The most watched event of the year, Super Bowl 50 starts not at kickoff, but about a week prior with a media circus that must be seen to be believed. Alcons Audio, best known for their high frequency Pro Ribbon technology, provided the loudspeakers and amplifiers for the large media spaces within the media center in downtown San Francisco.
Pro Ribbon technology, used for high frequencies, varies substantially from the standard compression drivers that have been used for nearly a century. Instead of pulsating forward and rearward to generate sound, a high frequency Pro Ribbon driver moves perpendicular to the driver’s exit, and is lighter than virtually any compression driver. The result is a sense of clarity, rapid transient response, openness, and naturalness that is impossible to produce with antiquated technology. The benefit is sonic accuracy, the likes that have not been heard before in large scale sound systems.
Of course no Super Bowl event would be the Super Bowl if it wasn’t swamped with media from sunup to sundown. Media earns their place in the sun through a week-long series of endless speculations; will the Broncos stop Cam Newton? Will Peyton Manning return next year? And, of course, there are many live interviews with players, coaches, team executives, and other luminaries. Some highlights included the live press conferences before the game, and of course the pre-game, halftime, and post game shows.
Freeman Audio Visual Solutions, the staging company, and the NFL itself, selected and approved various Alcons Audio Pro Ribbon systems to fill the bill in the vast media center. The man behind the controls was Martin Reeves of MDR Productions. Alcons Pro Ribbon Loudspeakers were deployed as follows:
In the main Room 1, 9x LR7 (6.5”+ RBN401 pro-ribbon) were used for left and right, with 3x LR7 as center cluster; 2x BQ211 21” subs for low-frequency extension. The system was driven by 2 Sentinel10 4-channel amplified loudspeaker controllers .
In the smaller break-out Rooms 2 and 3 the V-series VR8 (8”+ RBN401 4” pro-ribbon) and VR12 (12”+ RBN601 6” pro-ribbon) were deployed, also driven and controlled by Sentinel amplified loudspeaker controllers, however here the smaller Sentinel3.
“The system is effortless to operate,” stated Martin. “So natural with tons of headroom and so transparent; no matter the power requirement it always sounds balanced. Who says your rig should be big to sound big! Alcons is amazing!” It appears that not only was Mr. Reeves pleased, but the NFL and Media folks lavishly complimented the sound quality throughout the week. Even Roger Goodall, the NFL Commissioner, was seen with a rare smile on his face and made the comment, “It Sounds Good.”
Le « micro » line array LR7 d’Alcons Audio dans le media center du Super Bowl 50.
“Oh, I wanted to add something more that cemented my belief in the products,” Reeves continued. When comparing the board feed to the live response in SMAART, I’ve never seen a compression driver track with any sort of high fidelity above 8Khz… Conversely, these Pro-Ribbons are tracking with unprecedented resolution and the board-feed to live is essentially identical. Impressive guys!” Mr. Reeves concluded.
According to the practice that has been well established for several years, Prolight + Sound has begun on Wednesday and the exhibition halls dedicated to professional sound and lighting were Halls 8, 9, 10 and 11, whereas Halls 5 and 5.1 have hosted products for DJs, broadcasting and microphones.
This year, this allocation of halls has been changed, and the first day of the trade show will be Tuesday, April 5th (and the closing day Friday, April 8th). The show hours have also changed, with the halls opening at 10 am and closing at 7 pm. The new layout of the halls is going to change our habits. The exhibitors of Prolight + Sound this year will be spread over Halls 3.0, 3.1, 4.0, 4.1 and 5.0. This reorganization of these exhibitors into the eastern sector of the Frankfurt exhibition center is designed to minimize the distances that visitors interested in these industries will have to cover.
The new opening days correspond to the wishes of a majority of exhibitors, as the trade visitors have been coming predominantly during regular working days. The new opening hours have been designed to better correspond to the distribution of visits throughout the day, as observed during previous exhibitions. The overlap with Musikmesse is spread over two days: Thursday and Friday (the 7th and 8th of April).
At the 58th Annual GRAMMY Awards, held at Los Angeles’ Staples Center last week, amplifier manufacturer Powersoft delivered 720,000 watts of reliable, clear audio to more than 18,000 attending music fans, in addition to a viewership of more than 24 million people around the world. In a touching night of appearances by Lady Gaga and Nile Rodgers, Jackson Browne and The Eagles, Chris Stapleton and many others, the performances today’s best talent including Lionel Richie, as well as several artists the music world has lost this year: among them David Bowie, Glenn Frey, B.B. King and Lemmy.
Vue sur l’avant-scène des 58e Grammy Awards
ATK Audiotek was on hand to set up and deliver audio services for the gala event, which has been held at the Staples Center for sixteen of the last seventeen years. With LL Cool J hosting, GRAMMY Awards were bestowed on Bruno Mars, Ed Sheeran, Alabama Shakes and Meghan Trainor, who scooped up “Best New Artist.” Over the course of “music’s biggest night”, 72 Powersoft K10 amplifiers, situated in a dozen racks located around the venue, delivered reliable, smooth audio — powering all the stage monitoring, front fills and upper level seating areas.
La 58e cérémonie annuelle des Grammy Awards mettait en œuvre 72 amplis Powersoft K10
With two principal active stages in front of the venue, in addition to a dish stage near front of house, Powersoft K10s provided a monitoring power to the system’s side fills, wedges and drum fills. Speakers consisted of (2) ATK C6 cabinets per side, (4) ATK M5 wedges across the front of the stage, a drum subwoofer consisting of an ATK CSW218 dual 18” speaker with an ATK M5 on top, and various ATK M2s — which were dispersed and placed according to the various artist needs throughout the evening. Front fills consisted of (12) JBL VRX932 across the top, and several ATK CSW 218 subwoofers, placed for ground fill in front of the stage. The top seating level of the venue was covered by several ATK C6 cabinets, placed in proportional distances around the upper perimeter of the venue. Mikael Stewart, ATK Audiotek’s VP of Special Events, says that the sound of the venue is more or less predictable: “The Staples Center was built more as a sports venue as much as a concert venue, and it never changes acoustically or structurally. Therefore the tuning and sonic adjustments we are making are based on the scenic design.”
Powersoft’s Armonia DSP system played an integral role in set up and room tuning, since ATK was able to leverage DSP pre-sets from GRAMMY Award events held at the Staples Center, says Stewart: “We can easily call up previous years and previous show settings from this venue, fire them up and be ready to go,” he says. “This saves a ton of time because we don’t have to start from scratch when we are tuning a room, and of course time is at a premium.”
Ron Reaves, mixeur de la diffusion devant sa console DiGiCo SD7
Despite the convenience of set up, Stewart asserts that reliability is the single, defining factor for a high-profile event such as the GRAMMY Awards: “Everyone is going to have a comment or an artistic choice on a certain sound, depending on where they are sitting in the room, or how a speaker sounds. But when it comes down to it, everybody notices a failure, and we can’t afford that,” he says. “We are never concerned about a Powersoft failure, and they have proven to be extremely reliable.” Stewart adds the Powersoft is a ‘very smooth sounding amp’, and that the addition of Armonia software only ‘adds to the cache of Powersoft’.
