was born as an outlet for me to combine my different hobbies,” he says, citing drawing and photography as his non-audio pass-times. “Writing music for visuals (whether stills or motion) is a really fun exercise because it strips the music down to pure emotion and removes some of the analytical aspects. I’d recommend everyone try this out as an exercise. I’ve always been drawn to music as it relates to games, movies or any other visual art.”

As his primary interface, the Audient iD22 was integral to the recording of his latest album, Sun. “It’s truly a workhorse!” he says. “I used it to track synths/vocals/drums and to mix the music on headphones/monitors. I also used the iD22’s secondary outputs to feed my portable recorder which I use for the YouTube videos. This is a super convenient feature ” Nebs continues, “I liked it so much that I decided to get an iD14 for my second computer, which I use for editing videos and other tasks. I also use the iD14 when I need something more portable to record on location with my laptop.”

Incredibly, he came to synthesisers quite late in the game, having originally been taught to play the piano by his grandmother. “When I was younger I mostly played acoustic piano and more electronic keyboards. I dabbled in software synths but I never really ‘clicked’ with synthesisers. It’s only much later that I discovered the potential for making my own sounds, which led me down the synth rabbit hole. My first hardware synth was a Moog Little Phatty. I was inspired by a video of MGMT playing “Time to Pretend” live in which they used that synth.”

Driven by a love of learning about new instruments, technologies and genres, Nebs keeps adding to his collection. “I’ve bought and sold many synths over the years. I went from soft synths to modern analogue hardware to vintage analogue hardware to digital hardware then back to soft synths. And here we are full circle! Funny how that works. Every synth I’ve had has taught me something about synthesis, production or music making. So, in a way it’s as much an investment in education as it is in an instrument.”

Working in this very public way via his YouTube channel, means Nebs gets things done. Following the ‘Done is better than perfect’ principle certainly works for him. “It applies perfectly to most projects in my opinion. Essentially, it forces you to think about seeing projects to completion instead of constantly second guessing yourself or procrastinating. Finishing and releasing a ‘nearly-perfect’ album is better than never finishing a ‘perfect’ album. Finishing projects not only builds momentum for future projects, it also sets a bar for self-improvement with which we can measure ourselves.”

16th September 2019

The English National Ballet select Harlequin Floors for their new home at London City Island

The English National Ballet select Harlequin Floors for their new home at London City Island
The English National Ballet select Harlequin Floors for their new home at London City Island

UK – Harlequin Floors has been chosen to supply dance flooring to the English National Ballet’s brand new state-of-the-art home in London City Island.

The new location aims to bring world-class ballet to the widest possible audience, delighting them with the traditional and inspiring them with the new. It officially opened its doors on Thursday 12th September 2019.

The building has been designed by award-winning architects Glenn Howells Architects and combines top training, fitness, rehab and teaching facilities, seven stage-sized rehearsal studios and a unique theatre size production studio with five-storey fly tower unrivalled in the UK.

With funding from the Arts Council England’s Capital Large Grants programme and the National Lottery, the £3million investment brings both the English National Ballet and English National Ballet School together under one roof for the first time.

Harlequin installed over 1900m2 of Harlequin Activity sprung floor and Harlequin Cascade vinyl surface and 200m2 of Harlequin Standfast vinyl performance surface. An additional set of Harlequin Liberty sprung floor panels were also supplied for touring use.

Melissa Chapman, group marketing manager at Harlequin Floors said: “We are delighted to have been chosen by the English National Ballet to supply and install our world-class performance floors in their new home.

“For over 40 years Harlequin has worked closely with the dance community and experts in biomechanics to develop a range of sprung and vinyl performance floors designed to meet the unique needs of dancers.

“Our range of performance flooring helps to provide an optimal environment for dancers to perform, safe in the knowledge that the floor they are using for so many hours a day is the result of extensive research into reducing dancer injury.

“Harlequin Activity is the preferred sprung dance floor for some of the world’s most prestigious dance and performing arts schools, and is the ideal choice for the English National Ballet’s new home.”

13th September 2019

DiGiGrid Delivers for Dream Academy

DiGiGrid Delivers for Dream Academy
DiGiGrid Delivers for Dream Academy

USA – Brian Young runs Dream Academy, a small full-service studio based in the foothills of Los Angeles. He is an experienced operator who engineers and produces for local talent as well as keeping a strong focus on writing for, recording and producing his own band, The Fashion Focus. Other artists also engage Brian for mixing and remixing duties, keeping this in-demand all-rounder very busy. Dream Academy is based around an older Pro Tools HD system which is employed for most of the recording and editing that takes place, with two satellite Ableton and Logic systems for midi/synth/modular work.

Like all engineers, Brian is always on the lookout for improvements to his setup and ways that will smooth and enhance the creative process. Seeking the widest possible scope from the most efficient configuration of hardware, he began looking into AoIP systems with the aim of integrating multiple DAWs together, the older (but perfectly stable) system and a separate new composition rig, running VSTs and softsynths.

Brian was aware of DiGiGrid’s potential to help but wasn’t completely sure if his ambitions could be achieved. Having consulted with DiGiGrid’s Dan Page, it was apparent that the DLI Pro Tools to SoundGrid Interface would not only meet his requirements but significantly increase his options. The use of two DLIs allowed the connection of Pro Tools HD and Avid interfaces with a SoundGrid network in the middle. This meant he could add the second DAW to the SoundGrid network, giving him a direct connection between the two DAWs and allowing the synths connected to the Avid I/O to be used with either DAW.

“The DLIs gave me the ability to incorporate multiple DAWs via separate computers, to use external FX processing if needed AND run my AVID interfaces over the network, connecting multiple rooms, all with near zero latency. Dan was a great help when it came to incorporating DiGiGrid into my existing system to get the most out of it. DiGiGrid has been working flawlessly and breathed new life into what some might say is an antiquated system.”

Brian Young’s deployment of DiGiGrid at Dream Academy is an excellent example of the way in which the use of the DLI interface allows the integration of Pro Tools into a SoundGrid network for the sharing of I/O between multiple DAWS. Because Pro Tools does not offer this sharing capability, it is not easily achieved in any other way. The DiGiGrid DLI solution is straightforward and offers unrivalled flexibility.

“With my new found flexibility, I’m happy that DiGiGrid has provided me with a much better solution than simply dumping an inherently stable system and risking thousands on ‘the next big thing’; I couldn’t be happier with my system.”

 

13th September 2019

Little Hoglet, Big Control for China’s Lake Installation

Little Hoglet, Big Control for China’s Lake Installation

China – A High End Systems Hoglet 4 is providing big control for a new outdoor multimedia installation in China.

Two times each night, a lake in the park in Liaocheng, Shandong Province comes alive with lighting, lasers, mist, flames and fountains. The free half-hour interaction enthrals up to 10,000 spectators with the colourful, watery spectacle.

LD Theo Cox, a High End Systems Hog 4 lighting console user, chose the smaller, more compact member of the Hog family for this project. “I elected to program with a Hoglet 4, as this was the right piece of kit to leave in permanent situ after the shows were up and running,” he explains. “As well as the nightly timecode shows, there was a requirement to run a few simple cues manually, and a physical console was desired but it had to be streamlined. So with only two kinds of fixtures to program, and no need for lots of playback control, the Hoglet with a touchscreen was the way forward.”

