Swiss Role for Yamaha and Nexo at Lausanne’s Newest Venue

HEMULausanne’s Haute Ecole de Musique (HEMU) is the leading music college in French-speaking Switzerland.

Offering degree and Masters level courses in classical, jazz and modern music, it opened a brand new performance venue in June 2014 which features a comprehensive Yamaha and Nexo audio system.

HEMU’s new BCV Concert Hall is located in Lausanne’s Le Flon district. Historically one of the city’s poorest areas, the project is the latest instalment of a long-running drive to improve its fortunes. Designed to host a wide range of concerts, as well as rehearsals, exams, conferences and film screenings, the BCV Concert Hall features Yamaha and Nexo equipment throughout. 

Supplied by Zap Audio and installed by Vevey-based Auditech, the main 300-capacity performance space features a Yamaha CL3 digital mixing console and Rio3224-D i/o unit. Output is via a Dante network to Dante-fitted Yamaha-Nexo NXAMP4x1 controller-amplifiers and a Nexo GEO S loudspeaker system, Nexo RS15 subs and PS8 surround and stage monitor speakers.

HEMU Salle

Meanwhile, seven further rooms are each equipped with a Yamaha MG124CX mixing console and a pair of DSR112 loudspeakers. Four DXR8 loudspeakers and nine CDS300 CD players are also installed.
The Dante network is installed throughout the entire building, allowing the CL3, Rio3224-D and recording facilities to be ‘plugged in’ anywhere they are needed.

This provides exceptional flexibility which, combined with the proven reliability and audio quality of Yamaha and Nexo equipment, means HEMU can derive the maximum return from its investment by also renting out the new venue to a wide range of clients.


Meyer Sound LEO Powers 200,000-Strong CfaN Gospel Crusade in Burundi

Christ for All Nations for All Nations (CfaN) recently debuted its new Meyer Sound LEO linear large-scale sound reinforcement system at a four-day gospel crusade on the outskirts of Bujumbura, Burundi.

A panoramic view of the crowd facing the stage on the far right.

A panoramic view of the crowd facing the stage on the far right.

Set up in an open field without delay towers, the LEO system performed flawlessly for the musical and speech programs in front of 200,000 visitors, and replaces CfaN’s Meyer Sound MSL-3A conventionally powered loudspeaker system that has served the ministry for 26 years.

The Meyer Sound system under close surveillance.

The Meyer Sound system under close surveillance. The main hangs consist of nine LEO-M and three MICA loudspeakers each. Side hangs consist of 8 MICA each. On the ground and also white four 1100-LFC per side takes care of the low end.

Unassisted by giant video screens, lighting effects, or pyrotechnics, CfaN events rely heavily on exceptional audio reinforcement. “Clarity of speech is our primary concern at these events,” says Derek Murray, head of sound operations for the ministry. “The LEO system is able to cover very large areas with high intelligibility, as proven by positive reports from the perimeter of the field.”

The system’s dual main hangs in Bujumbura comprised nine LEO-M and three MICA line array loudspeakers each. Side hangs were eight MICA loudspeakers per side, and four 1100-LFC low-frequency control elements per side provided low-end reinforcement.

In addition, 10 UPA-1C conventionally powered loudspeakers supplied in and out fill. Control and optimization was handled by a Galileo Callisto loudspeaker management system with one Galileo AES processor and three Galileo Callisto 616 array processors.

LEO gives us more power in a smaller package, so we now have the space to carry subs without having to leave behind other critical material,” reports Murray. “With the addition of the 1100-LFCs in Bujumbura, we were able to improve the quality of the music presentation—to the obvious delight of the crowd.”

CfaN maintains two Meyer Sound systems for its African ministries: an M3D line array loudspeaker system is used in West Africa, and the new LEO system, based in Kenya, is used for East Africa.

Main and side hangs from behind and facing the audience. On the ground four 1100-LFC takes care of the low end.

Main and side hangs from behind and facing the audience. On the ground four 1100-LFC takes care of the low end.