Beyond the reliability, great sound and tangible time reductions, Powersoft amplifiers continue to deliver on efficiency measures — particularly when it comes to the amplifiers’ tremendous output capability and minimal physical footprint. “The fact that we can get so much power into a 6U rack is always a consideration and a definite savings,” Stewart observes. “When we are pairing up these Powersoft amps with JBL speakers that have to travel across the country, trucking weight and volume counts. Producers are very aware of potential cost savings in these areas, and it’s another way Powersoft routinely delivers for us.” Although the event was once again a rousing technical success for ATK Audiotek — and by extension Powersoft — Stewart says that the evening’s tribute performances were bittersweet. “We lost many A-level musicians this year, and the many trubutes at the show last week were very moving — particulary the David Bowie sequence by Lady Gaga and Nile Rodgers. This emotional connection is a reminder of why many of us got into this business in the first place.”
For more information on the Powersoft K series, please visit Powersoft-Audio
As part of a 5-day state visit, Pope Francis arrived in the famous Zocalo square in Mexico City, where a huge stage, surrounded by NEXO STM PA clusters, was prepared in front of the Palacio Nacional and a crowd of 40,000.
This was his first visit to Mexico, the most Catholic country in the Spanish-speaking world. At this ceremony, the head of Mexico City’s federal government presented the Pontiff with the keys to the city. As he did a walkabout through the Zocalo, greeting the faithful, the Cathedral bells sounded out and orchestras played Mexican music on stage.
The square stage, a virtual 360° presentation including giant video screens on each side, deployed four L/R arrayed systems of NEXO STM. Each array used 9x sets of STM M46 main + B112 bass cabinets, with 3x M28 downfill beneath the line. With NEXO’s PS15s for frontfill and stage monitoring, the system design by Sergio Zenteno used a total of 240 NEXO cabinets.
Actidea, the technical services company for the Presidential bureau of Mexico, appointed Tecno Son Espectaculos to provide the sound reinforcement for the event. As it has done before, Tecnoson collaborated with other NEXO STM rental houses ROA and Star to source the large inventory required for the event.
System specification:
8x Nexo STM modular arrays using….
72 Nexo STM M46 Mid High Long throw
72 Nexo STM B112 High power Low
24 Nexo STM M28 Omni Module
Powered by 22x Nexo Universal Amp Racks (NUAR), each containing:
2x NXAMP 4×4
1 DMU
1 DPU
and 1 Power Distro
The subbass system was entirely Nexo STM S118 subs, 18 groundstacked each side.
CLAIR Global(Lititz, PA) has taken delivery of the first two Yamaha Rivage PM10 Digital Audio Consoles to hit U.S. soil. Both consoles are currently being used at front of house and monitors for Carrie Underwood’s “The Storyteller Tour”. CLAIR Global is one of the most recognized companies in the live touring and sound installation industries, and most recently expanded into live entertainment production with the development of Rock Lititz, a purpose-built production rehearsal facility.
The CLAIR Global decision to purchase the first two PM10s was based on the desire to continually advance the entertainment experience and the company’s long history with Yamaha consoles. “We are honored to have the first two consoles and introduce them on such a high profile tour, states Todd Hudson, VP of Operations, CLAIR Global. For years we have been delivering Yamaha consoles to our clients; we trust their products.” The new flagship RIVAGE PM10 significantly increases the quality and versatility necessary in a live sound environment, inheriting features from the renowned PM Series. Evolved features and performance define yet another milestone for Yamaha sound reinforcement consoles. The PM10 system is comprised of the CS-R10 control surface, DSP-R10 DSP engine, RPio622 I/O rack, three types of RY cards, and two types of HY cards providing the flexibility to configure and ideally match the scale and functional requirements of any application.
“My first thought is that I love this console; it’s amazing to get around on, states Front of House Engineer for Carrie Underwood, Kirk ‘Eek’ Schreiner. The Yamaha PM10 is the first digital desk that sounds analog to me. Using the transformers and Silk, I definitely noticed a huge difference when I combined the two, having them both on.”
The foundation for the superior sound of the PM10 is a newly developed Hybrid Microphone Preamplifier design with an analog section that represents the Yamaha Natural Sound concept in its most advanced form. In the digital stage, evolved Yamaha VCM digital modeling technology recreates the characteristics of Rupert Neve Designs transformer circuitry and acclaimed SILK processing to achieve an extraordinarily musical, spacious sound.
Cam Beachley, Monitor Engineer for Carrie Underwood, has been on the PM10 since the beginning of the year : “It’s super easy to get around on, intuitive, and sounds amazing, states Beachley. With transformers on every channel, you can definitely hear the difference. Not so much width as field of depth.” He’s mainly using the Portico EQ, his favorite, ‘a nice flavor’ on some acoustic instruments like the fiddle and mandolin. “The band thinks the PM10 is absolutely amazing, with studio quality sounds.”
NEXO has posted new dates for its popular ETC training seminar programme, including some sessions dedicated to the company’s flagship modular line array design, the STM Series. All Nexo seminars are free of charge to students and, unlike the training schedules of many other manufacturers, the scope of the ETC programme ranges further than just NEXO products.
ETC1 looks at generic issues of sound reinforcement such as acoustic fundamentals, and the theoretical approaches of point source and line array systems. All seminars include practical hands-on training with NEXO’s own loudspeaker technologies.
Dates have been set for three different seminars in France and in the UK, taught in French or English. The generalist ETC courses take place over 2 days, while the STM course is for 1 day.
ETC1: designed for sound technicians and engineers, this progresses from theoretical classes in acoustic fundamentals, point source and line array theory, to practical hands-on training with NEXO line arrays.
March 15/16 at NEXO HQ in Paris (in French)
May 10/11 at NEXO HQ in Paris (in English)
ETC2: designed for system techs and engineers, this course starts with theoretical classes on acoustics and NEXO technologies, and progresses to practical hands-on sessions covering system management and tuning with NEXO loudspeaker systems.
April 19/20 at NEXO HQ in Paris (in French)
May 24/25 at NEXO HQ in Paris (in English)
“Get to Know STM”: a special 1-day course running in the UK, to introduce users to the general concepts of the STM modular line array, followed by practical hands-on sessions covering configurations and system management with STM M28/B112/S118 modules.
Having piloted the mix for every tour the Stereophonics have undertaken since they set out two decades ago (hardly missing a show in the process), their FOH engineer Dave Roden has become perfectly at ease with the Martin Audio MLA system that seamlessly replaced the former W8L Longbow on the last tour. “ I knew I had backed a winning horse after being given the choice of which PA to move up to after Longbow. There were various options but I chose MLA and have had no regrets with that decision, ” he says. “I can now just sit back in my seat without needing to walk the floor, knowing the system will sound the same everywhere in the arena.”
We distinguish two major clusters composed of 16 plus 2 MLA MLD in downfill on each side of the stage
When he arrived at London’s O2 Arena it was off the back of a gig at the Brighton Centre the previous evening where the experience had been matchless. “[Brighton] is such a lovely room to mix in and very like a sports arena, because you can put enough boxes in to make it sound like a giant monitor system. The room reacts exactly as you would want it to and you can hear reverbs of different lengths and narrow EQ slices,” continues Roden, who has been using an Avid VENUE Profile, making heavy use of Waves plugins and the onboard dynamics.
But part of the reason for this tour’s success has been the deployment of Martin Audio’s new DD12 lip fills, which sat atop the MLX subwoofers in the pit, and Capital Sound’s new Dante network — designed by their audio crew chief Robin Conway — which was making its debut. The band’s new Keep The Village Alive album, which front man Kelly Jones sees as a conceptual follow up to the recent Graffiti On The Train, has already topped the album chart and the Stereos were determined to recreate the experience for live audiences on this tour. “ The band are aware that MLA is state of the art technology and does things that other systems don’t, so as long as we keep receiving great reports they are happy to leave everything to me, ” says the sound engineer.
