The LD Systems MAUI 5

MAUI 5 par LD Systems

MAUI 5 par LD Systems

Easily portable, set up in seconds and conveniently fitting onto a car seat, the most recent addition to LD Systems’ MAUI family impresses with comprehensive connectivity and a powerful, dynamic performance.

Providing both sound reinforcement and monitoring from a single system, the MAUI 5 sports 200 watts RMS yet weighs in under 11 kg (24 lbs.) – making it the world’s lightest column system.

The ported 8″ subwoofer and 3-piece column PA boasts extra wide dispersion, extended vertical directivity and good feedback resistance while custom multipin connectors facilitate fast, cableless assembly.

The 3-piece column PA showing his custom multipin connectors


The subwoofer connectors : line inputs and power supply

A detailed view of the onboard mixer featuring 4 gain controls, line, mic, Hi-Z/MP3 and Bluetooth. Just below the high shelf filter, subwoofer and master volumes enable precise sound balance.

The all-in-one MAUI 5 incorporates a 4-channel mixer with LD Systems’ proprietary LECC digital processing, Bluetooth© technology and microphone, line level and hi-Z inputs which can be used simultaneously.

Individual level controls, subwoofer and master volumes enable substantial sound balance while a high shelf filter allows for room correction.

The built-in Class D amplification features overcurrent, short circuit and thermal protection for secure, reliable operation.

Discreet and unobtrusive while delivering audio with clarity and punch, the lightweight MAUI 5 column PA is suitable for a wide array of applications including solo entertainers and acoustic performers such as singer/songwriters.
Manufacturer & Sales : Adam Hall, Germany, Available from November 2015 – RRP : 549 €

More information about the product : http://www.ld-systems.com/en/series/maui-series/maui-5-ultra-portable-column-pa-system-with-mixer/

 

Aura Audio’s Powersoft M-Force Makes Devastating Impact

Based outside Turku, Finnish loudspeaker manufacturer Aura Audio Oy is using the magic of Powersoft’s M-Force’s electromagnetic conversion principle to power its XD30 subwoofer; this was pressed into action at the recent high profile Colors dance festival at Kaapelitehdas, the former cable factory in Helsinki — with devastating effect!

Aura Audio’s managing director, Mika Isotalo, explains that they worked closely with rental company AMJ Turku Audio Oy, who equipped both the main and second stages with Aura’s premier sound reinforcement systems. M-Force first captured their imagination at its launch during Prolight+Sound 2013 in Frankfurt. “We started working with it immediately, so that by Frankfurt this year we were able to present our own M-Force product, the XD30 subwoofer,” stated Mika.

A shot showing Paul Van Dyck and Aura’s Audio A2 in the middle of the set, one playing the music and the others reproducing it !! © Gofoxo.com – Sami Turunen

So what it is about M-Force that has created a true paradigm shift in low-frequency sound, and grafted a new dimension onto electronic dance music reproduction — so that dance music aficionados could hear an all-star line-up at Colors headed by Basement Jaxx like never before?
Essentially, it is an innovative transducer based on a patented moving magnet linear motor structure, offering unrivalled performance in terms of power handling, electromagnetic conversion, reliability and maximum SPL when compared to a conventional moving coil and cone arrangement.

The XD30, next generation subwoofer from Aura dn Powersoft. Delivering over 150dB between 35 and 80Hz. 115kg and the same output than 3 to 4 direct radiating double 18” sub…

Driven by the M-Drive amp module, the M-Force motor is the result of years of FEM magnetic and mechanical simulations, while Powersoft’s Differential Pressure Control (DPC) creates further performance enhancing active control.

“ As a loudspeaker manufacturer focusing on acoustics and new loading techniques we already had a new patented enclosure design which we had been using with different cone drivers for several years. When we saw M-Force we immediately thought it would be good for more compressed loading because of that huge motor strength. ”

“ A single XD30 is able to produce more than 150dB peak SPL in floor and we used four of those in two by two end-fire configuration so we were hitting average of 140dB´s at 10m´s. Low frequency cut of is around 30Hz, but it does go lower than that if necessary. ”
So far the system has been heard by dance music aficionados at such events as DBTL Festival in Turku, Helsinki Pride and Raumarock Festival in Rauma and others.

“ The reaction from pretty much everyone has been one of positive surprise,” says Mika. “ They have all been impressed by the size to SPL, the fast transient response and effortless infra bass. ”


At the same time Aura Audio purchased their first Powersoft X8 amplifiers this year, specifically to drive the top end of their rig and they will be offering them to their clients as a primary choice. “X8 represents an unparalleled package of DSP and electronic power, and it sounds very natural and clear,” observes Mika.

The point source all-purpose actively driven box from Aura Audio, the A1. 15’ Neodymium bandpass loaded for the lows, 6,5 neodymium code driver horn-loaded for the mids and a couple of 0,65 exit drivers for the highs. Max peak SPL is 137dB, the coverage at -6dB is 90×15°.

The « small » Aura’s line-array A2 featuring two 10” for the lows and the very same 6,6” and 0,65 for the mid and highs. Passive 3 ways, handling 600W RMS and 2400 peak, the A2 delivers a max peak SPL of 137dB. The coverage is 90×10° and the weight only 33kg.

At the Colors Festival the system comprised Aura Audio’s A2 line array with six elements per side and six as a delay line to carry sound over 100m to the back of the hall, powered by the X8, fitted with OEM preset libraries. Further A1 point source cabinets were used as front fills.

Since its humble beginnings in the late 90’s, Colors Festival became one of the largest EDM event in Scandinavia and is an integral part of the EDM music scene in Finland. The Helsinki based festival took place on 10-12 of July 2015 and is part of Colors events, which range from intimate club nights to major festivals. This year, Space Ibiza headlined the festival along with Basement Jaxx. Other leading DJs on the Colors Festival bill included Ferry Corsten, Orkidea, Paul van Dyk, ATB, Camilo Franco, Chicane, Deep Dish and Photographer.
Mika Isotalo is in no doubt as to the advantages the combination of their patented enclosure design loaded with the 30″ Powersoft M-Force driver system, brings in setting a new benchmark in SPL versus bass cabinet size. Finland’s nightclub owners are also catching on to the impact this can give their venues.

