A Critical Tool for Composer John Powell

Meyer Sound’s New Bluehorn System

A bluehorn system consists of a 2-way mid-treble enclosure and a bass enclosure, each with signal processing and amplification.

Meyer Sound has announced availability of the Bluehorn System, a technology breakthrough that for the first time achieves flat amplitude and phase response from 25 Hz to 20 kHz in a large-format loudspeaker.
The product of more than six years of intensive research, Bluehorn applies advanced proprietary algorithms to cancel out the non-linearities inherent in all mechanical transducers and loudspeaker cabinets, resulting in breathtakingly transparent aural neutrality.

Amplitude and phase response curves of a Bluehorn system between 20 Hz and 20 kHz.

Among the first cinema professionals to take delivery of a Bluehorn System was noted film composer John Powell, whose 60-plus feature film scoring credits include animated family classics from Chicken Run through Happy Feet, Rio and How to Train Your Dragon (and their sequels) plus all the Jason Bourne films. Powell has installed an LCR Bluehorn System in his private recording and mixing facility (dubbed “5 Cat Studio”) in Pacific Palisades, California.

John Powell and his Bluehorn system in the background, with Helen and John Meyer.

Powell emphasizes the importance of working with monitoring that reveals the input signal with unflinching accuracy, without masking any detail or introducing coloration that may misleadingly enhance the subjective quality of the music.
“For the work that I do, I need monitor loudspeakers that do not flatter the music at all,” he says. “I need to hear exactly what is going on in an unbiased way. I have no time when working to enjoy what we did right; I need to hear when things are wrong so we can fix them, and I can hear those problems better with the Bluehorns. I need to be confident that everything is in its proper place, because then the music translates smoothly as we move through to the final mix.”

Complete Bluehorn Systems are available in either stereo or LCR configurations, with each channel comprising a two-way mid-high loudspeaker, a separate low frequency element, and dedicated digital processing. Bluehorn is designed for high-resolution monitoring applications in mid-sized rooms for music recording, cinema post-production, music mastering or other applications requiring the highest accuracy in sound reproduction.

The Meyer Sound Bear’s Lab mixing room (Berkeley) with the Bluehorn system.

Externally, Bluehorn shares the same cabinet footprint, driver dimensions and waveguide configuration as Meyer Sound’s Acheron Designer loudspeaker. On the inside, however, Bluehorn utilizes an upgraded HF driver and new amplifiers with ultra-low noise and distortion.
Absolutely unique to Bluehorn is the dedicated processor that sits in front of both the mid-high loudspeaker and the companion low-frequency cabinet. The system-specific correction algorithms hosted by the processor were developed by meticulously analyzing allphysical and electrical non-linearities throughout the entire system, from 25 Hz to 20 kHz, in order to bring acoustic output — at any level — into absolute phase and frequency alignment with the input signal. Essentially, the processing nullifies the non-linearities of drivers and enclosures, resulting in a phase-coherent response previously achieved only by open-air electrostatic headphones with their extremely low mass diaphragms.

“This is a loudspeaker that is ideal for people doing music for film because it behaves in the room like a cinema loudspeaker,” Powell continues. “It gives us projection like we would hear on the dub stage, yet it also has that extra layer of audiophile quality. Bluehorn lets us hear deeper into the music and resolve problems right away, knowing that even the dub stage might not offer that level of accuracy. It’s the best of both worlds, really.”
In his cinema work, Powell first used the Bluehorn Systems for mixing music for Jason Bourne, the latest in the Bourne series of spy thrillers, and is currently working on music for yet another animated family feature, Ferdinand. And Powell has relied on it for tracking and mixing his own classical music recordings — the Prussian Requiem oratorio and The Prize Is Still Mine with orchestra and gospel chorus — as well as for mixing composer Eric Whitacre’s score for a forthcoming IMAX presentation.

The Bluehorn system at the “Newman Scoring Stage”, 20th Century Fox studios.

“That extra level of clarity in Bluehorn makes it easier to analyze your mix, but these are not necessarily loudspeakers you want to listen on to flatter yourself,” he admits. “You hear what is right with your music, but you also hear what is wrong so you can fix it. And that’s really the point of monitoring, isn’t it?”
Bluehorn is named for the high frequency waveguides, painted blue during prototype testing to quickly distinguish the new Systems from Acheron® Designer loudspeakers used in the same room for comparisons.

 

Under the sun

Nexo’s line Array STM wins place in the heart of Tahiti

The To’Ata stage as seen from the front covered seating.

A real big venue design. 9 x M46 for the main hang, 2 x M28 for downfill, 3 x M28 for outfill and the famous and extremely powerful S118 3 x 3 sub arrangement.

Nexo’s flagship modular line array, the STM Series, has been installed in its most exotic location to date – the To’Ata Showground in Papeete, the capital of Tahiti.
This very large showground, available for rental in different configurations that can accommodate 3200-6000 people, is the primary cultural events venue in French Polynesia, staging rock and pop concerts for up to 5000 people.

It is also home to the Heiva, a spectacular 2-month festival of dance and sport which dates back to 1881. Teams and troupes arrive from all the islands, more than 8000 participants in all, with the best chant and dance groups competing on the famous To’Ata stage.