CfaN’s East Africa system also travels with three DiGiCo SD9 consoles linked by optical fiber to a DiGiCo SD-Rack, Shure UHF-R wireless microphone systems with Beta 58 capsules, and a Sennheiser IEM system.

“The fact that we’ve used our MSL-3As for so long, under grueling conditions, is a testament to the longevity and reliability of a system that is still supported almost 30 years after it was first produced,” observes Murray. “Just as the MSL-3A was a game-changer back in the 1980s, LEO is a great product that perfectly fits our needs.”

Reverend Daniel Kolenda facing the crowd. Behind him LEO is on duty.

Reverend Daniel Kolenda facing the crowd. Behind him LEO is on duty.

The event in Bujumbura, attended by Burundi’s President and First Lady, was led by evangelist Daniel Kolenda, who succeeds CfaN founder Rev. Reinhard Bonnke as principal leader of ministries in Africa. The German-born Bonnke first launched his African ministries in 1967. 

“Mondovisione Tour – Stadi 2014” – RCF and Ligabue are going strong!

2014 is the year of the Mondovisione Tour. The Italian rocker Luciano Ligabue will perform around all the main soccer stadiums in Italy throughout the entire summer.

RCF Mondiovisione

The main hang stage left.

The main hang stage left. 24 TTL55-A, weighting precisely 1,6T without the bumper. Easy !! The red coulour seems a good idea to play with during the show with some fixtures. On the left of the shot, the side hang is comprising of 20 TTL55-A. The rear wiring is made of AC, analog audio and network.

It is a journey full of expectation and emotion, as Ligabue has decided to tour with sound reinforcement from RCF, the legendary company from Reggio Emilia which sets the benchmark for excellence in the international professional amplification industry.

In 2013 Ligabue and his band tested the RCF audio system, with great satisfaction, at both the Royal Albert Hall in London and at the Arena di Verona.

RCF engineers along with the artist’s audio technicians were able to study the best system structure for this tour, conceived for the major Italian stadiums.

48 x TTL55-A speakers will be used as front fill (24 each side) and 40 x TTL55-A as side fill (20 each side).

Two central clusters of 12 TTL36-AS subwoofers each, will be hung on the rear of the stage, in an unusual position over the band but technically optimised to avoid interference — thanks to the steering technology of RCF RDnet.

12 TTL 33-A modules, set on the stage, will help direct the sound toward the audience; the TT25-SMA and TT45-SMA stage monitors will be specifically dedicated for the musicians’ monitoring.

The stage during Ligabue’s show

The stage during Ligabue’s show. Nope, the TTL55-A main hangs aren’t on fire, just well lit !!

Providing low-end extension will be TTS56-A subwoofers, set in cardioid configuration on the floor, with a curved design to allow a uniform distribution of low frequencies throughout the listening area.

Located right in the middle of the Stadio Olimpico di Roma, Ligabue’s stage shines and offers a 180° view for the audience.

Located right in the middle of the Stadio Olimpico di Roma, Ligabue’s stage shines and offers a 180° view for the audience. The 88 TTL55-A main and side hangs perfectly complement the stage design. Two central clusters of 12 TTL36-AS subwoofers each hung on the rear of the stage and 60 TTS56-A subwoofers set in cardioid configuration on the floor, provide low-end extension.

The main system will be controlled by RDNet, RCF’s proprietary network, which will allow the technicians to set and control the system parameters in an optimal way for every situation. The RMS power of the complete RCF system reaches 800kW.

Audix 3M : three heads better than one

Audix M3Audix announced at the 2014 Las Vegas InfoComm  the release of the newest microphone for the installed sound industry, the M3 Tri‐element Ceiling Microphone.  

Audix co‐founder and VP of Sales, Cliff Castle, commented, “The innovative design and engineering of the M3 tri‐element microphone makes it a stunning addition to the Audix conference ceiling mic series, the M70, M40 and M55.

The M3 is the only multi‐element design available with fully balanced circuits below the ceiling and a UL rated plenum box solution above the ceiling tile.

The low impedance design of the M3 system allows for extremely long cable runs without cross talk or interference.