Dash Berlin. © Gofoxo.com - Sami Turunen

Dash Berlin. © Gofoxo.com – Sami Turunen

“ We expect to see some new ones using M-Force in the future — both in Finland and beyond, ” summarises Mika Isotalo.
“ I think M-Force open up new ways to make high power subwoofers and coupled with DPC and endless power capabilities of Powersoft amps we´re able to make a new reference for high-end subwoofers in both SPL dynamics and sound reproduction accuracy. ”

More informations :
http://www.auraaudio.fi/index.html
http://www.powersoft-audio.com/en

L-Acoustics Helps Foo Fighters Keep North American Tour Leg Unbroken

The crowd gasped when Foo Fighters frontman Dave Grohl toppled offstage during a show on June 12 in Gothenburg, Sweden. Grohl, however, quickly showed the single-minded perseverance that has led him to success in music and documentary filmmaking.
Shortly after being helped off stage for medical attention, he was back in front of the crowd—seated this time—singing and playing guitar while a doctor held his leg in place.

L-Acoustics Foo Fighters Grohl

Despite his broken leg, Foo Fighters’ Dave Grohl rocks Washington D.C.’s RFK Stadium on July 4 from his self-designed motorized throne. (Photo : Andy Tennille)

A dedicated performer who literally lives the phrase “the show must go on,” Grohl and his bandmates are now on the 43-date North American leg of their Sonic Highways tour, which “kicked off”—with the singer/guitarist seated on a massive motorized throne—July 4 at Washington, D.C.’s RFK Stadium. Accompanying the band on this latest stretch running through November is an L-Acoustics K1/K2 PA system fielded by Delicate Productions, which has been Foo Fighters’ SR vendor for the past five years.

“We have partnered with Winston-Salem, North Carolina-based Special Event Services (SES) for the K1 enclosures,” says President Jason Alt, noting that Delicate has taken the same approach for tours in the past based on the broad acceptance of L-Acoustics’ K1 system. In fact, Alt’s success with K1 prompted him to order a K2 system for his own company.

L-Acoustics Foo Fighters system

Delicate Productions is carrying L-Acoustics K1 and K2 systems for the entire North American tour, which runs through November. (Photo : Andy Tennille)

Now, as Foo Fighters head out to play the remainder of their tour, the system’s main hangs used for stadium dates consist of 16 K1 enclosures atop four K2 down enclosures per side, buttressed by either three delay towers using 16 K2s or two towers using 20 K2s, depending on the layout of the venue.

In arenas, the system is slightly scaled back, with 14 K1 enclosures atop four K2 down boxes, 12 more K2 for out fill arrays, five Kara enclosures for front fill across the stage lip, and Kara and ARCS boxes for side fills. A total of 42 SB28 subs are deployed for the stadium shows and 14 for the arena system configuration. These are stacked, as per Foo Fighters’ longtime FOH mixer Bryan Worthen’s preference. LA8 amplified controllers housed in 12 LA-RAKs power and process all systems.

With Delicate Productions taking delivery of the K2 boxes at the end of June, Alt says it feels good to be part of the L-Acoustics “family.” “The way we had been doing it in the past had been part of a strategy that saw us invest in other directions,” he says, explaining how sub-renting the L-Acoustics systems had enabled them to balance themselves in the larger ecosystem of tour sound. “It created some important strategic relationships with other companies. But it was a good time to make the move with the K2. Not just for the band, but because of L-Acoustics’ market acceptability, which was the main reason—it’s the number-one name we see on riders now.”

L-Acoustics Foo Fighters  crowd

Dave Grohl amidst a sea of Foo Fighters fans in his hometown of Washington D.C. on the Fourth of July. (Photo : Andy Tennille)

Alt describes the K2 acquisition as a strategic advantage, citing the fact that the K2 delivers the K1 sonic signature in a smaller, lighter form factor, which reduces transportation costs. “That’s also going to be important for corporate shows, which make up the next largest part of our business,” says Alt, who adds that clients had been asking about the availability of the K2s even before they arrived at his warehouse. “It’s going to be a very busy system,” he says. “It’s turning out to be a very promising investment.”

As for Foo Fighters’ opening show in D.C., which celebrated the 20th anniversary of the band’s debut album and followed sets from Buddy Guy, Gary Clark Jr., Heart, Joan Jett, LL Cool J, Trombone Shorty and RDGLDGRN, Alt adds, “The show went great. Bryan had a good show and was very happy at the end of the night. I got to mix the opening act, so it gave me chance to evaluate the system as well. I couldn’t be happier with the K2 investment that Delicate has made and was blown away by the performance.”

For more details on Foo Fighters’ current tour itinerary, visit www.foofighters.com/tour. Delicate Productions, with offices in Camarillo and San Francisco, CA, can be found online at www.delicate.com.

Meyer Sound presents Leopard and 900 LFC, interview with Marc de Fouquières

At the very least it can be said that, at Meyer Sound, the beard is a symbol of distinction, as demonstrated by the presence on the stand of John Meyer in person and Big Mick Hughes, sound engineer emeritus, a good meter of whiskers between them.

Mick Hughes, known as “Big Mick”, (55 years – of which 31 at FoH for Metallica) with Marco on the Meyer stand. His latest credo is to do the sound starting from the vocal mics and those not subject to gates, and end up with the ones attached to instruments that are often passed through expanders. The reasoning is quite “sound”, since the sound on the stage will influence the mix from the start and not just at the end when everything is in place

Every wizard needs a beard, right? Well, the latest wizardry of Mr. Meyer is the new addition to the Leo family: the lean and wiry Leopard, with obligatory class-D amps and a beefy new sub designed to accompany it, the 900 LFC. Who better than Marco to tell us about them…

One of the stacks serving as décor on the Meyer Sound stand at PL+S 2015.Three Leopards stacked on a 900 LFC

SLU : What can we say about the Leopard… first of all that it is finally Meyer’s successful application of a class D amplifier in a system more powerful than Mina ?