One of the four DD12
The PA Rig
The O2 Arena saw production field a 16 x MLA/2 x MLD Downfill hang either side of the stage with a 13 x MLA/1 x MLD Downfill as outfills. Ten MLX subs formed a broadside cardioid array, seven forward facing and three reverse. “ We also have a three high cardioid stack of MLX rotated offstage at 45°, left and right as outfill subs, ” explains system tech Toby Donovan. “ This keeps the delay times a bit shorter in the broadside MLX array and also improves coverage in the side bleachers. ” A pair of DD12s follow a similar angle, positioned on the outflanking subs, while the four central DD12s sit on the arrayed MLX boxes, angled into the audience on neat circular stands — all to remarkable effect.
“ We have used W8LM or W2 for nearfills previously but these DD12s are fantastic, natural sounding boxes and extremely powerful, ” adds Donovan. “ They are voiced similar to the MLA and the fact they are all on the VU-NET network means they can be time aligned individually. I can bring it up as its own mini PA, just increasing the hi-pass filter — as the DD12 goes down lower than I need for this application — but they require no additional EQ. With VU-NET we can monitor every single driver and amplifier module on the entire network. ”
The new DANTE Network
Capital’s new 16-channel AES3 I/O for Dante is used to drive the PA. The network hinges around a combination of Lake LM44 processors, Focusrite RedNet D16 AES break out box and Cisco SG300 10-port switcher — and according to Robin Conway is a natural progression.
Dave Roden, sound engineer of stereophonics behind his Avid VENUE console
“ This is an affordable option and gives us a full 96K enabling us to further improve the noise floor of MLA, which was already extremely impressive. Using the Cisco Managed Switches/ fibre converters and twin Neutrik Fibre Drums means the infrastructure is very easy to assemble and easy to use. ”
While the signal to MLA remains in the digital domain (on AES3) throughout — without the need to pass through various conversion stages — Toby Donovan also notes the benefits of Martin Audio’s continually evolving Display software which was a further boost to the system performance. “ It just keeps getting better, ” he says. “ In particular the new version incorporates the MLD Downfill boxes to a greater extent, which means that in turn they are working a bit harder, removing the need for any zoning. ”
As the curtain came down on an O2 Arena show that saw the band perform all their favourites, the quality of production on the night seemed a fitting finale to a year in which MLA had dominated concert stages across the globe.
RH Consulting has launched a major new edition to their guide to voice alarm systems. Originally released six years ago, the e-publication has been comprehensively updated to become the definitive guide to all types of emergency audio system for consultants, manufacturers, installers and venue owners.
Running to 200 pages, it covers all applications where VA systems are likely to be installed, from stadia to public buildings to nightclubs, theatres, transport hubs, shopping centres and much more. It is packed with tables, diagrams and animations to help people comprehend this often misunderstood subject. The guide covers standards worldwide, including Europe, Australia and the USA as well as delivering comprehensive information on the industry-changing topic of EN54.
‘We wrote the book on two levels’ says RH Consulting founder, Roland Hemming. ‘For those new to the subject it gives a comprehensive overview on how voice alarm systems work and how to understand the different standards. For the experienced practitioner it offers detailed information and tables to allow you to cross-reference what different standards say on each issue.’
One of the most useful features of the book is an interactive guide to help you work out what standards to use for voice alarm projects across the world – a simple decision tree takes you through the necessary steps to find the correct standards. ‘This is the first time that such a task has been carried out’ adds RH Consulting’s Richard Northwood. ‘Rather than embroil the reader in the usual confusion over which standard to use, we have clarified and explained why you should use which standard on which project.’
With nearly 100 graphical examples, the topic of emergency audio is even made clear for people who don’t have English as their first language. The book is available for download worldwide on the iTunes book store for iPhone, iPad and Mac. For more details please see link here
Using the terms “hockey arena” and “exceptional audio” in the same sentence will likely elicit a storm of protests from system designers and audio engineers who have long had to stretch the boundaries of basic physics to combat the lengthy reverb times built into sporting arenas as an intentional tool—not a flaw—to help pump up crowds. However, thanks to Solotech’s recent installation of L-Acoustics Kara and ARCS Wide loudspeakers at the new Complexe JC Perreault in Saint-Roch-de-l’Achigan, Quebec, the Montreal-based audio provider has proved that high-energy sports and high-quality sound can, indeed, both thrive in the same facility.
Kara arrays provide high-quality sound for the venue’s shows
Although Complexe JC Perreault is every bit a hockey arena, boasting two separate NHL-sized rinks, the multipurpose facility was designed from the start more like a theatre than a sporting venue. “The room was acoustically treated to obtain an RT60 of about 2.6 seconds, which greatly contributed to increased intelligibility,” notes Solotech’s Pierre-Paul Gignac, who adds that it is not at all unusual for sports arenas to have a reverb time of more than double that figure.
ARCS Wide and 12XTi systems address the seats and rink
Seeing that shows and sports have dramatically different requirements when it comes to audio, Solotech designed and installed two separate sound systems—a fixed playback and PA setup comprised of four coaxial 12XTi enclosures covering the ice plus six hangs of two ARCS Wide addressing the bleachers, and a second main system that is lowered from the ceiling for shows.
Designed to deliver full-range sonic reinforcement for a packed house of 3,000 people for concerts and other productions, this second system features two arrays of five Kara enclosures for mains, two hangs of two ARCS Wide for out fill, two more ARCS Wide for front fill and four SB28 subwoofers, all powered by six LA8 amplified controllers plus one LA4X. In “show mode,” the Complexe hosts everything from fashion shows to concerts to poker tournaments, so the audio system had to hit a number of points. It had to sound good, look good, reconfigure easily, and—given that the facility is also home to the non-profit it is named for, which has a mission of minimizing the dropout rate among area high-school students—had to be budget-friendly.
“It is important to note that L-Acoustics is one of the preferred brands used regularly by Solotech, both on tours and permanent installations,” Gignac shares. “L-Acoustics products have proven to be reliable and respond well to the architectural and environmental challenges presented by our customers. For this project, sound quality and ease of use were the qualities that most influenced us, along with the system being able to be deployed at a reasonable cost.” Complexe JC Perreault can actually be set up in a number of different seating arrangements depending on the nature of events—a challenge that made system flexibility and ease of deployment even more important.
Another view of the compact ARCS Wide and 12XTi hangs
“When not lowered for non-hockey events, the concert system is mounted on chain engines and rigged as high as possible in order to avoid the arrays being struck by a puck during a game,” Gignac describes. “When switching over for a show, they lower the motorized equipment, install four subwoofers on the floor with front fills placed on top, connect the amps, and that’s it. The changeover is fast, simple, and requires no additional motors or rigging, which is great. Thanks to extensive modeling and audio simulations done in L-Acoustics’ Soundvision software beforehand, we determined that Kara and ARCS Wide were the ideal solutions for this venue, and they truly are.”
Like many audio system design projects, the biggest challenge in specifying sound for a house of worship is often overcoming the limitations of the physical space. That was the situation that Ft. Wayne, IN-based Custom Sound Designs (CSD) Group, Inc. faced in a recent project for First Assembly Church of Raleigh, NC, and a system based on L-Acoustics’ Kiva and ARCS WiFo product lines controlled by a Yamaha CL5 digital audio console was its solution.
Un ARCS Focus accouplé à un ARCS Wide de chaque côté de la scène procure un complément au large espace couvert en premier lieu par les lignes de six Kiva à gauche et à droite.