AAV China administered the install of a 150m (492ft) long fountain system, and brought in Cox to co-create the two shows with Tara Winona designing the lasers and Rupert Morse on fountains.

In a control room overlooking the lake, the Hoglet controls all the moving lights, which are mounted in projection cabins built on stilts in the lake and 30 searchlights on the far side. The lights receive data distribution via Art-Net run on fibre under the lake.

A Wings Platinum system controls the overall show. It plays the audio and video elements, triggers the fountain control system and sends timecode to Pangolin Beyond and Hog 4PC.

Commands for lamp strike, test, preshow and so on were sent as snippets of Linear Time Code (LTC), so it was not necessary to even touch the Hoglet to run the standard nightly shows, Cox notes.

“The scale of the site is pretty huge, so running a Wi-Fi network from a couple of Ethernet points around the site and then using OSC with iPad to touch up focuses remotely was a great help,” the LD explains. “As usual for a complex timecode show, I relied heavily on comment macros for triggering repetitive sequences, combined with carefully-planned levels of priority.”

He adds: “As the system needs to be straightforward to run on a daily basis, the auto show-load and start-up macro function were extremely helpful, allowing for automated initial setting of timecode readiness, view, page and so on every time the system is powered up.”

Considering the large scale of the installation, Cox is pleased that his choice of control system continues to be a success.

“Using this little piglet goes to show that Hog 4 cuts the mustard even when in a small package,” he says.

photo: Theo Cox

12th September 2019

Gothenburg Cathedral Upgrades with Yamaha

Gothenburg Cathedral Upgrades with Yamaha
Gothenburg Cathedral Upgrades with Yamaha

Sweden – Yamaha VXL1 slimline line array loudspeakers are well-known for delivering high quality sound in boardrooms and meeting spaces. But they are quickly proving the solution of choice for many houses of worship, radically enhancing sound but without compromising the aesthetics of church interiors.

Opened in 1815, the current Gothenburg Cathedral is the third on a site in Sweden’s second largest city which dates back to the early 1600s. The building has seen a constant series of improvements, including being the first Swedish church fitted with central heating, plus a number of major restoration and renovation projects.

The latest upgrade has been to its sound reinforcement system. Installed 11 years ago, including a Yamaha LS9 digital mixing console, DME24N digital mixing engine and ICP1 surface-mount controller, the installed loudspeakers were lacking quality and coverage by today’s standards.

“The main need was to improve the intelligibility and provide a more even sound in the main part of the cathedral and the side chapel, as well as enhancing monitoring for the choir,” says Sten E. Ranwald of Gothenburg-based audio specialists Ljud & Sakerhet.

The cathedral’s classical interior meant that there were very strict rules about the aesthetics of the system, so Sten chose a pair of Yamaha VXL1-24 loudspeakers to enhance the sound in the main part of the cathedral and a pair of VXL1-16s for the side chapel, powered by PX3 and PX5 amplifiers. He also upgraded the LS9 to a compact Yamaha TF1 mixing console.

Notably, the DME24N and ICP1 were retained. Even after 11 years, it is a powerful, flexible and reliable solution, able to continue managing the multi-zone system for many more years.

“Choosing Yamaha products for the upgrade was easy,” says Sten. “The VXL series loudspeakers have the perfect aesthetics and we knew that they would make a great improvement to the sound. They fitted seamlessly into the existing system, which was important because the DME24N still does everything that the cathedral needs, minimising the upgrade costs. With its power and the ICP1’s ease of use, it means the cathedral does not need a dedicated sound engineer for regular services.”

Like the LS9 before it, the TF1 console is integrated into the main system. For bigger events, especially at Christmas, Easter and other festivals, the sound can be mixed via the installed system and also a movable PA, which features a pair of versatile Yamaha MSR400 powered speakers for house or monitor sound.

“The improvement to the cathedral’s sound has been staggering,” says Sten. “Visitors have commented on how much better it is and the cathedral’s staff now have the peace of mind that they will get a great result for every service and event.”

Gothenburg Cathedral Upgrades with YamahaGothenburg Cathedral Upgrades with Yamaha

12th September 2019

Dolby Cinema opens at ODEON Trafford Centre

Dolby Cinema opens at ODEON Trafford Centre

UK – Following on from the hugely successful launch of the UK’s first Dolby Cinema at ODEON Luxe Leicester Square in London and ODEON Luxe Thorpe Park in Leeds, today sees the launch of a brand new Dolby Cinema screen residing at the ODEON Trafford Centre in Manchester, the third Dolby Cinema to open its doors to the British public since December 2018.

First announced in June 2019, the opening of this new location looks to grow the existing Dolby Cinema fan base by bringing the unparalleled technical precision of Dolby Atmos and Dolby Vision to our cinema screens, offering a truly immersive and cinematic experience for film enthusiasts and cinema goers alike.

This has been a notable moment for Dolby, as there are 225 Dolby Cinema screens open globally, with a total of over 400 new Dolby Cinema screens committed, and over 250 film titles have been released or announced in Dolby Vision and Dolby Atmos. Nine of the top ten global box office films so far in 2019 have been available in Dolby Cinema.

Dolby Cinema

  • 235+ features released or committed in both Dolby Vision and Dolby Atmos

  • 400+ sites open or committed

  • 21 global exhibitors

  • 11 countries

Dolby Atmos

  • 4,870+ screens installed or committed

  • 50+ Dolby Atmos multiplexes

  • 1,370+ features released or committed

  • 90+ countries

  • 200+ mixing facilities

12th September 2019

Leeds Trinity University Takes Control of its TV Studios with Vista by Chroma-Q

Leeds Trinity University Takes Control of its TV Studios with Vista by Chroma-Q

UK – Leeds Trinity University has upgraded the lighting infrastructure of its TV studio facilities to next generation systems utilising Vista by Chroma-Q lighting and media control.

The University has a long history of media and journalism production, and was one of the first establishments to have professional TV Studio production facilities as part of its courses. Student applications range from live daily news and culture shows to interviews or scenes for documentary and film productions.

After upgrading its original tungsten lighting to all-LED DMX rigs, the University wanted to invest in a control solution which staff and students would find straightforward to operate, whilst also being widely used professionally.

They invested in new control systems for both TV studios which utilise the latest Vista 3 software, with hands-on controls provided by Vista MV control surfaces.

Mark Willett, the University’s senior technician for media services commented: “The more sophisticated lighting had left us struggling to program our old console. We had been looking for a replacement and Vista 3 turned out to be just what we needed.”

With limited space to accommodate the lighting control systems and to build sets, the compact yet versatile Vista system is a perfect match for the University’s needs.

Mark commented: “The Vista system takes up a lot less space than a huge lighting desk, yet it’s very powerful. In addition, it gives us a lot of creative flexibility to paint sets with light and create different moods for different shows.”

After being so impressed with the Vista 3 software and MV control surface, the

University quickly upgraded its second TV studio to the same Vista system.

Summarising the University’s experience, Mark commented: “Both students and academic staff with no previous background in lighting are now able to create simple lighting set-ups themselves after an initial simple demonstration of Vista 3. With the on-screen fixture layout, users have a visual map of where and what each lighting fixture is. They select a light, select the colour, and select the intensity. Job done!

He continued: “We love the ease with which different cues can be quickly set up and triggered throughout a show. With different groups using the studios at different times and with different looks, the ability to save each show and recall the set-up quickly is ideal. Although rarely needed, the speedy technical support and online resources available is another bonus.”