Marc de Fouquières (Technical Director for the Dushow group and Best Audio, importer of Meyer Sound in France) : Yes, among other things, we could say that. We like this new product a lot because it combines the technological innovation of a switching power supply with variable voltage rails, the so-called class D, with an amplifier that is in some way analog, and that delivers the current to the speakers in pure class AB and suddenly, by varying the voltage rails, it wastes very little power.

This is a similar topology to that employed by other manufacturers. The advantage is that it obtains very high power with an extremely low weight, which obviously interests sound companies like ours.
Having almost the same weight as some systems made by other manufacturers, with powerful enclosures that do not require external amplification, is a real plus.

The weight advantage over the rest of the Meyer catalog is quite real, as it weighs just 33.6 kilos. This places it in the upper-average of its “adversaries” on the market, such as KARA at 26 kg, S10 at 27 kg, 34 kg for the V12, or the STM M28 that weighs 37 kg – all passive systems, unlike Leopard. The folks at Meyer seem to be well aware of their progress, as they proudly boast that only one 500 kg hoist is required to lift six Leopard heads and two 900 LFC subs.

An amp ? What for…

SLU : What are the most obvious benefits of having the amplification on board ?

Marc de Fouquières : It’s simple. For us the amp rack is a plague. It always has been and it always will be, as it is a source of errors – not the least of which are using bad presets or cabling errors. Send the bass signal to the HF transducers and damage is guaranteed. The existing flexibility – where everything can go with everything – in a kit like ours means a lot of manipulation or adapters. You understand that, if a mistake can be made, sooner or later it will be.

A detail of the back of the Leopard. Meyer users won’t get lost. Or new users, either!!

When Meyer built the amplification into their enclosures, like so many others we were skeptical at first. Then MSL4 and UPA were the first powered speakers to convince us of the validity of this technology. Today we believe that it streamlines our business and allows us to focus our energy elsewhere. It is in step with what is happening in lighting.
When you have a moving head and you have to send up a PowerCON and 5-pin DMX, it’s still easier to implement than when you have dimmers on the floor and you have to send up thick, heavy cables. You have to transport and deploy a set of much more complex and heavy equipment than when everything is in the enclosures.

SLU : Getting back to the weight of Leopard, were compromises necessary, in terms of materials, to accomplish this ?

Marc de Fouquières (nodding) : There are no compromises in the quality of the result, and, therefore, not in the the means used, either. Meyer has won the bet, and I tip my hat to him. To quote someone: in the Leopard, the speaker basket is not the mould for an otherwise plastic cabinet (laughs!)

SLU : Tell us about the amp that is on board, the technology seems very interesting…

Marc de Fouquières : I will, but I have not yet had the opportunity to take a look at it, so I’m only repeating some information that John (Meyer – ed.) gave me. Knowing the engineer who designed these stages, above all he strives for simplicity and to reduce the number of active components between the one emitting the current and the coil of the transducer that receives it. They have gotten further in this quest than they had been up until now.
If we take, for example, IGBTs with variable voltage rails, there is no heat dissipation in the absence of signal. When there is no signal, there is no voltage. In a simple class AB amplifier, the rails are invariable, still at +/-30 volts, while in this one the rails change value. When there is no signal – let’s say for simplicity – there is no voltage. It is a simple but very well designed topology. The past four years at Meyer could be called a race for simplification.

SLU : Mina opened the way for this ?

Marc de Fouquières : Yes, in a certain way, but one can’t compare it with Leopard because this one features an analog amplification stage.

A detail of Leopard’s rigging hardware, which uses settings at the front and back to create the desired angle

SLU : Is the filtering in Leopard done in analog ?

Marc de Fouquières : No, the signal processing is digital. They are the same processors as those in the Galileo. The only enclosure that remains 100% analog is the Leo-M. Starting with Lyon, we have entered a new era; with digital processing, we manage to do things that are impossible in analog.

SLU : Has the waveguide benefitted from the experience acquired with the two other enclosures in the Leo family ?

Marc de Fouquières : Yes, absolutely. The 3-inch driver is coupled with a manifold adapter, the one that creates the isophasic wavefront, that has been redesigned, in particular, using finite-element analysis software. The result is improved coupling between two speakers that are, necessarily, separated by more than one length of the exit of the horn, what is known as the filling coefficient. This reduces interference at the bottom of the stack or outside the coverage area but close to it.

No toroidal phase plug and no backache… how could it sound ?

SLU : Have you been able to hear the new enclosure ?

Marc de Fouquières : Yes, of course. Some people from Meyer are at Dushow in our studio for a few days, so that I can listen to it and measure it in every way.

SLU : And ?

Marc de Fouquières : It measures well and it sounds great, obviously. To us, the sound is exactly like what we have heard from the Lyon and Leo – namely, an incredible dynamic capability undoubtedly related to the capacity of the power supply to emit astronomical voltages instantaneously, and as the power stages follow, it provides a very punchy sound. Although the average power consumption is not very high, the music being produced is (the peaks); the Leopard therefore fits perfectly into the line of products that Meyer has always manufactured, designed to make music and not noise.

SLU : Speaking of the range and the positioning within it, where does the Leopard fit in?For example, does Lyon arrive at 3 or 4 dB less than Leo-M and Leopard get to about that same amount less than Lyon ?

Marc de Fouquières : You have to look in the MAPP Online. The difference between each speaker is slightly bigger but, judging by listening and by measurement, even though it is a compact enclosure, Leopard can replace Mica despite being half the size at the front panel. The upper-mid range, in particular, is even a little bit superior to what is reproduced by Mica. Only the mid-bass is barely behind but, as it is part of the spectrum you are going to attenuate when summing enclosures, the problem is solved.

Meyer has also chosen to use pre-conformation curves on the speakers. The goal is not to make them appear correct in MAPP online – something that doesn’t interest anyone because I’m the only one who looks at MAPP online (laughs!) –but, when they are assembled in arrays of six units and given a signal, to produce a beautiful curve of perfectly usable energy in a range from 63 Hz to 20 kHz – yes, I said 63 Hz. It can go down a third of an octave lower than Mica (which employs 10-inch woofers as opposed to Leopards 9-inch LF transducers – ed.).