Featuring a sleek profile with contemporary design, the M3 other features include:

  • 100% RF shielding and immunity
  • Stealth design, low profile
  • Gold diaphragm capsules with shielded and fully balanced circuits
  • Very low self noise
  • Frequency and pattern tailored for voice clarity and rejection of extraneous noise
  • Evenly dispersed sound with undetectable phase
  • Adjustable cable length
  • All visible components of Audix microphone are same color, black or white
  • High‐quality silicone jacketed microphone cable
  • Includes plenum rated junction box with RJ45 connector

At IBC 2014

DPA Shows Its New d:screet™ Necklace Microphones

A close shot of the d:screet™ Necklace Microphone in place.

A close shot of the d:screet™ Necklace Microphone in place. Obviously the miniature 4061 capsule is omnidirectional, hence the direction of the head.

DPA has overcome the biggest challenge of all – how to give control of mic placement to non-technical actors or reality show contenstants without compromising sound quality.

DPA’s solution, which will be on show at IBC 2014, is the d:screet™ Omnidirectional Miniature Necklace Microphone – a cleverly designed mic that houses a legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace.

“These microphones are perfect for situations where fast costume changes are necessary – or for reality TV shows where the contestants have to place microphones without help from a trained audio engineer,” says DPA’s CEO Christian Poulsen. “The necklace design ensures that the microphone sits in exactly the same place on the body every time, so there is no need for EQ-ing between different recordings.”

A view of the complete microphone

A view of the complete microphone showing his rear signal output and what seems to be the rear clasp making easy the setup around the neck, specially in case of delicate hairstyling.

The d:screet Necklace Mic is already being used in the Danish adaptation of Big Brother and DPA anticipates plenty of interest from other reality TV productions. The mic comes in black, white and brown and in lengths of 47 or 53 com (18.3 or 20.9 inches).

At IBC 2014, DPA is exhibiting alongside its Dutch distributor Amptec on booth 8.D70. 

Belgium’s Anderlecht FC upgrades audio facilities with Nexo

Anderlecht stadium

An overview of the Anderlecht stadium. Under the metal roof resting on concrete beams, we see two of the 19 clusters of 4 speakers. They are securely lashed to the same beams.

One of the Belgium’s best-known football teams is celebrating an audio refurbishment at its home stadium, the Stade Constant Vanden Stock, known better as the Stade d’Anderlecht.

Home to Anderlecht FC, the 24,000-capacity Brussels stadium, used solely for football, needed to upgrade its 25-year-old PA/VA system.

Following evaluation of three possible solutions, longtime Anderlecht solution supplier Prosonix, together with NEXO’s Belgian distributor’s Pascal Deneef, proposed a NEXO compact, 2-way GEO S12-ST system.

The GEO S12-ST, a specialist stadium version of the popular GEO S12, fitted the stadium’s requirement for long-throw line array cabinets perfectly.  Another major reason for choosing the NEXO option was the success of the GEO S12-ST system installed in France’s Stade de Valenciennes, a similar venue in size and design.

NEXO’s Paul Massiani, together with Pascal Deneef, used the company’s proprietary NS-1 software to design the 82-cabinet system; 19 clusters of 4x GEOS12-ST + 3 clusters of 2x GEOS 12-ST from the concrete roof, using GEO fixed installation brackets together with custom-made brackets which allow the clusters to be turned. 

A cluster GEO S12-ST being laid.

A cluster GEO S12-ST being laid. We can clearly distinguish the framework connecting the concrete beam frame attached thereto by means of threaded rods.

One challenge facing NEXO was the inherent difficulty of containing noise levels within the stadium due to age and its metal and concrete construction. The GEO S12-ST – a high-output, long throw cabinet – features a tight dispersion pattern, keeping as much noise as possible inside the stadium. The system also produces enhanced speech intelligibility up to 20 metres from the GEO S12-ST clusters to the lowest seats, and 15 metres to the rear seats in the tribunes; in simulations, sound levels reached 110dB. 