For a millennium or more, worship spaces have traditionally been works of high art in architecture—soaring spaces featuring the finest materials and designs to inspire a sense of awe and wonder. Today, however, especially in the rapidly growing evangelical world, new churches are often likely to be former retail locations or spaces in commercial parks rather than sites purpose-built from the ground up as houses of worship. A perfect example of this, Raleigh First Assembly acquired a 58,000-square-foot space that had the advantage of being located right in the middle of its mission zone, but the abandoned industrial property presented challenges as massive as the space.
“This is not just a case of it being a large and acoustically unfriendly space,” explains CSD President Doug Hood. “In some ways it was closer to a new-construction project than a typical renovation, but the nature of the construction limited what could be done. The site was originally a manufacturing facility, so it was a large and almost completely open environment. Things like support beams are central to the structure and therefore had to be worked around in terms of the design.”
les tout petits 5XT et les caissons SB28i logent dans des cavités à l’avant de la scène.
CSD turned to the L-Acoustics Kiva and ARCS WiFo ranges for the loudspeaker end of the equation, deploying a dozen Kiva modules in left and right arrays of six, then extending that coverage to the sides with an ARCS Wide and ARCS Focus (aka “WiFo”) paired together on each side for outer fill.
The room is much wider than it is deep—one of the overall design challenges by itself—and so the system deployment is wide enough that a center fill is needed. CSD took the novel and cost-effective approach of flying a single 115XT HiQ enclosure, typically billed as a stage monitor, in the center position for its high directivity and SPL, while a total of seven compact 5XT coaxial enclosures are spaced out across the stage lip in recesses as front fills.
In order to completely cover the cavernous space without the volume from the main system overwhelming those sitting close to the stage, four 12XTi modules from L-Acoustics’ architectural line were deployed as delays to cover the back portion of the main worship space. Low end is filled out with a quartet of SB15m subwoofer modules flown in pairs adjacent to the Kiva arrays and four SB18i subs installed in recesses in the face of the stage. Seven LA4 amplified controllers power the system.
A Yamaha CL5 digital mixing console fed by RIO digital stage boxes drives the L-Acoustics system, and in-ear monitoring relies on a mix of Sennheiser transmitter-receiver packages along with Aviom personal mixers. Using almost all in-ears and only two small wedges virtually eliminates stage volume, which is crucial in this venue.
Une console Yamaha CL5 pilote le système L-Acoustics et la configuration de retours Sennheiser/Aviom du temple de la RFA.
“One of the reasons we chose the Yamaha CL5 was that we wanted this system to be rider-friendly,” Hood shares. “We knew that the console is widely accepted as a standard of quality so we felt very comfortable with selecting it.
Furthermore, we wanted to run a digital snake from the stage to the mix position, so by using the RIO boxes we were able to accomplish that goal. We also wanted seamless integration to the IEM system, and by using Dante we created a great signal flow to the Aviom personal mixers on stage.” Hood reports that before any audio or staging gear went in, a total of 118 custom acoustic panels made by Golterman and Sabo were installed. “It was a very unfriendly space to start with, but we treated most everything except the ceiling—the side walls and the back wall—and it is all very well behaved now.”
That ceiling was part of the reason that Kiva and ARCS WiFo were chosen. “Raleigh First Assembly brings in national touring acts pretty regularly, so, again, we knew from the start that we needed something rider-friendly and L-Acoustics is a very widely accepted brand,” says Hood. “Also, although the building itself is very large, the ceiling is not super tall, so we needed something that could fill this enormous room with power and clarity and still keep a relatively small footprint. The Kiva and ARCS WiFo combo did that really well.
“From a relationship standpoint, RFA was the perfect client. They put a lot of trust in CSD. Basically they said, ‘Here’s this great big building. What can we do to make it special?’ The L-Acoustics system was the best choice for them based on rider needs, physical size, sound quality and budget. All of those points had to be hit and this system does it. The end result is a great room that the church is just crazy-happy with.”
Equally versatile in both portable and installed system configurations, and with its four channels delivering up to 5,000 W, neatly packed into 1 RU weighing just over 7kg / 16lb, Martin Audio’s new MA5.0Q is a flexible, cost-effective solution for small to medium sound systems.
Benefitting from core technologies found in Martin Audio’s flagship amplifiers, the MA5.0Q sets a class standard in efficiency, leading to low power consumption, and consequently to substantial cost savings on electricity — all in an eco-friendly way. Minimum heat dissipation makes the MA5.0Q suitable for hot or otherwise challenging environments. Delivering great sound quality, due to its unique, patented Class D output stage design, the MA5.0Q represents high value, practically as well as commercially.
Martin Audio MA5.0Q 4 canaux
The MA5.0Q delivers a number of key features. These include :
Four channels in 1 RU at 358 mm / 14.1’’ depth;
Minimal ‘carbon footprint’ and operational cost of electricity;
More watts, less weight (up to 5,000 W in 7.3kg / 16lb);
Switch mode power supply, internally switchable 230/115 V nominal;
Fixed frequency switch mode amplifier output stages;
Patented amplifier output filters with ripple cancellation network;
Optimised for 4 Ω loads, thus ideally matching real-world scenarios in targeted applications;
AC protection (shuts down power supply when AC mains voltage is outside operating range);
Clip limiter (prevents severely clipped waveforms from reaching loudspeakers, while still maintaining full peak power output);
Short circuit protection (protects the amplifier from short circuit or similar events on the outputs, with automatic protection reset);
Thermal protection (mutes outputs once the output devices reach 75 ºC / 167 ºF — automatic unmute once temperature is down to 65 ºC / 149 ºF);
Temperature controlled, continuous variable speed fan, and front to rear airflow.
The target markets for the new amplifier include : Stage monitoring; Hotels, Restaurants and bars; Visitor attractions; Houses of worship; Auditoriums; Educational facilities; Live sound and Night clubs.
Some features :
Power (EIAJ test) at 1 kHz, 1% THD per channel: 1250 W / 4 Ω, 750 W: 8 Ω, 1000 W / 70 V, 750 W/ 100 V, 2500 W 8 Ω bridge,
S/N ratio : > 110 dB (A)
Sensitivity : 7.97 dBu (1.94 V)
THD + N and SMPTE IMD : < 0.05% at half power
Damping Factor (8 Ω): > 5000 at 100 Hz
The MA5.0Q is scheduled to start shipping from mid-November.
The MA5.0Q is scheduled to start shipping from mid-November.
The recent implementation of the ver.3 firmware is a perfect opportunity to take another look at the QL5. An intermediate level console, the QL series is directly derived from the CL console technology. Compact and lightweight, the QL5 targets both small and medium-sized applications in performing arts, events and installations. The integration of a Dante port enables it to supplement existing network configurations, particularly in fixed installations. Then what about this QL series ? Is it just a more affordable CL, but more richly featured with its 32 onboard preamps ?
The QL Series models (QL1 and QL5) share the same preamps, touch screen and faders with the CL Series.They also have in common the Premium rack, the Dugan auto mixer, as well as certain operational features, such as “Touch & Turn” controls. But where the CL concept requires the use of digital signal transport connected to an external patch, the QL series concept is an all-in-one system with onboard preamps. Each QL can therefore work independently; though, if necessary, it can be connected with external I/O racks of the RIO series.