18 inches and two voice coils

The sub 900 LFC and its impressive rigging frame. Nothing really new here – it is robust

SLU : Can you tell us about how it combines with the 900 LFC ?

Marc de Fouquières : You put them on the ground, one per side, and it’s enough to do anything.

SLU : Meyer seems to be pushing the configuration with two subs at the top of the arrays. Six Leopards and two 900s on a half-ton hoist.

Marc de Fouquières : Of course, I also recommend flown arrays whenever possible, but the problem now is that users want subs in the air and on the ground. By doing this, they create interference.

However, if one were to use flown subs and others stacked, I recommend joining them at the bottom by making a column starting from the floor, a solution that has the advantages of creating the least interference and being the most effective. It is just my personal opinion that you should do it this way whenever possible, but we all know that it is always the scenography that takes precedence over the sound and not the other way around.

A potentially very loud connected stack…

SLU : Reading the sparse introductory and preliminary info, it would seem that the 18-inch woofer installed in the 900 LFC is new, as it is equipped with two separate voicecoils and, therefore, two amps…

Marc de Fouquières : Yes, apparently that’s the way it works, as far as I have been led to understand. But, again, not having taken one apart, I can’t confirm this. I do know, however, that this technology allows for very high current and, in particular, permits the use of a speaker with a very low impedance, hence the idea of having two coils. This allows them to double the current, without having to create an amplifier that can handle the short circuit.

SLU : So, this really is a new woofer, compared to those in the 1100 LFC…

Marc de Fouquières : I think so; it certainly must retain the same magnet, which is extraordinary. The 18-inch woofer in the 1100 looks like every other speaker in the world, weighs about like every other speaker in the world but, instead of ferrite, it uses a neodymium magnet. I have not measured the power factor that you can get out of it, but it must be out of this world.

Invasion of the Leopards

SLU : Do you have any idea about the date of the first deliveries of these new products ?

Marc de Fouquières : We should have the first speakers towards the last week of June, but Meyer may be a little slower than that because the success appears to be overwhelming.

SLU : So, I guess there is business to do at Dushow in order to sell off your Mica inventory !

Marc de Fouquières : We are still using it, so, in this period of transition between the two systems, the answer is no! We have already hired it out, so we can’t sell it now (laughs!).

 

Digital mixing console

More limelight for the Yamaha RIVAGE PM10

Yamaha PM10 Rivage

Yamaha PM10 Rivage

Having received an enthusiastic reception from the European market at ProLight+Sound in April, Yamaha’s new flagship RIVAGE PM10 digital mixing console has enjoyed more of the limelight thanks to his trade show debut at the ABTT Theatre Show 2015.

The DSP engine

The DSP engine

Taking place from 24th-25th June at the West Hall at London’s Alexandra Palace, the ABTT Theatre Show gave to many UK sound technicians the opportunity to see demonstrations of the RIVAGE PM10, with interest from across the theatre industry.

Yamaha showed as well its new TF Series digital mixers for only the second time at a UK trade show and highlighted its CIS series of matrix mixers, amplifiers and loudspeakers. These provide versatile, powerful solutions for any space where high quality installed audio is required.

Yamaha RPio622 Front

The In/Out Rack

“The ABTT Theatre Show is one of the first dates on our calendar every year and we enjoy meeting people from the entire technical production spectrum, from high profile West End sound designers through to the many enthusiastic and talented amateurs who consistently deliver excellence in local and educational productions,” says Karl Christmas, Sales and Marketing Manager Yamaha Commercial Audio (UK & ROI).

“It is particularly apt that we showed RIVAGE PM10 and the TF Series together at this event because, with the established CL and QL series consoles and CIS products, we have demonstrated that Yamaha has a high quality audio solution for literally any venue or production, whatever the scale or budget.”

Should you want to discover more in detail the RIVAGE PM10, Yamaha is posting excellent short movies explaining block by block, all the features of this system. From the preamps to the plugs, the Neve Design dynamics to the scenes.
The 11 movies can be found here and there’s probably more to come in the close future.
http://www.yamahaproaudio.com/global/en/products/mixers/rivage_pm10/

 

 

News from Prolight + Sound

Live Console Avid Venue S6L

The S6L in the large control surface configuration, with 32 faders and all four touch screens. An additional screen can be added to, for example, view the snaphots or the Venue software management page, as shown here.The ergonomics are well thought out and the surface looks more like a live console than the previous one that it replaces. On the far left, a Macbook delivers its audio tracks directly via a network connection

We waited a long time because, much like a Japanese brand with a love for tuning forks, Avid took their time to create this new live mixing console, the Venue S6L.

Jean-Gabriel Grandouiller

Jean-Gabriel Grandouiller

Powerful, flexible and open to the outside world, Venue S6L combines PC core technology for the control, mixing and internal processing with an HDX-standard DSP for plug-ins. The best of both worlds in a very nice product.

Jean-Gabriel Grandouiller, sales manager for Avid in France, introduced us to this new console or, rather, these new consoles, because, as you will see later, two cores and three models of console are available.

We offer him a big thank you for his hospitality and for squeezing the whole French demo schedule, into which SLU shamelessly slipped.
Our apologies to Marco de Fouquières for making him wait ;0)

Venue, vidi, vici

SLU : There is a strong family resemblance between this one and the S6 studio …

Jean-Gabriel Grandouiller : It has some elements that come from the S6, the encoders and faders, for example, but redesigned especially for live mixing and live conditions.

SLU : : It’ll be more robust than the S6 ?

Jean-Gabriel Grandouiller : You could put it that way. The system includes three different types of control surfaces, two types of mix engine and a new stage rack. Therefore there are six possible combinations to chose from, based on the requirements for processing power and control surface size.

A detailed view of a bank of inputs (right) and the central bank common to all models of control surface, with the main screen displaying the sort of matrix that makes it convenient for viewing the inputs or outputs – who does what, who goes where and with which sources.The color codes seem to work pretty damned well. This will be highly appreciated by monitor engineers. An automatic spill function is also provided to deploy to the faders the levels of the signals that make up, for example, an output bus

SLU : How big is the largest control surface ?