The system is powered by 6x NXAMP4x4 powered TDControllers, which support the Dante network protocol. Use of Dante allowed the acoustic designers to specify BSS Soundweb for system control. Operated via a touchscreen in the control room, Soundweb was selected for its processing, presets and zoning functionality.
It provides full flexibility for managing the stadium’s 22 audio zones, which can be used in a variety of combinations. This allows messaging to be tightly targeted to each specific zone, in fact a special request from the police. Additionally, in the event of a system problem, Soundweb will automatically contact the administrator who can log on remotely to assess the situation.

Nexo Stade Anderlecht Nexo Stade Anderlecht The network runs on an all-new fibre optic cable infrastructure installed by Prosonix and sub contractor SPIE, providing full redundancy and fire-resistance for up to an hour. It can also accommodate future addition of sub bass loudspeakers and further extensions of the system.

Under the supervision of Deneef, SPIE was also responsible for the installation of the 22 clusters and amplifier/processing racks, and managed to get this job done in  just 3 ½ weeks time with incredible results !

Contacts : – –


VISTA X, the future is here… and it’s bright

We had not yet seen the Vista X, nor its mysterious processing unit, Infinity Core. It was unveiled on June 18 at a restaurant in Issy les Moulineaux, where the staff of Studer and of Audiopole delved into questions of flavor, aroma and, especially, presentation… the first one in Europe. Here they faced with patience and relish an Infinity of questions about the new flagship.

Vista X

Vista X served up with 40 faders and lacquered wood sides. Visible to the right is the Studer rack containing the two elements that complete the system, a Core 800 and a D23.

RIP DSP, C++ rules

As we just reported in these columns barely a month ago, the Vista X is the first console to turn to the CPU, walking away without looking back on DSP technology and, in particular, Analog Devices’ SHARC, which has dominated the audio processing field for which it was specifically designed for two decades. The reason is simple, when you put Moore’s famous Law on one side and the DSP performance curve on the other.

Jean-Philippe Blanchard in full presentation

Jean-Philippe Blanchard in full presentation – obviously happy to announce the release of a product that will enable Studer to take the driver’s seat in the world of Broadcast.

Jean-Philippe Blanchard, director of the broadcast division of Audiopole, perfectly illustrated this reasoning in this graph from his excellent presentation. It shows the capacity of processing cores to handle channel counts.

GraphiqueOn the Y axis, we have the number of channels, plotted against the years from 1992 to today on the X axis.

The curves speak for themselves: the processing power of the DSP has evolved much more slowly. The 120 megaFLOPS of 1992 has now grown to 2.7 gigaFLOPS – 22 times more.

This is a quite respectable growth and sufficient to find happiness with products such as, among others, the Vista 1, which make great use of it, but it is incomparable with the increase in the processing power of the CPU in the same period.

If you were to take the current processing power of a Core 800 and apply the famous law – which has proven accurate – that states that the number of transistors on an integrated circuit doubles every two years since 1965, within 6 years, Studer would reach a processing capacity of 3720 channels on a single 64-core CPU.

Today it takes two 8-core processors to reach the already superlative figure of 840. Speaking of capacity per chip, today’s DSP can manage 19 channels in full processing, whereas an x86-type CPU can exceed 400.

Voilà… an FPGA!

We will discuss further on how it is managed in the x86 CPUs – which, however, are anything but designed for audio – but, despite this abundance of power, two operations take place outside of this processor, summing and routing. Because these amount to simple tasks that are always the same, and therefore easy to program, Studer has chosen the reconfigurable hardwired logic of an FPGA to carry them out. They have given themselves a lot of margin with this, as the model they have chosen could handle a whopping 10,000 channels.

A view of the extremely comprehensive display of Vista X

A view of the extremely comprehensive display of Vista X with, under each meter bar, a display of a portion of the audio that has been processed through the channel; a big help when the number of simultaneous signals is constantly growing.

The rest of the operations related to audio, such as dynamics processing and EQ, are calculated by the brave little Intel Xeon Cores, for which the Studer algorithms have been rewritten for a Linux OS. On an x86 processor, 7 physical cores take care of audio with two parallel tasks on each core, therefore 14 virtual cores, while the eighth is reserved for the operation of a conventional PC server and all the functions such as communication or routine maintenance that the user cannot touch.