The Vista system was supplied by Chroma-Q UK dealer, A.C. Entertainment Technologies Ltd. Get your demonstration of the Vista by Chroma-Q product range at PLASA 2019 on the company’s stand (E30).

www.vistabychromaq.com

11th September 2019

Chroma-Q

Yamaha Audio Systems Aid Learning at Innovative INHA University

Yamaha Audio Systems Aid Learning at Innovative INHA University
Yamaha Audio Systems Aid Learning at Innovative INHA University

Uzbekistan – Founded in 2014 and opened last year, INHA University in Tashkent (IUT) was established as a result of co-operation between the INHA University of Korea and the government of Uzbekistan. Designed to be the most innovative and technically-developed educational institution in the Central Asia region, a major Yamaha audio installation is a vital part of an award-winning AV solution, which is helping students on campus and with distance learning.

Polymedia-Uzbekistan, the local representative of Russian systems integrator Polymedia, was chosen to deliver a high specification, fully networked AV solution at the university, including modern multimedia tools and the ability to facilitate distance learning. Yamaha sound reinforcement systems are a vital part of the project, installed in 12 lecture rooms and laboratories, as well as the university’s large, multi-purpose lecture theatre.

Supplied and installed by Uzbek installer ShowPro, the audio system is based on a Dante network, which seamlessly integrates with the Extron GVE platform for campus-wide AV system management and monitoring, via touchscreens in the presentation lecterns. The multi-zone system is designed to ensure the clearest sound for every student in each room, as well as having the ability to combine into a single, bi-directional environment. This could be, for example, to allow the classrooms to be used as overspill for a major event in the lecture theatre when more seating is needed, but still facilitate Q&A sessions.

Yamaha VXC8 ceiling speakers and VXS8 surface-mount speakers are used throughout the installation, with multi-channel XMV series Dante model power amplifiers. These can operate simultaneously in both high- and low-impedance, allowing connectivity of both speaker types, without affecting the number of available output channels or the audio quality. In each space a Yamaha MRX7-D matrix processor is used to manage the audio system, using its onboard parametric EQ, dynamic feedback suppression, Dan Dugan automixing, matrix mixer, speaker processing and delay to deliver optimum sound.

The most visible of the facilities is the Room 303 lecture theatre and the control room which overlooks it. This multi-purpose space can host a wide range of events and features a Yamaha QL5 digital mixing console (with MY4-AEC Acoustic Echo Canceller and MY8-LAKE Lake Processing cards) and a Rio1608-D I/O rack in the control room with the MRX7-D. Another Rio1608-D is provided on the stage for local I/O. Six pairs of VXC8W ceiling speakers are installed above the auditorium, powered by an XMV8280-D multi-channel amplifier.

The system delivers maximum flexibility, allowing lectures and smaller events to be managed by the MRX7-D’s Dan Dugan automixing and relayed via the VXC8Ws, while bigger events are mixed on the QL5 console to installed line arrays, which can be reinforced by the Yamaha ceiling speakers.

The 12 smaller lecture rooms and laboratories vary in size and layout, but the versatility of the Yamaha solution is highlighted by almost identical systems being installed in each one. Each system features an MRX7-D processor, an XMV8280-D power amplifier, a DCP4V4S controller, DCH8 digital controller hub, a pair of VXS8W surface-mount speakers and from two to 12 VXC8W ceiling speakers.

Audio inputs to the system in each room come from a lectern microphone, two wireless microphones, an Aux input for extra local sources and the Extron system, for remotely-streamed content from INHA University of Korea.

The system designs were assisted by Yamaha’s Commercial Installation Solutions Speaker Calculator (CISSCA) software which, for this project, helped ShowPro to create optimal Yamaha speaker systems, delivering a very successful outcome in Tashkent.

“The brief was to provide the learning spaces with audio systems that would take into account the different designs and acoustic characteristics of each room, deliver a uniform sound field and ensure that every student experiences equally high quality audio,” says Mr Ilshat Kallimulin, ShowPro’s main project engineer, who designed and implemented the system.

“We are very pleased that Yamaha audio systems are helping IUT to enhance education and the improvement of society in Uzbekistan.”

Mr. Muzaffar Djalalov, acting rector of INHA University in Tashkent, adds: “The system is very easy to use via the DCP wall panels and Extron touchscreens. The sound for any type of presentation is excellent, with the Dan Dugan automixing makes a big difference in only needing to have a sound engineer on duty for bigger events in the main lecture hall.”

 

Yamaha Audio Systems Aid Learning at Innovative INHA UniversityYamaha Audio Systems Aid Learning at Innovative INHA University

11th September 2019

Stitcher Equips New Podcast Studios with Allen & Heath

Stitcher Equips New Podcast Studios with Allen & Heath

USA - Stitcher, a leading podcast creator and distributor, recently moved into new studios in New York City with acoustics designed by Walters-Storyk Design Group (WSDG) and audio systems that include Allen & Heath Qu-16 and Qu-32 digital mixers. In its new studios, Stitcher creates a growing body of original content ranging from roundtable discussion to comedy improvisation, scripted fiction, documentary and musical podcasts.

John DeLore, senior production manager for Stitcher’s New York studios, says the company’s previous facility was limited to a single studio with a control room and interview room. “We needed more capacity and studio space. And our new studios needed top of the line sonic quality, lots of flexibility and acoustic isolation from each other and the outside world.”

Stitcher worked with WSDG to achieve these goals. The new studios are fully isolated and carefully tuned for consistent sonic quality from studio to studio and have been nominated for the 2020 NAMM TEC Awards Outstanding Creative Achievement Award in the Studio Design Project Category.

Stitcher’s previous facility had used the Allen & Heath Qu-16 digital mixer and WSDG’s Judy Elliott-Brown says: “They were very comfortable with the Qu-16 because it enabled them to produce their podcasts along with mix-minus feeds for remote interviews. So, we specified a second Qu-16 and a larger Qu-32 for music recording.”

DeLore explained: “We have the Qu-32 in Studio A. In that room, we utilise the layers and scenes for podcasts like the Marvel Wolverine series, and for recording original scoring. It works as an interface with Pro Tools so everything is one to one. And, we love the Q-Drive function. We’re recording to Pro Tools but the Q-Drive gives us a multitrack backup. And, guest engineers can set up the mixer the way they need; then we return it to the studio’s standards with a programmed soft key.”

DeLore commented: “The Allen & Heath mixers really work well for what we do. We like the way they sound and we like the ease of operation. Our end product is audio and from where I sit as a producer, we have a beautiful suite of studios nicely equipped to deliver a high-quality product.”

Stitcher’s new studios will be a featured tour during this year’s AES Show in October and Stitcher’s John DeLore and WSDG’s Romina Larregina will be featured on a “Podcast Production Studios” panel at AES.

11th September 2019

First Assembly Church strikes a chord with d&b Soundscape

First Assembly Church strikes a chord with d&b Soundscape

Canada – At a time when the background noise in audio is all about three dimensional sound and immersive experiences, arguably an extravagance suited to famous concert halls and exotic experimental music, it is contrary to the flow that we should encounter a d&b audiotechnik Soundscape system being applied at a church in Calgary, Alberta.

Thriving it may be, yet the pastoral team at First Assembly, Calgary is not prone to moments of irrational exuberance or wanton financial profligacy. For them Soundscape provided an entirely affordable solution to a seemingly intractable issue between acoustics, worship and sound reinforcement.