A view of the central section of the S6L with, in particular, the mains at the right

Jean-Gabriel Grandouiller : That would be the SL6-32D, with 32 faders and four screens.The medium-sized surface, SL6-24D, has just 24 faders and three displays. The smallest, SL6-24, also has 24 faders but only one screen, the main center display, which provides access to all the functions of the console.

It doesn’t leave out any functionality, it simply lacks the visual feedback and speed of control that you have using the touchscreens. The screens are all touch-sensitive.

SLU : This reduction in the size of the surface brings down the price ?

Jean-Gabriel Grandouiller : It effectively gives it a more affordable price, with equal processing power, but nothing prevents the user from adding screens later. The big advantage is really the compactness of the desk, maintaining the same specs.

The comprehensive display of each channel strip with the VU meter at the top, the name of the source and at the bottom the four slots for plug-ins. Remember that these are touch screens

SLU : The display management is included in the screen ?

Jean-Gabriel Grandouiller : In theory, yes, but I am not certain. This is true of the S6 studio, though. What has been a lot of work is using colors on the display in order to trace the signal path and selecting what functions would be applied to each button or encoder.

Each of the surfaces has eight analog mic/line inputs, eight analog outputs, four pairs of AES3 inputs and as many outputs. There are also eight GPIO in and out, MIDI, LTC; nothing is missing, not even a video output for an additional screen to scroll through your snapshots, for example.

The engine runs great

The main touch screen of the console, positioned over the central bank, with the VCAs, the sends and all the main controls of the S6L.

SLU : Tell us about the mix engine

Jean-Gabriel Grandouiller : There are two. The big difference between this and the old generation Venue is that the local inputs and outputs are no longer on the engine, but on the surface itself. The rack “engine” actually includes only the connections to the stage and to the control surface, and the processing
The big advantage of this in a fixed installation is being able to place this 5U rack in an equipment room without having to run the audio lines over long distances. So we have two engines, the E144 and E192. Their names are derived from their number of possible input channels. The E144 has 144 and the E192, logically, has 192 potential inputs. Naturally, this also depends on the number of stage racks up front.

The Stage 64 with five free slots for I/O cards, from a selection that includes ones with eight analog inputs or outputs, eight channels AES and ADAT, one with 16 channels of Aviom and one with 16 channels of Dante.On the right, you can see the AVB card for communication with the engine, the pair of MADI ports and the loop for the Word Clock

SLU : Outputs don’t count in the calculation…

Jean-Gabriel Grandouiller : No, unlike other consoles, where the processing resources are divided between inputs and outputs, this new console does not change its processing capacity, and its sampling frequency can be freely selected between 48 or 96 kHz.

SLU : And for the outputs ?

Jean-Gabriel Grandouiller : On the 144 there are 64 output busses, plus LCR, and on the E192 there are 96, plus LCR.

SLU : Assignable to physical outputs, so it all depends on how the stage racks are set up…

Jean-Gabriel Grandouiller : The stage racks have 64 inputs and 32 outputs. You can install analog cards, digital cards and, now, a brand new Dante card – during the NAMM show we signed a partnership with Audinate – enters into the Connectivity Tool Kit.

SLU : Getting back to the engine, how many VCAs does it handle ?

Jean-Gabriel Grandouiller : Each model offers 24, with two completely independent solo busses.

A Plethora of Plug-ins

Three hot-swappable power supplies are provided on the engine. You can see their handles on the left of the rack. Actually, one is sufficient. In the center you can see three pairs of ports, in fact, the other two have no cards yet. These are used to connect up to three redundant Stage 64 racks. On the right, four slots await HDX cards. In the center and in the background, a beautiful heatsink with heat pipes, doubtlessly to cool the i7: really nice beautiful construction that inspires trust in its reliability and shows a lot of progress compared to the older Avid/Digidesign range. As the technical director of the Dushow group, Marc de Fouquières, says:
“A look at what there is under the hood will tell you a lot more than all the language that salespeople can use to try to tell you that it is good.”

SLU : In terms of plug-in resources, we’ve heard that these are AAX…

Jean-Gabriel Grandouiller : Exactly, and in terms of resources, the 144 Engine has 128 slots and the E192 takes that up to 200 slots. Of course if you set up 200 EQ3s, the resources of the system would be far from exhausted; it all depends on the complexity of the plug-ins.

SLU : I understand that the resources remain the same for the i7 depending on the sampling frequency, however I imagine that the HDX cards lose power if you work at 96 kHz …

Jean-Gabriel Grandouiller : Yes, absolutely.

SLU : What can you tell us about this choice to combine the two technologies in the engine ?

Jean-Gabriel Grandouiller : This is new for Avid, at least relative to what was there with Digidesign or Euphonics.For the first time, we’ve chosen to use the two technologies in parallel. The plug-in section is handled by the now familiar HDX cards; moreover these can also be increased to four.

A detail of the channel strips of the console. Clearly, Avid has focused on solidity.

This choice allows us to maintain compatibility with everything that has been developed up to now in this protocol. On the other hand, the audio engine adopts the Intel i7 processor with RTX technology, which allows cores, and hence the audio resources, to be allocated outside of the OS that manages the console.
And that is quite a job, since each input and output channel of the console has a large number of processes that are carried out by the i7.

A detail of a channel control panel with panning and high-pass filter assigned to the rotary encoders.On standard models, the front of the console will be made of a durable plastic and look much more opaque and less reflective than the prototype.

SLU : What is True Gain Compensation? Is it the management of the digital gain to compensate for its effect on the gain at the input stage ?

Jean-Gabriel Grandouiller : This is a feature that already exists on the S3L. If a stage rack is being shared by two consoles, at the user interface each user has the impression of controlling his own gain.

SLU : Yes, well, if one of the two saturates the input, though, the other will lower its gain and it will only attenuate the level of a distorted sound…

Jean-Gabriel Grandouiller : In such a case, which falls into the realm of human error, yes, but what is interesting is the management of the snapshots.When you control the analog gain and you make a snapshot with the gain at 41, if another operator returns with his console and takes control of the gain – with your console passing to slave – and changes the gain, your gain display will remain at 41 and compensation occurs.