Te Fare Tahiti Nui (TFTN), the public service organisation which manages the venue, was tasked with choosing a PA system that could match the showground’s versatility. Working closely with Comimpex, the Nexo distributor in Tahiti, TFTN opted for the scalable STM Series modular line array which could provide the best quality without compromise in different configurations.

The To’Ata showground and external view… What else…

The complete tahitian Team.

Nexo field support engineer Val Gilbert flew to Tahiti to set up the system. “This is a perfect example of the true benefits of modularity. The entire setup can be re-configured to provide an optimised solution for all their events, despite the challenges of reduced sight lines when the production companies want the loudspeakers to be invisible on camera during the traditional events.”

The To’Ata house system now comprised 18 sets of STM M46 main and STM B112 bass modules, with STM M28 omnipurpose cabinets for downfill, outfill and front fill. The system, which has 18x STM S118 sub bass modules, is powered by 6 of NEXO’s Universal Amplifier Racks. The venue has also invested in Yamaha CL digital consoles, so as to have a full digital package from stage to speaker.
“This inventory allows them to cater for large-scale concerts,” adds Val Gilbert: “they are also able to break the system down into smaller ground stacks to cover the tiered seating stands when they open up the arena floor for the Heiva dancers.”

The Santa Claus of Senlis has passed …

Jean-François Leou, director of Comimpex, adds that this is not the first high-profile site for Nexo in Tahiti. His company previously won the tender to install GEO S12 line arrays in an 800-seat indoor theatre, also run by TFTN.

More informations on the Nexo’s website

At IBC 2017

Yamaha Launches MMP1 Studio Monitor Management System

Although many elements of audio production are nowadays an integral part of high-performance DAWs, even the most practical in-the-box systems still need peripherals for full studio functionality. Yamaha’s new MMP1 Studio Monitor Management System is a system management solution for DAW-based production environments in one versatile, great-sounding and cost-effective unit.

Monitoring is a vitally important element of the production environment, directly affecting the quality of the final product. The advent of immersive audio formats has raised the bar even higher, increasing the capability for precise soundfield reproduction, at the same time making the requirements for monitor control and management even more complex. The MMP1 flexibly adapts to the diversity and complexity of monitor and communication needs in the most efficient way. Much more than a monitor controller, it is a comprehensive package of essential studio functionality that offers optimum support for in-the-box mixing workflows.
Enclosed in a single 2U, 19-inch rackmount unit, the space-saving MMP1 features a 40 x 36 channel* matrix, for monitor source mixing that supports formats from stereo to immersive audio, including Dolby Atmos. Eight stereo cues and flexible talkback allow easy communication between multiple artists and directors. The monitor matrix is followed by a 32 x 32 speaker management matrix** with crossover filters for bass management on all channels, allowing much greater freedom for speaker layout than the common practice of providing a limited selection of preset patterns.

* 32 inputs + 8 DSP channel inputs x 32 outputs + stereo downmix outputs + stereo headphone outputs @ 44.1, 48, 88.2, and 96 kHz. 20 x 20 channels @ 176.4 kHz and 192 kHz.
** 32 x 32 channels @ 44.1, 48, 88.2, and 96 kHz. 16 x 16 channels @ 176.4 kHz and 192 kHz.


Precision FIR bass management filters are provided in addition to IIR types, making it possible to maintain flat phase characteristics between channels for optimum sonic clarity and imaging. Time alignment delay and EQ are included too, for comprehensive speaker output control. In addition to eight analogue and sixteen AES/EBU inputs and outputs, built-in Dante audio networking provides extra I/O expansion and system scalability.

Eight channel strips are included, each with four selectable EQ types (Precise, Aggressive, Smooth, and Legacy) that offer a comprehensive range of response shaping options, plus a number of analogue vintage effects modelled at the component level using acclaimed Yamaha VCM technology for professional grade processing capability.
Artists in the booth can be provided with a separate cough mute controller connected to the MMP1 GPI interface. Cough mute status is visible via MMP1 Editor in the control room. Meticulous attention has been paid to selecting every component of the MMP1 and the smallest circuit design details, while rigorous testing has ensured optimum tuning of the entire system. The result is unprecedented sonic quality.

The MMP1 is very easy to set up and operate via two software applications. MMP1 Editor for Windows and Mac computers (downloadable from the Yamaha Pro Audio web site) provides all-function access for everything from system design and file management to day-to-day operation. The MMP1 Controller app for iPad, available from the Apple App Store, provides convenient, intuitive control of essential parameters, including all the facilities on the MMP1’s eight channel strips. These include trim, delay, phase invert, filter, EQ, Comp260 VCM compression and insert facilities, meaning the need for outboard processors and complex internal DAW routing is minimised.

With eight high-performance analogue input and output connections, 16 channels of AES I/O, integrated Dante audio networking capability and a 16-pin GPI interface that can communicate with a variety of external devices, the MMP1 is an extremely versatile unit. Redundant power supplies provide failsafe reliability and it can contribute to enhanced efficiency and operability in broadcast facilities and a wide spectrum of other applications.

The MMP1 is scheduled for release in the fourth quarter of 2017.

More information on www.yamahaproaudio.com

 

Get connected with the DiGiCo S-Series

DiGiCo has announced the launch of a new DMI-MIC Pre-Amp Card for its S-Series digital mixing consoles, offering additional connectivity.
The S-Series has already benefitted from an increase from 40 to 48 flexi channels as part of a recent update, and the new DMI-MIC Pre-Amp Card adds an extra eight mic inputs, connected via a 25-way D-sub, using the same great pre-amps already found in the console. This allows for up to 40 mic inputs directly on the console surface.