Justin Wells, First Assembly’s technical director, saw it as an uncomfortable divide between parts of their congregation and the heart of music worship. “Music is a huge part of what we do and within our church we have highly skilled musicians. For people who come for that, it has the potential to be inspiring. For our sanctuary, what we sought was an audio system that could place everyone in the sweet-spot of the sound image, something that could reach those sat at the periphery of our two hundred and forty degree fan shaped room and give them that inclusive experience.”

Wells and executive pastor Shane Penney called upon the services of Sapphire Sound, an audio, video and multimedia specialist headquartered in Abbotsford, British Columbia with a permanent office in Calgary. “We had worked with the Church on a number of things in the past,” explained Ben Burrell of Sapphire. “Lighting upgrades, small pieces of kit here and there, that sort of thing, but this was to prove a project of different magnitude.

“They first came to us in early 2017 and requested we look at updating their sound reinforcement system. They really wanted a quality experiential dimension to audio and imagined stereo imaging for everyone. Our analysis showed that while this was entirely possible, the room dimension and physical shape would require an unusually large number of cabinets to achieve what they wanted. It would also be a remarkably complex system to manage.”

Burrell continued: “We completed the assessment right about the time of the official launch of d&b’s Soundscape system. Sapphire has been providing d&b solutions since 2013 when we installed a system for Westside Church at The Centre for Performing Arts (Vancouver, BC). While we had no direct experience with Soundscape we have great confidence in d&b; everything we had used from them so far performed exactly as they promised it would. The functionality of their object positioning tool within the En-Scene module of Soundscape presented a much more manageable solution to the dilemma of First Assembly, and in many ways a better and more creative one.”

Wells took the proposal in stride. “When Ben first presented the Soundscape concept it was not simply ‘another way of achieving what we aimed for’. We had started to see the conversations in the pro audio press about so called immersive sound experiences, so even though it was all pretty new we saw the potential. Looking at the d&b online videos it was clear this was something else.” Burrell arranged for Wells and Penney to attend InfoComm and witness a d&b Soundscape demonstration. “We had already become convinced this was the way to go,” said Wells. “The demo was the final stamp of approval. Staged in 360 degrees, it was a very cool experience. Although the presentation was more generalised about what could be achieved with En-Scene and En-Space, it was also apparent how this system would transfer into our church and the impact it would bring.”

Burrell received the green light two days later and Sapphire placed the order with d&b audiotechnik Canada. “Although this was to be our first Soundscape installation, and the first in a House of Worship for d&b anywhere in the world, one element was in our favour. Typically Soundscape requires more channels of amplification than a more conventional point source solution. But such a conventional solution to First Assembly’s listening area was already complex enough that a high amplifier count was a given; in fact, using Soundscape has reduced the number of cabinets required and consequently reduced the amp count. The only cost impact was the d&b DS100 signal processing engine and the En-Scene licence.”

“We didn't want to go halfway and then find we had to go through the process again in five years’ time because we never achieved our goals the first time around,” said Wells. “With the audio system we made a clear decision that it was the most important component of the changes we were making and as such it was an easy decision to postpone some investment elsewhere. It was a sacrifice, but a small one and the cost was not a huge impact at all, certainly not compared to the impact the system has had. Never a deal breaker, we are really pleased.

“In terms of installation, everyone, top to bottom, the church elders, the congregation, people who choose to come from out of town – and we get a lot of them – really enjoy it and we constantly receive compliments on the listening experience. We value excellence at First Assembly; this brings music to a place at the heart of worship. Excellence in itself will inspire others to strive for excellence in themselves and their wider community.”

11th September 2019

Ayrton chosen for Church of Our Saviour, Singapore

Ayrton chosen for Church of Our Saviour, Singapore

Singapore – Ayrton MagicBlade-FX and Mistral spot luminaires were recently supplied to the Church of Our Saviour in Singapore by Ayrton’s exclusive local distributor, Total Solution Marketing Pte Ltd.

The Ayrton fixtures were chosen for this very special space for a number of reasons, as technical director, Ron Chiam, explains: “Because we only have a small space, we needed fixtures that were small and compact, but at the same time powerful enough to create a vibrant atmosphere. It was the first time we had heard about Ayrton, but soon realised that these were the fixtures to go for in the space that we had. They are used during moments of worship and are also used to create 3D-like lighting for our camera crew, so that they can capture what is on and off stage with ease.

“We have four MagicBlade-FXs rigged up on our flybars in a V-shape, so that we can fan them out to create some eye candy effects, or close them in for that extra breath-taking moment when there are solo performances. Two Mistrals are situated on the floor on top of boxes at our stage lip. These help to colour and project patterns to the roof and side walls. Another two are hung out on our side bars to give the audience some colour.”

Chiam was delighted with some of the special features and ease of use of the Ayrton fixtures. “One of the moments where these lights stand out is when you can blend two gobos together to create some sort of texture, without it looking like a messy array that distracts the congregation. Instead, each gobo is blended with another in different rotations to create a certain type of mood that makes it special and unique. The prism and gobos work well in the Mistral, and the MagicBlade FX’s tightness of beam and the ability to have different colours on each pixel is great.

“These fixtures are straightforward and easy to use so my volunteers got the hang of them in less than an hour and, using an MA Dot 2 lighting desk, they were able to program the most creative and alluring displays.”

10th September 2019

Uni of Salford’s New Adelphi Now Boasts 65 Audient Products

Uni of Salford’s New Adelphi Now Boasts 65 Audient Products

UKThe £55million Adelphi Arts and Media facility at the University of Salford has just seen its first students graduate who have spent their entire degree in the new building. Recording technical demonstrator, Samuel William Jones hails this as “a momentous occasion.” Housing the most up-to-date practice rooms, rehearsal facilities and recording studios that have been judged as the finest in Europe according to its website, the new creative hub also counts some 65 individual pieces of Audient equipment among its vast arsenal.

Six of our nine recording studios have Audient ASP8024 Heritage Edition consoles ranging from 24-36 channels depending on the studio, essentially our traditional live/control room combo music studios,” says Sam, adding that these consoles were the first six to come off Audient’s production line. “Our Voice Acting studio has a rack of the ASP880 mic pre amps (we are potentially looking at the new Nero Monitor Controller as an addition to that studio at the moment) and our computer suite is kitted out with the iD4s for monitoring and recording.”

He explains how the smaller audio interfaces fit in. “The iD4s have made a great addition to the Mac suites, the simple interface and combined volume controller mean they have been great with new students perhaps a little unfamiliar with audio interfaces in general, whilst it’s been really useful for anyone wanting to record synth or capture the DI signal of guitar or bass for re-amping in the studios later.”

This batch of iD4s have replaced iD14s, which are now used for a whole range of things including for loan through the equipment store. “They have been really popular with students to take home to record and mix with. We have essentially bundled them with a microphone as a sort of home studio kit,” he continues, citing the example of an assignment for the Advanced Studio and Location Recording module where students are required to record a local gig or find an interesting space to record something specific like a classical ensemble.

We have kept a few in the studios for location recording when people are after an easy solution and only need 12 channels, so we pair them up with a rack of pre-amps,” he says. “They do get a surprising amount of use on campus as well; lecturers will often use them as an interface in lectures, students will have a laptop in the studios they might be using as an external instrument, or we use them when we need a pop-up listening space for exhibitions.”