When he disconnects, you return to your gain of 41. You maintain a fixed gain structure for your showfiles without worrying about whether or not you’re in control of the gain. You can also have master gain control on one stage rack and slaved control on another. This is useful because the one who controls the inputs also controls the outputs. This is well suited for monitor engineers, who manage a maximum of outputs, in contrast to FoH engineers.

A bank of user keys that are quite handy once their functions are programmed

SLU : How is the compatibility with older showfiles ?

Jean-Gabriel Grandouiller : The compatibility is complete. The display changes and is better, but you could call it cosmetics to take into account 16:9 screens with higher resolution or to display more and better plug-ins.
Venue is at version 4.5.2 on the S3L; could be, we are going to 5.

What language do you speak, my dear ?

Marc de Fouquières – technical director and, above all, leading figure in Dushow –in the middle of an S6L demo with Chris Lambrechts, specialist in live applications for Avid

SLU : Which audio transport protocol does the S6L use ?

Jean-Gabriel Grandouiller : AVB, over optical and copper links. This whole little world can be connected without the addition of any supplemental interface or card. Redundancy is established via a return loop between, for example, two stage racks connected to each other, and one link from each to the engine. If one link is interrupted, the system retrieves the data through the other instantly. The control surface is connected to the engine in AVB. The stage boxes can accept Dante and interact with other devices that also use this protocol.

SLU : How about Dante on the engine ?

Jean-Gabriel Grandouiller : There is a very good chance that Dante cards will also be available for the engine but today we don’t see too much use for them.Perhaps for recording, but you can do that using AVB or 64 channels in Pro Tools. An optional Thunderbolt card will also permit a very large number of channels in terms of recording.

SLU : How many ?

Jean-Gabriel Grandouiller : They’re talking about 192 channels. Today, connecting a Mac Mini or a laptop via Ethernet to the surface or to the engine, you have a total of 64 channels with ProTools to record and play back: the simplest Virtual Sound Check.

Chris Lambrechts, specialist in live applications for Avid, during a demo on the stand, using to its full effect his Belgian-colored French (HDX!)but also his knowledge and patience, during this trial by fire

SLU : What can you tell us about the Stage 64 rack ?

Jean-Gabriel Grandouiller : An interesting feature is the MADI mirroring incorporated as standard in each stage rack.This means that, without having to go through a matrix or through the console and the engine, it is possible to recover signals and route them to another console, to a recorder or to any other device that accepts this transport standard. Two ports are provided for this, in order to convey the 64 channels in 96 kHz.
Each stage rack incorporates a screen and a selector, coupled to a headphone jack. This allows you to listen to any input locally without disturbing the FoH or monitors.

Stage 64

The Stage 64 shown here in the standard configuration in which it will be delivered: with six analogue input cards and one analog output card. Five empty slots await other cards

SLU : How do the Stage 64 racks ship asstandard, in terms of cards ?

Jean-Gabriel Grandouiller : In the standard configuration, they have 48 analog inputs and 8 analog outputs, but they can be equipped to accept 64 inputs and 32 outputs.Therefore, they manage 96 signals.

SLU : How does the system do in terms of latency ?

Jean-Gabriel Grandouiller : The delay compensation is automatic and dynamic, as on S3L. The console is also ready to work, in the near future, at 192 kHz.

SLU : : When will it be available ?

Jean-Gabriel Grandouiller : The availability has been set for September 2015.

Plus d’infos : http://www.avid.com/FR/products/Venue-S6L/overview


 

 

 

 

 

 

 

 

Sound Image carries full L-Acoustics system on Lana Del Rey’s 2015 tour

Currently out on her North American “Endless Summer” tour, along with opener Courtney Love, Lana Del Rey is wowing fans in sheds each night on a K1 main loudspeaker system, with K2outfill arrays flown as needed in wider venues.

A perfect view of the whole system. Most if not all of the L-Acoustic’s touring catalog is shown. K1 with Kara’s downfills, K2, K1-SB, cardioid mounted SB28, and so on. 6 Kara can be seen on the lip for front fill.

Critics have lavishly praised Lana Del Rey’s three-plus-octave vocal range and uniquely emotive delivery, but within the context of a band on a big stage, the task of ensuring that every sultry whisper is heard can present its share of challenges. Thankfully, Escondido, California-based touring sound provider Sound Image tapped the right tool for the trek: L-Acoustics’ K1.

L-Acoustics - Lana Del ReyIt’s a sizable rig—one well suited to a big band and a rising star on her first headlining tour. But while L-Acoustics’ K1 can certainly whomp with the best of them, this system is equally adept at treading lightly, never missing a note nor losing the emotion of a song.
“This is my first time touring with K1, K2 and Kara, and I’m having a wonderful time with it,”enthuses Max Bisgrove, Del Rey’s FOH engineer. “It gives me superb vocal clarity, headroom in spades, excellent coverage and packs a serious punch when called for. I would recommend it to anyone and will be requesting it again in the future.”

Bill Price, FOH system tech for Sound Image, notes that the biggest potential battle on this tour concerns the amount of low end on the stage. “Lana is a very discreet vocalist, very self-conscious about how she approaches a microphone,” says Price. “What we want to do is keep the low end around her, but nowhere near overpowering, to give her a lot of space on stage, yet keep plenty of bass out there in the audience.”

The complete Lana Del Rey’s audio team. From left to right : Tarik Khan, Sound Image PA tech; Max Bisgrove, Lana Del Rey FOH engineer; Bill Price, Sound Image system tech; Kyle Turk, Sound Image monitor tech; and Simon Lawson, Lana Del Rey monitor engineer.

That’s accomplished by flying L-Acoustics K1-SB subs with the main hangs and time-aligning them to push the low end from the hangs out to the sides and rear of the sheds the tour is visiting. The muscular setup of SB28s stacked onstage in a cardioid configuration gives the sound the low punch it needs, keeping it in the crowd and off the stage, leaving Del Rey’s voice plenty of room to sigh and soar.