What about this QL series, then? Is it just a more affordable CL, but more richly featured, with its 32 onboard preamps? Not quite, since, compared to its big brother, the DSP capabilities are clearly less powerful: it has only 16 available mix buses, compared to 24, and a virtual rack limited to 8 units of 31-band graphic equalizers, compared to the 16 available on the CL. Furthermore, in focusing on the “Touch&Turn” operating mode (which we will get back to later) and abandoning the “Centralogic” concept, Yamaha has reduced the number of direct access commands in the settings section and the required number of motorized faders, thereby reducing manufacturing costs. By limiting the number of essential controls, the control surface is, in any case, more straightforward, though it may have lost a little in terms of the fluidity of user intervention.
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An intuitive and uncluttered control surface The simple lines and silky anthracite color give a sort of “Zen” character to this elegant console, certainly one of the most successful in the intermediate market segment.
Let’s take a look at the QL5, starting with its control surface. It offers 34 faders, allowing the simultaneous mixing of 64 mono and 8 stereo inputs. In addition to the classic 6-segment level indicator, each fader features an LCD display indicating the channel number and name, as well as other user-defined information such as the dynamics intervention, the attenuation level of the fader, pan position, etc. To facilitate channel grouping identification, an indicator under the display lights up in a color specified by the user. Nine color options are available. Access to the different channels is provided using the selection keys in the “Fader Bank” section. The keys B1 to B4 let you assign and recall a bank with your choice of channels and DCA groups. They allow you to select a combination of different types of channels, and thereby collectively control various types of channels as a group. The 16 buttons in the “Send on fader” section allow you to create this same number of auxiliary mixes and eight separate matrix mixes. Regarding the latter, any input can be assigned to matrix mixes.
The control section of the selected channel, accessed using the “SEL” button, allows you to adjust the settings of any input or output channel. The display offers a detailed view of the state of the various parameters. You can make changes using either the buttons and encoders of the settings section, or the “Touch & Turn” commands, The “Touch & Turn” encoder can be used both to adjust various parameters and to navigate the system.
Finally, up to 12 user-defined keys, organizable in four banks, are programmable as shortcuts to many functions, such as tap tempo, scene recalls, group mutes, etc., or can be configured for direct access to the various menus of QL5. A panel with complete connectivity : As far as analog connections are concerned, the rear panel includes 32 inputs for Mic or Line level sources and 16 Line outputs.
There is also a network port for interfacing with the “QL Editor” and “QL StageMix” software, two 64×64 Dante I/O ports, two slots for Mini-YGDAI expansion cards, an AES/EBU output, a 5-in/5-out GPI port on a D-Sub15 connector, two BNC ports for Word Clock I/O and, finally, two DIN ports for MIDI in/out.
The QL5 beefed up with CL series functions CL
An omnipresent Dante network
RIO RACK: the Yamaha stage box The RIO I/O racks use the Dante protocol, developed by Audinate. In terms of operation, these versatile racks greatly improve system flexibility by facilitating signal sharing and transport. The required number of audio inputs and outputs can be placed where it is needed, and the network can be implemented on redundant connections in order to ensure optimal cabling security. With the network components of the CL and QL series, it is really easy to set up a daisy-chain network. A license of the Dante Controller software application is included with the console. Dante Controller is highly complementary to specific menus of the console and allows you to configure and visualize complex signal routing across the entire network>.
The “Port-to-Port” Function Port-to-port technology allows you to send any input to any output without it having to pass through a processing path. This can be useful in many applications, such as when a QL console is positioned at the stage and must serve as an I/O rack to send the sources to the FoH console; or alternatively, to route signals processed by a Lake card directly into a Dante network; or, finally, as a format converter using the MY card slots.
The gain compensation system Unique to Yamaha and the Dante network, has, of course, been implemented. When this is activated, the output level of the signal emitted from the I/O device to the audio network is stabilized. If the FoH and monitor consoles share the same peripheral I/O or if you are making a digital recording via Dante connections, this function allows you to maintain a constant fixed level in the output signal sent from the external I/O device to the network, even when changing the value of the analog gain of the I/O device. The DSP dedicated to the management of gain compensation and the 32-bit network structure of Dante conserve the original dynamics of the processed signals.
A) Principle
B) Practical examples
Advanced configuration of Dante network
A plethora of processing
Automatic mixing The “Dan Dugan” auto-mixing, installed as standard in QL5, is accessible via the rack of graphic equalizers. It is particularly useful for managing unscripted programs with a mix of numerous individual speech microphones. Its purpose is to relieve the sound engineer of tedious slider-riding to follow the concerned channels, leaving him free to focus on more creative tasks. By intelligently automating the gain of the contribution of each of the microphones inserted in its processing chain, the “Dan Dugan” auto-mixer allows you to maintain a constant feedback margin and can help reduce the ambient noise that is picked up.
The “Dugan Control Panel” software provides control and monitoring of automixing. Three independent automatic mixes are possible, which could prove very useful on TV or radio when you need to provide a live mix for a public debate, the monitoring and the broadcast mix, all using a single console.
VCM technology and Rupert Neve : A sophisticated sound combination The QL5 has a Premium rack of VCM effects developed by “Dr. K” – Toshifumi Kunimoto – and his team, who are at the pinnacle of Yamaha’s research in digital technology.
VCM processors model analog audio circuit by cloning with great precision the behavior and characteristics of the basic electronic components. VCM simulations are so realistic and musical that even Rupert Neve has given his approval and collaboration in developing VCM versions of his Portico 5033 and 5043 EQs. The Premium Rack also incorporates other analog audio standards like the U76 studio compressor, an Teletronix Opt-2A optical compressor, a dynamic equalizer and the Pultec EQ-1A passive EQ.
The GEQ Rack Eight 31-band graphic equalizers are available in the GEQ Rack, but if you choose the Flex15GEQ mode, you can use up to 16 of these equalizers (with the possibility to intervene on a maximum of 15 bands each). Additionally, it is possible to convert eight multi-effects into graphic equalizers (31-band or Flex15). In total, there are up to 32 graphic equalizers that can be inserted on all output buses – a practical solution for a monitor console.
Mini-YGDAI expansion and processing cards These allow you to connect more inputs in the format of your choice. They can increase the number of I/O points by converting to/from different protocols on the market or can even add functionality to the console. The rear panel has two slots that can accommodate optional mini-YGDAI cards, which are sold separately. You can also expand processing or effects by installing a DSP card. The integration of the Waves WSG-Y16 MultiRack SoundGrid effects and recording card enables you to use the famous Waves plug-ins on QL5 and to process 16 audio channels. Each input or output bus has two insertion points that can be connected independently either to one of the effects of the virtual racks, or to any outboard device connected to the I/O ports of the console via the expansion cards or the audio connectors of the console.
Live recording
Steinberg’s Nuendo Live recording software is a professional solution for real-time multitrack recording. It is suitable for live use and features intelligent and practical session management, while integrating essential editing functions. The recording quality remains optimal, thanks to the 32-bit floating-point Steinberg audio engine, which operates at up to 192 kHz. It is possible to export WAV, MP3 and AAF and it supports RIFF64 wave files for recording times greater than 24 hours. These formats are compatible with Nuendo. It is also possible to control the functions of Nuendo Live directly from the QL5 console.
USB recorder, useful for recording mixes The QL series features a USB recording function that can record the STEREO or MIX output bus to a USB flash drive. It also offers the ability to play audio files stored on a USB flash drive, routing them to input channels or control outputs. The recorder supports MP3 (MPEG-1 Audio Layer-3), while playback function supports MP3, WMA (Windows Media Audio) and MPEG-4 AAC (Advanced Audio Coding).