Many University of Salford music technology alumni were already Audient stalwarts, having used the classic ASP8024s before the New Adelphi Building was opened in 2016, so the upgrade to the ASP8024 Heritage Edition made perfect sense when they moved. Sam sings the praises of the desks from a teaching perspective: “They’re excellent for teaching signal flow to students and how to record from a ground-up perspective, without compromising on sound or features. Everything is available immediately without any menu diving or hidden functionality, which is really important when students are trying to get their heads around what each section does and making sure they are normalised properly before the next session.”

Despite the growing intake of students, and perhaps because of the increase in the number of recording studios since Adelphi’s inauguration, competition for places has got steadily tighter over the years. “All of our recording studios are generally booked to capacity as we encourage students to use them all the time. We’re open from 9am to midnight nearly every day during term-time which means that the desks get quite a lot of use.” he says.

Reflecting on the last three years, Sam is delighted in the students’ achievements. “In all honesty it’s been really amazing to listen to all the work our students have been producing, there’s been some really ingenious stuff that hopefully is the result of being able to work in such a flexible space with lots of analogue and digital options. Particularly this year we’ve seen a lot more people engaging with our tape machines (there’s a module option to do an ambitious overdub exclusively on tape) which have been really excellent - using the consoles for their design origins I suppose!”

10th September 2019

Huge Valledupar Cathedral Relies on Renkus-Heinz to Maintain Clarity

Huge Valledupar Cathedral Relies on Renkus-Heinz to Maintain Clarity

Colombia – Santo Eccehomo Cathedral in Valledupar became Colombia's largest cathedral when it opened its doors to more than 4,000 worshippers in April 2017. At 61 metres (200 feet) long and 34 metres (112 feet) wide, a capacity congregation of 6,000 (2,500 comfortably seated) can come together beneath a ceiling that soars to 14 metres (46 feet) high to celebrate the magnificence of a church they all contributed to building. The $12M pesos required to erect the cathedral was collected through an extraordinary campaign that brought in donations from rich and poor through a telethon and numerous fundraising activities and programmes.

The cathedral is the anchor of a complex that includes two chapels, auditoriums, meetings rooms, a cural house, offices, a crypt of ossuaries and funeral urns, and a parking area. As a new structure, the cathedral was planned from the beginning to include appropriate technology, a job entrusted to Bogotá-based design/build firm Schallertech. In consideration of the cathedral's national prominence, as well as its sizeable needs, Schallertech opted to install loudspeakers from Renkus-Heinz.

The venue was not easy to cover with audio because as new as it is, it harks back to traditional cathedrals in some ways. "Catholic churches in Colombia clearly show the influence of the country's time as a Spanish colony, but there have not been many large churches built in recent generations," remarks Schallertech CTO Freddy Sampayo. "Despite being an example of modernity that breaks with the colonial tradition, Santo Ecchehomo still presents the same acoustic challenges as the ancient temples." Indeed, much of the cathedral's construction is highly reverberant concrete, and the high ceilings and large, exposed expanses of the walls create the same extreme reverberation found in older cathedrals. Schallertech recommended installing acoustical treatment, but this is not usually done in Catholic churches, and whether for that reason or another, treatment was not part of the design.

The highest priority, of course, was being sure everyone could hear the spoken word, but there is a choir, and sometimes a band accompanies celebrations. "We use Renkus-Heinz products when we have challenging spaces," Sampayo states, "and since acoustic conditioning was not part of the project, the Renkus-Heinz products were essential for attaining intelligibility, which was the main concern of all the project's stakeholders."

The more sound could be kept off the walls and directed to the congregation, the higher intelligibility could be. To achieve this, Schallertech installed a Renkus-Heinz ICONYX Gen5 IC32-RN digitally steerable line array loudspeaker and an IC8-RN digitally steerable line array loudspeaker on either side of the altar area, mounted 2.1 meters (7 feet) off the floor. In order to cover the entire audience area, two of the speakers were angled out 45 degrees horizontally, with the other two speakers remaining on axis. A pair of Renkus-Heinz PN212S-RD dual 12-inch subwoofers supply the low frequencies needed for music. Reinforcement was added to one of the chapels, as well, in the form of a pair of ICONYX IC16-8-RD digitally steerable line array loudspeakers. The sources for the cathedral system are microphones and analog mixers, but the speakers are connected through Renkus-Heinz's RHAON software to enable monitoring, DSP control, and real-time adjustments.

"The ICONYX series products were chosen both because their digital steerable array technology ensured good intelligibility and because of their low-profile appearance," Sampayo explains. "Having a line array hanging over the altar was something that no one would even consider because of the aesthetics of the place."

Sampayo reports that Schallertech's strategy has proved entirely successful. "The system is fully operational and the archdiocese is very happy with it," he reports. "Priests from other churches were amazed by the results and now are asking for consulting on how to improve the sound in their parishes."

9th September 2019

HUST Delivers High Quality Sound to Grand Park Hotel Rovinj with Biamp, Community and Apart

HUST Delivers High Quality Sound to Grand Park Hotel Rovinj with Biamp, Community and Apart
HUST Delivers High Quality Sound to Grand Park Hotel Rovinj with Biamp, Community and Apart

Croatia – HUST d.o.o. has completed the design and installation of sound systems throughout the new Grand Park Hotel Rovinj, using a combination of Community and Apart loudspeakers with Biamp control. This 5-star 209-room hotel enjoys a stunning setting on the Adriatic coast of Croatia, with breathtaking views of the old town, islands and sea.

Grand Park Hotel Rovinj is owned by Maistra PLC, part of the Adris Group. One of the leading tourism companies in Croatia, it manages ten hotels, eight tourist villages, and six campsites in Rovinj and Vrsar, with a total accommodation capacity exceeding 35,000 beds.

With over 40 separate zones, the Grand Park Hotel Rovinj’s audiovisual systems can be controlled and monitored via an intuitive GUI on any computer within the hotel network, or via separate wall-mounted digital OLED controllers located strategically throughout the complex. Twelve choices of music genre are available in any zone via the streaming service.

A central feature of the hotel is its grand ballroom with stunning views of the city of Rovinj. The hotel also has three multifunctional/lecture halls, which can be divided or joined in various combinations. In these areas that require foreground entertainment and presentation audio quality, HUST chose Community V SERIES and D SERIES loudspeakers. Dual 8-inch and 12-inch V2 loudspeakers, supplemented by dual 12-inch and 15-inch subwoofers, deliver powerful high quality front-of-house sound, with distributed D6 ceiling loudspeakers providing additional, even coverage throughout the rooms.

The systems are managed by a Biamp TesiraSERVER I/O AVB digital network server, supplemented with a 16 x16 video matrix and an audio mixer for live performances. In the ballroom, Sony SRG-300HC cameras have been set up to monitor and play back events on two large Screenline video screens, via Epson EB-L1405U laser projectors. All of the multifunction halls are also equipped with Epson laser projectors, with Screenline screens for optimum video quality.

Over 700 Apart loudspeakers deliver high quality background music throughout the hotel’s public areas, including the lobby reception area, restaurants, conference rooms, pools and health and fitness areas. Grand Park Hotel Rovinj has the largest and most luxurious spa and wellness centre in Istria. Called the Àlbaro Wellness & Spa, it boasts an area of 3,500 square meters and is divided into two levels both inside and outside the hotel. HUST chose from the extensive range of CM Series ceiling and Mask Series surface mount loudspeakers to provide the optimum balance of audio quality and architectural design in each area.

