Super Bowl 50 at San Francisco

Alcons Audio’s really big day in the Bay

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.


Alcons LR7

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.

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.

More information can be found on or  

This year the show opens on Tuesday

Prolight + Sound 2016, from April 5th to 8th, with new hall allocations

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.

Prolight+Sound 2016 Plan

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).

To acquire your badge link here : Prolight+Sound 2016


At Los Angeles Staple Center

Powersoft Electrifies 58th Annual GRAMMY Awards

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

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

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

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

Nexo STM Modular Array celebrate el Papa in Mexico City

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.

Pape François Mexico Nexo STM

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.

Pape François Mexico Nexo STM

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 Takes First Two Yamaha Rivage PM10s

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.

Clair Global consoles Yamaha Rivage PM10

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.

Clair Global consoles Yamaha Rivage PM10

“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.”


Education / Training / Cert

Nexo spring training seminars

Training Nexo

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.

Training Nexo

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.

  • March 8 at Sound of Music Ltd in Derby, UK
  • August 10 at Sound of Music Ltd in Derby, UK

All the details and the booking interface can be found on the NEXO website, or be emailing


Martin Audio MLA and DD12 energise Stereophonics PA

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

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

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

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 releases new guide to Voice Alarm systems

Voice Alarm couverture

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.’

Guide des systèmes de Voice Alarm

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


Saint Roch-Achigan (Quebec)

Complexe JC Perreault Finds Simple Solution in L-Acoustics

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

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

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

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.”


Raleigh First Assembly Receives First-Rate L-Acoustics and Yamaha Sound System

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.

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.

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.

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.

RFA système L-Acoustics et Yamaha

“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.”

More informations :