There is a complete disconnection between these tasks and the group of cores that make up the x86 CPU and this is the very cornerstone of the Studer software to avoid interference between the two that could randomly interrupt the audio processing. This proprietary Linux-based operating system required several years of development. The result is that the Infinity “engine” is cheaper and much more flexible, because it is built on standard components that have a much faster renewal than processors with their roots in the little world of audio and, finally, it benefits from programming tools and people capable of implementing them in very large numbers. The DSP and even the FPGA cannot stand up to this.

Fader glow or colorized faders – one of Studer's previous innovations inherited by Vista X.

Fader glow or colorized faders – one of Studer’s previous innovations inherited by Vista X.

5.1 routing, clearly another job for the FPGA.

5.1 routing, clearly another job for the FPGA.

Two power levels are available: the Core 400, with one CPU, and Core 800 which has two. The numbers in the model indicate the number of potential routes in full processing but with one caveat: we’re talking about channels at 48 kHz and 24 bit; at 96 kHz, divide this by two. Further, for the moment, the Vista X only runs at 48 kHz but we were told that this sampling rate will soon be doubled, or even more – the A-Link card attached to the front of the D23 also displays 192 kHz.

Is there anything under the hood?

The central section of the Vista X control surface.

The central section of the Vista X control surface. Note the super-complete level display, the controls, the individual bar graphs with no problem showing 5.1 and so on…

As strange as it may seem, the real Studer innovation is the proprietary software capable of managing each individual core of an x86 processor. In the end, looking at the Infinity Core more closely, what we found was almost disappointing, accustomed as we are to densely populated DSP cards.

Once pulled from the front, the drawer of a Core 800 containing all the electronics looks like a server motherboard with two Xeon 8 cores, RAM, two removable power supplies and an SSD; so far, nothing really new.
However, Studer has personally developed the central PCI Express card.

A view of the PCI Express card designed by Studer

A view of the PCI Express card designed by Studer specifically for the Core and the Infinity system. Underneath the fan, on a blue socket is the FPGA. You can make out on the left one of the two CPUs. All the way to the right, you can see the SSD boot drive.

In addition to the twelve I/O ports for the fiber optic links with the interfaces, it also has and FPGA hidden behind a fan. This PCI card can convey up to 5000 channels to the motherboard. The big advantage of Studer is pushed further by the Vista X, with total freedom to configure the console as you like in terms of input channels, outputs and auxiliaries.

Anything is possible up to the capacity offered by the Core, the sampling rate, and any plug-ins inserted without losing resources due to routing, since the latter task is taken care of by the very muscular FPGA.


A diagram demonstrating the simplicity of the wiring

A diagram demonstrating the simplicity of the wiring required to deploy Vista X in a redundant configuration, including the Core and two D23 units.

These twelve bidirectional ports convey data in a new language developed by Studer, A-Link, a kind of counterpart to the SSL Blacklight II, which permits the interlacing of many more channels than simple MADI, which suddenly seems quite pokey by comparison.

A standard derived from 3G video, A-Link allows the transport of 1536 channels at 24 bit/48 kHz, probably half at 96 kHz. The interface is optical with an SFP cage, which makes it easy to switch from single- to multi-mode. The links are redundant as standard and the same link carries the clocking signal and the input and output interfaces.

The Department of Redundancy Department

As it is the epitome of a broadcast system and globally appreciated for it, the latest Vista goes even further in terms of its capacity to guarantee reliability under all circumstances. If the connection between the console and the Core is established conventionally using network cables, they are doubled on both networks. Two fiber links connect the I/O racks and CPU. All power supplies are duplicated, as is the fan in the Core. For maximum security, it is also possible to connect two Cores in parallel to the same D23 interfaces through A-Link.

The new D23 interface is designed to work with the A-Link protocol.

The new D23 interface is designed to work with the A-Link protocol. The new cards are the MADI card and the A-Link HD card.

No need to have specific cards or special routines, D23 automatically switches in less than one sample if one of the two processors were to fail. This means that it is better to keep an eye on the screens to know which processor you are using, as your ears will never know from the sound!