,p>Tomislav Stubičan of HUST commented: “The Maistra Collection brand sets the highest standards for hotels and this complex includes 193 rooms, 16 suites and extensive services and amenities spread over six floors. It was extremely challenging to satisfy all the wishes expressed by the architects and hotel owner but, by the careful selection of brands that met the requirements of aesthetic elegance with the highest standards of audio performance, we achieved a design that met the requirements for this most fashionable and sophisticated hotel in Croatia.”
HUST Delivers High Quality Sound to Grand Park Hotel Rovinj with Biamp, Community and ApartHUST Delivers High Quality Sound to Grand Park Hotel Rovinj with Biamp, Community and Apart

9th September 2019

ArcSystem Brings Power Savings and Flawless Dimming to Centennial Concert Hall

ArcSystem Brings Power Savings and Flawless Dimming to Centennial Concert Hall
ArcSystem Brings Power Savings and Flawless Dimming to Centennial Concert Hall

Canada – Acting as a hub for performing arts in Winnipeg, Canada, the Centennial Concert Hall has long upheld a sense of community for the people of Manitoba. With a seating capacity in excess of 2,300, the venue is the largest performing arts space in Winnipeg. When Centennial Hall decided to upgrade its lighting system to improve energy efficiency and coverage, ArcSystem immediately stood out as a top choice.

The outdated system at Centennial Hall was causing multiple problems for the staff, patrons, and performers. On top of poor lighting quality, the old system required excessive maintenance. Denis Crymble, stage electrician at Centennial Hall, says: “I never liked the feeling of the light. To me, it was always dingy. The upkeep of it was horrendous. We had little to no flexibility in the old space.”

For decades, the venue had few technology upgrades. Looking to the future, the Centennial Hall team decided to move to an LED house lighting system. Although the staff knew this move would greatly reduce the venue’s ecological footprint, many were concerned about the quality of light that could come from LED fixtures.

“When we started looking at LEDs for house lights, I was skeptical, to tell you the truth. The ceiling is 60 feet high in some places,” says Crymble. “I didn’t know if we were going to get enough light out of LEDs.”

Vince Paulich, facility supervisor at Centennial Hall, knew that throw distance was going to be a major challenge when looking for LED luminaires. “When I first saw ArcSystem, it stood out as a solution that could solve the majority of our problems. There was certainly increased comfort knowing that the product was coming from ETC. Our house equipment is all ETC, from our Eos to Source Four PARs. It is a fantastic company.”

In addition to the brightness of the luminaires, the Centennial Hall team was impressed by the flawless dimming.

“The thing that impressed me the most was the dimmer curve,” says Crymble. “In my experience, getting LED lights to dim to zero smoothly is very difficult. When I saw the ArcSystem luminaires, I was thinking ‘wow.’ They don’t bump out and they don’t bump in.”

Paulich adds: “Even to this day, I have never seen a product with a smoother dimming curve than ArcSystem.”

The smooth dimming and quality of light have dramatically boosted Centennial Hall’s mood-setting capabilities for the audience. Crymble says: “With the new ArcSystem, there is a warmth in the theatre that wasn’t there before. The quality of light just makes you feel better.”

“When we walked in to see the first show with the new system, it was just stunning. It turned out exactly as we wanted. It didn’t feel dark, it didn’t feel bright, it just felt comfortable,” says Paulich.

Prior to updating the lighting system, patrons frequently complained about visibility in the theatre. Visitors had difficulty reading programs and finding their way to their seats. Paulich says: “Walking to your seat, you would notice that you were walking in a dark spot and then a bright spot. It wasn’t inviting.”

ArcSystem has eliminated this problem. General manager Martin Kull says: “Now we have zero complaints. The level of light is so much more consistent. There are no dark spots.”

The experience for those working behind the scenes has also vastly improved. With the combination of ArcSystem luminaires and Paradigm controls, the staff can get much more granular in how they adjust lights.

“One of the features that made me fall in love with ArcSystem was the wireless capabilities,” says Paulich. “It is fantastic to deal with fixtures one by one. It makes troubleshooting a lot easier.”

“In the old system, I couldn’t isolate specific areas when I brought up a dimmer,” says Crymble. “Now, I can individually address each light in the rig. Some shows don’t want to open the balconies. They just want the main floor. With ArcSystem, I can just have the main floor house lighting on, and hide the unused space by leaving it dark. We can completely tailor the space depending on each event’s needs.”

The venue increased the amount of control stations with Paradigm, meaning staff can access lighting controls from more spaces in Centennial Hall. Paulich says: “The ETC Paradigm product is incredible. It communicates with a broad spectrum of protocols. I love the sleek touch screen capabilities. It’s definitely a top of the line lighting controller.”

The advancement in technology also means less maintenance for Centennial Hall. With the old system, staff had to spend eight hours each week replacing lamps and sockets. Paulich says: “It was getting to the point that we had ten to 15 lamps go out in a week. The heat from the outdated fixtures was also affecting the wiring. It was a real challenge for us to keep the system running.”

Since the installation has been completed, the venue has yet to have a single ArcSystem luminaire go down. The staff went from weekly maintenance calls to just once a year.

The new lighting is incredibly more efficient than the old system. While ArcSystem is four times brighter than the outdated system, consumption has dropped from 76,000 Watts to 10,200 Watts. That’s a mere fraction of the power the venue once used.

Now that the five-year project is complete, Centennial Hall is confident that it will benefit from the forward-thinking system for years to come.

“I’ve always believed that you have to get cutting-edge technology and push the envelope,” says Crymble. “With this system, I wanted to make sure that we wouldn’t feel like we have outdated technology again in the next five years.”

“It was like building a road map,” says Paulich. “Once we put in a proper foundation, we can just keep building on top of it. We won’t have to upgrade anything in the lighting system for a long time. We really aimed to make sure we had the basic technology that would meet any needs the future holds for Centennial Hall.”


www.etcconnect.com

9th September 2019

ETC

Vari-Lite and Strand provide high performance solutions for Caruth Auditorium

Vari-Lite and Strand provide high performance solutions for Caruth Auditorium
Vari-Lite and Strand provide high performance solutions for Caruth Auditorium

USA – Caruth Auditorium, a classical concert hall at the heart of Southern Methodist University’s Meadows School of the Arts, has benefited from a new stage lighting system from Vari-Lite and Strand, Signify entertainment lighting brands. The system has delivered improved light quality, colour capability and quiet operation, plus major reductions in operational costs.

The new system was specified and installed by leading theatre technology consultancy, Schuler Shook. Their team, led by Jack Hagler, with theatre specialist Jean Gonzalez-Hill, worked closely with Steve Woods, head of the school’s Master of Fine Arts Stage Design program, on the specification.

“We wanted a system that could function for live events, and provide a good, flat field for televised events,” said Woods. “We needed a quality white light, but also to transform the stage and auditorium with colour when needed. We wanted the auditorium lighting to visually enhance the sonic content and give the audience an immersive experience.”

From the outset it was agreed that the replacement fixtures would be LED. However, the venue’s finely-tuned acoustics meant that power efficiency and light quality were not the only considerations.