DiGiCo consoles are used on many of the biggest live sound tours and events around the world and the launch of new, compact S-Series made this pedigree of audio performance available to every part of the industry, with Stealth Digital Processing™ introducing a new standard of audio quality, power and flexibility not seen before at its price point. The S-Series multi-touch touch screens, breaking the mould for small format consoles, with up to 31 faders, 96kHz processing, Internal FX and bundles of I/O. With plug-in DMI cards the S-Series can operate in a wide variety of environments by adding extra I/O or connectivity options, including MADI, Dante or Waves SoundGrid.

The two DMI slots on the back of an S21 mixer, here Dante and MADI, but possibly DMI-MIC with 8 mic inputs which can be added to the 24 mic / line inputs already present.

“The new DMI-MIC Pre-Amp Card shows our continued commitment to our products,” says DiGiCo General Manager, Austin Freshwater. “To take advantage of this and our other DMI card options, we are running a Get Connected programme, so contact your local dealer for full details of the programme and get connected soon!”

More information on Digico website

At the Summer Series festival

Avolites provides full control to John Partridge’s lighting design

An Avolites Arena lighting console was used to program and operate the striking lighting design for producer and singer-songwriter Tom Misch at his outdoor headline show at the Summer Series music festival held at Somerset House, London.

The annual festival took place between 6 and 16 of July in the courtyard of the iconic Neoclassical building on the Thames. 2017 marked Misch’s Summer Series debut, joining other British and international festival headliner stars including Norah Jones, Goldfrapp and Damian ‘Jr. Gong’ Marley.

Misch’s lighting designer John Partridge (JP) has been working with the British-born artist since July 2017, and the Somerset House show marked the design’s first live showcase. For Misch’s current tour, JP has created for the artist a pared-back design, aiming for a ‘strong and purposeful’ aesthetic.

“The lighting design for Tom is centred around a single, bold focal point on stage, with the rest of the lighting blending into the background,” says JP. “A row of 10 GLP X4 Bar 20s, raised behind Tom, accent the show with a striking horizontal line of light that emanates from behind the band. This gives a bold impact and centre point to the overall design.”

Fellow lighting designer Tom Campbell assisted JP in programming and operating an adapted version of the design for the Somerset House set. The designers utilised an Avolites Arena console, one of the two house consoles provided by the venue to visiting lighting designers. “John had a really clear idea of the look he wanted for the show,” says Campbell. “The X4s provided us with a near-solid wall of light that we could run effects and colours across using the control features of the Arena console.”

The Arena was loaded with Avolites’ latest on-board control software, Titan v10.1, complete with features such as BPM Sync, Scene Master and new updates to the pioneering control feature, Keyframe Shapes.
“During the programming stage I relied heavily on v10.1’s Keyframe Shapes and Palettes,” continues Campbell. “I could change the intensity, colour and zoom effects of the stage’s lighting fixtures using the console’s two touchscreens. This allowed for a faster, more intuitive workflow between John and myself.”
The Keyframe Shapes feature offers tools such as transition curves, phases and spatial direction to build a visual, interactive control platform to aid lighting designers with programming.

“During the show we also brought in some on-the-fly control,” explains Campbell. “The Arena has a large number of faders. We pre-programmed these with some mole/blinder chases and fixture stabs. The faders are amazing for using as back-up on top of pre-programmed cue stacks.”

The Avolites Arena is the British brand’s latest large-scale console and provides over 40 precision playback faders in three pageable groups. Control is further delivered through 20 programmable macro executor buttons and three optical attribute encoders.

“One of the first consoles I used was an Avolites Azure with Graphics tablet,” concludes JP. “Avolites have so many years’ experience in rock and roll, I know that any of their consoles is going to get the job done.”

More on the Avolites website

 

Powersoft’s Quattrocanali DSP+D Nominated for NAMM TEC Award

Powersoft, announced that its Quattrocanali DSP+D — a 4-channel rack amplifier designed for installations and featuring built-in digital signal processing — has received a nomination for Outstanding Technical Achievement for the 33rd Annual NAMM Technical Excellence & Creativity Awards. This is the second year in a row that Powersoft has received a nomination in this category.

“We are proud to receive a TEC Award nomination for Quattrocanali DSP+D, an exciting amplifier that completes our popular Installation Series,” commented Francesco Fanicchi, Head of Brand and Communications of Powersoft. “We thank the TEC Foundation for recognizing the innovation of the Quattrocanali DSP+D, which has cemented our position as a leader in installed sound amplification while opening up new opportunities for Powersoft in low-power applications.”