Local or remote software control
Stage Mix From the console, you can also remotely control other devices through the Dante network. A docking station, on the left of the work surface, also accepts your iPad and provides the ability to remotely control the console via the “Stage Mix” application (downloadable from the Apple Store, also for iPhone and iPod touch). Stage Mix allows control of many of the console settings from an iPad, such as changing the settings of the console from FoH, from the stage or anywhere in the listening area through a WiFi network. QL Editor This software allows you to configure and use the console from a computer connected via USB. It also permits you to save the QL5 settings or to adjust parameters without connecting to the control surface (offline mode). Console File Converter The Yamaha File Converter is an application that allows control data to be shared between CL/QL, PM5D, M7CL and LS9 consoles.
Operation
This console is a product that is in constant evolution. Version 3 of its control software was released in April. Designed primarily for applications in live sound, theater and medium-sized events, the QL has found its place in each of these areas. It is easy to transport and its all-in-one format is ideal when 16 (QL1) or 32 (QL5) inputs are enough. A compact format version of the CL, it features most of its capabilities (if not more than when the CL came out), but the gap is gradually narrowing. The greatest differences are in its mixing capacity and in ergonomics.
Screen and access Even if the display is identical to that of the CL, it is clear that the access to the functions is designed differently. While there is maximum direct access in the case of the CL (individual rotary encoders for mix sends, rotary encoders for the 4-band EQ and for the HPF, plus four assignable encoders), the QL has only a few, which is unsettling at first, but this becomes a point of strength with Touch & Turn control.
When you touch a function on the screen with your left hand, for example, you have the setting immediately between the fingers of your right. What’s more, depending to the selected setting, an LED associated with “Touch & Turn” changes color, providing a real visual aid. For the setup of the show, this is perfect.
Access to the EQs is also reduced and, we have to say, once you have tried those of the CL, it is difficult to be satisfied with a single band of EQ at a time under hand. However, 01V96 and LS9 users will feel quite at home.
The mix sends are not on knobs, but the mix selection keys combine with the “Touch & Turn” encoder to adjust the send levels. Again, the logic is different :
If I have to route a channel to a particular mix, first I select it and then I adjust the level (this is quite handy for occasional send, such as to an effect.
If I have to route multiple sources to a given mix, a simple double-click on the mix selection key puts it directly into “Send on fader” mode for that mix bus.
There’s no risk of mistaking when it is in this mode, as all the channel select buttons turn green in their “Send on fader” position and the selected mix bus will flash. The access is minimalist, but it has been designed for easy and fast access… not necessarily for an expert user. Theaters or venues equipped with the LS9 or with analog consoles that have had the chance to switch to a QL will tell you how this touch/Select/knob interface facilitates their daily work. Finally, with the controls on the right of the screen, it is a real pleasure for right-handed users…
Faders You can access the various layers using the “fader banks” selectors. Each layer manages the 32 (or 16) faders. It has four pre-defined fader banks called “A” and four customizable “B” banks. The user can pass from one fader bank to the other simply by pressing simultaneously on the two extremes.
By default, the first layer includes all onboard inputs of the QL, the second carries the additional channels (for QL5 33-64, 17-32 for QL1). For those who like to work with a large number of inputs at their finger tips, this is very useful, especially considering that two Master faders are also available. The third pre-defined layer comprises the stereo channels and VCAs, while the final one hosts the mixes and matrices. For those who enjoy working with inputs and masters under their fingers, no problem: they can create their own layers with their preferred layout. The procedure is identical to that of the CL; it is very simple and quick.
Once in the “Setup/User” and then the “Setup/Custom fader” window, you select the first fader to assign – as in the picture – then return to your bank, for example, A1 (to select one of the 32 onboard inputs), and press the SEL key of the desired channel. Do you then want to place a VCA? Go to bank A3 and press the SEL key of the desired VCA. You will see the channels progressively increase in the “Setup” window.
If you wish to keep a VCA on hand at all times, you will have to place it in the same position on all the different banks you create, for example :
bank B1 : in 1-24 + VCA 1-8
Bank B2 : ST in 1-4 + ….+ VCA 1-8
These four custom banks give you a lot of freedom to work on such a compact console; plus, these are saved together with the scenes !
A unique feature of the QL series: “Port-to-Port” Who hasn’t gotten stuck with his CL console, wanting to send his FoH talkback to the CL monitor desk? Unless you get out your computer and Dante Controller, it’s hopeless. With the QL, and the “Port-to-Port” function, new options are available to us. Imagine two QL consoles, one in FoH, the other at the stage, and a patch limited to 32 inputs. No need for a RIO: the monitor QL console will act as a stage I/O rack, in addition to its function as a console. For this, it will be necessary to “mount” the monitor QL on the FoH console as a Dante element in the “Dante setup” window, and its inputs will become available, like those of a RIO. It is then easy to patch these to channels, and gain sharing will naturally be implemented between the two consoles.
Another situation where this is useful : when the concert is to be recorded. I want to place some ambient microphones that will not be used in any case for the live sound, but are needed for the post-production. For convenience, these are connected to the FoH QL console, but the Nuendo Live recording station is located in monitor world with the other QL. As before, I simply need to “mount” the FoH console as a Dante device to the QL console at the stage, with no need to assign these channels to the channels of the monitor desk this time (which could be risky); I could route them directly to the Nuendo Live. Too bad that this feature is not implemented also in the CL consoles because, in reality, there is always a signal that needs to be shared between two consoles… but not always time to set up the Controller…
One final strength of the QL is the onboard “Dan Dugan” automixer. This is a very valuable aid for any conference with multiple speakers in a harsh environment! Once the feedback margin is established, you can keep open one, two, or X-number of microphones (up to 16 channels of automixing)… It works! (QL5 screen-automix) Once the automix is applied, in insert, to the channels, the result is amazing. And, if you take the trouble to go a little bit deeper into the features, this becomes a very powerful tool. You can give priority to one speaker or another; you can also create automix groups (if, for example, you have to manage two separate roundtable discussions).
Measurements
Although it comes in a very small package, the QL series nonetheless includes the functionality of the CL series ! With its two built-in Dante ports, it can be integrated into a Dante environment with CL and RIO. It can handle up to 64 channels of mixing for QL5, and 32 for QL1. And, like all Yamaha consoles since O2R, you can cascade several QL consoles, if necessary.
We start with the preamp, which, as we mentioned, are the same as those of the CL series and those used in the RIO stage boxes. At maximum gain (66 dB), we found very low-noise at the input, -125.5 dBu unweighted and -127.5 dBu A-weighted. The 2 dB difference attests to the uniform distribution of noise over the entire spectrum. This is not the very best, but it is very honorable and consistent with what the manufacturer declares: -128 dBu A-weighted. We measured -129 dBu (A) on a CL1, which remains within a quite acceptable range of deviation between one console and another with the same input electronics. The gain adjustment range is from -6 to +66 dB, or 72 dB, which is more than comfortable, as is the maximum input level, which is +30 dB (gain -6 dB), the “Over” LED lights up at in 1 dB below the fatal threshold.
Figure 1 shows the frequency response of the preamplifiers at three different gain levels: maximum, median and minimum. The drop in the bass at maximum gain is insignificant. Note the steep cut at about 23 kHz due to the 48 kHz sampling rate (fs/2 = 24 kHz).
Figure 1
The input impedance remains fixed over the entire gain range. We conducted several trials at different levels and gain and we always measured 7.5 kohm (from 7.45 to 7.55). This is a choice increasingly encountered on modern consoles without a Pad – and thus without switching – even if it costs some noise on the microphone connections, which also could be a little more loaded. In terms of common mode rejection between the balanced inputs, we measured a 77 dB CMRR at 100 Hz, 85 dB at 1 kHz and 77 dB at 10 kHz. Again, this is very consistent performance, but 10 dB below the very best.