Fixture noise was the project’s biggest challenge, said Gonzalez-Hill. “We worked closely with Strand to find solutions that would work with the room’s sensitive acoustics, and provide the required lighting levels. The acoustic requirements meant we could not use LED ellipsoidal fixtures currently on the market as frontlight.”

The solution was to use 25 Strand 200F LED Fresnels for frontlight, a choice made viable by Strand’s new fanless mode which is 6dB quieter, thus preserving the hall’s extremely low noise level. Another 12 200F fixtures provide white down-light over the performance area. Here, it was vital to deliver adequate illumination for the orchestra, as their music stands do not carry their own lights. “The 200F Fresnels provide a soft, smooth field of light,” said Woods.

Providing a colour changing wash for the performance area, plus additional white light where needed, are 12 convection-cooled Vari-Lite SL Punchlite 220s, chosen for their silent operation. Strand SPX LED WW fixtures, with their locking shutter system, deliver precise downlight on the pipe organ, while Vari-Lite SL BAR 660 colour-changing LED fixtures, which offer quiet operation in Studio Mode, give colourful uplight options.

The auditorium now has superior lighting results, with fewer fixtures, a consistent lumen output and lower energy consumption. Given the projected longevity of the LED equipment, SMU should expect to see even greater savings in maintenance and labour, and the lamp replacement cost has disappeared. The Caruth is engaged for 300 days in the year, and the new LED system removes the daily burden of replacing burned-out lamps and colour.

photos:  David C. Brown RPT Assistant Director For Music Operations SMU Meadows School of the Arts
Vari-Lite and Strand provide high performance solutions for Caruth AuditoriumVari-Lite and Strand provide high performance solutions for Caruth Auditorium

6th September 2019

New Sheffield venue ‘Network’ chooses HK Audio Linear 5 sound systems

New Sheffield venue ‘Network’ chooses HK Audio Linear 5 sound systems

UK – Having long relied on an HK Audio sound system in Record Junkee, a bustling vinyl heaven and gig venue situated above his Music Junkee equipment shop in the heart of Sheffield, HK Audio was once again the go to brand when Martin Leverton was looking for a rig for his new venture, a second and substantially larger city centre venue.

With its home on the first floor of the DINA Arts Centre complex on Cambridge Street, Martin’s new venture. Network’ is a fully rigged venue, set to become a must visit for both local and touring acts.

Martin explains: "Our venue in Earl Street has seen us bring some great national and international acts including IDLES, Frank Carter & The Rattlesnakes, Fat White Family and Viagra Boys. However, with capacity of only 150 it restricted our ambitions to continue attracting big names. Our collaboration with DINA Arts Centre is delivering a new live music destination to Sheffield city centre. For a city with such a strong history of music making, it needs more spaces to continue that rich musical heritage. We feel the new venue will create greater opportunities for exciting programming and promoting while helping to nurture Sheffield’s music talent by providing them with a platform for greater exposure.

DINA project director Deborah Egan heralded the partnership as breaking a trend in the city after numerous venues have closed, commenting: "We’ve seen much loved Sheffield live music locations shut over the years and a general downturn nationally. We feel Network will fill an important gap in Sheffield’s gigs and nightlife offering.

Martin continues: "Our HK Audio Linear 5 Big Venue Pack has done a sterling job in Record Junkee, but with Network having over three times the audience capacity we needed to step the sound system up to the next level.

Featuring an eclectic mix of DJs and bands, the requirement was for a system capable of sounding great with everything a diverse range of musical genres will throw at it, while being durable and reliable enough to work long and hard every week.

System specification was finalised after careful consideration in conjunction with Neville Raine from HK Audio’s exclusive UK distributor JHS.

Network’s front of house system comprises four HK Audio Linear L5 LTS, a long throw active mid/high enclosures which utilise HK’s innovative multi-cell transformer technology to deliver impressive long throw performance in an ultra-compact format. Formidable bottom end to under-pin these is delivered by six L5 SUB 4000 A (1 x 18”) active subs, with the chosen set-up configuration featuring two tops ground stacked on top of three subs at each side of the stage.

An L5 115 FA active 15”/1” enclosure supported by an L SUB 2000A active (2 x 12”) sub are situated as fill enclosures to augment coverage further down the room and allow an element of zoning flexibility.

Stage monitoring is courtesy of four L5 112 XA active 12”/1” monitors.

Network also boasts a second room which can be employed either as a break-out room, or as a stand-alone space to host more intimate events. This room is also equipped with an independent sound and lighting system, with another tried and trusted Linear 5 Big Venue Pack (a potent two stack system comprising two L5 115 FA tops and four L SUB 2000A subs ) taking care of sound duties.

Martin concludes: We’re really pleased with the venue and are sure the new HK Audio system will perform perfectly and prove a big hit with both acts and audiences.

Network’s opening night is on Friday 7th September and will feature the prestigious house music DJ Rahaan coming over from Chicago to deliver an exclusive headline set, with other up-coming shows announced including NYC hardcore legends Agnostic Front and alt-indie powerhouse A.A. Bondy.

In picture: Ryan Thompson, Network’s in-house sound engineer and Greg Archer, Network’s booking agent.

4th September 2019

Saskatchewan’s Casino Regina invests in Robert Juliat Oz Followspots for Show Lounge

Saskatchewan’s Casino Regina invests in Robert Juliat Oz Followspots for Show Lounge
Saskatchewan’s Casino Regina invests in Robert Juliat Oz Followspots for Show Lounge

Canada – When the Casino Regina Show Lounge wanted to replace some of its heavily-used followspots, Christie Lites Sales, a Saskatchewan dealer for Robert Juliat lighting fixtures, suggested a pair of Oz 600W LED followspots for the entertainment venue.

Robert Juliat continues to lead in followspot design with the dynamic Oz, the first professional LED followspot able to deliver a high output comparable to that of 1200W discharge followspots. With a 600W cool white LED source, compact dimensions, silent operation and smooth electronic dimming, Oz is ideal for FOH and truss positions for large venues and full-size theatres.

“We wanted a direct replacement for the Robert Juliat Korrigan followspots we had previously, so Oz was the best option,” says Bruce Dumba, lighting director at the Casino Regina Show Lounge. Casino Regina is owned and operated by SaskGaming, and is located in Regina’s landmark Union Station building. The 800-seat Show Lounge hosts all types of entertainment: singers, bands, comedians, artist tributes, banquets, and is looked after by Ashley Seidler, manager of entertainment at Casino Regina.

“Most venues are looking for LED followspots now, and Oz is essentially the LED version of the Korrigan units the Show Lounge had been using,” says Alyssa McLellan with Christie Lites Sales; she and Bruce Lozinsky made the sale to Casino Regina. “By investing in industry-standard gear they are able to meet the needs of the performers who come through the venue and are confident in the equipment they’re getting.”

Dumba is especially pleased by Oz’s roller douser feature, which he finds “really nice, much brighter, more vivid and with no heat.” He reports that the Oz followspots have been performing well with no issues.

2nd September 2019

Minneapolis Convention Center adds Ayrton Bora-S fixtures to main auditorium

Minneapolis Convention Center adds Ayrton Bora-S fixtures to main auditorium

USA – The Minneapolis Convention Center has completed another phase in its continuing technology upgrade adding Ayrton Bora-S wash luminaires to the main auditorium.

“We replaced our old wash units with a greater number of Bora-S and kicked up the rig a couple of notches,” says the Center’s technology co-ordinator, John Eberlein. “We’ve gained greater capabilities with Bora, which can act as a spot, gobo and shutter unit. This takes us to another level.”