Presented by the NAMM Foundation, the TEC Awards are the pro audio and musical instrument industries’ prestigious awards, celebrating the spirit of innovation and honouring best-in-class products in the pro audio community. Following a two-month call for entries, a panel comprised of leaders in audio and production carefully evaluated each entry before selecting the Quattrocanali DSP+D. Winners will be announced during an awards ceremony at the NAMM Show in Anaheim, CA on January 27st.
The Quattrocanali DSP+D amplifier completes the line of fixed install amplifiers constituted by Powersoft’s Ottocanali and Duecanali amps. Working with both Hi-Z and Lo-Z systems and available in configurations featuring 300, 600, or 1200 watts per channel all within a compact 1RU enclosure, Quattrocanali DSP+D can be outfitted with ample power for demanding medium-sized applications, or scaled down to offer optimal performance for smaller applications such as retail spaces and leisure venues.
Hyper-efficient operation ensures minimal power consumption and negligible heat dissipation, while Powersoft’s flexible switch-mode power supply with power factor correction, smart rails management, and bridgeable switch mode fixed frequency Class D output circuit topology ensure consistent performance under any conditions and very good sound quality.

Onboard DSP processing controlled via Powersoft’s Armonía desktop application offers Quattrocanali DSP+D users a powerful set of tools for tuning, monitoring, and protecting their system. All amplifier functions can be controlled remotely through Armonía or via a web app from a decentralized location, enabling maximum flexibility. These include managing crossovers, limiters, equalizers, delays, active damping control, and signal routing as well as basic functionality such as volume and mute. Four available Dante input channels also enable full integration with modern network-based systems.
Quattrocanali is available in both DSP and standard versions. The non-DSP version offers control over master and channel volume, mute, high power filters at 35 and 70Hz, remote ON/OFF, alarms, high and low impedance channel selection and basic Ethernet control via the Armonía software. Extended remote operability is granted by the dedicated GPIO. The DSP+Dante versions also have in-depth control via the Armonía software and feature four Dante input channels.

Presented by the NAMM Foundation, the awards were created to celebrate the best in professional audio and sound production. Winners will be announced Saturday evening, January 27, 2018, in the Anaheim Hilton’s Pacific Ballroom and via a live event web stream.

For more information, Visit Powersoft website

 

Dubai Opera upgrades house rigs with Claypaky investment

Dubai Opera, located in what is claimed to be ‘the most prestigious square kilometre in the world’ in Downtown Dubai, has recently purchased 37 x Claypaky A.leda B-EYE K10s as part of a technical upgrade to the event space’s lighting rigs. 
Dubai Opera is considered a masterpiece of contemporary architecture. The ‘dhow-shaped’ building, designed by architect Janus Rostock, houses a flexible, 1900-seat venue which can be transformed into a theatre, concert hall or ‘flat-floor’ event space.

“Dubai Opera is a first-rate venue and we present and produce top-quality performances,” explains Geoffrey Wheel, Technical Director of Dubai Opera. ” We therefore invest in the very best equipment and this is demonstrated in our stake in the Claypaky brand. Its products are of an excellent quality.”

The B-EYE K10 is a popular workhorse fixture for many designers across the globe, and the fact that it is widely available to hire in the Middle East market ensures that, alongside Dubai Opera’s recent stock purchase, the venue can easily make additions on a production-by-production basis.  
“Versatility is a key factor for us when investing in new fixtures,” says Wheel, referring to the B-EYE K10’s three modes of functionality – Wash, Beam and FX. “The fixture had to suit our main-stage concerts, meet the lighting and colour standard demanded by theatrical productions and adapt for use in our studio room and foyer for the more decorative lighting needs.
Low power consumption, combined with high light output, was also top of the list when looking for a fixture.”

The zoom range of the B-EYE K10 is 4° to 60° making it suitable for environments with low ceilings and for shows in larger environments, while its high lumen-to-watt ratio means it is brighter than any LED wash luminaire with the same power rating.
The fixture runs off a universal 100-240V power-supply and, due to its advanced LED technology, can produce spectacular effects for its relatively low power demand.

More on the Claypaky website

 

For theaters and TV studios

Martin Introduces MAC Encore Performance

HARMAN Professional Solutions announces the launch and availability of Martin MAC Encore™ Performance, a full-featured, LED moving head designed to produce premium white light in a wide variety of applications where critical lighting is required.
MAC Encore Performance is available in two dedicated color temperature variants: WRM for unparalleled, 3000 K warm incandescent emulation and CLD for crisp, 6000 K neutral daylight.

MAC Encore Performance integrates cutting-edge LED technology with a proprietary and innovative light engine that has been carefully engineered to generate pristine, full spectrum light with ultra-high color rendition. This is all housed in a cleverly cooled and packed optical design.

The MAC Encore Performance weaves together coveted features and dynamic effects including vibrant CMY color mixing, ultra-slow gobo rotation, Animotion™ FX system for 3D beam animations, smooth color temperature correction, dimming to full blackout, and variable frost. And it performs them all with extreme speed and accuracy of movement, precise framing shutters, all in a record-breaking, low noise engine.

Both the CLD and WRM variants of Martin MAC Encore Performance are now available. A MAC Encore line extension is planned for early 2018 to include wash fixtures in CLD and WRM variants.

For more information on Mac Encore Performance please visit Martin website

 

GLP JDC1 Led Strobe redefines the hybrid paradigm

When you look for a strobe, the first thing you look for is power. GLP’s new JDC1 hybrid LED strobe delivers power through a versatile and highly creative design, the likes of which are unparalleled. Already adopted by some of the world’s leading LDs, it has been flying out the door and into rental facilities across the globe. The JDC1 unquestionably redefines the strobe function and creates a whole new class of projector that goes way beyond the standard definition of a hybrid. And the market seemingly cannot get hold of them quickly enough.