The control surface also features improved redundancy. Where in previous models it would switch to a redundant PC, Vista X is now equipped with two redundant PCs that run in parallel, what Studer calls the Vista Quad Star: four CPUs, of which one handles the control surface, a second handles the display and the other two are ready to take over in case of a crash.

Auf Wiedersehen D21, willkommen D23

Though it is widespread, the D21 is forced to bow out, as it is unable to accept A-Link connections. It is thus the D23 and its 384 input and output channels that takes its place, twice those of its predecessor and really a lot for a 3U rack. Another improvement of this interface is the incorporation of a small CPU which allows it to manage the routing locally and to process audio independently.

Compatibility with the past remains, though, because the D21 cards can be used in the D23. DANTE is not forgotten, either: a module exists that accepts 64 in and out on its Ethernet network through a single RJ45 connector. A final card is proposed to interface two MADI connections, each fully redundant and capable of carrying 64 channels. Two ports are available with SFP cages and, for shorter cable runs, there is a good old coaxial link on a BNC connection.

A slide showing the Dante card in a Studer setup.

A slide showing the Dante card in a Studer setup.

The Dual MADI card opens up the proprietary A-Link format to the now widespread MADI.

The Dual MADI card opens up the proprietary A-Link format to the now widespread MADI.

Plugging into Studer

In front of such an abundance of power, the question arose immediately: Will it be possible to keep some of it in reserve to run plug-ins and, moreover, VSTs or to use the same Studer Vista FX of the rest of the Vista range and its two Lexicon PCM96 engines?

Roger Heiniger, the Vista product manager at Studer, at the microphone with JP Blanchard, who keeps his hand on the knob. They also know how to do sound at Audiopole.

Roger Heiniger, the Vista product manager at Studer, at the microphone with JP Blanchard, who keeps his hand on the knob. They also know how to do sound at Audiopole.

We took advantage of the presence of many members of the staff from Audiopole, but also from Studer Regensdorf, with Vista Product Manager Roger Heiniger to get to the bottom of this.

Regarding the 2U effects rack from Studer, the answer is no, as the HD connections are not present on the new Infinity Core. Concerning VST plug-ins, even if everything is theoretically possible, the risk is too great to run “foreign” dll in the Studer CPU using a wrapper, the crash of a plug-in could jeopardize the very operation of the Core and, consequently, the console.

As Roger says, some VST plug-ins are very stable, others less. This implies strict selection and long periods of intensive testing. We must therefore be satisfied with those from Studer, BSS, DBX or Lexicon, which will soon make their appearance, to guarantee secure and tested operation, especially as Studer will abandon the racks of external effects and delegate all of the work to the Core.

An Infinity of models & brands

The big news is the CPU processing mode and the hardware that goes with it. Studer adopted a name that reflects the future potential and current power: Infinity.

Andrew Hill, Director of Development at Studer, says that this CPU technology will be valid for the next 10 to 20 years and that all other manufacturers will soon go the same way. Jean-Philippe Blanchard, like Roger Heiniger, the Vista Product Manager at Studer, do not hide the fact that this CPU technology will soon be operated by other brands of the Harman group that are more focused on the live market, especially since a Vista X SR version is not on the agenda. However, it is possible to upgrade a Vista 5 or 9 with an Infinity Core, but not Vista 8 because of its analog monitoring circuit.

The Task Force deployed for the first presentation of the Vista X.

The Task Force deployed for the first presentation of the Vista X. From left to right: Kevin Renaudier, Audiopole broadcast technical support, Julie Costa, head of Studer marketing at Harman; behind her is Jean-Luc Mazzucco, Audiopole technical support and, all the way in the back on the left, with the blue shirt is “find the intruder” Serge Babkine, who also came to discover the new “Rolls Royce of Studer”, as Karl Chapman is pleased to call it. To the right of Julie Costa, we have Roger Heiniger, Vista product manager at Studer, and Génaelle Testard, Audiopole technical support and maternal support, Karl Chapman, Studer head of sales, and Jean-Philippe Blanchard, director of the Audiopole Broadcast Division, and, finally, Audiopole sales engineers Jean-Luc Gerards and Philippe Delépine.