On the other hand, its performance with regard to distortion is quite convincing and up there with the very best. From analog input to analog output, the THD is 0.005% at 40 Hz, 0.0006% at 1 kHz and 10 kHz (filtered at 80 kHz) at minimum gain (input level 20 dBu) and median gain (input level -20 dBu). At maximum gain (input level -50 dBu), we measured 0.0015% at 40 Hz and 0.002% at 1 kHz and 10 kHz. In terms of intermodulation distortion (SMPTE), we measured 0.012%, 0.003% and 0.002% at maximum, median and minimum gain, respectively. Excellent !
The curves in Figure 2 testify to the low distortion throughout the audio spectrum at three gain levels. This is the quadratic sum of the first ten harmonics.
Figure 3 shows an FFT of a 1 kHz signal measured from an analog input and a mix output. The total dynamics exceed 108 dB. Note, again the low level of distortion and the peaks due to the 48 kHz sample rate (peaks at 47 and 49 kHz) and where they repeat at twice that frequency.
Figure 2
Figure 3
Figure 4 shows the measured result of the EQ settings applied in the screen-shot, juxtaposed with the two types (type 1 in purple and type 2 in green) of correction and combined with the low-cut filter. We can see that the type 2 slightly emphasizes the programmed adjustment, all else being equal. The response is quite faithful to the user-imposed setting.
Figure 4
Parametric EQ
Figure 5, we see the intervention of the “standard” compressor, in hard and soft knee modes, and of the Portico from the Premium effect rack with the same settings. The curve of the Portico is controlled better, without ripples after the threshold, certainly due to the processing at 32 bits in one case and at 40 bits in the other.
Compressor
Figure 5
Figure 6 shows the intervention of the 31-band graphic equalizer with the maximum amplitude correction of +/-15 dB, alternating maximum and minimum for each 1/3-octave from 800 Hz up, and every 2/3-octave below (as in the screen-shot). Everything is in order here; the reduced level of correction in the higher frequencies results from the interaction of the response of the filters.
Figure 6
Graphic Equalizer
Figure 7 shows the latency attributable to the conversion at 48 kHz, which is approximately 1.2 ms, plus in Figure 8, a processor in insert with an additional delay of 2 ms. The 2 ms delay is perfectly respected, and the overall latency passes to 1.8 ms.
Figure 7
Figure 8
Figure 9
Finally, Figure 9 shows the additional latency caused by the use of a Premium rack processor plug-in, which remains relatively low, with an increase of about 400 microseconds.
In terms of outputs, the maximum level reaches +24 dBu, with an output impedance of 75 ohms, which is more than comfortable for long cable runs if you choose not to use the network features>.
Conclusions
With reference to equivalents that exist today, the QL5 console is not in the best price position, but its benefits are that it can operate in a Dante network as standard, it exhibits excellent manufacturing quality, good ergonomics and stability, due to a proven electronics (the downside being that it is a little dated, with its 32-bit audio engine). It maintains the continuity of the Yamaha consoles, so that many users of the brand will feel at home and will rapidly learn to use it. This is a very important positive aspect.
The QL5 is scalable and complete because it can record separate sources or a mix to a computer or a USB key, it can connect additional I/O in the format of your choice using the mini-YGDAI cards, it can control other devices from the console, it can be remotely controlled from an iPad (with a docking station on the console and apps available from Apple Store), and it can implement Waves effects plug-ins or Lake processing using dedicated cards. The abandonment of the “Centralogic” concept is partially offset by the “Touch & turn” operation, so it is a console that remains easy to manage and with a pleasant working area, despite the disappearance of the encoders of the CL series. Integrated, 16-channel “Dan Dugan” automatic mixing is also an asset that expands its area of application.
Comparative QL-CL
Comparative QL1-QL5
Public indicative prices QL1 : 7 395 €HT Public indicative prices QL5 : 13 777 €HT
8 years after the introduction of the original, Alcons launches the mkII version of its successful CRMS Cinema Reference Monitor System. The CRMS is a 3-way sound system design to offer the most natural 1:1 Digital Cinema and HD audio sound reproduction possible. Featuring the patented RBN401 pro-ribbon driver, the CRMS combines a remarkable clarity and intelligibility, with a unusually high headroom SPL. The Alcons pro-ribbon drivers have up to 90% less distortion than any conventional mid/high transducer, while the very high peak power handling offers a 1:16 RMS-to-peak ratio, enabling maximum screen compensations without any audible stress on the MHF performance.
The patented horizontal dispersion of the RBN401 extends the stereo-imaging and depth-of-field to a larger number of seats in the auditorium ; Due to the “ compression-less ” principle of the pro-ribbon transducer, the system has a linear response at any SPL, from the quietest whisper to the loudest explosion or drum solo. The CRMS system consists of a separate, adjustable mid-high frequency section, featuring one RBN401 4” pro-ribbon driver HF with non-vented 8” mid-range driver and a vented low frequency section with 15” woofer with low power-compression 4” voice-coil design.
A matching surround system with identical MF/HF components, CRMS-SR, is available, offering perfect screen/surround blending, resulting in a very uniform sound stage and a seamless transition between surround positions in an immersive sound system.
Philip “ Dr.Phil ” de Haan, head of Alcons Audio R&D : “ With the markII version of the CRMS, we were able to fine-tune the system on details to increase the resolution even further; The wider, slanted mid-high top cabinet construction increases the stereo imaging ; The new 8” mid-range driver and 15” woofer significantly increase power handling and reduce power compression. ” Philip continues : “ As a result of Alcons’ tight manufacturing standards, all system cabinets are within “matched pair” tolerance, on-par with the finest studio monitors. ”
For full system performance, the bi-amped CRMS is to be driven by two channels of ALC Sentinel controller-amplifier, delivering maximum sound quality and utmost operation reliability. System-dedicated processing presets, SIS™ sensing circuit, 4-channel HiFi-grade amplifier stages, 4-in/4-out 192kHz AES3 signal inputs make the ALC Sentinel the ideal drive for the Alcons CRMS. The 4 ohms system impedance offers maximum amplifier efficiency.
The Signal Integrity Sensing™ (SIS™) pre-wiring ensures complete cable/connector compensation between the CRMS and ALC, significantly increasing response accuracy regardless of cable length and system impedance, with tight and accurate mid and bass response as result (system damping factor of 10.000); SIS™ further reduces linear and non-linear distortion and makes position of the amplifier none critical to ensure best performance. With a system depth of only 32cm/ 12.6in., a complete system can be installed in even the most shallow spaces. The system can both be free-standing as well as flush-mounted. The recommended CB181sl subwoofer has a depth of only 25cm/10-in.
The combination of the outstanding sound reproduction quality and the digital dynamics capability, make the system the ideal choice for high-end mix/screening rooms, post-production facilities, dubbing stages and quality-conscious Home Cinemas with a room depth less than 20m/60ft. The CRMS system was installed at Lucasfilm Singapore, NBC Universal Beijing, Factory studios London, a.o. as well as numerous premium home-theatres around the world.
The first MDIO-HDX expansion module for Prism Sound’s Titan and Atlas professional multichannel USB audio interfaces will be demonstrated on the company’s booth (543) at the 139th AES Convention in New York. The MDIO-HDX Pro Tools module allows multiple Titan or Atlas units to be connected directly to an AVID Pro Tools HDX or HD native system via AVID’s “Digilink” connection.