Fundamentally, the JDC1 has been designed in three sections, which can be controlled independently or as a complete synchronised unit. The fixture itself contains a traditional single tube element with a clear, bright, white output, derived from 216 white LEDs, and then combines that with a surrounding, format-filling full face of RGB LED power, utilising 1,320 high quality LED’s. Whether running independently, or together these elements a bright output with retina burning output.

Adding versatility to the design options, the two RGB plates can be divided into six separate ‘pixel’ sections on each plate and then operated with full pixel mapping control. This alone creates stunning effects, whilst the LED tube can pop through with high intensity flashes. However, in a never seen before feature, the JDC1 also allows pixel mapping of the LED tube, which is broken down into 12 individually addressable sections.
This enables the tube to create motion effects, either when forward facing or through shadow play behind a performer. Whilst the tube is operated in this mode, the RGB plates can give a solid background colour to strengthen the effect. With this level of flexibility, the JDC1 really offers a huge amount of colour, layering and operational effects, right up to the point of pixel mapping the entire array.

However, that’s not all, along with working as a powerful strobe light, both the tube and the RGB plates can be run continuously for high output blinder and wash light effects, which never reduce output or have thermal cut-out. With their wide beam angle, this allows for wide coverage of backdrops, stage areas or audience sections. Then to crown it all, the JDC1 also offers dynamic movement, with a 16-bit, 185° tilt range, allowing you to place effects exactly where and when you want them to be — to derive the most possible power and impact.
Functioning in any orientation and whether the operator wishes to use it as crowd effect at one moment and then as a stage focused strobe effect the next, the motorised tilt gives a level of functionality and effect that has never been seen on the market before. The design of the JDC1 allows adjacent units to be aligned through locking pins, which also align with their award winning X4 Bar series products.

Further features include on-board menu setup with battery operation, TRUE1 power input with variable voltage for worldwide usage, quiet operation and a low weight of just 12kg.
Across the world, rental companies have been quick to jump on board, with Rent-All in the Benelux and HELi Showequipment in Germany leading the charge in Europe, and Christie Lites, PRG, Solotech and Volt Lites being the early adopters in the US and Canada. At the same time, lighting designers on both sides of the Atlantic have been lining up to specify them on shows.

Stated GLP’s Mark Ravenhill, “This has been a real success story for GLP — early adopters have been quick to pick up on the unique features of the JDC1 and we are seeing it being used in some highly creative ways in the short time since we started shipping.”

More informations on the GLP Website

 

At Plasa 2017

Soundcraft to announce the Vi1000 digital mixing console

Representing the culmination of rich feature sets offered by Soundcraft’s acclaimed Vi Series, the new Vi1000 offers 96 input channels with 24 mono/stereo mix busses, plus LRC master busses, and support for Dante audio networking – all in a compact form factor, ideal for smaller touring projects, corporate AV applications, as well as music venue and theatre in search of a versatile digital mixer.

Key among its many features, the Vi1000 incorporates Vistonics II ‘knobs-on-glass’ functionality, making it easy to see and access the power and versatility of the mixing environment; along with Soundcraft Faderglow colour coding, which illuminates the fader slots according to function using clearly defined colours. With Vistonics II, each control is always clearly labelled as to its function, despite the assignable nature of the various controls.
The functions are colour coded and use icons to clearly indicate the type of parameter being adjusted – whether it’s a signal level, filter frequency, or attack/release time. A simple touch of the screen is all it takes to access all the parameters associated with a particular channel strip processing function. Regardless of whether a fader is assigned to Matrix outputs, sends on faders, VCA groups, or graphic EQ, Faderglow makes it quick and easy to identify what function is being controlled by what fader at any given time.

Faderglow

Vistonics

The Vi1000’s DSP functionality is equally impressive and includes Studer’s SpiderCore DSP engine, built-in Lexicon reverb, delay, and pitch effects, plus onboard BSS DPR901 II dynamic EQ digitally modelled after the original, industry-standard BSS analog unit. The SpiderCore DSP utilizes 40-bit floating point audio processing as used on Studer’s high-end broadcast consoles—ensuring pristine audio quality while the console’s reverb and delay effects come from the Lexicon PCM81 Multi-Effects Processor, known for its smooth, natural sounding reverb.

“For years, the DPR901 II has been known for its superior performance. While this classic analogue audio problem solver has been imitated by all BSS’ competitors, users will find the only officially-approved digitally modelled version of the original onboard the Vi1000 – further contributing to this console’s superior audio performance,” says Soundcraft. “Users will also appreciate the Vi1000’s integrated microphone monitoring for AKG, Shure, and Sennheiser wireless systems along with the included vMIX Automatic Microphone Mixing capability.
The Vi1000’s built-in monitoring support for AKG, Shure, and Sennheiser wireless microphone systems makes it easy to check battery power, RF levels, plus the mute and clipping status of the attached wireless microphones – right on the channel strip that controls each mic. Similarly, with the console’s vMIX Automatic Microphone Mixing capability, engineers can automatically mix up two separate groups of to 16 microphones in conference or theatrical applications to free up hands or reduce the number of snapshots needed to control ambience in multi-mic speech applications.”