Coffee and the check, please

The first console will be delivered during the summer to Euromedia, who drew its checkbook faster than anyone else in France and even in Europe, and who, therefore, deserved a healthy round of applause during the presentation.
In an interview with us, Jean-Philippe Blanchard gave the price range in the ballpark of € 200K for a Vista X system with a 40 fader console, a Core 800 and three D23: clearly a broadcast and high-end positioning.


Dancing with d&b to the dashboard of delight

Nestling in Gongti Xilu amidst the highest concentration of night clubs in Beijing, the Live in Vac club or LIV club as it’s known to the chic Beijing cognoscenti, is a high class establishment that manages without fanfare to differentiate itself from the pump and grind of its neighbours.
At three and a half thousand square metres this is no small investment; décor, technology, beverages and bar snacks, rest rooms and VIP areas; all receive the closest attention.

Mr Lou Jun of Guangzhou Yodoo Audio Equipment Technology Co, Ltd was in many ways very flattered to be asked to design the audio installation at the LIV, and while he didn’t pull up outside in a midnight black Bentley Continental like so many of the LIV Club’s guests, he did bring with him something he describes as “The audio equivalent. A system of such refined pedigree and performance that clubbers will not notice just how powerful the experience is, until the DJ steps on the gas.”

The subject of Mr Lou Jun’s admiration is founded on a gamut of components from the d&b audiotechnik range of loudspeaker systems. “I was very fortunate, the LIV club owners had already identified d&b as the brand with which they most wanted their club to be associated. They told me ‘We are confident you will be able to do a great job’.”

The club is a former bowling alley, the ceiling is relatively low at nine metres, but the whole space is open single span without pillars. “My brief was to provide three discrete but integrated sound zones,” continued Mr Jun, “Dance floor, VIP areas and main house system.

The dance floor was easy: flown Q1 and Q-SUB combination in each corner provided energy from above, while still being small enough to be concealed within the lighting technology. Physical presence was added at body level from a set of B2-SUBs on the floor. Although the high, mid and low / mid is well confined to the dance floor, the extreme low end of the B2s inevitably excites the whole room.

We have been able to capitalise on this in the other areas, concentrating on delivering musical fidelity through carefully placed Ci7-TOPs and subtly warming up the low end with matching Ci7-SUBs. The point source Ci7-TOP provides a very well defined seventy five by forty degree constant directivity down to 600 Hz, allowing us to beam precisely into the other zones, while the warm tones of the Ci7-SUB’s single eighteen inch driver beautifully compliment the B2 above 44 Hz. I like to think of the C-Series loudspeakers as the walnut dashboard and leather upholstery of the club. When you sit within its embrace why would you want to be anywhere else?”

Mr Jun’s design also included d&b MAX wedge monitors for the DJs, and the entire system is driven by d&b D12 amplifiers networked and zoned using the R1 remote control software.

“It’s marvellous,” commented the owners, “the d&b sound reinforcement system gives transparent fidelity every night. It is a big part of the gorgeous atmosphere we strive to create at LIV. Everyone who comes enjoys their night life at LIV.”

For more information :


3G Productions deploy Martin Audio MLA at EDC in Las Vegas

This year’s Electric Daisy Carnival (EDC) in Las Vegas easily earned its reputation as the world’s largest electronic music festival with seven stages, carnival rides, art installations, fireworks displays and over 400,000 in attendance.
The landmark multimedia three-day event took place at the Las Vegas Motor Speedway and focused on providing a total entertainment experience for electronic dance music fans, with over 70 DJs performing each day.

MLA Martin Audio carnaval EDC Las Vegas

3G Productions of Las Vegas/Los Angeles, who once again provided audio for the event, set up a fully loaded Martin Audio MLA loudspeaker system on Stage Two (Cosmic Meadow) to deliver the power and huge amount of low end required for the shows. DJs featured on the stage included Diplo, Justin Martin, A-Trak, Chromeo, Bassnectar, Dillon Francis and Destructo, just to name a few.