Sleek and compact, the feature-packed Bora-S is particularly suitable for scenic applications requiring a great deal of light output, such as concerts and other live entertainment. It is equipped with a new LED module calibrated at 8000K delivering powerful metallic white light with a record-breaking output of 42,000 lumens.

ACT Lighting, Inc., Ayrton’s exclusive distributor for North America, had demonstrated an assortment of fixtures for Eberlein and hinted that Ayrton had something new coming soon. “We decided to wait and see Ayrton’s new light, and I’m glad we did,” he says. “We fell in love with Bora’s light output, flat field, gobos and shutter cut capabilities, which we didn’t have before. We also didn’t see the halations you find in some LEDs.”

Eberlein notes that the versatility of Bora-S gives him multiple options for the Minneapolis Convention Center’s wide range of clients.

“The Beach Boys entertained at a not-for-profit corporate event here, and their lighting designer was very happy with the units,” Eberlein reports. “Our Boras were the most moving lights they’ve had on their shows.”

The fixtures also lent themselves to the dynamic staging of a concert featuring Indian singers Sonu Nigam and Neha Kakkar, he says.

The Minneapolis Convention Center deployed Bora-S for the National Association of Basketball Coaches’ awards ceremony held during the Final Four. “They illuminated a set piece from Atomic and everyone was very pleased with Bora’s saturated blues that matched the branding colours,” Eberlein points out.

Area high schools that used the Minneapolis Convention Center as the venue for their graduation ceremonies “were able to wash their choirs or orchestras then change over to light the dignitaries on stage,” he adds. “The Boras are mounted on three trusses flown over the stage; we have no conventionals hung over the stage now, we don’t need them. It’s great that we no longer have to have a ladder crew come out and physically focus the conventional units when the area that needs to be lit changes.”

According to Eberlein: “Bora has quickly become our workhorse light. Bora’s speed, effects, colour and light output are fantastic, and we can count on it to do a wide variety of things. This is the light for us!”

The Bora-S fixtures were provided to the Minneapolis Convention Center by Gopher Stage Lighting of Minneapolis.

Minneapolis Convention Center adds Ayrton Bora-S fixtures to main auditoriumMinneapolis Convention Center adds Ayrton Bora-S fixtures to main auditorium

2nd September 2019

Idlewild Baptist Church Turns to DiGiCo for Live Services, Broadcast, and Teaching Applications

Idlewild Baptist Church Turns to DiGiCo for Live Services, Broadcast, and Teaching Applications
Idlewild Baptist Church Turns to DiGiCo for Live Services, Broadcast, and Teaching Applications

USA – Idlewild Baptist Church in Lutz, Florida is the very definition of a mega church. Its 5,000-plus-seat sanctuary is big enough to accommodate a Boeing 747 airliner and still leave room for the church’s 210-voice choir and 64-piece orchestra.

Last September, the church realised it needed to update its audio infrastructure to improve acoustical issues such as speech intelligibility in its reverberant main hall, and create a better AV training environment to support its mission of educating the next generation of house-of-worship systems operators. It accomplished all of that and more when it acquired a fully integrated suite of systems and products from DiGiCo. This technology package comprises an SD5 console for front of house, an SD12 console for monitors, and an SD5B for the church’s broadcast studio, as well as four SD-Racks, an Orange Box multichannel interface, and a complete Waves processing bundle. The DiGiCo package was designed and integrated by Blackhawk Audio, based near Nashville, Tennessee.

“We knew it was time to update our audio infrastructure,” recalls Ryan Kindle, Idlewild Baptist Church’s creative director. “We had two main goals we wanted to achieve with the next generation of audio technology we would use at the church: it had to be technology that was being widely used by top professionals, and it had to be able to act as a teaching platform, because that is a major mission for us: to educate future generations of people who will work with professional audio, video and lighting systems, in houses of worship and elsewhere.”

Kindle says their research extended to polling their colleagues in the touring industry about what they were using. “Nine out of ten of them told us, DiGiCo,” he says.

Furthermore, in looking at the form factors of the SD-Range, Kindle says that they are the only consoles that allow two people to comfortably work behind them. “We believe in the idea of the A1 and the A2 working together, able to physically touch the consoles, teaching and learning as they go along,” he explains. “Also, the consoles are laid out in such a manner that you can move from right to left and learn the console in a very logical fashion.” That doesn’t take away from the consoles’ high degree of operational flexibility, he stresses, “but it’s a great way to learn the console and learn audio.”

That flexibility is important, as is the consoles’ capability to act as a unified ecosystem, says Kristy Reed, production director and head of audio at the church. “We have four SD-Racks: one is at the stage and is being used as the stage box for the 64-piece orchestra,” she says. “From there, we have a three-way mic split, with close to 200 channels and 54 recessed mic-input stage pockets, to FOH, monitors, and broadcast. The DiGiCo consoles and Optocore network have made that situation much easier to handle, with all of that now on fibre to the consoles. With the Orange box and the Dante card, we have created a superhighway of on and off ramps to the system.”

“Before, we had three consoles, all on mic splits, and each of them had to be patched and then landed in the consoles three different ways,” adds Kindle, comparing the church’s workflow then and now. “With the SD-Racks and Optocore, you just plug something in one time and it’s available everywhere. That’s been a life-changer.”

Two more SD-Racks are located in the church’s machine room, where they also manage input from 36 channels of Sennheiser 6000 Series wireless microphones and eight channels of Sennheiser G4 in-ear wireless monitors. A fourth SD-Rack is located in the broadcast studio. Kindle says a BroaMan Route66 Optocore AutoRouter is a key component of the church’s renovated audio infrastructure, and that the DiGiCo consoles integrate seamlessly with it.

And then there’s the sound. Reed says the first mix heard through the SD5 was simply: “Wow! It was as though a veil had been lifted off the sound in the room. Even the non-technical people in the room notice it.” She adds that the band instantly recognised the 96kHz difference on the first day of rehearsals. “They love the clarity and openness the improved resolution brings. Also, the room used to get muddy even at 65dB, but the console’s pristine fidelity paired with the Waves bundle has really improved how we process speech and done wonders for intelligibility,” she says.

Furthermore, the staff has been making extensive use of the virtual soundcheck capability, which has accelerated the training process considerably. And she says the integration with Figure 53’s QLab multimedia playback software has taken the church’s theatrical productions to another level, for instance using QLab to remotely fire snapshots on the SD5 at FOH. “This is a working theatre as well as a sanctuary, and the flexibility and features of the SD consoles make it even more of a professional theatrical environment. They’ve completely changed the dynamic of how we work.”

Just as impressive, according to Kindle, has been the customer service that the church has gotten from DiGiCo’s US distributor, Farmingdale, New York-based Group One Ltd. “We have placed a few calls to them for assistance and questions over the past year, and I now have the personal cell phone number of each person I have ever spoken to there, not because I asked, but because the guys on the other end genuinely want to help, from Ryan to Kyle to Chip. Their customer service has absolutely been the best. Pair that with the fantastic design and integration support we’ve received from Blackhawk Audio, especially Rick Shimer, who bleeds DiGiCo, and we couldn’t be happier with our decision to have an all-DiGiCo main worship space here at Idlewild Baptist Church.”

www.digico.biz

2nd September 2019

DiGiCo