Andy Brown

The new Vi1000 is flexible and offers expandable I/O capability. Linked directly to the SpiderCore DSP engine, the Vi1000’s comprehensive I/O system provides a total of 212 x 212 simultaneous inputs and and outputs. These comprise 16 channels of on-board HQ mic preamps, 16 on-board line outs, 2 pairs of AES/EBU inputs and outputs, in addition to two 64 channel expansion slots for connection of remote stageboxes or optional I/O cards, plus an additional 64 channel MADI and Dante recording interface. Optional I/O expansion cards can be chosen from the extensive ViSi Connect range, which include MADI, Dante, Aviom, Rocknet, Blulink, SDI, TDIF, ADAT and other formats.

Andy Brown, Soundcraft Product Manager – Vi Series, commented on the company’s new Vi1000: “The Vi1000 represents all that we’ve learned over the years with our Vi Series line and channels that knowledge and experience into a new desk that delivers superior audio performance and a world-class feature set—all in a compact form factor with intuitive operation that enables engineers to quickly and easily grasp its layout and functionality. From cutting edge attributes including Vistonics II and Faderglow technology, integrated Dante support, and DSP capability that only HARMAN can deliver, every aspect of the Soundcraft Vi1000 exudes painstaking attention to detail—ensuring a mixing environment that streamlines workflow and inspires one’s best efforts.”

 

Ludovic Monchat is appointed Editor-in-Chief of Soundlightup

Under the pseudonym Ludovic Monchat, he has been signing articles about audio in the technical press for more than 20 years. Under his name Jean-Luc Emanuele, he is co-founder of SLU and President of Art&Show s.a.s., the company that owns SoundLightUp.
Jean-Luc “Ludo” Emanuele Monchat has an immeasurable passion for audio, a lively editorial style with a touch of cheekiness, and two excellent and analytical ears. He is prying and critical, straightforward and incorrigibly human.

Photomontage made without digital manipulation and without the consent of the subjects: Stéphane Plisson on the right, Maxime Ménelec in the center and Ludo on the left.

It was with very great respect for all of his qualities that we, his associates – namely Claude Ducros, Monique Cussigh and Jean-Pierre Landragin – proposed to him to assume the role(s) of editor-in-chief of SoundLightUp, as he is now able to devote all his time to SLU…
And he accepted. Hallelujah! He can count on us and our support well into the future, as we could never easily leave behind such a great human and professional experience – but we are delighted to hand him the reins.
SLU will become stronger and even more dynamic!

 

Robert Juliat Lancelot And SpotMe Perform Swimmingly at FINA Aquatic Championships with Concept K

Four Robert Juliat’s 4000W HTI Lancelot fixtures were the followspots of choice for Frédéric “Aldo” Fayard, the lighting designer behind the prestigious Opening Ceremony of the 17th FINA World Aquatic Championships, which took place in Budapest and Balatonfüred in July this year.
The FINA World Championships is one of the biggest sporting events in the world and the largest sporting showcase Hungary has ever hosted. With over 2,500 athletes from 180 countries and 200 events over a period of 17 days, this was a massive undertaking.

Frederic Fayard, who is founder and designer with Concept K in Paris, created and programmed the lighting for the opening ceremony event, which was conceived and produced by the French production ECA2 Group with MUPA from Hungary. The four 4kW Lancelot followspots were supplied by PRG France and were rigged on two technical towers front of stage. The Ceremony also provided the ideal opportunity for Aldo to test out Robert Juliat’s newest product, SpotMe, where he put it through its paces under live conditions for the first time ever.

SpotMe is a 3-D real-time tracking system that turns the followspots into an innovative solution to give the position of performers on stage, without the need for emitters and/or cameras. The followspot is equipped with sensors which send signals to the server and communicates all the positions and beam size parameters to the lighting console through PSN and DMX protocols.
The parameters can then be used by the console to control any automated, or static, lights. Any moving light can therefore also turn into a followspot at any time during a show which is precisely what Fayard was able to do. The Opening Ceremony took place on an 80 x 10 meter floating stage, situated directly on the Danube river close to the main bridge, with the iconic Buda Castle perched beautifully on the hill as a backdrop. Aldo chose to work with the Lancelot followspots for the prestigious event as he believes them to be “the most powerful and flexible followspots on the market.”

The Lancelots performed well in the rather humid conditions created by a combination of the weather and the spectacular dancing water fountains, which were designed by ECA2 Group, and certainly handled the demanding throw distances of between 50 to 90 meters effortlessly. Aldo comments, ‘I have used Robert Juliat lights many times in my 30 years of international experience and I believe they produce the best profiles and followspots in the world.
I know the Lancelot well, and for me, the most important features are the optics, their sheer power, and the zoom range, all of which were invaluable for the distances involved and the televisation of the event. I have worked with many manufacturers around the world, but wherever I am working, I always request Robert Juliat first.’

The wonderfully creative opening ceremony was attended by Hungary’s prime Minister Victor Orbán and other government ministers, along with former Hungarian Olympic champions. Taking part were over 510 artists, including some of Hungary’s biggest superstars Péter Eötvös, Ágnes Herczku and Gergely Bogányi and three-times Grammy Award winning artist, CeeLo Green. The Opening Ceremony ended with a rendition of the official song of the World Championships, performed by Gigi Radics and Nikolas Takács, followed by a concert by CeeLo Green.