With this setup, Pro Tools users can enjoy the excellent sound quality of the Titan and Atlas A/D and D/A converters, and their equally well regarded on-board microphone preamplifiers. Titan was recently rated ‘the pinnacle of USB recording’ with ‘fantastic converters and mic pre’s’ by John Gatski, of Everything Audio Network (http://everythingaudionetwork.blogspot.com/2015/09/home-recording-review-prism-sound-titan.html).
Gatski went on to say, ” I was really impressed by the Prism Sound Titan. It ain’t cheap, at just under $4,000. However, Prism Sound’s rich European pedigree, high build quality and excellent sounding converters make it tough to find a better all-in-one PCM recording package. ”
Prism Sound’s Sales & Marketing Director Graham Boswell says, ” We know that our customers have been anxiously waiting for these modules and we’re very happy indeed to give them the good news. The MDIO-HDX module will be on display in a working Pro Tools system at the AES show in New York from October 30th – November 1st 2015, and shipping will commence in January 2016. ”
Cascaded Atlas and Titan interfaces connected to Pro Tools
Control of the Prism Sound Titan or Atlas units when connected to Pro Tools is easy. All of the key controls are made available within the Pro Tools GUI and can also be stored as part of the Pro Tools session, unlike some other third-party interfaces that might require separate software or hardware controls and whose settings cannot be stored in the session.
Boswell adds : ” With auto-configuration and with controls integrated into Pro Tools, the Titan and Atlas interfaces become the best choice for performance, convenience and value for money. The integrated mic preamps make it a very compelling package. ”
Setup of the Titan and Atlas units with Pro Tools could hardly be simpler : Up to four Titan or Atlas units can be connected in a stack to each Digilink port and automatically configure themselves to emulate Pro Tools HDIO interfaces. In the maximum configuration for a single Digilink, four Titan or Atlas units emulate two Pro Tools HDIO units, supporting up to 32 analogue input and output channels. The first (or only) unit in the stack is connected to Pro Tools using its Primary connector. Additional units, to a maximum stack size of four units, are added by daisy-chaining Expansion-to-Primary connections in the usual way. Multiple stacks can be connected to multiple host Digilink ports to build systems with larger numbers of channels.
The following Pro Tools UI controls are supported :
Interface ‘identify’ – helps find the right unit in a stack
Line input sensitivity switching, per input channel (+4/-10)
I/O port routing (as controlled in the Pro Tools Setup\Hardware dialogue) including use of enclosure S/PDIF/AES3 I/O. Routing to Titan and Atlas headphone port.
Soft-clip (Prism Sound “Overkiller”) switching, per input channel
High-pass filter selection, per input channel
Phase switching, per input channel
Indication of mic/line/DI(instrument) input selection* (auto selecting on the Titan or Atlas unit, indicated in Pro Tools UI).
Mic/instrument gain setting*
+48V phantom power switching*
-20dB pad switching*
* for mic/instrument preamp-equipped channels
About Prism Sound Founded in 1987, Prism Sound manufacture high-quality professional digital audio hardware and software for music and sound production for the music, film, television, radio and multi-media markets and a range of specialized measurement equipment used in audio equipment development, manufacturing, system building and maintenance. The company’s product range includes a range of audio interfaces covering applications from desktop or mobile recording & production to major studio facilities; Prism Sound also produces the SADIE audio production workstation software used by major national broadcasters such as the BBC, as well as many of the world’s leading mastering houses and classical or live music recording engineers. Prism Sound measurement equipment is used to measure the performance of either audio electronic devices or electroacoustic devices and is well established in major manufacturing sectors such as automotive electronics, headphones and headsets as well as professional audio.
For more information :
Contact [email protected] or come and see the modules in action on Prism Sound’s booth (543) at AES New York.
A large and complex project with 3 delay lines on an area of more than 120’000 sqm, for a perfect output of voice and instruments at hundreds of meters far from the stage. More than 3 hours of concert with a public of over 150 thousand people, for an impressive show that celebrated 25 years of career of Luciano Ligabue, one of the Italian best-known singers.
Several professionals of the events industry gave their support to realize effective and innovative solutions for the show, under the supervision of director of production Franco Comanducci. Once again, Ligabue and his management chose RCF for the audio system. “ The collaboration with RCF dates back to 2012, ” the artist’s manager Claudio Maioli tells, remembering the concerts at Royal Albert Hall in 2012, at the Verona Arena in 2013 and the tour in sports arenas and stadia in 2014.
700 m² stage, 780 m² screen, you could be as far as 300 meters away from the action end late 972 milliseconds, the sound was still good.
For this 2015 celebration RCF has designed a system of 2 MW power, able to offer flawless audio coverage to the enormous listening area, of more than 120’000 square meters. The impressive main system was composed of 2 clusters of 24 TTL55-A active three-way speakers in flying configuration, plus 2 clusters of 12 TTL36-AS subwoofers. Moreover 72 TTS56-A subwoofers (electronically curved, in cardioid configuration) were placed on the ground to reinforce low frequencies.
A side view showing the main and side hangs comprising of 24 and 20 TTL 55-A, and the 12 TTL 36-AS two hangs, extending the LF resources of the TTL 55-A
On top of them, 20 units of TTL33-A II active three-way modules were used as front-fill. Two clusters of 20 TTL55-A were used as side-fill. Stage monitors were also from RCF (models TT45-SMA and TT25-SMA).
As explained by RCF engineers, the main requirement of the project was to cover the large distance between the stage and the public – the last rows were at the record distance of around 300 m. The listening area was divided into 4 pits in order to ensure a perfect output of the sound timbre and good SPL level. The first pit was covered directly by the main system, whereas the others were supported by delay lines designed on purpose.
The stage as seen 200 meters away. At the very center of the image, one of the delay towers comprising of 12 TTL55-A and 4 subs TTS56-A. One among 18 others.
The first delay line included 6 clusters of 16 TTL55-A arrays each. For the second delay line, located 120 metres from the stage, 7 clusters of 12 TTL55-A and 4 TTS56-A subwoofers each were used.
Finally the third delay, 170 metres far from the stage, was composed of 6 clusters of 12 TTL55-A, plus 4 TTS56-A each to reinforce low frequencies. The use of RDNet monitoring system during the show allowed RCF engineers to have a real-time remote control of the system’s state, and adjust the EQs through a tablet computer.
Alberto Butturini, FoH engineer of the show, was very satisfied with the system. “ Huge power and perfect timbre for a concert where guitars have a dominant role, ” he commented. “ I got excellent results on the frequencies of Ligabue’s voice, that stood out in the best possible way from a powerful mix, full of instruments. ”
Italian Pride, RCF remembers everybody that good sound and Reggio Emilia, the very same city hosting the event, can match !!
Remembering his previous experiences during Ligabue’s tour, Butturini states : “ RCF’s systems were highly effective even in the toughest venues, such as some sports arenas with acoustically challenging environments. ”
Willy Gubellini, owner of rental company Nuovo Service with over 30 years of experience, highlighted an additional strength of RCF’s system: the limited size of the speakers with amplifiers on board, that helped reducing weight and size. Gubellini also praised the quality of RCF’s human resources and their important contribution for the huge event : “ Another winning trait of this concert was the good relationship that we established with RCF’s team, whose competence and willingness to help supported us in setting the installation in the best possible way, ” he explained. A mix of high-level technical competence and passion for sound, then, are what led to another success of RCF with Ligabue.