The system for Cosmic Meadow stage consisted of 16 MLA and two MLD enclosures per side, 12 MLA Compact per side for sidefills and three MLA Compact per side for front fills. More than the required amount of low end was provided by 40 MLX subs stacked one on top of the other along the front of the stage. A Yamaha CL5 console was used for the FOH mix and a Yamaha PM5D for monitors.

MLA Martin Audio carnaval EDC Las Vegas

Asked about the MLA, 3G’s Keith Conrad said, “the system performance each night was fantastic and the Martin Audio stage blew everybody away. The client (insomniac) was happy with the way MLA performed, the show was packed every day and the DJs and their engineers were really impressed with the system.

“Because Cosmic Meadow stage was facing out towards the speedway and wasn’t competing with any other stage, we got the full impact and power of the system, which was amazing,” adds Keith. “As it turned out, we didn’t even need delay towers because the coverage was so exceptional.” This was due in part to Martin Audio’s Display 2.1 modeling software.
“What makes EDC unique from other music genre festivals is the incredible amount of bass that’s required for electronic dance music. The MLX subs were so powerful the artists and their crews were smiling from ear to ear as soon as they turned it on. 

Of course,” Keith concludes, “we were fortunate to have our secret weapon FOH engineer Manny Perez who is definitely a veteran with MLA and knows how to tweak the system so it sounds exactly right from the low to high frequencies, which made it an ideal situation for everyone. Overall, I’d say that the system exceeded expectations from every aspect.”

For more about 3G Productions, Inc., please click to

For more about Martin Audio, please click to




Melpomen installs the STM systems to Hellfest 2014

AEROSMITH, BLACK SABBATH Headline at France’s N°1 Metal Festival

Should someone still be unaware of what's going on three days long in Clisson, here's a self explanatory set piece.

Should someone still be unaware of what’s going on three days long in Clisson, here’s a self explanatory set piece.

Now in its 9th year, Hellfest has grown to become one of the three largest festivals in France, attracting more than 150,000 metal fans over its 3 days.

For the second year, rental company Melpomen brought the NEXO STM modular line array down to the peaceful  town of Clisson (near Nantes), for a spectacular line-up of rock and heavy metal legends – Aerosmith, Deep Purple, Iron Maiden, Black Sabbath, Status Quo, Rob Zombie, Megadeth and Soundgarden.

Although there are six venues  at the Hellfest, the big names appear on the famous twin stages, Main Stage 1 and Main Stage 2.  The action alternates between these two, and the PA systems effectively run as one, continuously. 

Mainstage 1 & 2 sticked together and ready to fire hours of tough rock three days long.

Mainstage 1 & 2 sticked together and ready to fire hours of tough rock three days long. Don’t look for the main hangs, they are hidden behind huge drapes made of acoustically transparent fabric.

Both stages were equipped with identical STM systems, each  had a dedicated L/R main hang of 15x STM M46 Main Modules and 15x STM B112 Bass Modules per side; 60x S118 Subs were ground-stacked in groups in a cardioid configuration. This totalled 60x sets of STM, 180x cabinets in all.

After Phil Spector’s Wall of Sound, please welcome Melpomen’s wall of subs. Not the nicest place to be and enjoy the show, this wall is made of 12 S118 pushing forward and 3 units cleaning backward. Along with his stage left counterpart, it’s her to help and boost the low frequency response of the 30 STM systems hanged above.

Also on stage were NEXO GEO T sidefills and GEO S12 frontfills, and a large number of 45°N-12 line monitors.

Out of STM's main hangs coverage, three Geo S12 provide the audience closer to the stage

Out of STM’s main hangs coverage, three Geo S12 provide the audience closer to the stage with something but subs and guitar amps !!

Low profile but high quality 45° N-12 Nexo wedges on duty during one of Hellfest's shows.

Low profile but high quality 45° N-12 Nexo wedges on duty during one of Hellfest’s shows.

In sweltering 30-degree heat, Melpomen’s team was led by crew chief David Prevost, with Cedric Bernard and Christophe Rousseau supervising FOH on Main Stage 1, and Samuel Biraies and Wilfrid Hubert on Main Stage 2.

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