“It’s a challenge,” Price adds. “With Lana’s voice being so velvety, Max has to keep the gain pretty hot, which can create feedback problems, even with in-ear monitors, because her microphone will usually be down in front on stage. He attenuates a few critical frequencies to compensate, but it’s really the PA system that makes it happen. The K1 is an amazingly sensitive and incredibly musical loudspeaker. I don’t think there’s another loudspeaker that could work as well with an artist like Lana.”

L-Acoustics - Lana Del Rey

Sound Image’s loudspeaker complement for the tour consists of left and right hangs of 12 K1 modules above three Kara for downfill, which are flown adjacent to sub arrays of four K1-SB. Outfill arrays of eight K2 are also deployed for tour stops at venues with wider seating geometries.
Below, six SB28 subs are stacked in cardioid mode on the stage, with six Kara spread across the lip for front fill. Thirty LA8 amplified controllers housed in ten LA-RAKs, five per side, power and process the entire system.

 

 

Nexo mourns Matthias Larrieu

Matthias LarrieuThe NEXO family is mourning the loss of one of its sons, the talented young loudspeaker designer Matthias Larrieu, who lost his life in a car accident in June.  He was just 30 years old.

In his six years at NEXO, Matthias left a truly impressive mark.
A core member of the design team that brought the company’s flagship STM Series modular line array into existence, he was also instrumental in the development of other ground-breaking NEXO products, notably the 45°N-12 inline stage monitor and the hugely popular RS subbass cabinets.  His last project for NEXO was the STM M28 compact line array, which, in its first year on the market, is already set to become one of the company’s best-selling PA systems.

NEXO’s gentle giant, Matthias balanced his genius with great kindness and amiability.  This most sociable of engineers liked nothing better than explaining the intricacies of his work to potential users from all over the world, and seeing the light in their eyes when they understood just what he had achieved.  His enthusiasm made him widely loved by both colleagues and customers.

NEXO director François Deffarges remembers the young Matthias, then aged just 23, putting perspective on the scale of an R&D challenge: “But François, if you can see the mountain, it is no longer an obstacle!”

Most engineers would take decades to achieve what Matthias did in his short life.  With his many patents shaping future sound reinforcement technology, his real legacy can already be found on concert stages around the world, bringing music and pleasure to hundreds of thousands of people.

 

Powersoft and Pioneer Pro Audio takes Café d’Anvers’ club sound to another level

After years of searching, Antwerp’s Café d’Anvers, has found a sound system worthy of the club’s reputation as an iconic house music venue.
For 26 years, owner Pim de Rhoodes struggled to find a system that could deliver a deep bass on the dancefloor yet enable customers to talk comfortably at the bar – and, importantly, not upset the venue’s neighbours.

Now, thanks to Powersoft and Pioneer Pro Audio, his dream has come true.

His Majesty the mighty GS-Wave comprising of a Wav-Sub sub and a Wav-Horn extension unit, two Wav-Bass low units and a Wav-Lens mid to high frequency box. Some extra high end is delivered by the Wav-TwPod featuring bullet tweeters and “flying” over clubbers heads. As a matter of fact, the hyperbolic’s folded horn sub Wav-Sub generates 108 dB with a single watt. Add 5 dB of gain for a pair of subs around 50Hz thanks to the Wav-Horn, and you have everything you need to make a clubber happy.

Having galvanised clubbers at Booom! Ibiza, the partnership between Powersoft and Pioneer Pro Audio has been reprised in Belgium. The intelligent DSP and powerful switch mode technology of Powersoft’s flagship K series (http://www.powersoft-audio.com/en/touring/k-series#series-), with custom EQ settings, and Pioneer Pro Audio’s powerful dancefloor stacks, is providing a perfect platform for regular DJ’s Luciano, Nic Fanciulli and veteran Sven Vath. Plus the club’s clientele and local residents alike couldn’t be happier.
Occupying a 16th century church in the heart of Antwerp’s built-up red light district, the 1,000 capacity club — boasting a main room and a balcony dancefloor — has been attracting serious dance music fans since 1989.  But the ability to deliver a true club sound without disturbing the venue’s many neighbours had always eluded de Rhoodes.

The Powersoft’s main room “power plant” featuring three K2 and two K3 among other slim beasts. Because the subs have been linked to save amplifier channels, they deliver the full power, something easy to handle for the Italian manufacturer, around 2,5 times more at 2 ohm compared to 8.

“We had to limit the volume and bass, which wasn’t great for the atmosphere. We couldn’t do too much soundproofing because these old walls are part of the special character of the place,” he said. Over the years, the venue trialled many recognised audio brands, but the problem persisted.

Pim de Rhoodes and the technical team flew to Ibiza to hear Powersoft-Pioneer Pro Audio system in action at Booom! Remaining sceptical, de Rhoodes comments: “I thought: it’s an amazing sound system, but we can’t make that much bass here, with our neighbours. Or can we?”
However, by driving the entire speaker set up with Powersoft’s compact, high-performance amps with optimised Pioneer presets, the problem was finally solved.

Another shot of the 3 meters high GS-Wav. The Wav-Lens mid to high frequency box standing on the top of it, is equipped with two neodymium 2-Inchs coaxial compression drivers taking care of the 1 to 6 kHz and the 6 to 16 kHz and loaded by a horn attached to the lens to deliver wide and even coverage. A lens in club…that makes me feel young ;0)

Both Wav-Low units each equipped with a pair of 15 inches into a load leaving them all the punch required for connection with the fan below. Capable of up to 2kHz, they are cut at 1kHz.


The main room comprises two 3-metre GS-WAVE stacks at the front, four GS-WAVE tweeter pods overhead and four XY-122 PA speakers, with four XY-215S subwoofers at the rear.

A real nice wiew of the Café d’Anvers showing both the painted old walls and the rear system comprising of four XY-122 PA speakers, with four XY-215S subwoofers. The 122PA features a 12-Inchs LF driver and a 1,4-Inchs compression driver loaded by an elliptical and rotatable waveguide offering both 90°H x 60°V and 60°H x 90°V dispersion. This is driven by three Powersoft K6s, two K2s and one M30.


A detailed view of the XY-81 thanks to the light shows the 8 inchs woofer and the 1-inch compression driver and his elliptical and rotatable waveguide offering both 90°H x 60°V and 60°H x 90°V dispersion.