Aldo was able to test Robert Juliat’s SpotMe in conjunction with the Lancelots, on the singers during these key performances and also to follow one of history’s best-ever female swimmers and five-time Olympic gold medalist, Krisztina Egerszegi, during the launch of the water flame which initiated the amazing dancing water display. “We are happy to report SpotMe worked well in coordinating the moving lights with the movement initiated by the Lancelots,” says Aldo. “I can see this becoming a very sought after system.”

“The FINA Opening Ceremony was a good test for SpotMe, both as a trial under live conditions, and to ensure it meets the true requirements of lighting designers in all aspects prior to releasing it to market,” says Robert Juliat MD, François Juliat. “Live testing gives us the opportunity to fine tune the details and make sure it is a viable – and valuable – product in ‘real’ conditions.”

For more information on Robert Juliat Lancelot followspots, SpotMe visit the Robert Juliat website

 

For Africa and the Middle East

Ayrton Appoints Zane Cretten as Regional Sales Manager

Ayrton is very excited to announce the appointment of Zane Cretten as the latest member of its expanding sales team. Based in South Africa, Cretten will take on the position of Regional Sales Manager, with responsibility for sales across Africa and the Middle East, from 15 September 2017.

Zane Cretten

Cretten brings with him 11 years experience in the live events industry, specialising in video and lighting.
During this time he has worked with major global brands including High End, Barco, Pandora’s Box, d3, CreateLED, Wings and Caliber.
“When the opportunity arose to join Ayrton I jumped at the chance,” says Cretten. “I am very excited to be joining such a highly-specialised, innovative lighting company. I’m really looking forward to working with such a creative manufacturer and growing the market share in Africa and the Middle East.”

“Zane will be a valuable addition to Ayrton’s international sales team with a key role representing the company in this fast-developing region,” says Ayrton’s global sales director, Michael Althaus. “We are delighted to welcome him to the team and ensure customers across Africa and the Middle East benefit from the full Ayrton service.”

Clients looking for innovative LED lighting fixtures and wishing to discuss upcoming projects and events can contact Zane Cretten on Tel: (+27)836299227 and/or Email: [email protected]

More information on the extensive portfolio of Ayrton LED fixtures can be found at www.ayrton.eu

 

At Glastonbury festival

Sustainable SGM lights for Glasto’s Greenpeace Field

Party vibes were strong, pure and never-ending at Worthy Farm, when the 47th edition of Festivals are times to celebrate positive solutions to our earthly contemporary issues and thus ‘Stand for Forrest’ was a key message at this year’s Glastonbury’s Greenpeace Field.
The huge rocket from last year was transformed into a show-stopping 20m tree, where DJ’s played until the early hours washed in colorful and beautiful SGM light. The huge tree came alive at night and was a must see feature this year for the 170,000 festival guests.

The Greenpeace Field at Glastonbury festival has long been popular among festival-goers thanks to their free hot showers and delicious veggie food available at their cafe.
This year their mission was to spread awareness regarding deforestation, and the main attraction was an artificial tree created to emphasize the important role forests play in maintaining the health of our planet. At night, it served as a hub for DJ sets and during the day it stood tall as an environmental beacon. Did you know that an area of rainforest the size of Glastonbury is destroyed every 15 minutes?

Sustainable lighting choice for an important environmental message
When you build a tree with such a sustainability message, it better be sustainable and Greenpeace and their creative team came through with nothing less. They made sure the tree structure was build out of carbon positive building materials, renewable wood from well-managed Irish forests and of course the lighting also had to be the sustainable choice.

Several SGM G-Spots, G-4s and G-1s were rigged in- and outside the tree;
all fixtures designed to deliver stunning colors and superior optical performance, regardless of location and meteorological conditions. Not only are all fixtures deployed IP65-rated and thus maintenance-free and multi-environmental, they also guarantee a long LED lifetime and a low power consumption.

The Greenpeace Glastonbury Build Crew spent nearly two months constructing the structures in the Greenpeace Field in preparation for the 5-day music festival. The Greenpeace Field, which also featured a skate ramp, a climbing wall, Power Ballad Yoga and a Virtual Reality Dome allowing visitors to be immersed within the Amazon Rainforest, was entirely illuminated by SGM lights.
The Worthy Farm goes fallow next year, but all the merry festival-goers will surely be back, come rain or come shine. No matter weather conditions or environmental messages, SGM fixtures prove year after year to be the right choice for any outdoor event.

For more information, visit SGM at sgmlight.com

New La Seine Musicale Complex in Paris Features Amadeus Speaker Systems

The recently opened La Seine Musicale music complex just outside Paris center is a marvel of performance spaces. Amadeus, based in Paris, one of the manufacturers of high-end sound reinforcement systems, was chosen to equip the two main concert halls of the Seine Musicale building complex with their specially developed speaker systems.
As the sole speaker manufacturer chosen for the momentous project, Amadeus also installed their speakers in multiple rehearsal spaces throughout the new music center. La Seine Musicale is a large-scale cultural public infrastructure, over 36,000 square meters, committed to host every type of musical performance.

The exterior of La Seine Musicale at the end of Seguin Island. Crédit: Gilles Letang

The building houses two main concert halls, five recording studios, and several rehearsal spaces – the main ‘Auditorium’ has seating for 1,150 guests. This hall is the symbol and the signature of the building with acoustics designed by acousticians Nagata Acoustics and Jean-Paul Lamoureux, and features a speaker system custom designed by Amadeus.

Mickael Dinant, the head of the Scenography Department and Concert Halls Construction at Bouygues Construction, elaborates on the particular electro-acoustical challenges of the new sound system install, “We attached a great importance to the equipment reliability, performance, and flexibility for the Auditorium and the Grande Seine. These aspects were very challenging, and the modularity as well, because we had to be able to change from one configuration to another, very quickly and easily. In this sense, the manufacturer’s involvement, as well as their professional integrity, were key aspects to guarantee a final result matching the Seine Musicale’s goal, of both prestige and ambition.”

9 DIVA M² enclosures. The shape and modern look of DivaM² definitely help it to find his way into this fabulous space.

To overcome these challenges Dinant explains that it was only possible due, “to the professionalism of Videlio, which was in charge of the audiovisual integration, and to Amadeus, who designed, developed, and built the speaker systems. Amadeus have been completely involved in the project during the past 3-years. With Amadeus’ inventiveness and expertise, they developed new speaker array enclosures perfectly adapted to our needs, and played a major role in the success of this magical venue.”
To create a solution for the Seine Musicale project, Amadeus completely redesigned its middle format ‘DIVA’ speaker array series, which already equips some of the major musical, theatrical and public institutions – both national and international – including the Philharmonie de Paris, La Gaîté Lyrique, the National Assembly of South Korea, and the National Theatre of Brittany, among many others. The Seine Musicale is the first install anywhere in the world featuring the newly released DIVA M² (pronounced DIVA M Squared) array speakers.

Gaetan Byk, Marketing Manager at Amadeus explains, “The DIVA M² is not a simple evolution of the DIVA M speaker series created in 2006, it is a revolution, a total and radical reinvention. This new version raises the bar much higher. Its new design incorporates a dramatic collection of over one hundred major changes, compared to the previous DIVA model.” “The structure of the low, medium, and high frequency transducers, the geometry of the cabinets, their internal and external structures, the active filtering design, and more – basically all major acoustic, electro-acoustic, electronic, and mechanical components have been completely rethought, reinvented,” adds Byk.
“The location was not picked by chance. It is an island amid the Seine, the center, the beating heart of Hauts-de-Seine’ Culture Valley,” says Patrick Devedjian, President of the ‘Hauts-de-Seine’ Departmental Council. “Thanks to La Seine Musicale, the Seguin Island becomes its lighthouse. Beyond the symbol, it is a reality. To materialize, the La Seine Musicale project needed to gather skills, commitment, and ambition.”

Auditorium Hall. Crédit: Olivier Ravoire

The design of La Seine Musicale building was tasked to Japanese architect Shigeru Ban, who partnered with Jean de Gastines. Outside, its rounded shape evokes an egg. Inside, the concert hall is in the style of a ‘vineyard’. Listeners are spread on several levels surrounding the stage, thus creating a proximity feeling with the musicians.
The surfaces on which the seats are banked create early reflections radiating from the orchestra to the audience, enhancing the intimacy.
Designed with the same precision used for a musical instrument, with painstaking work on the materials, the auditorium evokes an art of craftsmanship. Treated like a jewel, the rounded shell of the auditorium is protected by an outer envelope made of a lacing of glued laminated spruce wood, mimicking the image of a bird’s nest.
Besides the main Auditorium, dedicated to acoustical music, La Seine Musicale can host a wide range of shows. The ‘Grande Seine’ performance space was designed to be simple and versatile, and it hosts every type of equipment needed for any type of modern pop music concert, musical, or other live or corporate event. Equipped with three different stages and retractable tiers, the Grande Seine performance space has a capacity of 4,000-seats, or up to 6,000 utilizing sitting and standing areas.

A partial view of the Grande Seine. Photo Olivier Ravoire

The Amadeus DIVA M² installed in La Seine Musicale is the newest middle format line source system of the Company’s DIVA Series. The system has a 3-way enclosure, bi-amplified design, with two active drivers. The enclosure features one direct radiating 8” neodymium low frequency transducer, mounted in a bass-reflex enclosure, and two neodymium diaphragm compression high frequency drivers, which are coaxially-mounted with a single acoustical output, and coupled to an individual proprietary waveguide. Its unique diffraction horn has been optimized to get a vertical dispersion of 10° and a horizontal dispersion of 100°.

The DIVA M² array speaker offers a revolutionary HF (High Frequency) ensemble tweeter featuring a unique combination of extended frequency response, high efficiency, and wide dispersion pattern. To obtain an optimal full-spectrum sound quality at the Seine Musicale live event spaces, the new DIVA M² SUB was paired with the DIVA M² speakers. Each subwoofer is equipped with two 12-inch transducers, mounted in a bass-reflex enclosure to reproduce the lowest sonic sound sources.
The new design of the Amadeus DIVA M² speaker array needed to solve some particular issues, “Achieving a perfectly uniform coverage and an excellent spectral quality throughout the whole listening area were especially challenging within the Auditorium – because of its 360-degree configuration,” reflects Dinant. “Within the Grande Seine area, bleachers are segmented subspaces, each of them with different slopes, and to top it off they are asymmetric. The bleacher’s curvature is almost exponential and the distance from the stage to the last spectator is almost 50-meters.” The new DIVA M² speaker arrays solved each of these sonic requirements perfectly.

For more information visit : La Seine Musicale and new DIVA M²