The two XY-215S « small » subs placed at the end of the main room and contributing to the feeling that you’ve got all the sounds surrounding you. Two 15-inchs LF drivers placed face to face in a quasi-bandpass configuration powers each sub offering gain and energy right where it’s needed. The sensitivity reachs 102 dB and the power handling 800 watt RMS.

Infill is provided by four XY-81s in dual array clusters, and the bar area has two XY-101s, driven by three K2s for the infills.

Finally, the  DJ booth is equipped with two XY-122s and an XY-115S reflex loaded subwoofer, all powered by a K2 and an M30D.


This configuration ensures a warm, powerful sound on the dancefloor and a clear line of sight from the bar.

This is driven by :

Installed in the balcony room are four XY-122s and two XY-118S subwoofers, and two XY-81s in the booth. Assigned to this system are a Powersoft K3, a K2 and an M30D.

A nice view of the balcony room where, as a huge headphone, stands a pair of XY-81 powered by a M30D. Quite enough !

The amps use Powersoft’s pioneering switch mode technology to provide incredible power with the highest efficiency – intelligently managing the power supply to work at very low impedance and deliver a natural, crystal clear sound.
“We linked the subs and needed to save amplifier channels – but have the confidence to be able to drive it down to 2 ohms and have it remain stable. The ability to deliver a massive amount of power down at that low impedance is something Powersoft is extremely good at,” explains Alex Barrand, Pioneer Pro Audio Manager.
“Compared to the old 4U amplifiers, which took up a whole rack, these amps occupy much less rack space but the power is equally impressive. Plus Powersoft is able to regulate any ‘dips’ in power. The system is easily accessible and they have invested in a platform that will be here for the next ten years.”

But the real genius is contained in Powersoft’s Armonía Pro Audio software, which was used to define EQ settings for the room and prevent problem frequencies from leaving the building. The software also enables the technical team to wirelessly control the whole system and easily adjust the sound; for example, turning it up when there are more people to absorb the sound, and gradually turning it down as people leave the venue.

A shot of three widespread models able to deliver 3600 watt at 2 ohm (K6) and above all peak output voltage of 153V and peak output current of 125A. Thanks to the Powersoft’s legendary PFC and slim capacitors squadron.

Alex Barrand explains how this works in practice, “Sometimes different music styles are programmed and so configuration was key, and using the Armonía platform made that very easy.
Aside from the presets we made the workspace a bit more intuitive for the management to control elements of the system, to restrict noise pollution around the neighbours.

“Using Powersoft’s DSP amplifiers has resulted in a really seamless change for the venue; they can now monitor the system throughout the night and get the best from it. And Armonía is user friendly, which is great in case users aren’t super-technical.”

All amplifiers in the main room are connected to a switch and this in turn has a wireless router. “So we can access the system from a tablet or if we VPN into the laptop or access the system from any enabled PC laptop from the dancefloor to make the configurations.
“The workspace is shared by the amplifiers upstairs in Room 2,” adds Barrand. “The Powersoft M Series and K Series are sitting on the same network which means the technical team can access them simultaneously, which makes things a lot easier.”

Café d’Anvers’s owner Pim de Rhoodes, proudly and happily posing inside his nightclub with a smile on his face. It’s the end of 26 years search !!

The result is an immersive sound with a deep bass concentrated on the dancefloor while the energy continues into the bar area to draw clubbers into the main floor, but lets them hold a comfortable conversation too. 

And Pim de Rhoodes’ concerns about installing such a powerful system have now disappeared. “The sound is 100 per cent better. It’s like you’re inside the music. It’s not just the deep bass; you’ve got all the sounds surrounding you. And at the bar, you can talk yet still be in the music, still be tempted to dance.
At last, after 26 years, we can finally say we have the best sound system and no complaints from the neighbours … everyone is happy.” 

More informations : www.powersoft-audio.com And www.pioneerproaudio.com

 

 

 

 

 

 

 

 

 

 

 

France Posts Three New Orders for Meyer Sound LEOPARD & 900-LFC

Leopard

Following a convincing recent demo in Paris, Meyer Sound has confirmed three new orders for the LEOPARD™ linear sound reinforcement system, including two French rental system purchases and an installation going to a nightclub in Marseille.
The patent-pending LEOPARD line array loudspeaker and its accompanying 900-LFC low-frequency control element are the newest, smallest, most versatile members of Meyer Sound’s flagship LEO® Family.

Logo Dushow“This is the first time we have purchased a line array system immediately, before any of our rental clients have had a chance to ask for it, because we are certain that it will be requested as soon as they hear it,” notes Marc de Fouquières, general technical manager of DUSHOW, who purchased 24 LEOPARD loudspeakers and 10 900-LFC elements.

Meyer Leopard

Meyer Leopard

Besides the system’s small cabinet size, full range response and ease of setup, Fouquières says it’s the listening experience that proves most convincing: “The uncompromised sound quality of LEOPARD simply overshadows every other small line array system, and some larger ones as well.”

Logo Stage OIStage OI, a rental company on the French Reunion Island, has ordered 12 LEOPARD loudspeakers and six 900-LFC elements to augment a broad, existing inventory of Meyer Sound loudspeakers. “With its high power and compact size, LEOPARD is perfect for our needs,” says Ian Henderson, manager of Stage OI.

In the port city of Marseille, a third system is bound for Rooftop des Terasses du Port, a nightclub where six LEOPARD loudspeakers and two 1100-LFC low-frequency control elements will comprise the first permanently installed LEOPARD system.
Since Meyer Sound’s announcement of LEOPARD and 900-LFC in April, the list of rental companies that have purchased a system has included Bright Norway AS, U.K.’s Sonalyst, Hurricane Sound & Light of Slovakia, Eenorm Facilitair of the Netherlands, and more.

Meyer 900 lfc

Meyer 900 lfc


Pac 900 lfc driver

Pac 900 lfc driver

LEOPARD and 900-LFC will be featured in live demos during InfoComm 2015 in Orlando, Fla. Learn


more here : http://www.meyersound.com/news/2015/infocomm_preview/